Audio Godfathers

Click pics to enlarge. All pics courtesy of Western Electric Sound. Top: Setup of Godfather Ko.

Letter from Shenzhen (21-11): Audio Godfathers

Today's article is a special one, but not written by me. Our friend icefox forwarded it to me via wechat. It is well written in Chinese, by someone with the moniker Western Electric Sound. The author is in Foshan, China, where there is also an audio shop of the same name, likely operated by the same person.

The rambling article is in 3 long parts. Here, Part 3, featuring some famous Audio Players in China and Hong Kong, comes first, as it is the most attention-grabbing. The first 2 Parts that follow are on audio philosophy. I have provided limited English translation (more like precis) for our readers, who can digitally translate the full Chinese text on their own. Pics are from the original articles.

A word on the term Godfather, as in the head of a crime syndicate. An audio Godfather is really someone well respected and held in awe, whose advises are better followed. Few audiophiles ascend to this status in our cult, which can reasonably be compared with a secret society. Think about this - there are hundreds of magazines here in the China library, but none on audio (same in Queens Library). We don't exist as far as the regular folks are concerned. Personally, I don't at all like the Godfather analogy, not because of its triad roots but because I don't like the exaggerated idolatry and creepy obsequiousness (肉麻) that come with it.

音响大玩家（下) Top Audio Connoisseurs, Part III
原文 西电之声 Original Article by Western Electric Sound

[Editor: by Connoisseur, the author means someone who has experienced, or played with, lots of stuff and has arrived at his own conclusions and methodology in his audio journey. Further down, Part I goes into great details on the definition, and why an audio connoisseur is different from an audio collector, or the average audiophile.]

记得那年，与邓教父聊起香港教父高，基本上今天的香港大烧，聊起教父高，都是充满了敬意，都把教父高当作自己的音响启蒙之师，都把当年到教父高家里听音响，回忆得津津有味。邓教父说当年即使是夏伏三暑，教父高听音响都是不开空调的，因为空调起动后，影响到音响的声音，于是大家堆在香港那种小房间里，汗流浃背的欣赏着古典音乐。有时碰到天气过于干燥或过于潮湿，教父高也是不开机听音响的，因为天气过于干燥时，音乐会高音发尖，低音余韵不足。天气过于潮湿时，中低频又过于肥厚。而且教父高并不追逐名牌音响，一切音响选择都以搭配后实听才采用，大多数是中低价格的古董功放，而且还有不小旧料新制的土炮。喇叭系统采用主音箱搭配多只高音多只中音单元的玩法，而且在功率放大前端用上均衡器调整音乐曲线来与房间平衡，再以电子分音来推动多个中高音单元。对于古典音乐，教父高更是了如指掌，而且校声必以古典音乐为准，特别是早期的录音，早期录音剪接与调音台校声的味精都小很多，录音的质素更真实更适合作标准。教父高的音响玩法，邓教父二十年前在上海也是这样玩法。后来看教父高的文章，开始用上了部分西电设备，于是更感兴趣，与邓教父约好时间，准备下个月到港拜访教父高，只可惜，君生我未生，我生君已老。即将去港之际，就闻教父高先生身体不舒适，不久，即仙游天际了，听后唏嘘不已。传说中的音响大玩家，终归传说了。

Godfather of Them All: Godfather Ko [Ed: my Subtitle][top pic]
In Hong Kong, Godfather Ko, who had passed away not so long ago, was mentor to a whole generation of now-prominent Audio Players, who love to recount their encounters with the legend. No air-conditioning at Ko's place, because that degrades the sound, and even in the heat of summer everybody squeezed into the tiny place and sweated through the classical music. Ko also would not turn on his system on days that were too dry or humid. Too dry, and the sound would be dry too, without enough bloom in the bass; too humid and the mid-bass and bass would be bloated. Ko never chased after brands, and was a pragmatist in mix and match, mostly employing low- and mid-priced vintage equipment, together with some commissioned items using vintage parts. Most unusually, he added many tweeters and mid-range drivers to his basic loudspeaker system through the use of active crossovers and equalizers. Classical music was his specialty and what he used to calibrate his system. He was especially fond of older recordings for their more natural presentation...

[Ed: I had the luck to have visited a couple of times. Ko was a gentleman, a classical music connoisseur, concert goer as well as a radio host and, dare I say, I feel he was, and is, a kindred spirit. The setup I heard was much like that in the black and white pic. I think I have more pics somewhere in NYC, now not accessible. On my last visit, Ko played a Westminster CD of Vienna/Scherchen in Scheherazade; the atmosphere was really something, and I immediately sourced the CD and, later, the LP; an unforgettable solo by the concertmaster (oop but available for streaming). I forwarded this via wechat to my NYC audio friends and Alex Lee, true music lover and long-ago chairman for our once booming tri-state Chinese audio society, commented that listening to Bruckner's 8th at Ko's place was a stunning experience for him as it conveyed nobility. Also, he credited Ko for introducing Celibidache to him. It has to be stressed that Ko's ways were completely different from other audio gurus; not that he completely dismissed things like imaging and soundstage, but it has always been abundantly clear, as a true music lover, that conveyance of the music's substance and message was of foremost importance to him. Of all the audiophiles I have met, I miss him the most for his insight into the music proper. Horn and Western Electric users would understand this more easily - there is much lost and something anti-musical in modern audiophilia.]

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身边特别熟悉的音响大玩家，就是上海邓教父了，都忘了上海帮，在何时起尊称他为教父了，的确，二十年前在上海发烧圈中，论玩音响的调校功力与音乐艺术等修养，综合水平已无出其右，即使邓教父用的音响，也小有高档产品，偏偏却能调整出深远的音场，触手可及的定位，巨细无遗的动态。而这些音乐指标，都是顶级音响所标榜，却是难以一闻的。 而且邓教父虚怀若谷，当年一大帮人一起玩音响，只要提不同意见，他都不立即反对意见，都必须经过自己多次实验，才会总结出自己的看法，来验证你的对与错，所以在上海玩音响那十几年就总结出非常多正确的调音技巧，都是百试不爽，对声音有正面改善。

不过，从我个人的理解角度，我认为音响修为，邓教父比教父高已是青出于蓝胜于蓝了，虽两位教父都达到了用中档音响调出顶级音质的摘叶飞花功力，但当邓教父回佛山后，租下50平方的地铺作音响室，上齐全套原装西电后所调整出的声音，听古典音乐已经仿如现场，西电系统重现乐器的质感非常真实，加上复刻WE15A大型号角那种重现现场的包围感，是几十年来听遍无数音响，第一次真正做到仿如现场的那种境界。除了玩音响功力深厚，邓教父还对中西方艺术研究深厚，对中国书画有极高的鉴赏力，唐诗宋词张口即来。对广式美食也要求极高，还住上海之时，经常周未有空，就打飞的回广州找美食，锦衣玉食，良田美宅，身边美女如梳，人生如此，夫复何求？邓教父何止是玩家，已是人生贏家已。

Godfather Deng (Shanghai)
Like Ko, Deng was a master in using modest equipment to their fullest potential. The author thinks he is even more comprehensive in his embrace of audiophile values, especially after he rented his dedicated 500 sq ft audio room in Foshan and used a full Western Electric setup, including the 15A replica. The author was impressed by the all-enveloping sound and regarded it as the most true-to-live sound he has heard.

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Le Prince de Cheval Blanc (HK)
本人曾拜访过的香港音响大玩家，白马兄，玩遍古今顶级名器，听过他公司那套分身家系统，音场宽松庞大，纵深极好，定位触手可及，音色平衡度很好，几乎完美，每次登门拜访，还有陈年美酒与上等雪茄，豪宅游艇，玩遍全球， 已是玩家中的贏家，余等只能仰望了。

[Ed: So named because of his fondness for the French wine Cheval Blanc. This superb WE system had been featured in this blog previously; I have also heard his even more impressive newer setup in a huge factory setting, but that shall have to wait...]

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Humphrey (HK)
大头B兄也是玩遍古今高级音响，特长是动手能力强，能在整理音响线路上得到无限乐趣，每天玩个不亦乐乎。除了拥有大量原装古董音响，还用各种顶级零件焊制212胆等巨型胆机，买回大量当年汇点巨型OTL后级与麦理云逊No20来完美修复，然后与各种现代与古董，土炮与原装机混搭开声，汇点配原装顶级西电，西电前级加麦理云逊后级，这种玩法，我是想都没想过，只想疫情快快过去，再次登门拜访，感受一下这种九大鬼式玩法。

Although comprehensive in his embrace, the singular gift of Humphrey is his technical savvy, and he derives great pleasure in restoration and updating circuits. In addition to his huge collection of WE, he also DIY'ed the monstrous 212. Even crazier, he bought for restoration a lot of Counterpoint OTL amps and ML No. 20 and he mixes these with WE.

[Ed: I have visited H many times (always a great pleasure) and have always meant to write him up, but even if I have a lot of pics his complicated and constantly changing setups are challenging for a reporter. I shall have to enlist the help of icefox to deliver. Incidentally, I have never heard the legendary Counterpoint OTL amps and would love to, although my view is OTL is not an end-all, by no means.]

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Brother Wai (Mr Viagra)(Humen)
还有。还有虎门伟哥，认识他近二十年，一直在追求极致音响上折腾不断，各种大型障板大型号角不断改良堆砌，终于搞成高达5米的巨无霸号角系统，每次拜访伟哥的音响室，各种音响各种有趣的摆设琳琅满目，如姥姥进入大观园，新奇无比。加郑大师终极神灯供电灯丝，212整流，212推挽的巨无霸遗作。已经是中国烧友到虎门必打卡之地。

A veteran of large baffles and horns, this constant tinkerer finally created his 5 meter gigantic horns. The audio room is chock full of eye-opening items. The crazy 212 amp uses the tube both as rectification and amplification (PP). A visit is a must.

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Master Su (Beijing)
北京苏杭苏大师，为了玩大型号角音响，自建了一个大型四合院房子，从TAD2402玩到西电15A大号角，再到自建房子一样大的巨型号角，大型复习的多路电分音响系统，从设计到建造，到调音，都亲力亲为去做，各种音乐黑胶藏量惊人，音响室空间美学设计一流，声音相位准确，动态惊人，的确玩出水平。

This man built a house specifically for housing his horns. He evolved from TAD 2402 to WE 15A and uses complicated electronic crossovers. He also has a huge software collection. The room is aesthetically stunning, and the sound is dynamic and phase-correct, just superb, said the author.

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Brother Big Rock (Tianjin)
还有天津大岩兄，一个不发烧音响的天津人不是一个改装车高手，大岩兄主业改装越野车，但又是个超级音响发烧友，由于长期与日本的生意关系，得以购得大量日美欧顶级品牌音响，音响室从走廊开始就见名机堆积如山，有如一大型二手音响商家，由于对黑胶唱机的狂热喜爱，更利用多年改装车的机加工技术力量去仿制多种黑胶名机，取得大量业界赞赏与市场认可，达到以玩养玩的境界。

The man's profession is modification of automobiles (Land rovers), but he is an audio nut. Due to long-time business with Japan, he amassed huge amount of top Japanese and Western equipment. And due to his love of analog, he utilized the mechanical prowess of his business for analog designs, which have amassed much acclaim (beside being financially self-sufficient).

[Ed: This scenario is quite common in audio. An audiophile with overseas business connections ends up importing audio products large and small, old and new, then even getting into the business.]

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最后说说的是广东阳江十八子音响博物馆，这暂时是中国唯一的一间音响博物馆，整馆收藏世界上各种品牌音响多达六千多台，各种音乐软件过百万张。数十个音响室摆设调整好各种顶级品牌音响系统。我不知道，要有多狂热爱音响，才会有搞音响博物馆的想法，基本上是赔本生意，却占用了三层大楼，要几十人去维护修理调整，保证六千多台音响的工作正常，几十万瓦的大型稳压供电系统。堆积如山的软件需要大量的人力物力去整理分类。如果那天李生说把博物馆送给我管理，要保证其正常运作，我觉得，叫我死更容易点。在这里，只能默默感谢李总的付出，这的确不是一般音响发烧友能玩得起的方式。

Yangjiang (Mr Li)
Nicknamed "The World's Number One Audiophile", Mr Li by profession is a Knife-Maker. He was made famous in the West by Robert Harley in TAS:

This audio museum houses over 6,000 pieces of equipment, and over a million software items! Tens of rooms play music and tens of people maintain them. The power supply is stabilized for 100K watts!

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今天的大中华，到处都藏龙卧虎，高手云集，无论本人见识还是文章篇幅有限，都无法书写完所有顶级音响大玩家，只能待日后有机会一一拜访，再与各位同乐，人生而有限，余生不长，除了为生存而工作，偶尔放下纯粹的利益追求，寻回童真好玩之心，去做让自己快乐之事，人生，才不枉来此一场。

Life is of finite length. So, except for earning your dough, chase after what makes you happy, and that's the only way to make sure our lives on earth is worth the trouble.

And now for Parts I and II.

音响大玩家（上) Top Audio Connoiseurs, Part I

[Ed: This Part is hardest to translate, and I just provide the pertinent parts. The author draws a parallel between audio and tea, the latter a passion for the Chinese. I mostly echo the writer's sentiments]

好友忽然发帖，说古镇王先生离世，不禁一阵迷茫，古镇王是谁？一阵模糊之后，依稀记得古先生是个香港作家，乐评人。翻看朋友转帖，简介是这样说的，香港资讯散文作家，旅居英国，求学于欧美，曾任某大美资银行副总裁，世界最大船东的私人助理。古先生最崇尚倒数哲学，他一生的生活就是不断赚钱不断花，名贵葡萄酒、玩古董、坐游轮周游世界、住豪华酒店，吃人间美食（还有一家名字就叫古镇煌的餐厅）！一生喜好名表、名笔、红酒、古董、饮食、摄影、旅行。对音乐、芭蕾等高级艺术都有精深的研究。你不要以为他富可敌国，实际上他只能算是勉强财务自由，只是懂得人生苦短，及时行乐，刚得千金手，即化穿肠醉。广东俗语：风吹鸡蛋壳，财散人安乐。

一睹古镇王其人生平，不禁肃然起敬，平生不羡敌国富，不戏风尘枉此生。可能我本身性格贪玩，所以特别喜欢好玩贪吃之士，当然，人生自出娘胎开始，谁不贪玩？但玩一样事物，玩得精，玩得透，玩成大师，那就是凤毛麟角了，纵观所识之人，能称得上玩家者，的确是屈指可数。好玩者，乐也，小时候没手机电脑等消磨时间，终日闲闲，于是弹弓是男孩标配，火柴枪，弹棋，烟纸角，牛屎煤炉，单车轮毂，折纸玩东南西北，可玩之事多不胜数，现代小孩是听都没听说过。远至古代文人雅士也好玩，赏花弄园玩石斗蟋蟀，舞文弄墨擂茶燃沉香，即使贵为一国之君，最快乐的时光，就是躲在他的三希堂中玩乐。如果你一生终日乾乾，早出晚归，无任何爱好，即使富甲天下，我想想都觉惨绝人寰。

[編輯：這裏有個筆誤，粵音煌王同音，但拼音不一。古鎮煌，原名黃牧，香港無人不知的著名藝術品及古董收藏家、樂評人、旅行家、作家、悠閒生活愛好者及倡導者。]

玩家者，是玩得精，而非拥有得多，拥有得多，最多只能叫藏家，很多人一见富者藏茶以吨计，就跪拜是大玩家，但什么茶山一问三不知，品茶汤品不出茶龄与产地，品不出混料比例，不懂壶的结构美学，不懂水质对茶的影响，那此君就连玩都谈不上，更别说是玩家了。大部分顶级富豪都能拥物无数，但顶级富豪却要日理万机，大部分精力用于控制其商业帝国，能投入对玩物的时间就相当有限，真要玩通玩透，就远不如闲暇之人。很多坐拥数百万音响的烧友，重播声音还不如套JVC组合音响，单元相位混乱听不出，线路结构不懂，电子管工作点偏离，坏了原装零件随便上淘宝买个三元八角的就换上去，此类煮鹤焚琴之辈，别说玩家，连藏家都算不上，藏家还必须是物品完美主义，此类人拥物越多，越是此玩乐圈之悲哀。当然，只有闲暇没钱，那也难以接触到精品，无法把玩到殿堂级的玩意，就会限制了你对极致品位的判断。因此想成为一个大玩家，钱不能太多，不能太忙，也不能太穷，顶端的产品还是要买得起十件八件，要有钻研精神，要有沉浸其中三日不知肉味的痴迷，其实成为大玩家，并不是你想成为大玩家的，而是几十年乐此不疲，乐在其中，玩透悟透，就不知不觉成为大家了。

While the Collector may have breath in his possession, the Connoisseur cultivates Depth of Knowledge...Many very rich audiophiles spend too much time making money and too little time on his audio (sometimes sounding worse than a JVC combo), and cannot match the result obtained by one who has more time on his hands.. It's a pity that there are too many collectors, who unfortunately hog items in good condition...Today, if one has time but not money, one cannot get the best and will be constrained by one's limited reach and vision. Therefore, to become a real connoisseur, one cannot have too much money, nor too little time; neither can one be too poor to afford a few expensive items. Another requirement is an adventurous spirit and determination, even to the detriment of everything else. One does not set out to become a connoisseur, one naturally becomes one after years of total immersion and reflection.

音响圈中流行一句说话：听音乐无分高低层次，听古典音乐与听大众流行音乐没有分别。此言差矣，我承认，听古典音乐与听流行音乐都会令人快乐，甚至很多听流行音乐长大的人，更容易在听到某首歌曲时产生感触，但，这与层次高低是没有关系。你满大街拉100个人来，不是哑的话，99个能张嘴就唱几首卡拉OK热门歌。给把乐器这100人，你又再数数有几个能奏上几首音乐？因为，唱歌，是本能性的，张嘴能说的就能唱。演奏乐器，是种技术活，同样表演张嘴能唱的那首歌的旋律，用乐器就必须经过苦练，如果要演奏得好，还需苦练中的苦练。最后还要加上天分。

技术性的当然比本能性的艺术更高一个层面，当然，歌剧的美声唱法也要苦练，也属于技术性的艺能。还有的就是乐器，乐器是经历过人类上千年的改良，最后能留下的乐器，都是人类听觉审美认为最好听的，你随便找把乐器，乱弹一通，发出来的声音虽然不成韵律，但响声还是悦耳的。同样的乐器虽然也分三六九等，有便宜有贵，但它们都有同一个基准音，特别象钢琴，每弹一段时间都要重新调准基音。不象人声，人声是非常奇特的，同一句歌词，几乎每个人唱出来都不一样，所以，乐器发出来的声音，作为音响校声就比较有标准了，如果只是纯粹是一个自娱自乐的发烧友，那听什么音乐都是各自喜欢就好，但如果你想把音响玩精玩透，玩出高雅品味，那西方古典音乐就必须多听多学多理解，纯粹在音乐意境层面上比较，那中西方音乐只是各有千秋，但西方基督教的强大，引领了歌颂主的西方音乐急速成长，乐器种类与完善程度接近完美，演奏技巧的复杂性，音乐创作量与乐队规模，音乐结构的严密性，是远远超过中国音乐。西方音乐的发展在十八世纪未进入完美阶段，后人无论在乐器与音乐创作上都无法作出超越前人的创新性突破了。因而，要成为一个音响大玩家，必须要常听现场古典音乐，熟悉各种乐器的质感，在调教音响时，以录音较好的古典音乐作参考，让音响系统重现乐器的声音尽量接近真实乐器的质感。

The author here spends a lot of time explaining why to be a serious audiophile, to get the best sound, one must know some classical music and preferably go to concerts. He stresses the variability of voices makes it unreliable material for calibration. He regards classical instrumental music to be a definitive guide [Ed: completely agree.].

作为音响大玩家，除了对古典音乐熟悉之外，对各种音响设备也必须博览，有些烧友，几十年只玩一套音响，那眼界就一定窄，就象你一辈子只喝过一种酒抽一种雪茄，你说你懂酒懂茄，又有谁信？无论玩什么？必须博物致精，潜得水多，看水的颜色就知道深浅多少。玩得茶多，看茶叶就能猜出产地茶种。这道理就如王阳明的格物致知一样，有了正确听音乐的审美观，就必须多玩多听，各种品牌的音响互相搭配听得多了，你才能分辨出什么音响系统好声，怎么搭配才好声。如果你已经熟习古典音乐，玩尽天下名机，随手能搭配出好声的系统，已经是个不错的玩家，已经具备成为大玩家的基础，那还需要什么条件，才能成为大玩家呢？下期再聊。

A real Audio Connoisseur has to be cognizant of classical music, and encyclopedic in his knowledge of equipment. Some audiophiles stick with the same things always and they are inevitably narrow in vision...

音响大玩家（中) Top Audio Connoiseurs, Part II

[Ed: This Part is mostly musing, and I'll not translate any.]

童年那快乐 没有牵挂
赤脚淌着河水夕照下
船儿泊岸了 牵着你归去
无愁无虑洋溢在脸上
然而这快乐 就要失去
那个雨后黄昏没说话
船儿靠岸了 握着你的手
不想讲再会 难禁泪流下
一些好日子 一直在怀念
天真的笑声 梦里依依
也许天涯重逢难料
是否早已有变化
深情何须又聚又散
欺骗你与我
记不起从何时人便学懂
不再说永远
害怕只得一些遗憾

充满画面感的歌词，又让人思忆流淌，一刹那又回到童年时去水库游泳嬉戏的日子，放学了，把书包丢到草地上，脱个赤裸裸的跳到水里，古语赤子，应是如此，哈哈，游到夕阳西下，霞红满天，坐在岸边那废旧的水泥船上，看着那大鸭蛋慢慢西沉，那画面美得终身难忘，直致伸手不见五指，才依依不舍回家。快乐的童年，除了出考试成绩那天，其它都是满满的快乐回忆。

童年时逢开窗，便会望见会飞大象。赤子之心，对世间一切都如童话般充满幻想与好奇，吃饭卡了鱼骨，就信大炮力叔叔对茶水念咒，猛喝而下，偶尔咒语失灵，连喝数杯，喝到肚子涨也冲不下鱼骨头，他就说我心不宁，破坏了法术。如果不小心撞到头起包，军爷就脱下他的烂胶鞋，用鞋底在我头上揉，虽然鞋底混合了各种鸡鹅鸭牛屎味，但回忆起他老人家那充满怜爱的眼神，眼睛总是一湿。还有矮古哥哥，每次见我挑水，都是第一时间抢过我的担挑，帮我把水挑回家，一边挑一边嘴里喃喃的说，读书人挑什么水，苦力活我来干就好。还记得和大白狗一起钻入沟渠捉兔子吗？爬出来时两个都臭得没朋友了。总想不明白四叔香港带回的三洋收录卡座为什么能发出美妙的声音，却发现拆散之后就装不回去了，捱一顿骂已经是运气超好的了，为了想修好拆坏的修录机，周末就踩单车去新华书店找电子书籍，当时小学鸡的水平，硬是把基础电路图给看懂了，没钱玩音响，用纸皮箱做音箱，自搞分频器又反接电容引起爆炸。为了收听香港音乐台又要自制铁锅形天线，现在想想我们的小时候，动手能力真强。

也只有童年时赤子之心，才会对一切如此好奇与新鲜，才会觉得世间万物如此好玩，怀着快乐的心情，不断去探索未知世界之乐趣。只有永怀赤子之心的玩家，才能步入真正的极乐殿堂。人生而时间有限，多数人朝出晚归为钱忙，无非欲壑难填，有人金钱堆积如山，一毛不拔，精神财富为零。有人肆意购买，占有量大，多而不精。逢与此两类人接触，难有欢言趣语，难见童真欢颜，大多已欲海迷航，把自己深深埋藏。有玩物而无玩心，有玩物却不懂玩意，无聊得连他们自己都讨厌自己。

好看的皮囊千篇一律，有趣的灵魂万里挑一。可见世间有趣好玩之人的珍贵，玩家之道，就是好玩，玩出乐趣，玩得出彩之人，不一定就懂得原理，如教我饮茶的岑老师，对古董普洱茶热爱如痴如醉，各种号级印级茶不同壶不同水质不同口感与体感，都了如指掌，一次喝龙马同庆号，茶过三轮，已经腋下全湿，老师就叫我们几位茶友起来在客厅中走三圈，刚刚走致第三圈，背后突然一松，如被打通奇经八脉，舒畅无比。喝杯茶也有这种体感，也真是奇之怪也。虽然老师玩出各种老年份普洱茶之精彩，你真叫他入山种茶采叶炒茶压饼，那就不一定是他强项了。

科技日新，也出现了很多新鲜玩意，摄影，改装车，集邮，航模等等，只是艺术类玩意日浙稀罕。想想小时逢年过节，围餐过后，晒谷场总会拉灯点火堆，村中老少各演绝活，你想不到平时抓青蛙为生的二叔公一套洪拳打得开山劈石，挑粪的三伯一手笛子吹得这么好，天天不去田只会抽水烟的大姑长一曲《柳摇金》技压全场，还有五大三粗一脸横肉的三哥还会弹扬琴，有点神经质的癫仔雄拿起粉笔又在水泥地面上龙飞凤舞地书写，说实话，这么多年，再没见过有比他写得好的粉笔字了，现在逢年过节聚在一起，无非是吃吃喝喝，小孩子们都活在手机里，吹拉弹唱这些玩意早已人间绝迹。

琴棋书画烟酒茶，人生玩乐众多，音乐排第一位，今天虽然真会吹拉弹唱的人不多，但爱乐发烧友依旧遍布大江南北，调整音响又变成一种新的生活艺术，随着科技发展，各行各业蓬勃发展，大量的工作占用了生命的大部分时间，再不象以往那样插好秧就在榕树头下无所事事，为不虚渡光阴而学习吹拉弹唱消耗时间。现在幸好有大量音乐录音，想听音乐只需要打开开关即可，不过音响这玩意，说易很易，说难又是最难，要易的话，有台手机即可，说难的话，即使某老总身家百亿，生意场上所向披靡，一套音响数百万，分分钟一开声就听到你头晕目眩，口吐白沫。可见，买一套好音响，与玩好一套音响是两回事。

喜欢听音乐是人与生俱来的天性，但要练习熟练的弹奏音乐有比其它如烟酒茶纯品鉴类的玩意具有更高的技术难度，更难的是音乐这东西，虽然无形却又饱含故事。音响，单单是音响器材都已经是琳琅满目，多如繁星。偏偏西方音乐也是，结构庞大，复杂纷呈。要成为音响大玩家，单单是摸遍这么多品牌音响的搭配特性与理解透各类音乐的内涵都要花尽半生。在结识的音响大玩家中，香港人最多，可能一个是比较早富裕，另一个是受西方文化教育较多，在音响界之中，九十年代香港顶级音响玩家多如牛毛，很多大名如雷贯耳，首当教父高，陈教主，LEO冯，定位李等，虽未曾谋面，但已是名满江湖。