That's great. This group is all about classical. It's time for some other type. I'd recommend "It's a Wonderful World" by Mr. Children (a Japanese band). You need a system that can really deliver the speed and transients on all frequencies to get the intended band sound from Mr. Children. I have no time yet to listen to Sting's winter songs. No surprises expected.
By the way, all the Katie Melua Live recordings were sold these two days. Did you guys all go there to grab one?
I echo your comment. It is unexplainable. But at least one master reference ground wire for the preamp for all Troy user is a must. I am listening much more tonal color in all frequencies.
Fat, I just love every words of yours. Your comments are quite right to the point. I am curious to know why you seem to think Bigpiece system can play Mr.Children but not other speakers?
If you were there in the listening session with me and PT, you will understand why I commented that the master reference ground wire is different from the silver signature only on a subtle way. Within that one hour, PT was busy changing CDs, turning on and off the subwoofer for me to realise the difference, fixing a fuse problem, playing with the AC2 just opened box...we did the Master Ref and silver signature comparison only on a track with ABAB. I am a 'fast-shooter' of cable so my initial impression was that. Compared to Raymond and your comment, mine was far far too rush and superficial. But on further discussion with PT in days afterward, I learnt more on this cable and surely it is like providing a cleaner conduit to drain away the dust and dirt.
Looks like we do need more home visits now as it has been sometimes long ago.
Fat, don't know what the hell did you write in Chinese. From Marvel bro's responses, you seem like had written something challenging "the walking bible of modern hi end audio". How dare you!
Seriously, I always treat Marvel's opinion on cables/gears seriously. If he had not given the time for full evaluation, a quick impression will always satisfy fellows who are painfully on the waiting lists.
Back to the Wavac AC-2, why there is no formal evaluation from Marvel yet?
Voy, my AC2 has arrived 3 weeks ago but the sockets were not in the US type so I am waiting for a replacement panel. PT has got a few power cords which fit the European sockets so he is now using the AC2. It is exactly the same look and size as the power supply of my Wavac 805 Mk2.
As soon as I have got it, I will report in this forum.
I have been quietly using Wavac's AC-2 conditioner for three weeks. (Even PTsang did not know the presence of it when he auditioned our system on Sat - he said the first time my system passes his standard with a lot of room for even more improvement.)
I don't want to rush any quick report with hype. I also want to avoid stereotyping because it is my own experience that AC conditioner always limits dynamics. For a start, I only plugged in the Zanden 2500 CD player into the AC2 for a week without any other devices sharing the AC2 (the AC-2 provides 4 inlets). The powercord that goes into the wall from the AC2 was the Kurenai by ORB.
In the first week, I felt as though nothing really has changed - that is a good sign - because most AC conditioner changes the tonality so much. I do however feel that the upper register has become even more harmonious with better layering through the Z-axis in a continuous fashion. I sense more spacing in x, y, and z axis. This is especially true when I tested choral recordings. Uncle Ray taught me DON'T just test high frequency extension and sharpness by one violin or just one soprano voice - the sound has to be in harmony when a lot of upper high frequencies traveling through the air at the same time. The best way to test is through Choir recording.
After a week, I plugged the Tron Syren Black Label into the AC2. (This AC-2 does require a long burn in time.) I let it play a few days casually. This time, I felt the improvement is more substantial than the AC-2 just serving the Zanden 2500 CDP. The control of lower register is obviously better. Bass is tighter and goes deeper. John Mayer's "Gravity" in his Continum album is the best track to demo the control of bass. Over the weekend, PTsang suggested me to pull out the main speakers by half a feet from the rear wall. The bass has a lot more room for breathing all of a sudden. The bass energy is enveloped in air motion stretching on various directions. As I said, he did not know I am using the Wavac AC-2. After he departed, I disconnected the Tron syren from the AC-2 and listened to the same tracks that we listened in the morning again. All the spacing cues were gone. Bass no longers moves within air motion. All the air seems to be deflated collapsing the soundstage. Those boys in the choir seems lacking energy and did not focus during the chorus section. It was a major setback. In order to verify, I asked my father to come listen with and without the AC2. The conclusion from him is "the whole system transforms significantly for the better especially in the area of tonality". He doesn't mean tonality has changed but he feels certain amount of dirt is now removed which allows him to listen more tonal color. Positoning withinn the soundstage has become also much stable during his test with Weavers Live at Carnegie Hall which he has tested million times all through his live. The tonality of vocal is beautiful.
The experiences in the past month with AC-2 enables me to understand the crucial differences between AC noises (via Wavac AC-2) and ground noises (via Tripoint Troy). I may be able to expresses thier differences in Chinese:
AC noises就好似有咖啡滴了在毛衣上, 原本的顏色因那滴咖啡而變了. Ground noises就好似有好多其他毛和雜碎的fabric在衫袖和衣領上, 抹走它們後才能看到衣服的線條原貌.
昨天DSo sms我說了一句: "有邊個會相信妹仔大過主人婆!" although he was referring to the connection of the Grimm CC1 clock to the Tripoint alongside the application of coral feet underneath.
If you guys are free on Wednesday evening, please drop by and have a listen.
Comments
By the way, all the Katie Melua Live recordings were sold these two days. Did you guys all go there to grab one?
I echo your comment. It is unexplainable. But at least one master reference ground wire for the preamp for all Troy user is a must. I am listening much more tonal color in all frequencies.
Jeff
Katie的Live at O2最後一段"我為你哭", 在用上超級地線之後, 副歌部分 I cried for you 的音色變化和操控能力表現得極為細緻, 用silver signature就好似參加初賽, 己經練了好多次, 但被Miss Chan Chan批評話音色變化太刻意, 唔夠control. 用了超級地線後, 我把此曲重聽了十次, Katie由第一句唱到尾可以話係感情十足, 副歌的假聲和真聲交換極為老練, 所為在高技巧位要保持連續性和音色穩定是不容易.
我還察覺到她經常彈結他的低音弦線來襯托她中低音份量的不足, 令全首歌達到全頻音色平行. 在未用超級地線前, 我並不覺得中低弦線的存在, 令到此曲的章力打了折扣, 我起初以為她唱到最後-首歌所以中音不夠氣.
此線要細味品嘗, 我明白Marvel大大之所以覺得分別不大是好可能因為他從Hi Fi的元素如動態, 音場大小高低等去分判. 我贊成AE sponsor部Troy比TVB, 將地線接到Headphone amp去, 以免比錯分.
這條線好野. 得知Raymond叔和曾比得大人兩大前輩都已出手令我信心大增. 我亦覺得自己聽音樂的技巧進步了.
你真係好介紹, 我對Eufro冇可能播到Mr.Children! 起瑪要上海大舊哥那套至掂!
Azzurri, what other music do you recommend to us?
If you were there in the listening session with me and PT, you will understand why I commented that the master reference ground wire is different from the silver signature only on a subtle way. Within that one hour, PT was busy changing CDs, turning on and off the subwoofer for me to realise the difference, fixing a fuse problem, playing with the AC2 just opened box...we did the Master Ref and silver signature comparison only on a track with ABAB. I am a 'fast-shooter' of cable so my initial impression was that. Compared to Raymond and your comment, mine was far far too rush and superficial. But on further discussion with PT in days afterward, I learnt more on this cable and surely it is like providing a cleaner conduit to drain away the dust and dirt.
Looks like we do need more home visits now as it has been sometimes long ago.
Marvel
Seriously, I always treat Marvel's opinion on cables/gears seriously. If he had not given the time for full evaluation, a quick impression will always satisfy fellows who are painfully on the waiting lists.
Back to the Wavac AC-2, why there is no formal evaluation from Marvel yet?
As soon as I have got it, I will report in this forum.
Marvel
I don't want to rush any quick report with hype. I also want to avoid stereotyping because it is my own experience that AC conditioner always limits dynamics. For a start, I only plugged in the Zanden 2500 CD player into the AC2 for a week without any other devices sharing the AC2 (the AC-2 provides 4 inlets). The powercord that goes into the wall from the AC2 was the Kurenai by ORB.
In the first week, I felt as though nothing really has changed - that is a good sign - because most AC conditioner changes the tonality so much. I do however feel that the upper register has become even more harmonious with better layering through the Z-axis in a continuous fashion. I sense more spacing in x, y, and z axis. This is especially true when I tested choral recordings. Uncle Ray taught me DON'T just test high frequency extension and sharpness by one violin or just one soprano voice - the sound has to be in harmony when a lot of upper high frequencies traveling through the air at the same time. The best way to test is through Choir recording.
After a week, I plugged the Tron Syren Black Label into the AC2. (This AC-2 does require a long burn in time.) I let it play a few days casually. This time, I felt the improvement is more substantial than the AC-2 just serving the Zanden 2500 CDP. The control of lower register is obviously better. Bass is tighter and goes deeper. John Mayer's "Gravity" in his Continum album is the best track to demo the control of bass. Over the weekend, PTsang suggested me to pull out the main speakers by half a feet from the rear wall. The bass has a lot more room for breathing all of a sudden. The bass energy is enveloped in air motion stretching on various directions. As I said, he did not know I am using the Wavac AC-2. After he departed, I disconnected the Tron syren from the AC-2 and listened to the same tracks that we listened in the morning again. All the spacing cues were gone. Bass no longers moves within air motion. All the air seems to be deflated collapsing the soundstage. Those boys in the choir seems lacking energy and did not focus during the chorus section. It was a major setback. In order to verify, I asked my father to come listen with and without the AC2. The conclusion from him is "the whole system transforms significantly for the better especially in the area of tonality". He doesn't mean tonality has changed but he feels certain amount of dirt is now removed which allows him to listen more tonal color. Positoning withinn the soundstage has become also much stable during his test with Weavers Live at Carnegie Hall which he has tested million times all through his live. The tonality of vocal is beautiful.
The experiences in the past month with AC-2 enables me to understand the crucial differences between AC noises (via Wavac AC-2) and ground noises (via Tripoint Troy). I may be able to expresses thier differences in Chinese:
AC noises就好似有咖啡滴了在毛衣上, 原本的顏色因那滴咖啡而變了. Ground noises就好似有好多其他毛和雜碎的fabric在衫袖和衣領上, 抹走它們後才能看到衣服的線條原貌.
昨天DSo sms我說了一句: "有邊個會相信妹仔大過主人婆!" although he was referring to the connection of the Grimm CC1 clock to the Tripoint alongside the application of coral feet underneath.
If you guys are free on Wednesday evening, please drop by and have a listen.
I'd like to recommend Sarah Mclachlan's Live recording too. The song, "Angel" is very good. I am listening without the AC2 and the Troy now.
此曲只有一把聲和一個Steinway鋼琴(巨型那款). Sarah的唱功絕對是Katie之上, 當然她年紀亦大Katie很多. 如果中男們覺得王菲或陳潔麗等假聲幾好聽的話, 我建議聽聽Sarah唱"天使", 因為她能將"假聲的漸變"control得收放自如(由細變大/由大變細), 就算唱慢板曲她的中高音域也表現到有dynamic. (我開始明白測試dynamic唔一定要播打豉/節奏快的旋律). 就算在好細聲的兩句歌詞也能表達到微細的反差.
在未看同曲的Video前, 我覺得有幾下個鋼琴彈得好大力, 着完video後才知她的手臂和男性一樣粗, 才得已放心. 此曲她在concert唱演後, 換來是全場"Standing Ovation". 真係堅. 不過我覺得Eufro未能播到最傳神一面, Alpha One的中高域夾FMR線亦可以播到當高中往上去是仍能有飄出來的感受. 此曲好難唱, 有一種"Unchained Melody"的感覺, 好多連接位靠技術來廷續, 好多位更要一氣呵成但同時又要有音量在假音mode的情況下漸變, 當然如Miss Chan Chan所講在眾多techniques下仍然要保持音色平行美麗是最巧功夫.
不過Sarah係專業超班馬, 佢應該係評刋.