AE Central showroom: Studio 1 (Audionec) and Studio 2 (Goebel Marquis)



  • Speed_Learner
    edited September 2020

    Marvel, your findings and works arming ground cable on armboard is echoing what I am doing on my Vertere turntable/tonearm in these days in playing Troy NG.   Troy NG is doing her job very well in my vinyl system.   It is lovely.   I will definitely explore better ground cables after settling down Troy NG.

    I am using Vertere MG-1 turntable, SG-1 motor drive and SG-1 tonearm.  There are 5 cables built in VT tonearm - 4 cables for connecting to cartridge and 1 ground cable which is arming VT head shell.  This ground cable has two tails: one tail is spare for connecting to either arm board or turntable (not used in my case as VT turnable is made using acrylic and I am using SG-1 TA).  The other end of this ground cable is connected to ground post on phono.  I did try to connect this ground cable directly to Troy NG, but not too much effect of lowering noise until using a Tripoint's stock cable connecting between phono's ground post and NG's binding post.   I have further used other ground cable connecting turntable's motor drive to phono's ground post for transmitting RFI/EMI generated to phono's ground post.  This noise is also transmitting to TROY NG through the stock cable as I found noise floor on vinyl record is less from audition.    Connecting ground cable to a screw on motor drive with the lowest impedance value come out larger effect.

    Connecting path of ground cables in my VT vinyl system.

    1. Tripoint's stock cable connecting from screw (with the lowest impedance measure) on motor drive to phono's ground post.
    2. Tonearm's ground cable connecting to phono's ground post.
    3. Tripoint's stock cable connecting from phono's ground post to binding post of Troy NG.

  • Marvel bro,

    Don’t wasn’t time.  Use FMR phono ground cable designed specifically for this application. 
  • Speed_Learner
    edited September 2020
    接駁木馬(Troy NG)地盒,聽林子祥創作歌集LP(EMI curve rev. phase),例如”床上的法國煙”,一開始鼓聲變得很彈跳,再襯托林子祥他嘅調皮和清翠的歌聲,好像身處身在酒吧,嘆緊杯啤酒聽緊林子祥和他的樂隊演繹這首歌。很滿意!!  

    如果沒有連接唱頭放大器到木馬(Troy NG)地盒,只能聽到一個相對比較平實、有內容但不太清晰的音樂。

  • Dynamic
    edited September 2020

    剛剛上完中環 showroom 跟 Marvel 兄短聚,一聽就好幾小時,還巧遇 Mr Zanden,聽了好幾隻Mr Zanden 的珍藏黑膠。

    換上一套白色 DaVinci Gabriel Mk3 唱盤,襯上一對白色 Goebel Marquis,外觀上已非常吸睛,聲音比之前紅色同是 Gabriel MK3 生猛不少,找找原因,發現唱盤供電駁上Extreme Linebacker Filter,此舉將轉盤和摩打所產生的污染物,和系統電源隔絕,做法非常有針對性,亦是常常被忽略的一環,而臂板的Ground Cable 由Dalby Meda 換上 Ode Grande,令背景變得非常之寧靜,動態範圍比之前闊咗好多,再次證明處理ground noise 係沒有足夠的,投資多少回報便多少。

    Digital 方面,CD transport 與 DAC 之間,換上GAIA AES EBU,令CD表現有著轉捩點的效果,感覺跟當天 PT 家中換上Stravinsky AES EBU 相近,細節豐富,能量收放控制亦比之前更有層次,到今天我都認為Stravinsky 的AES 在PT 家中扮演著相當重要的角色,如今GAIA AES 就令中環的 Synastec Origo CD transport 行前一大步。

    Marvel 兄將中環 Showroom 的注波、反射、前牆用料等等問題一一解決,過程並非簡單,對音響差一點熱誠都不成事,值得支持支持。

  • Piano Tuner
    edited September 2020
    Marvel’s effort in bringing the performance of the Central showroom up with each passing week is obvious and recognised widely.  He will break the next threshold very soon given his passion and hard work.
  • Speed_Learner
    edited September 2020

    昨天下午再拜訪Marvel’s AE Central音響室,這次是了解不同牌子的地線應用在音響系統的効能。係三個鐘頭嘅時間,分別試咗帶去的Dalby Meda 地線和主埸的Dalby Ode Grande,和Argento旗艦地線FMR EE。

    Meda已經是一條很好嘅地線。在家裏系統連接新到步Troy NG地盒,用同一條地線接Zanden 6000合併功放,已經大幅改善背景寧靜度,主音嘴型、背景音樂仔細度、立體形態、潔淨嘅梵音和分離度有很明顯的躍升。

    在AE Central 的Da Vinci黑膠系統分別測試Dalby Meda,Dalby Ode Grande和FMR EE地線從Synastec Igniculus唱放到Troy Elite地盒的效果。因Ode Grande 用碳纖物料做屏蔽這比Meda 有更好的寧靜度和分離度,這或許是其中一個原因令到歌曲更加有感情同有感覺。

    再換上FMR EE,在聆聽Joan Baez 鬥牛場黑較長片曲目Swing Low Sweet Chariot,整間音響房都被這首歌(主唱、音符能量、現場氣氛)和觀眾最後嘅拍掌聲覆蓋。Synastec Igniculus Phono的超級寧靜度都要記一功。據Marvel解釋,地線廠商都會運用不同技術、物料來製造地線,這可以控制不同音頻頻段的屏蔽效果,從而達到某種調音嘅結果。這”調音”是從清除噪音層面上着手,目標係令到音頻頻段有不同程度嘅潔淨效果,但絕對不會大改變音色嘅平衡度。

    在拜會當日,Mr Dynamic咁啱去攞Wellfloat Delta, 佢同Marvel合力放在(承托)Synaestec Origo SACD player,有幸可以聆聽”中島美嘉”幾首光碟的曲目,再一次見證Delta它的處理諧振驚人效果。同時第一次見到Vertere HBS電源線用在音源部件(Origo)上。


  • UncleRay
    edited September 2020
    Speed Learner,

    我不明白為什麼Marvel不示範FMR phono ground cable在arm board 和 phono之間,因為它是在這個位置而設計的專用缐,而上環又係用FMR phono cable。Dalby Ode Grande是非常之勁的ground缐,但我認為這個位置應該要試清楚。AE其他的analog system也絕對只用FMR phono ground必有原因。
  • UncleRay, 

    謝謝你的建議。我會短期再拜訪AE中環音響室再試。在播放以下黑較唱片,巳經超出我預期。我聽嘅歌都係偏向小品,有人聲,小型樂隊之類。用Ode Grande+FMR EE我個人估計可能係調音嘅取向。


  • Uncle Raymond, 

    Yes indeed I will use Fmr phono ground shortly.  This is in my plan but recently spent more focus in getting the digital source even better after showcasing the Wadax Atlantis dac.  Expectations become higher naturally. 
  • I wish to document below the work accomplished in the past few weeks for the Studio 1 in Central to allow me to announce the performance of it has attained a milestone where everything inside is orchestrated with synergy and harmony:

    1. Positioning of the Goebel Marquis to strike the best linearity and energy balance

    2. Room acoustics treatments using the right tools for absortion and diffusion in the proper positions

    3.  Applying Wellfloat Delta and platform on various components to better manage mechanical vibration

    4.  Applying Vertere phase management center on the entire system.  All except the Wadax Atlantis dac are indeed reverse in electricity phase

    (4) is indeed the main differentiator allowing me to reach such milestone.  I chose to do this as a last step after all the bigger issues such as room acoustics and speaker positioning have been properly dealt with.  Without this final touch, one would always face the space compression along the z-axis and distortion on tonality.  I am glad that PT paid a surprise visit to the studio while I was wrestling with the power cables to fit them into the PMC.  How nice it would be to listen together with my hifi comrade and determine the phase polarity!


  • leslie8
    edited November 2020
    As a hi-fi dealer fellow in Canada, I have the privilege to experience one of the best sounding showrooms in Hong Kong.  I have to admit that to create a ultimate sound system is in fact very difficult in a normal showroom.  One of the main reasons is that the synergy of individual electronic gears and speakers may not be optimum due to the limitation of brands carried by each dealer. The second main reason is that constant change of gears being demoed to customers and sometimes new gears are introduced, usually limited time is allowed for your shop manager to explore the full potential of each products not to mention the cable matching and speaker positioning, etc.  The first song that I heard from the system in the Central showroom (Espana, The National Symphony Orchestra) drew my attention immediately with it full sounding and transient attack almost like being in the real live performance.  

    Geobel Marquis did a good job in terms of coherence between three drivers and they are very dynamic with no sign of any compression like other traditional dome tweeter speakers (almost like a proper horn system).  Although my main purpose here is to audition the performance of Wadax Atlantis DAC and Tripoint ground box, these speakers definitely surprise me.  The speakers were driven by Synaestec audio full suite which has more than enough power to drive the speakers to their limit.  Transparency, density and transient attack is world class and allow me to hear more characteristic of the Wadax dac.  Analog is my word to describe the Wadax Atlantis DAC in the whole listening session.  Had been listening many songs like Shinji Tanimura with PIANO My Note, Adele Live at The Royal Albert Hall, Britten Noye's Fludde The golden Vanity, I couldn't help myself but give up analysing the sound of the system but immerse myself in the music world.  Maybe this is called musical sound.  No doubt that Wadax Atlantis makes a reference in today's digital source by further minimizing the gap between digital and vinyl playback.  Can't imagine how the Wadax Reference DAC can elevate the digital playback even better!

    The second purpose of this visit was to assess the performance of the Tripoint ground box. Given my abnormally high expectation on the Tripoint due to the pricetag, the Tripoint Troy Signature still did not disappoint me.  Just A/B/A assessment on the amplifier only revealed that the whole system elevated to the next level with the ground box. The improvement in background noise level is noticeable while vocal is more define with a more pronounce presence of the performer.  You can hear the air of silence around the head of the singer especially between notes.  You can feel the soundstage is bigger immediately.  Now I understand why so many audiophiles are fond of owning Tripoint ground box despite of the cost.

    Overall, it was a very pleasant listening experience at Audioexotics Central. Listening to this system is no longer an audition.  You will soon find yourself enjoy the music more and want to learn more about each music masterpieces.  To me, this is an ultimate goal for all audiophiles. A pure system for pure music lover.  Congratulation to KK and you definitely achieve this. Last but not least, thanks for your hospitality and wish you and all Audioexotics staff and members good health!
  • Dynamic
    edited November 2020

    昨天再到訪中環 Showroom,Marvel兄花了一段時間處理房間的 Acoustic 和喇叭位置,現在聲音相當平衡,能量大而具有穿透力,好幾首曲目我也被感動了。


    非常同意 Leslie 所提到,香港沒有那間 Showroom 可跟AE 相比,態度決定一切,就要有這樣瘋狂的團隊,才有這樣瘋狂的 Showroom。

  • Kah is changing the master ac switch to the exotic one made in Germany for AE central now. 

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