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介绍番: ←按此查看其他文章及中文版本

(所有文章的板權為 Yan Yan LP 擁有，如欲轉載請事先得到我們書面同意。)

 

我們每個月會請專欄作家高原/保記為我們撰寫專文，介紹與黑膠唱片、鐳射光碟及音向器材有關的資訊。我們希望能夠提供初學者入門的資訊；也希望與資深的朋友交換心得。部份的訊息你有機會看過，但絕對有很多你不知道的資料。我們稱這份為〝介紹番〞，每次初登的時候會放在首頁，之後會放入〝介紹番〞的 Wordpress 內供參閱。

 

JVC K2 D/A Converter Episode 8

 

Starting from the very beginning, the JVC K2 receiver imparts an immediate impression of deep-seated analog DNA. This sonic signature naturally extends to the modifications made from stripping the receiver down to the digital-to-analog conversion architecture.

String instruments now possess a remarkable mellowness, accompanied by a profound recovery of microdynamics hidden deep within the recordings. Instrument separation is equally exemplary, allowing the listener to perceive distinct layers within an orchestra. The presentation of strings achieves a level of analog purity entirely free from digital artifacts—a character rarely encountered in either vintage or modern DAC designs. At this stage, the K2 DAC performance far exceeds initial expectations.

While many audiophiles traditionally turn to the classic LS3/5A monitor for vocal reproduction, my listening habits lean elsewhere, though testing the JVC K2 necessitated a rigorous examination of vocal tracks. Operating in a close-quarters living environment where heavy bass output could easily disturb neighbors, the LS3/5A proves to be an ideal match. It delivers a satisfying, cohesive bass response capable of handling large-scale orchestral works without requiring room-rattling low-end extension.

 

1. Patricia Barber – Companion (Track 7: Black Magic Woman)

• Overall Character: Smooth, analog-leaning, and slightly warm with a relaxed treble presentation, offering a less forward, more fluid soundstage compared to reference Cinram pressings, completely devoid of hi-fi sharpness.
• Guitar Performance: Displays a creamy, slightly darkened edge with zero glare on sustain. Initial attack is softer than modern digital standards, but post-burn-in evolution reveals a realistic texture that completely banishes a previously "polite" presentation.
• Rhythm Section: The bass is round rather than ultra-tight, boasting enhanced weight and bloom. Drums sit slightly back in the mix, while cymbals remain smooth, slightly rolled off, and entirely free of splashiness.
• Midrange & Vocals: The standout characteristic of this pressing. Vocals and lead lines are thicker, more continuous, and possess a genuinely human texture, transforming a once-flat delivery into an emotionally convincing experience.
• Imaging & Space: While not ultra-wide, the soundstage is exceptionally cohesive with a stable center image and vastly improved instrument separation resulting from extensive burn-in.
• Treble Behavior: Slightly recessed compared to modern digital counterparts, yet delivering air without bite, metallic sheen, or digital glare.

 

Final Verdict: The K2 DAC achieves superior tonal balance with reduced listener fatigue and heightened musical engagement, allowing recordings to finally sound like music rather than processed digital data.

 

Patricia Barber – Black Magic Woman via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (09:46) (Press image to listen on YouTube)

 

2. Rebecca Pidgeon – The Raven (Track 12: Spanish Harlem)

This track serves as an ultimate test of low-level resolution, phase accuracy, and treble purity within a natural acoustic space.

• Vocal Presentation: Roberta Pidgeon's performance exhibits a very stable center image with a full, natural body. Sibilants are clean, edged-free, and softly rounded—a vast improvement over earlier stages that exhibited a slight digital edge.
• Air & Ambience: Room reverb is clearly audible and continuous against a darker, lower-grain background, though the absolute air at the frequency extremes remains slightly truncated.
• Instrument Separation & Tonal Balance: Solid left-right imaging with clean separation between guitar and bass. The midrange reigns supreme as the richest, most musical zone, while the treble remains smooth and non-fatiguing, though missing the absolute final sparkle of ultimate transparency.

 

Final Verdict: The JVC K2 DAC successfully overcomes harsh digital limitations, proving that it prioritizes harmonic density, coherence, and emotional engagement over absolute resolution and extreme transparency.

 

Rebecca Pidgeon - Spanish Harlem via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:38) (Press image to listen on YouTube)

 

3. Billy Preston & Syreeta – Endless Love: Motown’s Greatest Love Songs (Track 2: With You I'm Born Again)

• Overall Presentation: Warm, intimate, and emotionally engaging with softened leading edges, favoring midrange liquidity over surgical detail sharpness.
• Vocals & Arrangement: Vocals are exceptionally smooth, organic, and entirely free of sibilance or digital glare. The piano is full-bodied with a slightly less percussive attack, while backing strings are warm, lush, and cohesive.
• Rhythm & Imaging: Bass is rounded and tuneful; drums are relaxed and fluid rather than punchy. Vocals occupy a centered, intimate, and slightly forward position within a stable, cohesive soundstage.

 

Final Verdict: Demonstrates the K2 DAC's role as a thoroughly "voiced system"—one that leans toward an emotion-first, detail-second paradigm, making it an exceptional partner for soul and vocal-centric recordings.

 

Billy Preston & Syreeta – With You I'm Born Again via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:41) (Press image to listen on YouTube)

 

4. Jenny Tseng – Hong Kong Drama Classics (Disc 1, Track 14: 肯去承擔愛)

• Vocal Presentation: Forward, centered, and highly focused, delivering Jenny Tseng’s voice with strong presence and clean articulation, though exposing a slight upper-midrange emphasis (2 to 4 kHz) inherent to the HK-mastering style.
• Texture & Treble: While the midrange remains smooth, a slight dryness and reduced chest resonance become apparent—attributable entirely to the source recording rather than the DAC. Treble is open and extended without harsh digital glare, though minor glassiness on peaks reveals the DAC's transparency.
• Bass & Imaging: Tighter and leaner than Western masterings. The center image is locked in tightly, proving that the K2 DAC no longer colors every recording with a blanket warmth, but instead faithfully exposes mastering differences.

 

Final Verdict: The K2 DAC successfully transitions from masking flaws to transparently revealing the true nature of diverse source materials without inducing fatigue.

 

Jenny Tseng – 肯去承擔愛via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:27) (Press image to listen on YouTube)

 

Conclusion

The evolution of the JVC K2 DAC demonstrates that exceptional vocal reproduction does not strictly require tube amplification; the K2 chain alone achieves a level of naturalness, midrange richness, and emotional connectivity that redefines expectations. Having successfully conquered digital harshness and established its unique analog-leaning voicing, the system now stands ready for its next evaluation: jazz performance in the upcoming episode.

 

Paul K (10/26)

 

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4 Reference Voice Recordings

 

Patricia Barber (Blue Note – 7243 5 22963 2 3 Digipak light Blue label 1-0-1, Mastered by EMI Mfg. US early press).

The Raven (Chesky JD115 made in USA Manufactured by Kao Optical Products, AL0007586-01 no IFPI US early press).

MOTOWN’S GREATEST LOVE SONGS (MOTOWN 3746353852, DISC MFG, INC. (H) W.O.19580-1M, no IFPI US early press).

港劇經典 A COMPLILATION BOX SET OF 3CD (MADE BY YUN FA RECORDS TAIWAN IN 1997 FEC-9701-02-03)

 

1. Patricia Barber – Companion (1999, Blue Note – 7243 5 22963 2 3 Digipak light Blue label 1-0-1, Mastered by EMI Mfg. US early press)

 

·  The Provenance & Craft: Captured live at Chicago’s legendary Green Mill jazz club, master engineer Jim Anderson eschewed standard commercial processing for an ultra-purist approach. Utilizing world-class Brauner tube microphones running through custom John Hardy preamps directly into a high-resolution digital multi-track rig, this early US pressing (distinguished by its light blue label and Digipak packaging) is a masterclass in location recording. 

·  The Review: Rather than trying to sanitize the Green Mill’s intimate architecture—its narrow brick walls and tin ceiling—Anderson leans entirely into the raw acoustic signature. On a highly resolving system, the result is a striking "3D in-the-room" illusion that places the band directly inside your listening space. 

·       Vocal & Spatial Realism: Free from studio limiters, Barber’s vocals project an uncanny physical height, laser-sharp focus, and rich chest resonance that creates a floating head space.

·       Transient & Ambient Accuracy: Absolute phase integrity allows instruments like the acoustic guitar and hand bongos on "Black Magic Woman" to leap forward, mapping the exact physical air gap between performers. Meanwhile, ambient crowd details—clinking glasses, stray coughs, and applause—image dynamically in front of, beside, and behind the physical stage rather than collapsing into background noise. 

 

Patricia Barber – Companion

 

2. Rebecca Pidgeon – The Raven (1994, Chesky JD115 made in USA Manufactured by Kao Optical Products, AL0007586-01 no IFPI US early press)

 

·  The Provenance & Craft: Recorded in February 1994 at Mastersound Studios in Queens, New York, by legendary engineer Bob Katz, this release is built entirely on David and Norman Chesky's minimalist audiophile ethos. The session consciously bypassed heavy multitrack mixing, artificial overdubbing, compression, and harsh EQ, instead deploying a 128x oversampling A-to-D Mark III converter featuring Ultra-Analog modules and Georg Kaye custom vacuum-tube electronics. 

·  The Review: Serving as a laboratory-grade test for vocal focus and room geometry, The Raven drops the background noise floor into absolute, pitch-black silence. 

·       The Benchmark Experience: Track 12 ("Spanish Harlem") opens with David Finck on a wood-bodied acoustic double bass, allowing the listener to clearly parse the sharp snap of strings alongside natural cavity resonance. 

·       Imaging & Staging: Pidgeon’s voice locks dead-center right above the speaker axis, completely free of harsh sibilance while exposing subtle breathing mechanics and lip movements. As the mix widens, the piano on the right, percussion on the left, and a lush string section behind occupy distinct, rock-solid pockets of air without ever bleeding into the central vocal image. 

 

Rebecca Pidgeon – The Raven

 

3. Motown’s Greatest Love Songs – Endless Love (Motown 3746353852, DISC MFG, INC. (H) W.O.19580-1M, no IFPI US early press)

 

·  The Provenance & Craft: An exceptional artifact of late-1980s/early-1990s US compact disc manufacturing, this pressing was crafted by Disc Manufacturing, Inc. (DMI) using high-grade polycarbonate with low-jitter pit formations and a protective lacquer overcoat to guard against oxidation. Mastered in the mid-1980s by Motown chief engineer John Matousek, it compiles timeless cuts like Diana Ross & Lionel Richie’s "Endless Love" and Smokey Robinson's "Being With You". 

·  The Review: Because this release predates the hyper-compressed era of the "Loudness Wars," it acts as a vital reminder of how vintage pop masters were meant to breathe. 

·       Dynamic Integrity: The disc preserves the full, uncompressed dynamic range of the original safety masters. 

·       Tonal Presentation: Flat, un-limited A/D conversions deliver a warm, smooth, and spacious acoustic balance. Even during soaring vocal climaxes, the presentation remains entirely clean, avoiding the digital brickwall distortion that plagued later CD remasters. 

 

Motown’s Greatest Love Songs – Endless Love

 

4. 港劇經典 (Classic Hong Kong TV Drama Themes) – 3CD Box Set (1997, Made by Yun Fa Records Taiwan In 1997 Fec-9701-02-03)

 

·  The Provenance & Craft: Released in 1997 by Yun Fa Records (永發唱片), this Taiwanese box set was engineered to reissue classic Hong Kong TVB themes for the overseas market. At its core is Jenny Tseng’s (甄妮) iconic performance of 《肯去承擔愛》 ("Willing to Bear Love"), composed by Joseph Koo with lyrics by James Wong for the 1983 TVB adaptation of The Legend of the Condor Heroes: Eastern Heretic and Western Venom. 

·  The Review: Jenny Tseng—widely celebrated as the "Golden Voice" of Cantopop—brings staggering chest power and vocal density to this recording. 

·       Midrange Performance: On systems optimized for vocal focus, Tseng’s chest resonance on demanding notes serves as a brutal litmus test, revealing whether a monitor can reproduce a full-bodied human voice without thinning out or introducing artificial edge. 

·       Arrangement & Headroom: Sourced from flat A/D transfers of late-80s/early-90s master tapes right before the onset of the loudness wars, the box set maintains generous headroom on vocal climaxes. Joseph Koo's arrangement cleverly blends traditional Chinese instruments (erhu and guzheng) with Western strings and a tight, lean 1980s bass guitar foundation, allowing delicate plucked transients to shine brilliantly without any low-end bloat. 

 

港劇經典 (Classic Hong Kong TV Drama Themes)

 

HF (10/26)

 

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JVC K2 D/A Converter Episode 8

從一開始，JVC K2 接收器就給人一種根深蒂固的模擬 DNA 的直觀印象。這種聲音特徵自然延伸到了將接收器剝離至數位類比轉換架構所進行的改動中。

現在，弦樂器擁有顯著的醇厚感，同時伴隨著對錄音深處隱藏的微動態的深刻恢復。樂器分離度同樣堪稱典範，使聽眾能夠感知管弦樂隊內部的不同層次。弦樂的呈現達到了完全擺脫數位人工痕跡的模擬純淨度水準——這在老式或現代 DAC 設計中都是罕見的特徵。在這個階段，K2 DAC 的性能遠超最初的預期。

雖然許多發燒友傳統上轉向經典的 LS3/5A 監聽喇叭來進行人聲重播，但我的聆聽習慣有所不同，不過測試JVC K2 需要對人聲曲目進行嚴格的檢驗。在一個小型起居環境中運行，沉重的低音輸出很容易打擾鄰居，這時 LS3/5A 證明是理想的搭配。它能提供令人滿意、凝聚力強的低音響應，能夠應對大型管弦樂作品，而不需要震動房間的低頻延伸。

 

1. Patricia Barber – Companion（第 7 首：Black Magic Woman）

• 整體特徵：流暢、偏向模擬，略帶溫暖且高音表現輕鬆，與參考級 Cinram 壓片相比，提供了一個不那麼前置、更具流動感的音場，完全沒有 Hi-Fi 的尖銳感。
• 結他（吉他）表現：呈現出奶油般、邊緣略帶暗色調的質感，延音時完全沒有眩光。最初的起音比現代數位標準更柔和，但經過燒機後的演化展現出逼真的質感，徹底驅散了先前「客氣」的表現。
• 節奏組：低音圓潤而非極度緊緻，擁有增強的重量感和空氣感。鼓組在混音中略微靠後，而鈸則保持平滑、略帶滾降，完全沒有飛濺感。
• 中音與人聲：這張壓片最突出的特點。人聲和主奏線條更厚實、更具連貫性，並擁有純正的人聲質感，將一度扁平的表現轉化為令人情緒信服的體驗。
• 成像與空間：雖然不算極寬，但音場異常凝聚，中心成像穩定，並且經過充分的燒機後，樂器分離度得到了極大改善。
• 高音行為：與現代數位同類產品相比略微凹陷，但在不刺耳、無金屬光澤或數位眩光的情況下提供空氣感。
• 最終裁決：K2 DAC 實現了更優異的音色平衡，降低了聆聽疲勞感並提高了音樂感染力，使錄音最終聽起來像是音樂，而不是經過處理的數位資料。

 

 

Patricia Barber – Black Magic Woman 透過改裝版 JVC K2 D/A 轉換器 (00:00) VS 來自 CD 的 EAC 直接傳輸 (09:46) （按圖片在 YouTube 上收聽）

 

2. Rebecca Pidgeon – The Raven（第 12 首：Spanish Harlem）

這首曲目是自然聲學空間內低電平解析度、相位準確性和高音純度的終極考驗。

• 人聲呈現：Rebecca Pidgeon 的表演展現了非常穩定的中心成像，具有飽滿、自然的身體感。齒音乾淨、無邊緣感且柔和圓潤——與早期呈現微小數位邊緣的階段相比有了巨大的改進。
• 空氣感與氛圍感：在更黑暗、低顆粒感的背景下，房間殘響清晰可聞且連貫，儘管頻率極端的絕對空氣感仍然略有截斷。
• 樂器分離度與音色平衡：扎實的左右成像，結他與低音之間有著清晰的分離。中音佔據統治地位，是最豐富、最具音樂性的區域，而高音則保持平滑且不易疲勞，不過缺少了終極透明度的最後一絲閃耀。
• 最終裁決：JVC K2 DAC 成功克服了嚴苛的數位侷限性，證明它將諧波密度、凝聚力和情感共鳴置於絕對解析度和極端透明度之上。

 

 

Rebecca Pidgeon - Spanish Harlem via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:38) (Press image to listen on YouTube)

 

3. Billy Preston & Syreeta – Endless Love: Motown’s Greatest Love Songs（第 2 首：With You I'm Born Again）

• 整體呈現：溫暖、親密且情感動人，前沿較柔和，比起手術刀般的細節銳利度，更偏愛中音的流暢感。
• 人聲與編曲：人聲異常流暢、有機，完全沒有齒音或數位眩光。鋼琴飽滿，打擊感稍弱，而伴奏弦樂溫暖、豐富且具凝聚力。
• 節奏與成像：低音圓潤悅耳；鼓聲放鬆流暢而非強勁有力。人聲在穩定、凝聚的音場中佔據中心、親密且略微前置的位置。
• 最終裁決：展示了 K2 DAC 作為一個徹底「調音系統」的角色——一個傾向於「情感第一、細節第二」典範的系統，使其成為靈魂樂和以人聲為主錄音的傑出夥伴。

 

 

Billy Preston & Syreeta – With You I'm Born Again via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:41) (Press image to listen on YouTube)

 

4. 甄妮 (Jenny Tseng) – 香港劇集經典（第 1 片 CD，第 14 首：肯去承擔愛）

• 人聲呈現：前置、置中且高度聚焦，以強烈的臨場感和清晰的咬字傳遞甄妮的歌聲，不過暴露了港式母帶製作風格固有的中高音略微強調（2 至 4 kHz）。
• 質感與高音：雖然中音保持平滑，但出現了輕微的乾燥感和胸腔共振減弱——這完全歸因於原始錄音而非 DAC。高音開放且延伸，沒有刺耳的數位眩光，不過峰值處的微小玻璃質感揭示了 DAC 的透明度。
• 低音與成像：比西方母帶更緊實、更精瘦。中心像被緊緊鎖定，證明 K2 DAC 不再用一層毯式溫暖來為每個錄音染色，而是忠實地揭示了母帶的差異
• 最終裁決：K2 DAC 成功完成了從掩蓋瑕疵到透明揭示各種源材料真實本質的轉變，且不會引起疲勞。

(此處附帶專輯內頁及光碟照片)

 

Jenny Tseng – 肯去承擔愛via modified JVC K2 D/A converter (00:00) VS EAC direct transfer from CD (03:27) (Press image to listen on YouTube)

 

結論

JVC K2 DAC 的演進表明，傑出的人聲重播並不嚴格需要真空管放大；僅憑 K2 鏈路就能達到自然度、中音豐富度和情感連結的水準，重新定義了期望。在成功克服數位刺耳感並確立其獨特的偏類比調音後，該系統現在已準備好迎接下一個評估：即將到來的爵士樂表現。

 

保記 (10/26) 

 

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4 張人聲測試盤

 

1. Patricia Barber – Companion (1999, Blue Note – 7243 5 22963 2 3 Digipak 淺藍標籤 1-0-1，EMI Mfg. 美國早期壓片母帶處理)

• 來源與工藝：在芝加哥傳奇的 Green Mill 爵士俱樂部現場錄製，大師級工程師 Jim Anderson 捨棄了標準的商業處理，採用了極度純粹的方法。利用世界級的 Brauner 真空管麥克風，透過自訂的 John Hardy 前級擴大機直接輸入高解析度數位多軌裝置，這張美國早期壓片（以其淺藍色標籤和 Digipak 包裝為特色）堪稱現場錄音的教科書。
• 評論：Anderson 沒有試圖美化 Green Mill 親密的建築結構——其狹窄的磚牆和錫製天花板——而是完全依賴原始的聲學特徵。在高解析度系統上，其結果產生了驚人的「3D 空間感」幻覺，將樂隊直接置於您的聆聽空間內。
• 人聲與空間現實主義：擺脫了錄音室限制器，Barber 的人聲展現出不可思議的身體高度、雷射般銳利的焦點和豐富的胸腔共振，從而營造出漂浮的頭部空間。
• 暫態與環境準確性：絕對的相位完整性使得「Black Magic Woman」中的木結他和手鼓等樂器躍然而出，描繪出表演者之間確切的物理空氣間隙。同時，周圍的群眾細節——碰杯聲、零星的咳嗽聲和掌聲——在實體舞台的前方、側面和後方動態成像，而不是崩塌成背景噪音。

 

 

Patricia Barber – Companion

 

2. Rebecca Pidgeon – The Raven (1994, Chesky JD115 美國製造，Kao Optical Products 製造，AL0007586-01 無 IFPI 美國早期壓片)

• 來源與工藝：1994 年 2 月由傳奇工程師 Bob Katz 在紐約皇后區的 Mastersound Studios 錄製，該發行完全基於 David 和 Norman Chesky 的極簡發燒友精神。錄音室有意識地繞過了繁重的多軌混音、人工疊錄、壓縮和嚴苛的 EQ，而是部署了配備 Ultra-Analog 模組和 Georg Kaye 自訂真空管電子元件的128x 過取樣 A-to-D Mark III 轉換器。
• 評論：作為人聲焦點和房間幾何形狀的實驗室級測試，《The Raven》將背景雜訊底噪降至絕對、漆黑的寂靜中。
• 基準體驗：第 12 首（《Spanish Harlem》）以 David Finck 彈奏的木質木製原聲低音提琴開場，讓聽眾能夠清晰地解析弦的尖銳彈奏以及自然的共鳴腔共鳴。
• 成像與舞台：Pidgeon 的歌聲緊緊鎖定在揚聲器軸線正上方的絕對中心，完全沒有刺耳的齒音，同時暴露了微妙的呼吸機制和嘴唇動作。隨著混音的擴寬，右側的鋼琴、左側的打擊樂以及後方豐富的弦樂組佔據了獨特、堅如磐石的空氣囊，而不會滲入中央的人聲圖像中。

 

 

Rebecca Pidgeon – The Raven

 

3. Motown’s Greatest Love Songs – Endless Love (Motown 3746353852, DISC MFG, INC. (H) W.O.19580-1M, 無 IFPI 美國早期壓片)

• 來源與工藝：作為 1980 年代末/1990 年代初美國光碟製造的傑出人工製品，此壓片由光碟製造公司(DMI) 使用高品質聚碳酸酯製造，具有低抖動凹坑形成和保護性漆面塗層以防氧化。由 Motown 首席工程師 John Matousek 在 1980 年代中期進行母帶處理，它匯集了 Diana Ross & Lionel Richie 的《Endless Love》和 Smokey Robinson 的《Being With You》等永恆經典。
• 評論：由於此版本早於「音量戰爭 (Loudness Wars)」的超級壓縮時代，它作為傳統流行音樂母帶本應如何呼吸的重要提醒。
• 動態完整性：光碟保留了原始安全母帶完整、未壓縮的動態範圍。
• 音色呈現：平坦、不受限制的 A/D 轉換提供了溫暖、平滑且寬敞的聲學平衡。即使在高亢的人聲高潮期間，呈現仍然完全乾淨，避免了困擾後期 CD 重新發行的數位磚牆失真。

 

 

Motown’s Greatest Love Songs – Endless Love

 

4. 港劇經典 (Classic Hong Kong TV Drama Themes) – 3CD 套裝盒裝 (1997年台灣永發唱片製造 FEC-9701-02-03)

• 來源與工藝：1997 年由永發唱片發行，這套台灣盒裝套裝旨在為海外市場重新發行經典的香港 TVB 主題曲。其核心是甄妮（Jenny Tseng）為 1983 年 TVB 改編的《射雕英雄傳之東邪西毒》演唱的標誌性歌曲《肯去承擔愛》，由顧嘉煇作曲、黃霑填詞。
• 評論：甄妮——被廣泛譽為粵語流行音樂的「金嗓子」——為這段錄音帶來了驚人的胸腔力量和人聲密度。
• 中音表現：在針對人聲焦點優化的系統上，甄妮在要求嚴苛的音符上的胸腔共振是一個嚴酷的試金石，揭示了監聽喇叭是否能夠重播飽滿的人聲，而不會變薄或引入人工邊緣。
• 編曲與餘裕：源自 80 年代末/90 年代初母帶在音量戰爭爆發前的平坦 A/D 轉錄，該盒裝套裝在人聲高潮時保持了充裕的餘裕。顧嘉煇的編曲巧妙地將中國傳統樂器（二胡和古箏）與西方弦樂和緊湊、精瘦的 1980 年代低音結他基礎相結合，使精緻的撥弦暫態在沒有任何低頻膨脹的情況下大放異彩。

 

 

港劇經典 (Classic Hong Kong TV Drama Themes)

 

高原 (10/26)