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發表於 2022-2-5 11:44:12
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本帖最後由 Avantgarde-HK 於 2022-2-5 11:47 編輯
Track Audio’s rigid-coupling spike seems almost brutally simple. In this case, the complex Delrin spike housing is dispensed with, replaced with a single massive spike/thread element. Unfortunately the increased wastage more than makes up for the reduced number of parts, at least in cost terms, so these are priced the same as the decoupled versions, whilst offering exactly the same operational niceties and versatility when it comes to interfacing. There are also matching solid stainless and feltless spike shoes to go with them, again available separately.
How big was the difference. Big. Take Neil Young’s "Safeway Cart" (from the Sleeps With Angels CD [Reprise 45749]) as an example. The Track Audio spikes brought a sense of shape, power and energy to the music, a propulsive quality that kept things moving forward, full of purpose and intent. The improved separation and sense of shape made Young’s guitar solo more vivid, with greater texture and starker contrast to the throbbing weight of the rhythm track. It sounded not just like a better band, a better song and a much better guitarist -- it sounded like they meant it. In comparison, the brass cones sounded dull, turgid and monotonous. "Drive" or "rhythm" can be emotive terms when it comes to describing audio performance. One man’s "musical intent" can be another’s "overt exaggeration," so let’s be clear about this; when it comes to Beethoven, I like Kleiber conducting and I like the very different view offered by Klemperer. Musically, they’re both valid. But if it says Kleiber on the label I want it to sound like Kleiber -- and that’s what the Track Audio spikes delivered. They raised the expressive bar, allowing each recording to sound more like itself, and that’s no mean feat.
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