買了Carl Zeiss T* 24-70mm F2.8 ZA SSM不久，小雞雞就四處去旅遊了。
原以為買了好鏡頭，就可以偷偷懶，拍出來的照片直接export出來就可以見人了！
可是啊，當見到友人Nikon D40拍出來的照片後，小雞雞簡直就想放棄算了！
小雞雞的Carl Zeiss T* 24-70mm F2.8 ZA SSM是Nikon D40的價格大約四倍，可是呢，拍出來的照片讓小雞雞覺得小雞雞的相機是便宜四倍的貨色！
當初買CZ鏡頭也是跟友人請教後做下的決定，[機身可以省，鏡頭破了產也要買！]，也成了小雞雞攝影旅程的第一句名言。
可是，出了錢卻拍不到好照片不是冤枉是甚麼呢？
這事件就把小雞雞困擾了好幾天，而且就差點放棄了Sony Alpha系統，那Zeiss鏡頭就趁早賣掉算了！
可是小雞雞就是不信邪，當初毅然從Audio Researh投向Bladelius的決定也是不被看好的。
應該是小雞雞技不如人，難道網上的Sony Alpha照片都是騙人的嗎？
好，就再次發揮小雞雞最拿手的好戲，'不恥下問'！
小雞雞一直就以RAW拍攝的，相機的post processing完全出不了作用。小雞雞export出來的照片，人相skin tone跟死人沒兩樣！
原來啊，RAW沒經過調整的話，效果是不能見人的！
回一回想，當初聽了Audionet G2與emmLabs CDSA SE後，也讓小雞雞死去活來！
CDSA的聲音取向飽滿豐潤，情感豐富迷人。聽jazz女聲是多麼地親密，多麼地感人。它的嫵媚是多麼地讓人無可自拔，彷如在閨中絲絲蜜語！
小雞雞的Bladelius Freja卻是完全相反，聲音趨向無雲萬里見青天，線條清晰明確，更上一級的Gondul更是氣吞天下，那氣派壯擴深遠。聽電子音樂與交響曲的話，臨場感完全被發揮出來。
Audionet G2卻是恰到好處，當初在Gondul與CDSA SE的夾攻下，毫不費力地把小雞雞的三魂七魄給攝住了！它把emmLabs CDSA SE的閨女嫵媚與Bladelius Gondul的狀擴俐落恰到好處地結合了。
為此，小雞雞也蠢蠢欲動，想把一套Bladelius轉向Audionet！
在請教友人之後，小雞雞卻開始相信了[聲音是可以調出來的！]
為了不讓小雞雞中途放棄，友人特地駕到指導示範；小雞雞也成功把Bladelius Freja比較線性的趨向注入適當的厚度，把形體更實在地呈現出來。
真是天公保佑，友人都很樂意在小雞雞就要放棄的時候，扶小雞雞一把，不讓之前的付出（通常都是錢啦！）功虧一簣。
原來啊，一切美好的事物都是不可以偷懶的！
2 comments:
How To tune your system???
Please tell me more!
Interesting!!
Cones and spikes can improve the definition and image outline, but I don't like the hardening after effects. My previous posts showed how I used TAOC insulators and footers for my rigs.
These are superb stuff with the ability to increase image density and focus, improving greatly on bloom and body. Yet they maintain the effortless flow of music with no hardening effects.
Then there's overlapping Shun Mook used in the vocalist mouth position on the wall. This brought forward the vividness of mouth movements and formation.
Oh, the Oyaide RR-77 and RGC-24 are 2 products for ultimate refinements and resolutions! I was trying them out but ended up buying them!
Put the RR-77 to my RK-100 and the resolutions improved further. Soundstage opened up, but it has the counter effect of thinning the sound. This thinning effect is not the same as making the sound metallic but rather due to the opened up soundstage.
When the soundstage is smaller, things emerged more intimate, compact and closer. When it opened up, things might get a bit fuzzy. Move the speakers closer wud put things back in perspective.
The other thing is RR-77 has the uncanny ability to stretch the boundaries of your setup. The tailing of violins and vocals went up in focus, energy and effortlessness. Put it away and you don't find listening as involving as before.
And the RGC-24, this is ultimate refinement, grace/lithe and smoothness! The transitions of notes and female vocals has got the liquidity and purity of unpolluted spring water! It's all about FLOW and NATURAL-ness!!!
Wanna have a glimpse of the effects? Try out the superb Quantum ElectroClear QRT-1, though it lacked ultimate flow and refinement, at least you get to experience the increased image density and more tuneful bass.
If you like it the QRT way, go full out to the Audio Magic Stealth Mini Reference. This veered more towards American brute. On the other hand, RGC-24 is more towards composure and finesse. I find that the RGC-24 is more balanced and versatile while the Audio Magic stuff is more energised for pop materials.
You make me wanna go home and switch on my rigs!!! I have been away for almost 2 months!!!
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