Building a Nindex Speaker - Part 3 Crossover Design, Measurements and Listening

PART 1 OF 3 HERE
PART 2 OF 3 HERE

As explained back in Part 1, the speaker is intended only to be operated in active mode with a Linn Exakt system. So a bit of an explanation of Exakt first.

In a traditional hifi system, an amplifier feeds a full range signal to the back of the speaker cabinet, then a passive electrical system inside the cabinet (the crossover) splits the signal into the correct frequency ranges for each of the drive units to handle.  This crossover is made of high power components which sap power from the signal, have wide tolerances and introduce their own problems such as phase errors.
In Linn Exakt, the full range signal from a digital source is fed to a component called an Exaktbox. In here the signal is split into the frequency range appropriate to each driver in the digital domain - this means it is done far more accurately than can be achieved in the speaker's own passive analogue crossover. The Exakt system allocates a DAC (digital to analogue converter) to each speaker driver and then the signal is passed to a power amplifer for each driver.  This is then connected directly to the appopriate driver in the speaker cabinet without any further components getting in the way, so the amp has better control over the movement of the driver.
So Exakt has very precise control over what gets to each driver and it introduces no phase errors of its own.  In addition to this, the system corrects for any phase errors within each driver and any frequency response "features" of the driver by applying an opposite signal to the error. Finally it also introduces time delays to drivers that are closer to the listener, in order to better time align the sound getting to the listener's ears. Some information here plus if you Google Linn Exakt you'll get lots more information and opinion.
Personally, I call it Linn Lessinexakt, but I don't suppose that would go down well in the marketing department...

Digital Design

As a consequency of the Linn Exakt approach, the Exaktbox system can be programmed to address pretty much any loudspeaker available, as long as there is someone who can measure the speakers and then carry out the design work to be loaded to the Exaktbox.  This is the service I offer under the SpeakerFilters brand.

There are several stages involved in creating the filters:

• Physical measurement of the speakers which are then uploaded to Linn's database
• Acoustic measurement of the passive speaker prior to modification to get a view on its existing characteristics (not part of this design work as there's no existing passive design to measure)
• Electrical measurement of the speaker drive units (in and out of the cabinet if a ported design)
• Translation of the electrical measurements into the parameters expected by the Linn Exakt Design system
• Creation of initial crossover points and slopes, along with approximate attenuation of individual drivers - usually based on the passive crossover design
• Acoustic measurement and listening with lots of experimentation to get the right mix of measured results and the best listening experience - this is the most time consuming with lots of iterations

So these were the next steps to the project.

Electrical Measurements

These are based on pretty straightforward impedance sweeps - showing the impedance in relation to the input frequency range from 20Hz to 20kHz - the generally accepted range of human hearing.

An example of the bass driver in the Nindex project is shown below:

The upper (red) line shows the phase response of the driver, the lower (blue) line shows the impedance curve which is fairly typical of a driver in a sealed cabinet - the peak is the driver's resonance frequency when mounted in the cabinet. By analysing various elements of this trace, the "thiel-small" parameters for the driver can be derived and fed into the Exakt design tools.

Looking at the response curves of the TM1-A array, it was a fairly straightforward choice of where to start with for the crossover points:

Mid Range Dome Frequency response - shows that the crossover points need to be above 850Hz at the lower end and below about 7500Hz at the top end (when the off-axis response starts to fall away)

The tweeter has a very wide response range and looks like it could handle from 1500Hz or so upwards - so it would be a good design to use with a larger mid-bass in a two way system.

I started with nominal crossover points of 1500Hz and 7000Hz, both with Butterworth 4th order crossovers - for those of you concerned about such steep slopes, remember that, unlike a passive crossover, the Exakt digital crossover doesn't introduce phase distortions based on the steepness of the slope. So the slope can be adjusted to suit integration requirements and the subjective listening experience.

The first acoustic measurement to take is just a quick sweep to check if the relative volumes of the drivers are somewhere near close.  Using the bass driver with attenuation of 0dB I usually put in -3dB for a mid-range and -4dB as the starting point.  Then work from there, usually by ear first, then refining with acoustic measurement. Its possible to hear changes of as little as 0.1dB which most people find very surprising until they hear it for themselves.

Then starts the refining of the crossover points - but only one at a time of course - listening for where the instruments sound more believeable but most importantly where the music itself is more engaging plus best for the most stable central imaging but widest overall spread of image - its not scientific, other than staying within the sensible ranges for each driver.  A crossover point is a nominal value - once this seems about right, more listening is done to various combinations of each driver roll-off point and therefore which mix is right and how steep the slopes might be.  For the bass to mid crossover, its easy enough to hear changes of around 25Hz in the values.  For mid to tweeter, I usually work in chunks of 100Hz.

Design work was completed using a Linn Majik DSM/3 network streamer / pre-amp and a Linn Majik Exaktbox-i which combines 8 channels of Exakt processing, 8 DACs and 8 power amplifiers - a remarkable bit of kit all in one box. The Exaktbox is the pre-Katalyst DAC version (at time of writing and design work - the upgrade is planned for the future).

Linn Majik DSM/3

Linn Majik Exaktbox-i

Here's the data that I ended up with for the Nindex:

Bass Driver

• Roll-on = 10Hz
• Slope Type = Butterworth
• Slope Gradient = 4th Order
• Roll-off = 1100Hz
• Slope Type = Butterworth
• Slope Gradient = 3rd Order
• Attenuation = 0dB
• Time Alignment = 0

Mid Driver

• Roll-on =  1600Hz
• Slope Type = Butterworth
• Slope Gradient = 3rd Order
• Attenuation = 4.0dB
• Time Alignment = -119 microseconds
• Roll-off = 4800Hz
• Slope Type = Butterworth
• Slope Gradient = 3rd Order

Treble Driver

• Roll-on =  6700Hz
• Slope Type = Butterworth
• Slope Gradient = 3rd Order
• Attenuation = 9.1dB
• Time Alignment = -87 microseconds
• Roll-off = 28000Hz
• Slope Gradient = 4th Order

In the simplest terms, the resulting graphic looks like this below. Note that this is the electrical output required to achieve the crossover points and a flat response from each drive - so the curves aren't straightforward because Exakt is allowing for the characteristics of the drivers themselves.  Plus, in this image there are actually some filters hidden from view but having an effect - for example there is a small lift below 60Hz to add a little bit of weight to the bass.

The electrical outputs to achieve the crossover points

I then, by habit, add some "protective" filters to each driver - they're not shown above, but I'll put in a low pass filter for the bass driver than allows frequencies between 0Hz and 3000Hz. For the tweeter, for example, I'll add a high pass filter from 3000Hz upwards.  For example for the bass:

Example "safety" filter for the bass driver

Baffle step is a phenonmenon that means when a certain frequency and above reaches the edge of the baffle, it diffracts and becomes amplified for the listener - this is often cited as the reason that studio monitors are built into walls, to avoid any edges. This is obviously not possible for a speaker designed in a box so its best to put in step filters at the frequencies calculated on the baffle width and height.  So those calculations are done and appropriate filters added - with attenuation levels that are guessed to start with (they're often of a similar value between designs with the size of the attenuation rising as the frequency rises) and are typically in the range 0.2 to 2.5dB.  I usually start the step curve a little before the intended frequency and keep the slopes at a nice and gentle 2nd order. Here's the step for the mid driver which kicks in about 15Hz before the calculated point and is attenuated by 1.5dB:

Mid Range Baffle Step Filter

At this point, for confirmation of the rough acoustic measurements and subjective work, I'll take an acoustic 20 to 20000Hz sweep to make sure there are no glaring errors - preferring to work this way rather than relying entirely on measurements.

So now we have a pretty flat response through the design process, a choice of crossover points that give the best subjective sound and imaging.  Of course, in the background of all this the Exakt system has applied the calculations to each driver to deliver minimum phase errors, but all of that is invisible to the designer.

Now its time to do some detailed acoustic measurements and iron out any signficant frequency response anomylies in the drivers themselves.

I use REW software for acoustic measurements, paired with a calibrated UMIK-1 microphone connected to the laptop by USB. The laptop is dedicated to only the audio work, runs Windows 7 and pretty much nothing else. No fancy audio programmes nor drivers or anything else that will potentially add noise or unwanted processing effects.  For design work I always measure the speaker on-axis vertically with the tweeter as that is usually the most directional driver.  Horizontally I will measure on-axis and 30 degrees off axis.

My intention with this design was to get the 30 degrees off-axis frequency response pretty close to flat.  This will mean that on-axis the speaker will sound a little "bright" in that the treble output will be higher than the rest of the audio range.  This is deliberate to allow the speaker to be pretty much optimal with just a very small amount of toe-in.  Then for those who like a little more brightness or for older listeners whose hearing is starting to tail-off at the higher frequencies, a little more toe-in of the speaker will bring that change in balance.

Measurements are taken at 300mm to allow the mic to pick up the full frequency range but to minimise the effects of room reflections.  Not having an anechoic chamber to work with means that measurements below about 110Hz need to be completely ignored as they are prone to standing waves in the room.  Any tweaking below 110Hz is done purely by ear.

The camera angle makes this look more, but this is measuring 30 degrees off-axis in the horizontal

The software provides a sweep from 20 to 20,000Hz and measures the output from the speaker, corrected for the calibration of the microphone. I ignore all readings below 110Hz.

This then gives a picture of any interesting "features" of the frequency response of the drivers themselves, and, if there are any, where the drivers are perhaps overlapping too much, or leaving a trough due to not enough overlap.  Usually some quick adjustments to crossover points or possibly slopes get this sorted quickly.  The "features" of the drivers can be adjusted for with the Exakt digital crossover designs.

This is done by "modelling" the humps and dips in the response curve, then Exakt compensates electrically by applying the inverse to the signal delivered to the speaker.  So a 3dB hump at 1000Hz in the speaker will have an exact opposite - 3dB output applied at 1000kHz. It is possible to add bell curves, high or low pass and shelves. The height and width of a bell curve is adjustable.  It is possible to model each left and right speaker individually, or just go with a blend of the average of both.  In this project I worked on individual drivers - in commercial models it makes more sense to go with an average as there is little sense in trying to second guess the features of individual products out in the market.

So here is the resulting modelling for the left speaker with all the humps and dips modelled in for Exakt to correct for. It has to be said, apart from the need to add a lift from about 16000Hz upwards, the tweeter was the best behaved of the drivers.  Please be aware that I don't spend days and days dialling out every single ripple in the response curve. It would be rather unproductive - I focus on the main features and leave it at that.

The top line is the modelling of the "features" in the frequency response of the drive units.  The bottom 3 lines are the phase characteristics that Exakt has calcuated for correction.  Note, at this point the features include the effect of the cabinet, not just the drive units, so some of these could be due to the cabinet resonances mentioned in the build section (Part 2).

Top is the modelling of the frequency response of the drive units, including their "features".  The bottom is the Exakt modelling of the phase characteristics for correction

RESULT

So what is the ouput of all that work?

I've used 1/12th smoothing of the acoustic measurements to give a realistic idea of the reponse curve.  Below are 2 graphs to show why I'm mentioning this - if I was a speaker manufacturer, I would be tempted to publish the the 1/3th smoothing to make it look miraculously good!

Remember to ignore everything below 110Hz as there is too much room interaction.

Example with 1/3 Smoothing. Contrast With 1/12th Below. See how the above pretty much eliminates the room iteraction!  And those who really like their hifi to be "objectivist" rather than "subjectivist" sometimes forget that the numbers can be manipulated.  This is exactly the same data, just presented differently!

Exactly the Same Measurement But with 1/12th Smoothing - I use 1/12th in the results below

Single speaker result below - remember it is designed to be listened to off-axis.  Here you can see the more pronounced upper frequencies that would result in pointing the speakers directly at the listener compared to the intended only slight toe-in. Rotating the speakers with more toe-in allow a slightly brighter presentation if required.

Green line is on-axis response measurement. Red line is 30 degrees horizontal off-axis response measurement

 A word about phase correction with Exakt - one of its key selling points. It must be said that it is a phase error minimisation solution, it doesn't deliver a completely flat phase response.  However, I will provide a not to be named phase response example from a very well known domestic speaker maufacturer for comparison.  This is from their £16,000 speaker.  As usual, please ignore the measurements below 110Hz.  I do not post this comparison here to try and claim my project gets even close to being within sniffing distance of having a hint of the performance of the comparison speaker, but just to illustrate the effect of having no phase errors introduced by the crossover and the correction of phase errors within the drivers.

Nindex phase response, 30 degrees horizontal off-axis:

Phase Response of the Nindex Project Speaker

The dotted line in the above graph is the phase response of the £16k speaker

SOUND

So how does it sound?  Well, I'm not at all disappointed by the result. In fact, its rather enjoyable.  I don't think its the most dynamic speaker ever, but it does have a nice sense of flow - its definitely of the more laid back variety.  If you like most JBLs, you'll not like these.  Bass is tuneful but not "kicking", doesn't go massively deep but its pretty good for a box of this size.  There's no real noticable box artefacts, the treble is sweet and very detailed, the mids and vocals a touch polite but well articulated. Maybe it will appeal to those who prefer the BBC type of design?
Perhaps, at the next but one Wigwam Show (plans are already in place for the next one) you'll get a chance to come along for a listen.
Now perhaps its time to hook them up to the Akurate Katalyst / Lejonklou power amps in the main system and see how they get on.  Perhaps there'll be a post script later.

Finally, what's in a name. Well, not much thinking really. The base cabinet is an Index, but they're no longer Index, so they're Nindex. It works with the NINka drivers too. Kind of.

A few parting photos.  Thanks for reading!

PART 1 OF 3 HERE
PART 2 OF 3 HERE

Musings At The HifiWigwam Show 2019

Room 120 is all ready for visitors tomorrow at the Wam Show at Kegworth.

www.thehifishow.com

After setting up and working on speaker positioning, the room was measured and SPACE Optimisation applied.  Linn Akurate Exakt source and Lejonklou power seems to be working well with the Gauder Akustik speakers.

Some independent feedback from around the forums:

Lejonklou forum member u252az: "Sunbeams system was the first Exakt system I have enjoyed - worth going just for that"

CyrusUnofficial forum member hifinutt: "Gauder sounded superb . Very natural" and on AOS "my favourite was the gauder akustik"

CyrusUnofficial forum member Czechchris: "I too liked the speakers you had playing"

The Flash: "sounding nicely balanced in that system. I think the curved cabinets are very smart indeed. The blue was far less of a "statement" than I expected, looked rather smart I thought."

Nopiano: "I agree with all the praise. They were evidently extremely well set up, and the system had a coherence and balance that was way beyond what I’d expected. Easy to enjoy!"

Richard A: "I’d like to add my plus one to those comments and this was my first chance to listen to Gauder. I loved the sound in your room, possibly the most natural/unforced of them all. I don’t need more speakers but I’d buy those in a heartbeat if I did. GLWS those are a bargain."

Audiophile Musings at The Hifi Wigwam Show, 17 March 2019 at Kegworth, UK

The Wam Show is like no other.  Just enthusiasts playing their systems to other enthusiasts.  Perhaps a couple of commercial rooms, but well over 30 rooms of amateurs playing music on their system.

I'll be playing music on Linn Akurate Exakt streamer with Katalyst, 3x Lejonklou Tundra power amps and Gauder Akustik Isophon Corvara speakers, converted for Exakt active operation.

If you're visiting the show, please call in and choose a track from the playlist. Nearly all of it is here, so you can choose something in advance from this Tidal playlist: 

https://tidal.com/playlist/ee329131-84ad-4f20-95e9-c7f983d0765e

PREP FOR THE KEGWORTH WAM SHOW 2018

This year the Hifi Wigwam show has moved from its regular home at Scalford to a new location @ Kegworth Hotel and Conference Centre, not far from Derby and the M1.
So a new era, hopefully the show will still be well received.  I'm still experimenting with which system to run, but at lest the most important bit is sorted - the tracklist.
If you visit Audiophile Musings in Room 203, please say hello, but most importantly, please select a track or 2 to listen to.  See you there!

www.thehifishow.com

Sunday 18 March 2018

APPROX GENRE	ARTIST	TRACK	YEAR
Acoustic	José González	Crosses	2003
Alternative	Nils Frahm	Ode	2015
Alternative Country	Lyle Lovett	North Dakota	1992
Alternative Country	Lyle Lovett	Penguins	1994
Alternative Country	Lyle Lovett	Record Lady	1994
Alternative Country	Lyle Lovett	She's Already Made Up Her Mind	1992
Balearic/Downtempo	The XX	Reunion	2012
Blues	Blues Company	Cold Rain	1997
Blues	Blues Company	Dark Day	2007
Blues	Blues Company	Red Blood	1997
Blues	Chris Jones & Steve Baker	Damm Good Run	2005
Blues	Chris Jones & Steve Baker	God Moves On The Water	2003
Blues	Chris Jones & Steve Baker	Roadhouses & Automobiles	2003
Blues	Chris Jones & Steve Baker	Vigilante Man	2005
Blues	Devon Allman	Strategy	2013
Blues	Devon Allman	Time Machine	2013
Blues	Doug MacLeod	Serious Doin' Woman	2015
Blues	Doug MacLeod	You Got It Good (And That Ain't Bad)	2015
Blues	John Lee Hooker	The Healer (with Carlos Santana & The Santana Band)	1989
Blues	Pete Alderton	(She Said That) Evil Was Her Name	2012
Blues	Pete Alderton	Jesus In A Bottle	2012
Blues	Renegade Creation	Bullet	2012
Blues	Renegade Creation	Too Much Of Nothin'	2012
Blues	Robben Ford	Make Me Your Only One	2002
Blues	Robben Ford & The Blue Line	I Don't Play	1993
Blues	Robben Ford & The Blue Line	Mystic Mile	1993
Blues	Son Little	Loser Blues	2016
Blues/Rock	Alberta Cross	City Walls	2009
Blues/Rock	Joe Bonamassa	Feelin' Good	2009
Blues/Rock	The Jeff Healey Band	Blue Jean Blues	1988
Chill	Nitin Sawhney	Broken Skin	1999
Chill	Nitin Sawhney	Letting Go	1999
Classical	Tchaikovsky	'Dance Of The Reeds' From The Nutcracker	2003
Classical	Georges-Emmanuel Lazaridis	Grandes Etudes de Paganini Etude III	2007
Country	Jenny Lewis	Bad Man's World	2008
Country	Jenny Lewis	Pretty Bird	2008
Country	Mary Gauthier	Falling Out Of Love	2005
Country	The Wailin' Jennys	All The Stars	2011
Country	The Wailin' Jennys	Swing Low Sail High	2011
Country	Willie Nelson	What Is It You Wanted	1993
Dance	Deadmau5	Avaritia	2014
Dance	Funkerman	Speed Up (ATFC Remix)	2012
Dance	X-Press 2	Lazy (Original)	2002
Electro	Bob Moses	Tearing Me Up (RAC Mix)	2016
Electro	Bob Moses	Writing On The Wall	2016
APPROX GENRE	ARTIST	TRACK	YEAR
Electronic	Black Mighty Orchestra	Ocean Beach (Cybophonia Cinematic Remix)	2008
Electronic	Daft Punk	Giorgio by Moroder	2013
Electronic	Daft Punk	Lose Yourself to Dance	2013
Electronic	Deadmau5	Gula	2014
Electronic	Felix LaBand	Black Shoes
Electronic	Ganga	Don't Wake Me Up	2006
Electronic	Ganga	Down But Up	2006
Electronic	Ganga	You Are My Sun	2006
Electronic	Kiasmos	Looped	2014
Electronic	Kiasmos	Thrown	2014
Electronic	La Roux	In For The Kill (Skream's Let's Get Ravey Remix)	2009
Electronic	Massive Attack	Three	1994
Electronic	St Germain	Dub Experience II	1995
Electronic	St Germain	Montego Bay Spleen	2000
Electronic	Tiny Tunes	Will You Catch Me (Twin Tunes Mix Edit)	2001
Electronic	Tomboy	Flamingo (Trentemoller Remix)	2007
Electronic	Trentemoller	Vamp	2006
Electronic	Underworld	Banstyle, Sappys Curry	1996
Electronic	Yello	30'000 Days (24_48)	2016
Electronic	Yello	Blue Biscuit (24_48)	2016
Electronic	Yello	Dark Side (24_48)	2016
Electronic	Yello	Indigo Bay	2003
Electronic	Yello	Kiss In Blue (Feat. Heidi Happy)	2009
Electronic	Yello	Petro Oleum	2009
Electronic	Yello	Stay (Feat. Heidi Happy)	2009
Electronic	Yello	Takla Makan (feat. Dorothee Oberlinger)	2009
Electronic	Yello	The Rhythm Divine	1992
Electronic	Yello	Till Tomorrow (Feat. Till Brönner)	2009
Electronic	Yello	To The Sea	1997
Electronic	Yello	X-Race	2009
Electronic/Jazz	Malia & Boris Blank	Magnetic Lies	2013
Electronica	Bob Moses	Far From The Tree (from the 2013 'Far From The Tree' EP)	2015
Electronica	Ficci & Laura Hahn	Ficci - Breathe You In (feat. Laura Hahn)	2014
Electronica	Jakatta	American Dream (Afterlife Mix)	2001
Electronica	Samantha James	Breathe You In	2007
Electronica	Schiller	Das Glockenspiel (Schill Out Mix)	2004
Electronica	Slovo	Killing Me	2004
Electronica	The Black Smoke Organisation	Danger Global & Warming (Trentemoller Remix)	2007
Electronica	Thievery Corporation	Amerimacka	2010
Electronica	Thievery Corporation	Heaven's Gonna Burn Your Eyes (feat. Emiliana Torrini)	2004
Electronica	Zero 7	Destiny	2001
Electronica	Zero 7	In The Waiting Line	2001
APPROX GENRE	ARTIST	TRACK	YEAR
Electronica	Eric Prydz	Pjano (Dana Berquist & Peder G Remix)	2009
Electronica	FAC15	Stay With Me Til Dawn	2007
Electronica	Goldfrapp	Let It Take You Away	2005
Electronica	Goldfrapp	Ooh La La	2005
Electronica	Royksopp	What Else Is There (Trentemoller Remix)	2007
Electronica	Samantha James	Right Now	2007
Electronica	Samantha James	Rise	2007
Electronica	Slovo	Whisper	2002
Electronica	Sofa Sweeper	Voice Of Core	2009
Electronica	St Germain	Mary L.	2015
Electronica	St Germain	Voilà	2015
Electronica	Tep No	Me And My Guitar	2016
Electronica	Underworld	Sola Sistim	2002
Folk	Agnes Obel	Fuel To Fire	2013
Folk	Brendan Perry	Death Will Be My Bride	1999
Folk	Chris Jones	Darlin' Cory	2003
Folk	Chris Jones	Fender Bender	2003
Folk	Dead Can Dance	All In Good Time	2012
Folk	Dead Can Dance	Amnesia	2012
Folk	Eddi Reader	Dear John	1994
Folk	Eddi Reader	Hello In There	1992
Folk	Jesca Hoop	Peacemaker	2012
Folk	k.d. Lang	Constant Craving	1992
Folk	Kiki Dee	Amoureuse
Folk	Kiki Dee	Don't Go Breaking My Heart
Folk	Nick Drake	'Cello Song	1969
Folk	Nick Drake	Fly	1970
Folk	Nick Harper	The Kilty Stone	2002
Folk	Richard Thompson	Easy There, Steady Now	1994
Folk	Sinead O'Connor	Nothing Compares 2 U	2003
Folk	Stephen Fearing	Carsten	1989
Folk	Stephen Fearing	Out To Sea	1989
Folk	Stephen Fearing	Welfare Wednesday	1989
Folk	Thea Gilmore	Bad Moon Rising	2003
Folk	Thea Gilmore	Ever Fallen In Love	2003
Folk	Willy Porter	Jesus on the Grille	1995
Folk/Rock	Calexico	Crumble	2003
Folk/Rock	Damien Rice	Cannonball	2003
Folk/Rock	Damien Rice	Cold Water	2003
Folk/Rock	Damien Rice	Delicate	2003
Folk/Rock	Death Cab For Cutie	Doors Unlocked And Open	2011
Folk/Rock	Eva Cassidy	Fields Of Gold
Folk/Rock	John Martyn	A Little Strange	1996
Folk/Rock	John Martyn	Feel So Good	2000
Folk/Rock	Nils Lofgren	Black Books	1997
Folk/Rock	Peter Gabriel	Don't Give Up	2012
APPROX GENRE	ARTIST	TRACK	YEAR
Folk/Rock	Ane Brun	Words	2011
Folk/Rock	Ane Brun	Worship (Feat. Jose Gonzalez)	2011
Folk/Rock	Calexico	Man Made Lake	2008
Folk/Rock	Chris Jones	No Sanctuary Here	2003
Folk/Rock	Damien Rice	Volcano	2003
Folk/Rock	Emily Barker	Nostalgia	2012
Folk/Rock	Fink	Perfect Darkness (Live from Union Chapel, London Oct 5 2011)	2012
Folk/Rock	Fink	Warm Shadow (Live from Epicerie Moderne, Lyon â?? Oct 28 2011)	2012
Folk/Rock	Holly Cole	Train Song	1995
Folk/Rock	James Taylor	Gaia	1997
Folk/Rock	Peter Gabriel	Mercy Street	2012
Folk/Rock	Sarah McLachlan	Ice	1994
Folk/Rock	Sarah McLachlan	Sweet Surrender (DJ Tiesto Mix)	1997
Folk/Rock	Sarah McLachlan	Wait	1994
Folk/Rock	Tom Robinson	The End Of The Rainbow	1993
Funky/vocal/disco/club house	Sofi Tukker	Moon Tattoo	2016
House	Furry Phreaks with Terra Deva	Soothe (Charles Webster 2008 Mix)	2008
Indie	Elbow	Mirrorball	2008
Indie	Elbow	One Day Like This	2008
Indie/Rock	Gotye	Don't Worry We'll Be Watching You	2012
Jazz	Hue & Cry	Makin' Whoopee
Jazz	Ian Shaw	A Case of You	2006
Jazz	Ian Shaw	A Good And Simple Man	2008
Jazz	Ian Shaw	Barangrill	2006
Jazz	Keb’ Mo’	For What It's Worth	2004
Jazz	Keb’ Mo’	Wake Up Everybody	2004
Jazz	Keb’ Mo’	What's Happening Brother	2004
Jazz	Tom Baxter	Night Like This	2007
Jazz	Tom Baxter	Skybound	2007
Jazz/Classical	Marta Gomez	Lucia	2009
Jazz/Reggae	Dean Fraser	Big Up/Armageddon Time	1997
Jazz/Reggae	Dean Fraser	Dick Tracy	1997
Jazz/Rock	Steely Dan	Cousin Dupree (24/96)	2001
Jazz/Rock	Steely Dan	Hey Nineteen	2000
Pop	Dirty Vegas	Days Go By (Acoustic Mix)	2003
Pop	Jennifer Warnes	Big Noise, New York	1992
Pop	Michael Jackson	Liberian Girl	2001
Pop	Talking Heads	Road To Nowhere	2008
Pop	Tears For Fears	Mad World	2007
Pop	The Farm	All Together Now	1995
Pop	T-Rex	Get It On	2001
Pop	Was (Not Was)	Papa Was A Rolling Stone	1992
APPROX GENRE	ARTIST	TRACK	YEAR
Pop	Annie Lennox	Why	1992
Pop	Flash And The Pan	Walking In The Rain	1990
Pop	Gorillaz	Superfast Jellyfish	2010
Pop	London Grammar	Wicked Game
Pop	Lorde	Royals	2013
Pop	Ten Walls	Walking With Elephants	2014
Pop Rock	Calexico	Woven Birds	2003
Pop/Rock	Elvis Presley	Fever	2015
Pop/Rock	Ray LaMontagne	Be Here Now	2006
Pop/Rock	Ray LaMontagne And The Pariah Dogs; Ray LaMontagne	This Love Is Over	2010
R&B	Erykah Badu	Next Lifetime	1998
R&B	Erykah Badu	Rimshot (Intro)	1997
R&B	Joan Armatrading	Love And Affection	1976
Rock	Black Sabbath	Planet Caravan	2000
Rock	Chris Rea	Looking For A Rainbow	1989
Rock	Chris Rea	Texas	1989
Rock	Daniel Lanois	I Love You	2003
Rock	Daniel Lanois	Shine	2003
Rock	Dire Straits	Fade to Black	1991
Rock	Dire Straits	Planet Of New Orleans	1991
Rock	Dire Straits	Six Blade Knife	1978
Rock	Eagles	Hotel California (Live)	1994
Rock	Fleetwood Mac	Go Your Own Way	2011
Rock	Fleetwood Mac	The Chain	2011
Rock	I Am Kloot	Hold Back the Night	2013
Rock	I Am Kloot	Let Them All In	2013
Rock	Joan As Police Woman	Get Direct	2014
Rock	Justin Currie	No, Surrender	2008
Rock	London Grammar	Hey Now	2013
Rock	Nils Lofgren	Wonderland	1997
Rock	Rhodes	You Are The North Wind	2013
Rock	Semisonic	Closing Time	1998
Rock	The Blue Nile	Let's Go Out Tonight	1989
Rock	The Blue Nile	The Downtown Lights	1989
Rock	The Killers	Human	2008
Rock/Indie	Gotye	Puzzle With A Piece Missing	2012
Rock/Indie	Gotye	State Of The Art	2012
Soul	Seal	Killer	2004
Soul	Seal	Kiss From A Rose	1995
Soul	Seal	Love's Divine (Acoustic)	2004
Soul	Seal	Prayer For The Dying (Acoustic)	2004
Soundtrack	Thomas Newman	Still Dead	2000
Soundtrack	Tom Jones	Thunderball	2002
Swing	The Ray Gelato Giants	Exactly Like You	1995
Swing	The Ray Gelato Giants	That Old Black Magic	1995
World Blues	Hugh Masekela	Stimela (The Coal Train)	2006