Last Sat saw the debut of two exciting products: EMT JSD 80th Anniversary Limited Edition cartridge and the L’Esprit power cable. For this session, PT carefully selected 5 pieces of music to illustrate the outcome of various combinations of cartridges, gain, impedance alongside application of SUT.
They are: Stimela by Hugh Masekela, Arnold Overtures -Smoke, Bruckner Symphony No.9 (1st movement), Mahler Symphony No.9 (2nd movement) and Britten’s Noye’s Fludde. I am mostly familiar with the first and the last, while the rest are pretty new to me.
This was an in-depth knowledge sharing session spanning from the background of the music selected including the performers, venue of recording, composer inspirations, and story line, etc leading to deeper understanding and appreciation. The first song, Stimela (the Coal Train) by Hugh Masekela was indeed the most impressive to me! The enormous mass of the Hartvig Evolution turntable stages all the fundamentals for unreserved extractions of details and preservation of energy. I was easily dragged into the music in split second by the despair and relentless appeal for the migrant’s injustice.
PT deliberately landed both arms housing the EMT JSD and Red Sparrow on the vinyl and asked the group which cartridge was used for the playback with a bait of discount coupon for AE products. No one won the award because PT mistakenly disclosed the answer to the group during subsequent discussions. The voice of Masekela resembled AE Central when the gain in Igniculus is set to High or Max. It is raw, direct, and explosive! I was quite certain that the sound was reproduced by the EMT JSD going into the Igniculus set at ‘Low’ gain.
Gain matching is indeed a combination of art and science, there is no straight formula when there is a SUT playing in the intermediary role as a pre-phonostage. The key success factor is how deep one understands the music so as to best reproduce the original aura. Stimela is definitely the best using EMT JSD LE direct into a low gain Igniculus. I love it! Roman and many have shared on the listening experience on the symphonies which I need to spend more time studying the composers as well as the background before I could possibly comment.
The Synaestec Igniculus phono stage record-breakingly demonstrated the ultimate transparency and versatility of a super league phono. Serving simultaneously 2 mega turntables, 3 tonearms, 3 cartridges, 3 phono cables and 2 step up transformers (SUT), the sonical differences under so many combinations compounded by various tracks that we listened could be delineated with laser focused precision.
How can one tell so readily the Mahler Symphony No. 9 was performed more harmoniously as an orchestra under Red Sparrow/SUT? How can we easily feel the singing joy of the boys off boarding the Noye’s Fludde at the end? Igniculus undoubtedly belongs to the category of ‘Best of the Best’! Obviously this could not have been achieved without the presence of other super league components and noise mitigation solutions.
Another ‘Best of the Best’ item launched in the finale unleashing the climax of the session was the — L’Esprit power cable. PT replaced the Esprit Gaia (current flagship) power cord from the wall socket to the Pranawire Cloud 9 providing the electricity for the entire system in Divin Lab. This is a unique position of testing a power cord given the hefty responsibility.
The wholesomeness of the symphony was a flux traversing thru the audience. I use ‘traverse’ instead of ‘pierce’ because energy radiates almost unnoticeably, as thought one feels the warmth under the sun instead of a heater in a room. Although I cannot readily agree with the rest of the audience there was an immediate gain of 6db when using L’Esprit, it effortlessly delivered an ocean of energy rather than waves. I was totally carried away by the music with only one thing in my mind: The best Chinese name for L’Esprit could well be 「大海無量」!
我認為人聲同電子樂器可以營造粗獷感覺，但西洋樂器不能，只可以型做緊湊沉重甚致火爆的氣氛，但這些不等於粗獷。馬勒九應該是有喜和悲的對比。我同時擁有Da Vinci Gabriel and Hartvig Statement，Thomas兄的形容它們的分別非常之到題。Roman兄形容的Bruckner No.9栩栩如生，我喜歡你寫神聖那一段，精彩！
Speed learner, I am expecting your next writeup to contrast yours with others. All of you wrote so well nowadays. First thing in the morning, I checked out this thread.
Comments
EMT JSD LE唱頭給我的感覺是一個很直白的唱頭，近乎有點不修邊幅地重播錄音主體，很符合歐洲人性格，熱情直接，不裝模作樣，也沒有庸脂俗粉。它十分配合Chris 所揀選的示範曲目，尤其是Bruckner Symphony 9：那股能量及穿透力極強的銅管，把那種神聖莊嚴的肅穆，無遺地呈現，產生莫名震懾感。若能量不夠，Bruckner 會變得相當沉悶。但過分剛強又會變得刺耳，變成威壓而非神聖。EMT JSD LE配合Statement筷子臂及Hartvig Statement唱夠，是能夠駕馭Bruckner.
另外一個熱烈討論點是：比較EMT JSD LE和朱雀加升壓牛播放Klemperer指揮馬九的真實性。我同意朱雀更能忠實呈現Kingsway Hall的堂音，但論音樂主體的演繹，我卻認為EMT更到位，因為馬勒應該是帶點粗擴，樂團能量較強，各個樂器羣組雖然獨立，但有各自色彩，一同編出雄偉的交響樂。另一方，朱雀的演繹是十分柔美，各聲部更為融合，線條優雅而細膩內斂，但表達方式讓人有一種在聽莫扎特或柴可夫斯基的感覺。如果EMT JSD能把Kingsway Hall的堂音表現出來，它應該是播馬九的最佳唱頭。
然後Chris示範了Da Vinci Gabriel V4配Thales Statement arm/Extreme Exotic唱頭完美重播「諾亞方舟」的第四樂章。可是同一樂章在Hartvig Statement盤配Thales Statement臂/朱雀重播卻不能帶出諾亞下船到上帝懷抱的喜悅，因為小朋友大合唱致最大聲時，高音較flat。仲使兩套模疑系統是共用一個唱放，也同時有升壓牛，這個示範徹底讓我們深入了解到一盤一臂，顯然是不可能重播到所有樂曲應有的音樂感。所以必須要認知了不同盤、臂、頭、唱放及其特性，然後再去深入了解各階段增益配搭等，才能剖析整個Analog System應該最適合播什麼類別的音樂。
最後，L’Esprit 電源缐從Pranawire Cloud 9直插入牆 (全套器材先入JMF Audio PCD102 35th Anniversary，然後再入九雲），整套系統立刻發放出更多音樂能量，控制更加毫不費力，整個音場縱深的層次提升到可以走入去的感覺，色彩如萬花筒般的千變萬化。這應該是我第一次目睹換了電源線之後，Phono的增益也要相應調低6db。可是調低了之後的聲音是更鬆容自在。我期待這線完全burn in之後，帶領我們到宇宙。
The wholesomeness of the symphony was a flux traversing thru the audience. I use ‘traverse’ instead of ‘pierce’ because energy radiates almost unnoticeably, as thought one feels the warmth under the sun instead of a heater in a room. Although I cannot readily agree with the rest of the audience there was an immediate gain of 6db when using L’Esprit, it effortlessly delivered an ocean of energy rather than waves. I was totally carried away by the music with only one thing in my mind: The best Chinese name for L’Esprit could well be 「大海無量」!
Marvel
《非自然死亡》：「人死了哪會分什麼好人壞人，只是碰巧死了；我們也只是碰巧活着，碰巧還活着的我們，不能把死亡當作不吉利的東西。」
馬勒第九交響曲給我的感覺正是這樣。在L‘Esprit 的帶領下，使用朱雀唱頭和Hartvig Statement唱盤加上升壓牛，權威性的低音為死亡之舞展示出強烈的生命力！對死者已言，現世或許完結；對在生的人，別人的離去卻是新的開始；但對馬勒而言，死亡是真實，但無法預視的未來。可是最終我們都會經歷悲傷五部曲(Kübler-Ross model)，然後帶着過去接受未來。我可以清楚聽到馬勒最後擁抱死亡接受未來的瘋狂和寧靜。在世的我們，好好活下去吧。
示範當日有兩盤，三臂，三頭。而在我角度而言，使用朱雀唱頭和Hartvig Statement唱盤最為合適馬九。Chris提出馬勒第九交響曲counterpoint (對位法) 能做到harmonically interdependent，rhythmically independent。小弟不才，不太明白，但我可以聽到，木管樂、銅管樂、弦樂、以及敲擊樂等，即使有時是一對一的對位，又有時為一對六的對位，它們總是能互相融和。
EMT JSD 80th Anniversary Limited組合播放Coal Train (Stimela)-Hugh Masekela以及Arnold Overtures -Smoke很合適，因為Marcodynamic足夠，活潑生動，爽朗直接。但Microdynamic不足，所以當播放複雜度很高的樂章，則無法表達出harmonically interdependent。
而Extreme Exotic唱頭配合Thales Statement arm和Da Vinci Gabriel V4唱盤則是完全相反。Extreme Exotic帶來頂級分析力和透明度，配合Da Vinci Gabriel V4和Thales Statement arm，播放挪亞方舟第四樂章時能清晰鮮明地表達各人聲與樂器的關係，用管風琴等權威性樂器襯托出上帝的威嚴；用光亮管樂襯托出小孩的生命力與喜悅。這裏沒有天籟的聲音，只有專業男聲演唱上帝，沒有受訓練的天真小孩，在這個全瑞士的超級組合，卻令我有聽到世間萬物的感覺！但因如此細膩靈動，播放馬九就有如在錄音室中聆聽，聽到生存的喜悅，但聽不到死亡帶來的悲愴。
在Divin Lab中，三者不能互相取代，有如身邊的每一個人。以「組合」已言：EMT以Marcodynamic > Microdynamic；朱雀是Marcodynamic => Microdynamic；而Extreme Exotic 是 Microdynamic => Macrodynamic，誰也沒有比誰差，只是擔任着自己的角色而已。因此在AE，配搭不應只是限於互補不足上的概念，而是令大家互相成長。
“Always Be Open Minded.”
看完以上多篇文章，又想起「郭八條」，今次演播重心主要是第一條？第四條？或是第六條？分析結果是.....每一條都是重心。終於對最後一條明白多一點 - ”八”. 也是最重要的：你必須真正喜歡音樂，對知音者，互相鼓勵。音樂不衹反映非語言能形容的心靈起伏，更為人生歷程添上色彩"。
Speed learner - 我期待你的待續。
第二樂章
從容不迫的蘭德勒舞速度。帶點笨拙，非常粗糙（C大調） Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major)
第二樂章是一種名為蘭德勒 (ländler) 的舞曲，但它已被扭曲到不再像跳舞。這讓人回憶起了馬勒第四交響曲中的第二樂章，那失真的傳統舞蹈到舞蹈的死亡。舉例來說，馬勒將傳統的和弦序列轉為面目全非的變化。
所以我才主觀地認為演譯應與Rossini或莫扎特的樂曲不同。應該要有些不和諧和未盡柔美。
純主觀意見，我絕不是馬勤專家，每人也有不同體會，討論才有趣。
從你的回覆，才知道我弄錯了。我學習了新的角度，多謝。
Jeff
郭八條之（一）：音樂是主導器材的選擇主因，而並不是品牌 (延續篇)
我對管弦樂沒有深入的知識，只是從這博客平台開始了解多些曲目。能夠從Chris，KK和其他谷友，得知他們對曲目的見解和心得，是一件互勉的樂事。多謝 !!
Roman已經深入分享了Bruckner 第九交響曲在Hartvig Statement TT/Thales 筷子臂/Durand Tosca/EMT JSD LE/朱雀播放的經驗，所以我想描述一下Da Vinci Gabriel V4配Thales Statement arm/Extreme Exotic cartridge的烹調部份 - 挪亞方舟第四樂章。這段的難度在於大部分能量來自複雜多樣的中頻一齊發聲：例如權威性的男聲扮演上帝，一大群不同年歲的小孩，光亮而有力的號角，與及低音管風琴等。這段超水準的大場面重播，除了歸功於Extreme Exotic唱頭的超級分析力，原來地缐的選擇也有學問。
由於小孩們是沒有受過專業詠唱訓練的，所以他們的高音並不是太有控制力，絕對不是Vienna Boys Choir的水平。在這個背景下，若然是使用了Argento EE Phono地線連接Thales Statement唱臂的arm board到Synaestec唱放的ground post的話，高頻能量會有過多的情況，引致中高頻有點惡和模糊。所以Chris改用了IKIGAI Kangai 地線，因為其中低音能量豐富的特性，正好減少了Thales Statement臂的高音能量釋放，同時也補助了磁浮盤中低能量較輕的性格，令到全頻更平衡。Kangai地線是直接駁去Troy Elite NG地盒的獨立接口，所以令背景漆黑度再提高，各方面的反差/對比，因此而變得更加透徹。
Chris自嘲用了 “取巧” 方法烹調這次演播會。因為演播的曲目他是很熟識，所以他知道如何去配合不同的「盤、臂、頭」組合，去達到預知的表現。我不認為這是“取巧”，這是你是用”zuì hǎo”(the best，中文讀法近似取巧) 的方法來和大家分享音樂/曲目和音響器材/部件的知識。
Learner
多謝你的持續分享！為Phono特別做的地線從臂的arm board 連接到 Phonostage的ground post，這個位置的影響有多大？
由於大家已深入分析了技術上的配搭，和細緻地描述了人聲、樂器、音場各涵數的表現，所以我不再補充了。我認為一套優良的音響系統，重現錄音的每個細節，還原每一件樂器的音準只是其中一個重要部份。邁向更卓越的境界，感情的傳達乃是重中之重。我正正能充份感受到小童們下船的喜悅，為我帶來愉快和平靜的感覺。這種情感的傳遞，已超越了音響的音效。又好像聽馬九時，我是感受到他面對死亡的平和。當音響系統去到這個層次的時候，可能已是盡頭。但我相信兩三個月後，PT再設計新的tutorial時，應該我們又會去到另一個未知的境界。