The Brazilian - genesis
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Came across this today and YES.
Crazy sound stage and imaging:
O’Flynn - Tyrion
(Best with YouTube Music version, uploaded in 2019)
There are a couple, but I have three favorite ones. One of them is High and Dry, by Radiohead. There is a specific effect that I find interesting, it seems like the vocals are kind of in a pendulum moving in and out of your head from behind, it’s incredible.
Another one is Angie, by the Rolling Stones. It’s mainly because of the intro of the song, where the guitar, that plays on the left earcup, creates a soft echo on the left earcup that sounds amazing.
And at last, my favorite soundstage recording, the 1994 live acoustic version of Hotel California. No specific reason, it’s just music at its absolute best
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Weird, but I hear it too. Phase inverted, maybe. 
Again Floyd…such a beautifully subtle soundstage, delicate, precise and on the Z1R’s quite cathedral like 
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Abyss has a good track for testing soundstage on YT (with lossless download)
The “ultime garbage” one they messed up at first and then quick fixed it still being garbage?
No nonooo my man, no. LoL. Was one of the very first ones to listen it and complain about it.
Quick fix did not fix the issues it has… maybe people wont notice or hear the issues but they still there and i have both copies. 
(lossless quality does not make up the issues on bad location recording)
Would not trust anything on it for testing.
Oki doki, good to know 
you threw it, and i fucking picked it! great band
I was listening to Deezers Sunday Chill play list this morning and 2 jazzy tracks stood out for their incredible soundstage. From a newb perspective anyway.
-
Garota de Ipanema by Sergio Mendes
https://deezer.page.link/4yiui14KMjxgrTyP7 -
Manha de Carnaval by Joao Donato
https://deezer.page.link/dRgdHTNbaX9RoFYj9
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Very nice song. Thanks! I didn’t know and just had to look up some more info about her. I found this fine interview; https://simonewaddell.com/getting-to-know-dannielle-deandrea/
Yes what a find. I agree a little less compression would be nice but it’s great acoustic music.
The video you posted is so much beter than what she makes on her own…talking about too much compression!
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Yeah, agreed, such a shame, love her as a vocalist.
But check this one out, my favorite of hers. It’s the same audio engineer as with Stories (it may be the same studio I’m not sure).
She really knows how to play with the mic, her crescendos and decrescendos are amazing
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wauw. impressive.
" Just when you thought you’d heard every possible take on the songbook of Robert Johnson, from true acoustic versions to Clapton’s electric tracks, up jumps singer Carmen Gomes with her own rendition. The legendary bluesman died aged just 27 in 1938, amidst all those ‘sold his soul to the devil’ legends, and left a catalogue of just 29 songs, so you could argue there’s nothing new to hear. However, Gomes gives her selected tracks an atmospheric, mystical spin, with minimal backing, a simple mic set-up, in Sound Liaison style, and a ‘straight to DXD’ as-live recording approach. Her sultry voice has immediacy and intimacy, the instruments captured with real vitality, and the whole recording drips with presence and a sense of performance. I can imagine this one proving popular on the demo circuit if we ever get back to them – and that would be no bad thing. AE " hifi news and record review
CD and Mp3; https://carmengomes.bandcamp.com/album/up-jumped-the-devil-discovering-the-music-of-robert-johnson-part-1-a-sound-liaison-one-mic-audiophile-recording
DXD,DSD and Flac; https://www.soundliaison.com/index.php/677-up-jumped-the-devil-carmen-gomes-inc
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She has a new album out following the rules of the Arch Manifest;
Blockquote
The Arch Manifesto;
Each recording starts and ends with the main artist alone in the hall the only interplay being the acoustics of the hall and his own mind. No audience is present except the ghosts from the past. When the band enters the music must create an Arch, going from the single instrument performance to the more complex band performance and back to the last solo performance. The same principle goes for the engineering; each recording starts out with only one microphone (stereo). As the music gains in complexity more microphones may be deployed, the only limit being the imagination and technical skills of the recording engineer. The producer and engineer must make the album feel as one, it should have a unifying ‘sound’, despite the different recording techniques employed. Frans always says; “The art of recording is a question of listening and the more you listen the better you get at it.”
3 dimensional and deeeeeeep 
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