In choosing playback material, I found myself gravitating more to acoustic than electric power fare so the selections reflect it. Here's a quick cross section. "Same Old Lang Syne" from Live at Carnegie Hall: Dan Fogelberg is a 1979 concert in Carnegie Hall mastered by the renowned Bob Ludwig. The presentation is small and intimate, the image relatively confined and  vocals and acoustic are rich and warm. Here Fogelberg is at the top of his game, the material still fresh and his emotional contribution passionate and nuanced.

"How Did it Come To This" from Greatest Day. Take That Present the Circus was another live recording with different challenges. From their 2009 tour, this outdoor stadium recording of pop group Take That captures clean performers mixed with live audience interaction. The engineering has tasteful dynamics, some vocal enhancements and a good representation of the venue's acoustic. "Promise" from Illusions: Thomas Bergersen is a solo effort from half the compositional duo that comprised Two Steps From Hell from 2011. It features a blend of neo-classically styled material using both digital and acoustical performances. This cut brings Tina Guo's enthralling cello work and Merethe Solvedt's ethereal vocal talents to the table in some lovely haunting work. Scale is large and dynamic range surprisingly wide, with the slowly rising opening dredging very close to the noise floor. Playing at natural acoustic levels will challenge a system to achieve full uncompressed dynamic gradations at low levels without defaulting to lengthy silences.

"Konzert für Oboe und Streicher" from Stereoplay's Highlights CD4: Collegium Aurem is a warm purist track whose liner notes contain information and diagrams about distance and placement of instruments to make for a wonderful musical teaching tool to set up your stereo system. "Crazy He Calls Me" from the FIM-remastered What's New: Linda Ronstadt & The Nelson Riddle Orchestra is a classic 1983 recording lovingly remastered by Winston Ma in glorious 32/192. Detailed, rich and dense, it captures instrument and vocals in sultry lush mode. "Wish you Were Here" from Pink Floyd's Wish You were Here Symphonic: London Orion Orchestra with a smattering of Alice Cooper on this cut gives bite and electric context followed with nicely done full symphonic interpretations on the next cuts. It was tastefully engineered with enough scale and mass to satisfy.

So on now with our BBC-inspired show.