March 31, 2011

10 Qs For David Williamson, Senior Product Design Engineer, Linn Products Limited.

As usual, I'll give my 10 Qs to any visiting hifi industry guest, David gets his turn, so we may get to know more about him and get up to date with the latest Linn news, as we sip over a cup of coffee. Here goes:

David Williamson, tasked with improving the Linn Sondek LP12 in the last few years.

Big E: David, welcome to Malaysia, from your presentation, you don't quite sound like Scottish of origin, but yet have some of the accents of a Scotsman?

DW: Well, that's because I am technically English, but have some Scots, Welsh and Irish mixed in to the family blood lines! Ha! Ha! However, if one lives in Scotland long enough, it's easy to pick up a bit of local accent without realising it.

Big E: That's true, but back to some Linn news up date. I hear that Linn has down sized and lay off some staff in the past few years, what happened?

DW: All that happened just before the current financial crisis, which started in 2008. Linn as a company got a little over stretched as it grew rapidly over the years and a series of unfortunate incidents happened over a very short period of time. It was a painful decision that Gilad Tiefenbrun and the management took to shut down a few of the non core divisions, which resulted in some staff lay offs. However in hind sight now, it was probably a good thing too, because by taking the painful measures to down size the company, we managed to re-focus in to our core business, and in the process became a leaner and stronger company, ready to face the challenges of the financial crisis in 2008.

Big E: So, what's Linn's staff count like now?

DW: We employ 190 staff or so covering all our businesses and divisions.

Big E: Wow! That means Linn is still a very big company in the hi-end hifi industry. What about your department, which is design?

DW: We have nearly 40 engineers working in various areas of product design. I am in the mechanical design area, which is where the Linn turn tables and speakers comes to mind. I also work on most of the product's metal casing and chassis design. We also have a section of designers dedicated to digital products, a sub group of GUI(Graphic User Interface) engineers, where they dabble in software development that forms the basis of user interface experience. We also have power supply design, and electronics design departments. Then there's production, logistics, marketing and sales departments. We try to keep everything in house, and local where possible. That's what make a Linn product exceptional, in quality.

Big E: What about speaker cabinets, do you make them in house too?

DW: We do everything, including designing and building most of the speaker drivers in house. However, the speaker cabinet is the only thing that's not made in house, they're made in Denmark, but once the cabinets come in to the factory, all the final assembly and QC is done in house.

Big E: With so many departments and divisions within Linn, who calls the shots when it came to the final product design approval?

DW: Most of the time, we'd come to a decision by consensus within all the departments/divisions involved. The final version of the product would then be presented to either Gilad or Ivor, just to get their feedback and perhaps final input, prior to signing off for production.

The latest fully version decked version of a Linn Sondek LP12, with the new smooth design, plinth, which is technically more rigid. The Linn Sondek LP12 has been in production since 1972, would there be a 40th Anniversary version next year???

Big E: We now come to the Linn Sondek LP12. With the world wide vinyl resurgence lately, what are the sales figures like? And where are the biggest markets for Linn turn tables?

DW: When I joined Linn 11 years ago, we were like building 5 units of Linn LP12s a month. Today, we're building them at a rate of 5 or 6 units a week. Our biggest market for the Linn LP12 turn tables are Japan and China! Last month, we shipped a batch of 40 units of LP12s to China.

Big E: There seems to be a preference for the old style ribbed plinth in the previous LP12 turn table. What's your take on that?

DW: Engineering wise, the new style smooth plinth is more rigid than the previous version, due to the extra thick corner bracing comparatively. However, on the aesthetic front, I can understand why some might prefer the old style ribbed design. It's called nostalgia! We get request from the Japanese market for the old style ribbed design all the time, and they call it the Linn Sondek LP12J(or something like that), which is really popular with the collector's market there.

My old style Linn Sondek LP12, which dates back to 1984, recently refurbished to original specs. The older stlye ribbed designed wooden plinth is a favorite amongst Japanese collectors.

Big E: It's been nearly 40 years since the first Linn Sondek LP12 is produced, when is the Linn Sondek ever going to be completed, up grades wise?

DW: As I said to Lam(Seng Fatt, of Hifi Avenue) earlier, the Linn Sondek LP12 will continue to evolve, as newer materials become available and new way of doing things become possible. This is due to the Linn Sondek's modular design, that makes it so flexible, and up grade able. Look at the latest Ekos SE tone arm, which the tube is made of titanium, an exotic metal which was not available for industrial use until recent times. Another example is the Keel sub chassis/arm board integrated design up grade, which was something Ivor wanted to do when he did the Cirkus bearing kit back in the late 1980's. It was only thru the availability of CAD/CAM(Computer Aided Design/Computer Aided Manufacturing) design and production systems in the last few years which made the Keel up grade possible. Some times, analog also benefited from the advancement of digital products, such as the Radikal DC motor/ power supply up grade. We had learnt about a new quartz clock which is so accurate, that we decide to try it on the turn table DC motor/power supply design, which we could hear immense sonic benefits, due to lowered noise floor, and a more stable speed rotation of the platter. So the Linn Sondek may never stop evolving, after all!

Big E: You're an engineer by profession, are you a music lover too?

DW: Yes, when I am working I look at things from an engineering perspective, but when I am home, I put down my engineer cap and just enjoy my music.

Big E: Are you a digital or analog music guy?

DW: I have some CDs which I used to play on my Linn Ikemi CD player. But ever since I've started working on the LP12 a few years ago, you can say that I've gone mad, as I've amassed a collection of nearly 2500 LPs in a very short period of time. My CD player came so neglected, that I did not missed it when my brother took it for a long term loan. And yes, if you have ask, I'll tell you that I have an all Linn system! They are mostly bought from the pre-owned market, due to the fact that I have a family to take care of.

Big E: What's your take on the latest Linn Klimax DS streamer, coming from an analog guy?

DW: I think the Linn Klimax DS streamer with Linn Studio Masters recordings sounds very much closer to analog playback, compared to a CD player. Despite being accused of killing off the CD player prematurely, I think Gilad did the right thing. Gilad was instrumental in the design of the Linn Klimax DS streamer, and also the Linn Studio Masters hi-rez music catalog.

March 30, 2011

A Pusaka To Remember! Official Launch Of The Pusaka CD, By Pop Pop Music.

The official launch Pusaka CD last night was a formal black tie affair, held at the newly refurbished Bentley Auditorim, at Wisma Bentley Music. Pak Lah, our gentlemanly fifth prime minister of Malaysia did the honours, and for someone as distinguished as he is, I was actually surprised by his punctuality. No Malaysian timing here!

Leslie(a.k.a. ML to all his hifi buddies), CEO of Pop Pop Music, invited me for the extra ordinary evening of glamour and glitter. If a picture says a thousand words, I thought I'd save my self some typing work! Here's my pictorial of the evening:

The object of the night's celebrations!

The cocktail session. Captains of the Malaysian hifi retail industry are clearly out to show support for Pusaka!

The Pop Pop Man is also very much a ladies man too! Fellow Pop Pop artist Z Yan and Winnie Ho came to add glitter to the night.

The Bentley Auditorium is acoustically treated and has nice ambiance to it. All of us were ushered in to the auditorium at exactly 6pm.

Celebrity MC Mahadzir Lokman has a narrative part in the Pusaka recording, he was also the MC for the night. Tha man can really sing too!

The Pop Pop Man working the crowd, and he confessed that the Pusaka project nearly drove Pop Pop Music and him to the brink of bankruptcy, so he would certainly need your help to buy a few more Pusaka CDs from him. Pak Lah promised to buy 20 copies right away!

Pak Lah congratulating Leslie and the Solianos family a job well done.

One for the album, Pak Lah and three generations of the Solianos in one frame.

The "live" concert begins!

Isabella, Irene & Tricia forming the female harmony.

Conrado Soliano playing horn.

Salvado Guerzo on sax.

Rizal Soliano on drums.

Standing ovation for the performance and a moment of respect for the late Alfonso Soliano, for whom the Pusaka CD is dedicated to.

Pak Lah and his missus, Jeanne endorses the Pusaka CD.

The autograph signing session, the Pusaka CDs were moving like hot cakes after the show!

If you've missed the show, then do your self a favour, and get the Pusaka CD, it's great music performed by superb musicians, that's a guarantee.

March 29, 2011

10 Qs For Peter Thomas, PMC Loudspeaker Owner/Designer.

Peter Thomas was here recently to present AV Designs an Award Of Excellence for their new flagship AV showroom, featuring the PMC MB2-XBD active speaker system. Since I already spoken to Andy many times already, I'd focus on Peter now, when I had the chance to pick Peter's thoughts on speaker design philosophy, hifi and music in general. As promised, here's my 10 Qs! Pete Thomas is very focused, when it came to his forte topic, loudspeaker design.

Big E: Peter, welcome to Malaysia! Your first time here, I presumed?

PT: Yes, it's my first time here and my god, what a beautiful country to be in! It's so..... green here, compared to the mucky grey we get in the UK.

Big E: You're the last of the surviving member of the BBC speaker design division?

PT: I am not sure if I am the surviving member of that club, but certainly the only one still actively managing my business. There are other speaker brands that continue the BBC speaker design philosophy, like Spendor or Harbeth naturally comes to mind.

Big E: What are your thoughts exactly on the famous lower mid range(100Hz) bump on the LS3/5a, as an ex-BBC guy and as a loudspeaker designer today?

PT: I think Dudley Harwood(who later went on to start up Harbeth) is a genius in the way he maximise the design of the LS3/5a model, given the technical limitations of the time. He had used the "famous" bump in frequency response to give the impression of more bass quality than the actual speaker is capable of physically. I think it made the speaker more enduring to the music lovers.

Big E: Are you an analog or digital music guy?

PT: I am mostly analog, given the material of my musical preference are mostly available on that medium. Having said that, I think digital can sound very good too, if the people in the recording studio did all the right things, and there are just as many bad sounding records too, due to the poor quality pressing process control.

Big E: As we enter the era of hi-rez downloads format in digital music, do you think the latest format places more stress on hifi equipment, speakers in particular?

PT: I don't think so. Given that 16/44.1kHz already achieves a very good standard of specification based purely on audio parameters, 24/96 or 24 192kHz merely allows more sampling rates over the same frequency bandwidth. On top of that, almost all new commercial recordings today are done in digital at 24/192kHz or higher. This allows the recording and mastering engineers room to "dumb down" the recordings, as a safe guard, so that our domestic hifi equipment doesn't break during replay. All commercial recordings available today are "dumb down", even the so called hi-rez format.

Big E: But still, hi-rez does sound a lot better than CD, right?

PT: I agree, Hi-rez gives so much more density, depth, and acoustic space to the musical content. These are things that our measurements doesn't tell us. So we must listen with our ears, and not only rely on measurements. I had asked Pete which is his favourite PMC loudspeaker design? And he kept us guessing!

Big E: Now we come to the exciting part, which is speaker design, your area of expertise! Tell me why doesn't PMC use exotic materials, or "audiophile boutique" parts in it's speakers, even the high end models?

PT: That's a good question, but to me the best approach to speaker design success is synergy. I feel that expensive materials alone does not guarantee good sound! I know many hi-end designs today uses aluminium or carbon treated boxes and "audiophile boutique" parts to enhance showroom appeal. I personally prefer to put the money in the parts that really matter, and that's the drivers. I can tell you that industrial grade passive components like resistors and capacitors have tolerances of less than 10%. Speaker boxes made from exotic materials can contribute to the final sound, but at what cost? And did you know that even the best speaker drivers available today can still distort by as much as 30% or more, when pushed beyond their designed operating limits? I believe there's still a lot of work to be done in this area, which is most important. Speaker design is as much acoustic science as it is art, and it's up to the individual designer to set his priorities. Mine is design synergy, where every single part is made to work as one, so that the results in sound that is greater than the sum of it's parts, now that for me, is a successful design.

Big E: What about the hi-end market's preference for 1st order/6db passive x-over designs?

PT: I think that 1st order/6db passive x-over design superiority is a myth, very much mis understood by the hi-end market. The reason everyone else does 1st order passive x-over designs is because it's easy and cost less to implement. I personally feel that 1st order passive x-over design places too much stress on driver's operating beyond their comfort zone, resulting in more distortion from the over driven drivers. I personally prefer 4th order, or 24db passive x-over networks, because they keep the drivers operating within their comfort zone, resulting in less distortion, less distortion also means more music. However, the mathematics involved for 24db x-overs are much more complicated and much more challenging to implement successfully. In the end, I suppose both gradual or steep x-over network designs have their pros and cons, and it's up to the speaker designer to work around the drivers integration with which ever order of passive network he feels suits the purpose.

Big E: The latest PMC Fact series loudspeakers sounds rather different from the classic i series, why is it so?

PT: That was intentional! I wanted to Fact series to sound closer to what you'd get with these babies(pointing towards the MB2-XBD active speaker system). I voiced the Fact to sound like the PMC active speaker designs, but with the traditional passive x-over network. The result is a speaker with wider bandwidth, dynamic range, and superior resolution with a slightly forward mid range, to give an illusion of better sound staging and imaging properties.

Big E: How did you come up with the speaker product names like BB5, OB1 or TB2? It's like an alphabet hot soup!

PT: Now, you saw in my presentation earlier, showing me carrying the BB1 out of my garage for testing. So how we started BB1 was actually a joke, between my and my partner then Adrian(who is no longer with us). You can see the big box, right? That's how it all started, BB1 means Big Box 1, MB2 means Medium Box 2, TB2 means Tiny Box 2, LB1 means Little Box 1, and OB1 means Other Box 1(nothing to do with Star Wars as Dick Tan had originally taught).

But that's the official, sanitised version of the story. All of us present that day were made to sworn secrecy over the real story, so we are not allowed to share, sorry. Ha! Ha!

After the Q&A session, we moved to the "Happy Meal" session covered by Odiosleuth earlier, accompanied by more impolite and secret jokes, that only those present that night can cherish in memory.

March 27, 2011

Mark Your Calenders For KLIAV 2011.

Time certainly flies when one is having fun. Last week, I got a call from Dick Tan(Organising Chairman of KLIAV) to inform me of the coming KLIAV 2011 show. As usual, J.W. Marriot Hotel will host the event.

Please mark your calenders for the following dates show times/dates:
11.00am - 7.30pm, Friday, 29 July 2011.
10.00am - 7.30pm, Saturday, 30 July 2011.
10.00am - 7.30pm, Sunday, 31 July 2011.

We've been told that this year's show is bigger due to increased floor space and more participating exhibitors. More show babes too, Dick? Ha! Ha!

There will also be great hifi deals for bargain hunters too.

See ya all at KLIAV 2011!

March 26, 2011

A Tour-De-Force Pusaka

We (a couple of us with a few hifi dealers) just came back from a listening session at ML's house on his latest audiophile project: The Solianos "Pusaka"- remembering Alfonso Soliano.

One word sums up our feelings: Sensational.

Firstly, we would like to let you know that this recording is done at KL's most expensive studio in TTDI, The Ark Studios. It is the same studio used by Jacky Cheung and George Lam in their respective audiophile albums recently. You could detect the same tonal color and airiness, that is the hallmark of this famous studio, except that Pusaka's recording is way better than either Jacky's or George's. We seriously think that is because of ML's expertise here and no other reasons.

Secondly, this is most likely the first Malay audiophile album in the world and the first of its genre in Malaysia that is being mastered by Doug Sax, ML's favourite mastering guru from The Mastering Lab. Doug Sax also mastered JZ8, another best-selling album from Pop Pop Music.

What's can we say but to congratulate ML once again for the fantastic sound! The same Doug Sax's signature sound is evident in Pusaka too. It is very thick in the mids, very airy and analogue sounding, very musical and the best thing is, it yearns to be played loud and louder! The louder you play, the more sensational the sound gets, without a trace of breaking up or edginess or harshness. We notice the same trend in JZ8 recording too.

Doug sax is way better than Bernie Grundman in the areas of density (Cantonese is "Mutt Dou"), midrange seductiveness and sheer musicality. His mastering may not have the dynamism of Bernie but its winning edge is the musicality, which makes Pusaka such a gem to behold.

Musically, this is the most ambitious and most outrageous from ML's production to-date. It is not just jazz per se, it is Latin, Samba, Cuban, Bossa Nova, Swing... a testament to Arranger/Music Director and maestro Salvador Guerzo's superior musicianship. Salvador is the son-in-law of Alfonso Soliano, the daddy of the Soliano family and Jazz Giant to whom this album is dedicated to.

Salvador's arrangement is fascinating and a work of pure genius. He is probably the best arranger in this genre in Malaysia. He incorporates plenty of dramas and breath-taking attacks in his arrangement, making every song sounds like a roller-coaster of high-drama and excitement. Really, we haven't heard Freedom's "Mulanya Disini" (a pop hit in the 80s by Freedom led by the late Dato Seha) or Bob Tutupoly's "Widuri" (An Indonesian classic ballad ) being played like this! The Solianos totally turn the table upside down with Ador's amazing arrangement, leaving everyone of us breathless and totally in awe.

We haven't even mentioned the wonderful multi-part harmonies of the Solianos, which is another winning aspect of this album. Imagine you can pin-point 7 voices singing in different notes in the soundstage, how could you beat that? The 3 females vocalists, Isabella, Irene and Tricia are wonderfully soulful and yet having their own distinctive tonal signature. We love their voices to bits.

We wouldn't go on and spoil your pleasure in discovering this album. Suffice to say, this is an instant classic the way it should be.

Pop Pop Music has hit the bulls-eye again for the 2nd time, we are damn sure. This wave is gonna be bigger than 2V1G.

In fact, one of the dealers said this to ML at the end of the listening session: "The album's repertoire, arrangements and musical presentation are extraordinary impressive!".

It is about time we have a timeless audiophile classic by a Malaysian music label.

March 25, 2011

Linn Sondek LP12 Klinik, At Perfect Hi-Fi Bangsar Showroom.

David Williamson of Linn Hifi.

It's been a busy week on my hifi calender. David Williamson is Senior Product Design Engineer at Glasgow based Linn Hifi. In the last five years or so David has been given the mission to further extract more performance out of the venerable Linn Sondek LP12 turn table, which has been in production since 1972, in various guises.

Perfect Hi-Fi Bangsar hosted the Linn Klinik yesterday to all of us Linn Sondek fanatics. First and foremost, David touched about the new, interesting bits that he had engineered in to the LP12 in the last few years.
David pointing out the key design features that make the Keel a worth while upgrade.

The new bits started out with the new Keel sub chassis, which is a one piece integrated with arm board design, compared the older design that's separated as two individual parts. The new one piece design improved rigidity, with equal weight distribution to ensure the center of gravity stays constant during play back. The whole Keel piece is milled down from a solid aluminium ingot, and weights exactly the same as the old sub chassis/sandwiched arm board board combo, thanks to the use of latest CAD(Computer Aided Design) software.
Linn Sondek LP12 supporters out in full force.

David also touched on the latest Ekos SE tone arm and it's improved construction in detail. Next he spoke about the new Lingo 3 power supply unit for older AC motor based LP12s and the benefits of a new Radikal DC motor system. Apparently, Ivor(the original LP12 designer) almost had a fit when he knew about the DC motor development(Ivor was adamant that AC motors is best as most DC motors put out lots of EMI/RFI which could be picked up by the cartridge!). However, a comparison test proved to Ivor that the latest DC motor design is significantly better than the previous AC motor. Ivor relented and David got his way.
The latest entry level Linn Majik LP12.

The Linn Majik LP12 comes mated with a simple Pro-Ject 9cc tone arm.

David also touched on aspects of the new Eurika phono stage, which was incredibly noise free and had ample gain, with excellent refinement, despite being designed to fit inside the LP12. The demo Linn Sondek LP12 was fitted with a Klyde MC cartridge. The rest of the demo system consist the full suite of Linn Klimax electronics and speakers.

The beauty of the Linn turntable's modular design is that should one have an older, or Majik version of the LP12, all the parts mentioned above can be retrofitted/up graded at cost anytime by your local dealer, in this case Perfect Hi-Fi. Please contact Andy Tan at 03-58821693 for further enquiries.
The latest Linn Sondek LP12, with the full works now cost more than RM$60k!!! No wonder the prices of vintage LP12s keeps reaching for the skies.

The Klyde MC cartridge is an excellent performer when mated to the Urika phono stage.

Top shelf, power supply unit for the new Radikal DC motor. Bottom shelf, Linn Klimax pre amp.

David also took some time to introduce the new Akurate line from Linn, designed to fit in between the Majik and the top of the range Klimax products. As usual, light snacks and beverages were served post Klinik session. I took the opportunity to grab 10 Qs out of David.

Watch this space!

March 24, 2011

AV Designs / PMC Dinner

AV Designs, the local distributor of PMC loudspeakers, hosted a dinner for PMC's Peter Thomas and Andy Duffield on their visit to our shores. Peter is the owner of PMC while Andy is the sales manager.

Due to work commitment, I missed the award/presentation/Q&A session at AV Designs' showroom (see Big E's earlier post), but caught up later for the dinner. Big E's 10Qs with Peter will be coming up soon. I, in the meantime, have a few photo shots from the dinner to share.

Peter fielding questions from our fellow blogger, Lam Seng Fatt of hi-fi avenue.
Lam was the most hardworking of the lot, furiously taking down everything that Peter imparted. Lam is sharing this information on his hi-fi avenue blog. Hop over there and have a good read!

Peter was generous with his insights, wisdom and experience. Does he not look like a wise shaman or a grand wizard? You could see the intensity and passion in him when he was talking about loudspeakers and audio

But Peter is a down to earth chap, easygoing and humorous. We had a good laugh with the many stories he told

Here we have Andy at the centre, flanked by our very own LS3/5A guru, Jo Ki, on the left, and the organizer of KLIAV, Dick Tan, on the right

James Tan of AV Designs gesturing while making a point (darn! Big E is blocked again from this camera angle!) ;-)

I told Peter I observed that PMC did not sound like other BBC-tradition loudspeakers, despite his own history of working for the BBC. Peter said that he did not design his loudspeakers specifically for BBC's recording studios. According to him, the BBC studios have excellent and standardized acoustic treatment; however, the standardized acoustic treatment design is such that there is less absorption in the midrange, thus loudspeakers for such an environment are built with a little trough in the midrange. When placed in a BBC studio, the loudspeaker's midrange response will be slightly lifted and cancel out the trough, a flat response is achieved thus in the room.

These BBC-tradition loudspeakers will give an impression of a midrange, vocal for example, that is recessed deep into the soundstage when used in a domestic environment (not exactly a bad thing, depending on your taste).

PMC loudspeakers, on the other hand, are designed to be used in the many other professional recording studios, where the acoustic treatment is done evenly. PMC's mission is to design a neutral sounding, flat-frequency-response loudspeaker, suited for producing a flat frequency response (what else?) in such an environment.

Through the night, I gathered that Peter's aim is none other than building a neutral loudspeaker which will let the music speak for itself.

There is no better embodiment of such a philosophy than the MB2-XBD active loudspeaker system currently on demo in AV Designs. Go listen, I bet you'd be mightily impressed, as was I, when I heard them a couple of weeks ago.

I leave you with these happy faces:

March 23, 2011

AV Designs Receives Award Of Excellence From PMC.

James Tan of AV Designs receives the Award of Excellence from PMC's head honcho, Pete Thomas.

AV Designs had re-modelled their flagship showroom to accommodate the latest PMC MB2-XDB big momma active speakers. The new showroom is impressively treated, acoustic wise and will present state of the art AV playback available today. PMC's Andy Duffield and Peter Thomas(owner/designer) was invited to present AV Designs an Award of Excellence, to recognise the local dealer's commitment to the PMC brand.
The brand spanking new flagship AV showroom, quite possibly the best AV experience in the region!

We're treated to a presentation dating back to PMC's humble beginnings, narrated live by Pete himself(He must have done it like a million times by now!). Pete is one hilarious fella with what you'd call British humour!
Pete Thomas in an enigmatic moment.

A section of the crowd gathered for the presentation.

Pete Thomas flash back to the 80's in his BBC days.

Some of Pete's dream hifi components back in the 70's. His favorite being the Transcriptor turn table, which was the state of the art then!

PMC's early days was operated in Pete's garage, at the back of his home! Seen here is the company's first speaker R&D prototype the BB1, being taken out for field testing(literally).

One of PMC's very client was the BBC Corporation, of course! Seen here is the first BBC studio install of the Professional Monitor Company(as PMC was known then!)

Guess what??? PMC's first commercial product was actually transcriptor turn tables, made especially for the BBC Corp. Pete says about a dozen of these were made, before the very first speakers.

PMC then decide to invade the domestic hifi market with their first design called the LB1, which is still highly sought after these days!

The presentation ends with a selection of Hollywood blockbuster scenes and some nice concert music material, seen here is Donna Summer(remember her??? She's still smoking hot after all these years!).

After the presentation, we're treated to some sonic delights to highlight the PMC speaker's capability. Needless to say the performance both audio & visual were first rate! Those who attended the event include us bloggers, members of the press and the elite of Malaysian hi-end scene. Lastly, I'd like to extend my warmest congrats to the AV Designs team.
One for the album. A photo session with the AV Design, PMC guys, and clients.

A funky stereo pair! Left chanel is Jo Ki(our local LS 3/5a guru), right chanel is Pete Thomas (PMC speaker design guru) and that's a Fact(8)! Pun very much intended! Ha! Ha! Looks like Pete found his long lost twin here in Malaysia! For a while, I thought the Woodstock lifestyle is back in vogue.

The event continues with a Q&A session with Pete Thomas and followed by a hefty dinner(Odiosleuth will do a pictorial on that). I had a great time asking Pete my usual 10 Qs.

Stay tuned for that to come soon.