PT: The basic philosophy is the same:
(1) JARVIS starts isolating and cleaning electricity at the FUSE box.
(2) The application of TRINITY GOLDEN REFERENCE AC Conditioner inside the main listening room because of its supreme specification similar to that required for an “ATOMIC SHELTER” stipulated by the National Security Agency of the US.
(3) The Troy Elite by Tripoint. Other showrooms use Troy Signature. Room acoustics tools are mainly from Audio Replas of Japan which is NOT under my distribution.
KFM: I talked about the description of the room from the bare concreted walls to the wiring, acoustic paneling and designer furniture during my visit to the Divin Laboratory. This sort of feat usually requires an interior designer and an audio acoustic engineer. Tell us, how did you actually decide on all this? Why the choice of the Finn Juhl chair, the colour of the room and the centrally focused shadowed light placed to the front of the Finn Juhl chair?
PT: The Chieftain chair by Finn Juhl was the very first designer chair that caught my attention many moons ago. I sat on it for a nanosecond in a furniture store in Japan before the security guard verbally warned me not to do it again. From that moment onward, I was drawn into the world of Danish classics. I collected many famous chairs. The Chieftain is the best of the best to my eyes.
The “Luxury Pure” light is designed by INGO-MAURER of Germany (based in Munich) - the magician in modern lightning. It looks like three different gold papers in square flying at different height but always vertically aligned. I like the colour gold very much because it is warm and attentive. My central thesis is a moonlight shading atop a Chieftain. At this position, all walls disappear as though a tribe leader is mediating in a plain under moonlight. The matching colour tone of the room follows this. That explains the Louis Poulsen lights on the side walls are all in copper.
KFM: Correct me if im wrong; The Divin Speakers by Oliver Goebel will be the permanent fixture in the laboratory. What have you experimented with so far in terms of electronics, sources and ancillaries in the laboratory?
PT: Not necessarily permanent as Trinity is also developing his flagship speakers. For the time being, I must make the best out of Divin. And best means a soul-to-soul connection listening experience. An entire suite of Trinity electronics is chosen to drive the Divin because Trinity electronics is the most precise, reliable and the smallest. I want to create a contrast between space saving ultra end electronics with a gigantic speakers as well. I want to challenge the eyes. I want people to listen with their hearts. I intentionally not to set up the VINYL system for the time being because I want to understand more about the room acoustics first. It is better not to introduce too many parameters at this juncture.
KFM: So people swear by a single cable company and its neutrality to deliver what the components are meant to do. I see you have a mixture of Skogrand, Trinity, Vertere and Dalby Audio Design. Can you tell me how they contribute to the overall reproduction of music? All cables are neutral but are some cables more neutral than others?
PT: I primarily use Trinity power cords all through because they are flexible to use. I only use one Stravinsky power cord between the wall and the Trinity golden reference AC filter because this is the most important position, and the spec of Stravinsky power cord convinces me it is the right application. The next is the Stravinsky speaker cable between the amp and Divin. For interconnects, I rotate between Argento FMR EE, Vertere HB, and Dalby JUNDO for experiments FMR EE has the highest resolution from top to bottom, Vertere HB is smoother in the highs and warmer in the mid range, whereas DALBY excels in contour resolution with a very dynamic presentation of the high frequency alongside a very clear sound field. I consider all of them in the neutral zone. Within this zone, personal preferences always dictate and are conditional on the synergising effects amongst electronics and speakers.
KFM: A laboratory produces products. What will the Divin Laboratory produce? What the plans for the future? Where is the laboratory heading?
PT: To reproduce a Divin listening experience - a soul to soul connection listening experience.
KFM: Thank you for sharing what goes into this passion that we all share and the opportunity to "time travel" and audibly witness artist/musicians/orchestras in their respective eras. This is truly a laboratory of time travel.
PT: You are most welcomed.
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聽到神曲這個名字，我想到的是旦丁的同名的長詩，見到兩座巨型音箱，微微內傾的放著，給我一種壓迫感，感覺似曾相識，好像在什麼地方有過類似的感覺，對！令我聯想到我第一次看到羅丹的地獄之門的感覺！而神曲之間放著火雲，而火雲之間是一套的Trinity。有趣！連器材擺放也跟著旦丁的《神曲》結構有關聯？全詩分三段，先是《地獄篇》和《煉獄篇》最後是《天堂》，正正是代表着在天主教信條中神聖的三位一體。是我想多了，還是Chris的刻意安排？
在獲安排這趟探訪之前，早已從網上讀過有關神曲工作室的過人之處，因此當然期望借今次機會開開眼界，更希望可以向前輩請教一些音響調整的心得。但當樂聲響起，所有疑問都不再重要、都忘記了。什麼音場、音像、音質、頻寬……我不懂，這一刻也不想理會，就只想把握當下時機，盡情享受。在Chris選播的多首樂曲中，最令我深刻的是電影Mission的主題音樂，一下子彷彿置身音樂廳之中：這邊是小提琴，那邊是大提琴，後邊是敲擊，所有都清清楚楚陳列眼前。當樂曲中的一段非洲鼓聲響起的一剎，一下子又把我從演奏廳拉至荒野，帶到電影場景中，感受到文明與野蠻間的強烈對立與衝突。這種震撼，我從未感受過！
