御品家訪集 - EEE Home Tour

edited December 2020
I am about to begin a home tour of Extreme Exotic Edition (EEE) ground cable, which is configured and built physically exactly like the EE power cord.  The amount of silver conductor of the EEE ground cable is tremendous. 



Based on an extended evaluation of a EEE ground cable prototype with respect to Tripoint Elite NG referencing on Robert Koda K15EX preamp at Divin Lab since late September, the reverent musical outcome ear-witness by this community inspired me to do a home tour.  The finished product finally arrived two weeks ago.  I was thoroughly immersed into an alternative universe, where I could visualise the shape of musical note and ascertain the waves of energy in whatever form.

I would like to explore in what magnitude will it transcend to those systems with Tripoint Troy signature, Troy Elite and Troy signature NG.

I am not arguing a ground cable would right all the wrongs of any system. But for those who keep pushing the envelope, the utilisation of EEE is an astounding experience.  

In fact, I had never done any home tour ever in my life. EEE ground cable is the first ever exception. Perhaps, this is an ordained obligation.  

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Comments

  • edited November 2020
    Whom will you visit first?  It is indeed your virgin home tour. You never execute this way before. 

    Visualising the shape of sound and ascertaining wave of energy are very new language.  Regardless of system value, the prevailing command of the old school is about focus, soundstage, and mid range warmth etc.  

    I look forward to the test of EEE in my home system. Your home tour effort is appreciated against the backdrop of COVID.  My family welcome you anytime as you always bring joy to us.  
  • edited November 2020
    I will visit Kahw first tomorrow, followed by Michael, and Speed Learner on Friday morning, and then AE Central.  
  • Home tour begins today 


  • I will remain silent until everyone shares their home experience. 
  • I dropped by today for a brief session at PT’s place.  The real fun and also the torture is when we are all hype up after a few rounds of listening, PT did a demo by removing the EEE, replacing with another very well respected cable, and it’s all down hill from there. I guess with all good things in life you don’t how important it is until you loose it.  

    Without the EEE the kind of separation from note to note, instrument to instrument, the level of clarity is somehow missing.   PT’s current setup especially with the new AEON speaker is already at its pinnacle, and the EEE is that magic touch.   It didn’t appear to me at first, i thought it’s all to do with the new speaker, but it’s absolutely clear after.  

    I am Curious to see how it performs in other setup during this tour. 

  • EEE tour continues. 



  • My turn in the afternoon to try it on the studio in Central.  The system is already having 3 FMR EE ground, 1 FMR phono ground, 1 Dalby Kyuku (曲) and 1 meda ground.  Yet, the addition of EEE transcends the entire landscape of ground noise mitigation to an unprecedented level!   A much lowered ground noise platform transpires into more precise placing and pacing of the original tempo which in turn becomes a truer manifestation of musicality!  The contribution is nothing less than adding an EE signal cable in the transmission path.  Ground wire does not touch anything in the signal path but yet it is like vein of our human body which drains out the noise and bears the same importance as the artery. 

    EEE is my vote for 2020 Product of the Year.  I have signed up for 1 for the Studio in Central



  • edited November 2020
    Ever since I joined the “core group", I occasionally sent some recorded songs of my system to PT for his comments.  Of course, Marvel has been providing valuable advices from his frequent visits.  I do believe my investment in audio equipments, cables and peripherals (e.g. ground box) are highly valuable, particularly replaying songs that I like or any new songs I discovered from Divin Lab and other AE audio rooms.  I felt very excited when PT and Marvel visited my system yesterday.
    I warmed up the system early morning by playing a LP on Vertere MG-1 TT/SG-1 tonearm w/Zanden 120 phono stage, Zanden 6000 amplifier driving Artelute's Stiletto speakers.   I am using Vertere's Pulse R tonearm/interconnect, Esprit's Eureka/Lumia Interconnect and various power cords from Dalby, Vertere and Esprit.   Ground noises are tackled by Tripoint Signature NG with stock silver signature cables, Dably's Ode Grande and Meda.   
    The tour began on time.  Upon playing a series of songs including Joan Baez's 「Swing Low Sweet Chariot」 and 「Let IT Be」, Aaron Neville's 「Everybody Plays The Fool」 and「Don't Go Please Stay」, Chen Jia's 「Seems like an Old Friend」 (陳佳「似是故人來」),  The Sound of Music's 「I Have Confidence in Me" and 「Do-Re-Mi」 and The Four Seasons' 「L'Autunno (The Autumn)」, PT appreciated my efforts and endorsed my system in all aspects. However, he spotted a small hole (inadequate energy) in the sound stage in the lower mid range and upper bass area.  PT then recommended to test the Argento EEE ground cable as he was confident it would augment the insufficiency. 


    I installed the cable with Marvel temporarily replacing Dalby's Ode Grande ground cable connecting to Zanden 6000 amplifier. PT asked me to listen at the emperor seat.  The first song we auditioned together was "The Autumn" from Vivaldi’s Four Seasons.  Magic happened immediately - sound stage with very strong energy expanded horizontally from ~2.6m to ~4.0m or even more (total depth of living room is 4.3m). Energy fully filled up my living room (~140 sq. ft), without standing waves.   
    Energy of violin propagated with so much more details (same comment from Marvel who sat next to me).   I was totally immersed in the soundstage with musical energy.  PT commented he was also positively impacted by the musical energy even he was standing in the dining room.    Finally, I auditioned George Lam's 「林子祥創作歌集 - 每一個晚上」in order to contrast the experience I had in AE Sheung Wan audio.
    This cable is called "EEE" by Argento.  I think one (or two) of "E" shall associate with ENERGY as it drains ground noises so rapidly unlocking so much more musical energy from my Zanden 6000 amplifier.  PT also commented the energy he felt in my home was similar to Zanden "火雲" KAUN mono power amplifier.  If you are going to own (or already owned) a EEE ground cable (or more), my heartfelt congratulation !  I couldn’t resist and buy one!

    Learner
  • edited December 2020

    音響建築師 - Kah

    我已經差唔多超過三年冇有去拜訪Kah兄了。這次家訪令我有頗深的感受,一定要和大家分享一下。

    從Edison口中得知Kah十分重視今次的家訪,級別是「嚴陣以待」。其實我並非去考牌,而是去欣賞其系統的強項。Kah兄的系統在圈中是得到到廣泛的認同,因為他系統每曲所散發的氣氛,令人容易投入音樂。

    他為我準備了一個program,並詳細為我解釋了宏觀系統設定,房間音効處理的佈置,電箱設計與及在CAS領域裡多方面苦心深造成果(例如把Vertere RED LINE power cable 改了電源插頭;NAS,Clock,和LAN的setup心得等等)。他的系統在首一小時內,連綿細語地演出了多段幽幽傷感的樂曲。他認為音樂感,比分析力更重要。他系統的節奏感也是十分之優越。節奏主導了旋律,我們之所以還能朗朗上口唱出數十年前的流行曲,也是因為我們記得旋律。想當年,我也是用Goldmund 22M前級和29.4M後級,所以非常之了解其重視速度的特性。


    我不覺得房間存在,唯獨是左喇叭後面,偶然會有註波。欣賞完他的選曲後,我要求播Pet Shop Boys 的名曲 - 「It’s a Sin」。聽完之後,我查問DAC的增益,並要求由0db 增加致 +1db,然後再聽一次。當時,我心確認了中低音的attack應該可再快一些,中音能量應該可以更加填滿他的空間。從另一個角度分析,此系統的高音能量可以多些少。


    所以中音和中低音attack的問題,反而是要在高音部份解決。我隨了帶EEE 家訪之外,也手提了一對IKIGAI Audio的旗艦jumper - Kangai。我建議Kah用Kangai在Goldmund 的高音箱和低音箱之間。(此系統用三對jumper)。然後再聽當天他的選曲。大約三分鐘內,Kah對我説: “Chris,那麼這代表Kangai要留低嗎?”


    然後,他播放了多隻LP,全部都播得十分之平行,順暢,節奏感強勁。他的Air Force唱盤,由Air Pump到Power Supply,也是經過多番內部工程改裝,而phono cable 也用上了Vertere HB,mono頭那一邊就用Vertere Pulse R。其實他訊號缐也是Vertere HB,或者是Absolute Creation 的Tim Reference。全套電源缐也是Vertere的出品,包括Red,HB,和最新旗艦HBS。

    我希望他將來會甪Thales Exquisite Silver唱頭,因為它會大幅提昇 Kah兄的analog system,尤其是各樂曲中主角和配角的個性將會更加浮現(我不是指定位),更加容易「看到畫面」。由於空間關係,我們沒有把EEE接上。



    我從Kah兄身上所學到的是「落手落腳」不停改進的精神,而且他的理論根基非常穩健,對新事物常持開放態度。我並沒有以眼代耳,聽不出高文是差不多二十年前的型號。Troy Signature NG雖然是強勁補品,但更加可貴是他的精神、態度、知識和樂於助人的性格。


    我的主要目的是去欣賞他系統的強項,並且希望可以幫助他更上一層樓。他的努力和成果,我絕對認同。

    PS: 高音能量多少的Case Study,我會在下篇文章繼續分享。

  • edited December 2020

    音響工程師 - Speed Learner 

    這次是我第一次家訪Speed Learner。他是極少數能夠用科學理論去明白,並能處理「房間効應」的發燒友。他更常常帶齊儀器去AE中環Showroom幫手量度喇叭擺位。顯然易知,他對定位、咀型和音場是有嚴格要求。我一進門便十分欣賞他的家居室內設計。簡約主義和自然光運用把視覺空間擴大。聆聽的空間非常正規。他所選擇的Artheluthe Stiletto 喇叭和房間的比例也是十分之匹配。

    http://www.fi-play.com/?p=41543

    他用的Zanden M6000 合拼機是用上了FINEMET CORE 輸出牛的特別板本。我先聽他播黑膠大約一小時。Vertere MG 盤放上了WELLFLOAT reference board和Dalby破浪Matt,在Miyajima Lab元遂(0.23mv)唱頭,經Zanden 120 phono 所播出的能量,真是不能小觀。能量是指整個音場從喇叭的後牆直至喇叭前一尺,差唔多是填滿。

    http://www.miyajima-lab.com/e-stereo.html


    我的經驗告之,好多大系統的能量也不是容易填滿房間的空間(可能是phono增益不足,又或者是功放damping factor太高,勒死喇叭單元的前後移動),Stiletto的靈敏度更是低至82db,但Speed Learner這套系統能量非常之夠。為什麼呢?

    原因是他的Room Correction素碼系統修正了許多一般房間的問題,保持了許多因房間聲波互撞而損失了的能量,而且也肯定了全頻速度不會拖泥帶水。另外一個原因是Stiletto的喇叭特別設計,50hz下的阻抗是4 ohm,所以Zanden M6000 的電流自然被引導到超低音的領域,再加上功放的damping factor不高,被釋放出來的能量,並非一般以眼代耳,又或者以價論聲的人可以理解。由於超低音是音場和能量的基礎,所以這兩大技術性因素決定了這套系統可以釋放大能量。

    在一個小時內的黑膠音樂享受裡,我耳察了一個洞,大約是200hz-400hz之間。Speed Learner的個案是中高音能量較多。這個中低的洞不是容易察覺,是因為不容易區别中低、低、和超低;尤其此系統超低能量充沛。(另外一個因素是整個本土音響文化集中試Hi Fi天碟,以人聲為主,慢版古典音樂,不會聽太多電子音樂/Rock and Roll等;所以中低音attack不是試機的主要部分。)這個洞在Digital playback更是明顯,尤其重播Pet Shop Boys的「It’s a Sin」。於是我便提出這個時候由Troy Signature NG駁上EEE去Zanden M6000 功放,因為我有信心EEE可以把問題解決。


    尤如魔術師來了,不單止那個洞填滿了,能量從四方八面包圍了他整天個單位,一時間好似聽緊Cessaro Firebird! 再聽多半個小時,又似聽Zanden火雲功放。Speed Learner然後做了過AB比較,拿走EEE,駁回Dalby Ode Grande。魔術師立即離開,能量收縮,那個洞又重現,總體能量被扯高了去高域。Speed Learner心服口服。

    很少人明白「能量」,大聲少少又話壓迫感大,Stradivarius小提琴能量大,又被扭曲成image size過大。這套Zanden組合在Speed Learner掌控下,能量非常夠班。

    其實我更加佩服他的堅持和毅力。每個人也有自己堅持的哲學,我十分尊重他對量度的熱誠,而我亦親身感受到這門科技所帶來的好處。

    此套系統在幼細度還可再改進,將來可從唱頭和解碼開始探討。

    這是Case study 2 of 高音能量多與少。

  • EEE真係好很堅勁揪!

  • 完全同意. EEE真係勁堅。 

    唔係”002”, 亦都唔係”double O seven”, 今晚正式開始煲練”004”.  :) 



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