18 May, 2021

Life in Shenzhen I

https://www.travelchinaguide.com/images/map/guangdong/guangdong.gif

Letter from Shenzhen (21-13): Life Here, Part I, Basic Amenities, Identity and The Expatriate

This Blog, while centered on Audio and Music, serves occasionally as diary for me. This article, the beginning of a series, is the newest entry in the diary, to inform my many friends, including some fellow audiophiles (some of whom, like Vivek, I have yet to meet), of how I see life here.

For the last decade of my stay in Hong Kong, I was a frequent visitor to Shenzhen, but little did I think I'd live here one day on (maybe) a semi-permanent basis. A decade ago, I'd have dreaded this, but today, while by no means entirely comfortably established, I have many second thoughts, especially after the upheavals HK (and more recently the World) suffered. However, that is for a future installation. This one is on the basics, a little rambling introduction to what is to come.

I firmly believe how we see the world influences how we go about our passions; conversely, the way we indulge our passions affect also how we see things. If not for my interest in English (fostered in secondary school) I'd not have developed an interest in writing (which paradoxically makes me a better writer in Chinese too). If not for my total immersion in classical music, I'd not be the audiophile that I am; and audio in turns heightens my appreciation of great music. I believe, given the opportunity, and time, people appreciate beauty, and all kinds of beauties manifest themselves regardless of race, color, faith. But then, time is even more of a luxury to many people than money. The Chinese writer "Western Electric Sound", whose article I recently partly translated, is right on the money on what it takes to make a connoisseur (not that I think I am there).

Just as an audiophile must expand his music horizon to grow (a personal belief), an Expatriate must forego some things taken for granted (remember bagel?) and simultaneously become at least partly empathic with the new environment (yes, chicken feet and pig's knuckles are everywhere, but little decent ham and cheese can be found). An Expat who fails to do that burns himself out (and take others down too). In my 26 years of adult life in HK, having worked at a university, I have seen plenty of them, from everywhere. While most are good folks, some are just intolerable for their obstinacy, even superiority complex. I myself am actually an Expat several times over. In cosmopolitan HK, I was not usually perceived as one, but it is different here. Here, people often just stare at me because my demeanor (maybe my clothing, my shoulder bag too) gives out clues that I am different from them.

The Flying Dutchman This blog rarely treats opera, but I used to listen to a lot of it in my youth. I remain a devotee of Wagner operas. While the Ring is cherished for its great music, I do find its narrative and unending repetition challenging, to say the least. And so I have special fondness for that static beauty, Parsifal (film buffs: you must watch Hans-Jurgen Syberberg's masterpiece, with Edith Clever an unforgettable Kundry; the soundtrack, led by Swiss Armin Jordan, who also plays Amfortas, is also surprisingly erudite), as well as 2 hot-blooded earlier works, Tannhauser and The Flying Dutchman. IMHO, the latter 2 have the greatest overtures among his works. Now, all these are about sinners and repentance, which I have to say is probably what makes them so attractive to me (well, at least the sinner part...) The Expatriate and Identity Crisis Having been an Expatriate several times over, I cannot fail to identify with the fate of The Dutchman. I'd say you are very lucky if you think you know exactly your identity, and are entirely comfortable in your skin. For me, it's unsettling enough to have moved between HK, NYC and China (not to mention Taiwan, where I was born but not raised in, a place I learned to really love). Things got even worse with the Pandemic. And, being American (especially Asian American), it is disillusioning to see the country polarized ethnically and politically by all the fanatical absurdities proffered by both the Progressive Right and Left. Everybody wants to stress his own identity and would spread lies, defy the law and, worst to me, even alter language structure to achieve this, but this also serves as a lesson as to why a strong individual identity can be a detriment to national identity (believe me, I am not a communist). Well, despite wishful thinking terms like the "national dialogue", maybe the nation will very soon be an empty concept, though it is obvious to me the more nations there are, the more trouble there is. There should be more truly united states, and less countries. Also, I have mentioned before, the internet fans hatred much more efficiently than love. We audiophiles, though not perfect beings, are fairly cool in this respect. I always say, the world would be a much better place if everyone is an audiophile. We are just too busy doting on our routines (yes, even with my limited but circumstancially accepatable arsenal here, I constantly dream of a transformation) to do harm.

Where I am Shenzhen is just north of the Kowloon Pennisula. I am in Nanlian 南聯, way east in the eastern-most Longgang District 龍崗區, a part that is as close to neighboring Huizhou City 惠州 as the western edge of Shenzhen. Eastern Longgang, being less close to HK than Luohu, Futian and Nanshan (all with major CBDs), still retains more of an indigenous Hakka accent than the others. I live along the No. 3 metro line. In fact, a footbridge connects the mall downstairs to the metro. Very convenient but a little noisy. This area previously was an industrial area, but the arrival of the metro brought rapid urbanization. To my north is the original administrative center of Longgang and surrounding it are very nice and quiet residential areas.

Hukou, or Household Registration, and ID To Westerners and Expats, this is an obstacle, and it is. But, the fact is, this is a system that has persevered since ancient times. Ancient Qing dynasty laid down structures and rules that still affect our daily lives. If you go to Japan, and Taiwan, you will see more of Tang Dynasty's city grid structure than in China itself (and it is actually well thought out!). Household Registration was a Means for Census and Administration and it still is. It used to be that Hukou severely limits one's mobility, as one province's administration (including schooling for children), heath and welfare agencies will not accept another's. Now, reforms have largely, but not completely, ameliorated the situation. In democratic Taiwan, the hukou system is still in place, but mobility is easier. Given China's strict surveillance, all residents are required to carry their IDs. This is a Citizen's ID, not one administered by the DMV (in the US) and used as such (permit now phased out partly in aviation at least). The HKID is similar - by law we are required to carry it. However, even if it is supposedly (certainly no longer) "one country, two systems", residents in China with HKID face peculiar problems. Our Chinese "Return Permit" (as in Return to Your Country; our form of ID in China) starts with a capitalized English alphabet, which is NOT accepted by many apps, algorithms and automated machines used by governmental agencies and banks (China ID cards contain only numerals). This is a big deal in highly automated and AI-fused China. It means us HKID people, despite being regarded as Chinese citizens, frequently cannot avail ourselves of internet usage and booking, instead having to resort to manual service and correction in governmental agencies and banks. For non-Chinese residents I can well imagine the headache is greater.

Everything is Associated with Your Name and ID In China now, obtaining a telephone number requires entering a lot of personal data, and one is severely restricted in the number of telephone numbers one can have. The number follows you everywhere. You will need that number to open a bank account as well as a wechat account (an almost mandatory social media app in China). Many procedures require a confirmation code sent to the number. It is quite astonishing how often one has to enter personal data in order to obtain service. Sometimes this is carried to ridiculous extremes, like the account holder is the only one permitted to return a mere TV Box (China Mobile). Electronic Money China is basically all electronic money now. wechat pay is the most often used. There are restaurants where everything, from ordering to paying, is done online (no cash register, sorry). The vast majority of people now carry no cash, though I still do - it will get one out of tight spots, like in places where signal strength is low. Beware, wechat and electronic money leave tracks that are hard to erase, good news for your significant other.

Covid Measures Governmental agencies lead the way in enforcing strict entry requirements. Not only is a Green Health QR code required, one also has to scan other apps to provide personal info, so as you can be tracked in case something happens. Banks are less strict now after the Chinese New Year but becomes stricter with any uptick. Malls and private enterprises basically now allow entry for mask-less individuals (Shenzhen has no local cases as of now). Unlike HK, restaurants have no limits and they are packed during peak hours. It is important to note that, here in China, in terms of Covid measures, the people are all in with the government, which is why measures show success. No, no protests here, as everyone is conscious of his part and civic duties.  

The Environment Being all the way to the east, Longgang enjoys better air than the western parts of Shenzhen which, like HK, are more susceptible from pollution originating from more heavy industries in other Guangdong cities to the north. In fact, air here is considerably better than in HK. It is not just pollution, it is also what the city has done to cut emissions. Aside from a metro that is constantly adding new lines, ALL the city's buses (and most construction vehicles) are electric (made by giant BYD), so you don't get the double-decked bus diesel death choke of HK's roadside. No, the air is not quite as good as NYC, but it sure is much better than HK, which is one hell of a polluted money-mad city that unconscientiously avoid paying for environmental improvement. It is ironic that Shenzhen now has a much better recycling program than HK. No, not as good as NYC, no to mention the UK, Japan and Taiwan (among countries I have visited), but it is a start, whereas HK just stalls and stalls. I am a very green person, and this gets me very mad. Shenzhen also puts a lot of effort into greenery, much more than HK, and many major thoroughfares are actually stroll-able, unlike much of HK (which is denser in the urban areas). Don't get me wrong, Champs Elysee they are not. And, the government has really stepped up sanitation: streets are cleaner here than many parts of HK. During the long summer, many streets in HK just have a putrid smell due to restaurant waste "disposals"; not here.What really surprised me is that during my absence the city has built many public toilets (unlike HK, there were hardly any before) and they are clean and well sanitized. Thumbs up! It is more than evident to me governance here is progressive and have the general people's interests in mind (sorry, not quite you, expat).

Click pics to enlarge. Note the footbridges connecting the elevated metro station (one leads to my bldg).

Neighborhood and Living Quarters Big Chinese cities are not like the West, usually with a central CBD and downtown high rises and surrounding suburbs of low rise houses with front and backyards. Not here. Skyscrapers are everywhere but in the outer rungs some huge developments do have swaths of individual houses that emulate the picture book Americana. However, traffic for any big city is a huge problem and a new car license is hard to get, with a lottery system in place (there is also another type of license that forbids one to drive during peak hours). Most of us live, like I do, in apartments. Ours here is as big as the one in NYC and much bigger than in HK, but unfortunately there is not much audio equipment to fill it up. Any donor (a frequent happening in crowded HK)? With the same budgetary appropriation, one can live in a more spacious space than HK and NYC.

The power grid is steady. And Personal Safety? Yes, like HK, it's very safe here, infinitely safer than in Flushing, Queens, NY (and many cities in the UK and Europe). There are almost no felonies. Compare that with NYC and the USA (and UK), where other races shamefully and cowardly plummet Asian citizens of any age, including many seniors. That is not the reason why I am here, but it should be noted. It should also be noted that, even among the poorest substrata, Chinese (China and HK and elsewhere) felony rate is low compared to the impoverished areas (usually inhabited by minorities) in many western countries - that shows crime is not simply an equity issue (as the US Left would like to present) and speaks for the importance of identity (or lack of; here the Left has the argument on their side) and communal self-help, which is sadly lacking in many populations. Asians should be proud of their cultures and work ethics, as I am of mine. Asians teach the meaning of respect to their children and sacrifice for them too, and I respect that, especially given that many "disadvantaged" populations fail miserably in that respect.

Transportation HK people think they have the best transportation but, having lived here for a while, I demure: I think Shenzhen is better, with more comfort and a more equitable system. The SZ metro covers a much larger area and is constantly expanding in scope, with several new lines under construction. While that is preferred by most people, as I usually do not go too far I just as often opt for the bus, which has an extensive network that even extends into neighboring Dongguan. What the metro has done is to relieve the carriage volume of the buses. After the No. 3 Line opened, riding the buses, previously sardine packs, became a pleasure. It takes not that much longer, but more often deliver me closer to destination. Buses are frequent, fares are low and many bus routes do not have that many passengers; I am pretty sure it is subsidized. Hong Kong should get rid of its triad-controlled and highly polluting Red Minivans, which I boycott. And buses should emulate SZ and be all-electric. Senior Concessions SZ is generous - seniors ride free on the metro and buses. Neighboring Guangzhou has no such concession. Courtesy It is not infrequent that a younger person offers me (or someone with young children) his or her seat. It happens more here than in HK, not to mention NYC. Covid Note that Masks are mandated on ALL public transports. An occasional person flouts the law, but I have seen people without masks refused a ride. Rightly so.

Service In the public sector, I am mightily impressed by the service provided by the governmental agencies and the banks. The workers are generally courteous and patient. In fact, my fellow HK expatriate here, Hon Wo (icefox would know him) thinks service now is better than HK, and I may agree with him! Now, service is good, but the bureaucracy stills sucks! It can be a time consuming thing to do some transactions here, especially since we are not the ordinary Chinese citizen. In the private sector, I am just as impressed. Staff in Supermarkets, Convenience Stores (several on a block, quite a phenomenon) usually wear a smile and are courteous and helpful. A little less so for large restaurants, which have problems finding and keeping staff, but then I don't usually patronize those. I particularly like my McDonald's downstairs, where I often have breakfast. The staff is young, courteous and like family. They are also more articulate than their counterparts in HK (many HK youngsters are barely coherent, in dialect and in social discourse, if you ask me).

Provisions As in other western countries, the big supermarket chains are mega-stores, one-stop for everything. State owned Huarun Corporation 华润 (which curiously had evolved from its origin as a HK company) runs the large chain Wanjia 万家 (Vanguard) but there are many private competitors too. These are mostly Chinese companies but there are foreign firms too. Americans may be surprised to learn Walmart is one of the biggest chain here, though they are not doing that well. As I am going to devote a whole article related to food and drinks, I'll not belabor this topic. I have a Vanguard right downstairs, a Bravo 永辉 across the street and a Walmart a 15-minute walk away. But these are not where I get most of my groceries, which are largely from the many mini wet market competitors (a new breed) dotted across the neighborhood (many use delivery, but I shun this, largely out of environmental concerns). Yes, basic necessities are at one's fingertips, more so than HK and NYC. Competition if fierce and, in this respect, capitalist in the extreme.

This article is getting long, and I still haven't said half of what I meant to. That will have to wait till the next installment.

16 May, 2021

Harbeth Tontragers IsoAcoustics Sound Addicted

Getting the most from your Harbeth Speakers by Jaylat

I was very pleased to see that fellow blogger Doctorjohn recently added Harbeths to his already impressive lineup. I'm a huge fan of my Harbeth P3ESR and 30.1 speakers, which to my ears are ideal for reproducing small ensemble jazz, vocals and classical chamber music.

When I auditioned the Harbeth 30.1s at a dealer I compared them to his top system in his dedicated listening room. This monster setup featured huge Wilson speakers, top line interconnects and cables, and a bank of amps and preamps that totaled well over US$1 million. I much preferred the richness of the Harbeths and Luxmans at a bare fraction (less than two percent!) of the price. [Not to mention the Wilsons look hideous, like a recycling bin or one of those robot cleaning machines you see at grocery stores.]

So how to get the best sound out of your Harbeths?

Tontrager Stands
These are really beautifully crafted stands, handmade in Germany from local woods. As they are very expensive, I'd like to report that they make little difference, but the fact is their effect on the Harbeths are transformative. They really make a huge, huge difference.

Did I mention Tontragers are really expensive? Their P3ESR stands cost almost as much as the speakers themselves. I got a set for the 30.1 monitors, which previously had been sitting on an older pair of speakers.

[If you read the official comments from Harbeth's own User Group forum (which I really do not recommend), they will tell you that Harbeths do not need any fancy stands and will work just as well sitting on any old Ikea stool or block of wood. Oddly, they also cite the super-expensive Tontragers as the only third party stands they officially recommend.]

Once the Tontragers were set up, the difference was so striking that my wife (who can take a rather jaundiced view of this audio hobby) came out of her study some 30 feet away, asking if I had bought a new set of speakers? The sound was really that different. Soundstage, details, bass all saw a huge improvement.

As I understand it, the Tontrager stands allow the speakers to "float" on the four points of contact, which turns the entire cabinet into a musical instrument. Think of playing a cello while holding it tightly, which might dampen the sound, versus a loose grip that lets it vibrate. The Tontragers suspend the speakers in the air, allowing them to really sing.

Another big upgrade for the Harbeth 30.1 system came from merely carting the whole setup from the family room (tile floor, big bank of windows) to the living room, which is fully carpeted with drapes over the windows. The sound has taken on a whole other dimension, which underscores the value of room treatment. And it didn't cost a penny!

IsoAcoustics Aperta Series Isolation Speaker Stands
Luckily there are much cheaper alternatives to Tontragers, especially for the P3ESRs. In my case the Tontrager stands would not work in my home office anyway as they would place the tweeters at below ear level, so I opted for IsoAcoustics Stands, which are really excellent. These are designed to sit on a table top, in my case an antique Chinese altar table.

My office has two different listening areas, one at the computer and one for reading, and the small, light IsoAcoustics make it easy to move the speakers around to suit one or the other location. Do they sound as good as the Tontragers? Not quite, but they're pretty good and come in at a bare fraction of the price. They also allow unlimited vertical adjustments which make them very versatile.

If you really want to save money, the Sound Addicted Studio Monitor Isolation Pads also do a very decent job for the P3ESRs and cost less than $20. They are used in many professional recording studios.

Editor's Postscript:

1. I was pleasantly surprised when I checked in and found this very specific but lovely little article. I can see Jaylat, an experienced writer, had a little trouble with the template, which we all struggle with. Features are minimal and the engine seems to have a mind of its own and frequently over-rides our choices. AI at its worst. Next I shall write a small article as to how to overcome some of the idiosyncrasies.

2. Although I probably come across as one who eschews all tweaks and gadgets, that is not at all the correct picture. Truth is, all tweaks make a difference but most do more harm than good, even if the average audiophile (and certainly most reviewers) focuses more on the latter. Truth too, that I think less is more, more often than not. It takes a life time to learn the meaning of the words "judiciously applied". Nowhere is this more obvious than surface contact - stands and racks. As a longtime student of bookshelf loudspeakers, including many rather bulky UK ones, I have come across a vast array of stands and have shaped my personal beliefs, which should be an article unto itself. Nonetheless, I think:

 a) if possible, choose an open-frame stand, which the Tontrager is. The idea, as Jay alluded to, is to minimize the contact surface between the speaker and the stand;

b) avoid putting spikes and cones and what have you between the speaker and the top plate; this is very popular in HK and the Chinese world but I can say I have never heard these "tweaks" enhance the musical presentation; the Tontrager can be viewed to belong in this camp, but the significant difference is the outriggers are integral parts of the whole structure;

c) metal stands with a full top plate can still sound good but one must listen for oneself. Personally I think heavy metal stands, especially 4-pillared ones, run the greatest risk of sounding bad. HK has the largest population of LS3/5A die-hard's (many also own Harbeth) anywhere and the "common" wisdom is that Foundation 4-pillar works the best. Well, I do think reasonably well of Foundation stands but I think my single pillar 21" works just as well as the commonly seen 24" 4-pillared ones. AND, avoid at all cost those HK and China Foundation Clones - they sound dead, the more so when loaded with sand; Sonus faber stands (of the Franco Serblin era) use a combination of metal and wood (maybe MDF) and they sound good (but avoid that marble based one for the Guarnieri; in fact, if I may dare to say so, avoid the Guarnieri as the various Amators are better);

d) Wood Stands (or hybrid) can sound good, but it is not a given. I have not heard the Tontrager, but the design seems sensible to me. I have heard some others sound reasonable (Diapason is one example) but I am certain in my one belief - real wood is usually better than MDF (the latter over-damps). The best example is HK brand Sound Organisation - I'd avoid ALL of their stands and racks, which kill the music. AS Jay mentioned, breathing is important, and MDF usually suffocates;

e) metal spikes should be avoided as much as possible. Yes, they image better, but usually exact an unacceptable cost, lost of flesh, heft and bass impact which, the more you know about audio, the more you'd guard against their detriment (even in chamber music);

f) in the same vein, and it's interesting that Jay mentioned that difference in his 2 rooms. The floor material is a deciding factor. Both of my HK abodes have hard tile floors. My own impression favors doing away with all spikes on the stands, but it is not an absolute, as my Ruark Crusader III seems to like the spikes.

The ultimate advice is: Try everything! EVEN if it is supposedly counter-intuitive. We think we know Science, but the fact is, there are more that we don't know about than do. It doesn't hurt and, as Jay mentioned, it doesn't cost anything. We should always do cost-less tweaks, whereas MOST of those expensive "solutions" are for the birds.

3. One thing I have to say I really appreciate Jaylat's setup. He integrates his setup into the home, not vice versa. He obviously is my kind of audiophile, not fixed in a seat, enjoys the music and is mindful of aesthetics. I am sure he is comfortable, something I wish for you all!

12 May, 2021

Jean Rondeau Melancholy Grace Ho Fan 何藩

Letter from Shenzhen (21-12): Melancholy Grace
Streaming Classical Music (21-2)


Just today NML loaded an album that is hot off the press, Harpsichordist Jean Rondeau's Melancholy Grace (Erato). Oh my, it hits me on several fronts.

First, the music. This is an album of exclusively slower music, as in Lachrimae, and when well done, whether here or by a viol consort, I am a sucker. Rondeau plays two harpsichords, one an antique and the other a more powerful modern replica. The playing is irreproachable - over its considerable length the coloristic playing and subtle shadings kept one's interest and form a coherent whole.

Rondeau, with his forward-looking glance and wild look that could have hearkened from a Harley-Davidson clan, is an unlikely hero. He is the only harpsichordist that has as a high a profile is the DG artist Mafan Esfahani, who is supposedly more intellectual, but my own listening in the same repertoire favors Rondeau (I am not the only one). And, in this album, the annotation by Rondeau is highly sophisticated; I don't pretend to understand everything he writes about temperament, but he is eloquent and obviously of considerable intellect.

There is more to this album. The cover art is by Fan Ho (Ho is the last name; 何藩), an older legendary photographer who hailed form China/Hong Kong, whose black and white photos have won awards all over the world (later he also became famous for his film acting and direction). Google and images and tributes are all over the place, but this blog (in Chinese) I think is particularly informative. Ho Fan and his wife were fervent and highly sophisticated classical music listeners (early Mahler admirers to boot!) and he admitted to the influence on him in the dark room.

This disc is an example of music, notes and cover art to all come together to provide total immersion, and why "metadata" is of such importance.


09 May, 2021

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。

05 May, 2021

Mrs Dalloway, Literature and Music

Letter from Shenzhen (21-10): Mrs Dalloway, Literature and Music

"...I resign, the evening seemed to say, as it paled and faded above the battlements and prominences, moulded, pointed, of hotel, flat, and blocks of shops, I fade, she was beginning, I disappear, but London would have none of it, and rushed her bayonets into the sky, pinioned her, constrained her to partnership in her revelry..."

The Shenzhen Public Library may only have a minuscule collection of more recent English books (and, given the general censorship, certainly not any title that will court controversy) but it has a bare bone selection of classics, including those almost forgotten in their native countries (US and UK). And translated classics. I still have cold feet about Remembrance of Things Past and so ended up with Virginia Woolf's Mrs Dalloway, in the Penguin paperback.

I had trouble at first, and it wasn't until almost two months in that I got really into it. The language is brilliant, but the literal (and cinematic) frame-by-frame micro-dissection of emotions, of simultaneously being spontaneous and hovering over life with a cold eye are unsettling to say the least. Even if I know something about Bloomsbury and Woolf's story and suicide, that is not necessary to experience the book, for it is one intense trip. No doubt Woolf was writing about herself too, but neither that, nor the ingeniously minimal story line, is the star of the novel; rather, it is London itself.

In the midst of it, I was somehow reminded of Delius' Paris, a great and vibrant tone poem that will be a surprise to those who know Delius only by his autumnal and "sunset" scores. It is a paean to a great city (which London certainly is, even if in pre-covid times you would fail to hear English in Downtown) and a personal fav. I highly recommend the reading by Charles Groves (EMI/Angel), in sumptuous sound. Now, where is my Angel LP? Also, Elgar's Pomp and Circumstances too (I recommend Boult/EMI/Angel)!

Literature is very important, and inspiration for countless composers (and film makers). Much of baroque, classical and romantic music, orchestral and opera,  were inspired by literature. However, the modern practice of hifi I am afraid divest us from other art forms and actually isolate us from the world of arts. Not a good thing.

01 May, 2021

3-D Printing Potential Use in Audio?

Letter from Shenzhen (21-9) 3-D Printing: Potential Use in Audio?

I imagine 3-D Printing likely has already been used in certain aspects of high-end audio, like making unusually shaped chassis. But the following news got me thinking...

This news reported that the Dutch (among others) have already 3-D "printed" homes. What is noticeable is 1) that the technique makes the walls sound-proof; and 2) the tenant has noted great acoustics even when he is just playing music on the phone.

That is indeed something. And I trust the tenant's observations. I think this has tremendous import for audio. Not so far into the future, when construction using 3-D technology becomes more common, it will have significant impact on the dedicated listening room. For those who have dough and stamina to tackle bureaucracy for permits, I can imagine custom constructing such a room in the backyard. One can have it with a tried-and-true golden dimension and, if it were me, a sloped ceiling (which yields better sound due to its horn effect, with loudspeakers near the lower end). Or, perhaps one can custom order such walls (which can be much thinner)which will fit into an existing room. At some point, someone is going to make some sound panels out of this kind of material and sell it for a princely sum as an audio tweak.

29 April, 2021

Streaming Classical Music 21-1

Streaming Classical Music (21-1)

Change This post heralds a change in how I share what I stream in classical music, which is now only via Naxos Music Library (Spotify only available when I use my HK SIM card or do pseudo-VPN). The frames on the right, with cover art and links, take a lot of time to make, and I shall only do an occasional one from now on. Instead, I shall be writing articles like this one. No cover art and links, but you should easily be able to find the album with the info I give. One benefit of this format is that I may expound more on topics that I like. The style would emulate a little Rob Cowan's column in the Gramophone magazine, one of my favs. I will still post a link on the right when a new article appears, so as it is easier for those of you who don't regularly visit. Confluent with my audio beliefs, exploration of backwaters is as much prized as classic mainstream offerings.

This first post is mostly about orchestral music.

Elgar Violin Concerto This is an absolute beauty, undeservedly dwarfed by the composer's magnificent Cello Concerto. I have always loved this piece. The first one I bought was the Zuckerman (Sony), then the Menuhin (EMI/Angel). Since I started streaming NML, I have listened to other versions and all newcomers. NONE is finer than the new one by Renaud Capucon (LSO/Rattle; Erato). His tone is always lovely and the performance is highly nuanced, as is the idiomatic playing of the LSO, all in splendid sound. The Violin Sonata makes a great coupling. This is now my reference version. In terms of the general orchestral violin repertoire, Capucon has recorded extensively and while he is always quite good, there are few outright standouts in a crowded field; I am glad that changed with this one. His chamber music recordings with pianists Frank Baley and Nicholas Angelich, and cellist brother Gauthier, all excellent artists, are generally even finer, indeed exceptionally good, and I urge you to explore them.

Hilary Hahn She is another violinist I have followed with interest. Her recent recordings are not for those who crave tonal heft. So is this one, played with a light touch, which not all will find becoming in Prokofiev Violin Concerto No. 1 (OPRF/Mikko Franck, DG), but it is an interesting reading worth streaming. The Chausson Poeme I find wanting - I like it with more flesh and blood. Remember Barbarella? When Jane Fonda rewards the Bird Man with sex, she holds out her hand (the new way in a new age) but he asks for it the "old way". Damn right he is! Long after her debut Sony album, Hahn has also newly recorded the other half of Bach's Solo Music (Decca), and it is a winner. I cannot say it is better than all the new versions (which I have mostly surveyed, including the excellent Christian Tetzlaff), for standards are generally very high, but it is worth streaming for sure. While we are on Bach, I am somewhat disappointed by the recent recording by the generally excellent Augustin Hadelich (Warner).

All of these young violinists I have heard in concert and can attest they play even better live!

Vasily Petrenko The name came to me with his very well recorded RLPO Shostakovich series (Naxos), which ranks with the best. Together they also recorded a satisfying Rachmaninov series (Symphonies and Concertos; Avie). But things went up a good notch when Petrenko took over the Oslo Philharmonic. This now is among the world's best orchestra, as I can attest from hearing their concert in Hong Kong. They are much better now than many years ago, when they first made a name for themselves recording the Tchaikovsky Symphonies with Neeme Jarvi (Chandos); despite critical acclaim I have never warmed to those, nor the woolly Chandos sound. Things are very different now. The Prokofiev and Myakovsky Symphonies (LAWO) are simply outstanding in both performance and sound. In fact, LAWO has recorded them in a lot of Russian works (Rimsky, Tchaikovsky, Stravinsky) and all of them are worth hearing. Although clear eyed, Petrenko's readings flow naturally, never sound cold, and the playing is always first rate.

More Prokofiev Symphonies Given the quicksilver style of this composer, from the ancient, but by no means entirely dismissable Martinon (Vox) to now, no Prokofiev symphony cycle can ever be the best (though the worst is clear, Ozawa on DG). But recently we have three good cycles from less famous orchestras under American conductors. Marin Alsop (Naxos) is not a complete success, but I love the Sao Paolo Orchestra (they have also done great work for BIS). For me, even better are the cycle by Litton/Bergen Philharmonic (BIS) and Netherlands Radio Philharmonic under James Gaffigan (Challenge Classics). These two cycles enjoy the advantage of great sound (both BIS and Challenge are always audiophile grade, and issue SACDs too). Overall, I give the nod to Gaffigan, who has also done sterling work with his Lucerne orchestra for the same label. While I am at it, there are two neglected, but essential Prokofiev recordings. First is Symphony 1+7 by Philharmonia under Nicolai Malko (cfP/EMI). The sound still holds up well and the substantial filler of excerpts from Love for Three Oranges is just lovely. For me, all these performances have never been surpassed. The other one is even more obscure - Prokofiev's 5th with Jascha Horenstein and the Concerts Colonne Orchestra (Vox). I first heard it on a lousy Sine Qua Non LP (Americans, remember those, and Murray Hill?) and was immediately stunned by the direction and the bouncy and piquant style of the French Orchestra (not so much evident now in current French orchestras). The sound, though mono, is reasonably clear and solid (but that piano is ridiculously highlighted). BUT, the digital mastering by Vox used a flawed vinyl and may not pass muster with some audiophiles! The Vox set also includes and the 1st symphony, Chout and Lieutenant Kije, all wonderfully performed. Recently, Pristine Classical has remastered this more carefully but I'd think this boutique restoration label is unlikely available on any streaming platform. As with many significant Vox artists of the period (like pianist Guiomar Novaes and violinist Ivry Gitlis), certainly Horenstein's very good Vox recordings (Bruckner and Mahler included), the best way is to find a mono Vox LP (PL prefix; avoid the electrically re-channeled STPL); they are pretty easy to come by. Digital-only folks shall have to stream. If you are impressed by the music making, there are plenty of Horenstein discography online to guide you.

Yet another American excels in outlying repertoire. Antonio Pappano, especially with his awesomely characterful Santa Cecilia Orchestra, has always been a personal favorite. This recent outing with the LSO, in Vaughan Williams' angst-ridden Symphonies 4 and 6 (LSO Live), is exemplary, equal to any other imho, in good sound. More please.

More Rachmaninov Symphonic Works As mentioned before, Petrenko's recordings on Avie with the RLPO (including the difficult to get right Symphonic Dances) are quite good. But even better are the Tartarstan NSO under Sladovsky (Sony), recorded in the midst of the covid crisis. I have recommended this formidable combo's Shostakovich before, and one should gobble up any of their offerings. A new recording by the PO/Nezet-Sequin of Symphony No. 1 and Symphonic Dances (DG) is quite decent, whereas I find puzzling the praise heaped upon two Rach 2's from British conductors: TSO/Nott Rach 2 (Exton) and LSO/Rattle (LSO LIve), both lacking in passion. For classic recordings, the PO/Ormandy (Sony) I grew up with is still up there, in reasonably good sound. If sonic splendor (and good musicianship) is what you want, you can hardly go wrong with Concertgebouw/Ashkenazy (Decca). For Symphony No. 3, a favorite version of mine is a dark horse, the sonically awesome LPO/Boult (Decca). Still by far the best bass drum! Aside from the symphonies, one must at least dig into Isle of the Dead and, that masterpiece of masterpieces, Symphonic Dances (a symphony really). In a good performance, the latter always bring me to the brink of tearing. Even more than the symphonies, echt Russian it is. And, don't miss The Bells, another masterpiece.

Speaking of PO/Ormandy, NML just uploaded a mono recording of Sibelius Symphony No. 2 (Sony). It is more exciting than his stereo remakes (at least 2). Sound is very decent, a good mono remastering (as the Vox is not). NML is also uploading gradually all of the highly worthwhile Sony Szigeti recordings recorded late in his career, with lean tone and questionable intonation compensated by strong and singular musical vision.

Yutaka Sado In general, Japanese orchestras and conductors don't thrill me too much (more tidiness than spirit). Ozawa's extensive studio recordings, even with the estimable CSO and BSO, rarely excite, but his late works with the Saito Kinen and Mito Orchestras (Philips and various Japanese labels) can be very good indeed (a similar case to Abbado's Lucerne and Orchestra Mozart recordings). Audiophiles are familiar with the Minnesota Orchestra under Eiji Oue but I find neither the interpretations nor the recordings, for all the touting from audio press, to be outstanding. I'll take a Kenneth Wilkinson recording over a Professor Johnson one anytime. Imagine my surprise when I recently came across some very satisfying Bruckner conducted by Sado! With Vienna's third orchestra, the Tonkuntsler Orchestra (on their own label of the same name) he has recorded quite a few albums, and there is not a loser among them. The Bruckner is better than his more famous compatriot and predecessor, Asahino, but then his orchestra is much better than the latter's Japanese orchestras too. There is a rightness to everything, from Sibelius to French music, and the sound is uniformly excellent. I'll be eagerly following him and the label.

Another great Bruckner recording came from surprising source. A video of Barenboim's East-West Divan Orchestra playing Bruckner 9th (official DVD on Unitel) is surprisingly accomplished and moving. This young orchestra cannot be very familiar with this composer, yet they play with passion and pathos, which are unfortunately absent in many mainstream performances. The opener, Beethoven's Triple Concerto, with assists from Yo-Yo Ma and Mutter, is also excellent. Kudos to Barenboim as Brucknerian (his Berlin Staatskapelle cycle is the greatest of his three).

A Brahms No. 2 with the Dresden Staatskapelle under Blomstedt (Pentatone) is an eye (or ear) opener. The dark hue and subtle music-making harks from another age. It is not the most overtly exciting, but it is deep and makes you ponder about the composer's world. A better offering than their previous 1st, which did not so fully engage me. I look forward to future installments.

Organ To close up this post, four organ recordings that I have enjoyed immensely. Franck by Petur Sakari (BIS)(not to be confused with conductor Petri Sakari) is outstanding and, of course, sonically opulent. NML also just uploaded a Bach recital by Demessieux (Decca). It is highly atmospheric and enjoyable, and the very good mono remastering is no impediment. Incidentally, Demessieux' stereo Decca recordings of all of Franck's organ music has long been reference recordings. While we are on French organists and organ composers, I have always loved Widor's music, and Christian von Blohn is as fine an exponent as any; Volume 5 of his survey contains the famous Organ Symphony 5 and also 6 (Naxos) in great sound. In a lighter vein, Spielen in die orgel, a baroque organ recital by Pieter van Dijk, sometimes joined by violinist Annegret Seidel (Cantate), is well programmed and highly satisfying.

In case you wonder, my humble systems here are capable of giving a creditable facsimile of the King of Instruments. In audio terms, the organ is actually even harder to render correctly than the piano. In most hifi systems, particularly those with large and inefficient modern loudspeakers and solid state amplification, the high registers (flutes and piccolos) shriek and the bass line is fuzzy and woolly. None of that here - the pedal is beautiful and atmospheric, and the line is always moving. The sudden massive lurches just wash over me, as it should be. Unlike the piano, which can naturally produce a brittle note (important in Prokofiev), the organ in real life is never brittle (even when overloading the venue). Test your system with some organ music. Bach would be a good start!

14 April, 2021

Take It Easy

 https://media.gq.com/photos/59a447ae373594437cde015c/master/w_1600%2Cc_limit/Furniture-Design-1517-GQ-MOCH04-01-le-corbusier-tdk-maxell.jpg

HiFi Basics XII: At Ease, At Home, Simple is Better
Letter from Shenzhen (21-8): doctorjohn muses on The Inner Audio Landscape


This article had an earlier incarnation, which I erased by accident due to an error in the save procedure. It is really unfortunate, as it was even more extensively delineated, and I have not been able to fully recapture some of its rants and pathos. Nonetheless, for having taken up so much time, this belabored reconstruction is close to my heart. As the article is very long, I have collated some of my remarks into Footnotes at the end of the article.

Less is Less
Within a decade, the landscape of blogging has changed enormously. Depending on how one defines it, blogging has largely migrated to various Apps. Just as Laptops have yielded ground to increasingly powerful Cell Phones and Tablets, Words have been subjugated first by Pics and Videos, then Memes and even Emoticons, in no small measure attributable to miniaturization and the fact that form has become more important than function and that the "bulky" keyboard can be circumvented. We can now even "write" orally, but anyone who spends a considerable time writing knows it is the revision and editing that take by far the most time, and AI does not help much here.

As the Word becomes less important, indeed often even irrelevant, other "Value-Added" Parameters take over. Years ago, we'd listen to something for a while and then ask: "What's the Catch?" or "Where's the Beef?"; now we don't get much of the processes and deductions, just Catchy Phrases or Big Statements, even just a moment or two, which appear more than enough to "Influence" others and garner "Thumbs Up", not to mention Monetize (this sadly increasingly applies to elections). This blog shall steadfastly remain old-fashioned.

Much of this has also permeated the world of audio, in my opinion frivolously (this in contrast to music). The Apps have become too powerful (and profitable) for even traditional trade magazines to ignore. Say, youtube, not a few magazines and writers have their channels. I am not surprised that someone like Steve Guttenberg of cnet, whose job is basically to cover the lower end in a rather perfunctory manner, has a lot of videos. They are of no use to me whatsoever but maybe newbies will find them useful. At the other end, we have someone like Michael Fremer recording videos of very expensive stuff. They are equally meaningless. Whether cheap or ultra-expensive, all are small time capsules designed to strut the stuff in the best possible light, playing rather generic music. At most one can say the sound is normal for the selections, but as a basis for informed judgement is stretching it. These are just stone throws from advertisements. This is what I call Pandering, to the Lowest Common Denominator. Of course, there are sometimes pleasant surprises, like Ken Micallef's wonderful series on musician audiophiles (kudos to him!).

The Good Read
In many ways I think the modern audiophile spends too much time reading about what others thought. As I have mentioned, much of it is perfunctory or simply declamatory. They may be harmless but they cut into your time for better things, time for developing listening (or cooking or, whatever) skills. There are few writers like AD (I also enjoy the more florid HR and more straightforward KM; also because these writers reference to equipment that I can identify with), who can make me read about something that I am normally not interested in. In a way, the best writer can write about anything and have you hooked - after all, words can (and should) be a sensual pleasure, not just reportage. The beauty of Language is its nearly infinite permutations (1)

Set Up Skills and Musical Foundation
Literature is a good thing, as it makes us work our minds, to appreciate what we may not love. As I have mentioned years ago, acquired taste is frequently the most precious. That is a must for a good reader, and I'd say also for someone deep into music. On the other hand, audio is innately different as it is referenced to real music. There may be many ways to assemble a musical system, but the goal is clear - to reproduce music well. I am not sure how much skill is needed to set up a good system. Not that much really - just a pair of music-loving ears. Smaller scaled efforts like a classic UK ss integrated amp driving the right speakers (e.g. LS3/5A) can work just fine if one can forego full-range. But with large and inefficient loudspeakers (and those with complicated crossovers to mask deficiencies), monster amps, and computer as source, more often than not the result is disastrous. While I can allow some leeway in taste, I cannot forgive gross misrepresentation of tonality, timber, harmonics and PRaT. Unfortunately, most home visits erstwhile left me at least nonplussed, if not resigned, even downright irritated or angry.

Into the Dark Side
Leeway, yes, but tailoring to taste only goes so far. Among audiophiles the violin is easily a favorite instrument, so it is doubly shocking that most systems parched out the sound of this delicate instrument, and it is a rare day when one hears good semblance of massed strings. In going for more air and harmonics in the upper registers, audiophiles knowingly, or not, sacrifice body and sound of the barrel, which is basically throwing the baby out with the water. Similarly, transients and timing are of supreme importance in jazz (in classical too, but it is not so obvious to the untrained ear), and here a larger number of system can pass muster (which is why I say never use only jazz for evaluation), though failures are still common (either too aggressive or too slow moving).

Negative emotions? Well, not at all if the host of the aberrant system conveys that it is a work in progress and knows where he is at. But the funny thing is, I have come across quite a few personalities who pride the waywardness of their systems, and a few more who even make a living out of it by advising others for a fee. More than a few hosts "guide" their guests with statements like "hear the air in the violin?" "feel the luxurious texture?" and it is ironic that most of these systems are wayward in nature. To cringe (even cower) is something that should never happen during a visit, but it happens much more often than I'd like. It all boils down to lack of knowledge of what real music sounds like. While the audiophile should follow the sound, the tragedy is more often than not the sound follows the audiophile (2)

The Personal Library
Streaming is a wonderful thing but in general it is not for the critical facility, rather the opposite. For me, and many of my friends, especially the analogue mavens, it is best for sampling and discovery of music, whether historic and oop, or the newest stuff. It can be useful in other arguably more important ways (like teaching and news delivery) but it is undeniable that noise can be overwhelming.

Although I think the audiophile should not read too much and spend more time listening to music, neither do I think they should OD on music, which is, I am afraid, rather easy, given all the devices we operate. There is a limit to how much one can explore or listen to podcasts before becoming aimless and listless. Take a Rest!

If streaming also largely supplants your other music cravings, that's not a healthy state. As much as I stream sometimes (e.g. I can do a whole Beethoven symphony cycle in a day) I do frequently have the desire to play something specific, in the best sound possible (for me, physical media), be it a Bruckner Symphony, a Brahms Piano Concerto, or some Tchaikovsky. Maybe some Ellington and Monk, or Nick Cave and Until the End of the World. You should too (with any genre), so as to have a healthy personal direction (3)

Our Petrified Selves
One should also not enshrine one's library in stone. Heifetz may "own" the Scottish Fantasy or the Glazounov Violin Concerto (the words of an audiophile friend) but should that stop you from listening to other accounts? For me, exploration, so easy with streaming, is of vital importance in keeping the music fresh in mind. Although I swear by Milstein's Solo Bach, I find much to admire in many present-day accounts. Just yesterday I listened to Yutaka Sado (new to me) conducting the Tonkunstler Orchestra in Bruckner 8th, and I was enthralled. The recording is recommended by Ralph Moore of the Bruckner Society, a very reliable guide in my experience. It is very different than the Apollinian Karajan studio version I have been listening to for decades, but it is just as grand and sonically superior. I shall be listening to more of this conductor's work, breaking my usual reservations about Japanese conductors. It is also great feeling to be fulfilled by something new instead of an old chestnut, which happens not infrequently when streaming and exploring. Yes, one must obtain a balance between re-visiting favorites and hunting for new treasures.

Striving for "The Best"
An Obstinate Belief in "Only The Best" mars some of today's audiophiles. Unfortunately, what is regarded as "the best" is frequently not an innate feeling but just "critical opinion", which dies hard. The best, and unfortunate, example is HP's LP List. I need to count on more than one hand the number of audiophiles who avidly collect his list, or even only possess what is on the list. And, yes, all of these people want First Pressings. London pressings are shunned for preference of Decca too (both are UK pressings). That is perhaps all fine, but it is a shame to pass over innumerable other equally fine London pressings. I used to grab just about every Ansermet LPs I encounter (not now as I have almost all of them), the vast majority of them on fine sounding budget STS (mostly still UK pressing), which I have yet to see an audiophile play. I still remember astonished by the sonic excellence of Ansermet's Cinderella, on a lowly late STS yellow label US pressing. I later acquired an earlier London UK pressing but didn't feel any more adrenaline rush. Indeed, same for my benchmark Rossini Overtures, the LSO/Gamba. I first heard it on a fine sounding UK CD (!) and played it to death. Later, I acquired a late Dutch LP pressing and it was not better. I then got a UK London pressing but I still could not recapture the initial joy. And yes, I had a modern 18 gm re-issue too and it was not even worth mentioning. Well, the exigencies of pressings, and many spend their precious moments wallowing in comparisons. Sigh. I cannot help but have at least some contempt for people who want what are reputedly "the best" in everything but are lacking in the self and ability to reprocess, synthesize and re-invent. That goes for fashionistas, winos, foodies and...

It seems in this age of wide open internet, people become narrower in their views, more dependent on what other people have said, less reliant on the self and less in touch with themselves. At every stage of audio evolution, for every purchase the audiophile wants "the best in its class". This proves elusive. The more discriminating the person (even if he doesn't know it at first)  the more likely he will find the majority opinion lacking. We must find our own path. Look, I spent at least a good decade with mediocre mass market stuff but that didn't stop me from enjoying music and expanding my horizon. It took another decade to hone my setup skills, to shape my taste - simply put, to train my ears. And, yes, as we say in HK, I have paid enough for "tuition". Do I have the "Best" now? Maybe a little of it, but, partly due to circumstances, I am not even spending time listening to it! I am listening mostly to low-res NML. Do I feel depraved? No, quite the contrary, I enjoy my explorations. Here in Shenzhen I only listen on the simplest of equipment. Do I miss my better stuff? A little. But I continue to enjoy music. It seems so easy to say, if the equipment makes you enjoy music, it is good, but audiophiles LOVE to sabotage themselves, and bring on troubles for themselves. That is our collective curse, from which I have largely escaped today.

Good Things Come to Those Who Wait
No matter how large a physical collection one has, or how much is available on streaming, there are times that we feel wanting. A few times (but no more) in our lives, we'll hear something and be instantly smitten (for me, Tallis Scholars' Allegri Miserere heard at Lincoln Center's Tower Records). Such heightened sensation is not easy to reproduce, and may have to do with extraneous and extra-musical reasons. Remember the pop song that suddenly burst out of the radio while you were driving down the Palisades on a beautiful day with a girl that after all these years you still have not forgotten? Somehow it has never worked for me to play at home the classic songs of the likes of Otis Redding, Al Green, Bill Withers etc - it just lacks some atmosphere. For someone like me, these songs are inextricably linked to radio broadcasts (for me, on an oldies station - for even older folks I can imagine the excitement when these songs first hit the charts). One can create one's own podcast but it's not quite the same. Perhaps the element of surprise is one thing good about the radio (beside the great sound on a good tuner). When I bought my first modest audio setup, I only had a receiver with radio as sole source; I only added the turntable later.

No matter how schooled you think you are in music, it'd be good to be surprised once in a while. Today, when everything is available instantly on-demand, it is actually less fun. In the old days, one eagerly awaits a favorite program, be it radio or TV. I'd make sure I was home by the time Masterpiece Theater aired, and I still remember being mesmerized by Brideshead Revisited and Jewel in The Crown. Don't you sometimes love the previews in the theater more than the movie itself? The element of surprise is also part of what makes live concerts more engrossing than canned music - the expectation generates its own hormones. Of course, live music can be less than satisfactory too, but even then one doesn't feel the total lost that one does when one plays a new re-issue LP and find it underwhelming.

Do You Feel At Home?
It is amazing how many audiophiles are actually not comfortably esconded at home - far from it. I mean, feeling like a sometime fugitive or a small-time crook in one's own home! And it's not just Wife Acceptance Factor.

Grant you, WAF is a big concern for many. It hardly matters whether you are straight or LGBTQ (no doubt more alphabets will be added as we soldier on in the Brave New World - and no doubt, after he and she, they will no longer suffice too...), somebody has to give! Well, many audiophiles really don't have enough understanding of how much they are impinging on the family. Even a bread winner has to be mindful of whether the family can enjoy and digest the bread in congenial environment.

Audiophiles often blame their significant others for curbing their legitimate activities, but I suspect the truth is not so simple. Just as we may not approve of buying all sorts of clothes and shoes and, worse, cosmetics, that really don't enhance presentation, not to mention beauty, our significant others don't see any value in (and may even harbor contempt for) our swapping things and compulsive A/B tests - justifiably I say. Face it! Much of what we do do NOT result in long term satisfaction - in fact, usually the opposite. Also, it pays to listen to your partner. Time and again we have found the long-suffering audiophile wife to be the better listener compared to her husband. Good for them to frown upon large heat sinks and garden hose sized cables!

Going to Heaven?
Ultimately, it's not even others that nag at the audiophile the most - it is that innermost doubt. Time Wasted, Financial Loss, Chasing an Elusive, often Moveable Goal. It is our own battle; the net, gurus and icons don't really help that much and often become obstacles when one refuses to let go (think of the many brand-loyal people who "upgrade" to increasing dissatisfaction). Come to think of it, the more one takes in opinions the more one has to fight - not only one's own demons but the demons of others. It is important for one to be in touch with one's own feelings, not those of others. Audiophiles are often in denial, and the more expensive the system the more so. "Heaven" is often used in audio analogy, as in "going to heaven" or "...and I'm in heaven." Dream on, but I am afraid, to paraphrase the Bible, it's easier for the camel to go through the eye of the needle than for the compulsive audiophile to go to heaven. You are your worst enemy.

Rites
After the system is set up, there are still many operational procedures in our hobby. Some, like following the sequence for turning on and off, and giving the tube preamp sufficient time before turning on the solid state amp (for minimizing DC offset), are rules. Others, like allowing a bit of warm up time, are advisable.

Still other habits become rituals. Analog fans acknowledge the pleasure of handling the vinyl. It is indeed true, and the jacket can be something to marvel at. Pre-Covid, when our gang gathered in NYC, by the time we dispersed after all the wine and food (yes, in that order), LP's would be strewn all over the place, most not played, just handled and admired. Simple pleasures that cannot be duplicated by digital media (4). There is good reason why there is a vinyl renaissance with hipsters, and it is not because of sound quality - vinyl is simply chic.

We remember the cover art sometimes even if we dislike the music inside (for me, flavorless Steely Dan). Indeed, in humans the visual memory is far stronger than the aural one - God makes us remember everything, the good, the bad, and the ugly, just as He would not let us forget there are skins not the color of our own. Fortunately, I don't remember bad songs, vulgar lyrics and music with no soul. Can you imagine if one does? It'd hurt!

The Electric Chair
Now we come to one thing many audiophiles love, but I dread - THE CHAIR. I'd say the majority of audiophiles prefer to sit in a fixed spot, arrived at after much hard work (like listening to the same snippet umpteenth time). Many mark the spot with tape. The audiophile's sense for hospitality makes him implore the visitor to take the "best" seat in the house. My considerable experience is: this is more often than not a TORTURE - most systems are just too artificial or bright. and audiophiles who insist on this kind of seating usually err on that side because they prioritize imaging and air. That is fair, but one's "Sweet Spot" may not work for another. In fact, more often than not I just get further away. Unfortunately, in HK's small flats, often there is not much room for retreat. The funny thing is, often we are introduced to the host through a mutual acquaintance, and if you see him decline the seat you know what to do...

And the chairs themselves! The well-off audiophiles in HK often would have a high-end office chair (which can cost as much as a humble system) but I have never felt right sitting in them, which feels not that different from being in the dentist's chair (torture for sure) and even electric chair - sentenced to death by an injection of non-music, the heart of music and my precious life draining away simultaneously.

As audiophiles tend to be more affluent (or plain bourgeois), aside from chairs on wheels, I have sat in (re-issues of) many of the most iconic chairs ever (Mies van der Rohe, Le Corbusier, Eames, Jacobsen etc). Most of them are actually not comfortable, more stylish than practical, and one is less likely to play air guitar when seated in one. An analogy would be the house I'd choose to live in: as much as I like the looks of Bauhaus or Frank Lloyd Wright, I probably would not find it congenial to live in one! I have been to too many homes that feel like galleries, with chairs that force you to sit straight.

The Shrine
Believe me, the older you get the more you'll see it my way. The setup is not an altar, nor a shrine, and one should not act like one is in worship. When I listen, I like to relax, wiggle in my seat, sometimes propped up by my elbow and perhaps even curled up (if permitted). For me, given a room of reasonable size, it is a must to have a sofa, preferably with a chaise lounge (in case one wants to nap, and it's great to fall asleep to good music - at home, but not in the concert hall!).

There are those who believe in the textbook setup - A clean room with only the hifi and a chair, with damping material applied where needed. Bass Traps, Absorbing Panels and the like. I am sorry to say my experience with this kind of room is also almost uniformly negative - there is always something artificial about it. Great supporting evidence: 1) such rooms at dealers and shows almost always sound terrible; 2) my experience with loaded rooms, messy or just lived in (including several of my own), are almost always positive. My take is: if music fills the room, and envelops and engages you when you are walking around, it's good music. I am sure mrgoodsound's radio is doing this (and more).

It is my belief that home audio should largely work around the home, not the opposite - which is why I really appreciate what AD wrote about his home setup in a trade magazine. If you have ever wondered why your family members don't share your interest, it is partly because you don't let them. The dad of a classmate of mine had the greatest (and valuable) toy train collection but the kids had no interest in them because he never let them touch the stuff when young.

And then There is Light
It is often said that when we listen to good music, we are transported. True figuratively but not entirely true in terms of our sensory faculties. We are still aware of our surroundings and that can be a problem. In home visits, I have no problems with messy rooms, stuffed basement and the likes - they are lived-in. But I have some pet peeves:

Dim Wit Many "serious" audiophiles deem the light an enemy for alleged electrical and sensory interference. As soon as one is seated, the light is dimmed. I don't mind some dimming, but not to the extent that I cannot read the CD booklet or track list. I mind being forced to partake in someone else's ritual, particularly when the sound is not worth it. If the room is not so dark, I can at least scan the room, maybe even move around a little. Why force me to sit in darkness? It is even worse when it is day time but all lights are kept out, which makes me yearn to get outside. Concert Halls don't dim their lights as much as the audiophile does; only the opera house gets comparably dim.

Window to the World For everyone, windows are important; for those of us who dwell in expensive cities like HK and NYC, even more so as they only come at a premium. What to put in front of the window is an important consideration. For myself, I always have the sofa close to the window as it makes me feel more at one with, if not nature, at least the world and the air we breathe. Especially in larger rooms, I don't like listening at the darker far end of the window, which makes the window seem too bright due to dilatation of our pupils. The audio should be in the darker part and I in close proximity to sunlight. Also, in HK home visits, quite often I find the equipment rack in front of the window, made worse sometimes by curtain closing. The window should be for everyone in the house, including guests (5),

If there is a message, it is, take it easy.

Footnotes

1. In literature, we appreciate writers whose styles are widely divergent. As I usually prefer a more straightforward styIe, I had a hard time initially with Virginia Woolf's Mrs Dalloway (not to mention Joyce) but after I got into it I'd say it's a masterpiece (part of the difficulty is that it is so old English, toffee et al.., even if I, having grown up in HK, am probably as close to that culture as most Americans). Many of the greatest writers are obsessive about their work. Composers are the same: the great Brahms destroyed more than he published. They weighed every word, every note, every harmony; all we have to do is give them time and their due.

2. Talking about wayward, let's talk about ESL. I am always puzzled why so many revere the vintage Quad ESL. Well, I understand, believe me, the clean and natural portrait BUT, tell me, which live venue, classical or not, has a "sweet spot" less than the size of one's fist? In live music, you can move around or have your favorite seat, but the music always surrounds and reaches you. With vintage ESL, no, you move your head 1 inch and you only hear one channel. Isn't that HIGHLY artificial? I'd anytime prefer a system that allows me to walk around and still enjoy the sound, and my home is like that. That said, modern ESL's have improved on the size of the sweetspot.

Artificial or not, this type of fanatical imaging has many protagonists. I experienced the pinnacle of the absurdity in HK. A nice guy, well-off, experienced, one-time devotee of Maggies and ESL's, had a pair of huge Wlison's and set them up in his spacious living room. Seated in the "sweet" spot, the imaging was good and sound was reasonable, but if you moved your head even a centimeter laterally, all you heard was just one channel. I was dumbfounded that he was so proud of his setup skills. I went with my girlfriend at the time; she who was trained musically, and a concert lover, just shook her head in dismay, not impressed. In passing, I am afraid I have not had good experience with large adjustable loudspeakers.

3. For many, streaming has definitely obviated the need for digital physical media, even a personal library and even for old folks like me. I shall continue to hunt for used LPs whenever I can, but I basically buy few CDs now. My holdings (even in jazz and pop) are large enough to serve me indefinitely. But for rare and collectible recordings, newly issued radio archives etc I retain a great interest, and a good number of these can be found in streaming (but not, say, a great label like MELO).

However, for those who like classical physical media, let me remind you that it is a golden time for acquiring big classical boxes at superbudget prices. As for those into LPs, I advise visiting used record stores and charity shops and avoid re-issues as much as possible (they are more hifi but less musical).

4. When ripping CDs into files started to become popular, freeware FLAC was very popular in HK but I did not consider it for even one second because of its lack of support for metadata (what a term for something so essential). Many times I saw the audiophile trying to find something through a sea of words, no cover art in sight. A track named Allegro? Whose Alllegro? All composers wrote Allegro. As I knew then and now computer files will not be a big part of my listening, I chose to use iTunes (without Amarra) because of its friendly interface, and AIFF because it's better WAV, although better sounding in my opinion, is also quite appaling in its support for metadata. But even with better software that one pays for, one MUST spend a lot of time editing the metadata and importing the cover art. I don't have respect for people who don't. Streaming is better now as some of that are done for you (but still not very well in classical, always shortchanged). In streaming, I also choose those with better interface (free Spotify is quite good actually, simple and reasonably effective). It is a respect to the performers and composers to know their names and what we are listening to. It is not just a tune, not just time and money.

5. Hong Kong apartments, so crazily expensive, can be so small that it will defy the imagination. Once I lived for 1 month in a so-called 300 ft apartment. The bedroom could only accomodate a narrow single bed, and I could not fully stretch my legs. It is challenging to the audiophile. Later, after I repatriated, for almost 3 years I lived in a small flat in Shum Shui Po. The living room was 10 ft by 10 ft, with 5 doors (front, no landing area naturally, kitchen, bathroom and 2 miniscule bedrooms. Imagine trying to place your hifi there (especially loudspeakers)! There was a small bay window, at 90 degrees with that of the next door neighbor's. Not much wall left for racks! Yet, it was during this time that I became addicted to audio (the flat was close to the electronics district Ap Liu Street, the Akihabara of HK). Among the stuff I went though there, to name just some, were: Scott 121C, Marantz 8B, ARC D70, D115, Quad 34/405ii; Spendor and Harbeth LS3/5A's, Habeth Compact 7, Spendor SP1/2, Celestion SL6Si, Audio Note AN-K; NAD 402; Micromega Stage 1, Drive 1, DAC, Microdac, T-Drive, Microdrive, Tempo 1...Wow! I didn't have space but I had fun! :-)

27 March, 2021

Low Fi Sansui Kyoeon H-9A


Click Pics to enlarge. This is an old pic of System 1.

Letter from Shenzhen (21-7): High on Low Fi?
Kyoeon H-9A Bluetooth: A Reckoning


Here I am. I am here. Am I here!

After almost 3 months, I feel I am beginning to "settle in". I have been trying to rebuild some routines into a schedule, meanwhile to get to know the city better than before (as I have to be here for longer). The most obvious casualty of a less rigorous routine is Writing, but it is coming back a little. Several articles are in the pipeline; aside from a long one on "HiFi Basics" (even I smirk here, as many articles in this series can really be viewed as Anti-Fi, or rather, Anti-Hi, and I am proud of that), there shall be an equally long one on my take on living in this city. I also have quite a few pieces of equipment from my soujourn in HK that demand write-up's (not least the Ruark Crusader III). All due, but in due time...

What has been disturbed the least is Listening to Music. I still use the piecemeal time snippets to stream music through NML (yes, the hunger is very much there). A piece of sad news: since a recent router change by the service provider I lost my previously easy access to Spotify. But I am reasonably up to date on new issues.

Readers are likely curious about what equipment I use here, so this report.

System 1
Long ago I appropriated the second largest bedroom as my main listening room (though it is also a storage room), and it has been reported on before (here). The Sansui F-55 (Audioquest CV-8) loudspeakers are approximately 7-8 ft apart and the listening seat is a little further away, an isosceles triangle that is close enough to equilateral, my favorite geometry. The loudspeakers are narrow in baffle but quite deep, so the front baffle is a little more than 2 ft from the front wall.

The system is simpler than before, using whatever is around. The Revox A720/A722 (French Filotex RG-58 cable) combo is still the center of the system. CDP is the trusted Sony DVP-PR50P (cheap AV MIT). Streaming is via my Laptops hooked up (HK Unitek USB cable) to Meridian Explorer I (Line out via minijack adaptor to cheap AV MIT). Occasionally, I also use the Meridian as headphone amp with my Grado SR-80E.

As reported before, the sound of the system is decent enough; I get thrilled with big orchestrals, yet still enjoy good details at low levels. There are no spec's, but the Sansui F55 Loudpseakers by ear go down at least to a solid 40-45 Hz. The woofer is 8" but I neglected before to mention it is complemented by a passive 8" radiator.

With Jazz and Vocals, the presence is quite stunning. With orchestrals, since they cannot be further in-room, the soundstage is a little shallow, but not at all flat, and still atmospheric and provides a semblance of the venue (the IKEA beehive-like shelf helps). Imaging is very good. Overall, I am quite satisfied. I don't need a sub yet, but I'll not rule out one in the future.

System 2
This is in the Living Room and here I encountered several challenges (detailed below). It currently makes use of the rest of the original Sansui AV system. The 2-way Sansui S60 bookshelves were designed to be rear speakers that complement the Front F55. These have 5" woofers and are 6 ohm 65-20k Hz. The tweeter has a broad but shallow circular waveguide. To minimize contact with the low cabinet below and to raise the image, I use a pair of disposable chopsticks to prop up the baffle front a little.

The Amp is Sansui UX-800 (here, now in its Mk II iteration). This 6.1 AV amp has Digital as well as Analog Inputs. I don't know whether the latter are first digitized. Cables are Mogami 3082. Researching, I saw a second-hand ad for CNY 350! :-( That shows the cruel depreciation of AV equipment. The ad has more pics should you be interested.

The electricity from the busy outlet on the front wall, where the router, TV Box and TV are also plugged in, is shockingly dirty, certainly the worst I have encountered. I first actually tried to setup another smaller AV setup (Changhong) but the noise proved too much. The Sansui was much better at noise suppression.

Streaming is via the Bluetooth Kyoeon H-9A (Thanks Eric again!) hooked up to the "analog" AUX input via its earphone output (built in Line-Out is too low in level) with a minijack adaptor connected to old and cheap Monster RCAs lent to me by old friend Hon Wo, who also lives nearby in Longgang.

CD is played through the Bubugao DV-997 DVD player. BBG was the Chinese arm of Oppo, and you can think of it as an equivalence of the Oppo 9xx series. This old DVP was touted by the HK DVD-A crowd in its time and was modded a little by one of them. I wanted to use its analog out, which is quite decent but, lacking in cables, I was forced to connect digitally. First, I tried my ancient XLO 0.4 Digital Coaxial but the noise proved annoying. I then dug out a generic Optical Cable and that vanquished the noise. The sound is quite acceptable, so I am thinking of purchasing another FX Audio BT device and use its Digital Out.

Having established the sound of the CD playback was quite satisfying, I returned to streaming and soon had some doubts about the sound of the orchestra.

Now, the loudspeakers are about 7ft apart, but the listening position is far away, almost double that, so a very narrow isoceles triangle. I know this does not favor a stereo spread but was still puzzled that the lower strings seemed to be in the center (some orchestras are fanned out like this, but not the majority). In fact, even the violins seemed to hover close to the center. I switched to the lower-level RCA outputs and the result was the same. I then streamed one of my test tracks, the Allegretto of Concertgebouw/Haitink's Shostakovich 5th (Decca), which has clearly delineated lower strings to the right. My worst fears were confirmed when I heard them hover near the center! I then switched to my Meridian Explorer and, voila! The stereo spread was clear. So this was not a problem with the loudspeakers or the setup.

The diagnosis is clear: the Kyoeon H-9A has poor channel separation; in fact it is almost mono in sound!!! I failed to notice this before as I had only used it sparingly, briefly in HK and on the desktop in the quarantine hotel. Eric had used it for longer but his system too seems to be almost desktop in its limited embrace. Also, my sample may not be representative. I don't recall my Dayton Audio (FX Audio) BT (or even the lowly HK008) to be like this (my NYC small speakers have a vast soundstage), but I wonder. Actually I may get another FX here to compare, as its digital output will fit my current amp. In fact, this re-ignites the mono-stereo debate - there is something musical about mono, as some insist. Mind you too, with a lot of a stuff I don't mind the mono, and could even prefer it (I thnk my friend Andy and our very discriminating mrgoosound would agree), but with large orchestrals, I need my spread.

In this system I am usually seated too far away on the sofa. If I sit on the high chairs, which are closer (I love to use my laptop here as it affords me a good view from the balcony), the sound improves despite the seat being high-up and skewed all the way to the right. Also, even with some propping up and tilting, the loudspeakers are really too low to have good dispersion. It is obvious the sound is not nearly as good as in the dedicated room (System 1 above). I have a feeling the system is not in its final state. I may try to work again with my even more humble Changhong system (or a heretic combo of the two) if I can surmount the noise problem. There shall be more on this; the challenge is to be creative and use whatever is around to deliver reasonable sound. It never surprises me when dirt-cheap stuff is made to sound good. The corollary is It never surprises me when ultra expensive stuff fail to deliver (indeed it is almost a rule, and a curse for many).

Everybody would be happier if music, not -fi, is the focus. Am I a happy audiophile and music lover? Yes. From this angle, with my horns and Western Electric inaccessible for the moment, am I happy? A resounding yes too. So, you, friends and readers, should be happy for me. More importantly, YOU should be happy! Cheers.

System 2
High Chairs