I just played around with different positiong of the Impact and deploying some tuning blocks around.
By the time I finished, I was very happy with the woodwinds. The harmonic structure is now cruising underneath the melodic line in total harmony - shockingly pleasing.
I guess I must have done something right and I won't dare touching anything to distrub the room. Ha!
那大約是9:00pm, Mr.DV才說現在才"似樣". 我真的十分之佩服. 然後他開始有心機, 再播他帶來的Michael Rabin玩Paganini, 二分鐘不夠, 佢話左邊Speaker toe-in angle多了少少, 要減少少, 原來減少少的意思上到speaker前用手掌"拍了一拍", 眼晴是看不到speaker有任何實質移動.
然後再聽Rabin和女高音, 我和黃先生都冇野講. The overall balance have become even more balance,,, very very very clean soundstaging.
I don't know PT or his father will like the final sound of last night, but i feel more enjoyable than what i heard in the beginning.
My view on this Grandezza latest set up:
1 Sound become more wider range, the added tweeter sound become a part of the intonation speaker.
2 The sound now is “COMPLETELY” different or go different direction compare to the 1st time I got deep poison!!! (The extremely out-standing Mid-range was become efface, now is wider range and become PT house sound.)
3 ”沙石感” is not the ground noise, because I guess I m listening ground noise every day, (I never heard Troy yet!!!) there are still some extra noise I believe!
4 FE cerabass excellent for speaker feet, but extremely trouble use! Without fine tune after speaker move, bass drop on the floor is possible. And this speaker very sensitive on every tiny move in this room.
5 I don’t know why take away the room treatment at both side? Maybe all got kidnap? I heard the reflection before the sound come from the speaker.
Sometime, the competition between High End stuff, is not only judge by sound quality you heard at the first impression, to be a great product that must provide great art and had very deep potential. Believe me this DV system still has lot of room to be improve. And i still miss the Heritage, it is a successful product with lot of hidden potential.
Last, one thing I need to say is, I thank you all the people had share in this forum, the quality discuss and the attitude had save us lot of time and learn many thing we never thought. I feel happy here, and even more happy if no need worry the wallet matter. Enjoy listen every one!!!
Some change does not always mean good, but this is different!
I ask myself am i wasting money when d first month using Kyoto, only limit margin improve from previous regular Orb PB. Since i tried Kureanai on this exotic PB, i feel shock day after day, I can only say: i m wasting time listening in the past, I highly recommend power amp plug to Kyoto with Kureanai. Bass is fxxking transperancy, details and smooth, My case is - all stuff plug to it are very good, but sound a bit tide and too exciting. Now i plug pre amp directly to wall or to the normal Orb PB.
Next to double run the FMR SC.... double Kyoto is crazy enough!
The quality of Eason's voice I heard is very close to the Eason whom I met in person than the one listened through the headphone at the control/mixing stadium during the concert. I can understand why Marvel was stunned. The density of the source dac is huge. We need a bigger room to let everything out.
I did not know what Mr.DV did last night but I enjoyed the short session very much. About reflection at the side walls, not too severe in my opinion as the soundstage can clearly expand beyond the speakers. Piano is very clean, warm and natural. But I am not a fan of classical music.
For such a big system in such a small room , this is in my opinion quite an achievement. The stage is big, ambience everywhere, sustain/harmonic is transparent.
Like everyone else, I try to speculate the improvement after a single pair of FMR is in place. But once again, very well done. Good balance.
I guess I have gone through this period of despair...will work with PT and find out more which I can further improve...I have most of the ingredients that I need and I think lacking one piece or two (eg. FMR Speaker cable, Troy) should not be end of the world looking into what PT has used in that system and the resulting sound....so the tricks are the skills and patience...where I have to learn from many veterans here...getting more positive now
Comments
By the time I finished, I was very happy with the woodwinds. The harmonic structure is now cruising underneath the melodic line in total harmony - shockingly pleasing.
I guess I must have done something right and I won't dare touching anything to distrub the room. Ha!
歷史因素: 他在2007年中到過我家中之後, 就變成了今天的Mr.DV. 昨晚是他二次來. 他也帶了一位資深愛樂朋友黄先生來一同共賞.
音樂喜好: 他最愛鋼琴, 尤其喜歡做句帶皇氣貴族的琴家, 跟著就是小提琴
昨天我提到換了6c45pi後解決了Alec所提出的問題最終還是不能, 因當我們於7:45pm到達後, 發覺整個系統好似有傷風病, 對6c45pi在warm up五小時後把overall balance打亂了. Mr.DV聽了半分鐘後形容聲音好怪, 我立即關機, 然後把舊膽換回上driver. 所以正式聽由8:15pm才開始.
在聽完兩隻女高音和數段鋼琴後, 他的意見如下:
1. 琴音有沙石感
2. 琴音中頻段有輕微凸了出來的感覺, 不自然
3. 低頻比二年前進步了許多
4. 好多好多細節
5. 音樂感達不到他的要求
三人經五分鐘討論後, 即刻做野, Mr.DV建議如下:
1. 沙石感來自Level One power cord on Zero transport, 他說要用Flow power.
2. 但我只有一條Flow用在Vekian上, 所以只好對掉. Flow去Zero, Level One去Vekian
做完以上之後, 琴鋼中頻突出的問題沒有了, 但到低頻control有問題. 他問我有冇多一條Flow, 我回應只有一條Flow的Prototype. OK, 把Level One拿走, 放Flow prototype上Vekian. 再聽鋼琴和Mahler 5. 整體乾淨了許多許多, 尤其是低頻, 立體感比Marvel/Alec所聽到再上"數"層樓.
那大約是9:00pm, Mr.DV才說現在才"似樣". 我真的十分之佩服. 然後他開始有心機, 再播他帶來的Michael Rabin玩Paganini, 二分鐘不夠, 佢話左邊Speaker toe-in angle多了少少, 要減少少, 原來減少少的意思上到speaker前用手掌"拍了一拍", 眼晴是看不到speaker有任何實質移動.
然後再聽Rabin和女高音, 我和黃先生都冇野講. The overall balance have become even more balance,,, very very very clean soundstaging.
直至9:30pm, Mr.DV才應為此系统應有的音樂感才出現. 昨晚我所新領略的經驗如下:
1. 一個人所喜愛的音樂已一早決定了整個Overall Balance的起點. Mr.DV的起點是鋼琴, 我父是人聲和管弦樂. 前者對中音linearity比後者要敏感; 後者注重和諧温暖的中頻. 今早我父call我問我地昨晚換了些什麽, 點解乾淨了許多? 他說要再聽Belafonte and Byrn Terfel有冇少了些"中氣".
2. 線材的影響不可被低估. Level One始終是6年前的科技. Mr.DV和Alec也認為我可用較高班的線材. (令我想起Charles的Zanden phono也不能用Level One, 因為有沙石感.
3. 我整對喇叭已隱了形, 音場左右擴散亦已穿了牆, 有極豐富的細節, 但並不能用這些去量度"音樂感".
Mr.DV的探訪令我獲益良多. 他對我說紿終最愛最原始DaVinci system的音樂感, 即是冇超高, 用DV passive preamp, Orpheus Heritage DAC的時代. 現在此系统的建立方針是堆砌我自已喜愛的聲心和Peter的原意完全不同.
最後我地談到京都骨和後級的微妙關係, 他已測試過"只插後級在京都骨上是最好" 就算是兩條獨立設計, 最靚聲都是只用一邊, 所以佢打算買多舊京都骨給前級和訊源用.
昨晚實在是精彩!
PT
My view on this Grandezza latest set up:
1 Sound become more wider range, the added tweeter sound become a part of the intonation speaker.
2 The sound now is “COMPLETELY” different or go different direction compare to the 1st time I got deep poison!!! (The extremely out-standing Mid-range was become efface, now is wider range and become PT house sound.)
3 ”沙石感” is not the ground noise, because I guess I m listening ground noise every day, (I never heard Troy yet!!!) there are still some extra noise I believe!
4 FE cerabass excellent for speaker feet, but extremely trouble use! Without fine tune after speaker move, bass drop on the floor is possible. And this speaker very sensitive on every tiny move in this room.
5 I don’t know why take away the room treatment at both side? Maybe all got kidnap? I heard the reflection before the sound come from the speaker.
Sometime, the competition between High End stuff, is not only judge by sound quality you heard at the first impression, to be a great product that must provide great art and had very deep potential. Believe me this DV system still has lot of room to be improve. And i still miss the Heritage, it is a successful product with lot of hidden potential.
Last, one thing I need to say is, I thank you all the people had share in this forum, the quality discuss and the attitude had save us lot of time and learn many thing we never thought. I feel happy here, and even more happy if no need worry the wallet matter. Enjoy listen every one!!!
Mr.DV
Take care!
Some change does not always mean good, but this is different!
I ask myself am i wasting money when d first month using Kyoto, only limit margin improve from previous regular Orb PB. Since i tried Kureanai on this exotic PB, i feel shock day after day, I can only say: i m wasting time listening in the past, I highly recommend power amp plug to Kyoto with Kureanai. Bass is fxxking transperancy, details and smooth, My case is - all stuff plug to it are very good, but sound a bit tide and too exciting. Now i plug pre amp directly to wall or to the normal Orb PB.
Next to double run the FMR SC.... double Kyoto is crazy enough!
I did not know what Mr.DV did last night but I enjoyed the short session very much. About reflection at the side walls, not too severe in my opinion as the soundstage can clearly expand beyond the speakers. Piano is very clean, warm and natural. But I am not a fan of classical music.
For such a big system in such a small room , this is in my opinion quite an achievement. The stage is big, ambience everywhere, sustain/harmonic is transparent.
Like everyone else, I try to speculate the improvement after a single pair of FMR is in place. But once again, very well done. Good balance.
I guess I have gone through this period of despair...will work with PT and find out more which I can further improve...I have most of the ingredients that I need and I think lacking one piece or two (eg. FMR Speaker cable, Troy) should not be end of the world looking into what PT has used in that system and the resulting sound....so the tricks are the skills and patience...where I have to learn from many veterans here...getting more positive now
Marvel
我的Intonation只是用上了"2 stage", 但已經是四個分開各重80多磅的機器. 今天Virtu的"緩沖級"已到港, 我會暫時用在我的系统, 嘗嘗整個Da Vinci概念. 到時, 你們再來賜教一下.
我父對Mr.DV的改動只有小提琴的G弦變得大力了些少已感到不適應; 他估計把超高向前移半寸應解決到問題, 但由於母親節太忙關係, 未能在週末找到答案.
Thanks!