誰說「單聲道MONO」是扁平的？揭開克萊斯勒歷史錄音裡，被現代混音殺死的原始「3D立體感」
古殿殿主
殿主之前聊到了這麼細緻的克萊斯勒的「發音」之美，你們想不想知道鄭延益先生最推薦轉錄製作版本？
鄭延益先生用一種近乎「鑑定古董」的眼光在比較這些轉錄版本。
他心中最好的版本是黑膠出版品。
有兩種：
第一種是：《Strad》雜誌出版的總共5+6=11張兩套黑膠（克萊斯勒的藝術 The Art of Fritz Kreisler）
（鄭先生文章裡說的是：《Strad》雜誌出版的6張一套黑膠（The Art of Fritz Kreisler）。其實這有兩套，鄭先生提的這是第二集，6張黑膠一盒，另有第一集，是5張黑膠一盒，全部是兩盒11張黑膠）
第二種：日本版 RCA (Victor)，1976年紀念克萊斯勒誕生100年，也叫：克萊斯勒的藝術 The Art of Fritz Kreisler，7張黑膠ㄧ套。
鄭先生說的這兩種版本，「古殿」這邊都有收藏。
1. 學院派的聖經：《Strad》弦樂器雜誌版
首先登場的，是被鄭先生奉為「不朽之作」的英國《Strad》雜誌套裝（全套兩輯共11張）。
鄭先生對這套黑膠的評價高到什麼程度？他甚至親自寫信去英國致謝！因為在那個年代，大部分的唱片公司為了迎合市場，會像用強力去污粉一樣，把老錄音裡的雜音洗掉，結果連帶把克萊斯勒那種像「金鐘」一樣的高頻泛音也洗掉了。
但《Strad》版不一樣，它很誠實，它還原了細節。
【聽感筆記】 這套唱片有一個很微妙的「門檻」。它就像是一張超高解析度的黑白照片，你必須用最頂級的音響系統（就像用最好的顯微鏡）去看，才能看到那驚人的紋理。如果器材不到位，你聽到的可能只是一片平淡。
它很精準，真的很精準。但在我看來，它是一種「減法」的極致——它去掉了髒污，留下了一個極其乾淨的克萊斯勒。但這份乾淨，有時候讓我覺得稍微「冷」了一點點，像是博物館玻璃櫃裡精美的展品，很美，但你摸不到它的溫度。所以可以視為：學院派的聖經，完全保存細節與解析的學術存在價值。
2. 發音美學的極致：日本RCA版
接著是1976年，日本 RCA 為了紀念克萊斯勒百歲冥誕推出的七張一套紀念版。鄭先生對這套簡直是佩服得五體投地，直誇日本轉錄師會「變魔術」。
為什麼說是魔術？拿《倫敦德里之歌》（Londonderry Air）來PK就知道了。
鄭先生在文章裡反覆強調，克萊斯勒最迷人的地方在於他的中低音：
- G弦（低音）： 厚實得像大提琴。
- D弦（中低音）： 馥郁醇芳，像極了溫暖的「男中音」（Baritone）。
日本RCA版一放出來，那個「男中音」的聲音簡直是撲面而來！相比之下，《Strad》版雖然細節多，但總覺得身體單薄了些。日本轉錄師顯然是懂音樂的，他們用極高的素養，把那個「厚度」找回來了。
鄭先生經過PK後也認為：日本版最佳！ 雖然 Strad 版已經極好，而且跟日本版似乎是「用同一個底版」，但日本RCA的處理還是略勝一籌 。
鄭先生直言：
「日本（RCA Victor）公司的錄音師的本事，似乎比誰都大，對琴音的要求也比誰都高。」
【聽感筆記】 它絕對是最好聽的版本，醇厚、溫暖、感人。所以可以視為克萊斯勒發音美學的極致。
實體聲音比較：
Strad版：
https://drive.google.com/file/d/11VLgBG_r9Wd4gCnN-W2LiHA12aWVKZCc/view?usp=sharing
日本RCA版
https://drive.google.com/file/d/1jnudeMfpozHuBmQwGknYjX9XqfKS3NwD/view?usp=sharing
3. 鄭先生未了的心願：等待「那一天」的到來
鄭先生曾感嘆，當時即使是最好的轉錄版本（像我們剛提到Strad版與日本RCA版），也只能重現克萊斯勒琴音的 80-90% 。 但他緊接著寫下了一句充滿希望的話：
「不過近年來翻製CD的質量有極大的進步，能夠把原有的琴音如實地從78轉翻製出來的日子應該不遠了。」
他一直在等「這一天」。他知道當時的技術還不夠好，但他相信未來會有人能夠做到「如實翻製」。
**他認為蟲膠（78轉）是最好的，**鄭先生曾擁有的幾十張78轉唱片，其琴音質量「的確依然猶勝於質量最好的 33 轉黑膠唱片與一般CD製作」 。 他甚至說，聽克萊斯勒的《吉他》（La Gitana）和《印度之歌》的 78 轉蟲膠唱片時，他是「潸然淚下」的 ，但聽Strad版與日本RCA版的時候尚未有到這種情況。
4. 「古殿」的挑戰：我們有兩條通往「真實」的路
說了這麼多，這兩種神級版本，「古殿」當然都有收藏。但在這兩座高山面前，殿主身為十餘年來歷史聲音研究者與聲音保存者，其實心裡還有更大的目標與挑戰，就是實現鄭先生心中未了的願望。
「古殿」經過多年累積，最終總結為兩種截然不同的保存方案。不管是哪一種，我心中都守著一個絕對不能被破壞的「核心價值」。
先讓大家看看這兩條路：
第一種：古殿原始蟲膠轉錄版——在「雜音」與「實體」間保存歷史生命
這就像是考古學家在清理古物。現代去噪技術像強力水柱，可以輕易沖掉泥土（雜音），但往往也把古物表面的紋路（泛音、空氣感）給沖壞了。 我的原則很殘酷也很簡單：「如果減少雜音會傷到聲音實體的一分一毫，那我寧可保留雜音。」 我們把修補參數開到最小。這是一種極致的克制。只為了保住克萊斯勒那種溫暖的「真實肉感」。
第二種：古殿歷史原況轉錄——「三位一體」的終極降靈會
這是最狂熱的做法：完全不修補。 我們讓原版蟲膠唱片，在當年的「留聲機之王」上播放，並直接收錄這「蟲膠、留聲機、實體空間」三位一體共鳴的當下。這不只是聽音樂，這是直接把你傳送到 1920 年代的空氣裡。
5. 終極解密：為什麼古殿堅持「不混音」？因為單聲道其實是3D的！
這時候很多朋友會問：「殿主，不管是哪種版本，你為什麼這麼排斥現代的『混音』技術？讓聲音聽起來寬一點不好嗎？」
這裡我要告訴大家一個驚人的秘密，也是古殿轉錄最核心的「第一性原理」： 真正的單聲道（Mono），其實本質上是立體的！
大家不要被現代音響觀念誤導了，以為只有左右兩個喇叭才叫立體。 回想一下聲音的物理本質：當年的錄音雖然只有一個麥克風（或一個號角），但它就像人類的耳朵一樣，是「單點接收」。
當年那張蟲膠唱片的聲音溝槽裡，本就保存著當年原始的錄音效應！那個本質上是生理立體的「單聲道」聲音。
【單點雙耳的聽覺秘密】 試想一下，當你閉上一隻眼睛看世界，你還是能感覺到物體的遠近、深淺，對吧？聲音也是一樣。 當年的錄音器材，誠實地記錄了聲音在空間中的「深度」。克萊斯勒離麥克風多遠？伴奏的鋼琴在後方哪個位置？聲音打到牆壁回彈的殘響（Reverb）是多少？ 這些資訊，全部都完美地被鎖在那個單聲道的軌道裡。這就是基於物理效應的「原生立體感」。
【混音的陷阱】 現代許多轉錄製作人忽略了這一點。他們習慣用「混音」去調整，試圖把聲音拉寬、把頻率拉平。 這就像是你把一張原本有景深的照片，強行用修圖軟體拉成平面圖。 只要一碰「混音」，那個基於物理第一性原理的「相位」與「空間深度」就會亂掉。 雖然聲音變乾淨了、變寬了，但那個原本深邃、像是在你面前演奏的「實體感」就徹底消失了。
所以，「古殿」的堅持就在這裡：
我們保存的，不只是聲音的頻率，更是當年錄音的「物理空間效應」。
我們不做多餘的混音，因為我們相信，一百年前的物理學，已經把最真實的立體感交給我們了。我們能做的最好的事，就是不要去破壞它。
6. 找回你的原始生理「感知」
為什麼我要費盡心思聊這麼多物理學？
因為在這個快速加工的時代，我希望能幫大家留住最後一塊「真實」的淨土。
當你在「古殿」聽到克萊斯勒的琴音時，我不希望你只覺得「好聽」，我希望你能感受到那個存在的「實體空間」。 那個空間裡有灰塵、有雜音，但也有克萊斯勒最真實的呼吸與體溫。
這就是「古殿」存在的意義：在聆聽中，把大腦的運算關掉，打開你的耳朵和身體，去感受那個一萬年都不會變的物理真實。當你的心在那個真實的空間裡自由了，我相信，真正的平靜也會跟著降臨。
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活動資訊
- 活動名稱：【古殿歷史名曲音樂喫茶第37場】克萊斯勒協奏曲之夜
- 時間：2026年1月16日（週五） 19:30 - 21:00
- 地點：古殿樂藏
- 名額：限定10席（額滿即止）
「古殿歷史名曲音樂喫茶」將是台灣目前唯一固定舉辦此類深度歷史聆聽活動的空間。
活動名稱：【古殿歷史名曲音樂喫茶第37場】克萊斯勒協奏曲之夜：
👉 立即預約您的時空席位 (需匯款確認)： https://forms.gle/1E9v295gE5nNrdrD8
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Who Says "Mono" is Flat? Unveiling the Original "3D Spatiality" in Kreisler’s Recordings That Modern Mixing Killed
Last time, we chatted about the sheer beauty of Fritz Kreisler’s "tone production." Do you want to know which transfer versions were most highly recommended by the legendary critic Mr. Zheng Yanyi?
Mr. Zheng compared these transfers with the critical eye of an "antique appraiser." In his heart, the best versions were always on vinyl.
There are two main contenders he mentioned:
- The Strad Magazine Edition: A total of 11 LPs split into two sets (Volume 1 has 5 records, Volume 2 has 6 records).
- The Japanese RCA (Victor) Edition: A 7-LP set released in 1976 to commemorate Kreisler’s 100th birthday.
We have both of these legendary sets here at "Gu Dian." Let’s break them down.
1. The Academic Bible: The
Strad Magazine Edition
First up is the British Strad magazine set, which Mr. Zheng worshipped as an "immortal masterpiece."
How highly did he rate this? He actually wrote a letter to the UK just to thank them! You see, back in those days, most record companies tried to cater to the mass market. They used the audio equivalent of heavy-duty detergent to scrub away the "hiss" and "pop" of old recordings. But in doing so, they also scrubbed away Kreisler’s golden high-frequency overtones.
The Strad edition was different. It was honest. It restored the details.
【Listening Notes】 This set has a subtle "barrier to entry." It’s like a super high-resolution black-and-white photograph. You need a top-tier audio system (like using a high-powered microscope) to see the incredible textures. If your equipment isn’t quite there, it might sound a bit flat.
It is precise—truly precise. But in my view, it represents the ultimate "subtraction." It removed the dirt, leaving behind an incredibly clean Kreisler. But sometimes, that cleanliness feels a little "cold" to me. It’s like a beautiful artifact behind a glass case in a museum—stunning, but you can’t feel its temperature. It is the "Academic Bible," preserving detail and scholarly value perfectly.
2. The Aesthetic Peak: The Japanese RCA Edition
Next is the 1976 Japanese RCA set. Mr. Zheng absolutely adored this one, claiming the Japanese transfer engineers performed "magic."
Why magic? Just compare the track Londonderry Air. Mr. Zheng repeatedly emphasized that Kreisler’s charm lay in his mid-to-low frequencies:
G String (Low): Thick and solid, like a cello.
D String (Mid-Low): Rich and fragrant, just like a warm "Baritone" voice.
When you play the Japanese RCA version, that "Baritone" voice just washes over you! By comparison, the Strad version, while detailed, feels a bit physically thin. The Japanese engineers clearly understood the music; with great cultural literacy, they managed to bring that "body" and "thickness" back.
Mr. Zheng’s Verdict: The Japanese version wins! Even though they likely used the same source material as Strad, the Japanese processing was superior. He bluntly stated: "The Japanese (RCA Victor) engineers seem to have greater skill and higher standards for violin tone than anyone else."
【Listening Notes】 This is absolutely the most pleasant version to listen to—mellow, warm, and moving. It is the ultimate representation of Kreisler’s aesthetic beauty.
3. Mr. Zheng’s Unfulfilled Wish: Waiting for "That Day"
Despite his praise, Mr. Zheng lamented that even these "god-tier" versions (Strad and RCA) only reproduced about 80-90% of Kreisler’s true sound. But he wrote something filled with hope:
"However, the quality of CD transfers has improved greatly in recent years. The day when we can faithfully reproduce the original tone from 78rpm records should not be far off."
He was waiting for "that day." He knew the technology of his time wasn’t quite there, but he believed someone, someday, would achieve a "faithful reproduction."
He believed Shellac (78rpm) was the king. Mr. Zheng owned dozens of original 78s, and he insisted their sound quality "surpassed even the best 33rpm vinyls and CDs." He even said that when he listened to the original 78rpm shellac of Kreisler’s La Gitana and Song of India, he was moved to tears—something that didn't happen with the Strad or RCA LPs.
4. The Challenge for "Gu Dian": Two Paths to "Reality"
So, we have these legendary versions in our collection. But standing before these mountains, as a historian and sound preservationist, I have a bigger goal: to fulfill Mr. Zheng’s wish.
After years of research at "Gu Dian," I’ve developed two distinct preservation methods. Both adhere to one core value I will never compromise: Truth.
Path 1: Gu Dian Original Shellac Transfer — Preserving Life amidst the "Noise" Think of this like an archaeologist cleaning an artifact. Modern denoising technology is like a high-pressure water hose—it easily washes away the mud (noise), but it often destroys the delicate textures (overtones, airiness) on the surface. My principle is cruel but simple: "If reducing noise hurts even 1% of the sound’s body, I’d rather keep the noise." We keep the repair parameters to the absolute minimum. This is ultimate restraint, all to preserve that warm, "fleshy reality" of Kreisler’s tone.
Path 2: Gu Dian Historical Raw Recording — The "Trinity" Séance This is the fanatical approach: Zero digital repair. We play the original shellac record on a vintage "King of Gramophones" and record the moment directly. We capture the resonance of the "Shellac + Gramophone + Physical Room" trinity. This isn't just listening to music; it’s teleporting you directly into the air of the 1920s.
5. The Ultimate Secret: Why We Don't "Mix" (Because Mono is Actually 3D!)
Friends often ask me: "Master, why are you so against modern 'mixing' technology? Wouldn't it be better to make the sound wider?"
I’m going to tell you a shocking secret, which is also the "First Principle" of Gu Dian’s transfers: True Mono is inherently 3D!
Don't be misled by modern audio concepts thinking "Stereo" (two speakers) is the only way to have "3D sound." Think about the physics. Early recordings used one microphone (or horn). It acted just like a human ear—it was a "single-point receiver."
The Secret of Single-Point Hearing: Close one eye and look around. You can still perceive distance and depth, right? Sound is the same. Those old recording devices honestly recorded the "depth" of the space. How far was Kreisler from the mic? Where was the piano behind him? How did the sound bounce off the walls? All this information is perfectly locked inside that single groove. This is "Native 3D" based on physics.
The Trap of Mixing: Modern producers often ignore this. They use "mixing" to artificially widen the sound or flatten the frequencies. This is like taking a photo with natural depth of field and forcing it flat with Photoshop. The moment you touch "mixing," you mess up the Phase and Spatial Depth defined by physics. The sound might get "cleaner" or "wider," but that deep, tangible feeling—like the artist is playing right in front of you—vanishes.
That is why "Gu Dian" insists: We preserve not just the frequencies, but the "Physical Spatial Effect" of the original recording event. We don't do superfluous mixing because 100-year-old physics has already given us the most authentic 3D sound. The best thing we can do is not ruin it.
6. Reclaiming Your Primal "Perception"
Why do I spend so much time talking about physics?
Because in this era of rapid, artificial processing, I want to keep one last sanctuary of "Realness" for you.
When you listen to Kreisler at "Gu Dian," I don't want you to just think "it sounds nice." I want you to feel the physical space. That space has dust, it has noise, but it also has Kreisler’s actual breath and body warmth.
This is the mission of "Gu Dian": To turn off your brain’s calculations, open your ears and body, and feel a physical truth that hasn't changed in ten thousand years. When your heart finds freedom in that real space, I believe true health and peace will follow.
Event Information
Event: [Gu Dian Historical Masterpiece Music Cafe - 37th Session] Kreisler Concerto Night Date: Friday, January 16, 2026 Time: 19:30 - 21:00 Location: Gu Dian Le Zang (Taipei) Capacity: Limited to 10 seats (First come, first served)
"Gu Dian Historical Masterpiece Music Cafe" is currently the only space in Taiwan regularly hosting this kind of deep historical listening event.
(Registration link in the comments)