Wharfedale Evo 4.4 review – WhatHiFi?

Think of Wharfedale and we can pretty much guarantee the next word to enter your mind is Diamond. So successful have the various budget Diamond ranges been over the decades that it’s easy to forget that the company also makes premium products, such as the new Evo 4.4 floorstanders on test here.

These are the biggest and priciest offerings in the company’s new Evo range and are packed full of so much technology that we had to double-check the speaker’s price tag to make sure it was for a pair of speakers, rather than just one.


What kind of technology? Well, there’s the Air Motion Transformer tweeter for starters. While there are a few similarly priced speakers that use such a unit, it’s a type of design more usually seen at far higher prices.

An AMT works by having a light, pleated diaphragm driven across its surface by a row of carefully placed magnets. The pleats contract or expand according to the music signal, squeezing the air between them in the process to create the sound wave. The sound from this kind of unit is claimed to be fast because of the light diaphragm, and accurate due to the complete surface area being driven.

The 55 x 80 mm AMT hands over to another unusual drive unit, a dome midrange, at a relatively high 4.7kHz. Few speakers use a dome midrange because of the cost and difficulty of development, but the one used in the 4.4 has a 50mm soft dome coated with a damping compound to control resonances. There’s also a specially shaped chamber behind the dome that scatters and absorbs the diaphragm’s rearward sound, so reducing distortion and improving detail.

This dome midrange unit has a wide frequency response ranging from 800Hz to 5kHz. This response along with the powerful motor system helps it integrate with the AMT tweeter as well as the twin woven Kevlar bass drivers that sit below it on the front panel. The crossover point between the midrange and bass drivers is 1.2 kHz.

If you’re thinking that any speaker that stands 106cm tall and has twin 15cm bass drivers should deliver plenty in the way of bass, you’d be right.

The output of those two bass drivers is helped by a downward-facing port arrangement where the low frequency sound fires out through a gap between the base of the speaker cabinet and the floor plinth. This is a technique that Wharfedale has refined in recent years and is claimed to better match the acoustic output of the port to the room.

The Evo 4.4’s build quality is good for the price. We like the way the elegantly curved cabinet is put together. It’s strategically braced and damped to provide a solid, low resonance platform for the drive units to work from. There are three finish options – black, white and walnut. The standard of fit and finish on our review samples is good.


These are pretty big speakers, and sound best well away from the rear and side walls in our medium-sized test room. Place the speakers too close to either room boundary and that powerful low end starts to dominate.

Get it right though, and add suitably talented electronics into equation, and you’ll find the Evo 4.4s to be superb speakers for the money. We think something like a Cyrus CDi CD player coupled with Rega’s Elex-R would be a good starting point for a system.

The Evo 4.4 has a nominal impedance of 4 ohms, but it barely dips below that point at its minimum, so shouldn’t be a particularly hard speaker for an amplifier to drive. That means the absolute quality of the amplifier is going to be the decider rather than its outright grunt.


It won’t come as a surprise that relatively big speakers produce a large-scale sound with plenty of authority. We listen to Dvorak’s New World Symphony and are impressed by the Wharfedale’s dynamic reach and ability to cope with a mass of instrumentation with composure. They go loud with an ease that suggests plenty of headroom and remain organised when the recording gets demanding.

The transparency and subtlety these Wharfedales display is far less expected. There’s a real feeling that these speakers are digging deep into the recording and presenting that information in an honest way. They track the complete envelope of a note well, clearly defining leading and trailing edges without sounding overly etched.

Rivals such as the excellent Fyne Audio F501s sound more forward, and perhaps more exciting because of that, but over a longer listen the Evo 4.4’s easier-going presentation is more natural and convincing. It’s the kind of sound that appeals over the long term rather than during a short audition at a dealer.

The combination of the AMT tweeter and dome midrange delivers much in the way of resolution and transparency. These speakers sound impressively articulate through these frequencies and deliver vocal-led music such as Mount The Air from The Unthanks brilliantly. There’s nuance and texture in voices that helps to communicate emotions really well.

Tying everything together is a fine sense of timing that results in surefooted rhythms and the ability to present a mass of instrumentation as a cohesive and musical whole. The longer we listen, the less we find ourselves analysing the sound, and the more we simply enjoy the results.

The Wharfedale’s refined tonal presentation is nicely judged, treading that fine line between attack and smoothness well. Over our review sessions we listen to everything from Bob Marley and Bruce Springsteen right the way through to Orff’s Carmina Burana and never feel that these Evos are dictating our choice.


These floorstanders prove that Wharfedale has the ability to mix it with the very best at more premium prices. The Evo 4.4s are entertaining and detailed with enough in the way of refinement to make them an excellent long-term choice. If you’re looking for floorstanders at this level, put these towers high on your shortlist. You won’t regret it.


  • Sound 5
  • Compatibility 4
  • Build 5
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Wharfedale | EVO4 詮釋高保真新標准!


全新一代的 EVO4 以性能表現為設計目標:一切從基礎材料選擇開始,傳承經典三明治弧形結構工藝、採用 AMT 寬頻氣動式帶式高音、精選“球頂中音、高硬度合成盆架等眾多材料改進措施;採用創新磁通控制技術、中音獨立密閉后腔室專利聲學設計、精密計算角度弧形箱體設計、底部導向技術等眾多特殊的聲學處理措施。


EVO4 不僅僅是一個新版本,還融合了 EVO 概念與新旗艦  Wharfedale Elysian 系列的技術 ,EVO4 在這個同價位產品中突破了揚聲器技術和性能的界限。從獨特的箱體設計到其設計所採用的材料,EVO4 將會是同價位中一款獨霸市場的產品。


EVO4 系列採用了獨家研發的 AMT(海爾氣動式)高音專利技術,聲音柔順,高頻再現,除了瞬態、解析力這些優勢外,最突出的特點是聲壓大,在它有效工作范圍內幾乎無壓縮,可以做到基本同中音聲壓等比例增大,這是球頂高音絕對沒有辦法做到的。海爾揚聲器具有細致,堅實,爽朗,清澈,甜美又不失細節,解析力極高,精准,動態大,瞬性好的上好表現,為公認的高音揚聲器頂級單元之一。


EVO4 系列針對音樂發燒友和家庭影院愛好者而設計; 可以滿足不同的視聽需求,從具延伸度、沖擊力的 EVO4.2 三音路書架箱和 EVO4.4 落地箱都可供玩家選擇。在家庭影院的應用上,用戶可選擇搭配 EVO4.C 中置音箱,增添更佳的人聲清晰度,亦或是選配 EVO4.S 環繞音箱,讓整體觀影感更讓人沉浸。




型式:3音路書架箱 箱體類型:低音反射 分頻網絡類型:3音路 低音單元:6.5″(150mm)黑色編織凱夫拉爾錐盆 中音單元:2″(50mm) 軟球頂中音 高音單元:30*60mm 海爾帶式高音 靈敏度 (2.0V @ 1m):88dB 建議放大器功率:25-120W 峰值聲壓:95dB 標稱阻抗:4Ω (兼容 8Ω ) 最小阻抗:3.4Ω 頻響范圍(+/-3dB):50Hz ~ 22kHz 低頻延伸(-6dB):45Hz 分頻點:650Hz,3.2kHz 箱體容積(升):21.6L 尺寸(高*深*寬)mm:455*(340+10)*250 淨重:13.4kg/隻 標准配件:橡膠腳墊 顏色:胡桃木
型式:3音路落地箱 箱體類型:低音反射 分頻網絡類型:3音路 低音單元:6.5″(150mm)黑色編織凱夫拉爾錐盆X2 中音單元:2″(50mm) 軟球頂中音 高音單元:30*60mm 海爾帶式高音 靈敏度 (2.0V @ 1m):90dB 建議放大器功率:30-200W 峰值聲壓:102dB 標稱阻抗:4Ω (兼容 8Ω ) 最小阻抗:3.1Ω 頻響范圍(+/-3dB):40Hz ~ 22kHz 低頻延伸(-6dB):35Hz 分頻點:640Hz,3.2kHz 箱體容積(升):52.6L 尺寸(高*深*寬)mm:1060*(340+10)250 淨重:25.6kg/隻 標准配件:橡膠腳墊 顏色:胡桃木


型式:3音路中置音箱 箱體類型:低音反射 分頻網絡類型:3音路 低音單元:6.5″(150mm)黑色編織凱夫拉爾錐盆X2 中音單元:2″(50mm) 軟球頂中音 高音單元:30*60mm 海爾帶式高音 靈敏度 (2.0V @ 1m):88dB 建議放大器功率:25-120W 峰值聲壓:96dB 標稱阻抗:4Ω (兼容 8Ω ) 最小阻抗:3.7Ω 頻響范圍(+/-3dB):65Hz ~ 22kHz 低頻延伸(-6dB):60Hz 分頻點:600Hz,3.2kHz 箱體容積(升):42.4L 尺寸(高*深*寬)mm:245*(340+10)*750 淨重:15.8kg/隻 標准配件:橡膠腳墊 顏色:胡桃木
中音單元:2″(50mm) 軟球頂中音X2
高音單元:30*60mm 海爾帶式高音X2
靈敏度 (2.0V @ 1m):88dB
標稱阻抗:4Ω (兼容 8Ω )
頻響范圍(+/-3dB):70Hz ~ 22kHz
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Wharfedale 設計師團隊大起底

Wharfedale 設計團隊

介紹設計師團隊前還是再和大家一起溫故一下 Wharfedale 品牌發展簡史。

1932年 Wharfedale 品牌創立

1933 年 Gilbert 帶著首個商業設計的揚聲器參加了 “Bradford Radio ” 這個全球第一次的英國電聲學揚聲器大賽,成功地獲取了第一名和第二名兩項大獎,同時還獲得wharfedale公司開業以來第一張最大定單,至此 Wharfedale Wireless Works 公司就順利進入了引領英國音響產業的第一企業,到第二次世界大戰之前,樂富豪公司揚聲器單元已達到了年產量 9000個 以上,Gilbert 和公司名聲享譽國際與日俱增。

1948年的時候 Gilbert-Briggs 開始著書出版,當時他的經典著作 LOUDSPEAKERS 是世界上第一本講解揚聲器的設計和制作的業界天書。並同期開始在全球廣泛去推動技術理念和演講及交流傳授電聲及揚聲器制作技術

直至1997年IAG全資收購 Wharfedale 品牌…….

Steve Hewlett,Gilbert Briggs得意弟子,全球頂尖音響設計師

IAG 全資收購 Wharfedale 品牌后依然保留了在英國亨廷頓的總部。原有生產線,技術人員以及研發等重要人員也一並加入了 IAG,其中就包括國際知名 HIFI 設計師 Steve Hewlett(史提夫·休利特)。

1949年6月出生的 Steve Hewlett 正是 Wharfedale 的創始人 Gilbert Briggs(吉爾伯特·布裡格斯)的得意弟子。

Hewlett 先生的職業生涯從 Rola Celestion 擔任開發工程師開始,后來擔任 Fane Acoustics 的技術總監一職,該公司隸屬 Audio Fidelity Group,輾轉來到 Sanecore 集團的創始英國公司 SG Acoustics 擔任技術經理。

1997年開始IAG陸續收購了 Quad,Mission 和 Castle 等各種品牌,以及 Steve Hewlett 的第一任雇主 Wharfedale。

Steve Hewlett 受邀后毅然加入 IAG,Wharfedale 在他的帶領下走向了另一個新高潮。2002年 EVO 第一代出現,2003年 Diamond 7 傳承經典,2004年 Diamond 8 系列大獲成功,一直有媒體用 “鑽石恆久遠,音箱永流傳” 來抒寫 Diamond 8 在 HiFi 歷史中的重要地位,同年 Diamond 8 榮獲 What Hi-Fi 五星大獎

2005年 Airedale Heritage 和 Airedale Neo 大舉成功,音頻界用 “Created a masterpiece” (創造了杰作的)評價 Steve Hewlett

2006年 EVO 升級 2代同樣大受歡迎,2008年 EVO 簽名版收藏家系列名揚四海。遺憾的是,1949年6月出生的 Steve Hewlett,這位多學科和音頻再現專家,特別是在揚聲器領域及其持續發展方面的專家。已於2018年6月17日,在69歲時與癌症抗爭10年后去世。天堂自此多了一位終於 HiFi,熱愛旅游的靈魂。

Peter Comeau,世界知名音箱設計師,擁有四十多年設計制造經驗

早年間專注研究各個經典音響品牌的特點,尤其對英國 PROAC 、Wharfedale、和 Wilson Audio 這幾家公司的設計技術情有獨鐘,並糅合自己的見解形成獨特的風格自創了 Heybrook 品牌,而首個代表作 Heybrook 的型號 HB1 於1983、1984和1985連續三年獲英國《What Hi-Fi》權威大獎。

1972年畢業與英國普利茅斯大學電子專業,1978年-1992年開創 heybrook 品牌,1999年,Peter 來到美聲(Mission)。在 Peter 任職期間,他所設計的多個產品均獲得知名獎項——780 在2000年、2001年連續兩年獲得《What HI-FI》最佳音箱獎;782 在 2001年更是在眾人企盼中獲得歐洲音箱 EISA 獎;

Volare V63 在 2003年獲得歐洲音箱EISA獎。

MX-1《What Hi-fi》評為年度五星大獎產品。


2000年受邀加入IAG,成為 Wharfedale主設計師成員,同時也是 MISSION 品牌首席設計師,全年大部門時間在IAG UK分公司英國亨廷頓處辦公。

Ali,前 TAG McLaren 音響工程設計師,現任 IAG Wharfedale 品牌主設計師成員

1950年出生的 Ali 也是一名 HiFi 愛好者,年輕時狂浪不羈的他喜歡挑戰,喜歡速度,充滿激情,1993年機緣巧合下他加入了一個有著速度與激情又有著HiFi浪漫情調的公司,TAG Mclaren (audiolab 被 F1 Mclaren 收購后更名為 TAG Mclaren),在這裡 Ali 的工作就是為車手們定制專屬車載 HiFi 揚聲器,同時打造一款有著 F1 元素的高端 HiFi 揚聲器,也就是我們現在看到的 Audiolab F1 賽車揚聲器。在 TAG Mclaren Ali 工作了11年,直到 2004年 IAG 全資收購 Audiolab 后 Ali 受邀加入 IAG,擔任 Wharfedale 主設計師團隊成員,同時亦負責 Audiolab 新 F1 賽車揚聲器的工作。


Wharfedale 團隊的每一位設計師都有超過 40年+ 的 HiFi 設計經驗,他們在傳承英國聲的同時也在不斷的創新,在傳承 Wharfedale 不妥協不將就的精神的同時,也在秉承 “讓每一個 HiFi 愛好者,每一個家庭都能聽得到真正的 HiFi”,我們一直秉承”有家就有樂富豪” 的經營理念致力為每個家庭帶去他們能消費得起的 HiFi 產品,從客廳 HiFi,客廳影院,以及定制影院,Wharfedale 從未停止創新的步伐,同時我們也在保留著 Wharfedale 傳統 “三明治” 箱體,“饅頭中音”,“獨有導相孔”設計,我們相信傳統的就是經典的,不忘初心,方得始終。

最 后 最 后

我們今天扒拉的隻是主要設計師成員,當然還有 hin 多 hin 多我們的年輕的設計師們在成長中,我們相信未來 Wharfedale 的設計師們都會用專業,匠心,極致的態度來設計我們的每一款產品,Wharfedale 正走在新世紀中,今天已有著87年的藝術沉澱和品牌文化;我們期待 Wharfedale 90歲,100歲生日,我們有理由相信 Wharfedale 將會成為HiFi界的百年老品牌。

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1、由於聆聽高度、箱體容積、揚聲器等效容積、頻響曲線和量感、聲音密度等等各方面的原因,落地 HIFI 音箱在設計上的難度和成本遠遠大於書架箱。所以在發燒入門級的產品中,書架箱無疑更佔優勢。








而我個人也比較偏好大書架音箱。近期也關注到一個英國品牌新出的一款大書架音箱 Wharfedale 的 Linton。Wharfedale 英國樂富豪品牌是老派英國聲的代表之一,是以研發揚聲器起家的音響品牌。至今已有87年歷史。

創始人 Gilbert Briggs(吉爾伯特·布裡格斯)研發了世界上第一支電磁動圈揚聲器,並在余生之中編撰了以《 Loudspeakers – The Why & How of Good Reproduction 》為代表的多部音響設計專著,影響了整整幾代音響設計師。是英國音響文化的重要奠基人之一。這個人是一個需要我們真心尊重的發燒前輩。

最新一代 Linton 發燒級 HIFI 大書架音箱,是由國際著名 HIFI 音響設計師 Peter Comeau 所主持設計的,是在致敬 Wharfedale 英國樂富豪傳奇經典產品型號Linton XP3 的基礎上,運用先進的材料工程學和現代發燒設計理念所研發設計的最新一代作為塑造新一代經典的重磅產品。同時骨子裡骨子裡依舊傳承的是老派英國聲的音響文化。

Linton 上市以來收獲了多家估計專業HIFI評鑒機構的推寵,而我個人也相對比較喜歡,大家可以著重關注一下!

原創: bobohifi HIFI無極限 

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Wharfedale Diamond D300 環繞聲系統 – 平衡了看電影與聽音樂的樂趣

1932 年成立的 Wharfedale 經歷過多番變遷,而 Diamond 系列的全盛期,在上世紀 80年代。可惜,我最初接觸到的 Wharfedale Diamond,已是十年前的 IAG 年代。十年人事幾番新,Diamond 的真正精彩,是 IAG 聘請了 Peter Comeau 為揚聲器研發總監之後的事。

當然,Peter Comeau 也沒有可能單人匹馬負責所有品牌的揚聲器設計,他主理的是品牌各系列的聲學設計,至於造型設計,則交由據悉曾多次獲取工業設計獎項的 Kieran Dunk 負責,對比起我十年前接觸過定位有點模糊的 Diamond,D300 系列是一套 They can do a good job 的系統!

Budget Speakers,設計睇餸食飯,售價為設計定調,不容易,限米煮限飯還要好味,更加不容易, 黃蓉在荒山野嶺也煮得一手好餸因為是小說情節,現實是要 Gordon Ramsay 即席煮好一頓茶記美食,也不是一時三刻的事。對於 Peter Comeau 在設計不同揚聲器所累積的經驗,越見火喉,Mission ZX 是更適合聽音樂為主的兩聲道或多聲道用家,至於 Wharfedale,重播電影與音樂的平衡度其實更高,D300 系列定位是 Diamond 11 系列對下,我不敢肯定 D300 同級表現一定沒有對手,但我本身多聽入門產品,暫時 D300 系列確實有其過人魅力,也肯定它們不是收費貴一截、水準低一截的搶錢選擇,一套五聲道 (一共 五隻喇叭) 才索價約萬二港元,十年前同價位下根本找不到同類產品而表現出同等質素的聲音,要找到 音質與 D300 同級的,最少多付兩至三倍價錢。當然,理想音質而相宜的售價,設計多少受惠於今天更成熟的電腦韌體,再加上設計師的經驗,水準確實越來越有驚喜!

D300 系列的外形設計簡潔分明,圓角流線形設計,雖然未見突出,順眼已經非常足夠。D300 系列的前障板厚 28mm,選用 1吋口徑絲膜高音單元,這款專利高音名為 WFR (Wide Frequency Response),是開發自更高級的 Diamond 11,它除了擁有獨立箱室,箱室內亦佈置了吸音物料吸收單元背波能量外,還配備了大型陶磁及以雙音圈結構。

低音單元選用 Kevlar 防彈專利物料,此物料曾被B&W選用了幾十年,而 Wharfedale 選用 Kevlar 的歷史也不淺,寬闊的懸邊物料竟然改用海綿,當然不是清潔用那款,學名稱為聚醚,觸感柔軟舒服。音盆後採用了大型陶磁 (陶瓷磁鐵/鐵氧磁),原來 Wharfedale 早於 1960 年代已率先使用陶磁製作單元。低頻反射管道佈置於箱底,名為 P-EQ (Pressure Equalisation) port,驟眼看一如傳統,一支圓形大口徑管道,再往內看, 就在管道最深處佈置了一個網狀金屬片,低頻經過疏導後作全方位擴散。

少不得改善分音器這一環,廠方建立了Advanced Software and Listening Iteration 系統,分音器除了選用對電流低耗損的聚丙烯電容和薄膜電感,再透過多種類型的音樂進行測試及修正。

資料歸資料,聆聽又是另一回事,對於 Wharfedale 在重播上實牙實齒的改進、對於其聲音遊走於富分析力與傳統聲音魅力、對於其售價與實力令我驚喜!


不諱言,D300 是取代 D200 的新系列,而 D300 系列只有三款產品,一款座地揚聲器 D330、兩款書架揚聲器 D320 與 D310,還有中置揚聲器 D300C。今次測試的組合是 D330 與 D300C 負責前、中置聲道,一對 D310 toe-in 擺位作環繞聲道。超低音喇叭,我選擇長駐本社的 Procella Audio P12。


說明書強調一對前置揚聲器與皇帝位必須最少距離 200cm,toe-in 角度由15  – 40 ,但針對多聲道時,其實一對左右聲道平放也不失禮 (若然家人較多),原因是D300 的可聽角度比我想像的還要闊,當然用 CD 中的人聲結像校聲會更好。Tilt-up 好 D300C 後,它的人聲擴散不算完全凝聚於幕低,配合兩聲道,人聲位置其實可以比較貼幕。《2018 Dolby Atmos試碟》,D300 的音場立體感鮮明,人聲可以深後與升高,即使我沒有佈置 Dolby Atmos 聲道,屬於前方較高處的聲音,一樣輕鬆升起。飛鳥拍翼 360 度圍著皇帝位 飛行,雖然只作窄角度放置於後方書架,包圍感已經見水準,若然再多加一對玩 7.1 聲道,或可以把一對 D310 再分開 一點 toe-in 作兩聲道佈置,這個 360 度更加接近圓滿完整!


相比我聆聽過的 Wharfedale Diamond 系列,D300 由多年前的少少矇到今天的清爽敏捷,與低音流暢銜接的效果相比,已有士別三日之喜。不錯,絲膜高音不是新物料, Wharfedale 卻專注於改善傳統物料的能力,人聲咬字清楚從不含糊,不只是聽《犬之島》BD的錄音室製作點滴清晰,還有《毒裁者2》BD、《職業特工隊:叛逆之謎》(第 6集) 4K UHD、日版《花樣年華》BD,人聲咬字的分明 仔細,未見半點含糊。更吸引的是人聲質地又厚又爽,有 濃度、有份量、輕甜,既有傳統追求濃厚甜聲音味道的優點,與此同時,聲音不黏糯甩尾,沒有慢條斯理,分析力具備今天的要求,人聲味道則有豐富的情懷。 不要小覷 D300 讓子彈飛的動感實力,速度高、撞擊力 鏗鏘猛烈,子彈穿梭橫飛的效果不留力。由於 D330 的體積 較小,我將前、中置聲道的分頻點全定於 80Hz,爆破工作 主要交給超低音喇叭。


聽音樂,它重播《Legends of Jazz》Marcus Miller 一手活潑生猛彈力十足的電bass 躍動起來,萬餘元的系統, 樂手勾撥點打粗鋼弦的聲音不聞明顯失真,描繪能力、舞台深度、空氣感表現是超值中的超值! “They Can’t Take That Away From Me”,不只女聲輕甜厚潤變調爽敏全無累贅感,男聲也同樣爽敏溫厚甜美,還有今天一味追求高速瞬變的揚聲器所沒有的韌力,人聲調子並無荒腔走板或不穩定。

《A Music Tribute To Carol King》一曲”Beautiful”,眾歌手樂手的演出位置立體,前後左右,距離遠近的描繪定位精準。暫且不論其兩聲道表現,即使更高級數針對家庭 影院的環繞聲系統,也較少能呈現如此 3D 的舞台立體感!

文:丑奴兒。全文輯錄自香港「Hi Fi音響」 218 Hi Fi Review • 2019年3月

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What Hi-Fi? Awards 2018 winner – Wharfedale DX-2 5.1

Build and compatibility

How petite are the Wharfedale DX-2 speakers? Standing just 19cm tall – they’re roughly the same dimensions as the Sonos One – the four satellite speakers are small enough to fit almost anywhere.

While we’d recommend placing them on dedicated supports where possible, the compact speakers are designed to feel at home on top of shelves, on bookcases, on the TV rack – anywhere you can find a spare spot in your room, really.

Don’t have the space or budget for stands? You can wall-mount them instead, thanks to the brackets at the back of each speaker.

The entire package has been redesigned. The glossy front remains, but the cabinets now have curved edges and the smooth leather-like finish wrapped around the speakers removes the need for spikes or rubber feet – so you can place them directly on surfaces without fear of scratches.

It’s a sleeker, smarter and more luxurious look.

Further cosmetic flourishes, such as the chrome rings surrounding the fixed speaker grilles for each driver – a neat design that protects the drivers without completely covering up the front – and lack of any grille holes make the whole package look even tidier. The DX-2 comes in two colours: the black of our review sample or a white finish.

Build quality is good for the money, although we do have trouble getting our reference cables (with standard 4mm banana plugs) to fit into the speaker terminals. It’s too tight a fit, with the terminals feeling a tad undersized.

Just like its previous iterations, each satellite has a 19mm silk dome tweeter and a 7.5cm mid/bass driver, with the centre channel using two of the mid/bass drivers to flank the same tweeter.

The satellites are all closed-box designs – there’s no port – making it easier to place them closer to walls without affecting sound quality.

The centre channel has an aperiodic bass loading system (a small hole at the back filled with special foam) helping reduce low-frequency distortion and control bass performance from a small cabinet.

The WH-D8 active subwoofer completes the set. Comprising a forward-firing 20cm long-throw driver powered by a 70W amplifier, it’s compact enough to be tucked away in a corner.

If you regularly watch movies, we’d keep the ‘auto sense’ switch toggled on: the sub automatically goes into standby when not in use, switching itself on when a signal is detected.


Speakers this size often struggle to handle Hans Zimmer’s epic score for Inception, but the Wharfedale DX-2 package delivers a respectable scale of sound – larger and heftier than its diminutive stature would suggest. It sounds punchy, detailed and surprisingly expansive.

The DX-2 may be designed for smaller rooms, but it copes admirably even in our large AV test room. There’s abundant detail, it handles dynamic shifts with ease and not once does it fail to fill the room.

That’s an impressive feat for any small, sub-£500 surround package.

Of course larger speakers will fill a room more easily, but as the dream collapses in the final act of Inception the Wharfedale speakers deliver deep, resonant notes and thunderous crashes with utter composure.

The DX-2 speakers are well-integrated too. Surround effects ping around the room, engulfing you in an articulate cocoon of sound. The haunting whispers on the island in Star Wars: The Last Jedi are clear, precise and evoke a chilling atmosphere as they echo across the surround speakers.

The package does a grand job of going quiet, too: echoes in a cave die abruptly, plunging you into silence. The edges of notes are precise and clean, allowing the Wharfedale to keep a snappy, agile sense of timing. It’s a hugely listenable speaker package.

Dialogue cuts through the busy special effects clutter, although we would prefer more texture and depth to voices. Rey’s hopeful entreaties contrast nicely against an elderly Luke’s grumbles, but more solidity and low-frequency detail would flesh out the emotion in their voices.

More subtlety in the lower frequencies would help overall, but that shouldn’t take away from the rumble to punches, explosions and soundtrack crescendos. It’s a satisfying amount of grunt and weight – especially at this price – to keep us hooked to the action.

Push the volume too high and the Wharfedale package starts to struggle. But the DX-2 holds our attention at lower volumes – a sure sign of subtle and expressive dynamics.


Go up the price scale and you’ll find speaker packages (such as the Q Acoustics 3010i 5.1 Cinema Pack) that are more articulate, more precise and bigger-sounding. But they cost double what the Wharfedale does.

The entertaining performance, the compact-yet-stylish build and appealing price tag – it’s impressive how much Wharfedale has bundled into the petite DX-2 package. It’s a great solution for AV fans tight on budget and space.

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本文是What Hi-Fi? 推薦的不同價位的家庭影院套裝音箱產品,價格區間涵蓋了500英鎊到1萬英鎊,稱為“Best speaker packages”。如果你不願意這套,又想體驗到令人震撼的沉浸式音效,根據預算照單買來即可。

一、國外售價500英鎊以下最佳音箱系統:樂富豪Wharfedale DX-2 5.1聲道音箱系統

Wharfedale DX-2 5.1聲道音箱系統


“Wharfedale DX-2是一款卓越的揚聲器套裝,適合那些渴望獲得真正家庭影院體驗而又想要價格不高的人。其緊湊的尺寸和精致的設計易於在任何房間內放置……”

二、國外售價1000英鎊以下最佳音箱系統:Q牌Q Acoustics 3010i 5.1家庭影院套裝

Q Acoustics 3010i 5.1家庭影院套裝


“3010i 5.1家庭影院套裝由兩對3010i書架箱,一個3090i中置音箱和一個3060S低音炮組成。具有豐富的表現力和清晰的音樂表現……”

三、國外售價1000英鎊以下音箱系統:達尼Dali Zensor 1 5.1多聲道音箱系統

Dali Zensor 1 5.1多聲道音箱系統


“這套系統由兩對Zensor 1書架箱、一個Zensor Vokal中置音箱、及一個E-9F低音炮組成,他們的配合帶來極具表現力,細節豐富,反應靈敏,令人印象深刻的聲音……”

四、國外售價2000英鎊以下最佳音箱系統:猛牌Monitor Audio Bronze B5 AV音響系統

Monitor Audio Bronze B5 AV音響系統


“Bronze B5 AV造型優美時尚,做工精湛。欣賞延伸佳的聲音具有輕盈的感受,聆聽室內樂、古典樂以及人聲都頗適合……”

五、國外售價2000英鎊以下音箱系統:猛牌Monitor Audio Radius R90HT1組合音箱

Monitor Audio Radius R90HT1組合音箱


“R90HT1 5.1喇叭效果極佳,相比猛牌的以往產品,在低音方面改進不少。並且外表靚麗,擺放在家中顯得高端大氣……”

六、國外售價3000英鎊以下最佳音箱系統:猛牌Monitor Audio Silver 200 AV12家庭影院音響系統

Monitor Audio Silver 200 AV12家庭影院音響系統


“這套家庭影院音響系統由Silver 200落地式音箱、Silver C150中置音箱、Silver FX環繞音箱和Silver W-12低音炮組成,聲音清晰、富有表現力……”

七、國外售價3000英鎊以下音箱系統:KEF Q350 AV 5.1音箱系統

KEF Q350 AV 5.1音箱系統



八、杜比全景聲(Dolby Atmos)最佳音箱系統:尊寶Jamo S 807 HCS音箱套裝

Jamo S 807 HCS音箱套裝


“總結就價格來看,S 807 HCS不是一個偉大的音箱套裝,但是其大尺寸和出色的實用性告訴我們這絕不是一個簡單的套裝。這是一套真正出色的家庭影院系統!當然S 807 HCS還有很多的改進空間,音質可以再平滑一些,但是我們都很願意在任何時候使用Jamo來觀看電影……”

九、適合不差錢用戶的最佳音箱系統:PMC Twenty5 23 5.1音箱系統

PMC Twenty5 23 5.1音箱系統


“Twenty 5採用了ATL線性傳輸箱體內部設計,在傳輸線開口部位增加了Laminair技術,讓低頻氣流吞吐更加順暢,氣流噪訊能大幅下降,目的令Twenty 5系列在低頻表現上有著更強動態,更快的速度以及解析力……”

原創: 楊歡 HIFI說 9月

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極富有感染力的細膩之聲,Wharfedale Denton 2 書架式揚聲器


Wharfedale Denton 2 書架箱作為樂富豪85周年的紀念的產品,它延續方正的傳統箱體設計,選用優質材料,由精湛工藝打造。在復古典雅的外觀與箱體色調下是精致現代化的工藝。古典樂現代的完美融合,誕生了這款真正情懷之作!


來自英國的 Wharfedale 揚聲器品牌的創始人Gilbert Briggs 先生,他也是音響協會的主持人;在 1932年他把自家的地窖改裝成一個精簡的音響開發操作間。而在這裡,他成功地開發了世界上第一隻揚聲器是由電磁圈推動的單元,也就是現在動圈單元。同時,而在位於 Wharfe 河邊的小鎮也成了 Wharfedale 音響制造業的發源地。

到了 1933年 Gilbert Briggs 先生在 Bradford 附近開辦工廠進行推動揚聲器單元的手工生產,起初他們隻是家庭式生產作業,Gilbert Briggs 先生的太太也在主管生產部門工作,一切生產都要親力親為,日以繼夜的努力開工,才得以勉強應付當時市場對揚聲器單元的激烈需求。

同年,他帶著首個商業設計的揚聲器參加了 “Bradford Radio” 這個首度的第一次的全英電聲學揚聲器大賽,成功贏得第一、二名兩項大獎,同時還獲得開業以來第一張最大訂單。至此 Wharfedale Wireless Works 公司就順利進入了英國音響第一企業。

自此之后,Gilbert Briggs先生在1948年開始著書出版,由他著作的《LOUDSPEAKS》是世界上第一本講解揚聲器的設計和制作的業界天書,同期他還開始全球廣泛推動技術理念和傳授電聲及揚聲器制作技術等等。他畢生為英國音響行業培育出許多音響設計技術專才,在英國有不少 Hi-Fi 音響廠家的設計師曾經在他的門下得到揚聲器制作技術真傳,在當年英國有許多揚聲器設計大師的年輕志願希望都在Wharfedale工廠任職學習。

Wharfedale被尊稱為音響行業的“西點軍校”,也是設計制造揚聲器的教父。而Wharfedale音響自 1932年創立伊始就堅持以自己的設計標准和工藝流程進行選料制作,所有Wharfedale 揚聲器從草稿設計開始到每一個精美零件:如單元、分音器、箱體等全部由自己工廠制作,從不外購組件裝配;以滿足設計的技術標准和音質特性的穩定,確保每一款型號都是高性能和線性平衡的優質產品。這一恆守不變的准則至今仍是業界唯一堅守的廠家,亦將一如既往,絲毫不會改變。


而這次介紹的這款 Wharfedale Denton 2 書架式揚聲器承載著 Wharfedale 85 周年的歷史,從一款經典的產品的基礎上進行改造而誕生出來的產品,那就是Denton XP。它是由 Wharfedale 首席設計師 Peter Comeau 將自身品牌的文化精髓與自己三十多年關於揚聲器的經驗,融匯在這款全新的 Denton 2 書架式揚聲器中。

他所渴望的重新並超越的 Denton XP 揚聲器,是在1970年由 Wharfedale 高級研發工程師 Graham Bank、Peter Jackson 與產品經理 Brian Pearson 等五位組建的設計師團隊,耗費 5年的時間設計出來的產品,在上市的三年間就創下了全球3萬多的驕人業績,深得全球音響愛好者的喜愛。如今,設計師 Peter Comeau 也耗費了5年的時間,將這項無比重大的挑戰給成功克服了,所以大家可以在這對極具紀念價值的書架式揚聲器中探尋到很多值得敬佩的地方。

首先從箱體方面,整個木質的箱體採用了 Wharfedale 獨有的“三明治結構”,它能夠利用符合板材的特質改善箱體震動,同時這也降低了箱體內部的諧振,並利用此內部強化支撐減少音染。而整個方方正正的箱體,在前面板上採用嵌入式設計,秉承Wharfedale傳統揚聲器的結構特點,在有效降低箱體震動的同時,也能固定揚聲器單元。而對於在外形有要求的音響愛好者,該揚聲器亦有不同的外形版本供選擇。

而在單元方面,Wharfedale Denton 2書架式揚聲器的高音單元採用絲質類的復合材料,以天然蠶絲加神秘海洋植物纖維為基礎,在添加各種材料涂層;而且在單元採用磁液冷卻散熱,讓高速振動的音圈擁有足夠的散熱能力。避免高音單體的音圈振動受熱后的性能下降。


Wharfedale一直以來都推出相當經典的揚聲器產品,而這次作為紀念85周年的Denton 2書架式揚聲器,傳真及經典的造型,除了懷舊復刻的意義之外,亦是傳承“英國聲”一種有力的証據,相信隻要聽過這對揚聲器,都會都對它的聲音表現被打動。

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Wharfedale Diamond 225 – Review at The Absolute Sound


This is the world I grew up in: iPods, ear buds, tinny laptop speakers. Most people my age don’t think twice about their equipment, so long as it makes sound. Your average iTunes aficionado isn’t going to shell out big sums of cash on stereo equipment, especially when everything seems to have speakers built in these days. Why bother?

But there is good sound at approachable prices, fantastic sound really, the sort of sound that people obsess about. It’s not a mystical thing; it’s a visceral one; and younger people are finally starting to figure it out. Vinyl’s comeback is proof of that. The iPod generation is ready for quality; it’s just a matter of figuring out how to get it. And for me, it always starts with speakers.

There’s nothing better than opening something new, which is probably why people watch videos of strangers unboxing hardware on YouTube. The Wharfedale Diamond 225s sat wrapped in plastic covers sandwiched between tight foam inserts at the top and bottom, keeping them secure in transit. When I finally got them up and out, I stared at the gorgeous rosewood-veneer boxes, with their black-lacquer MDF baffles and the small Wharfedale logo just beneath the woofer. I leaned back in my desk chair and thought: “Wow, those are pretty.” They’re clean, unpretentious, and clearly put together very, very well.

Wharfedale Diamond 225

OK, the speaker grilles were a little weird. They’re two round foam pieces with little plastic rods that snap in over the tweeter and the woofer, leaving the rest of the baffle exposed, as opposed to something that covers the whole front. It’s not my favorite aesthetic choice, though it’s not necessarily a bad one, either. Just a matter of taste, I guess. At least they’re easy to remove, so I popped them off and forgot about them.

The 225s are fairly compact, though deep and solid. Sound is always the most important aspect of any audio component, but you still have to live with these things, and it’s easier to live with beautiful stuff. Fortunately, they’re exactly what they need to be: simple and attractive. Clearly the people at Wharfedale know what they’re doing, which makes sense, considering how long they’ve been around. Wharfedale is a relatively large British outfit founded back in the 1930s, and they’ve been a big name in British hi-fi ever since. The Diamond series debuted in 1981, and Wharfedale has been slowly improving the Diamond designs and sound without inflating cost, and that’s exactly what I’m looking for.

The 225s list at $450, which is a price an actual human with a real job could potentially afford. If you’re like me, and you’re sick of “affordable” equipment pushing easily into the $1000 range, this review is for you. Fact is, the majority of people can’t shell out the cash for the absurdly hyper-expensive audio equipment that clogs up most blogs. If we want to get the next generation to fall in love with great sound, I think it’s about time to accept that there’s some seriously good, affordable stuff worth writing about.

So with all that in mind, I put the 225s on top of my cheap stands, hooked them up to my (also British) Cambridge Audio CXA80 integrated, and turned it all on. Truth is, my listening space isn’t ideal. It’s small, oddly shaped with a sloping roof, and my speaker placement is limited. They have to be up close to a wall, though fortunately for me, these Wharfedales were designed with that in mind. The slot-loaded bass port fires downwards, instead of back, minimizing room interaction. So don’t worry about sticking them on either side of an entertainment system in the living room, for example, or squeezing them into a small office. Like I said, we have to live with these things, and space is sometimes at a premium.

Diving into the sound, I wasn’t sure what to expect. Bookshelf speakers typically aren’t known for deep, earth-shaking bass, and the 225s are no different in that regard. They aren’t going to rattle anyone’s bones and dig deep into that 40Hz bass region, which is fine—that’s what a sub’s for. Still, when I started with “Sparkle,” the first track on Tatsuro Yamashita’s City Pop masterpiece, For You, I got such a satisfyingly deep drop that I didn’t find myself missing the lowest of the low registers. Frankly, I didn’t find myself missing much of anything at all, especially when that clean, twanging guitar played its insanely catchy riff. The opening of “Sparkle” features a heavy, show-stopping reveal, and the 225s were more than up to the task of reproducing that big moment. I was surprised by how much weight I was getting from these things, more than enough for my small listening space. I can’t say how well they’d do in a much larger room, although I suspect they’d be up to the task.

The other good thing about “Sparkle” is the way Yamashita’s voice is recorded. There’s tons of reverb and space, his notes just drifting off into the background, and the 225s highlighted that nicely. For such small speakers, these things could create an impressive soundstage. Not the greatest, most spectacular presentation, but plenty to keep me engaged. Sound hung, drifting, projected nicely in both directions. At some points at higher volume, I noticed a bit of gristle in the upper registers, and sometimes the lower end felt a bit soft. I have to admit though, I was having fun just running through my favorite sides, one after the other, looking for any sonic detail that might be worth delving into. That’s the best sign that a piece of equipment is working. These little boxes just seemed to get me.

But I had to push the 225s, give them something challenging. That’s the whole point of a review, after all, to see how these things really perform. I turned to one of the strangest and most complicated albums of the year, King Krule’s The Ooz. This double-LP is as idiosyncratic as it is fascinating. On the most basic, surface level, it’s an experimental trip-hop masterpiece, but I think it’s so much more than that. It’s a sonically difficult album, with deep, rolling bass lines, up-tempo shifting beats, and Krule’s own morphing, grinding voice switching registers at will. The 225s did not disappoint me. They had a solid grip on the bass, keeping up with the hairpin-turn bumps and rumbles. The horns blaring in the background of “Dum Surfer” were rendered butter-smooth, along with that catchy guitar floating over the tight snares. I was drawn to the way the 225s made The Ooz somehow more accessible. It’s such an intricately layered album, and little details such as Krule’s English slang could easily be missed if anything muddy got in the way. I could feel the details of his voice despite the heavy synths and shimmering guitar effects. The 225s did a great job of creating a solid soundstage with minutely differentiated pieces. These songs felt so simple at first listen, but it took a piece of equipment like the 225s to do this level of complexity justice.

Finally, I wanted to hear how the Diamond 225s would deal with rich, complex upper-range vocals. These speakers could handle bass and midrange, but I was curious as to how they’d do when it came to subtlety. For that, I turned to Moses Sumney’s odd, pared-down, R&B-influenced album, Romanticism. Sumney’s music focuses so much on his intense, wonderful, lilting falsetto, which nicely showcased the 225’s ability to highlight delicate high-end and midrange detail as he moved through registers. I had a feeling the 225s would be plenty engaging with a softer sound, and I wasn’t disappointed. The bass guitar on “Man on the Moon (reprise)” barely kept pace while Sumney’s vocals played above it, yet through the 225s the layers of Sumney’s voice came through clean, uncolored, and almost liquid. I didn’t really understand this album on first listen, but as I went through it again and again on the 225s, I came to really love its low-key cleanliness. In the end, I think that’s the real strength of the 225s. They weren’t throwing the deepest bass or resolving the upper registers absolutely perfectly, but they had weight right where I needed it, along with the detail and the clarity necessary to resolve complex tracks into enjoyable musicality.

These speakers remind me that the “entry-level” isn’t a bad place to be. Inexpensive components are getting better and better as high-end design trickles down into supposedly budget hardware. The Diamond 225s take everything good about high-end audio, the power of beautifully reproduced music, and they make it accessible to a wider audience. I believe the 225s would satisfy just about anybody looking for fantastic-sounding speakers designed by a respected manufacturer at a reasonable price. They’re not perfect, but man, they’re still more than good. I highly recommend them.

Specs & Pricing

Driver complement: 6.5″ woven Kevlar cone; 1″ soft-dome tweeter
Frequency response: 45Hz–20kHz (+/-3dB)
Impedance: 8 ohms
Crossover: 2.3kHz
Loading: Bass-reflex
Finish: Black, white, walnut, rosewood
Dimensions: 14″ x 7.7″ x 10.3″
Weight: 14.33 lbs.
Price: $449

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英國 Wharfedale 樂富豪 Airedale Classic Heritage 旗艦音箱


Wharfedale(樂富豪)於1932年在英國約克郡誕生,是英國歷史上十大全球最具影響力品牌之一。Airedale Classic Heritage (大愛登)古典旗艦音箱,不僅是Wharfedale近八十年技術精華和藝術工藝的集中體現,也是維系 Wharfedale 品牌在音響界地位的拳頭產品,無論是設計起點或者是聲音表現,無不是 Wharfedale 目前最高的代表。

Airedale Classic Heritage(大愛登)‍的箱體外觀採用1960年代經典造型,箱體主體以‍胡‍桃‍木實木制作而成,‍整個箱體‍重量到達了108公斤‍。從外觀上看,箱體前方左右削斜角,高音,中音,中低音,低音等四個蛋替從上到下垂直排列,正面低部有一個矩型低音反射孔。而在箱體上方,Airedale Classic Heritage(大愛登)還有一個超高音單體朝上發聲。

15寸錐盤低音但體採用 ALNICO(釹鐵硼)磁鐵,振膜由玻璃纖維/碳纖維/玻璃纖維的三明治結構組成,中心防塵蓋材料與振膜相同。為了減少尺寸振膜往復運動是所引起的空氣雜音,從錐盤,雙彈波,線圈,磁鐵總成等地方都有讓氣壓泄氣的空洞設計,而且連單體框架也做成細框的開放型框架,以免阻擋背波。

再來是中低音單體,採用8寸 KEVLAR 振膜,音圈繞在鋁質音圈上,磁鐵也是採用Alnico(釹鐵硼),是一款錄音室等級的中音喇叭。比較特別的是這個中音單體與高音單體一起裝在一個特設計的鋁鑄框座上,這個框座的邊緣與喇叭單體開口處都特別做成微微的號角開口,降低聲波的繞射負面影響。

再來是高音喇叭,它是一寸軟凸盆高音單體,磁鐵用的也是 Alnico(釹鐵硼)。這個高音單音體的寬頻可以到達45KHZ(保守數字為800HZ-40KHZ)。最后則是安置在箱體上方的超高音喇叭,這個超高音喇叭看起來與高音喇叭一模一樣,不過內部磁鐵採用磁鐵,寬頻也是800HZ-40KHZ。假若聆聽是把超高音喇叭關掉,那麼高音單體所負責的頻域就會延伸20KHZ;如果打開,則高音單體隻負責到9KHZ,其余讓超高音喇叭負責。

Airedale Heritage(大愛登)‍的高中低頻段十分平衡,高頻段絲毫不搶耳,久聽不膩不噪。中頻段並沒有過分龐大的音像,而是與高頻段,中頻段焊接的很好的中頻段。至於低頻段在量感方面則是很足夠的。整體而言,Airedale Heritage(大愛登)的高中低頻段表現出金字塔型的穩重平衡結構,這種結構聽古典音樂非常適合。


在音質與音色方面具有高級喇叭的那種音質音色。不過它並不是超甜超華麗的那種,而是越嚼越醇,越品越香的那種。真正聽過后會發現Airedale Classic Heritage(大愛登)能夠把各種樂器的音質音色差異都表現出來,而且錄音中樂器的美質都能散發出來。感興趣的朋友都可以到店試聽感受一番!

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