已經最大支了！

在香港音響展的時候，小雞雞就一直為不能拍到更好的照片，而耿耿於懷了許久！

由於場館太大太高了，小雞雞現有的HVL-F42AM根本就力不從心，未能把空間全照亮了。

可是就因為一直把錢花在音響上，而無法抽出預算去升一升級拍照器材。

昨天，小雞雞終於硬下了心，敗了一支Sony HVL-F58AM旗艦燈回來，希望能造福人群，拍到更好的照片，跟大家分享所見所聞！

小林今天也給小雞雞上了一堂好好的拍照心得分享,讓小雞雞從新思考方向。

說來真是汗顏，原來小雞雞拍照也一樣地爛，希望日後有分享的機會吧！

晚安，哦，好像應該是早安了！

友人的部落格對調音的一些看法

Talking Torque Again - An Open Letter to Lil'kc and Ken

礙於工作量的關係，小雞雞還在思考應該怎麼回信才不會讓人誤解了Telos精神。

其實啊，小雞雞已經幫了很多友人調音了，可是卻不是每個友人都使用著Telos產品的。

用不用Telos產品不要緊，問題是，你給不給自己一個機會提升自己的系統呢？

十塊錢？一百塊錢？都不用！

小雞雞調音都不收錢的，也不會逼友人使用Telos的產品；除了那些中了Telos毒的朋友以外，通常都不會立刻就買的。

Telos還是新牌子，新牌子就要經得起更多的考驗，畢竟，一般人的看法都覺得歐美牌子才是正統的，才是信心的保障。

為了要讓友人們都體驗到自然的聲響，小雞雞都會提議友人無時無刻都要聆聽，圍繞我們四周圍都是自然的聲響，當小雞雞示範Telos的產品的時候，如果閣下是懷著開通的心態，通常都不難發現Telos與自然聲響的相似。

即使是選擇不使用Telos產品，友人們的系統在被調整過後，都更接近自然的聲響，更容易陶醉於音樂，更容易被音樂感動。

小雞雞不說Telos就是正確的，也不說調過音過後的系統是更正確的。

一種樂器有千百種牌子，也有千百種製造用料，世上沒有人能把每一架鋼琴都調得一模一樣的音色，更不可能把音質都同化了；可是，音准卻是不管音色和音質的，只有在每一個樂器都有一樣的音准后，樂譜才有作用與意義的！

Telos提倡的C就等同是音准而已，音准是不侷限於器材和品牌的；小雞雞調音就只是把音准找回來而已，卻不可能把閣下器材的音色和音質拿掉的！

Telos的線材和調音咚咚都是以最少的破壞與最均等的頻率反應，讓閣下的器材在最佳的狀態下操作而已。

調音與扭力均等的主旨，也是在於讓閣下的器材在最佳的狀態下操作而已。

兩者互補互助，分開也可，雙管齊下也可，看就看閣下給不給小雞雞一次機會，大家一起分享成長而已。

如果閣下聽了不喜歡，可能閣下鍾情於失真音染多於音準了...

Ken的分享 - Telos產品用後感

I have been through a lot in the last 1 1/2 months. It all started with KC first torquing my system. After that I discovered minor deficiencies in my system, mainly due to tweaks that I was using. I quickly and easily eradicated those problems by either changing the position of the tweaks or removing some altogether.


Then I started to introduce the Telos products, one by one, to my system. The first one I used was the Telos RCA and XLR caps. There are 2 versions of these caps, Platinum and Copper. I used the more expensive Platinum caps for all the exposed RCA input and output. As for the XLR caps, I used only 2 pairs, both connected next to the XLR input that I was using. I noticed a slight drop in the overall background noise. The highs are also more prominent with a silky touch to it.


Then I added Telos Golden Reference power cord to the Meridian 508.24 CD player. I listened to it for a week. Transparency especially in the highs improved. I knew that the cables and cords need to have a break-in time but I did not notice much change from the first moment I use the power cord till a week later. The sound was consistent. I have been told that Jeff Lin ensures high quality control for all his cables and cords that are manufactured. All cables are then burned in before being shipped. I found that plugging the Telos Golden Reference power cord really enhances my enjoyment of tracks, especially those that has strings accompaniment. This is best illustrated in Acoustic Revenge from Antonio Forcione Live (Naim CD054). I can clearly discern the pluck of each string as he becomes more aggressive as the track worn on.


In the very next week I got another Telos Golden Reference power cord for my ARC LS25MkII preamp. I also took my time to assess the changes that this cord brought to my system. I found that the sound is much more relaxed. Don’t get me wrong, relax does not mean lethargic. The sound just creeps up on you and hit you. Later I swapped my AQ interconnects for Telos Golden Reference xlr interconnects (1.5m each). I also managed to get 1 set each of the Telos Titanium mini and large cones to put under the CD player and power amp respectively.


Once I got the 20amp version of the Telos Golden Reference power cord. I hooked it up to my Jeff Rowland Model 8 power amp. I find that everytime I added a Telos product into my system, my system jump a few notches in terms of performance. Not only do I get better frequency extensions at both end of the spectrum but also everything seems to gel together creating a very seamless sound to go with a solid and wide soundstage. Another thing that I noticed was noise floor went lower everytime a new Telos product was added to my setup.


With all Telos power cords and cables powering and connecting my setup respectively, I began scouring my CD collections. One of the CDs that I have not heard in a long time is Norah Jones’ debut album, “Come away with me” (Blue Note 7243 5 32088). I have heard a lot of things being said about this disc being badly recorded, instruments being out of phase etc. I could not believe what I was hearing when I played track 10 titled Painter. The breathiness of Norah’s voice is shockingly real, so dimensional; I nearly fell from the listening chair. Most time audiophiles visualize the singing mouth but this time, I can feel that the whole of Norah’s head with a grounded body is singing in front of me. The whole band was playing in the room. But I was really turned on when she sang “Turn me on”. The bass in this tracks goes deep and full. The sound is just so natural. The outline of the imaging becomes more solid, thus creating better layering of the whole soundstage. Imaging has also become more life-sized. This is akin to changing from a normal CRT television to a good high definition LCD version. Coupled with the improvement in soundstage, the overall sound has also improved. I got better frequency extension on both sides of the spectrum resulting in a very natural sound with no extra emphasis on any frequency.


Micro and macro dynamics have also improved. The track to showcase the macro dynamics is track 4 of Faye Wong’s Sky Album (XRCD2 844423-R). The kick-drum was forceful but not “in-your-face”. I like it so much that I kept on increasing the volume without realizing how loud I have went until my wife told me to reduce the volume. What is also great is that the kick-drum did not obstruct or overpower the other instruments or Faye’s singing in that track. I also listened to Wei Li’s guzheng in Mood and Dream of an opera from the River and Sorrow CD (FIM SACD 032). In the initial stage of the track, I can clearly hear Wei Li plucking of the strings in his guzheng. You can also distinctly hear the way he tries to control the resonance of the string. What is amazing is during the climax; I can also hear the strings hitting the wooden body of the guzheng.

This has made listening to music to be very emotional ride to sonic heaven. I have attained another level of sonic nirvana and I can’t thank my friend KC enough for helping me do so. I owe you a big one!

充滿潛能的系統,Audionet旗艦系統

有時真是覺得愧對這位主人家,從開始到今天所使用的旗艦器材,三番四次的邀約小雞雞都沒辦法赴約,很是不好意思.

在馬國跟幾個資深玩家交流過後,原來啊Friday Night in San Francisco不是一片常玩的片子,有的玩家為了想要體驗小雞雞的現場震撼和爆棚境界,更是從箱底把片子找出來.

聽了過後,有的說是垃圾片子,有的說沒甚麼特別,有的更是說小雞雞燒壞了小腦,說小雞雞神經病！


一到主人家房間,主人家就播了Friday Night in San Francisco讓小雞雞聽聽,聽了一下,小雞雞胸有成竹地說沒問題啦.

怎麼知道看了看Rockport Mira喇叭單體之後,小雞雞的信心就冷了一半了！

向前的單體根本就沒有螺絲,向旁的低音單體更是密封的,根本不能上鎖！

那麼唯有看看後面可以怎麼弄了,哈哈,找到了找到了,還好插座面板有四顆螺絲可以試試看.可是小雞雞沒試過,不知道會有甚麼效果,既然來了就硬著頭皮試試看吧.

天啊,上了鎖分析力立刻就有很明顯的進步了,小雞雞也沒有準備面板也有如此的強烈的效果,分析力的跨進立刻就把頻率反應拉宽了！

體驗到了初次的成功,小雞雞更有信心了,繼續的把學會的慢慢使出來.


接下來就為CD唱盤上鎖了.

看到了吧？是風靡全球的ART G2 CD唱盤哦！

這時力度的集中和音場的穩定度都有了明顯的提升.

形體和結像都明顯變大了,好像突然間喇叭給喂飽了.


PRE G2前級,也是旗艦級的.

上了鎖之後,很奇妙的是,不是在大的方面提升了,反而是在細膩度和尾音方面有了更佳的表現.

音樂的細微變化更明顯,也更輕易地被再生出來！


后級當然也是AMP II MAX旗艦級數的配搭.

在弄了扭力均等之後,音場被撐開了,而且前後的層次呈現更穩定了.

下盤更是紮實有力,低頻下潛也更乾淨,節奏也變得更活生.

后記:

其實啊,這套系統已經在很早以前就調過了,要怪就怪小雞雞懶惰吧!

可是,不能不提的是,小林過後也帶過了白金的電源線和喇叭線到訪.

天啊,旗艦級的硬體加上Telos旗艦級的白金線真是讓小雞雞聽傻了腦！

如果不是聽到了不妥協的表現,你覺得小雞雞會死心塌地把錢奉上嗎？

家訪用心玩家/用心ls3/5a收藏家Joseph Ki

小林最近一次到大馬的時候,行程里就安排到了在大馬不陌生的ls3/5a資深收藏家Joseph家去造訪分享.

其實,Joseph和小雞雞也算認識多年的老朋友,只是工作的忙碌讓小雞雞多年都沒辦法造訪老朋友.

剛好小林遠道而來,小雞雞二話不說就不要臉地說要跟著一起去,造訪老朋友也順道偷師偷師.

Joseph是多年的資深ls3/5a收藏家,不只如此,對古董膽機和膽管都有獨到的見解和收藏.


看到了吧？Rogers當年50對特別版的第三對！

這代表甚麼？第一和第二都是廠家自身收藏以及送到了雜誌社作評論的,第三就是第一對賣給用戶的了！

說質地和完成度都是幾近完美的了！


一進到音響室小雞雞就給Joseph的用心給吓壞了,古董膽機和新品器材都經過精心的考量測試才成功被錄用的.

當中的搭配組合都經過了無數次的用心聆聽才會演變到了今天的局面的.

不只是器材的搭配,就連墊材和架子的組合也都是經過多年的經驗配合,才有今天的擺設的.


也就是在這裡,小雞雞理解到了墊角擺法的重要性.

也就是在這裡,小雞雞學到了把沒用的喇叭以跳線短路掉的調音法.

也就是在這裡,小雞雞肯定了扭力調音法是老少咸宜的,不管是新品器材,還是古董銘器,都是適合使用的.

就連當年叱咤風雲的ls3/5a,在經過扭力均等的洗禮過後,聲響都明顯地被提升了！

造訪分享的主旨不在於廝殺分高下,而是相互分享學習的心智成長,這次的造訪小雞雞真是受益不淺！

Telos正式進軍日本了！

好東西是會被賞識的,更何況是物超所值的呢？

Telos正式進軍日本了！

對了,Telos最新產品也出爐了,是線材墊座！




看樣子好像是啞铃多過墊子哦！



小雞雞被告知,初步的測試都把Telos的穩定和寬頻都加持到了用家原本的線材上.

Telos要命的是所有的小東西,例如:鈦锥,鈦墊,喇叭釘,XLR和RCA蓋子到最新的線材墊座,都能將Telos的中性,寧靜,細節繁多,還有更用心音樂的詮釋都加持到用家現有的器材線材上！

加上Telos獨有的調音秘笈,每一次的家訪都有明顯的提升！

唉,可惜的是,小雞雞的背椎舊患復發,已經數個星期不能出動了.

等一等,小雞雞又要出發了！