This is my first time I paid a visit to Divin Lab. I am speaking from a concert lover perspective more than a genuine audiophile. I have a humble system at room placed by Chris pacifying our family during the pandemic. I play Cello, and my husband plays piano from time to time at home. We were orchestra members when we studied in the U.K. many moons ago.
When designing a concert hall, the aim is to blend the sound of the instruments. Moreover, the so called imaging in hi fi is an illusion created by the recording and balance engineers, since the orchestra is typically recorded with a dozen or more microphones and then mixed into stereo in the mastering studio. This stereo image is recreated with just two speakers, whereas the sound of an orchestra in a hall comes from different points across the whole stage. Some music lovers actually such high end "artefacts" distracting their enjoyment of the music.
Therefore, insisting on having the cymbals here, the clarinets there is really just the peculiarity of the speakers and how they interact with the room, and does not reflect in any way how the orchestra sounded during the recording.
Divin Lab is the closest to live experiences of symphony I have ever experienced, bar none, top of the world. I attended live concert every two months for almost 3 decades. The Mahler 9 performance was truly marvellous. It has a lot to do with the Air Blade, I believe. Real instruments have 360 degree dispersion characteristics. Hi End speakers concern only frequency extension for recreating sound effects.
At the same time, the system equally excels in audiophile parameters. The system at Divin Lab scores very highly in macro dynamics, detail, imaging, sound staging etc. Overall, it has a smooth frequency response with good extension of the frequency extremes. This is not easy to achieve as the room dimensions, the placement of the speakers and the listeners etc. are important factors. This is really the foundation; get the room wrong and you can forget about everything else.
In terms of soundstage and imaging, it has very good width and reasonable depth; One could perhaps improve upon this a bit by playing with the toe in of the speakers to get a bit more depth and a tighter image, but at the expense of a narrowing of the soundstage. This is really personal preference.
The system transparency is shocking as I though I was traveled back in time attending some historical concerts. I was rather shocked at how much worse it became when he removed the JMF PCD102/302 power conditioning and the Tripoint Troy Elite NG just for the phono preamp. The sound became flat with very shrill highs.
I am not surprised at all Mr Aaron Kwok and other celebrities are blown away by the performance of Divin Lab. It is a place worthy of global attention. Divin Lab is a time machine.
The flagship JMF Audio PHS 7.3 phono arrived at Divin Lab today after almost 2 years of waiting. I warmed up the 7.3 phono for 2 hours before connecting to Hartvig/Tosca/Red Sparrow. The phenomenal delivery of music is picturesque and radiant. It deserves an in-depth writeup to compliment the intellectual prowess of JMF Audio in France. This phono will become a legend.
4. Bruno Walter - Mahler 9 - Final movement: 此曲播得不好會很悶，而中間強奏又會刺耳。但今次streaming的效果技驚四座。指揮家慢慢build up drama，主旋律在不同聲部不斷重複對答，同時很容易聽出高丶中丶低音樂器對位交織出一個主旋律，然後再慢慢提升張力，直至強奏時令我透不過氣，然後情緒釋懷又緩緩放下，復歸平靜。強奏不刺耳，氣氛到位。Divin Lab又一次蛻變，重播與現場音樂又拉近一步。
Wadax Atlantis Reference Server
5. Klemperer - Beethoven 9 - Finale : 這曲主旨是磅礡大合唱的歡愉氣氛從容傳達，與及整個舞台的完整性及聆聽者被能量包圍的感覺，我認為音樂感已近無懈可擊，不過雞蛋裏挑骨頭的話，合唱的穿透力仍可有提升空間。
3. Boulez - Beethoven Symphony 5 - First Movement：Boulez這版本節奏有些特別，慢而有序，少一分激昂，但更顯莊嚴。大神曲分析力超高，弦樂管樂及各聲部的質感強烈，一個不斷重複的旋律由各個聲部無縫地連接，高低起伏連棉不斷，將氣氛慢慢推向高潮。有氣勢又不失優美，令我既緊張到手心冒汗，同時又驚嘆當中的和諧美感。
4. Karl Bohm - Wagner - Die Meistersinger von Numberg - 氣勢如虹！大神曲把overture的華麗磅礡輕鬆呈現，中間所有樂器齊奏時的低頻及定音鼓極容易混濁欠層次，但神曲的低頻依然有層次有速度，定音鼓清澈從弦樂管樂交織之中穿透而出。整個舞台的畫面交待得很實在丶很穩丶很有層次，令我自然地跟著音樂擺動身體。
我心想以現在的水平，JMF Audio PHS 7.3能比得上嗎？之前聽過的Zanden Model 1200 Signature/仁風丶Robert Koda MC One，各有優點，沒有絕對勝利，法國代表如何突圍？
Comments
This is my first time I paid a visit to Divin Lab. I am speaking from a concert lover perspective more than a genuine audiophile. I have a humble system at room placed by Chris pacifying our family during the pandemic. I play Cello, and my husband plays piano from time to time at home. We were orchestra members when we studied in the U.K. many moons ago.
When designing a concert hall, the aim is to blend the sound of the instruments. Moreover, the so called imaging in hi fi is an illusion created by the recording and balance engineers, since the orchestra is typically recorded with a dozen or more microphones and then mixed into stereo in the mastering studio. This stereo image is recreated with just two speakers, whereas the sound of an orchestra in a hall comes from different points across the whole stage. Some music lovers actually such high end "artefacts" distracting their enjoyment of the music.
Therefore, insisting on having the cymbals here, the clarinets there is really just the peculiarity of the speakers and how they interact with the room, and does not reflect in any way how the orchestra sounded during the recording.
Divin Lab is the closest to live experiences of symphony I have ever experienced, bar none, top of the world. I attended live concert every two months for almost 3 decades. The Mahler 9 performance was truly marvellous. It has a lot to do with the Air Blade, I believe. Real instruments have 360 degree dispersion characteristics. Hi End speakers concern only frequency extension for recreating sound effects.
At the same time, the system equally excels in audiophile parameters. The system at Divin Lab scores very highly in macro dynamics, detail, imaging, sound staging etc. Overall, it has a smooth frequency response with good extension of the frequency extremes. This is not easy to achieve as the room dimensions, the placement of the speakers and the listeners etc. are important factors. This is really the foundation; get the room wrong and you can forget about everything else.
In terms of soundstage and imaging, it has very good width and reasonable depth; One could perhaps improve upon this a bit by playing with the toe in of the speakers to get a bit more depth and a tighter image, but at the expense of a narrowing of the soundstage. This is really personal preference.
The system transparency is shocking as I though I was traveled back in time attending some historical concerts. I was rather shocked at how much worse it became when he removed the JMF PCD102/302 power conditioning and the Tripoint Troy Elite NG just for the phono preamp. The sound became flat with very shrill highs.
I am not surprised at all Mr Aaron Kwok and other celebrities are blown away by the performance of Divin Lab. It is a place worthy of global attention. Divin Lab is a time machine.
以下是自選的部分歌曲：
1. 蔡琴 - 機遇 - 「月光小夜曲」：Chris剛有張玻璃CD，一定不能錯過。她的造句十分細膩，強弱音對比恰當，卻一步一步帶你進入她的世界。今次聽CD系統，比之前更靜，完全沒有任何數碼的光輝，聲音自然通透，十分analog。
3. 張國榮 - 88演唱會 - 想你：我聽這曲的黑膠很多遍，現在streaming的演繹更細緻，背景更黑更靜，不過動態及現場氣氛不及黑膠，但已經超出了我對streaming的認知。
4. Bruno Walter - Mahler 9 - Final movement: 此曲播得不好會很悶，而中間強奏又會刺耳。但今次streaming的效果技驚四座。指揮家慢慢build up drama，主旋律在不同聲部不斷重複對答，同時很容易聽出高丶中丶低音樂器對位交織出一個主旋律，然後再慢慢提升張力，直至強奏時令我透不過氣，然後情緒釋懷又緩緩放下，復歸平靜。強奏不刺耳，氣氛到位。Divin Lab又一次蛻變，重播與現場音樂又拉近一步。
Wadax Atlantis Reference Server
5. Klemperer - Beethoven 9 - Finale : 這曲主旨是磅礡大合唱的歡愉氣氛從容傳達，與及整個舞台的完整性及聆聽者被能量包圍的感覺，我認為音樂感已近無懈可擊，不過雞蛋裏挑骨頭的話，合唱的穿透力仍可有提升空間。
篇幅關係，我就不把每一曲這麼詳細描述了。我將會詳述聆賞JMF Audio的 PHS 7.3 phono的感受，因為需時沉殿一下當天的震撼！
我亦帶了一些黑膠碟作為一部分自選歌曲。剛巧，JMF Audio PHS 7.3 phono已送抵Divin Lab，Chris立即把它駁上JMF 35週年版PCD 102電處，warm up兩小時才開始聆聽。當今世上，我和他是最先鑑賞此唱放的人！
我是先以Synastec Igniculus phono/Hartvig Audio Statement唱盤聽一遍以下曲目：
1. Eiji Kitamura - Swing Sessions - Avalon: Chris在Divin Lab有如此精采的Jazz album，一定要聽下。此曲特意用EMT 80th Anniversary唱頭/Thales Statement 唱臂直入Synastec phono，因為EMT的熱情奔放及直接演繹方式很適合Jazz。一開聲，果然dynamics驚人，節奏感強，單簧管及色士風輕快有力，牛筋及鋼琴如行雲流水，令我不期然跟着音樂踏步。我感到奇怪，Goebel大神曲的速度比之前快，除了「靚」畫面外，大神曲的穿透感及感染力強化了。最後才知道原來Chris做了一些改動，令到整套大神曲「動」了起來！他做了什麼？留給他來解說。
2. 譚詠麟 - 40週年演唱會 - 「一生中最愛」：本以為此曲錄音一般，但改用朱雀唱頭/Durand Tosca arm後，再經 Hartvig Audio step up transformer 入 Synastec，竟然聽不到錄音的缺點。大神曲很傳神地將演唱會氣氛重現，譚校長的感情與觀眾的互動令我有如身在演唱會現場，鼓聲的澎湃和速度比之前更進一步，令我要多聽一曲才願換碟。
3. Boulez - Beethoven Symphony 5 - First Movement：Boulez這版本節奏有些特別，慢而有序，少一分激昂，但更顯莊嚴。大神曲分析力超高，弦樂管樂及各聲部的質感強烈，一個不斷重複的旋律由各個聲部無縫地連接，高低起伏連棉不斷，將氣氛慢慢推向高潮。有氣勢又不失優美，令我既緊張到手心冒汗，同時又驚嘆當中的和諧美感。
4. Karl Bohm - Wagner - Die Meistersinger von Numberg - 氣勢如虹！大神曲把overture的華麗磅礡輕鬆呈現，中間所有樂器齊奏時的低頻及定音鼓極容易混濁欠層次，但神曲的低頻依然有層次有速度，定音鼓清澈從弦樂管樂交織之中穿透而出。整個舞台的畫面交待得很實在丶很穩丶很有層次，令我自然地跟著音樂擺動身體。
我心想以現在的水平，JMF Audio PHS 7.3能比得上嗎？之前聽過的Zanden Model 1200 Signature/仁風丶Robert Koda MC One，各有優點，沒有絕對勝利，法國代表如何突圍？
不過一落「朱雀」之針，便見真章！
第一曲播Wagner，行雲流水，全不費勁，之前Synastec的強奏顯得出盡全力，現在的管樂是游刃有餘，再強的時候還是從容發力，而且源源不絕，強弱對比更強，更自然。由輕到重之間的層次很豐富。對比之下，顯得Synastec由弱到強時是機械式由0轉1的演繹，JMF則是在0和1中間仍有很層次，更加連貫。但JMF未接上地線，所以高頻強奏時有些緊，張力亦沒有Synastec那麼緊湊。
接著聽譚校長的「一生中最愛」，人聲中的沙啞感及極微細轉音吐納等，同樣不費力自然呈現出來。我和Chris立時覺得他們唱功馬上升了一級，深化了觀眾和他的互動，令我完全融入現場。
聽完兩曲，他急不及待將Ikigai的Kangai地線接上，之前高頻的毛噪感一掃而空，再聽「銀河歲月」，當中一句「試問人生誰沒變~」，之後萬籟俱寂，令我有透不過氣的感覺！
這種出呼意料的表現，令他馬上要欣賞張學友的「祝福」，效果同樣充滿感情、十分自然從容，印象中拋離了上一次在Divin Lab的演繹。
大家聽Eiji Kitamura的Swing Sessions，竟然不約而同感到每個樂手演奏時都是面帶笑容。由第一粒音開始，整個節奏速度也明顯不同，快慢強弱更分明，好有Jazz的improvising的感覺，整個人自然地跟著節拍擺動，緊湊時更緊湊，輕快時更輕快。Jazz從此不是大神曲盲點，這張是Divin Lab的飲碟！
JMF熱身後，越戰越勇，我要求Chris再播一次Wagner，而且今次一氣呵成聽完side one，也不覺累，反而精神抖擻。
總括而言，JMF Audio PHS 7.3 phono很有驚喜。在聲音密度丶連貫性、從容度、自然度、層次感、文化度丶穿透力等，是頂級中的頂級。Synastec Igniculus 則在背景寧靜度和磅礡氣勢略勝少許。
不知不覺間，已在Divin Lab聆聽了近4.5小時，但仍不覺累。快樂的時間過得特別快，有如山中方一日，世上已千年！
Jeff兄，Chris 的處理主要是在低音部分，相比之下，以前大神曲的低音有點跟不上其他頻段，以致低頻只有量感，沒有線條層次，亦影響到中頻顯得較臃腫，全頻欠缺穿透力，相較號角喇叭而然，是少了一分過癮。但現在Chris已處理好Divin Lab 的駐波問題，令能量充分穿透身體，沒有被駐波拖慢，已經有接近號角的速度感及穿透力，是一個很大的進步。
駐波問題，在於用什麼音樂去試，大部分古典音樂可以過關，可是節奏強勁的電子音樂，駐波頓然四處出沒。所以試音的朋友大部分試慢版音樂，就算是鼓樂也不夠快，主要試量感和控制力⋯⋯號角喇叭低音快，但問題是全頻很難integrate，超低音能量通常不足
能夠給Roman自選任何曲目，難道大神曲已經收練了聶風的風神腿？
從Music Lover 到 Audiophile，再由 Audiophile 變回 Music Lover
自小已喜歡音樂，年青時接觸到音響後，便成為了發燒友。音樂愛好者不等同於發燒友，有很多喜愛音樂嘅朋友，跟本不知道一套超級音響可以將音樂還原到什麼境界，那是否發燒友就一定懂得欣賞音樂？也未必，但當你的音響系統達至一個肯定的水平，你便自然會從發燒友變回一位真正的音樂愛好者，每次播放，都能赤裸裸地演繹曲目本身的情感，感動聆聽者，涉獵更多不同種類的音樂。
得到 PT 的邀請，有機會能在神曲工作室自選八首喜愛的歌曲。這一次私聚，我決定將這機會給了我太太，希望藉此能令她感受到我過往向她分享在這𥚃的點滴，我選了些她熟悉的歌曲，我亦肯定她當天會被音樂溶化。
結果第一首歌曲播畢，她已感動落淚了，我承認要令音樂感動聆聽者，是需要互動，聆聽者本身要投放感情，用心去感受歌曲。至於如何讓聆聽者投入，就是我們玩音響的責任。如前面提及，赤裸裸重現錄音時的一切，是一條漫長的路。神曲工作室今天的表現，是用年月經營回來。我們也很享受整個進程。
自古以來，音樂就是人與人之間的情感連繫。美妙的音樂，是不會令人討厭。友人跟我説其伴侶不懂得欣賞音樂，只感到煩躁，所以長時間禁止播放，唯有伴侶不在時才可獨自品嘗。我毫不猶豫跟他說，「請你重新檢視自己套系統的表現」，我相信沒有音響包袱的人，感受是最直接的，就如味蕾一樣，每一個人天生就能感受到甜、酸、苦、辣、鹹。我地尤如音響廚師，好好把器材融合處理好，才可以讓音樂感動身邊每位人！
PS : 她終於明白我常常掛在咀邊的「穿透力」了
預祝 AE 在八月香港高級視聽展成功， good show !
多謝你的分享，請問你選了那八首曲？你太太聽完那一曲後被感動？
序幕 :
盧冠廷2050 演唱會 (LP) - 愛的代價 by 李宗盛
我的選擇:
(Wilson Audiophile) James Welch (Organist) Concert and Recital - Concerto in G Major (CD)
夏韶聲搖擺什麼演唱會 - 說不出的未來 - (CD)
何韻詩 dear friends 演唱會 - 木紋 (CD)
Asakawa Maki Live - House of the Rising Sun (LP)
(Philips digital classics) Pepe Romero Flamenco - De mi vera te fuistes (LP)
陳輝陽 x 女聲合唱 - 火鳥 (LP)
盧冠庭 2050演唱會 (LP) - 捨不得你 by 盧冠廷 李宗盛
春光乍洩電影配樂 - Finale (CD)
Encore :
李宗盛既然青春留不住演唱會 - 我是真的愛你 (CD)
Rubberband 尼度 EP - 山河故人 (Tidal)
從第一首「愛的代價」，李宗盛還未唱到副歌，她已經要「攞紙巾」了。我們在神曲工作室內，氣氛是輕鬆，但投入，沒有多餘的寒暄，也沒有打斷中途的氣氛。從加洲小敎堂的管風琴到紅磡體育館的現場錄音，從耳熟能詳的廣東歌，到西班牙熱情的法蘭明高，也牽引著她情緒高低起伏。我覺得這就是音樂與人類的 bonding 了！