Damn it! You cannot be "depressed"! Let's wait for alecy's comments. If he is depressed after visiting this system, I will take the plane back to take up the challenge.
The Zanden transport is a great match with the Vekian. Who the hell is this Eason guy? This name is strange.
Marvel, if you trust this old ass, the mist or dislocation comes from your speaker cable. The swap to FMR spk cable in my case via the Sunray confirms the old symptom. You may then argue PT is not using FMR spk cable but just a pair of Flow speaker cable to the tweeter. This makes a lot of sense as the transparency and the natural renditor of high frequency by either the Flow/FMR will change the perception of mid-range and the bass units. He can move the super tweeter locations back and forth to tune the speed of leading edge to his liking easily.
Marvel's depression message really arouse tremendous curiosity on my mind. Following the suggestion of PT, I plugged the 833 into the Kyoto and was blown away by the improvement. There is no hindrance on dynamcis, and the mid-range and trebel obviously clams down with more harmonic details. This is in particular very true on piano playback. I tried to take the FMR power out and plug to the wall directly to compare 3 times - conclusion is you just have to plug the amp into the Kyoto. When it is drawing electricity current from the wall, the piano becomes coarse, and the harmonics of the keyboards mixes up with the hall ambience. As PT said, this is a phenomenon of " a bunch of air", which is not good enough for this group.
The dragon den is not for the faint-hearted but there is a common attribute among the AE fellowships and that is, a quest to excel and the ability to appreciate the success of fellow comrades. This is a meeting that shall not be missed.
Last night I went to PT’s place with a scorecard that starts at 100, knowing that this will save time in reaching a verdict, at least for my own reference. It was a totally enjoyable session and I found we share the same approach in evaluating a system (although my audio journey is incomparable to that of PT’s). We look for an overall balance which is most critical to musicality.
The latest system is a carefully constructed effort using a building block approach. DV for its overall musicality. Orpheus zero for its well balanced presentation. Vekian for its superb ability to project density and details. The wirings are all neutral and balanced without running the risk of distorting the overall balance although I speculate the additional benefits of swapping in the FMRs – but in the context of PT’s objective, I agreed this is not an immediate necessity. During the first 30 minutes of the session, I do missed the Troy as I can still feel the ground noise around but by 10am, this seems to have subsided which enabled me to total immersed in the music.
If anyone has watched Dreamworks’ Monsters vs. Aliens at the Megabox Imax theatre, you will share the same feeling when listening to vocal via PT’s. I can assure you that you will be shocked this is achievable for a 2-channels stereo system and I attribute this to the deployment of the super tweeter. The benefits of combining the mid section presentation in a concert hall for its coherent presentation and the front row seat for ultimate details and touchable palpability is quite shocking. The most impressive were Richter playing Tchaikovsky’s Seasons (Op. 37B) and Kathleen Battle singing Mozart’s Exsultate Jubilate. The reproduction of the piano’s timbre and Richter’s superb techniques in control and restraint from using excessive pedaling is pure magic and ever so transparent. For a few times, I was tempted to reach out and touch Kathleen in person and I can read her voice like unfolding a scroll. Word by word and bar by bar, there is a not single note where her silver tone is not shining through. The system never betray her background and I can’t help but noticed her American-style diction with the super tweeter bring her up close and personal in a form I had never dreamt of.
On a pure personal level, I would probably prefer to have FMR in the chain and swapping the Zanden for the Vekian for strings and clarinet to max out the mid range timbre with a touch more woodiness. On vocal, it is as good as anyone can ever wish for. I am not a fan of Eason but it is damn alive.
I woke up this morning and the first thing that came to my mind was whether I should get the same super tweeter for the Tidal’s PD.
It is just that I am too old and lazy to be bothered with "depression".
PT's system is no doubt a lot better than mine but in terms of musicality, which I value the most, my current mini Tidal suite already provides that utility. The palpability that I witnessed last night is an intensive effort of strategic mix and matching not necessarily requiring huge amount of monetary investments or switching of gears. Given the time commitment, I am sure a lot of our AE comrades can achieve the same level eventually. With that thought in mind, I took solace that I am on the right track and the future beckons me.
PT subsequent writing in chinese is just responding to some of the comments I made last night... and it looks like his system is sounding better by each passing minute.
What a group here! Because I work when you guys are sleeping. I need to visit PT during daytime, a lot more difficult to arrange as he needs to work as well. But I will change schedule and go there tomorrow afternoon.
Eason's voice is quite unique amongst the current batch cantonese pop singer. He can be very expansive and go wild in certain part of the recording session. In live concert, his upper high frequency area sometimes has slight distortion - that's him espcially when he is tired. Towards the end of the concert, that is very apparent. If the distortion is not there, the system or cables probably round that off.
Towards the end of the concert, most of the time, he uses 賴音 to bypass lyrical passage that requires more lung energy. But that's what make him different. His 賴音is quite nice to listen. His body gesture while singing is a lot more. He moves all the time. The microphone will miss some of his singing techniques.
Alec, your tidal suite is not mini by any standard. The development tool for the Sunray was exactly the Preso and the Impact Stereo. Maybe, it was a better idea to begin with the Contriva Diacera - the ultimate music machine as they call it on the official website. Then, you will have a mini amplification with big sound, presence and authority at the same time.
The Contriva is a tempting upgrade. I have to thank you for lending me the Impact in the first place as otherwise I may still be torn as to whether I should bite the bullet.
Comments
The Zanden transport is a great match with the Vekian. Who the hell is this Eason guy? This name is strange.
我買了一部DAC都算係AE弟兄掛? 我黎唔黎得先?? 睇下我又有幾憂屈?
Last night I went to PT’s place with a scorecard that starts at 100, knowing that this will save time in reaching a verdict, at least for my own reference. It was a totally enjoyable session and I found we share the same approach in evaluating a system (although my audio journey is incomparable to that of PT’s). We look for an overall balance which is most critical to musicality.
The latest system is a carefully constructed effort using a building block approach. DV for its overall musicality. Orpheus zero for its well balanced presentation. Vekian for its superb ability to project density and details. The wirings are all neutral and balanced without running the risk of distorting the overall balance although I speculate the additional benefits of swapping in the FMRs – but in the context of PT’s objective, I agreed this is not an immediate necessity. During the first 30 minutes of the session, I do missed the Troy as I can still feel the ground noise around but by 10am, this seems to have subsided which enabled me to total immersed in the music.
If anyone has watched Dreamworks’ Monsters vs. Aliens at the Megabox Imax theatre, you will share the same feeling when listening to vocal via PT’s. I can assure you that you will be shocked this is achievable for a 2-channels stereo system and I attribute this to the deployment of the super tweeter. The benefits of combining the mid section presentation in a concert hall for its coherent presentation and the front row seat for ultimate details and touchable palpability is quite shocking. The most impressive were Richter playing Tchaikovsky’s Seasons (Op. 37B) and Kathleen Battle singing Mozart’s Exsultate Jubilate. The reproduction of the piano’s timbre and Richter’s superb techniques in control and restraint from using excessive pedaling is pure magic and ever so transparent. For a few times, I was tempted to reach out and touch Kathleen in person and I can read her voice like unfolding a scroll. Word by word and bar by bar, there is a not single note where her silver tone is not shining through. The system never betray her background and I can’t help but noticed her American-style diction with the super tweeter bring her up close and personal in a form I had never dreamt of.
On a pure personal level, I would probably prefer to have FMR in the chain and swapping the Zanden for the Vekian for strings and clarinet to max out the mid range timbre with a touch more woodiness. On vocal, it is as good as anyone can ever wish for. I am not a fan of Eason but it is damn alive.
I woke up this morning and the first thing that came to my mind was whether I should get the same super tweeter for the Tidal’s PD.
1. Byrn Terfel的口水聲應該要多些 (是他聽過現場的經驗)
2. 小提琴和Zanden比較起來, 不夠鬆容
3. 雙簧管和現場比較的木感差了丁點兒
4. 鋼琴靚絕, 冇意見
5. 人聲達亂真境畀, 冇意見
6. Mahler 5播完後, 內容豐富, 他說此房已玩到極限.
今早和我父提到他的聽感, 父親同意 (2). 由於他未聽過現場, 所以(1)他不知道, 但經他翻看Byrn的DVD片段後, 他應為Alec是對的. 至於(3)經他測試其他雙簧管錄音後, 他確定是此CD自身的銾音賀數問題, 因其他雙簧管錄音木感十分明顯.
但今午lunchtime時, 我們已把Alec所提出"無意"修正了. 我地連在Driver內的小膽管6c45也更換了至頂級6c45pi. 此膽已買了多時, 但由於懶, 一直冇換. 聽了一小時後決定超高音位置暫時不變.
自在的小提琴真的鬆化了, 極度象真. Byrn的口水聲又真係出翻黎、不過我們不知點為之足夠? Alec完全冇聽錯!
再聽Mahler 5, 層次感再上一層樓.
達芬奇先生好快到訪, 到時一定有更多有趣的建議.
It is just that I am too old and lazy to be bothered with "depression".
PT's system is no doubt a lot better than mine but in terms of musicality, which I value the most, my current mini Tidal suite already provides that utility. The palpability that I witnessed last night is an intensive effort of strategic mix and matching not necessarily requiring huge amount of monetary investments or switching of gears. Given the time commitment, I am sure a lot of our AE comrades can achieve the same level eventually. With that thought in mind, I took solace that I am on the right track and the future beckons me.
PT subsequent writing in chinese is just responding to some of the comments I made last night... and it looks like his system is sounding better by each passing minute.
Do go there and hear for yourself.
Eason's voice is quite unique amongst the current batch cantonese pop singer. He can be very expansive and go wild in certain part of the recording session. In live concert, his upper high frequency area sometimes has slight distortion - that's him espcially when he is tired. Towards the end of the concert, that is very apparent. If the distortion is not there, the system or cables probably round that off.
Towards the end of the concert, most of the time, he uses 賴音 to bypass lyrical passage that requires more lung energy. But that's what make him different. His 賴音is quite nice to listen. His body gesture while singing is a lot more. He moves all the time. The microphone will miss some of his singing techniques.
The Contriva is a tempting upgrade. I have to thank you for lending me the Impact in the first place as otherwise I may still be torn as to whether I should bite the bullet.
Well, time to start fine tuning tonight.