第一首我聽的是由林子祥和盧冠庭獻唱的 “最愛” ，錄音於盧氏2016年現場演唱會。在Hartvig Statement Analog Turntable/Statement Arm/Exquisite Voro cartridge/Engstrom M phono的演繹下，我所感受的不只是現場感/立體感，而是他倆的靈魂。我當然認得他們的聲線，但大神曲系統反映了他們在歲月上的差別，給我的的體驗是 「原來林子祥已經七十歲了。這就是年齡相約的盧冠庭。但他們唱功仍然一流，能量充沛」。我感知的是有血有肉，同時也帶著歲月的聲線，超越發燒友所形容的質感及定位準確的層次，是更深層次的解象度，「聲音是如何產生」的整個過程盡入眼簾，例如上/下顎的發聲點非常清楚、歌手運氣的步驟、能量的吞吐、咬字發音的特徵等，構建了他們的靈魂，以致達到時空交錯的幻覺。之前在 「乾隆的書房」 已略感受過此幻境。
Andris Nelson指揮的Shostakovich Symphony No. 5是非常爆棚的演出 （Tidal Streaming from Wadax Atlantis Reference DAC/Server)。這系統播大型交響樂曲很有一種懾人的 「權威性」，不但清楚看到管弦樂團的整體排列，以及各樂器位置及其發聲點，更驚駭的是可以看到樂團的 orchestration，即全團人分工合奏的情境。上星期在香港文化中心現場欣賞過 「元宇宙第一交響曲」，雖然可以清楚看到台上樂手的位置，可惜坐的位置偏左，來自偏右的定音鼓能量不足。可是此刻我正正坐在工作室的 「王帝位」，所以定音鼓能量極度震撼，有狠勁，有速度，而且鬆容不迫。一對高過人的大喇叭，加上一對有源超低音，在一個接近正方形的空間，竟能營造出如此磅礡規模，吞吐出如此氣勢，仍然神態自若！雖然指揮的不是我，但卻擁有著站在指揮位置的視野，看著每一個樂手，各司其職，相互溝通，共融齊奏。
Engstrom M Phono
當然要一試Flamenco類別的強烈節奏感音樂。Voro唱針落下，心𥚃立即狂嚎，因為我是與歌者/舞者共同站在一塊大型「木」地板之上，一同共享「舞台」上的氣氛。這種共存之感在之後播”孤星淚”的Master of House又再重現。我猶如在台上跟一眾表演者載歌載舞，他們的聲音有遠有近，有強有弱，全部表達得清清楚楚，連各人咬字發音的抑揚頓挫都看得到。這是一幅充滿動感和歡樂氣氛的音畫，每個演出者都是有靈魂的個體，融合演出的舞台能量充份刺激了視覺、聽覺、觸覺。(若然只係追求定位準確度的基本要求，而重播不出靈魂，又不見了樂手的互動溝通，那麼只可說是追求音効，仍然停留在數十年前的標準；可是科技和器材價格已經遠遠超越從前水平。）
JMF Audio PHS 7.3 phono
我最期待的當然是Harry Potter (From John Williams: The Berlin Concert: Harry Potter and the Philosopher’s Stone: Hedwig’s Theme 2001)。起初的幾下高音，叮叮作響，光輝滿載金屬感。這幾下音量雖小，但餘韻散射感強烈。從2:27進入高潮段落後，整個Hogwarts Castle的規模與比賽畫面盡現眼前，人數跟之前在 「乾隆書房」 所感受的不相伯仲，但賽事層次卻升了級到「決賽」。在王帝位聽，我好像變成了 「球證」。參賽的全部是很技巧與速度一等一的精英，而我卻穿梭在兩隊之間。管弦樂能量充足，份外帶出肅穆的氣氛，好像連校長、家長、校友都在場親證賽果。整件事令我很投入，屏息凝氣的「體驗」4D之旅。
三小時𥚃，播放曲目還有很多，未能盡錄，有趣的例子還有陳柏宇Fight演唱會用的咪原來很高質，令其人聲有血有肉有靈魂，尤其是中高假音的清晰度；可是同場嘉賓用的咪，明顯令聲音有點模糊。此系統連咪的質素也可如實反映，神奇妙極。Anne-Sophie Mutter Live from Yellow Lounge 最尾一首 “Schindler’s List: Theme 1993” 由Da Vinci Gabriel/Statement Arm/Extreme Exotics Gold Coil cartridge/JMF Audio PHS7.3 phono stage播出，最後一個音符，Mutter 將弓由下往上推，琴音不但細膩飄逸，我更感受到她用暗勁奏出，是微觀控制力的超絕表現，可謂拍案叫絕。
I am honoured that Prestige magazine had paid a visit to Divin Lab for an immersive listening experience. Senior editor Jon Wall also conducted a thorough interview with me.
A Picturesque Rendition of Metaverse Symphony No.1
Elliot applauded with hands above his head after listening to Metaverse Symphony No.1 straight for 45 mins lat Divin Lab. I could see he was amazed and touched by his seminal work. He was totally immersed into it with eyes closed alongside fingers dancing on the Chieftain Chair, and feet tapping on intense passages leading to crescendos.
He said to me, “Chris, honestly, it is frightening to listen here because I have to face up to my imperfections as it is so easy to discern my mistakes and weaknesses. I am naked in front of this system. At the same time, it always inspires me on new composition ideas. I really couldn’t comprehend such finesse and delicacy at the HK Cultural Centre. I didn’t know the harp was so harmoniously beautiful until today. Even at the conductor podium could not offer such a panorama perspective like here. The whole symphonic score is simply picturesque. The balance engineers at SONY Classical had done a tremendous recording job. This is the most holistic comprehension of my own work ever. I know exactly what I need to do better. I know all the people playing right in front of me. I am truly touched.”
Emmanuel, who is a buddy of Elliot Leung and participated heavily in the Metaverse Symphony said, “There are so much textures from the string, and it should be because this session alone has 60 people out of 92 including the conductor. Yet I could still ascertain delicate bow movements in group. Texture of the symphony changes when woodwinds/brass took hold of the stage. The delivery of 8 double basses to create voluminous bassline energy does not preclude texture either. This is my first encounter with Hi End Audio reproduction. I am in awe because I saw HK Phil performing for the recording session. They are now faithfully reproduced here to a degree of realism beyond imagination.”
Elliot moved on to comment, “The foundation of the 1st and 4th movement is the trombones which are located in the conventional position of upper stage on the far-right hand side of the orchestra. After today’s audition, I would like to relocate them to the center for the sake of achieving finer tonal balance next time. By the way, the trombone players of HK Phil are top-notch. Also, it is clear to me that I should eliminate unnecessary lines so as to articulate the score better. I must bring conductor Gerard Salonga here next Feb. The holistic perspective in such transparent manner will certainly alter his conducting ways in some passages in the future.”
I am thankful of my system transcribing the symphony in a genuine way endorsed by the original composer as a formidable tool for symphonic composer and conductor. That encourages me immensely.
That is a tremendous accomplishment if a symphonic composer compliments the system as a tool to make delicate composition and orchestration decisons. Honestly, he knows much more music than even very experienced audiophiles, especially his own works. That means the system provides objective view into the music. This is amazing. That is the way to go, Chris. Endorsement by experienced audiophile peers or reviewers can’t carry you too far.
Uncle Ray, there is no other audio companies in the globe could or do or follow what Chris has been striving for. He is building AE like an institution more than a retailer. Chris rarely writes any product reviews, and yet his followers kept increasing. I don’t know actual sales number but we see there is now an AE Singapore there. All showrooms have permanent display on Air Blade, Tripoint Troy NG, JMF Audio 3.2, Subbase Vividus, Wellfloat Babel, Pranawire interceptors and linebackers GP. These are crazy commitments. Looks the frequency of very high sound quality video postings on Facebook, and quality of writings, interview by Prestige etc.
如何去欣賞交響樂曲？Elliot認為賞交的樂趣等同於玩“Where is Wally?” 樂趣在於發掘作曲家的創意位。奏嗚曲的旋律容易捕捉，因為只有一個主調，但交響樂曲可以有數個主軸同時發展；馬勒的作品更有相反主題同時發展。他舉例法國音樂家Berlioz名作 - Symphonie Fantasitique 的第四章 “March to the Scafford”，他用不同的樂器去模仿斷頭台落刀的聲音，以及人頭落地後的滾動聲，去繪述主角被判死刑的情景。在MS1的世界𥚃，也有類似的創意位，例如現代人手機的震動聲音，以及一些涉及不同音樂羣組用不同的拍子演奏，但最終拍子又可歸一的現象。
It was a remarkable experience to meet face to face with Mr Elliot Leung, the much gifted composer of the Metaverse Symphony No.1, sharing his thoughtful journey from the beginning till the completion of this seminal innovative work. It took him 2 years to compose the symphony, sparing 50% of the time on the 1st movement forming the main theme, alongside melodic paths of development for subsequent movements.
What touched me the most was his acknowledgment of the system able to faithfully reproduce the musical intents of the symphony. The level of clarity exceeds any audience seat in the Cultural Center, which includes even the conductor podium. In many circumstances, it is possible that some details at the live venue could be buried due to the acoustics deficiency. Using his exact wordings, he felt like a critique examining the details against the written music score. He could discern the use of C bar extension in the 8 double bass (37.5hz) from the playback. Furthermore in his future compositions, he will consider placing the 4 trombones in the middle of the last row of the orchestra for their conspicuous role as the pillar of his composition.
All his aforementioned views are monumental testaments to our effort spent in Divin Lab. My salute to Elliot and look forward to his future masterpieces!
我父今年84歲，我今年52歲。在我26年的音響之路，他沒有特別讚許我所管理的系統，相反他常常一針見血指出系統有什麼問題。直到今天，他竟然沒有批評，只是點唱一首又一首的樂曲。當我告之山之內先生其中選聽的是Bartok的Concerto for Orchestra。他隨即微笑點頭示意山氏有內涵，立即介紹我聽Bartok的六首Romantic Folk Dance，然後又分享這個羅馬尼亞作曲家的背景(wiki記載Bartok出生於匈牙利帝國，但現地域是羅馬尼亞）。他還第一次測試《白毛女》內的「北風吹」。這是1940年代抗日戰爭末期由 “嚴金萱”所創作的文藝歌劇作品。我也是今天才認識。我猜想之前聽的古典音樂為他帶來了音樂感，才驅使他點唱年少時的音樂。
首先我是聽Da Vinci Gabriel Mark 3唱盤/Synaestec Igniculus唱放組合 。第一首聽的是Nathan Milstein演奏的奏明曲 ，琴聲像真度很高。在這麼大的系統中，結象竟然沒有過大，乃是十分難得。卡拉揚指揮的唐吉軻德的其中一段 ，中提琴與大提琴的交流十分自然像真，情感豐富，感覺像是兩人坐在我面前互相傾訴。
Robert Koda匠心K160功放需要45分鐘工作後，才到達最佳狀態。所以我隨即欣賞Dalby Akasu唱盤/JMF Audio PHS 7.3唱放演繹，由Inbal Eliahu指揮的Mahler Symphony Number 2（Denon錄音）。系統盡顯錄音的卓越音效，我可清楚 “看” 得到整個樂團的分佈；跟著再聽Bernstein指揮的馬二現場錄音。舞台感之壯大與現場才有的豐富氣息，我萬想不到可以在重播中身同感受。由於大音量時的超低有些過量，所以我認為號角羣組未夠響亮，於是Chris隨即將超低音量由+5db調低至0db，並以提高它的輸入靈敏度去對冲下降了的音量。結果令我十分驚訝，低音不但更加乾淨，連帶弦樂羣組的密度及柔順度也進步了。
I am immensely honored to host a music tour for the members of the board of directors and senior management of FSE Lifestyle Services Limited (Stock Code 331) at Divin Lab, flagship showroom of the Audio Exotics Group in the evening of April 17. It is a lifestyle services conglomerate in Hong Kong with 3 major business segments: property & facility management services, city essential services and electrical/mechanical engineering services.
The 1.5 hour program began with theatrical rendition from excerpts of “Sound of Music” and the “Phantom of the Opera”. The experiences were picturesque akin to watching a movie (there is no screen). Since then, they were travelled back in time co-sharing the same space with Teresa Teng live concert at Shibashi 市民會館養樂多廳, Japan in 1977, (阿里山的姑娘/何日君再來）, Sam Hui in HK Coliseum in 1987 (浪子心聲), and Lowell Lo Concert in 2008 etc (最愛是誰 duet with 林子祥). We were moved by the soulful realism of the vocalists, alongside immense emotions of the audiences, and the genuine recreation of acoustic proprieties of different recording venues.
The moment Danny Chan started singing 一生何求 (original copy of 45 rpm vinyl for radio station), his voice illuminated a special nostalgia aura in Divin Lab. I could feel they were yearning for his presence and the associated era. Before the session was about to be closed, there was a request to play “Sound of Silence" on vinyl by Paul Simon/Art Garfunkel. Then we were magically teleported to Central Park, New York where the concert was held in 1981. At that point, we ran late for dinner. But I must play one more.
The climax of the evening was the playback of帝女花 (glass CD) by 任劍輝 and 白雪仙 recorded in early 1960s that brought goosebumps to all. The realism was ghostly vivid. The shaping of each Chinese words by the grand masters could be seen, and respective vocal energy be felt. The emotional exchange between them was phenomenal, as evidenced by the heartfelt applauses from the audiences that touched me so much.
This is an unprecedented cultural exchange between my company and a publicly listed entity in Hong Kong. I am truly grateful of their trust in AE. The noble presence of FSE represents an tremendous encouragement to me.
Stereo Sound’s Commemorative Visit to Audio Exotics Hong Kong, China
Stereo Sound, the leading premium Hi End Audio Magazine in Japan, has always been the most influential in Asia for 58 years since inception on Jan 1966. It is my immense honour hosting this cultural event of historical importance.
In March 2024, esteemed audio critic, Tadashi Yamanouchi 山之內正 representing Stereo Sound came over from Japan to experience Divin Lab, the flagship showroom of AE located in the southern part of Hong Kong. He is one of the seven committee members of Stereo Sound Grand Prix Board to decide which awards to be granted to which outstanding Hi End Audio Products in various categories annually. He is concurrently the senior reviewer of another famous magazine, Audio Accessory. Such multiple identities are rare in Japan reflecting his impartiality and stringency in evaluation embraced by the industry. His past professional experience as a double bass player in an orchestra further substantiates his credentials. This high level diplomatic mission also includes photographer Aizawa Toshikazu 相澤利一 and editor Matsumoto Takeshi 松本壯史, both from Stereo Sound.
My cultural works on multiple fronts spanning from sponsoring HK Philharmonic twice in 2023 (Lang Lang x JAAP; Elliot Leung’s Metaverse Symphony No.1), to learning the essence of music from Asia’s super star Aaron Kwok alongside other famous musicians in various genres, have been courting their curiosity on my High End Audio management philosophy. In particular, they are very keen to comprehend the presence of some artisanal Japanese audio products such as Robert Koda, Zanden Audio, and Miyajima Lab etc under my portfolio that are completely unknown to them.
AE has long been advocating the application of real music knowledge to the evaluation of Hi End Audio equipment.
I started discussing the correlation between energy and musicality with Tadashi san. He immediately agrees with me that musicality originates from bass energy in particular. We however acknowledge harnessing bass energy without compromising clarity and transient is extremely difficult. That led us to an extensive discussion on noise management (ground noise, ac noise, mechanical noise, electromagnetic noise, radio frequency noise and room noise) based on his familiar testing tracks including symphonies by Bartok, Rachmaninoff, and Shostakovich etc.
We had so much joy exchanging perspectives on various fronts such as the integration of subwoofer/Arya Air Blade 180-degree augmentation tweeter to the Goebel Divin Majestic speakers, demonstrations of various noise eliminations, and appreciation of Tadasi san’s own LPs on Dalby Akasu Elemento and various phono stage (JMF Audio PHS 7.3, Zanden 仁風 (JINPU), Engstrom Phono M, and Synastec Igniculus; Consolidated Audio Step-Up Transformer).
My father started reading Stereo Sound in early 70s when I was a baby. Subsequently I also began buying the magazine in the 90s. We bought it because of the beautiful photography even though we did not understand the language. Never would I ever imagine after many years later, Stereo Sound will come forth to visit AE because of my humble works. I could not express such tremendous gratitude by words. It is more than SPEECHLESS.
The Divin Lab session was concluded by playing the vinyl of Mahler Symphony No.2 Finale conducted by Eliahu Inbal on Dalby Akasu analog turntable (Thales Statement Tonearm/Consolidated Audio SUT/Fuuga cartridge/JMF PHS 7.3). I told Tadashi san, “All of my researches on the techniques of resurrecting the soul of musicians and conductor on the records are concluded by what you just experienced.”
When the last note of the symphony vanished into silence, the tremendous emotions radiated by the choir and the orchestra were reflected on his eyes. After a few moments of silence, Tadashi san said to me, “Thank you for this. The energy is delivered constantly at high sound pressure level. Yet everything is under control with micro clarity down to the precise pronunciation of the German language in the choir section.” Tadashi San went to Berlin to study music 30 years ago just because he wanted to understand more about the lyrical content of Mozart’s Die Zauberflöte (Magic Flute).
Our passion is immense. Our minds are holistic. Our aspiration is prodigious. Our sharing is unreserved. And, the friendship is precious.
The rich content will be featured in the upcoming issue of Stereo Sound to be published in Jun 2024, with 8 pages of in-depth report.
Comments
第一首我聽的是由林子祥和盧冠庭獻唱的 “最愛” ，錄音於盧氏2016年現場演唱會。在Hartvig Statement Analog Turntable/Statement Arm/Exquisite Voro cartridge/Engstrom M phono的演繹下，我所感受的不只是現場感/立體感，而是他倆的靈魂。我當然認得他們的聲線，但大神曲系統反映了他們在歲月上的差別，給我的的體驗是 「原來林子祥已經七十歲了。這就是年齡相約的盧冠庭。但他們唱功仍然一流，能量充沛」。我感知的是有血有肉，同時也帶著歲月的聲線，超越發燒友所形容的質感及定位準確的層次，是更深層次的解象度，「聲音是如何產生」的整個過程盡入眼簾，例如上/下顎的發聲點非常清楚、歌手運氣的步驟、能量的吞吐、咬字發音的特徵等，構建了他們的靈魂，以致達到時空交錯的幻覺。之前在 「乾隆的書房」 已略感受過此幻境。
Engstrom M Phono
當然要一試Flamenco類別的強烈節奏感音樂。Voro唱針落下，心𥚃立即狂嚎，因為我是與歌者/舞者共同站在一塊大型「木」地板之上，一同共享「舞台」上的氣氛。這種共存之感在之後播”孤星淚”的Master of House又再重現。我猶如在台上跟一眾表演者載歌載舞，他們的聲音有遠有近，有強有弱，全部表達得清清楚楚，連各人咬字發音的抑揚頓挫都看得到。這是一幅充滿動感和歡樂氣氛的音畫，每個演出者都是有靈魂的個體，融合演出的舞台能量充份刺激了視覺、聽覺、觸覺。(若然只係追求定位準確度的基本要求，而重播不出靈魂，又不見了樂手的互動溝通，那麼只可說是追求音効，仍然停留在數十年前的標準；可是科技和器材價格已經遠遠超越從前水平。）
我最期待的當然是Harry Potter (From John Williams: The Berlin Concert: Harry Potter and the Philosopher’s Stone: Hedwig’s Theme 2001)。起初的幾下高音，叮叮作響，光輝滿載金屬感。這幾下音量雖小，但餘韻散射感強烈。從2:27進入高潮段落後，整個Hogwarts Castle的規模與比賽畫面盡現眼前，人數跟之前在 「乾隆書房」 所感受的不相伯仲，但賽事層次卻升了級到「決賽」。在王帝位聽，我好像變成了 「球證」。參賽的全部是很技巧與速度一等一的精英，而我卻穿梭在兩隊之間。管弦樂能量充足，份外帶出肅穆的氣氛，好像連校長、家長、校友都在場親證賽果。整件事令我很投入，屏息凝氣的「體驗」4D之旅。
今次最大得著是深入瞭解黑膠系統的配置方針。同一張黑膠在不同的唱盤/唱頭播放，效果可以是南轅北轍。磁浮盤播古典合適，相反播Pop 或舞台感強勁的音樂，用重型硬盤重播才有足夠動感。唱頭輸出與唱放的關係又是一項深淵學問。
These are tremendous commitments.
梁皓一：神馳八極元宇宙
今天懷著興奮的心情，與太太再臨神曲工作室，一睹元宇宙第一交響樂 (後稱MS1) 作曲家梁皓一先生 (Elliot) 的風采。我一向以為交響樂的作曲家都是比較年長，更需要人生歷練才能成就。半年前我在文化中心欣賞由90多名樂手演奏的 “MS1”，那種新穎破格的演繹，竟是眼前不足三十歲的年青人，用了兩年時間去寫成。
如何去欣賞交響樂曲？Elliot認為賞交的樂趣等同於玩“Where is Wally?” 樂趣在於發掘作曲家的創意位。奏嗚曲的旋律容易捕捉，因為只有一個主調，但交響樂曲可以有數個主軸同時發展；馬勒的作品更有相反主題同時發展。他舉例法國音樂家Berlioz名作 - Symphonie Fantasitique 的第四章 “March to the Scafford”，他用不同的樂器去模仿斷頭台落刀的聲音，以及人頭落地後的滾動聲，去繪述主角被判死刑的情景。在MS1的世界𥚃，也有類似的創意位，例如現代人手機的震動聲音，以及一些涉及不同音樂羣組用不同的拍子演奏，但最終拍子又可歸一的現象。
他導賞了幾個細節位：首例來自第二b樂章的中提琴手。原來HK Phil的Andrew Ling弓法十分了得，有一個音乍聽會以為是一個長音符，一直拉到尾，其實中提琴手已轉了弓四次，但觀眾是不會聽得出。Elliot特別提及4支Trombone 在第一/四樂章的重要性（長號，bass lower limit 61.7hz），因為它們是MS1的骨架。在Divin Lab嚴聽之後，他決定將來配置它們在樂團中間的位置。
他的老師曾提點不要用感受不到的音頻去作曲。可是三年前他訪Divin Lab後，印證了確實能感受得到它，所以才在MS1𥚃為八個低音大提琴的C弦改製伸長，令它們可深潛得更低的區域。我今天的確感受到大神曲/岳飛超低，能深潛至40Hz以下的領域，尤其在第一和第四樂章的高潮位。
在場又有朋友提問第三樂章內的「過馬路提示聲」是否在深夜街頭錄才能如此清晰? Emmanuel (MS1的製作總監）在場告知大家，音効是由Elliot女友所混音，所以 “特別” 清楚。
Chris提問sound stage究竟存在嗎？Elliot直率回答它存在於作曲家的腦海中，用甚麼樂器，用多少樂器，樂手的位置如何，作曲家完全心裏有數。他認為接近真實的重播，系統應該分辨到樂器的texture，樂器與樂器之間的distance，及其在樂團的location，以及Hall Acoustics的特性。它們共同主宰了聽眾對樂器的大小的認知。若然沒有一個客觀標準，每個人對 “質感” 的定義不一樣，樂器大小就不一樣。一個大提琴的體積和聲音，不可能被誤以為是小提琴吧。所以我的理解是stage應是由音樂的內容堆砌成，而不是幻想有多深多濶。
Goebel大神曲的驚人描繪能力，完全打破了 “現場” 才是最傳真的看法。Elliot解釋就算在指揮家的位置也聽不到如繁星般的細節，他們只能幻想在觀眾席所聽到的聲音，所以他將會帶Gerald Salonga （MS1的指揮）到神曲工作室，親自鑑聽當天的演出。
Special Bonus: Bruckner Symphony No. 9 (B9)
在分享會尾端，Chris要求Elliot為大家導賞Bruckner Symphony No. 9（ERC LP，多謝Andrew兄帶名盤與眾同樂）。由舉世無雙的Dalby Akasu唱盤，Thales Statement唱臂/風雅唱頭，與及Zanden超級旗艦仁風phono演繹出驚天動地，震人心弦的肅穆情景，可謂曠古礫今，眾人均嘆為觀止，尤如一同進入了Cathedral，被澎湃的管樂洗滌心靈，內心的讚嘆一直至今未完。
他分享了Chicago Symphonic Orchestra (CSO）的研究發現，原來要用256支小提琴，才能夠有足夠的能量，去平衡管樂的能量，所以演奏Bruckner 的樂章，往往嚴重挑戰小提琴手的體能，每次長時間高速拉奏小提琴之後，輕則要休息一兩個月，重則要進行物理治療。
藝術是活潑的，充滿靈性的，要做到比 “現場” 更傳神的境界，當中的知識、時間、熱忱，缺一不可。今天我明白了 “不興其藝，不能樂學” 的道理。
Mike Yu/Chris Leung
What touched me the most was his acknowledgment of the system able to faithfully reproduce the musical intents of the symphony. The level of clarity exceeds any audience seat in the Cultural Center, which includes even the conductor podium. In many circumstances, it is possible that some details at the live venue could be buried due to the acoustics deficiency. Using his exact wordings, he felt like a critique examining the details against the written music score. He could discern the use of C bar extension in the 8 double bass (37.5hz) from the playback. Furthermore in his future compositions, he will consider placing the 4 trombones in the middle of the last row of the orchestra for their conspicuous role as the pillar of his composition.
Chris Leung
March 8th, 2024