The application of Jenalab Ultra Ground wire to Arya Air Blade Signature brings a sense of lightness on high frequency dispersion without compromising energy. The result is deeper perspective into recording venue and much improved palpability of aura.
Martin asked his protégé, Elliot Leung, “Why are you bringing me here to listen to my own music? I listened to them million times in different venue in the past twenty years all over the world.”
Elliot answered to his mentor, “You will know soon.”
Martin O’ Donnell, an acclaimed American composer who brought the symphonic score of Halo 1, 2 and 3 to the world of video game visited Divin Lab today. He played a crucial role contributing to the phenomenal success of the game. Total accumulated sales of the Halo series reached 81 million copies as of March 2021 since its inception in 2001 according to VGCharts.com. After Halo, he moved on to collaborate with Sir Paul McCartney to compose another symphonic score for Destiny.
Martin spent 2 hours at Divin Lab listening to his masterpieces from the soundtrack of Halo 3. He was deeply immersed into each track of his own creation. I saw his hand playing as if there was an invisible double bass in front of him; some other times, I saw his hand moving up and down following the tempo of the drums.” He didn’t talk much, only occasionally exchanging perspectives with Elliot sat next to him.
One hour was quickly gone. At that juncture, he said to me, “This is really spectacular. The system brought me back memories of many musicians participated in the recording, including the acoustics character of Abbey Road Studio in the UK. In one particular track, the incremental loudness of the trumpet does not eclipse the delicacy of the flute so close to it. The balance engineer did an excellent job. I didn’t realise this before.”
I moved on to demonstrate Nirvanda LIVE recording on vinyl. He was amazed by the raw energy delivery of the band sound penetrating his body, and yet the loudness was comfortably fathomed, and every note radiated from the guitar was so clear. Next was a demonstration of Mahler Number 9 Symphony 2nd movement also on vinyl. We were teleported to the venue as though we finished the whole movement together with the whole orchestra under the baton of Eliahu Inbal.
In the last 30 minutes, Martin listened to a few more tracks from Halo 2 soundtrack and some excerpts of his collaboration work with Sir Paul McCartney.” As tempo of the score started quickening, I could see his feet began tapping. During crescendo passages, the contentment seen on the face of Elliot and Martin thrilled me tremendously. I said to myself, “That must be a pass.” Before we went for dinner, Martin wanted me to walk him through the whole system architecture alongside the acoustic design of Divin Lab. I also did a brief demonstration of AGS FL-1 resolving floor reflections. He and Elliot immediately began imagining its sonic improvement to the clarity of cello and double bass in an orchestral setting.
Towards the end of dinner, Martin said to me, “Chris, today is truly a tremendous experience. I understand now why Elliot would bring me to Audio Exotics. I have never ever listened to my own music at this level of sophistication even though I listened to them million times. I never expect it will be at a level that touched my soul directly. I can visualize the pictures of what my music wants to convey. It makes me rediscovering myself. I was moved. There are layers and layers of perspective kaleidoscopically presented. I hear so many delicate details delivered with abundant energy in the most holistically manner ever. Articulation of bass instruments is very impressive. They are naturally rendered with clarity and dynamics forming a great foundation for symphony. Although Halo was recorded at Abbey Road Studio long time ago, I still remember the genuine aura of listening live to an orchestra. I never thought, however, those chilling sessions in Abbey Road Studio can be brought ALIVE here today.”
His endorsement is an honor. Divin Lab is “Haloed” today.
Comments
誰會喜歡隔靴搔癢？
張國榮的《側面》是首極難播得好的曲目，因為有大量不同頻段的低頻，以及各種高頻的電子樂器齊奏。此曲難度不在於低頻量感，或可潛多深，而是主宰音樂感的三個元素：（1）帶能量的低頻解象度、（2）瞬變速度 、(3)節奏感。曲內的低音部份有獨立以敲擊節奏所主導的旋律，歌聲不會被和音或其他頻段掩蓋。因此我發覺了他的節奏感很好，與全部樂器同步得天衣無縫，可謂人曲合一。你要漸漸地感覺得到被他的節奏感帶進歌𥚃，隨之連血液也隨著能量穿身而感到少許沸騰，才是理想的重播。暫時未曾在其他系統清晰聽到這個水準⋯⋯直至Vividus加入了神曲系統𥚃！
在當日活動開始前，我特意帶了這隻碟去考考Goebel的大神曲。低頻的解象度及清晰旋律是我第一次在其他系統聽到（我的系統是Cessaro Beethoven 5 way Horn System)，全曲也以高分數完成，唯獨節奏感未能帶我完全沉浸入去，而低頻有少許箱聲影響了自然度。
直至Vividus接駁到 JMF Audio PHS 7.3 phono後，我不單止更加深入感受到節奏的躍動感，而且聽到更具體的低頻層次，所有樂器齊奏時的丁點沙石感及箱聲也一掃而空。我聽到了比我系統更清𥇦的高頻電子音樂的輕輕點綴，有畫龍點睛之效，令歌曲更不羈、輕佻並帶一絲幽默感。這些資訊一直保存在這張黑膠內，但又有幾多系統能將錄音現場發生過的完全呈現出來？
RF noise (射頻噪）造成了音樂人與樂迷之間的嚴重隔膜。感受過後，又怎能不想將之一掃而空？試問誰喜歡隔靴搔癢？Vividus Zwo 看來又是另一家居必備神器！
Roman
玩hifi最大的的苦惱是沒有客觀標準。自己覺得好聲，朋友卻不一定認同。好聲在哪裡也說不出來，為什麼好聲就更是雲裡霧裡。來到網路時代，一件器材好聲/不好聲基本上靠“大師”一張嘴：“高音準，中音甜，低音勁”⋯⋯我等小弟完全不知所云。
Chris和別最大不同之處，在於他將Hi Fi這門 “學問” 儘量客觀系統化。雖然未去到儀器測量的地步，但是把眾多影響聲音的元素分解，並逐一針對處理，已經是極為破格。這可能與他的專業職業背景有關係，他對系統內任何的管理調整，分析的邏輯也非常緊密，更十分之了解器材設計背後的理論。
今次的射頻噪音硏討會，他首先介紹了神曲工作室𥚃最近一些的變化/調整。聽了幾首歌熱身之後，便將德國的Subbase研發的Vividus接入系統。首先是接駁一條RF filtration線至JMF Audio的102電處，我立即感覺到聲音順滑了很多，尤其是EMT Novel Gold唱頭高輸出 (0.1mv) 的毛躁感大幅降低，高音耐聽很多；然而對朱雀唱頭的影響，既不單止是順滑了，似乎能量/動態也有少許正面影響。
下一步他將第二條RF filtration線接駁至JMF Audio的PHS7.3 phono。哇！這一下不得了！聲音順滑如絲，背景極黑，系統中的毛躁感一掃而空，最令人驚奇的是能量/動態完全不受影響，甚至更出色。Vividus絕對是一套系統的“Infrastructure”之一，只不過AE標準下的基建實在太多，只恨自己賺錢太少⋯⋯lol
相信每次的研討會，他都有好多實踐經驗分享，由於時間關係，無法一一道來，這也是我們認為他寫書是決定非常正確。幾十年積累的經驗，以及建基於科學與音樂知識所衍生的新思維及技術應用，實在需要與更多人分享，造福廣大發燒友，功德無量！
我向來喜歡以科學性邏輯，去處理音響系統的問題。所以我信服他處理噪音的方法。首先把噪音分類 (六種），再逐一用不同的科技儀器去解決。每一種噪音，需要逐一獨立地擊破，不能互換，也不能取代。處理噪音最棘手的，便是沒有人知道靜的終極，沒有最靜，還有更靜，可能以後會有人發現第七種，甚至第八種噪音。
我們之所以對噪音的認識加深了，是因為他多年來不斷分享難能可貴的研究/實戰經驗。他接下來要做的，便是把玩音響所累積的經驗， 輯錄成書，再啟發更多人，以及擴濶應用層面（試想將噪音消滅技術應用在演出會）。音樂是文化，故然要保育，但新創發的知識，更加要紀錄和傳承。我期望Chris的書可儘快面世。
當天Chris播放了幾首大家熟悉的曲目，我最喜歡是孤星淚 (Les Misérables - Original 1985 London Cast Recording) 的 "Master of the House"。一如既往，弦樂的節奏明亮輕快地襯托著主音，一眾歌者的音域與音準，各自精彩。
當他連接German Subbase研發的Vividus Zwo (V2) RF Noise (無線射频噪音）regulator 到 JMF Audio PCD102電處/JMF Audio PHS 7.3 phono之後再聽同曲，心𥚃竟大叫了OMG! 我從未在《神曲工作室》聽過如此真實自然的演出，尤如坐時光機回到過去，親身體驗了滿載了氣息的音歌劇，氣氛之真實，令我剎那之間有點亂真。主音演唱更有感情，副歌一眾齊唱詠的和諧，感動非常。樂器和歌者都散發出自然適度的能量，原因是V2已消滅了RF Noise (無線射频噪音）對器材放大線路板的污染，再沒有被射頻噪音枷鎖在高音之上，令其展翅飛鵬，延伸萬里無雲，宏觀動態因此得以狂傲；與此同時又釋放了中低音的微觀能量，對比度因此大幅改善，音像的刻畫更加栩栩如生。
黑膠重播時總會遇到有些碟的高頻較刺耳，往往自我假設是黑膠質量出了問題、錄音水準不高、唱臂/唱頭調教不善、增益匹配有問題、又或是電源噪音過濾和地噪音管理方面仍未到位等，原來這些滋擾是來自無線射頻噪。我已經應用了以下部件去消滅不同種的噪音，包括SRA Virginia amp stand、Trinity PSU - Golden Reference Edition 和 Troy Signature NG 地盒、以及Argento Audio EEE ground cable、Dalby Audio Meda QF、Ikigai Audio 的 Kangai S地線等，可是不同的噪音要用不同的對策，解決了其他噪音，不代表射頻噪可以不理會。
毋庸置疑，German Subbase 的Vividus Zwo (V2) RF Noise (無線射频噪音）regulator，的確能夠將重播音樂與聆聽者之間的隔膜除去，這是一個匪夷所思的體驗，我真的從未想過重播可達致此境界。
https://youtu.be/PYsuhPW-Yag
光與影的組合 聲和畫的重逢 by 魏美珍
因緣際會，两年前透過【財智雙打 】節目，認識了攝影師劉兆景 (Anthony Lau) ，欣賞過他在「國家地理旅行者」國際攝影比賽的總冠軍作品《冬天的騎士》。
它雖然是照片，卻像極是畫，是一幅以光與影構成的美麗作品。騎士揚鞭策馬的英姿，騎士面貌在光與影的襯托下 ， 仿佛融化在陽光之中， 馬匹線條似有若無，讓作品更富想像空間。騎士手執的長鞭，看似輕盈的一筆，卻注入力量和趣味性，也是魂靈所在，畫龍點精大概也是這個意思吧!
今年在一個小型攝影展上，終於能近距離欣賞《冬天的騎士》，讓我看到作品的氣氛和氣勢。塵土、霧氣、空氣、在光與影的相互交錯與交織下產生出強裂的空間感和立體感。物像之間的遠近、大小、虛實、和明暗打造出的磅礴氣勢和群馬奔騰的節奏，恰似金鏞武俠小說演繹的某些場景，令我想起一首曾在御品音響的神曲工作室聽過的經典名曲........
飛奔大漠中;
不畏懼冷風似刀;
烽煙萬千里;
長天飛沙 壯士血在狂號;
原野飛花 壯士懷抱冷傲;
由羅文和甄妮合唱的 <問誰領風騷>（電視劇《成吉思汗》主題曲）是不少人的童年回憶，個人覺得這首歌的盪氣激昂旋律和豪邁歌聲跟《冬天的騎士》表達的意境相當接近。
巧妙的是，御品音響創辦人梁兆基 (Chris Leung) 後來也被《冬天的騎士》吸引， 並決定將《冬天的騎士》收歸其藏品之列。這天榮幸獲邀出席了作品的交收儀式。
梁兆基是著名的經濟學家兼極級音響發燒友，喜歡以歌會友; 劉兆景是攝影大師，用作品與世界接軌。 【財智雙打 】節目偶然成了一道橋樑，讓两位素未謀面，風牛馬不相及的人建立起緣份; 也見證了《冬天的騎士》與《問誰領風騷》相遇於神曲工作室！
PS: M phono impedance選擇了200 ohm; Phono gain +72db; Thales Exquisite Voro output 0.7mv。