Date: 2023-11-29

Twenty-five years on from the original handmade SignatureX, the new SignatureX Tuned ARAY has been upgraded with XLPE (Crosslinked Polythene) insulation, which was previously used in the SignatureXL speaker and power cables. This upgraded insulation is intended to complement Chord’s high-performance shielding architecture and Tuned ARAY conductor geometry technology.

The SignatureX Tuned ARAY is terminated with ultra-low-mass RCA connectors that have PTFE surrounds. Versions of the interconnect fitted with high-performance XLR and DIN connectors are available as well as a variety of different tonearm cables. The pins and contact areas of the plugs are covered with the company’s patented ChorAlloy plating technology.

The cable itself is made from multistranded, silver-plated oxygen-free copper and insulated with an XLPE dielectric. It has a high-density silver-plated braid and foil combination to provide high-frequency shielding.

Under pressure
Using the SignatureX TunedARAY to connect my valve preamp to the valve monoblocks, I start auditioning with Don’t Misunderstand sung by Thelma Houston and Pressure Cooker. The dynamics of the recording are amazing and the music is conveyed with an effortless refinement. Image placement of the instruments is superb and the width and depth of the soundstage is impressively vast.

Interpreti Veneziani performing Vivaldi’s Bassoon Concerto in A minor has fabulous instrument placement and I am able to locate all eight players across my room. I can also clearly hear the breathing behind each note of the bassoon, which positively adds to the overall realism of the presentation.

In short, the SignatureX Tuned ARAY fully justifies its price tag as a high-performance analogue interconnect that delivers refined performances regardless of genre.

Date: 2023-11-28

What Hi-Fi? Awards 2023 winner: PMC’s slimline floorstanders deliver a sonic masterclass

PMC has something of a reputation for high-end hi-fi, and while not everything the British brand produces is bank-breaking, anyone who has clapped eyes on the eye-wateringly expensive Fact Fenestria floorstanders will understand the company can certainly produce extremely premium products at similarly premium prices. The Fenestria, tested at £56,995 / $75,000, are undoubtedly some of the finest speakers we’ve ever had the pleasure of listening to, yet unless you’re the heir to the McVities fortune or a very shrewd Bitcoin investor, chances are you’ll be saving for a long time.

That, then, is where the speakers such as the Prodigy 5 come in. Despite PMC often producing high-end audio at the higher end of the cost spectrum, the Prodigy 5 floorstanding speakers, along with their smaller Prodigy 1 standmount siblings, have been explicitly designed to bring that distinctive PMC DNA to the mainstream, provided you still have a spare £1995 / $2510 knocking around somewhere, that is.

The priority here, as becomes clear when you look closely at the Prodigy 5, is as much sound-per-pound punch as is humanly possible, as considerations over design and aesthetic flourishes fall by the wayside in the pursuit of the best audio you can get for the price. Want fancy metal feet? You’ll have to settle for mostly plastic. Like a sumptuous oak finish? Be happy with that plain black casing. How about ornate, polished terminals? Perish the thought.

All of this, theoretically at least, should be leading to a pair of speakers that, while utilitarian in appearance, knock it out of the park in terms of sonic performance. PMC is aiming to bring high-end audio to the man on the street with its Prodigy range, with the five-star Prodigy 1 standmounter living up to that ambition with startling confidence. Now it’s time to see if the trick can be repeated with its floorstanding counterparts.

Build & Design
As you’ll have already gathered from this review’s introduction, the PMC Prodigy 5 are, in diametric opposition to the old maxim about Victorian children, designed to be heard rather than seen. Every spare penny has been invested in audio performance rather than visual flair, and to an extent that comes across before you’ve even connected to the Prodigy 5 and booted up your first test track.

Slim, black and lacking in any extraneous flair or add-ons, the Prodigy 5 are, as we've said, built to a modest, utilitarian philosophy. That being said, there’s very little to call the Prodigy 5 actively ugly, and for a pair of floorstanders they’re a long way from drawing the eye in an unfavourable manner. Rather, the slimline towers feel crafted to fade into the background, more as quiet sentinels standing in the shadows than showy centrepieces designed to make a visual statement.

Internally, the Prodigy 5 sport similar overall DNA to the smaller Prodigy 1 standmounts, featuring a 27mm tweeter accompanied by a 13cm mid/bass driver that, says PMC’s head of design, aims to “bring the studio home”. PMC claims to use the same core technology across both its flagship studio products and its home audio speakers, with the Prodigy 5’s drivers aiming to fill a large space thanks to its transmission line technology.

At the bottom of each speaker are a pair of twin ‘Laminair’ vents designed to expand the headroom of the sound which, says PMC, are responsible for expanding the dynamic range of audio reproduction, as well as reducing unwanted air noise in the process.

Compatibility
We use our reference system of the Naim ND555/555 PS DR music streamer alongside a Burmester 088/911 MKIII power amplifier for the majority of our testing, but we find that the Prodigy 5 will work well with anything from the Award-winning Cambridge Audio CXA81 amp (tested at £999 / $1299) all the way up to the Naim Supernait 3 integrated (£3499 / $4299).

The Prodigy 5 are typical PMC speakers, in that they’re unfussy and transparent when it comes to the equipment you pair them up with. The slimline floorstanders are easy-going and good-natured up to a point, meaning they’re transparent enough to show you the qualities of a better amplifier but generally willing to reveal, rather than exaggerate, the faults in recordings or accompanying equipment.

Sound
With such an enviable heritage and a legacy for high-end audio showstoppers, we were excited to delve into what these slim, unassuming and affordable towers could manage.

Quite a lot, as it happens. It’s clear from the outset that PMC has hit the sweetest of sweet spots with the Prodigy range, balancing subtle details and musical flourishes with a perceptibly heightened sense of presence, poise and confidence. Shrinking violets they may be to look at, but get the Prodigy 5 warmed up and firing and you’ll understand why the British brand decided on such a name. Prodigy by name, prodigy by nature.

Take their rendition of Björk’s Bachelorette. A bold, brooding number that sees the elfin Icelandic ice queen at her overblown best, it’s a complex, almost industrial ballad that requires as much of the surgeon’s scalpel as it does the engineer’s hammer to truly do it justice. The Prodigy 5’s rendition fulfils these contrary objectives without a hint of strain, matching Björk’s distinctive, piercing vocal vulnerability with the full-bodied and cohesive instrumentation below, all the while revealing the kinks and subtle phrases inherent in such a carefully curated arrangement.

This is what really strikes us about the Prodigy 5, in that they seem to be adept at giving the best of all worlds without a hint of sonic sacrifice. While comparatively priced rivals substitute space for precision or dynamics for subtlety, PMC’s unassuming towers are truly comprehensive performers. Fleetwood Mac’s Go Your Own Way pops with drive and spark in the rhythmic verse sequences, but then fully blooms as it opens out into that iconic harmonised chorus. For building a sense of contrast and drama, we can’t think of a better pair of floorstanders at this level.

What’s more, they’re a genuinely fun listen, the sort of speakers that you want to keep testing and probing to see how they convey your favourite tracks and arrangements. For all this talk of clarity, poise and wide soundfields (all justified, of course), the Prodigy 5 are an immensely diverting listen across almost all genres. Rock tracks such as Wig Wam’s In My Dreams are invigorating and vibrant, hip-hop anthems like Jay-Z’s No Church In The Wild are packed with flavour, while grand baroque pop, tested via Lana del Rey’s Born To Die carry weight, depth and a real sense of scale. Throw whatever you like at the Prodigy 5 and they'll handle it as professionally as a concierge at The Ritz.

They’re not even particularly fussy about placement, and while you’ll get the best out of the PMCs by positioning them around 40-50cm away from the wall to avoid some overly dominant bass, they’re far from prima donnas in this regard. Angle the Prodigy 5 in slightly towards your listening position and you’ll receive an expansive yet well-focused soundstage.

Verdict
PMC promised to bring studio-grade sound to the masses with its (relatively) affordable Prodigy 1 and Prodigy 5 speakers, a task that could have led to some compromises in quality in the pursuit of more democratised audio.

Happily, the Prodigy 5 fulfil their purpose expertly, and while pennies may have been pinched externally, every ounce of sonic performance has been squeezed from this expertly engineered pair of floorstanders. Rich, refined and endlessly rewarding, the Prodigy 5 see PMC succeed in its mission: this is just about as good as we’ve heard a pair of speakers sound at this price. Result.

SCORES
Sound 5
Build 4
Compatibility 5

Date: 2023-11-24

輯錄自《u-audio》

看到 Burmester 216 後級，似曾相識的感覺源自 909，記得第一代推出時，我才剛進入音響評論這一行，編輯會議把機器排給我寫，還有些擔心，Burmester 交給我寫，可以嗎？不想，轉眼二十年一晃過去，眼前的 216，儼然是新世代 Burmester 後級的新中堅主力繼承人。

Signature Line 159 技術下放至 216
怎麼說？Burmester 以前的旗艦後級是 909，屬於高階 Reference Line，將 909 的高階技術下放，延伸至 Top Line 的 911，相當合理，可是後來 Burmeter 推出更高階的 Signature Line，新的 159 後級成為期最高技藝宣言（State-of-the-Art），耗費七年時間研發，每聲道重達 169 公斤，輸出功率高達 1,200 瓦，瞬間功率可上衝 2,500 瓦，總體諧波失真僅 0.0009%，樹立了 Burmester 的全新技術標竿，而其技術精華，則延伸到 216 後級，所以我才會說，216 後級可能是新世代 Burmester 的中堅主力。

推出 216 後級，會不會取代 911 MK III？應該不會，Burmester 通常不會以新的型號，取代舊的型號，而是看市場需求，911 MK III 現在應該還是賣得很好的產品，沒有必要停產，但 216 後級因為是從 159 新旗艦的技術延伸，技術特點與 911 MK III 略有不同，所以兩者應該都會有其擁護者。

Porsche Design 跨刀相助
自從 Burmester 與 Porsche、Mercedes-Benz 車廠合作，提供 Burmester 高階汽車音響選購，品牌高度水漲船高，賦予 Burmester 更鮮明的奢華形象，這次推出全新 216 後級，外觀看起來和 911 MK III 很像，可是細部還是有些差異，而且是請名家出手，委託 Porsche Design 工作室跨刀相助，勾勒出 216 後級新世代 Burmester 工業設計語彙。

Porsche Design 保留了許多既有 Burmester 的設計元素，包括鋁合金散熱片構成的箱體與鍍鉻飾板，但是比例有所不同，鍍鉻面積減少一些，散熱片的線條俐落一些，就這麼小小的改變，就讓 216 後級呈現更具有包浩斯極簡風格的樣貌。

Dieter Burmester 的理念傳承
至於 216 後級的技術特點，則是 Burmester 傳承多年的堅持，首先是超額供電，要讓後級擁有豐沛的輸出能量，電源供應是第一道關卡，創辦人 Dieter Burmester 從一開始就如此堅持，至今依然傳承下來。

以 216 後級來說，其電源變壓器容量為 437 VA，濾波電容總容量 200,000 uF，卻只做 8 歐姆 100 瓦輸出，就是希望不管再多困難的喇叭負載之下，216 後級都能擁有足額的電源供應。

全平衡加上 DC 直接交連
在放大線路設計部分，強調全平衡與 DC 直接交連，這也是 Burmester 傳承多年的堅持，全平衡對音響迷來說，可能是理所當然的設計，而 DC 直接交連則是完全排除音樂訊號放大路徑上的電容，因為多了交連電容，就會構成音樂訊號的染色，所以才會有「挑零件」的說法，就是靠交連電容來調配音色，但是 Burmester 採用 DC 直接交連，目的就是要去除電容的音染。

在輸入級部分，216 後級使用 Burmester 獨家 X-Amp 技術，就是自家製作的純 A 類分砌式放大線路，以 216 後級來說，使用的應該是最新的 X-Amp 3。

考究 X-Amp 的歷史，最早應用在 870 DAC 前級與 877 前級，由 Dieter Burmester 親自設計，歷經十多年的演進，大約在 2000 年代中期，進化到 X-Amp 2，依然是 Dieter Burmester 操刀修改，而最新一代 X-Amp 3 呢？Burmester 沒有說明是哪一年換上的，但可以想像，現在新的 Burmester 器材，應該都是配備 X-Amp3。

導入159 的金屬散熱銅導管
以上所說的技術特點，似乎都是 Burmester 延續多年的傳承，不過 216 後級多了新的內容，來自 159 旗艦後級，那就是新的散熱導管，外觀上來看，216 後級機箱周圍的鋁合金鰭片，都是散熱片，可是 216 後級在機箱內部加上了特殊的金屬散熱銅導管，圍繞著金屬機箱，銅管內部加入冷卻液體，均勻地將功率晶體工作時的熱量，傳送到鋁合金散熱片，維持機器穩定的工作溫度。

關於 216 後級的技術內容，我可以報告的大約如此，Burmester 一直都是相當穩健低調的音響廠家，他們的機器生命週期都很長，像是 909 後級配 808 前級，三、四十年來都是頂尖組合，只是隨著時間推進，技術進步，內容略有變化，而器材推陳出新的速度很慢，代表相對保值的效果，而且，Burmester 很少吹噓自家技術有多偉大，卻更多強調「德國手工製造」，不只是「Made in Germany」，更是「Handmade in Germany」。

只想做「最好」的器材
與一般大量製造音響產品來比較，Burmester 最重要的差異，莫過於此，大量製造的音響器材，可以靠銷售量壓低售價，可是 Burmester 的哲學與理念不是如此，他們並不想做最多，而是想做「最好」。

要把音響器材做到最好，就必須在製造細節上斤斤計較，雖然 216 後級的體積，比起 159 旗艦後級小得多，但是重量也有 35 公斤，在德國工廠手工組裝時，勢必要有許多輔助工具，確保電源與機板準確配置，每一個螺絲開孔的精密度，都決定機箱的牢固性，這些都是肉眼看不到的細節。

要怎麼把擴大機做好，Burmester 累積了四十多年的經驗，反覆磨練、精進其製造技術，只為了把 Burmester 器材做到最好，您可以嫌他們家機器賣得貴，但是其德國手工製造的工藝精神，絕對值得敬佩。

機器送來 U-Audio，我沒立馬拆箱接上去聽，而是要等編輯拍好照片，才敢動手，因為 Burmester 的機器太漂亮了，鍍鉻金屬飾板很容易沾上指紋手印，一定要先讓相機拍好美美的照片，我才敢搬動機器，其實鍍鉻飾板必不難清潔，只需要準備超細纖維的眼鏡布，就能擦得亮晶晶地，但是要注意，擦拭布一定要乾淨，就怕卡在擦拭布上的灰塵顆粒，會讓鍍鉻飾板表面磨出細小的痕跡。

輸入增益夠大，可以玩後級直入
在 U-Audio 的試聽室，我搭配了 Wilson Audio Alexia 2 喇叭，前級則是 EAR 868P 真空管前級，數位訊源是 YBA CDT-450 與 Merging NADAC，可是，當我使用 868P 前級時，第一時間就注意到，216 後級的第一級增益，應該比一般後級更大，通常我用 868P 搭配其他後級時，音量約莫開在 10~12 點方向，如果搭配自家 509 MK II 後級，因為後級本身有音量控制旋鈕，所以更容易控制前級維持在 10~12 點的工作範圍，但 216 後級一搭上去，我差不多 9 點鐘就有滿大的音量，顯然 216 後級在第一級放大做得比其他人要大。

這有什麼好處？前級的工作負擔可以小一點，而且音色有更多 Burmester 的表現，此外，也多了可以玩「直入後級」的趣味，所以搭配 868P 前級聽了一陣子，我卸下前級，用 Merging NADAC 直入 216 後級，靠 NADAC 控制音量，果然效果不錯，有 868P 前級的時候，聲音的厚度與濃度更好，但是用 NADAC 直入 216 後級，整體音場透明度更好，而且厚度也夠，所以，如果您只聽數位訊源，不需要其他檔位切換，可能選一部優質的數位串流播放器，就能少一部前級。

平衡輸入一定要加轉換頭
在講 216 後級的聲音表現之前，我要提醒三件事，第一、Burmester 的平衡輸入，配置是一地二負三正，與 AES 標準的一地二正三負不同，雖然接上去都會有聲音，可是那不是 216 後級的最佳表現，我發現代理商沒有出借平衡線極性轉換器，趕緊打電話求救，不借回來不能好好聽 216 後級啊。

假如平衡輸入的極性錯誤，會有什麼影響？如果您用標準 AES 規格的平衡線，就是錯誤的接法，但是 216 後級依然會正常工作，可是音場會感覺後退許多，樂器的結相力與形體刻畫，都會比較差，那不是 216 後級的正常表現，當您加入平衡線轉換器之後，極性正確了，音場就會往回收，音像刻畫清晰、飽滿、凝聚，低頻的力道與顆粒感都更漂亮。所以，連接 216 後級的平衡輸入（您別無選擇，只有一組 XLR），要不選擇平衡轉換器，要不訂做專用輸出改為一正二負三地的 XLR 線。

擺放位置底部的材料對聲音有影響
第二個要注意的是 216 後級的擺放位置，216 後級底部多了一塊厚實的鋁板，讓機器不露出底部的角錐，可是這讓機器與擺放底部更接近，所以如果將 216 後級擺放在地板上、音響架上，音色都會有若干變化，假如放在硬質地的地板或金剛石上面，音色會比較硬調，比較剛猛，假如擺放在木質音響架上，音色會較為軟 Q，彈性比較好。

我先是把 216 後級擺在地上，然後搬到 MYSTJ 音響架上，確實有微妙的音色變化，擺在地上音色比較硬調性，擺在 MYSTJ 的厚重樺木夾板上面，音色比較溫潤，至於另一款 Sound Organization，底部是強化玻璃，對應 216 後級這麼重的後級，自然沒辦法起加分的作用，所以，假如您想買 216 後級，為它準備專屬的單層音響架，搭配合適的材質，會讓聲音表現更好。

線材搭配可多花點心思
第三件事情則是線材的搭配，這是我跟代理商求救，借平衡轉換端子時，代理商同時出借 Cardas Clear Beyond XL 20A 電源線，外加 Cardas Clear Reflection 平衡訊號線，我才有機會更換搭配 216 後級的 Burmester 電源線。

原來這部後級對線材搭配昔當敏感，尤其是 20A 電源線，我用 Burmester 電源線時，音色比較清亮，換上Cardas Clear Beyond XL，聲音的厚度更棒，同時維持漂亮的 3D 結像與通透的音場，讓 216 後級的聲音表現更上層樓，所以就用 Cardas 來搭配。

集渾厚、豐潤與通透於一身
216 後級可說集渾厚、豐潤與通透於一身的優秀後級，這是很困難的音樂表現能力，有些後級聲音夠厚，可是卻太過濃郁，失去了通透度，要能兼顧厚聲與通透，是相當困難的平衡，但 216 後級做到了。

我想舉 Rachel Barton 與 Samuel Sanders 合作的「Homage to Sarasate」為例，聽「Serenata Andaluza」，開場的鋼琴分解和弦寬闊又厚實，呈現龐大寬廣的鋼琴音像，小提琴獨奏則凝聚在音場中央，位置略高，216 後級準確地描繪鋼琴與小提琴的樣貌，而且，216 後級的力度表現非常好，小提琴的音色凝聚又富有光澤，高昂之處展現充沛的力道，但是卻不會刺耳粗糙，而是能展現演奏家右手力度的強勁，還有雙弦拉奏的重量。

弦樂的表現既真實又唯美
音樂從慢板進入快板，「Serenata Andaluza」的鋼琴與小提琴都激昂地、快速地向前衝，216 後級展現音樂家的企圖，用激昂的表情展現，隨後轉入大調，音樂舒緩了下來，216 後級跟著展現寬闊、軟質的音樂色彩，我的注意力都在音樂上面了，根本無暇思索 216 後級究竟是什麼音色？要講中性無染嗎？那小看了 216 後級，它呈現出「Serenata Andaluza」強、若、鬆、緊的力度變化，而且饒富樂趣，那種幾乎可以想像錄音現場的音樂重現，這部 216 後級不簡單，絕對不是清清如水，而是濃郁芬芳的音樂表情。

換上不考驗音響的「史塔克：巴哈無伴奏大提琴組曲」，聽的是 216 後級的聲音質感。太美了，熟悉的「Prelude」一開嗓，撲面而來的是大提琴漂亮的聲線，鬆緊適中，音像凝聚得很漂亮，右手運弓的粗細變化，比例很清楚，可以想像右手拉弓的躍動，左手指尖在指板上的細微敲擊聲，彷彿回到錄音現場，近距離聽史塔克拉奏，大提琴表現得又真實又美，左手與右手的變化，讓您聽見錄音的真，而音樂流暢的聲線變化，展現的則是純粹的美感。

推力，根本超出對 100 瓦的預期
雖然覺得 216 後級展現錄音的真實與美感，已經非常棒了，可是還是要來考驗一下 216 後級的推力，聽「Tricyle」，主題曲開場的鋼琴彈得輕鬆，可是瞬間迸發的爵士鼓，力道又猛又強，用 216 後級來推 Alexia 2，爽度很高，而且動態對比夠大，鋼琴維持著清晰的聲線，爵士鼓偶而衝出猛爆的巨響，背後的電貝斯則持續清晰的顆粒，216 後級顯然能夠掌控 Alexia 2，就算我推到相當猛爆的音量，216 後級也沒有失控軟腳的情況，而是讓「Tricycle」聽得更加爽快放縱。

216 後級真的只有 100 瓦嗎？感覺應該不止如此，可能是 Burmester 的規格標是，相對保守，可是，我認為 216 後級最值得購買的特質，還是韻味十足的音樂表現力，在通透準確的音場之外，216 後級本身的音色有著豐富的音樂情感呈現，這是 Burmester 與眾不同之處，也是非常難用文字描述的音色特質。

最難就是音樂的情緒感染力
這種音樂的情緒感染力，還有音樂流動感的細膩變化，我想舉伯恩斯坦指揮阿姆斯特丹皇家大會堂的「馬勒第九號交響曲」第四樂章為例，拿出馬勒，您就知道我有多喜歡 216 後級，第四樂章可說是馬勒寫下的最後一個樂章，因為第十號才剛動筆，沒寫完，馬勒就過世了，第四樂章又是從生到死的音樂情境，配上龐大的管弦樂編制，如果音響系統不夠好，可能一開始的弦樂大跳音程，就讓人聽得糾結，不想聽下去。

用 216 後級來推 Alexia 2，我用較大的音量催逼，開場的弦樂群大跳，勾勒出緊張的情緒，彷彿無情的命運進逼，一陣緊張，弦樂群轉入大調，舒緩的長音，讓緊張的情緒隨之放鬆，唯美的弦樂群，背後藏著大提琴聲部的嘆息，讓很美的弦樂群，藏著一絲憂鬱，216 後級把小提琴聲部與大提琴聲部的交織，勾勒出漂亮的層次感，用較大的音量來聽，彷彿坐在音樂廳前五排一般，216 後級讓 Alexia 2 撐開龐大又真實的音樂廳舞台感。

弦樂群唯美又憂鬱的旋律，反覆交織、前進，直到銅管群浮現，溫暖的銅管彷彿將人包圍起來，注入一股暖流，弦樂群再次翻騰，升高音樂的張力，音樂翻騰了五分鐘，音樂收束起來，低音管的吟唱，彷彿死神降臨，音樂再次猶若逐步轉強，到九分多鐘時，管弦交響的力度升到最高，伯恩斯坦彷彿覺得交響樂團的力道還不夠，腳踩了一下指揮台，催促樂團更強、更強、再強，下行的音樂動機則彷彿像世界告別，而銅管總是適時地給予溫暖的擁抱。

216 後級的聲音在哪裡？在音樂的情感裡，「馬勒第九號交響曲」彷彿在向世界告別，而用 216 後級推 Alexia 2，我根本忘記是在寫音響評論，思緒飛回 1985 年 6 月的錄音現場，耳朵緊緊跟著每一個音符的進行，馬勒高聲呼喊時，感受對死亡無法逃避的恐懼，卻又在銅管群溫暖的擁抱中，得到心靈的救贖，將近三十分鐘的第四樂章，216 後級不僅呈現馬勒的龐大厚重，也在空洞的和弦中，聽見作曲家對現實的無助感，而強勁的銅管從溫暖擁抱，轉成尖銳吶喊的嘶吼，弦樂群緊繃地呼應，下行的音樂動機，在終曲不斷反覆，從大聲到小聲，從有聲到無聲，彷彿心跳越來越慢，越來越弱，直到最後一個音符消失在空氣當中......

能這樣聽馬勒，太棒了
聽馬勒第九號有多難？很難，216 後級把龐大的管絃交響，以及強弱對比的動態範圍，盡情地揮灑，我想說，216 後級是相當棒的擴大機，但重點不在規格、數據，也不在技術，而是音樂情感的細膩烘托，重現接近錄音現場的感受，我專注地聽完「馬勒第九號交響曲」第四樂章，CD 停了，我卻依舊沈醉在音符消逝的寧靜之中，能這樣聽馬勒，太棒了。

Date: 2023-11-22

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Silver screen
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