Divin Laboratory — 岳飛

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  • MichaelM
    edited July 2020
    I was also blown away by Mika Nakashima's 雪之華, when her voice came out of the Divin Majestic speakers, there were literally goosebumps all over my arms. I could feel the emotion, energy, determination from her voice. And the performance was so perfect because of the imperfection of the techniques due to her sickness. 

    What most impressed me was a new level of liveliness and smoothness achieved by the system which is new from my past experience in Divin Lab, it was mostly due to the two platforms based on the demonstration that Chris conducted during the session. 

    Well done Chris. 
  • Mr Dynamic,

    這𥚃的討論非常精彩!夠竟為什麼要將Anapurna
    board接上Troy Elite NG? 我還是不明白。接了Dalby曲ground cable後,有什麼明顯的改善?

    Jeff
  • The session is called ‘Shape of Sound’.  When I first heard this, I was wondering what this is exactly about?  Is it an attempt to quantify the impact of sound to resonate one’s nerve to take different sizes, density and shape?  Is it a finale manifestation of transparency to let images of the performance taking shape in front of the audience?  The topic is riveting enough to attract a full house on last Sat!

    Belafonte is called ‘King of Calypso’ in promoting Caribbean music and one of his signature audience participating song is Matilda.  A song I believe would not sound unfamiliar to most of the audiophiles and fans of Belafonte.  I have many versions of this including the original RCA Victor, reissues from Classic Records.  The 45RPM Classic Records Reissue is most sonically appealing to me because it is made from the original 3 sound track tapes and arguably even better than the original RCA version.  This asides, the version that we listened in Divin Lab is produced by AP.  

    Over the years, the transparency, textural purity, tonality, 3-d attributes in Divin Lab have made record breaking steps with the introduction of crazy levels of gears and cables.  We all go there time after time questioning how this could possibly outperform from last time we went there but without a single time we all left with jaws left on the floor and minds boggled to the fullest extent!  For newcomers to Divin Lab, the shock may only be one and the first time, for me and many who went there many times, the shock becomes a constant ‘dose’ which one would expect to happen over a certain period of time when Chris has achieved breaking the record again.

    Matilda becomes a song with all of us participating in the Carnegie Hall facing Belafonte and his band and surrounded by the audience.  Image specificity is ever improving in many iterations that we attended but never so pronounced like this time.  I believe it is a concerted effort of those ground breaking products like, Annapurna, WellFloat which have been widely explained above.  To me, the taming of the standing waves in the room has removed the sluggishness of energy propagation enabling much bigger virtual space for the out span of the musical stage.  The radiation and resonation of the original music can have a more direct impact to our soul and bodies without the contamination of the swollen standing waves below 150hz.  

    Annapurna is set out to deal with stray noise which to many of us, is a new noise category.  We all ear witnessed the benefit of having it under the K15Ex preamp, this is unquestionable.  WellFloat manages vibrations laterally which is another domain untouched of in the past.  Standing waves are not new to us, have we made enough effort to deal with it? 

    Marvel

  • Hi Jeff

    將 Anapurna 駁上 Troy elite NG,原因是希望將 Anapurna 收納的 Stray Noise 用Elite NG 帶走,駁上之後,我聽感是增加了中低頻的量感和彈跳力,這剛好彌補了 psi AVAA 加入令低頻量感減少的感覺,要一提的是,AVAA 帶走的是150hz 以下的低頻注波,一種錯覺低頻,而Anapurna駁上 Elite NG 後,所産生的中低量感,是從喇叭單元釋放出來的。


  • Dynamic,

    中島美加有關幾難播?請介紹那一張作示範。
  • Romanovym
    edited July 2020
    很多師兄已分享了Divin Lab現在的表現,我也不重複了,只是想補充一些我的想法。

    總結今次的進步,主要是一個「靜」字。這種靜不是死寂的靜,不是錄音室那種被吸音棉包圍的靜,而是一種鮮活、充滿能量感現場感的靜。

    對於高頻毛噪及大音壓時背景中帶有壓迫力的底噪我是比較敏感的,所以上一次Divin Lab未有AVAA, Annapurna 及Wellflaot時,最大音壓的齊奏時仍會有壓迫感。縱使解象度,音色及舞台感達極緻水平,這種壓迫感在某些段落卻是同時存在。

    但今次Chris示範了如何保留音樂活生感同時處理掉各類噪音所帶來的壓迫力。今次示範的音量維持在3點鐘位置,聽感仍很舒服流暢。而且,在播放Mika時,我第一次從傳統喇叭感受到horn的穿透力,人聲及琴聲令我有起雞皮的感覺。這證明噪音會抵消掉音樂訊息傳輸,造成速度降低,而抵消了的低頻能量,會阻礙身體與音樂的共震。

    現在我家中也移走了大部分吸音棉及擴散板,在喇叭背後及左右是完全沒有吸音及bass trap, 只保留了聆聽位置左右及背后的部分擴散板。主要也是受Chris對駐波及噪音處理的啓發,用針對性的方法處理,而不是無差別的吸和打散,才是上策。
    Man
  • Hi DVader

    中島美嘉都是 PT 介紹我聽的,星期六在神曲工作室聽的是2016那張演唱錄音,而在PT 家中常聽的是 Piano and voice 那張專輯,Mika 聲音比較冷酷,聲線能量強,其中 Piano and Voice 第七首的Hiro 雖然只得鋼琴加人聲,要播到Mika 聲音的透明,鋼琴的速度,歌手與琴手之間的同步,最後張力令你毛管動,不容易,如果上過PT 家𥚃聽過,應該心服口服。



  • 未有中島美嘉隻碟嘅,Tidal有Mika其他碟,歌曲編號第16首"雪之華Piano and voice"。

    https://tidal.com/track/102263276

    Learner


  • Tidal Mika 隻碟有3個volumes, 隻歌是Volume 2第1首。
  • Zanden Master
    edited July 2020
    你們的討論令我對Mika也十分之好奇。原來我個女竟然有佢的Live版CD。我女介紹我聽一隻叫「曾經想過一了百了」。我聽完後明白PT為什麼要挑戰播放中島美加。我認為原因是她聲音冷而且有點乾硬,但唱得非常之感人,因為她出盡全力唱,她自己也聽不到。大部分發燒友只聽厚暖音色,一世一生只用蔡琴為標準。所以要播好Mika非常之難,難在不憧得接受comfort zone外的音樂。

    好多謝大家介唔中島美加,她果然是DIVA。
  • Wils
    edited July 2020
    現在全港也想過一了百了。這是Mika最低潮時的作品,她應該想過輕生。我當然不識日文,但我感受到她的絕望。
  • Dynamic, Roman, Speed Learner, Marvel etc,

    這𥚃的討論愈來愈有層次。Shape of Sound這個主題,其實是不是想要表達Divin Lab的重播水準能夠把歌者的型態如鐵畫銀鈎地呈現出來?這又和定位有什麼分別?

    你們有冇聽交響樂曲?那麼Shape of Sound也可以去形容交響樂曲?這又代表整隊樂團的型態也能呈現?
  • Speed_Learner
    edited July 2020

    Jeff,

    其實那天有classic曲目,我想我哋在家絕大多數都不會播放,曲目是Dance Infernale from “Firebird” Ballet。 我淨係識用”extreme impressive,very precise and beautiful sound stage” 去描述在Divin Lab聽到呢首歌。麻煩Marvel和其他人分享佢哋嘅意見 :)

    Learner


  • Jeff,

    佢哋可能不太認識交響樂曲,尤其是以管樂為主的作品。本地文化只推廣小提琴協奏曲,室樂等。管樂器通常硬,速度快,還要大型嘅管樂作品,不會用來作示範。你試吓鑽石高音揚聲器用大音壓播火鳥,便明白。
  • UncleRay
    edited July 2020
    火鳥應該在Roman的大型號角系統大有發輝