在網路上看到音響公司
Audio Note 的老板
Peter Qvotrup 在音響展接受訪問，談到音響重播準確性
(Accuracy = "準確性"
, 不是
"正確性"
)
覺得值得與大家分享，我試著將他的口述作成文字，譯成中文。
我的文筆有限，只能作到達意的程度，而且有兩個字不確定原文是什麼，請大家包涵。
文字部分，是從影片中的
2:18 的地方開始。
我歸納一下他說的重點
:
1. 音響器材所作的，單純只是對輸入訊號作反應，
所以，不論內容、曲風，器材的任務不變 => 重現錄音的
"準確水準"
，
不論內容為何，其呈現的手段、忠實度應該是一致的。
2. 所謂重播的準確性，在錄音時就已經決定，準確性是建立在錄音之上
( 註 : 用我的文字換個說法，若無準確的錄音，不可能有準確的重播
)
*********************************
註
: ( ) 內的文字是原文所無，但我認為是省略的文字，或是我為譯文更清楚所增加的文字。
....we
don't start with product range, we start with philosophy.
And
philosophy says the following : accuracy defined, as industry defines it, is
not correct. Accuracy can only be defined by the recordings.
…..我們不是從產品陣容、而是從原理的思考(philosophy)作為(規劃產品)起點
原理的思考可以導出
: 所謂的準確性、依業界的定義，其實是不正確的。準確性只能由錄音所決定。
It's
not,..... accuracy is not a live event, cause you can't take the live event
home and put it in the living room. A live event is always very interesting and
there are lots of very nice live recordings and I have brought a lot of them
with me here.
所謂的準確性，不等於現場演出本體，因為你無法將實體的演出搬到你家客廳。現場演出通常是充滿樂趣，而好的現場錄音非常多。我今天就帶了很多來。
But,
really, what determines accuracy, in our opinion, is the fact that it relates
to the recording and how the recording is made.
相反地，決定準確性的，依我們的見解，是這件事實
: [準確性] 與錄音、還有錄音的手段有關。
Basically,
we know nothing about the recording. Only thing we know with absolute certainty
about every single recording that's ever been made is the fact that they must
be different for all the recordings. And I am not talking here about the music,
I am talking about the sound of the recording itself.
其實，我們對錄音一無所知。唯一我們可以完全確認的事是 : 不論是哪個錄音，它們應該彼此有差異。
我說的不是音樂、而是聲音的本質。
We
know this is because it was done by different people with different equipment
at different time with different musicians in a different locality, or, even in
the same locality but with different people and different equipment. And
therefore, these differences encrypt themselves into the recordings.
我們知道(有差異的)原因是錄音總是由不同的人、器材、時、地所作成，就算是同地、不同人、不同器材時，也是如此。所以，這些差異就形成錄音中的編碼。
Job
of the equipment, is to be as accurate to what is on the recording and this
doesn't matter whether it's a 78, or it's a CD, or it's a LP, or whatever it
is, or a tape. Those essential characteristics of the recording itself have to
be present.
(音響)器材的任務，就是對這些存在錄音中的內容(差異)，保持其準確性，不論器材是78轉、CD、LP 或是 tape。這些錄音中不可缺的(差異)特質，必需被(器材)呈現出來。
From
that follows, that, the equipment which differentiates the most between the
recordings is better than the equipment that doesn't.
再進一步說，能夠分辨這些”差異”的器材，會比無法分辨的更優秀。
One
of the interesting aspects of the recording formats is that, if you compare a
SACD with a CD, and a LP of the same piece of music of the same recording, as
you go from the LP to the CD to the SACD, the differences disappear. The
recordings sound more the same as all other recordings.
關於媒體格式，有個有趣觀點
: 同一個錄音，如果它的 SACD 去比較 CD、LP 各版本，若你從
LP 開始比較、再來是
CD、最後到了
SACD 時，(前述的) [差異] 消失了。各種(不同)錄音聽起來都一樣。
So,
somewhere in that process, the SACD process loses something that's inherent in
the LP, and, to me that's a major problem with that technology. It simply has a
(harmonizing) effect on everything, including of course the form and the way
instruments sound.
所以，LP
內含的某個東西在
(製作)
SACD 的過程中遺失了，這一點，我個人認為是個大問題。(
SACD 製作過程)就是有諧振/傷害
(harmonizing/harming，不確定原文是哪個字)效果，影響所有聲音，當然包括樂器的發聲及聲形。
So,
we call this comparison by contrast.
And
what we are contrasting is one recording against another.
我們稱這種為
“對照式比較”
是拿一個錄音去對照另一個錄音。
And
what it does is it makes much easier to sit down and judge whether this
technology or that (shoe ?) or that design or this.. whatever, is capable of
differentiating them, because you are not listening to reference recordings
anymore.
這樣比較的作用
:
要評斷……..不論是什麼技術、設計….(的器材)……..是否有能力分辨它們(錄音之間的不同)，變得容易多了。因為聽的，不再是參考錄音
(or 標準錄音)。
You
can take 15 completely random recordings out of your collection and listen to
those, and they will tell you the truth, if you listen for the right thing.
Regardless whether you like the music or not, or it's a good or bad recording,
or whoever the musician or whether this musician can play or not, completely
irrelevant. Because at the end of the day, job of the equipment.... the
equipment doesn't know what you are putting on.
你可以隨意選15個錄音來聽，若你聽對了重點，(這些錄音)它們會說出真相(器材的分辨能力)。不論你喜歡那個音樂與否、錄音優劣、演奏者是誰、演奏能力…這些都(與認清器材對不同錄音的分辨能力)無關。根本來說，器材的工作……..器材不知你(在錄音中)放進了什麼?(or
不知你輸入器材什麼訊號)。
All
the equipment is doing is reacting to the signal. So, therefore, cause it's
only electronic signal it's reacting to, it doesn't matter whether it's a live
recording of xxxx or it's a violin concerto, it should treat the recordings the
same way and do an equally good job of both.
器材所作的，不過就是對輸入訊號作反應。因為，器材反應的對象只是電氣(子)訊號，所以，不論輸入的內容是
xxxx (無法辨識原文，應該是個音樂風格的名詞)
或是小提琴協奏曲的現場錄音，器材應該一視同仁，呈現一樣的品質。
This
is where, in my opinion, I have not heard any so called "high end
equipment" that can do this, to what I would consider to be as a
satisfactory grade, that's a problem.
這個部分，依我個人觀點所認為的滿意的水準，我尚未曾聽過
“所謂的高階器材”
能達到。
這是個問題。
