این روزها اونقدر از چپ و راست برام مشکل درست میشه که دیگه نمیدونم به کدومشون فکر کنم، گاهی همه لگدهای زندگی یکجا به دل آدم بسته میشه 😀
تو این شرایط بهترین راه برای من شنیدن موسیقی است.
این آلبوم گیتار رو از سایت آهنگسرا اینترنتی خریدم تو خیلی از فروشگاه ها پرسیدم نداشتند، مرسی از آهنگ سرا.
قبلا این آلبوم رو میشنیدم اما سی دی اون خراب شده بود، گیتار اوتمار هست. آهنگ اول و دومش آدم رو به هپروت میبره …
این آلبوم رو شرکت مهر پویان نوا انتخابی زده و من دقیقا عین این آلبوم رو در خارج ندیدم.
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آلبوم بداهه نوازی سنتور از فضل الله توکل. این آلبوم واقعا نوازشگر احساس آدمی است اونم در دستگاه دشتی.
http://www.mediafire.com/?o3zmzg1zdhksxbk
دیروز غروب اومده بودم بیرون باران و غروب هوا و عجب حالی داد زندگی، من عاشق این جور غروبم ، بارون و باد و غروب و … یاد گذشته افتادم
غروب بود و هوایی که بوی باران داشت
هنوز سایه ی خورشید بر زمین جان داشت
دلم به ماندنت ای مهرَبان! چه دلخوش بود
ولی دلِ تو از اینجا، خیالِ هجران داشت
من از نگاهِ تو بر جاده خوب فهمیدم،
دلت به دوریِ راهی غریب، ایمان داشت
جدایی من و تو در بهار بود، اما
فضای فاصله ها سردیِ زمستان داشت
اگر چه ساده در آغاز دل به هم بستیم
رسید قصه به جایی که سخت پایان داشت
وضعیت های فای تا حدی وابسته به انتخابات هست. نه از نظر قدرت خرید بلکه بیشتر از دید امید به بهبود شرایط که یک چیز ذهنی هست.
خود من وقتی احساس امید به بهبود شرایط دارم راحت تر دست تو جیبم میکنم 100 تومن به مستمند سر کوچه میدم.
های فای هم همینطوره و یادمه آقای فاطمی میگفتند تو دوره سالهای 77 تا 80 فروش بازار وضعیت به نسبت بهتری داشت.
موضوع رد شدن نماینده طیف مقابل در جهت تک قطبی شدن کامل قدرت بنظر من کاملا منطقی میاد دلیلش اینه اگر ما هر سیستمی رو از ابتدا اشتباه طراحی کنیم و فقط شرایط همون موقع رو نه بر مبنای سیستم بلکه بر مبنای افراد حاضر در سیستم ببینیم قاعدتا روزی ساختار اشتباه تبعاتش مشخص میشه و دامن سازندگان اون سیستم رو هم خواهد گرفت همونطوری که دیدیم چقدر تو این ساختار ما طی 34 سال ریزش داشتیم.
البته بنظر من ما آدمها تو ایران خیلی دموکرات نیستیم و توان گفتگو و ظرفیت پذیرش مخالف رو نداریم مثلا تو همین های فای دیدید با این سایت چه برخوردی شد . انتظار داشتن ساختار دموکرات هم شاید با توجه به خودمون خیلی منطقی نباشه.
یکی نیست بگه تعویض روغنی رو چه به این حرف ها و تحلیل ها ، تو برو اون همه روغنی که رو دستت مونده رو بفروش .
تو این شرایط بهترین پناه بنظر من ادبیات و موسیقی هست.
رفته بودم فروشگاه زند نزدیک هفت تیر از آقای نسبتا مسنی پرسیدم آلبوم زمزمه های مهتاب تکنوازی سنتور فضل الله توکل رو داره که گفت نداره اما تو فروشگاه با یک سیستم مکینتاش معمولی چه صدایی از شجریان پخش میشد. آلبوم سر عشق بود که میخوند:
حکایتی زدهانت به گوش جان آمد
دگر نصیحت مردم حکایت است به گوشم
مگر تو روی بپوشی و فتنه بازنشانی
که من قرار ندارم که دیده از تو بپوشم
مرا به هیچ بدادی و من هنوز برآنم
که از وجود تو مویی به عالمی نفروشم
گفتم آقا اجازه میدید این آهنگ رو گوش بدم بعد برم بیرون گفت مانعی نداره …
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عکس بالا از سایت دو گوش شنوا هست.
من مفاهیمی که رومی مطرح کرده رو میخونم شاید بگم فهم تنها یک موضوعش خیلی از ذهن دوره و اون اینه رومی معتقده سیستم میتونه آداپتیو عمل کنه ، اگر کسی میفهمه برای منم توضیح بده.
Read Moreخبر اینکه شاید mihalis رو تو audiogon بشناسید ، این آدم در حد عجیب و غریبی کامپوننت گرون میخره و کارش همش عوض کردن و تست و خلاصه خیلی کامپوننت ها رو شنیده . بنظر من لول شنیداریش از سطح 0 بالاتره اما شنونده خیلی حرفه ای نیست. به هر حال این آدم بالاترین سری Goldmund و Krell , Gryphon و Soulution و Dartzeel و Lyra و Accuphase و Wavac لامپی و FM Acoustics و Burmester رو داشته و صدای break-in شده همشون رو کنار هم شنیده و تازه یک سری هم آورده شنیده و برگردونده مثل tenor و mbl و vtl و audio research و bat.
کابل مود علاقه اش هم جورما دیزاین هست.
http://forum.audiogon.com/cgi-bin/fr.pl?vaslt&1204736609&openflup&27&4
لیست چیزایی که داره اینه :
Accuphase DP800 Transport
Accuphase DC801 DA converter
Wavac PRT1 Tube preamp
Krell Two Preamplifier
Vitus Audio SL101 Preamplifier
Gryphon Mirage Preamplifier
Lyra Connoisseur 4.2L Preamplifier
DartZeel Preamplifier Preamplifier
EMM Labs CDSA CD Player
Accuphase DG38 Equalizer
Kaleidescape Hard Disk Server CD Player
Vitus Audio SM 101 Amplifier
Goldmund Telos 2500 Amplifier
Krell One Amplifier
FM Acoustics Resolution 411 Amplifier
WAVAC HE 833 v 1.3 Tube amp
DartZeel Model B Amplifier
Nordost Valhalla Interconnect
Jorma Prime Interconnect
Isoclean Various AC filter
Finite Elemente Master Reference Stand
Gryphon Poseidon Speaker
Escalante Freemont Speaker
Velodyne DD 18 Subwoofer
Gryphon Mirage Preamplifier
Gryphon Colosseum Solo Amplifier
DCS Scarlatti Clock, Upsampler, DAC DA converter
My Sonic Lab Ultra Eminent BC Cartridge
Goldmund PH3 Phono Preamplifier
Jorma Prime Interconnect
Nordost Odin Interconnect
Apple MacBook Pro 15 Transport
Burmester Audio 948 Amplifier
من قبلا بهش گفته بودم Vitus بهترین چیزیه که میتونه بشنوه قبول نکرده بود و اون زمان بهش گفتم برداشتی که از صدای ویتوس داره درست نیست. الان میگه:
Now I am using Vitus Masterpiece amps and preamps and phono
I have been using the Master Reference pre and phono for the last 10 days or so and can report on my initial impressions. The table is not yet run balanced into the phono but everything else is.
In general I can say that Fremmer got it right in his review of the phono. If you haven’t read it and are interested to learn about this equipment i think it is very accurate. I would however note that I feel that way more about the preamp. I still have some playing around to do with the phono before I can be equally sure.
So this is without doubt the best ss preamp I ve had in the system and probably the best preamp period. As I said earlier, read the Fremmer report on the phono as I agree w the comments. Some of mine:
Bass control: this is an area I can assess well because my speakers are self powered below 300hz so any other system changes don’t matter. This preamp’s control of the bass is just amazing. I am a big fan of tight controlled bass and I only like speakers with closed enclosures for the bass. Well this combination is phenomenal. I have not heard anything like it from any of the many preamps I ve had here. It is like the preamp is in complete control and this control is then empowering the amps to manage the speaker. Just top notch.
Low noise floor: its measurements are ok, not amazing, but again in my system this is the quietest I ve heard a component. It provides a very silent base from which music can emerge. Combined with the spectacular bass control, the music is based on a completely different low end information set which is very important in how we perceive the rest.
Imaging/depth: this is all great again but the thing that one notices as unique is that instruments and voices are delineated with a clarity that I have not heard before. It is not the holographic imaging Goldmunds often bring to the table. This is better because it is “softer” and more real sounding. The proper air and ambience is maintained but there is nothing else around the instruments. That allows them to be places accurately where the recording has them (irrespective of whether that method of recording engineering is true music or not) and the result is a truthfulness that I have not heard before.
No edge: I don’t know how to describe this. Vitus equipment has this characteristic in general but this Master version takes it to another level when combined with its spectacular resolution: any “edge” or harshness in recordings just goes away. I have only heard this from equipment that tends to reduce the information available. But here this is achieved paradoxically via great resolution. I do think this must be to some extent a sonic characteristic of the preamp but I can’t assert it is that because after a lot of listening I find the sound to be much more believable. If this was some coloration it would over time have become obvious.
I am not commenting on other things like resolution, dynamics etc. These are top notch as you should expect from this sort of crazy price and I have heard them also in other top end equipment.
So when you put it all together what do you get? I ll say this: I regularly have moments when, with my eyes closed, I feel that I am at the live venue. You would say that this is the case with a lot of equipment. But here is the difference: I feel that with large orchestra, opera and other very complex music which very very rarely can be recorded at that level. Here, I get this all the time, I feel like I am at the opera listening live. It is quite phenomenal after all these years of listening to have this impression heightened to this extent. And to add to this: I get all this also with plenty of CDs. I had almost given up on them, stopped listening to anything that was not high resolution or LP. But with this preamp I have gone back to 2000 CDs and I am listening to them for their music and performance. The recordings may not always be the best but via this preamp they become more than acceptable and the feeling of “being there” is achieved also under these recordings. That is spectacular and very important as it is opening up again the list of options in musical choices. (note all is played via hard disks-thunderbolt-amarra-macbook air set up)
A couple of things to note. First, all this is happening with the Gryphon Colosseum Solos as amps. Therefore the amps are capable of this resolution and performance when fed the right signal. My previous reference the Gryphon Mirage preamp is obviously not. It is a great preamp but it is not a Vitus Master. I have not yet combined w the wavac as I still get a lot of noise via the wavac connections (wall power, etc) and I don’t want to lose the very important low noise floor I get with this combination.
Yes the wavac preamp, when turned back on, can impress with the continuousness of the sound. When listening to a single instrument or a voice, the wavac can sound more impressive or should I say beautiful. But the sum total is in Vitus’ favor without much doubt. I would like to hear what the Ypsilon can do…
I am starting to be equally impressed with the phono but I am not there yet. I need to balance connections, play with loading etc before I can confirm it is as necessary as the preamp. I actually think one can probably use a cheaper phono, from Vitus or others, and run it via the Master preamp and get very close. I will report on that when I have a more clear view.
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یک نوشته خوب از رومی :
http://www.goodsoundclub.com/Forums/ShowPost.aspx?PageIndex=1&postID=19287#19287
There are many conversations out there about the fact that many music people do not “get” audio. In most cases this is correct. They are many conversations, we had some of them at this site and the reasons of the phenomena that were brought are all valid. I would like to bring another aspect to this subject that never was expressed.
We all know that music notation deals with moderation of pitch – the key signature – or raising or lowering a note by a half-tone. This is what musicians call sharp or flat and it there from beginning of times. There is more complexity in key signatures but the basics implies that if a musician plays “too sharp” then he or she hits a slightly elevated pitch of intended tone. There is nothing wrong with it, however in audio it is way more complicated.
We need to understand that a note A for instance is not 440Hz pitch but a complicated time/amplitude parabola with summit located at 440Hz. If the instrument is tuned to 440Hz, the musician take A and the summit of parabola is not at 440Hz then we say that the musician too sharp. This is how music people recognize as they operate in the world where the shape of the pitch-rolling parabola is fixed in most of the cases (some interments and human voices are able to modify it is a degree). In audio however, we have very little control over the pitch itself but we have practically unlimited control over the harmonics and therefore we can easy alter the profile of the parabola with which tone can roll to its pitch.
Music people mostly do not get it as this option is not available to them. The harmonic signature or the parabola’s profile for musicians is factored in the design of musical interments and into playing techniques. There are some techniques that allow musicians to a degree play with harmonics but no were nears as wide as we do in audio.
For musicians to have the options that we have in audio would be totally ridicules. You can see some kind of trumpeter is bringing his 3-4 versions of D trumpets to play some Baroque piece and he swears that each of them have own tonal infliction. Of cause his swears are right do, but the Trumpeter use one trumpet at time to play. Pretend the same musician is sitting in Mahler orchestra with his 6 C trumpets and blow each note on different trumpet because each of them deliver different type of brightness. Sound absurd? Well, this is what we have in audio.
In Audio playback moderates harmonics very aggressively and what the most annoying is that the rate of harmonics moderation fluctuates with the given playback setting, the dynamic range, with sound rate change and with zillion of other factors, some of them as ridicules as the state of the local power grid… As the result a playback not only can screw up the pitch (many of them do) but it will screw up harmonics in non-acoustical way and by doing that it will change the subjective perception of sharpness or flattens of the tone. I have see when a playback that playback that fasten the harmonics was perceived by music people as played too high. Interesting that music people do not feel it “too sharp” but they fell it “like too sharp”. The reason is that the pitch reference in their brains do suggests them that the pitch was accurate but they still feel that “something” is not right. The problem with them that this “something” doe not exists under normal circumstances in life sound, so they do not know how to react to expedited harmonics. How the expedited harmonics or prolong harmonics affects listening experience is another subject that I would like do not touch in here
I need to admit that there are ways for musicians to moderate harmonics event by paling the same interment. The string players could fake harmonics but those techniques are not used all time and more consider as delicacy sound effects. In audio we could easily implement a playback decision that would permanently make all music to be played in perceived “sharp” mode or to make music to be perceived “sharp” in specific dynamic range, or to go sharp in specific octave…
Rgs, Romy the Cat
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Well, to make audio elements to be adaptable is very complex but possible. The beigest problem in this is not the technical disability of audio to be adaptable, or to demonstrate deferent behavior under different let say dynamic of frequency conditions.
The beigest problem is that audio hoodlums in their unfortunate majority do not recognize it as an issue.
Even to acknowledge that audio do not handle specific type of music signals appropriately do require quote high level of listening intelligence. When I mean “to acknowledge” I do not means to say that it does not sound good but to identify what specifically is not right. The 99.9% of audio people not only enable to do it but they also consider that it (believe or not) politically incorrect to think about sound in term of dissatisfaction.
For those few who do acknowledge that something is specifically wrong it is very hard to figure out why it is so. The reality is that in most of cased there is no answer “why”. The answer “why” exists only in functional systems that do something correct and therefore there is an answer “why” they do something wrong. Audio by nature is incorrect functional system by nature and therefore there is no definitive answer “why”. You can give very precise answer why some voltage is not there, or some pressure is not there or some any another measurable parameter is not there but you not necessary will be able to give an answer why some tube, soldering point, cable direction or cartridge VTA change the subconscious emotional or esthetical feedback a listener get from listening.
I gave a very simple example as we are not taking about the full emotional feedback as the Morons love to whore about in audio reviews. I am talking about very definitive and very minute fragments of sound retroaction what a specific micro-sensation, under a very specific narrow playback operation condition do not make to the listener. Pretend that you have a very specific reaction of let say “punished sentimental kindness” to a very specific musical fragment. Let say it to be the clarinet and viola duet in the second movement of Penderecki’s Clarinet Quartet. You get a recording and your playback delivers the “similar” feeling at 90dB but does nothing to you if you play it softer. Where will you start? Most of audio people do not even acknowledge the problem but if you do they what would be the audio action you can make to address the problem? The most complex would be how to fix that “punished sentimental kindness” at soft volume but do not hurt anything other characteristic behavior in the same dynamic and the same frequency range. It is very complex and there is no definite answer in this or even developed knowledge in this. To make the playback to react dynamically and to adopt own operational paradigms in respect to incoming music is truly very complicated and very few in audio are able to operate at this level, not only the level of accomplishments but the level of demands.
I would say that nobody ever in audio was able to operate at the described level of accomplishments and I am quite confident that I know about all more or less serious audio movements even made public. As in physics the Unified Field Theory formed by Einstein does not have an accepted agreeable conclusion in audio there is no unified audio design ideology. It is not only no audio design ideology but there is no unified audio assessment principles and many other basic postulates with wish any sensible discipline could not exists. Sometime in past I had a conversion with a guy who involved somehow in music and did composing, playing, conducting. I explained to him that his music field from some perspective is much less complicated then audio field. It might sound ridicules for some uninformed people but in reality it is exactly what it is. In music there are definitive pre-existing answers and definitive way to reach the answers. You go study music, perhaps do it for years and years and if you are a talented person and work hard then you become a good instrumentalist. If you in addition to it is an intelligent and sensitive person you will become in addition a good musician. If you an artistic person then you might become a few chose from your musical feels who push the field forward from one or another perspectives. In all of that there are well established and universally recognized aspects of what you do and what consequences of your actions are. It does not happen in audio. There is no structure learning, training, educating or evolving or reference point in audio. There is no even methodology available of any kind, so to immensely complex field with zillions of unknown and with no unified way to deal with even know and with no even accepted language to take about ether known and unknown….
The Cat
Read Moreیک ترایود خوب از برند Lamm :
وحشتناکه اگه پاسخ میژرمنت این آمپ رو تو استریو فایل ببینید:
http://www.stereophile.com/content/lamm-ml22-monoblock-power-amplifier-measurements
من مقاله ای از طراح lamm میخوندم که جالب بود دید این آدم تا حد زیادی به همون مفهوم خطی بودن در میکرو نزدیک بود. دقیقا صدای این آمپ نقطه مقابل آمپلی فایر هایی مثل Boulder و Soulution هست که تو میژرمنت اونها با افزایش توان دیستورشن کم میشه و در Lamm به عکس کاملا خطی زیاد میشه.
پاسخ Lamm :
پاسخ Soulution :
من تا این لحظه میژرمنتی تا این حد خوب در میکرو از یک آمپلی فایر ندیدم و فکر میکنم اگر تو ایران بلندگوی بالای 97 دی بی خوب بود خودم این Lamm 2.2 رو می اوردم ایران.
تحلیل ها اینجاست :
http://www.theabsolutesound.com/articles/lamm-ml22-single-ended-triode-amplifier/
http://www.stereophile.com/content/lamm-ml22-monoblock-power-amplifier
http://www.theaudiobeat.com/equipment/lamm_ml22.htm
http://www.goodsoundclub.com/Forums/ShowPost.aspx?PageIndex=1&postID=17769#17769
تنها و تنها راه رستگاری در های فای اول آکوستیک خوب و بعدش بلندگوی خوب با حساسیت بالای 97 هست و امپدانس خطی بالای 6 اهم.
جنبش ترایود میگه :
انا للامپ و انا الیه راجعون
Read Moreهری پرسون ادیتور و بنیان گذار مجله The Absolute sound از این مجله رفت به دلایلی که اینجا میگه :
http://www.hpsoundings.com/2013/04/why-i-quit-the-absolute-sound/
بنظر من چیزی که هری ادعا میکنه و میگه دوست داشته آئودیو مسیری برای رفتن به سمت موسیقی باشه چیز کاملا درستی نیست و تا حدی بی معنیه. این همه سال که من به های فای علاقه داشتم واقعا اینو حس نکردم که آئودیو میتونه موسیقی شنیدن رو بیشتر کنه.
بنظر من آئودیو خیلی زود تبدیل میشه به یک سرگرمی ذهنی که بیشتر ما رو از موسیقی دور میکنه.
این خبر رو من تازه تو سایت رومی دیدم اما تاریخش به سال 2012 بر میگرده.
رومی نوشته :
Harry Pearson started a few months back his own site and posted a few days back a curios post:
http://www.hpsoundings.com/2013/04/why-i-quit-the-absolute-sound/
With all universal appreciation and understanding the health situation we was involved and respecting his perspective about audio after the events, I have to admit that the position he is taken is very mach what he has been doing for last 20 years – to pimp audio industry for new “equipment”. Harry Pearson drummed up many companies and many products, it was done “professionally” with necessary graze of showy “spirituality” and reasoning but under the bottom of any Mr. Pearson thinking always was how to make new equipment more sealable. So, all his today complain about TAS and what is has become is just a very logical outcome of what Harry Pearson has been doing for years. I do not know what TAS has become – I do not read audio periodics for 6 years but I very much can predict what agenda they have and what the new Pearsons are doodling in there.
Harry Pearson with his “new” site and his “new” objective is not really anything new. It is just an old guy who was fucking up the industry for year and run it to the ground and now is bitching about the sad state of the industry and looking for a fake cathartic perspective. Sorry, I have no sympathy, besides the sympathy on human level. New generation of audio maker is growing up, new dozens of people soldering their audio for sale in basements need somebody to tell to their perspective customers that they exist. Harry Pearson is still available and this was exactly what his was doing all his life – creating a fake customers frustrations around the futures that new audio products were offering. I do feel that at the very beginning of his public audio career Mr. Pearson did express curiosity to audio subject as he turn full time “professional” his audio thinking become worthless and he turn himself into audio data provider.
Rgs,
Romy the Cat
این آمپلی فایر تحلیلی داره در این سایت که جالبه :
http://www.positive-feedback.com/Issue66/asr_emitter.htm
اولا این مجله بنظرم فضای نسبتا بهتری در مقایسه با مجلات دیگه داره البته به شکل نسبی ثانیا در مورد ASR به نکته جالبی اشاره داره بخونید :
In writing about audio electronics over the years I have observed that there is a fairly large group of audio components that perform well on the reproduction of non-musical sonic attributes of recordings (imaging, soundstage, resolution, transparency, soundspace, etc.). Of that large group there is a smaller subset of audio components that also performs with high fidelity on the reproduction of the musical attributes in recordings (timbre, melody, rhythm, harmony, dynamics, beat, etc.). Of that smaller subset that perform well on both sonic & musical attributes of recordings there is an even smaller subset of audio electronics that transcend those attributes in the sense of making recorded music come alive to become very involving in the way a live musical experience is involving, strongly engaging listeners’ emotions while drawing the listener into the artistic experience of the music, rather than just presenting ‘sound’ for the listener to listen to, as the vast majority of audio components do.
The ASR Emitter II Exclusive Version Blue is one of those very rare audio components that sounds superb in reproducing the sonic aspects of recordings as well as musical content of recordings, but also transcends both of those categories of attributes to make the recorded music listening experience come alive and be involving in the way a live musical experience is, engaging my emotions and immersing me into the artistic experience of the music.
این موضوع رو من قبلا به شکل دیگری گفتم و نوشتم ASR تو میکرو که بحث حسی ارتباط هست جلو میاد البته نه به اندازه Audio Note اما ASR و Vitus تنها ترانزیستوری های داخل ایران هستند که در میکرو حرفی برای گفتن دارند.
با دوستی که صحبت میکردم اعتقاد داشتند کمی صدای ASR تاریک هست، من فکر میکنم بحث تاریکی صدای ASR برخلاف نگاه ادیتور مجله ابسولوت ساند بیشتر به باتری برمیگرده تا مساله فیدبک و بدلیل سکوت زیاد پس زمینه شما انگار صدا رو با پس زمینه سیاه میشنوید . این سکوت رو وقتی یک AC Regenerator یا یک فیلتر برق قوی به مسیر برق اضافه میکنید هم تا حدی تداعی میکنه و چیز بدی نیست ، ایراد این فیلتر ها اینه به ازای این سکوت میکرو داینامیک رو از بین میبرند که ASR نمیاد میکرو داینامیک رو حذف کنه و بنظر من این سکوت ایرادی به حساب نمیاد.
من همیشه گفتم صدا باید در شرایط مناسب دمو بشه و نظر شنونده باید بعد از مدت بیشتری از شنیدن پرسیده بشه ، چیزی که ما رو ممکنه از حقیقت دور کنه دمو با شرایط نامناسب و نتیجه گیری زود هست .
بنظر من بلندگوهای بزرگی که تو ایران هست بیشترشون حساسیت زیر 95 دارند و ASR گزینه بسیار مناسبی برای اونها هست و این آمپ حتی با بلندگوهایی که صدای آنالیتیکال تری دارند هم خوب جمع میشه.
فراموش نشه من هیچوقت فونو استیج ASR رو به کسی پیشنهاد نکردم همونجوری که سی دی پلیر ویتوس رو به کسی پیشنهاد نکردم.
چند روز پیش صدای ویتوس رو شنیدم با خارما ، بنظرم اومد خارما تو فاصله نزدیک تر صداش جمع میشه و نمیدونم تغییر شرایط آکوستیکی و مکان بلندگو صدا رو نرم تر کرده بود یا چیز دیگری دخیل بود.
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خبر اینکه یکشنبه صبح توچال هوا خیلی دو نفره بود اما ما برای کاهش وزن یک نفره رفتیم تا ایستگاه 2 و برگشتیم. هوا آخر هوا بود شب قبلش بارون حسابی به زمین و گل و گیاه حال داده بود ، با تنفس این هوا یاد سوره الرحمن می افتم که میگه:
فبای الا ربکما تکذبان
خبر اینکه های اند مادرش مرد و تا یک سال دیگه عزاداره و بعیده کامپوننتی بیاد ایران اما خبر ها حاکی از اینه که نمایندگی ب ام و چند تا 760 دوازده سیلندر آورده که 1200 قیمت گذاشته و بعد از 9 سال S500 شکل بدنه اش تغییر کرد با امکاناتی جدیدی که جالبه.
با درامد من میشه 200 سال دیگه یه 760 خرید البته اگر دولت جدید و دولتهای بعدی بتونند طی 200 سال تورم رو کنترل کنند.
Read Moreکم کم عید نزدیک میشه ، دیروز هوا خیلی باحال بود. کاملا حس میکنی زمین داره نفس میکشه و زندگی از نو شروع میشه. خوش به حال طبیعت که تغییر و تحولش وابسته به قیمت دلار نیست.
خدا رو شکر میکنم که به عده معدودی از جمله من عقل و شعور درستی نداد و این خلاصی عقلی باعث میشه حتی با وجود این همه مشکل تو زندگی شاد و خوشحال باشم.
خدا رو شکر که به ما سلامتی داد و همین نعمت کافیه که همیشه شکرگزارش باشیم ، امیدوارم سال جدید هم برای همه دوستان با شادی و سلامتی توام باشه.
عید پیشاپیش مبارک
شنگول باشید
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