Read story →Black Sabbath’s “Paranoid” at KD Sound
A two-and-a-half-minute rush of riff, voice and momentum meets an all-Grandioso vinyl chain and Göbel Divin Comtesse loudspeakers.
This week · 27 July–2 AugustSeoul · Music, rooms & makers
From the listening chair
Listen past
the equipment.
Begin with Black Sabbath’s “Paranoid” at KD Sound, then follow the music into the room, the system and the choices behind the sound.
Listening session
Black Sabbath’s “Paranoid” at KD Sound
This week · 27 July–2 August
A riff, a quiet goodbye and a fugue
Black Sabbath drives a compact riff through KD Sound; Shawn Colvin lets voice and guitar carry a quiet farewell at GLV, and Beethoven gathers four quartet parts at Saem Energy.
- 01Black Sabbath’s “Paranoid” at KD Sound
- 02Shawn Colvin’s “Killing the Blues” at GLV
- 03Beethoven’s fugal finale at Saem Energy
Black Sabbath’s compact riff and forward pressure at KD SoundShawn Colvin’s unhurried voice-and-guitar performance at GLVBeethoven’s fast fugal finale at Saem Energy
Why we listen
We listen for the music first—and for the rooms, systems and ideas that help us understand how it reaches us.
Join us for carefully documented listening sessions and unhurried conversations with the people who shape sound.
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Read story →Shawn Colvin’s “Killing the Blues” at GLV
A song of departure stays deliberately unhurried as Shawn Colvin’s voice and guitar move through YG, MSB and Aurender at GLV.
Read story →Beethoven’s fugal finale at Saem Energy
Beethoven sends a fugue racing through the Guarneri Quartet, heard through MBL, Electrocompaniet and Piega at Saem Energy.
Read story →Michael Jackson through three Aurender configurations
“Don’t Stop ’Til You Get Enough” moves from repeated comparison windows into a full-song sequence with one NH10, two NH10s and the MC10 clock.
Read story →Diana Krall’s “No Moon at All” at SELekt
Voice, piano and double bass turn a standard into an intimate exchange, heard through MSB, Halcro and Kharma at SELekt.
Read story →“While My Guitar Gently Weeps” at KD Sound
George Harrison’s song becomes a conversation between voice and guest guitar, replayed through CH Precision and Göbel Divin Majestic in Seoul.
Read story →“Hallelujah”: four voices, one room
Four distinct voices share Leonard Cohen’s song through Tidal Akira, Vinnie Rossi Brama and Master Fidelity at Chess Audio in Seoul.
Read story →Two guitars in motion
Al Di Meola and Paco de Lucía turn two joined compositions into one live exchange, heard through Sonus faber Stradivari G2 and McIntosh at ROYCO in Seoul.
Read story →Can an amplifier drive a one-ohm load?
Peter Foster explains how Halcro approaches difficult loudspeakers, RF-heavy systems and power-factor-corrected supplies.
Read story →Shim Kyu-seon’s “시내” across three Aurender configurations
The same musical passages return across one switch, two switches and an external clock, inviting listeners to settle in and compare each return for themselves.
Read story →“OK Tokyo”: percussion, pulse and two guitars
A rapid acoustic duet recorded at SELekt, where picked lines, body percussion and shared pulse travel through MSB, Halcro and Kharma.
Read story →“Where There Is Smoke”: voice, texture and space
Dominique Fils-Aimé layers voice, bass and studio texture through a Kharma, darTZeel and MSB system at SELekt.
Read story →Beethoven’s Triple Concerto Largo
Anda, Schneiderhan and Fournier meet in Beethoven’s compact slow movement, played through Kalista, Ypsilon and Peak Consult.
Read story →How Halcro approaches the noise floor
Peter Foster links independent power supplies, shielding and a future phono stage to an unlikely lesson from cardiac monitoring.
Read story →Aurender NH10 / MC10 with “Stand By Me”
Dominique Fils-Aimé’s voice returns through three clearly labelled Aurender configurations, with the same passages available for a calm, repeatable comparison.
Read story →BYU’s “O Come, All Ye Faithful” at SELekt
Dan Forrest’s arrangement sets sustained choral lines against an articulated orchestral drive, heard through MSB, Halcro and Kharma.
Read story →Why music is Halcro’s final test
Peter Foster describes Halcro’s democratic design process, its preference for long-form listening and the engineering ideas carried into Equinox.
What we explore
Three ways into the music
Experience
Step inside listening rooms, hear remarkable systems and discover the small choices that help the equipment disappear.
Engineering
Meet the designers and explore the ideas behind amplifiers, digital sources, loudspeakers and the rooms around them.
Music & culture
Spend time with records, performers and places—with music always at the centre.
How we work
Listen with context.
We name the room, system, music and any sponsorship behind each story. HiFi Immersion keeps editorial control, and every subtitle and localization is reviewed before publication.