Speaker placement really is a lifelong learning process. Every now and then, on a whim, I’ll shift them around a bit and it brings a fresh feeling. Previously, they were placed closer together, making the sound more upfront and exciting. But pulling them back just a little—really just a tiny bit—the soundstage became bigger.
Right now, the speakers and the listening position form an equilateral triangle with a precise span of eight and a half feet. The tweeters are exactly three feet from the side walls. I’ll listen for a while like this first 😜.
The mark under the speakers is the improved tweeter axis position. I’m not too keen on covering the whole floor with tape. (Ken)
觀乎後台數據，這次的情況沒有影響影片的觸及率，但每一次 content id 都可以有不同的影響，而且累積太多同類警告，對頻道也是一種風險。
友台做法，把錄音放在另一頻道另一條片去，或者用對版權執得沒那麼緊的古典樂，或者用中國內地或者本地一些細公司那些沒有 content id 的歌曲等等⋯事實上，所謂「雲試聽」根本是無法把器材真正的音質反映出來（音色勉強可以聽到），我錄音的目的只為給大家一點休息空間和趣味，但 youtube 這種玩法，令我不得不思考一下，應該如何處理日後的錄音片段，你有咩意見呢？（國仁）
What I want to say is—I’m honestly feeling emotionally drained. Of course, if something is copyrighted, then technically we shouldn’t even use a second of it. But all I can say is, we’ve already done everything we possibly can. In fact, every video is thoroughly checked by YouTube for copyright issues before being made public, and we only publish them once everything is cleared. However, what’s been happening recently is that several days after the videos go public, we suddenly receive a copyright notice. In the case of the most recent video, the claim came just an hour or two after it was published!
Looking at the backend analytics, this particular incident doesn’t appear to have affected the video’s reach. But each Content ID claim can have a different impact, and if too many of the same type accumulate, it becomes a risk to the channel as a whole.
Other creators have tackled this by uploading the audio to a separate channel or a different video, or by using classical music where copyright enforcement tends to be looser, or by choosing music from small local or mainland Chinese companies that aren’t part of Content ID. The reality is, these so-called “online demos” can’t really convey the true sound quality of the equipment (you can barely get a sense of the tonality). My recordings were only ever intended to offer a moment of relaxation and fun for the audience. But with the way YouTube is handling things now, I really need to reconsider how to deal with future audio clips.
In recent years, many IMAX promotions have claimed that the IMAX version lets you “see more.” But in fact, years ago it was the use of “ultra-wide screens” (2.35:1, cinemascope) that was seen as the key to creating an immersive experience. We all know that if you want to “see more,” you just need to shoot wider — it’s simple. But the real point is what the director wants the audience to see. “Seeing more” doesn’t necessarily mean “better.”
In that sense, the IMAX idea of “see more” can actually be a bit counterintuitive. If that were really the goal, why not just shoot the entire film in a 1.78:1 ratio from the start? IMAX’s true strengths lie in its higher shooting standards, superior image quality, and the massive viewing screens — those are the things that matter.
At home, most of our displays are in a 16:9 format, and our phones tend to be even wider, around 2:1. Cinema’s ultra-wide aspect ratios require anamorphic lenses to recreate properly, but on our digital devices, those same ratios often appear “smaller” due to the mismatch. If streaming versions of blockbuster films were offered in a consistent 16:9 format — like the brief appearance of IMAX Enhanced — that would actually make for a much more satisfying viewing experience.
feverSound.com影音產品評測
feverSound.com影音產品評測
天下無不散之筵席【結業清貨通知】
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1 month ago | [YT] | 129
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feverSound.com影音產品評測
有無見到邊個？
1 month ago | [YT] | 32
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feverSound.com影音產品評測
早兩日在 win win shop 收穫甚豐！本身只是為了 EB Duet 最新專輯《玖韻·IX》而去（聽了他們那麼多張專輯，越來越成熟多變👍🏻👍🏻👍🏻 ）本來只打算買一隻碟，結果就🤣🤣🤣，玉置浩二隻日版膠新出的，又是一場表現好好的錄音😍至於 Beyond 隻《樂與怒》我不多解釋，真的叫自己盡量不要再買已有的碟，不過 Beyond reissue 中這張難得口碑叫好，那⋯（國仁）
1 month ago | [YT] | 93
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feverSound.com影音產品評測
喇叭擺位，真係活到老學到老，心血來潮又擺吓，又會有一種新鮮感，之前擺得較近，啲嘢埋身啲刺激啲，但推返後少少，真係少少咋，個畫面又宏大咗，而家喇叭同聆聽位等邊三角形準八呎半，喇叭高音離側牆剛好三呎，又聽一排先😜喇叭下面呢一點就係度好咗嘅高音中軸位，我唔太想貼到成地都係膠紙（國仁）
Speaker placement really is a lifelong learning process. Every now and then, on a whim, I’ll shift them around a bit and it brings a fresh feeling. Previously, they were placed closer together, making the sound more upfront and exciting. But pulling them back just a little—really just a tiny bit—the soundstage became bigger.
Right now, the speakers and the listening position form an equilateral triangle with a precise span of eight and a half feet. The tweeters are exactly three feet from the side walls. I’ll listen for a while like this first 😜.
The mark under the speakers is the improved tweeter axis position. I’m not too keen on covering the whole floor with tape. (Ken)
1 month ago (edited) | [YT] | 115
View 11 replies
feverSound.com影音產品評測
就咁影個logo都會心心眼（國仁）
2 months ago | [YT] | 96
View 3 replies
feverSound.com影音產品評測
到深水埗聯興約Lawrence拍攝，不忘和劉老先生合照一張，店內有一件產品吸引到我，聲音普通但趣味性十足（國仁）
2 months ago | [YT] | 216
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feverSound.com影音產品評測
已出之物：執屋發現當年見平又係all in one仲要法國製造兼且係Class AB嘅Micromega MyAmp，當年無記錯賣 HK$4280，但結果我係買咗返來擺到變黃😝😆😆😆😆試咗仲著到，正常喎（國仁）
2 months ago | [YT] | 87
View 7 replies
feverSound.com影音產品評測
非常感謝出席活動嘅朋友，希望大家可以對Marantz這部已達High End級數、真正串流解碼連前級Link10n更了解之時，亦就兩款串流播放軟件之間誰更啱聽，找到自己的答案！亦感謝報名嘅各位，抱歉令不少朋友失望，場地空間有限，所以做了兩場都合共只可容納30人。我哋之後仲會有唔同活動，音響展之後的，希望可以見到大家（國仁）
2 months ago | [YT] | 136
View 2 replies
feverSound.com影音產品評測
我想說的是，真的心好累，當然，有版權就應該一秒也不用，但我只能說，已經把可以做的都做了。而事實上，每條影片在公開之前，youtube 已經詳細檢測過版權，並且在一切無問題的情況下，我們才把影片公開，然而最近多次是在影片公開之後數天，忽然說這影片又有版權問題，最新的影片，甚至是影片剛公開一兩小時就說有問題！
觀乎後台數據，這次的情況沒有影響影片的觸及率，但每一次 content id 都可以有不同的影響，而且累積太多同類警告，對頻道也是一種風險。
友台做法，把錄音放在另一頻道另一條片去，或者用對版權執得沒那麼緊的古典樂，或者用中國內地或者本地一些細公司那些沒有 content id 的歌曲等等⋯事實上，所謂「雲試聽」根本是無法把器材真正的音質反映出來（音色勉強可以聽到），我錄音的目的只為給大家一點休息空間和趣味，但 youtube 這種玩法，令我不得不思考一下，應該如何處理日後的錄音片段，你有咩意見呢？（國仁）
What I want to say is—I’m honestly feeling emotionally drained. Of course, if something is copyrighted, then technically we shouldn’t even use a second of it. But all I can say is, we’ve already done everything we possibly can. In fact, every video is thoroughly checked by YouTube for copyright issues before being made public, and we only publish them once everything is cleared. However, what’s been happening recently is that several days after the videos go public, we suddenly receive a copyright notice. In the case of the most recent video, the claim came just an hour or two after it was published!
Looking at the backend analytics, this particular incident doesn’t appear to have affected the video’s reach. But each Content ID claim can have a different impact, and if too many of the same type accumulate, it becomes a risk to the channel as a whole.
Other creators have tackled this by uploading the audio to a separate channel or a different video, or by using classical music where copyright enforcement tends to be looser, or by choosing music from small local or mainland Chinese companies that aren’t part of Content ID. The reality is, these so-called “online demos” can’t really convey the true sound quality of the equipment (you can barely get a sense of the tonality). My recordings were only ever intended to offer a moment of relaxation and fun for the audience. But with the way YouTube is handling things now, I really need to reconsider how to deal with future audio clips.
3 months ago | [YT] | 224
View 74 replies
feverSound.com影音產品評測
近年很多IMAX的宣傳都說IMAX版本「睇多啲」，但其實很多年前「超闊屏幕」（2.35:1）的拍攝才是「讓人更沉浸」的賣點，我們都知道想「睇多啲」只是需要「拍wide啲」就可以，但重點其實是導演想觀眾看什麼而已，並非「睇多啲就係好」，因此，IMAX的所謂「睇多啲」其實有點反邏輯，因為這樣不如一早就全片用1.78:1比例去拍攝？IMAX的優勢其實是更高的拍攝要求，畫質更高，觀影屏幕更大，這才是重點吧！
我們的家用顯示屏多為16:9比例，手機電話則傾向更闊的2:1，電影院的超闊比例，也需要加上Anamorphic lens去重現，但在我們手上的數碼裝置就因比例不對而「顯細了」，如果大電影的串流版本都有一個16:9比例看（例如曾經出現過一陣子的IMAX Enhanced）才是讓大家睇得更爽吧（國仁）
In recent years, many IMAX promotions have claimed that the IMAX version lets you “see more.” But in fact, years ago it was the use of “ultra-wide screens” (2.35:1, cinemascope) that was seen as the key to creating an immersive experience. We all know that if you want to “see more,” you just need to shoot wider — it’s simple. But the real point is what the director wants the audience to see. “Seeing more” doesn’t necessarily mean “better.”
In that sense, the IMAX idea of “see more” can actually be a bit counterintuitive. If that were really the goal, why not just shoot the entire film in a 1.78:1 ratio from the start? IMAX’s true strengths lie in its higher shooting standards, superior image quality, and the massive viewing screens — those are the things that matter.
At home, most of our displays are in a 16:9 format, and our phones tend to be even wider, around 2:1. Cinema’s ultra-wide aspect ratios require anamorphic lenses to recreate properly, but on our digital devices, those same ratios often appear “smaller” due to the mismatch. If streaming versions of blockbuster films were offered in a consistent 16:9 format — like the brief appearance of IMAX Enhanced — that would actually make for a much more satisfying viewing experience.
4 months ago | [YT] | 57
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