【Roksan 達人】家訪lyyoung

[Leo Yeh]

音樂的感染力是非常重要的

也就是為什麼T.M.在設計產品時，入門的雖然規格沒有辦法達到頂級產品的要求，但都具有一定的音樂性，愉快的享受，才會有更輕鬆的滿足感:P

低頻量感是件調整音響聲音走向有趣且極重要的事

後級有增益調整或是前級有調整功能我覺得會很方便(如雙擴大器可分別調整音量或增益)

若是不想增加一些接點和線路或器材

則可以從墊材和線材下手(換叭換器材當然也行但先調整不行再說)

適度的共振或是增加容抗(線材或電容)有溫潤聲音增加低頻量感和厚度的效果

但過量的低頻聲音透明度容易變差細節會變少

反之墊材太多太硬的材質或是空間太硬調

聲音聽起來很快又乾淨但是容易失去感動人的音樂性

乍聽之下好聽但久聽會受不了且不夠真實

現場聽到的感覺一定會勝過在錄音室聽到的感覺

只有聽到單體的聲音而完全無箱音或是一些適度的共鳴

就是那種所謂的"乾淨無好聲"!

只有透明而豐富感不足 或許低頻有線條和衝擊力

但我覺得那是不完整的好聲!:):)

[lyyoung]

除了Rok one以外，Rok系列都是Roksan最高等級
其次為Caspian與Kandy

左右聲道完全分離的L1.5前級

等級當然在只有一個VR的L2.5之上( L1.5 "0" cross-talk in channel separation)

而Caspian系列前級電源並無分離(包含Caspian Platinum)

聽說將來的旗艦型號是L7

但是開發過程碰到成本太高的問題故難產

現在的白金系列是現行最高型號

可以說已經在這個成本價位中很努力做出來的好產品

但M型消費型態中 中價位產品定位困難

這可以說是白金系列推展最困難的問題

但接下來的白金系列CDP還是讓人期待的.....

[lyyoung]

音樂的感染力是非常重要的

也就是為什麼T.M.在設計產品時，入門的雖然規格沒有辦法達到頂級產品的要求，但都具有一定的音樂性，愉快的享受，才會有更輕鬆的滿足感:P

感染力太高有人會嫌透明度不足

增加了太多"東西"

所以會有上面的＂豐富　ＶＳ.　透明＂的看法

[Leo Yeh]

要透明，依據經驗，系統要有一定的層級以上可能比較有辦法 :|

感染力太高有人會嫌透明度不足

增加了太多"東西"

所以會有上面的＂豐富　ＶＳ.　透明＂的看法

[lyyoung]

要透明，依據經驗，系統要有一定的層級以上可能比較有辦法 :|

沒錯!但是一直升級和調整增加透明度也是個迷思

過猶不及

失去了令人如臨現場和聆聽環境空間一起互動的感受

只是聽到麥克風收錄的(純粹單體發出的)聲音

其實是缺了一些真實感的!:)

[lyyoung]

偏好中高頻或是高音的好音質

不可忘記音樂的"形體感"---"body"的重要

有形無體是不夠完整的....:)

完整豐富的下盤非常重要!

[harrisonlin]

好的下盤應該是控制力好,音場就好 就有層次分明.如果是低音量過大則是有問題.

[lyyoung]

好的下盤應該是控制力好,音場就好 就有層次分明.如果是低音量過大則是有問題.

所以這就是調音的重要和我強調低音量感可調的方便性的原因

量過大會"轟"產生駐波聲音透明度就會變差

我倒覺得要有足夠的低音量再做一些吸音擴散

量感不足上面提到的一些問題就會浮現....

[lyyoung]

TMS3-an auditioning report
http://www.roksan.co.uk/forum/viewt...a869a02d45336ae

Dear forum members

I went on a factory visit at Roksan at the end of December, and had the honour of an "ante-prima" audition of the TMS3. The TT was introduced to me by nobody else than Touraj, who gave me an in-depth technical lecture on what is special about Roksan TT's and the TMS3 in particular. Here I would like to share my experience with you. I had no opportunity to compare it with the TMS2, but what I heard left a lasting impression on me.

We did the audition in a small room, that is equipped for testing purposes only, so not dealer showroom or anything like that. The TT was connected via the DS1.5 Reference DC Power supply and the ARTAXERXES.X Reference phono stage (one box) to Roksan's Platinum series pre & power combo, Shiraz cartridge, Artemiz2 arm. The speakers were small bookshelf format Kandys. Touraj was doing tests on the Kandys so the frequency splitter was outside the speaker case and a soldering iron next to it... quite an improvised setup.

To begin with the TMS3 looks like the old TMS1, plain black, no sparkly silver dots like the TMS2 outer look. The TT was standing on a glass shelf. We listened to three LP's

Ray Charles: Genius needs company
Yello: The flag
Lauryn Hill: Unplugged

Touraj explained the special decoupling mechanisms, which have been developed to separate the actual platter and the arm board from the underlying supports and that are common to all TMS TTs from what I understood. The basic design philosophy is to maximize the signal to noise ratio (s/n) as much as possible. As you move up the ladder from the Radius to the TMS, the s/n ratio increases, but the basic design principles remain the same. They just become more advanced as you go higher, not principally different.

To reduce the s/n ratio a TT should ideally be constructed like a pyramid, with a series of layers, each one designed to further decouple itself from the underlying one, be it the platter, motor plinth, the arm board, another plinth, a wall shelf or any sort of support.

Each material/support/shelf has its own oscillation frequencies. When the stylus reads the signal form the groove, a resonance between the eigenfrequencies of the support and the signal picked up by the stylus could occur. This introduces spurious noise and degrades the music signal (lowering the signal to noise ratio) which goes to the amplifier. The design of the TMS is conceived to absolutely minimize this sort of interference by all means. The advanced decoupling mechanisms prevent a resonance between single structural elements, which could be transmitted to the turning platter and pollute the music signal sensed by the stylus. There are technical design details such as the external metal ring on the outer platter, which linearly dampens oscillations of the platter.

In the TMS3 some of these design details have been further elaborated to increase the s/n ratio. This is achieved by paying meticulous attention to the precision with which the parts are machined and assembled. New suppliers are found that are able to deliver parts such as spindles and bearings with even less tolerance because they have special machinery to produce the moving parts with even higher precision (at a higher cost of course).

Touraj also mentioned that the feet of the TT have been improved, allowing to position the TT also on a glass surface. Special silicon insulators prevent that eigenfrequencies of a glass surface could be transmitted to other parts of the TT.

After this technical intro and some details about how the Artemiz arm is designed (issues related to the unavoidable compromise between linear bearings used by LP manufacturers for cutting the record v.s. rotary bearing used in retrieving the signal by the tonearm) , we listened to the test LP's. Even though we used entry-level speakers, the sound was absolutely natural, very analytical I'd say, not forgiving by all means. What is in the groove is what you get, an implicit design criterion.

In designing a TT, Touraj starts form the basic question: what is a TT supposed to do? "To retrieve a signal from a groove in the most undistorted and pure way possible, and to transmit it to amplification". The TMS3 excels in doing this. The music is reproduced so as it has been recorded and cut into the master record, nothing else. If the system does something wrong, you will hear it.

I was drawn into the music, listening to the voice of Ray Charels or Lauryn Hill, as if they were standing in front of me. Rather difficult to reproduce in words.

At the end Touraj told me that the TMS3 is already on its way out of the factory, as there is demand from traditional strong vinyl markets such as Japan, Singapore or Hong Kong.

This is my summary of the visit. I left the place quite impressed, by the quality of what I have heard as well as by the dedication and design consistency with which this equipment is build. Design at Roksan is driven by passion for music.

Best regards

Paolo

Last edited by pippo on Mon Jan 14, 2008 6:39 pm; edited 3 times in total

[lyyoung]

"Design at Roksan is driven by passion for music."

You can always feel the passion of the music that you are listening to.

That is why the owners of Roksan system all have large collections of records and cds.

It's always the music that really matters!:)