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發表於 2013-6-30 21:49:27
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顯示全部樓層
I may as well re-instate the missing part in English.
The inability of an audio system to engage and involve the listener with the music being played has to do, in my view, with any one or more of the components in the audio chain. The phenomenon is like the listener being demarcated outside of the sound field as if he or she had nothing to do with the performance. This robs the listener of the live feeling and emotion in a concert whether it is in a hall or lounge. This bare or pale phenomenon is particularly discernable in an audio system where the sound stage commences well behind the speakers’ plane, say, half way or even further towards the back wall.
As the sound tracks played during the visit were not mentioned, I would give two examples and explain how they should be reproduced in order to involve and engage the listener.
The first one is from the decades old album, Bela Fonte at Carnegie Hall, the Matilda track. I read from a report some time ago that 大草played this to a visitor. After Bela finished singing, there was a very long stretch of audience clapping. A vivid system would have the applause coming from both of the sidewalls IN FRONT OF the speakers and extending all the way to the two corners of the rear wall. An unsatisfactory system would have the applause condensed in the sound field along the back wall, with little or no clapping coming from the sidewalls. The listener requires the frontal sounds to come to the illusion of sitting amongst the audience inside the hall. If one looks at the photos of the Carnegie, before and after the renovation, one would know this famous hall does not have seats behind the stage (the Cultural Centre in Hong Kong has). A listener attending a concert is only able to hear applause from balcony seats on the two sides and in front but not from the back of the stage where there is nobody.
A second track is Poor Butterfly from Jazz at the Pawnshop 2. An involving system reproduces the piano in the space between the listener and the front speakers, suggesting an illusion of the listener actually sitting in the venue.
I have gone through the exercise of putting in liveliness and emotion in my audio system over a period of time, I think I may now be able to diagnose the issue and track down the culprits with my software and gear within an hour or two.
But the paramount consideration is whether 大草is open minded enough to admit there is such an issue or not. He may well be similar to another “master” who would say, listening is subjective and personal and don’t you see many visitors who attended the function bestowed the highest accolades?
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