Interview Peter Lyngdorf

In this first part of the interview we asked Peter Lyngdorf which brands he was involved with during his career?

第一段訪問請教 Peter，職涯過程所曾經參與的音響品牌 ...

Peter Lyngdorf – CEO Steinway Lyngdorf: That’s quiet a few. Let’s try to take them from an end. Snell Acoustics in the USA. I bought Snell Acoustics in 1990. One of the reasons was, that they were working on the worlds first room correction technology, digital room correction technology. So I got interested and bought the company. Actually that was where we started doing room correction. We came out with the first system in 1993, so that’s 25 years ago. It was fully digital, had a frequency resolution of 0.6Hz, so it was actually fully functional. There was one earlier system, but that didn’t work in the bass. We were the first company who could really do a full range, digital room compensation. Of course we didn’t know what to do with it at that time, but it was the first system. That was Snell Acoustics.

Peter : 是有參與一些品牌( Peter 一開始有些謙虛 ... : )，就從美國品牌 Snell Acoustics 說起。1990年我買了這家公司，理由之一正是因為 Snell 正著手研發世界首創的空間校正技術，而且是"數位的"空間校正技術。因為對此頗感興趣，所以我就買下這家公司( 哦，Peter 真豪氣! )。事實上，這是我們對空間校正研發的起始。第一套系統於 1993年推出，那是 25年前了。它是全數位，頻率解析度達到 0.6Hz，真的可以運作。 .......

我們是世界第一家、得以全音域做數位處理、空間補償的公司。只不過在當時，尚未有合適的商轉概念，但它真的是世界第一套系統，那是 Snell Acoustics。

In that period of time I was also the owner of NAD Electronics, which I sold again in the late nineties. I’ve been distributor for NAD since 1975, so I was one of the first people to work with NAD. I was there when they made the NAD 3020 and so on… It was a fantastic journey. In the late nineties I decided that I would rather spend more time on digital technology development, instead of running a big audio brand. I love the brand. It’s still a fantastic brand. Now they have BlueSound. We have a very close relationship with NAD. I have the exclusive distributor rights for Scandinavia, Germany, Holland, Belgium, Luxemburg. Super friends with NAD, so I’m still close to the company.

那時，我同時也是 NAD 的老闆，直到 90年代末期將它賣掉為止。早從 1975年我就開始代理 NAD，所以我是最早參與這個品牌的人之一，甚至 NAD 3020 研製時我也在場 .... 這真是一場奇幻旅程。90年代末期我決定將心力專注於數位技術研發，而非營利一家音響品牌大公司。我愛這個廠牌，至今它依然是一個有趣的品牌，如今他們也擁有 Bluesound 這家公司( Bluesound、NAD、PSB 同屬北美 Lenbrook 集團 )。我們一直與 NAD 保持緊密合作的關係，於斯堪地那維亞地區、德國、荷比盧等國家，我有 NAD 的獨家代理權。他們是超麻吉的朋友，所以我依然與這家公司關係密切。

I started TacT Audio in 1996, with a partner in the United States. We were working on room correction technology. That company made the TacT Millennium amplifier, which was the first true digital amplifier. That amplifier design is now 21 years old and it’s still probably the best fully digital amplifier. It was the first and it’s still performing superbly.

開始 TacT Audio 這家公司是在 1996年、與一位夥伴於美國開始。我們當時致力於空間校正技術。這家公司推出了 TacT Millennium 擴大機，它是世界首部真實全數位擴大機。Millennium 至今已 21年了，而且它或許還是最好的全數位擴大機。它是最早的且依然性能卓越。

Dali, a speaker company, is an old company now. I started that in 1981-1982. It’s still my company. The CEO, Lars Worre, is also a big shareholder now. He’s running the day to day operation. Dali is more successful now then it has ever been. It’s becoming a little bit more successful every year. They have developed some new technologies. That keeps me excited, young.

Dali 揚聲器公司，如今已是有資歷的公司了。我於 1981~82年時創立 Dali，至今還是我的公司；Dali 公司 CEO Lars Worre，現在也是公司的大股東，公司的營運由他全權負責。Dali 如今也比以往愈加成功，一年比一年進步，他們已經研發了一些新技術，這讓我覺得興奮、更加年輕。(看來假以時日，或許很快地，Dali 就將超越"同國"的 Dynaudio 了... 哈哈 : )

Then SL Audio, where we have the collaboration with Steinway and Sons. It was started 12 years ago. That was after I split up with my partner in TacT Audio, because he had totally different ideas then I had. Within SL Audio we have developed the RoomPerfect technology. We will get back to that later in the interview, because it’s core to a lot of which we are doing.

然後是 Steinway Lyngdorf，這是我們與 Steinway & Sons 的聯名品牌，始於 12年前(2006年)。當時我正好與 TacT Audio 拆夥了，原因理念不合。在 Steinway Lyngdorf 期間，我們研發了 RoomPerfect 技術，待會我們會再回頭討論它，因為 RoomPerfect 是我們正在進行的許多事之核心。

I owned Gryphon Audio also for a few years. That was a little bit by accident. Flemming Rasmussen was a good friend, is a good friend. About 20 years ago he got into a financial squeeze. He asked me if I wanted to buy the company. I said to him that I would buy the company, but you have to buy it back when it’s back on track. So I owned it for like 3 years or so. Flemming is still a great friend, but we are completely separated again.

I’ve been involved in quiet a lot of other companies. I’m part owner of a microphone company now, part owner of Soundbox: a company that makes powered speakers for parties. I have a lot of smaller investments and try to advise people. I also still own HifiKlubben; the sales organisation for Denmark, Norway, Sweden, Holland and Germany now. So…it’s to many companies. I probably forget one or two of them…I’m sorry.

我也事實上已經參與了相當多的公司( Peter 開始越講越多了 ... : )；我現在部分擁有一家麥克風公司、部分擁有 Soundbox，一家製作"開趴專用"主動式喇叭的公司。還有許許多多小投資、以及顧問性質的。我也依然擁有 HiFi Klubben，一家遍及丹麥、挪威、瑞典、荷蘭以及德國的銷售通路。所以 ... 實在太多公司了，我搞不好忘了(提及)其中某一、兩家 ... 歹勢啦。

>> Part.3

In part 3 of the interview Peter Lyngdorf explains why -at some point- he felt the need to develop RoomPerfect.

第三段訪問，Peter 說明了，為何他覺得必須要研發 RoomPerfect ...

Peter Lyngdorf – CEO Steinway Lyngdorf : Yes. RoomPerfect is the result of many…many years of thinking into compensation for your room acoustics. Why was I interested in that? I have a lot of retail shops. I’ve been designing and selling loudspeakers, amplifiers and all of that with my engineers for many…many years. Whenever I went out to see customers, which I’d like to do a lot, I was always kind of shocked to hear that our Dali speaker sounded completely different. And not quiet the way it was supposed to sound, when I come home to people. The people were quiet happy, but I knew it could be better.

Peter : 是的，RoomPerfect 是歷經多年 ... 非常多年苦思、如何補償空間聲學的成果。何以我會如此的感興趣? 好，我有許多的音響零售店，多年來我與我的工程師們一起設計並銷售喇叭、擴大機、以及所有周邊相關。但每當我外出探訪客人 ... 我喜歡這樣做，我總是會驚訝地發現我們的 Dali 喇叭怎麼聽起來聲音完全不同，而且是完全並非原來所期待的聲音表現。雖然用家們依然很滿意，但我知道這些喇叭可以唱的更好 ! ( 各位 Dali 喇叭的用家注意了 ... 請往下看 : )

So I always wanted to make something available so normal people could get the optimal sound in their own house. One of the things that people don’t realize is, that if they buy the best speaker in the world and put it in their normal living room, that about 85% of the sound they hear is coming from the room. The speaker is 15% of the sound, the room 85%. Typically those 85% are not so good. When you can digitally compensate in the correct way, we can actually make sure that if you buy a Bower & Wilkins speaker or Dali speaker or any good loudspeaker, that speaker will sound at its best in your own room. That is what really matters. In practical terms, most people cannot put the speakers exactly where to would want to have them, because they have a wife and children. They have a real life to live. They cannot put the speakers exactly in the sweet spot. They cannot put the sofa exactly in the sweet spot and move it 2,5M away from the rear wall. It just doesn’t work for people. With good room compensation technology you can make virtually every room work, so that every speaker works the best possible way in a room. You can even have the speaker close to the wall and get a fantastic sound. When we go to different hi-fi shows, people always say that we are lucky with our room. No, we’re not lucky. We designed RoomPerfect to take care of the room. Our room is as shitty as everybody’s else’s room. We have RoomPerfect, we can fix it. That’s the big trick.

所以我總想為一般愛樂者做點事，好讓他們在自家環境裡就能獲得最佳的聲音表現。對於聲音，其中大家所不能了解的一點就是，如果買了世界上最好的喇叭、擺在一般的客廳裡，其實 85% 的聲音表現是來自於空間的音色( ... 你沒聽錯)。15% 來自喇叭，85% 來自空間；而一般說來，這 85% 並不怎麼好。當您能夠以數位的方式正確地補償修正空間問題，我們即能確知不論您買的是 B&W 或是 Dali、亦或是任何好喇叭，這些喇叭將能於您的自家展現其最佳音色。這真的是太要緊了 ! 在真實環境裡，大多數人無法將喇叭擺放在想要置放的地方，因為太太或小孩 ... ( Sorry 了，各位老婆大人，但現在有解了 ... : ) 這是真實世界的苦悶，我們常常無法將喇叭擺放於聲音最佳的空間位置。亦或是我們無法將沙發擺放於最佳位置、或將之移離背牆 2.5公尺 ... 有時就是不行。但是有了好的空間校正技術，你幾乎可以讓每個空間場域都出好聲，如此使得每一對喇叭都能於所在環境裡、展現最好的性能表現。您甚至可以讓喇叭靠牆擺放( 哇，這真的是很多人家裡不得不的狀況 ... )，但依然獲得很好的聲音。每次當我們參加各地的音響展，人們總是說我們真幸運選到好(聲音)房間。不，絕非如此，我們沒什麼幸運。我們用 RoomPerfect 來處置我們的展房，如此而已。我們的展房跟大家的房間一樣"兩光"，只是我們有 RoomPerfect，因此得以處理房間的聲學障礙，這就是最大的"眉角"。

RoomPerfect was actually the fourth iteration of room compensation technology. It was a total departure from everything we have done before. In the beginning we made one measurement. We looked at the response and the system would compensate for that measurement: the frequency response that you would see. Then we realized, that what you see in a single frequency response from a microphone is totally different from what you’re hearing when you sit in the room, because the sound comes at different times. It’s not a minimum phase, it’s 85% out of phase. A measurement that you look at is totally meaningless. It was only when we understood that what you hear and what you measure from a single microphone position are two completely different things. That’s also why, when you use RoomPerfect as a user, you don’t know what’s happening. The only thing that you’re sure of is that after you do RoomPerfect, the speakers sound like they are supposed to sound. You don’t have to think about all your room problems anymore.

RoomPerfect 實際上是已經歷經第四版進化的空間補償科技，它已完全迴異於我們以往所觸及的。一開始我們做量測，我們檢視響應結果，然後系統進行補償 : 也就是你可視得之頻率響應。然後我們得知，經由量測麥克風你能看到的單一頻率響應、與你真正坐在房間裡所聽聞到的，是完全兩回事。這是因為所有的聲音響應並非同時抵達，不是時間同相，其實是有 85% 非同相，所以螢幕上可視得之響應曲線毫無意義。這也是為甚麼、當你執行 RoomPerfect 時，你不需要知道( 所謂頻率響應曲線 ...，難怪沒有必要展現所謂 RoomPerfect 的頻率響應處理圖 ... )。唯一您可以確信的是，一旦執行完成 RoomPerfect，您的喇叭將依照他們原先得以表現的聲音性能充分發揮，從此您不必再困惱於空間問題。

What happens in between is a hugely complex process. We spend between 8 and 9 million dollars to optimize the technology of RoomPerfect. One of the things we developed is a completely new measurement technology that has never been used before. For instance, we are complete immune to noise in the measurements. Three days ago we set up one of our multichannel processors when they had a cocktail party in the room. Everybody said..now we have to leave the room. No, you can stay. Don’t jell and scream, but keep your party going while we do the measurements. It doesn’t affect the measurements. The technology is really fantastic!

RoomPerfect 的空間校正，是一個極為複雜的處理過程。我們共花費了大約 8、9佰萬美金，投入 RoomPerfect 的技術研發、進行優化。舉一例來說，我們所進行的，是從未有過的嶄新量測技術。例如，在量測時，RoomPerfect 可以完全無視於其他噪音存在。就在三天前，當我們進行多聲道的量測設定時，房間內正在舉行雞尾酒 Party。於是，客人們都說 ... 那，現在我們應該要離開房間吧；不，各位，請留步。您無需立正站好，當然也不要刻意大聲叫囂，在我們做 RoomPerfect 量測時請繼續進行 Party。這完全不會影響量測，RoomPerfect 科技真的是令人訝異。

>> Part.4

In part 4 of the interview Peter Lyngdorf introduces the Lyngdorf FR-1 loudspeaker.

第四段訪問，Peter 介紹了 Lyngdorf 的新產品 FR-1 喇叭 ...

( 這一段太重要了，Peter 講述了壁掛喇叭系統的先天優異與潛能 ... 一定要知道 : )

Peter Lyngdorf – CEO Steinway Lyngdorf: The Lyngdorf FR-1 is designed to work together with the TDAI-2170. It’s an on wall speaker. It’s designed to work extremely well with a flatscreen TV. People put a sound bar near their flatscreen TV. We already have the TDAI-2170 amplifier which has HDMI input. It works seamless with your television. When turn on you television, the sound comes from from our amplifier, that’s all integrated.

Peter : FR-1 原設計與 TDAI-2170 立體聲綜擴配搭，它是一壁掛喇叭，能與同樣壁掛的平面電視合作無間。(儘管)有些人想用 Soundbar 搭配平面電視 ... (但其實) 我們的綜合擴大機都已經配備有 HDMI 介面，能與您的電視無縫連結。當您打開電視，聲音將從我們的擴大機(與喇叭)發出，一切整合在一起。

With RoomPerfect, we can make an on wall speaker that works a lot better than a freestanding speaker. When it’s on the wall, you don’t get any cancellation of the sound coming from the front of the speaker to the wall and coming back again. You even get more power. From a relatively small speaker we can get quiet a lot of power, great precision in dynamics. It’s perfect for a really good television sound. It’s an alternative for a mid prized home theatre system. It’s only stereo, but super high fidelity. And it has the RoomPerfect technology in the amplifier. It was a tempting product to make. For the price and with our amplifier, it works exceedingly well. It works with other amplifiers as well. It’s already quiet successful.

加上 RoomPerfect 的協助，我們可以使壁掛喇叭表現的遠比落地喇叭還要好。當喇叭壁掛發聲時，您不會有任何來自喇叭前緣(往後)經背牆反射、再次回到前緣與直接音的耦合抵銷。而且甚至可以獲得更多能量輸出，即便是小壁掛喇叭就能輸出大音壓、而且動態極為精準。不僅完美搭配平面電視，壁掛喇叭也是預算有限的家庭劇院替代方案，雖然只有立體聲，但卻超級 HiFi。而且擴大機有 RoomPerfect 功能，再在使得它成為一極俱特色的產品。考量它的價格，搭配我們同廠的擴大機，它表現的棒透了。當然它也能與其他擴大機搭配，FR-1 是成功的產品。

* 編者註 : 除了"工商時間"的產品介紹外( Peter 當然是品牌的超級業務 : )，對於"壁掛喇叭"的學理考究，正是 Lyngdorf 一貫的"空間先於音響"的思維印證；吾人除了關注並釐清 On-Wall 壁掛方式"直接音"播放的物理優點外，幾處實際演練( 壁掛喇叭+RoomPerfect+超低音銜接 )所應證的優越表現，都讓在場者驚艷萬分。待會後段 Peter 會提及另一新產品 - Steinway Lyngdorf Model.B 的研發，其中 Steinway Lyngdorf 揚聲器所堅持使用的 Dipole( 背面同時反相發聲 )設計，其實正與壁掛喇叭的"直接音"論述互相呼應；在此我們先打住，詳細待稍後於第九段備註再說明 ....

>> Part.5

In this 5th part Peter Lyngdorf introduces the Lyngdorf TDAI-3400 amplifier.

第五段訪問，Peter 介紹另一 Lyngdorf 的新產品 TDAI-3400 立體聲綜擴 ...

Peter Lyngdorf – CEO Steinway Lyngdorf: The Lyngdorf TDAI-3400 still uses the full digital amplification technology. This means that volume control is done by adjusting the voltage of the power supply, so we have full the dynamic range at any normal playback level. We have the same sound at 0,5 Watts or 400 Watts … which is unusual, impossible to achieve in any other way. In fact it’s all the same technology that we were using in the Millennium amplifier, now with a very sophisticated switch mode power supply. The noise ratio is 137dB! That’s important, because the amp itself is extremely quiet. With a fully digital amplifier, we don’t have a feedback loop to get any noise out of the system. So it’s a very sophisticated power supply. That’s the power section.

Peter : TDAI-3400 使用 Lyngdorf 全數位擴大機技術，這意指，它的音量控制，是來自於對電源供應器的電壓控制，所以我們得以在任何的大小音量播放、都保有全額的動態範圍。( 簡而言之 ... )不論是 0.5W 或 400W 輸出，我們都有相同一致的音色表現( 其實，全數位擴大機的真諦，真的不在數位放大是否勝過類比放大之爭，各位，關鍵在於動態不減損啊 ... )... 這非常地與眾不同，其他任何( 放大 )方式都無法做到。實際上，這與當初 Millennium 擴大機所採用的技術相同；只是如今，我們的交換式電源供應器愈加精巧優異，它的訊噪比高達 137dB ! 這非常重要，這能使得擴大機本身擁有極低的底噪。而且對於全數位擴大機，我們沒有施加任何負回授用以降低系統噪音，因之，這越發顯得電源供應質地優秀之必要。( ... 喔 Sorry Peter，之前一直誤認為 Lyngdorf 擴大機之所以這麼安靜，是因為全數位路徑的關係 ... 原來，真正的關鍵，是電源供應器呀 !! )

Next is RoomPerfect. We also have a low frequency output for a subwoofer or woofer system. You can do woofer/main speaker integration using RoomPerfect, do a proper time alignment between the woofer and the mid/high speaker. That is one thing that RoomPerfect can do, flawlessly, every time. You can make your sub and mid/high system work together like it’s one speaker. I think we’re the only company in the world who can do it. We nail it every single time. Every other system that tries to combine a subwoofer with main speakers you’ll have to set a very low crossover frequency -which is kind of a waste- or you have to manipulate, go for try and error and end up with something that’s maybe ok. But we can nail it every time. That’s a huge feature. The smaller amplifier has that too (TDAI-2170).

再來說到 RoomPerfect。TDAI-3400 也有低音管理輸出，用以銜接超低音。所以此時，您可以將揚聲器系統設定為主喇叭+超低音的組合( 2.1~2.2 )，完成喇叭之間的時相設定，接著啟動 RoomPerfect，完成喇叭組合的量能銜接，這是 RoomPerfect 的能耐、每次都不例外；你可以讓你的主喇叭+超低音組合偕同工作，就像是同對喇叭一樣。我認為我們是全世界唯一一家公司，有辦法做到這一點的 ! 我們真的專注於此 ! 別的系統若要做如此的組合銜接，要嘛必須要將分頻點設的低一點 .... 這有點可惜 ... 要嘛你必須得小心操作、一試再試，最後的結果或許還可以接受 ...；但( 用 RoomPerfect )我們每次都能做到，這真的不簡單，即便是用 TDAI-2170 也行 !

* 編者註 : 除了第三段提及的解決空間聲學問題外，Peter 在此也適時地補充了 RoomPerfect 對於低音(管理)銜接的高超本領，試過的人就知道；兩聲道是如此，多聲道時更是厲害 ... : )

So, the TDAI-3400 has tremendous power, is quiet compact and has so much additional features that I don’t think I can remember everything. For example: HDMI input, high quality USB input, 384kHz DSD input, … We have a new feature, in combination with RoomPerfect. Now, you can make a pre-voicing for your loudspeakers. With RoomPerfect typically we assume that you bought the speakers that you really like. Your room problem will be fixed with RoomPerfect. Imagine that you always thought that you’re speakers had a little bit too much midrange, a little bit too much bass overall. Now, you can adjust that before you do RoomPerfect.

所以，TDAI-3400 有驚人的功率輸出(400W)，但機體紮實尺寸合宜，而且功能超多，坦白說我也不確定能全部記得；例如，HDMI 介面、高品質 USB 輸入、解析度高達 384kHz/32bit(LPCM)，DSD 檔直入 .... 還有一項新功能，能與 RoomPerfect 合作無間。現在，您能為您的喇叭預作"整音"。也就是說，我們相信你買了真正喜歡的喇叭，但試想你可能覺得它先天中音有點多，低音則是稍微過量一些，在執行 RoomPerfect 修正空間問題之前，現在您也可以先對喇叭做微調整音。

We have a web interface to control the amplifier and you can adjust your speakers own response before RoomPerfect. Then you can do RoomPerfect and your own voicing. You may find that for movies you would like a bit more ‘oomph’ in the bass. We have standard settings for that, but you also design your own. If you want to play exceedingly loud, you may want to make sure you’re doing to much in the lowest frequencies and so on… So there are a lot of things you can do. It has a headphone output, with a very sophisticated EQ system, so you can adjust the tonality of your headphones to suit your personal taste or for a better balanced sound. That’s also included. HDCP provides communication between the amplifier and your TV. If you have it hooked up in combination with your TV and when you turn on your TV, you can change the volume with the TV remote seamlessly. You don’t have to think about it. When your wife turns on the TV, she’s using your wonderful amplifier at the same time. She doesn’t has to do anything special for that. It has Bluetooth, web interface, it will do Roon streaming,… I don’t think that there’s much it can’t do. I probably forgot something. It’s a wonderful product and it has a very powerful DSP section, with a lot of extra capacity. I know that our engineers are brilliant, so they’ll probably come up with a few software updates down the road that you can download or the unit connected to the internet will download it by itself. We will have some additional features and neat capabilities in the future.

TDAI-3400 也能經由網頁介面，執行整機操作控制。先設定喇叭型態，接著執行 RoomPerfect、Voicing ...。看電影時，或許你會想要低音動感強一點 ...( 或許這時可把 Voicing 稱作"情境選擇" ... )，我們有各式的情境對應預設，你也可自定設計；或許你準備開趴開的很大聲，這時可能得記得低音不能加太多( 以保護喇叭 ... )。所以有很多功能選項可以設定，也有耳機輸出 - 並附帶很優異的 EQ 系統，所以你可以調出個人喜愛的耳機音色，並取得很好的聲音平衡。也有 HDCP 功能，能讓擴大機與電視之間溝通合作；例如一旦電視開啟，你就能夠用電視遙控連動控制擴大機音量，非常直覺自然。當老婆大人開啟電視時，事實上她也同時(不知不覺地)在操作擴大機，完全沒有多餘的動作需要。TDAI-3400 有藍芽、有 IP 控制介面、能用 Roon 串流音樂 ....，好像沒有甚麼辦不到的，搞不好還有一些功能我忘了講 ... ( Peter，你真的已經很盡職了... : )。真的是件非比尋常的產品，而且具備強大的 DSP 核心，還留有許多餘裕的演算能力。我們的工程師都很傑出優秀，所以很可能已有新版的韌體正在路上，準備隨時隨地讓用家即時線上更新。未來，還會有更多額外的、以及很棒的功能陸續加入。

>> Part.6

In this 6th part Peter Lyngdorf explains why enjoying compressed music is a contradiction.

第六段訪問，Peter 解釋了，壓縮音樂的問題。

Peter Lyngdorf – CEO Steinway Lyngdorf: First of all you have to remember that there are 2 kinds of compression. There’s the data reduction, which is what happening with mp3, that’s data compression. A different thing is dynamic range compression. Data compression is that you less data to describe the signal, as you do with mp3. Mp3 in itself, if you run 128kBi/sec files, can sound kind of ok…not to aggressive or unpleasant. You’re loosing quiet a bit. 192kBit/sec can sound absolutely ok for your car. I would say that it’s fine for your car. It’s not fine for your home system. So, that’s one kind of compression, the data reduction.

Peter : 首先請記得，有兩種不同的音樂壓縮。第一種是資料壓縮，MP3 就是；另一種則是動態範圍壓縮。資料壓縮意旨使用較少的資訊量來描述音樂訊號，就像 MP3；但即便是 128KB/sec 的 MP3，有時聽起來還可接受 ... 不至於太吵或不舒服，只是資訊減損罷了。在車上聽 192KB/sec 也算 OK，我認為適合車上聽，但在家裡用音響聽就不怎樣了 ... 所以，這是壓縮的一種，資料壓縮。

The other compression is the dynamic range compression. Dynamic range compression is that you take a certain dynamic range and you reduce that. What you do by that is…with every format you have a maximum level. The more you compress the signal, the more you reduce the difference between loud and soft, the louder the average will be. There has been a competition between music labels -the record industry- to have the loudest music, louder than anybody else. The problem with that is, you can only get loudness by having more sound all the time. That’s what most people don’t understand. Compression is not just that you lift up everything to a certain level, but to get more loudness you need to extend in the time domain. For instance if you have low frequency phenomenon, let’s take a kick drum, with a big thump at 40Hz. It’s one big swing at 40Hz, fundamental. If you want to make that 13dB louder, that’s 20 times louder! How can you make it louder because it’s already at 0dB? Technicians want to have it louder. How can they do that? Instead of just one, you take 20 after each other. All of a sudden that kick drum that really should be like -bang- goes like -bwuuuuttt- because you take 20 cycles. It’s no longer a bang, it’s a blow of energy. That’s one of the most damaging effects of dynamic range compression. You shift in the time domain and your rhythm disappears. The funny thing is, you can compress a human voice quiet a bit without it sounding bad. If you do it with drums, percussion, everything starts to sound the same and there’s no kick, no punch, no definition. There’s no depth. And there’s no quiet. Music is also about what’s happening between the notes. If you want to have something that is extremely loud, like pop tracks today, there’s no time for quiet. So it is loud all the time. That is making it -in my opinion- extremely annoying to listen to.

另一種則是動態範圍壓縮。動態範圍壓縮意旨你只設定較小的一段動態範圍，然後你降取它。怎麼做 ... 不論格式(音樂內容裡)總有最大電平，你越是壓縮它，你越是降低了大、小聲之間的距離差異，最終，能使平均響度變大。在唱片公司與錄音工業之間存在一種競爭，那就是"比大聲"，看誰(說話)較響亮( 也就是所謂 Loudness War 響度之戰 )。.... .... .... 無法安靜，音樂沒有空白，只會大聲響，在我來看，有時很令人惱怒。

* 編者註 : "比大聲"之後省略了一大段，不是筆者偷懶( Peter 花了大篇幅在說明動態壓縮製作的弊病，看得出他確實對此很惱怒 ... : )，而是留白跳過一下，讓我們直接看段影片，就能明白甚麼是動態範圍壓縮。以下影片出自 Dynamic Range Day，我們稱之為"動態解放日"組織，該組織的核心價值就是為了解放動態壓縮；對了，他們還訂有"解放紀念日"，今年是 4月27日，官網是 www.dynamicrangeday.co.uk，有 FB，記得上去按讚支持一下。Peace for All，Peace for Music !!

150 years ago, the Grand Piano really broke trough and that was with the Steinway Grand Piano. Once people heard the Grand Piano they wanted to hear that instrument above the harpsichord. Before the Grand Piano, the harpsichord was a keyboard instrument. It was Steinway that designed a piano to be loud enough to be heard in combination with a symphonic orchestra. The Grand Piano became extremely popular. After just a few years the harpsichord disappeared completely. Why did the harpsichord disappear? Because with a harpsichord you’re plucking the strings. No matter how hard you hit the keys, you have the same loudness. The harpsichord has less dynamic range. You can listen to harpsichord for maybe 5 or 10 minutes. After half an hour it drives you up the wall. Because of the same loudness you have no dynamic range. The music school in Paris ripped out all their harpsichords, approximately 5 years after Steinway made the Grand Piano. They had a very cold winter. In that winter they burned all the harpsichords to keep warm. They couldn’t stand the sound anymore. Lack of dynamic range.

150年前，演奏琴因為史坦威鋼琴的出現，被徹底的顛覆了。只要人們聽過平台鋼琴，他們立即明白這比起大鍵琴好太多了。在平台鋼琴出現之前，鍵盤樂器就是大鍵琴。直到史坦威鋼琴出現，夠大聲(當然尤其是動態也極大 ... : )、且足以與一整個交響樂團相抗衡 ...，這使得平台鋼琴迅速普及。不過短短數年，大鍵琴即完全消失匿跡。為甚麼呢? 因為大鍵琴是撥弦樂器，不論你怎麼用力敲打琴鍵，響度都一樣，況且大鍵琴的動態範圍較小。你能聆聽或許五到十分鐘的大鍵琴演奏，然後在多聽個半小時後，你真會想撞牆。這是因為響度都相同、沒有動態( 真的會累 ... : )。大概在史坦威推出平台鋼琴的五年之後，巴黎的一所音樂學院隨即棄置他們所有的大鍵琴。然後當年冬天極冷，他們燒了所有的大鍵琴用以取暖。他們實在無法再忍受大鍵琴了，毫無動態範圍 ...( Peter 是在講，點火柴的女孩? ... 我的願望是 .. 動態不壓縮 : )

Dynamic range is essential for the emotion in music. There is a great tendency on the way now to normalize loudness, so that you put loudness at -16dB for instance and keep it there. If people start to compress the signal it just starts to sound shitty and doesn’t get louder. Loudness normalization is coming to Spotify, Tidal, a lot of the streaming services, a lot of the radio stations around Europe. In the US they have adapted loudness normalization. Gradually there will be no benefit for the record labels in compressing the music. The music industry is by far the most backwards industry in the world. They are pushed into technology developments, but they never lead them. For some reason they are the most conservative, the most disruptive industry I know of. It will take them probably 10 years to realize that there’s no benefit in compressing the music, except that it’s gonna sound worse. Sooner or later they will realize that quality sells. There’s a good reason that Starbucks sells a lot of coffee. That’s because every cup tastes kind of good. When the music industry starts to make music that sound really good again, they are going to sell more. It may take a few years for them to realize it’s all wrong in terms of pop music. There’s a lot of fantastic jazz and classical music. There are also a few good pop recordings. I had the good fortune of working together with Mark Knofler. He’s also very keen on helping developing great dynamic range music and supporting that a great deal. I think there’s a movement coming, that will ensure better quality. Again.

對於音樂的情感表達，動態範圍至關重要。關於所謂"響度的常規化"，目前有一趨勢，那是先將響度設定在 -16dB處，即便有人想偷偷壓縮音樂，這只會讓聲音難聽而不會增加響度。Spotify、Tidal、許多的線上串流服務、以及歐洲許多的網路收音電台，都已經支持響度常規化，美國也開始採用。逐漸地，唱片公司將會明瞭壓縮音樂(增加響度)毫無好處。音樂產業是現在世上最為"倒退嚕"的一種行業別，他們總在阻擋科技、從未引導發展。就我所知，因為一些原因，他們是最保守、最為破亂的一種產業( 看來 Peter 真的惱怒 ! )。他們花了十年時間，然後終於知道除了會讓聲音變糟，壓縮音樂完全無益。很快地他們終會理解，是品質決定一切。有個好理由說明星巴克為何賣得好，那是因為每一杯咖啡嘗起來都不錯。當音樂業界開始重新再讓音樂變得好聽，他們就能成功。或許還要幾年時間讓他們理解，對於(認知)流行音樂的所作所為都是錯的。有許多非常好的爵士與古典音樂，也有一些好的流行音樂錄音 ... 我有幸能與 Mark Knopfler 一起共識，對於幫忙研製大動態音樂內容、以及對各種議題的支持，他都非常熱心。我相信那一刻終會來臨，屆時更好的品質將重獲認可。

>> Part.7

In this 7th part Peter Lyngdorf talks about what inspired him to create the Steinway Lyngdorf brand.

第七段訪問，Peter 講述了聯名品牌 Steinway Lyngdorf 的誕生緣由 ...

Peter Lyngdorf – CEO Steinway Lyngdorf: The collaboration with Steinway came a little bit out of the blue. It was a Lyngdorf Audio customer who called me and said that he was very close with the owners and management of Steinway & Sons. He had a Lyngdorf system at home and he was just so stunned about how we could reproduce the piano. So it sounded real. At that time we’ve finished RoomPerfect. He asked wether I would be interested in meeting with Steinway & Sons. Just as a meeting. Of course I would. It would be wonderful. Steinway & Sons is like…there’s no brand like that in music. There’s Stradivarius and Steinway & Sons. Stradivarius died about 100 years ago. Yes, absolutely, I’ll see them when we can.

Peter : 與史坦威鋼琴的合作發展，有點始料未及、出乎意外。是有位 Lyngdorf Audio 的用家打電話給我，說他與史坦威鋼琴的老闆們與管理高層非常熟。他說他家裡有 Lyngdorf 音響系統，對於我們(所能播放出)的鋼琴音色感到驚嘆，它是如此真實。那時我們剛完成 RoomPerfect 的研發，他問我是否有興趣與史坦威鋼琴的人會面，就只是碰個面。當然願意啊我，這多棒啊 ! 史坦威鋼琴就像是 ... 對音樂而言，一個無可替代的廠牌。我們有史特拉迪瓦里(提琴之王)以及史坦威鋼琴(鋼琴之王)，但史特拉迪瓦里已經逝世超過百年 .... ... .. 是的，絕對要，可以的時候我要與史坦威他們碰面。

A few months later we went to visit Steinway and we started talking about the possibility of doing a Steinway & Sons audio system. The owner and management were kind of interested in doing something with the Steinway name -not Steinway & Sons- in audio. That way they could kind of expand the brand. They had a plan of making a self playing piano. They would love to have a music system to compliment that. So I said, yeah let’s think about it. I’ll come up with a proposal.

幾個月後我們一起去拜訪史坦威，然後我們開始討論推出史坦威音響系統的可能。史坦威鋼琴的老闆與管理高層，對於推出"掛名"史坦威的音響( 只採用部份全品牌 Steinway & Sons 之名，即 Steinway Audio )感到有些興趣。這是一種擴張品牌的策略思維，他們也有製作半自動鋼琴的計畫，可以有一個音樂音響系統共襄盛舉。於是我說，好，讓我們好好想想，我會回來提案。

We assembled our best engineers and a few months later we made a proof of concept. We did a demonstration in New York for Steinway & Sons and management and the owners. They were extremely positive about it. We decided to make a handshake agreement to work together and start developing the real thing. Another few months past. We did a mockup of the Model D Steinway system. When I presented it to the management, their reaction was phenomenal! The CEO of Steinway & Sons said: Peter, we want to call this a Steinway & Sons product. This was the first time in 150 years of company history that they allowed to use the name on a product that is not a piano and not made in their factory. That was how much they believed in that system. They were so impressed by the performance.

匯集了我們最優秀的工程師，幾個月後我們將概念落實出來。在紐約史坦威鋼琴的老闆、管理高層以及股東們的面前，我們做了一個發表展示，大家的反應極為正面。於是雙方決定立約展開合作，開始投入研發真正的產品。再經幾個月後，我們製作了 Model.D 的原型機 ... 當我向管理高層展示它時，大家都覺得真是驚豔 ! 於是史坦威鋼琴的 CEO 對我說 : Peter，我們想要稱它是 Steinway & Sons 的產品。這是這家有著 150年歷史的公司、史上首次的，允許在非鋼琴、非本廠製造的產品上，使用他們的品牌商標。這說明了他們有多麼信任這系統，Model.D 的性能如何令他們感到印象深刻。

After that we had a wonderful collaboration with Steinway. We meet them a few times per year. They still have to approve new products under the Steinway & Sons brandname. Nowadays it’s just a formality. They know that we’re gonna be perfect every time. It’s also a huge obligation to make products with that brandname. Has to be the best!

之後我們就與史坦威鋼琴有著愉快的合作關係，我們一年總會見個幾次面，他們依然會需要檢核以 Steinway & Sons 為名推出的新產品。如今這只是很平常的例行公事了，因為他們知道我們每次都能完美達標；其實以"Steinway & Sons"為名，這也同時是一種極大的義務，每次都要做到最好 !!

>> Part.9

In this 9th part Peter Lyngdorf introduces the Steinway Lyngdorf Model B loudspeaker.

第九段訪問，Peter 介紹了另一款 Steinway Lyngdorf 的新產品 - Model.B 揚聲器系統 ...

Peter Lyngdorf – CEO Steinway Lyngdorf: The Model B is actually the first completely new Steinway Lyngdorf loudspeaker for stereo, that is primarily designed for stereo, since we introduced the S system. As you know the S system has been very popular. It’s selling for about €25.000 for a complete system with the electronics and the speakers. It has won the Absolute Sound Golden Ear award, 6 years in a row, which tells something. Right after I designed the S15 woofer, the acousticians designed the acoustics around it, I’ve been working with the engineers to make something that would be 2,5 times the price, with better performance then the S system. We came up with 9 or 10 different proposals. But every time after comparing and listening to the S system, the S system beat the crap out of it. I did what’s called a McCain. You know what a McCain is? It’s like thi one. You remember when he said no to Obama care? I did that for 6 years in a row. Every new proposal: no. It’s more expensive then the S system, but it doesn’t sound better.

Peter : Model.B 是繼 Model.S 發表上市以來、另一款 Steinway Lyngdorf 的全新產品，主要做為兩聲道立體聲。如您所知，整套售價 25,000.- 歐元、包括擴大機與喇叭的 Model.S 已經廣受歡迎。Model.S 連續贏得六年發燒天書(Absolute Sound)金耳朵獎，這非比尋常。就在我設計完 S15 低音之後，我就接著與工程師們開始著手擘劃、將目標設定為 Model.S 2.5倍預算造價、比 Model.S 性能更為優異的新系統。總計我們提出了大約九到十個提案，但每次將之與 Model.S 系統一比較，每次都被打敗。我每次都扮演"馬侃"，你知道馬侃(參議員)嗎 ? 如果你記得當他對歐巴馬的健保法案說不的時候 ....( 這要看一下錄影中，Peter 有"比"給我們看 ... 可憐的研發工程師們 ... )。我這樣連續"比"了六年(看來 Peter 的手指也很辛苦 ... : )，對每一次的提案說"不"，怎麼造價比 Model.S 更貴、卻沒能更好。( Model.S 系統果然厲害，難怪 Peter 家裡用的是 Model.S ... : )

Two years ago I decided to do like more of a mini model D and try to get as much performance as possible out of it, at a smaller form factor, easier to manufacturer and at a lower cost. That’s when I started to work on the Model B concept. We ended up with something that is an elegant design for a powerful speaker. It’s 60cm wide, it’s 124cm tall, it has six 12 inch woofers, each with a 12Kg magnet. When you look at it you say how can you have so much woofers in such a small form factor? We actually folded it up slightly. It’s a perfect dipole. We reversed the polarity of 3 woofers; we have 2 in positive and 3 in negative. That way, within the wave lengths of the reproduced frequencies, basically killed the 2nd harmonic distortion.

兩年前我決定要來設計一款小一號的 Model.D，然後想辦法使其性能盡可能的優異傑出、尺寸適中、容易生產製造、價格更合宜。這就是 Model.B 概念的起點。終於，一款優雅而強大的揚聲器系統誕生 ... 60公分寬、124公分高，配置了六顆 12吋口徑的低音單體，每一顆單體的磁鐵有 12公斤重。但當你親眼看到它，你一定會問說，在如此小的尺寸裡擺下這麼多喇叭單體，這是如何辦到的? 我們確實有一些摺疊錯落的巧思，Model.B 是一款完美的 Dipole 喇叭設計(背面同時反相發聲)；有三顆低音是反相工作，兩顆正相、三顆反相( 另一顆應該沒有忘了接，欲知詳情請直接問 Peter ... : )。在這樣的設計下、相對的聲音頻段波長，二次諧波失真將被抵銷。

The Model B ended up being extremely capable in terms of SPL. It will play very loud, very deep. It has very low distortion. It’s run by our A2 amplifier which has 4 times 700 Watts into low impedance. Each speaker has roughly 700 Watts of power available. Electronic crossovers, time alignment…we have a lot of control over the speaker. I was arrogant enough to say that I made the drawings, we put it together and it’s gonna work. It did work. We made some small modifications from my original design to make it more manufacturable. We pretty much went straight on from concept to manufacturing. The sound is really good. The price is less then half of the Model D. It’s not as extravagant, but I would say it holds up against the Model D sound wise extremely well. It looks small and is compact, you don’t see that it’s a dipole. There’s no real volume. It weighs close to 160Kg per speaker, which is a little bit of surprise when you see the size. Everything is made like a Steinway Ly,gdorf product: solid, aluminum. There’s no piece of bent metal in it. No plastic. It’s expensive to make, but the end product is a superb sounding product. It has tremendous SPL capability.

最終，Model.B 能發出極大的音量音壓，它能夠很大聲，很深沉。Model.B 有極低的失真，整體系統結合我們的 A2 擴大機，四聲道、每聲道(於低阻抗時)最高可輸出 700W、採電子分音、有時相校正 ... 有許多控制設定可以施加。我很自豪的說、是我畫的設計圖，我們按圖施工，然後就成了 ... 真的大功告成了。後來我們做了一些設計微調，讓它更容易量產。從概念設計到上線生產，真的是一氣呵成。Model.B 的聲音真的很好，造價只有 Model.D 的一半不到，雖非奢華豪氣，但我以為它已經近乎貼近 Model.D 的風采了。看起來較小型但扎實，而且視覺上一下子看不出它是一個 Dipole 設計 ... 它幾乎沒有音箱容積。Model.B 總重高達 160公斤/ 隻，單看身材很難聯想 ... 令人驚訝。各方面來看，它都是不折不扣的 Steinway Lyngdorf 產品 : 堅實、全鋁合金 ... 連一塊需彎折的金屬扣件都沒有，沒有塑料。製造成本很高，但最終它是一款聲音超好的產品，擁有極大的音壓輸出能力。

* 編者註 : 到了這裡，讓我們整理串聯一下幾個重要的段落環節，最後不免驚訝的發現一些因果關係，也幫助我們打通音響知識的"任督二脈" !!

各位音響同好、愛樂者們，讓我們先釐清一個觀念，那就是喇叭系統是音響，而不是樂器 !! ( 有時我們覺得這喇叭很好聽，說它像是樂器一樣，這是形容詞，無關這裡的討論 ... : ) 因為喇叭的原始目的是為了正確播放音樂內容，而非自己額外產生音樂內容，對吧 ! 所以當音樂播放時，直接音就是音樂內容無誤；但是實際上我們所感受聽聞的，是喇叭的直接音、加上許許多多空間的反射音(額外附加的)，整體全部，也就是"直接音"加上"空間音"的總和，這就是 Peter 於 RoomPerfect 那段不斷強調的 15% + 85% !! 而當中直接音只佔 15%，其餘都是空間的聲音 ... 這是我們用音響聽音樂的事實，長久以來難以討論、訴說的真相 ....

對於大部分的喇叭系統、書架或落地，RoomPerfect 可以大幅改善那"可怕"又"可愛"的 85%，這是 Peter 提出的解藥。但對於 "Steinway and Lyngdorf" 而言，在服用解藥之前，還有方法可以大幅改善這個問題，那就是改變喇叭設計或使用的對策 - 採用 Dipole 或 On-Wall !!

Dipole 或 On-Wall 設計都不算新鮮事，只是很困難，所以沒看到太多正式量產商品，但 Peter 就是要挑難的做 !! 就從 On-Wall 說起 ... 試想你的客廳超大 ...，有多大 ...，寬、深、高各 100公里，然後牆上有一對壁掛喇叭(或崁入式喇叭也行)，這應該是目前台灣最大間的豪宅了 : )，然後你坐在喇叭前方大約 4公尺處聽音樂 ... ( 這裡有一點像是在演電影"全面啟動"、VR 實境，就把自己想成李奧納多好了 ... : )

好，這概念的極致就是"無限障版"，整個超級大片的主牆面此時成了喇叭的音箱障板，然後因為空間很高很深，所以那 85% 的成分瞬間幾乎消失，相對地你聽到的都是喇叭的直接音，也就等同於音樂內容，完全沒有"主牆面反射音"的干擾( 同樣地，也沒有其他牆面的反射音 ... )，Perfectly without Room !!

電影演完，回到真實世界；你的客廳是寬五米、深四米半、高三米，有著豐富的"空間音"，但請先不要失望，因為你可以有對策。那就是裝上一對好的壁掛喇叭，越薄越好；然後此時，整個主牆面就成了喇叭系統的"大障板" ...；雖然這時播放音樂，還是有來自於上下左右的空間反射音，但請注意，這裡幾乎沒有"主牆面反射音"這可怕的成分，也就是說，15%+85% 的情勢，已轉化成"近似" 30%+70% 的概念，來自於壁掛喇叭的直接音佔比提升 ... 於是乎，我們不可能沒有"空間音"，但我們可以降低它的影響佔比及內容，讓"空間音"成分優質許多，這真實有效的對策就是 On-Wall 壁掛喇叭 !!

那 Dipole 又是甚麼? 簡而言之，就是將壁掛喇叭移離牆面的一種落地喇叭，一種"直接音佔比"較高的喇叭 !! Dipole 的設計，其實是最高難度的一種揚聲器形式，而 Dipole 的極致，在現實世界裡，就是 On-Wall(或者是 In-Wall)。這說明了 Steinway Lyngdorf 揚聲器與 Lyngdorf Audio 的壁掛喇叭確實是系出同門，吾道( ... 其實是 Peter 之道 )一以貫之 !!

結論是，Dipole 形式的揚聲器設計與 On-Wall 喇叭的使用，均能大幅降低"主牆面反射音"及其干擾，改善空間反射音，大大增進音樂播放的時間相位一致性；之後，再加上 RoomPerfect 的鼎力協助，更進一步的再次改善空間反射音，造就出當今人類科技所能達到的最高目標 - 最真實正確的音樂播放、傳遞音樂的感動 !!

>> Part.10

In this last part Peter Lyngdorf talks about his feelings towards the immersive sound formats versus good old stereo.

第十段訪問(最後一段)，Peter 談了他對多聲道身歷其境音聲格式、與好的立體聲之間的評比 ...

Peter Lyngdorf – CEO Steinway Lyngdorf: I still love good old stereo. At home I have a Steinway Lyngdorf S based system, from the principal that the least expensive Steinway Lyngdorf system should be absolutely able to make me happy. If it’s not making me happy, I’m not going to make it. So it has to be fantastic. I only have a 5 channel system. I haven’t gone to 7 channels yet. I will go -in the next year or so, when I have the time- to full 3D surround with the height speakers and everything. I think that going from stereo to multichannel is extremely enjoyable for live concerts. There are a lot of very nice recordings in blu-ray, fantastic dynamic range, fantastic performance. You see the picture and have the sound at the same time. It offers a fantastic experience. When I do a demo of my home theatre, I always start in stereo. I tell people it’s surround, but it’s in fact only stereo. Most people say that it’s the best surround they have ever heard. And it’s only still stereo! Then I switch over to surround and it gets a little better. It’s more immersive.

Peter : 其實我依然喜愛立體聲系統。在我家，我有一套 Steinway Lyngdorf Model.S，即便是最不貴的一套史坦威音響、它也應該要使人滿意。所以如果它不能信服於人，它就不可能會過我這一關 ... 所以它勢必得很棒才行。目前我只有五聲道，尚未擴增到七聲道 ... 明年或許吧，當我有時間時 - 我要擴增到 3D 環繞多聲道 - 涵蓋上方聲道 ...等。我認為，對於現場音樂會這樣的內容，從立體聲進化到多聲道將十分有趣。有許多非常優異的藍光片版本、有很棒的動態、很棒的演出，同時可以有影像與聲音 ... 整體帶來很棒的體驗。當我動態展示我們的劇院系統時，我總是先以立體聲模式播出，然後我故意告訴聽眾說是環繞多聲道 ... 但其實是立體聲。很多人會說，這是他們聽過最讚的環繞多聲道，但此時依舊還是立體聲( ... Peter 也很皮哦 : )；然後我會真的切換成環繞模式播出、得到更好的表現，更加的身歷其境。

If you have a limited budget, I would always look for really good stereo. Evaluate carefully what a multichannel system brings you. Unfortunately, a lot of the complicated home theatre systems can be very good for movies. In terms of purity of the signal, the fidelity of the signal, they are lacking compared to really good stereo. With our digital technology and the way that we structure the products, we make sure that there is no sacrifice when we go to multichannel. If you take a Steinway Lyngdorf Model D versus our multichannel system with 78 channels, all of the 78 channels with have identical performance to the Model D. There’s not a grain of degradation to the signal. The purity of the signal comes always first. I don’t want another 62 channels, if they are slightly worse then the 2 front channels. The purity of the signal is the most important thing. I do enjoy immersive sound. If you have the budget for it, I would say go for it. There’s so much good material out there. A lot of blu-rays with tremendous dynamic range and fantastic performances. I can enjoy that a lot. If I had 2 versions of a song -one is in multichannel and one in stereo- I would prefer the multichannel version.

如果預算有限，我總會建議先從一套好的立體聲系統開始找起，對於多聲道系統的評估反而要更在意。很不幸地，許多複雜組成的家庭劇院系統或許看電影時很好，但聽音樂時 - 考量訊號的純淨度與傳真性 - 完全比不上一套好的立體聲系統。用我們的數位技術與我們建造產品的方式，即便是擴增到多聲道，我們也確信不會有任何訊號減損。如果你比較一套 Model.D、與我們的 78聲道環繞系統，你會發現所有的 78聲道都有與 Model.D 一模一樣的聲音表現( 這就是 Steinway Lyngdorf 全數位多聲道的厲害... )。所有訊號沒有一絲退化，訊號的純淨度永遠擺在第一 !! 如果比起兩聲道、有絲毫的不良，那我絕不需要另外的 62聲道 ... 訊號的純淨度最重要 !! 我真的喜歡環繞多聲道，如果預算充足，我會說你應該要擁有。市面上有如此多的多聲道內容，有許優異的藍光片有很棒的動態與很棒的演出，我真的從中得到許多樂趣。如果同一首歌我有兩個版本 - 一是多聲道、一是兩聲道，我會優先選擇播放多聲道版本。

Pentatone has fantastic sounding multichannel SACD’s. One of our clients is the composer Gordon Getty, the grandson of Paul Getty. He makes music. Some of his work at Pentatone is just phenomenal, in multichannel. When you cut back to 2 channels, you’re loosing quiet a bit.

Pentatone 有很棒的多聲道 SACD 唱片；作曲家 Gordon Getty，Paul Getty 的孫子，是我們的客人之一。他製作音樂，他在 Pentatone 的有些發行真的是非比尋常極為傑出，都是多聲道錄音；如果你用兩聲道播放，很多精彩之處將同時失去。

I love multichannel, but it has to be done right. Don’t go for something where you would have a processor with EQ and make everything to complicated. At the end of the day the sound quality will suffer if you aren’t making sure that everything is perfect. We have a multichannel processor, but isn’t just a box. We don’t just do the aluminum part, we do everything because I want everything to be perfect. We don’t let anybody into our systems. It’s not something where you take the lit of and find another receiver part inside.

我喜歡環繞多聲道，但前提是必須弄對；不要只想說處理器內有 EQ 調整，然後越弄越複雜。如果你無法確信每一處都能調教完善，最終也無法得出好音質。我們有環繞處理器，它不只是一個黑盒子；不只是所有鋁合金屬零件，為了確認完美，我們一切自己來。機器裡面，沒有任何別人的現成電路模組，這可不是隨意東拼西湊、隨意取材組裝的東西。

... 全文結束 The End !!