Divin Laboratory visited by Maestro Yu Long (Top Conductor in China)
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The Ikigai TANSO is Breathtaking
There were 3 rounds of applause today driven by the power of music. Before the last track was played, I asked the floor for permission to switch off the air conditioners because I wanted everyone to experience “When Time Stands Still.”
We were teleported to the Moscow Conservatory, witnessing the monumental performance of Trauemerei by Horowitz in 1985. It only lasted 2:20 minutes, but time was somewhat slowed down markedly due to the tremendous sustain of silence amongst the notes. The decay of each note was still hanging in the space before the formation of the next note. It requires extreme coherence to achieve this level.
There was a moment of silence before the whole floor gave a round of applause naturally. This is the level of “Time Machine,” where the physical acoustics of Divin Lab were replaced by the acoustics of the Moscow Conservatory.
The Tanso interconnect was connected between the Synastec Orgio 2 SACD Player with Lumen Passive Preamp by Akustica Eterna.
Likewise, the same phenomenon happened after the thunderous Wuxia Symphony 1st/5th movement was finished. We were amazed by the talent of the young composer, Elliot Leung, who was also at Divin Lab, sharing his comments on the Tanso interconnect based on his symphonic composition.
He said, “The playback of Kinzan interconnect was equivalent to a good rehearsal, whereas what TANSO delivered was a performance. The attack of horn and contrabass are markedly better too. I paid special attention to it because I spent the most time composing the brass section of the symphony.”
The vocal session handled by JLam was also breathtaking. Before we demonstrated a track by Delphine Tsai 蔡幸娟, we watched her performance singing 補破網 live from YouTube on a big screen with a Leica Projector with stereo sound so that everyone could see how she sang alongside her demeanour. Then we played the same track immediately using the Kinzan interconnect for one minute before swapping to Tanso.
The improvement of Tanso over Kinzan was staggering as Delphine’s subtle vibratos came back in an extremely coherent manner. It was coherent like a flowing river with quiet rippling. JLam could tell exactly when she used the nose/throat to phrase each lyrical sentence. I believe this session explains clearly why I had been using the voice of Delphine as a reference lately since September 2025.
Real music knowledge is used to gauge the holistic performance of the TANSO in service to the whole system.
Chris Leung
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