Seventh heaven – Spendor A7

David Vivian discovers if an unassuming, slim and starkly functional two-way speaker can deliver the Spendor sound in full

If any Brit-fi speaker maker’s reputation precedes it, Spendor’s is probably a nose ahead of the rest.  The company was founded in the late sixities by the titular Spencer and Dorothy Hughes and its first speaker, the now legendary BC1, more-or-less set the bar for every mid-sized monitor that followed.  Indeed, the company says the influence f that seminal design can still be heard across its current three-tier lineup, which continues to be designed, engineered and built in Great Britain.  Spendor is rightly proud that it makes its own drive units, but unique in having its own cabinet-making plant in the UK.

Impressive bass weight and extension with terrific agility and tunefulness

With its four-strong entry-level A-Line family, the aim is to bring Spendor know-how, craft and experience to a wider audience – albeit one that understands the deal and that ‘price led’ isn’t part of the plan. Take the range-topping A7 on review here. From a distance, it looks too simple and plain for a speaker just under £3k. No sexed-up drivers, no curvy cabinet panels. Zero bling.

If you measure value in terms of material real estate, the A7 simply isn’t going to float your boat, but fans of neat and petite should appreciate its modest height and footprint and take comfort from Spendor’s assertion that it sounds anything but small. Making life more convenient still, the fourth-generation Spendor linear flow port, at the base on the rear, is said to work even quite close to a boundary.

If the stark ‘nude’ aesthetic of the exposed driver units doesn’t quite click with your décor, there are magnetic speaker grilles, but they’re listed as an optional extra. The cabinets are beautifully built and immaculately hand finished in black ash, dark walnut or, as here, natural oak real wood veneers. Satin white is also available for an extra £300.

The 180mm mid/bass driver is a new Spendor design with a polymer cone and revised surround and suspension materials said to deliver exemplary thermal and mechanical stability. High power handling and good low-level linearity were also
on the job sheet. It’s paired with Spendor’s 22mm ‘wide surround’ tweeter, which strives to combine the extended frequency response of a small diaphragm with the low- frequency characteristics of a larger diaphragm, the intended upshot being stable, low distortion response over a very wide frequency range. Wide dispersion is also claimed, broadening the listening ‘sweet spot’. The crossover network has been afforded the same level of refinement. It features precision-wound, high- linearity tapped inductors which are said to avoid the distortion caused by attenuating resistors and allow very fine tuning of both frequency and phase response, necessary to achieve a coherent, balanced sound.

The gathering weight of opinion challenging the convention that speakers should have high density cabinet panels and mass damping to minimise ‘cabinet talk’ finds a powerful advocate in Spendor, which joins with Russell K and Fyne Audio among others in arguing that with this type of build, spurious energy is stored and released slowly, sitting on timing and rhythmic snap. There are numerous cures that eschew internal wadding and unnecessary mass. Spendor’s is called Dynamic Damping and uses small, low-mass constrained polymer dampers in the cabinet that “convert the spurious energy in the cabinet into inaudible heat”.

More than just a distinctive feature of Spendor’s A-Line and D-Line ranges, the base of the speaker has four machined steel stabiliser inserts set directly into the cabinet. The reason, states Spendor, is that any micro movement or flexing of the plinth and feet blurs fine detail and destroys ambient cues and the sturdy metal perimeter prevents that, especially if used with the chunky supplied adjustable spikes (see Q&A).

Sound quality

As Spendor claims that the A7 doesn’t require a large space to deliver its best game, most of the auditioning is conducted in my smaller listening room, hooked up with my resident Cambridge Audio CXC CD transport (HFC 401), Chord Electronics Hugo 2 DAC (HFC 428) and Rega Elex-R integrated amp (HFC 420). As ever, the speakers sit on Townshend Audio Seismic Podiums (HFC 426).

The first CD up for inspection is the one that’s closest to hand, but I’m rather glad it’s Michael Jackson’s Scream compilation because Thriller neatly generates a broad first impression. Maybe just a hint of BBC reserve and polite neutrality? Nowhere to be heard. On the contrary, the A7 sounds much bigger and bouncier than you’d ever guess from looking at it, with well-projected presentation combining truly impressive bass weight and extension with terrific agility and tunefulness. This is not to be confused with the kind of artfully revved up presentational style that blows you away for 30 seconds then gradually becomes harder to take seriously. No, with an appropriate dose of volume from the Elex-R, it’s what a natural sense of life, pace and musical verve sounds like and keeps you wanting more.

Dextrous jazz fusion guitarist Larry Coryell went through a phase of fridge-chilled funk in the mid-nineties and, thus flavoured, his version of

the St. Louis Blues from I’ll Be Over You challenges a speaker’s ability to capture contrast with a striking and very sudden change of mood. The track begins in true gritty acoustic blues fashion – spare, steely guitar phrases; Don Harrison’s gruff, slightly echoey vocal; simple mic placements for authentic atmosphere. It all sounds raw, tactile and dripping with attitude through the Spendor. But 37 seconds in it’s as if a group of renegades from Funk Central crash through the roof and hijack the track with extreme ‘dig this’ prejudice. Coryell’s faithful Gibson Super 400 electric guitar is joined by Chuck Loeb on rhythm, Mark Sherman on keyboards and Zach Danziger on drums and bluesy angst is replaced with a rich, smooth, densely layered groove in a heartbeat. The A7 just isn’t fazed by the jokey suddenness of the stylistic shift, but seems to be in on the conceit, delivering a sonic wink in the form of an opening bass note sweep with visceral presence and extension that all but dives through the floor. The whole thing hinges on delivering just the right amount of dynamic emphasis andthe A7 absolutely nails it.

It does so time and again. But the svelte Spendor also has a special talent for the small stuff – not just its command of musical nuance and laser-locked precision with timing, but its ability to resolve subtle ambient cues right down to the noise floor. It all makes for an addictively transparent, engaging, rhythmically sussed and endlessly enjoyable loudspeaker.


Anyone who thinks Spendor is a bit old-school stuffy needs to hear the A7 urgently. Leave your preconceptions at the door. It sounds modern in the best possible way: fast, clear and open with fine dynamic expression, great bass and an unerring instinct for the musical pulse.

Q&A Philip Swift

MD, Spendor Audio Systems Ltd



DV: What is the secret to the A7’s great sound?
PS: Look behind the A7’s simple exterior and you’ll find a wealth of Spendor engineering innovation focussed on achieving a natural engaging sound. Examples include our EP77 polymer cone mid/bass driver, which is exceptionally free from break up and resonance, our unique crossover topology with three-port inductors, which allows us to create a loudspeaker with a very linear phase response as well as a flat frequency response and our dynamic damping, which eliminates spurious vibration in the cabinet structure.

What are the advantages of the design of the rear reflex port?
The large rectangular port is smoothly integrated into the bottom structure of the cabinet. It eliminates many of the limitations of a conventional tubular reflex port. Air flow velocity is much lower so there is less distortion and higher head-room, group delay is substantially reduced and the low frequency response is more extended and even. Because the loudspeaker behaves very predictably when it is placed close to a wall or in a small room, it gives the A7 an unrivalled ability to deliver deep articulate bass, with a natural engaging sense of musical timing, in almost any listening room.

What contribution does the built-in, spiked metal plinth make to the overall performance?
The base of each plinth has four machined steel stabiliser inserts. Our threaded floor spikes can be quickly and easily fitted and adjusted by hand to compensate for any unevenness in your floor. Simple finger tightening of the spike lock nut against the steel plate secures the spikes so they won’t vibrate loose. The stabilisers are secured directly into the main structure of the cabinet so that micro- movement or flexing of the plinth and feet – which blur fine detail and destroy ambience – is eliminated, the improvement in sound definition compared with a conventional spike/foot arrangement is significant.

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魅力⋯是沒法擋! Spendor Classic 1/2

一個全無花巧的長立方體聲箱,一副非常典型的英式鑑聽器模 樣,一種自上世紀八十年代末沿用至今、無大變化的造型! 單就這幾句中性陳述而論,不單叫人幻想不出魅力何在?甚或有多 少趕客效果!當然,知 Spendor 者不會因這幾句而有啥負面想法, 但不知 Spendor 者若因這幾句、又或因本篇主角的老實造型而抗拒 再去了解它的話,恐怕會走寶!恐怕將會錯過認識一對聲音來得豐 富、流暢、甜美,兼細緻又透明得來不刺耳、不帶毛躁,且音場屬 深後不埋身之好喇叭的機會!

倫理上,今日的 Classic 1/2 的始祖為早於一九六九年面世的 BC I。BC I 的走三單元制,包括雙高音單元(一超高音、一高音)再加 一中低音單元,於前障板上作超高/高/中低/單一低音反射氣孔 直列。同一時期亦類似格局的SP1,但低音反射氣孔靠側,且左/ 右兩喇叭作鏡影對稱。再之後,於一九九零年由三路三單元,由上 而下直列一超高音、一高音、一低音,但低音反射氣孔一開二,並 搬上超高音兩側的SP 1/2取代。四年後,再推出後繼的SP 1/2 E, 往後再有 SP 1/2R、SP 1/2 R2 等版本。多年、多代以來的 SP 1/2, 由聲箱尺碼、單元排列及低音負載模式,均未曾有根本性改變,改 變或改良主要在於各單元的技術及物料,內部接線,又或面板上兩 反射孔/調諧管出口的處理。但,當進入今一代Classic系,SP 1/2 出現了翻天覆地得來卻又叫人不感陌生之變!


今日的 Spendor 旗下雖有小巧、雅緻又和味的A-Line或傾向理 性分析的D-Line,以應用家的不同口味或需要,但 Spendor 於廿十世紀六十年代末創立之初,已跟BBC 鑑聽器的研發扯上關係,影響 一直至今。五十年過去,仍不忘初心,Classic系的發展從未間斷。 時間就是最佳証明,半個世紀過去,經歷兩到三代人,Spendor Classic系仍受追捧,並發展出由書架喇叭仔到座地大喇叭。進入 今一代Classic 系,型號上沿用已久的 SP 不見了,直接了當地稱 為 Classic 3/5、Classic 3/1、Classic 2/3、Classic 1/2、Classic 100、Classic 200,六個規模差異相當大的型號。

Spendor 表示,自旗艦作 SP200 推出,成為全球熱話後,於2017年,他們對全系成員來了一次檢視、並作出重 大改良。新一代的 Spendor 驅動單元,採用先進的聚合物 及Kevlar音盆、合金鑄造單元框架、高效率磁驅系統,優化 的電動態阻尼、出色的散熱效能。分頻網絡亦經過精心改良,務求將透明度及動態對比提升至前所未有的水平。

以 Classic 100 為藍本

至於 SP 1/2 那翻天覆地得來又叫人不感陌生之變,就 是以系內的明星級型號,即過往叫SP 100、如今叫Classic 100為藍本,再按比例縮小。

以 Classic 100 (SP 100) 為藍本下,1/2的三路單元, 不再是直列一超高音、一高音、一中低音、兩低音反射氣 孔開在超高音兩側的格局,而係改成 Classic 100 於上世紀八十年代末沿用至今的中/高/低三單元垂直排列。這編 排下,有助修正三單元發音面到達聆聽點的時/相差。高 音單元乃 Spendor 跟挪威 SEAS 的共同設計。雖屬至普遍的半球形軟膜高音,卻並非最常見的 25mm/約1吋口徑,而 係 22mm/約0.9至0.8吋之間,但懸邊則相對粗壯得多。他 們的設計方向並不在於甚麼超高音之向上延伸,他們深信 延伸至25kHz已足夠、亦最恰當。反之,增強向下延伸更為 重要,足以令分頻點設於較低週率之2.7kHz,務求高、中 音有更平順銜接。 150mm (差不多六吋) 口徑的中音單元,音盆並非 過去沿用的半透明聚合物音盆,而係不透光且黑墨墨的 EP77 物質。210mm(逾八吋)口徑的低音單元,音盆為 Bextrene、Kevlar的複合設計,這種輕巧、堅硬,且不易積存能量的物料,Spendor對之似特別有感情。過去,雖則不 同的音盆材質雖不斷湧現,但他們仍認定這才是Classic系 成員所需要的音響特性。多年來的市場反應亦証明,喜歡 Classic系的發燒友或用家,都欣賞這音色取向。


此外,音箱結構亦經過強化,並加入新型彈性體面板 阻尼設計,進一步減少不良諧震之同時,保留必須、適當 而受控的箱體共鳴。當絕大部份設計師奮力殺退所有箱體 諧震、共鳴之同時,Spendor Classic 系並未有跟隨大隊、 主流,而係刻意保留、造出他們需要的箱體共鳴。他們深 信,既然樂器有共鳴箱,揚聲器亦有需要適當的共鳴,從 而令聲音更加自然又人性化。 通過以手指敲打聲箱的簡單實驗,我發現 Classic 1/2 的 前障板非常沉穩、結實。倒也想當然,前障板起震的話, 勢必影響單元運作,聲音肯定變得混濁。而箱側、箱背以 至箱底的回響皆低沉短促,唯獨箱頂有大不同,明顯帶點 共鳴感,故我估計 Classic 1/2 的適當而受控的箱體共鳴,主要來至聲箱頂板。只會隨特定的週率共震,且並非單一週 率兼額定於某特定範圍及幅度內震動,以達至設計者預期 中的聲音特性。


可以想像,兩者的格局同出一轍,揀 Classic 1/2 而不揀 Classic 100 的原因,不是體積就是消費的考慮,可能係個 人對Size的喜惡,亦可能係條件限制。既然Classic 1/2 等同 細碼/精巧版的 Classic 100,那就玩精巧、精簡地以合併 機去配合,就來一款近期發現的貨色,且跟 Classic 1/2 相當 合拍的合併機 Luxman L-509X。負載 8Ω阻抗;靈敏度 87dB 的 Classic 1/2,L-509X可生出120瓦功率去對應。實試過, 本社大房雖達450方呎,但將 L-509X 的音量扭至十點鐘方位 已夠聲、十一點則達可接受音壓上限。這配搭若放到二百 方呎以內的一般家居,肯定游刃有餘。 憑變換配器校聲之餘,在 Classic 1/2 的三路分頻輸入 上,其實亦有事可為!並不是要說雙功放甚或三功放分音 類高成本又礙地方的遊戲,而係通過喇叭線直接上那組接線柱、又哪組經連接線 Jumper 輸入的手段,以微調高/中 /低三路間之平衡度。簡單講,喇叭線直駁、訊號直接輸 入的一路,能量衰減最少。反之,經連接線 Jumper 輸入的 能量衰減必相對較多。就此,即可在只花時間成本之下, 令高、中、低中任何一到兩路的能量較強或弱,以配合個人口味、房間聲學反應或配搭特牲的需要。再進一步,就 是以不同特性的連接線 Jumper 去配合。當然這牽涉額外花費,但改變甚明顯且豐儉選擇皆有之!

擺位方面,離牆可以、貼近後牆亦無妨,由於採取前噴式低音反射孔,故無背噴式怕貼近後牆、低音被後牆過度 激勵之憂!我於大房中離牆擺開 Classic 1/2,適當的拗入 toe-in角度下,再加上兩喇叭跟聆聽點採取等邊三角關係下,場面開闊而正路。聲音亦同樣正路、悅耳之間,亦甚人性化!


《Lennon Legend》中的John Lennon唱其經典名曲 〈Imagine〉,一開聲就是實實在在的人性化感覺,充滿情懷。一份好豐富、好豐滿的感覺,能夠在這個於一九七一 年錄製、完全談不上靚的錄音中顯現出來,我知道這就 是演譯的魅力、就是音樂感染力,確實係動聽、入心的感 覺。Isabelle Faust 拉奏《JS Bach‧Sonatas & Partitas》, 只單一支小提琴,依然毫不單調,基音、諧波、堂音皆層 次鮮明,且強弱、主次有序。有鮮明而自然的主體,亦有偌大的空間感,非常精彩的音樂畫面,極之入耳,令人享 受加投入的音樂重播。


要問更大場面的表現如何嘛!《Audio Compass/音 響羅盤2016》中〈Drums Improvisation〉,場面自在、 踏實、立體又有力地擺開。大小鼓分明,敲打能量強弱、 軟硬、質感對比更是鮮明又立體非常,加上動感與彈性之強、之生猛,確係令我難有挑剔的動感重播,但未必合追 求強蠻攻擊力者口味!

場面再大的有  Riccardo Chailly指揮萊比錫布商大廈管 弦樂團,演奏〈布拉姆斯第一交響曲〉,定音鼓的氣勢,群弦、長笛、雙簧管、單簧管、巴松管等先後現身,呈現 出豐富、鮮明、盛大又有前有後的大場面,就在兩喇叭之 後、橫跨整個大房闊度且深後地擺開。刻意去聽,似無明 顯的棱角感,但整體毫無鬆矇或化開,結像、層次、依然 明晰,這講法似有點怪或矛盾,我會解釋為,一切源於恰 到好處;棱角感不多也不少,恰到足夠而不著跡處……就 係好!


然而,我深信!要令大家乖乖付鈔或碌咭,實不必出動大場面、大堆頭,只要播出林憶蓮《陪著我走》中的 〈李香蘭〉或〈殘夢〉,那感情豐富,濃而不膩、冧死人而不濫情的重播,就經已殺人於無形! 憶蓮、大提琴及結他就如在面前對著我演出,乾淨的背景前,憶蓮咬字的力 度、大提琴的韌勁、結他的彈動,三者加起來,即有著如 在撫摸人心靈、似隨時被觸及心靈深處的感覺!確實令人心軟,足以攻陷大家的定力、意志力防線! 老友,係時候找數了! 口講無憑!如大家想知我有否誇大 Classic 1/2 的魅力,又或有意考驗一下自己的定力、意志力,可親到有齊 Classic 1/2 及 L-509X 的音響店 (例如旺角友誠商業中心的輝煌影音) 作實試,即可知它們加起來的殺傷力有幾強! 順帶一提,個人認為,那原裝金屬腳架必不可少,實效之餘,Classic 1/2加上這原裝金屬腳架的造型,實在太骨子了!


轉載自 “HiFi Review 2018年 8 月號”

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Spendor Classic 3/1 技術基礎五十年不變

在揚聲器選擇上,資深發燒友雖然現已全然跳出英國產品的框框,但大都經歷過BBC 揚聲器在七八十年代的熱情洗禮,受此影響的發燒友數量眾多,只因成立於1922年的BBC英國廣播公司為了滿足高質素重播需要,在六十年代展開了一個監聽揚聲器研發部門,而負責 R&D 環節的工程人員,其後都因為種種原因相繼自立門戶,製出一對對顯赫一時的揚聲器,Spendor 是其中之一。


Spendor 與其他多個英國揚聲器品牌,當年既按BBC規格要求製造授權生產指定型號,亦把研究所得大舉應用到旗下揚聲器內,在往後的數十年來持續生產受發燒友青睞的揚聲器。 Spendor在今個世紀為了進一步拓展業務而積極擴充,不過來自創辦人Spencer Hughes在BBC內取得的核心技術卻始終不變,在努力注入新構思後,產品線現在分成 Classic、 D-Line 和 A-Line 三大系列。 Classic 系列盡量保留傳統,僅在細微地方作出改動;後兩者則著重創新,因此無論是造型還是所用物料,全都與堅守傳統的Classic系列略有分別,今次所試的揚聲器,是悉數保留Spendor上世紀遺風並特別使用 180mm 聚合物錐盆中低音配 22mm 半球形高音的二路書架式設計 Classic 3/1。


Classic 是 Spendor 的主線產品,旗艦作 200 自然同樣出自這個系列。為免型號經多代改良後演變得冗長難記,新一代Classic現在不再以Revision形式登場,反而盡量簡化成只留數字,易記之餘亦代表今後推出的Spendor 揚聲器不再僅是舊物改良。新設計最大特色在中低音錐盆使用嶄新聚合物,因此實物所見的Classic 3/1不再如 SP3/1R2 般沿用上世紀的透明膠盆,而在這種 EP77 物料的處理下,由 Spendor 原廠自製的這隻炭灰色單元振盆剛性特高而且保持輕盈,又因特製磁組作高效率驅動,配合鎂合金鑄造的堅固支架,讓 Classic 3/1 經常保持力感充沛而頻應精準,且由於分音網絡盡量使用低誤差英國零件,而聲箱內部亦設置據稱能把動能轉化成熱能的高阻尼 Elastome r物料,以 3.7kHz 與 22mm 軟體半球形高音作分頻,簡而精的整體設計,使擁有特別寬闊懸邊的軟體半球形高音平滑伸展的同時,180mm 單元在配合特製相位栓下,亦能以長衝程活動準確敏銳發放所需低頻,是多方面都獲強化的產品。


Classic 3/1 聲箱細細而頻率響應卻闊達 65Hz-20kHz,與自製單元滿足揚聲器規格所需有關外,那個五十年不變的造型其實亦是重要關鍵。Classic 3/1 方角薄聲箱其實始於BBC揚聲器製作理念而來,因此結構上並非全然用於抵禦聲箱震動,卻有兼作化解聲箱產生強烈共震之效,同時亦讓無損傳真度的微弱聲箱共嗚,幫助帶來更趨自然的音頻響應,這是經典BBC揚聲器製作巧妙之處,作為 Classic 系列當然堅守這個原則辦事。至於那個外凸向前的邊框也是傳承自經典而來,今次 Classic 3/1還改用磁力穩定面網,使 Classic 3/1 無論使用面網與否都保持美輪美奐,但無論如何改良變動,都不如聲音獲得全面改進重要,只因全新 Classic 3/1 頻應保持如往昔般伸展自然外,中低頻現在更給人有種天朗氣清的清爽傳神感覺。


舊款同尺寸 Classic 揚聲器在經過Spendor多次改良之後,所現聲音已經相當理想,不過有時中低頻在遇上某些分析力不足的放大器時,卻有可能呈現略帶含糊現象,嶄新Classic 3/1似乎著力於這方面作出改善,使其重播不同音樂都更趨輕鬆自然。分別以來自丹麥的 Gryphon Diablo 300 和波蘭的 Hattor Audio Integrated NCore Amplifier 兩部合併放大器驅動,發覺 Spendor 味濃如昔,分析力大舉提升則使所現聲音脈絡清晰而顯得坦率分明,就好像聽首位揚威柴可夫斯基小提琴大賽的美籍小提琴家 Elmar Oliveira 在贏得金獎後與鋼琴家 Robert McDonald 合作的二重奏錄音,便特別能夠展現這方面實力“如今的英製 Classic 3/1 非但定位明確,能有效展現兩位樂手如在眼前的演奏位置外,更可以把Elmar Oliveira全神貫注於高超技巧演奏各高難度作品時存在的刁鑽而密集變化悉數盡顯。重播 Elissa Lee Koljonen 與 Robert Koenig 合演不同時期古典名作的二重奏 SACD時,再度印証出使用磁隙注滿鐵磁液 22mm 高音單元的 Classic 3/1 聲音精細富表現力一面。聽 Jiri Belohlavek 指揮捷克愛樂團演奏史密塔納《我的祖國》,無論是豎琴和長笛聲都顯得優美動人而效果清新,樂組群奏亦不會因為中低頻瞬變反應緩慢而導致聲音存在混濁現象,壯麗場面在條理分明的刻劃下,玲瓏剔透地更覺莊嚴宏大,Classic 3/1全面而穩妥的聲音,致整體音效倍添矯健活力之餘,音場表達亦特別層次鮮明。至於人聲再現亦不會失諸交臂,這其實是以BBC為設計基礎的書架式揚聲器賴以成名的獨門武器,而沒有過份渲染亦不會了無血色的均衡細膩表達更一直都是Spendor不變優點,經全面改版過後,足以反映 Classic 3/1 中高頻細膩如昔卻又能在中低頻上獲得適可而止的收斂,因此重播多位男女歌手的演唱都精彩絕倫,加上樂器聲同樣韻味無窮,是難得的嶄新設計!


成立於1969年的 Spendor,名稱縮寫自創辦人兩夫婦的名字,雖然 Spendor 的揚聲器一直按時代更迭不斷作出改良和創新,但應用的基礎技術,五十年不變都是從英國BBC監聽標準和重播要求衍生出來,因此無論如何演變都難免與曾經用於英國廣播公司內和曾經爆紅於八九十年代音響界的英製揚聲器血脈相連,其中又以Spendor 三大系列當中著重於保留昔日優質傳統的Classic 系列尤甚。今次所試的二路低音反射式設計 Classic 3/1,無論是造型和處理手法,都遺留 BBC 經典名作的影子,聲效則微調至更能迎合數碼時代的重播要求和需要,自然更適合現世代音樂重播要求!

轉載自 “音響技術 No.442” 

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WhatHiFi? – Spendor Classic 2/3 review

Few speakers on the market can match the heritage of Spendor’s Classic 2/3s. This design can trace a direct line back to the highly regarded SA2s, which were launched in 1980.

But the engineering ethos behind the product goes back even further, to ideas developed by the BBC engineering department in the 1960s.

Does that put these speakers at a disadvantage compared to high-tech alternatives from the likes of Dynaudio or Bowers & Wilkins? As long as the distinctive styling and relatively large size aren’t an issue, we don’t think so.

Build and compatibility

These Spendors are 54cm tall, about a third bigger than most of their standmount competition, and they need to be positioned well clear of walls to sound balanced. They’re likely to be most at home in medium-to-large rooms.

While the dedicated, open-framed wooden stands – the Fortis, made by Hi Fi Racks – cost a hefty £600, we can’t find a preferable alternative as far as performance and aesthetics are concerned.

The BBC-inspired engineering is most obvious in the speaker’s cabinet construction. Most rivals aim to make the enclosure as rigid as possible to give the drive units a solid foundation to work from and minimise any cabinet wall movement. Spendor’s Classic models take a different approach.

No matter how rigid you make the cabinet there will always be some cabinet resonance. This will add distortion to the sound the drive units make.

Making the enclosure more rigid will only make that resonance higher in frequency, crashing the midrange region where our ears are most sensitive.

The BBC approach is to make the cabinet walls thin (so they flex at low frequencies, where our hearing is less discriminating) and to control resonance by carefully, but heavily, damping the cabinet panels. Spendor’s Classic models have always used this method, and the 2/3s are no different – though this latest model features a far more rigid front baffle.

In these speakers, the company has further refined the technique by using new visco-elastic damping pads in strategic places. The pads absorb vibration energy and turn it into heat, but the speakers don’t get noticeably hotter during heavy use.


The Classic 2/3s’ mid/bass driver is all-new. It’s an in-house unit, which is something of a rarity for a manufacturer of Spendor’s modest size. Most rival companies buy in their drive units from OEM suppliers such as Scanspeak or SEAS.

The mid/bass unit has a 21cm diameter polyamide fibre reinforced polymer cone and a die-cast magnesium alloy chassis, the latter for its rigidity. Every aspect of the design has been honed, from the cone surround right the way through to the suspension and motor system, all in a bid to optimise performance.

The 22mm surround dome tweeter has been around for a few years, but remains a fine performer. Its unusual profile is designed to deliver extended highs while maintaining wide dispersion characteristics.

The tweeter and mid/bass driver are mated with a high-quality and carefully calibrated crossover network. It’s a relatively simple circuit and is none the worse for that.


Sensitivity is quoted at 88dB/W/m while nominal impedance is 8ohms (with a minimum of 6.8ohms). These figures suggest the Classic 2/3s are easy speakers to drive for most quality amplifiers.

These are, of course, premium speakers and so positively demand good-quality source components and amplification if you want the best from them.

We use our reference Naim NDS/555 PS music streamer, Clearaudio Innovation Wood turntable and Gamut D3i/D200i pre/power combination with great results. Rega’s Elex-R is pressed into use too, without issue. The Spendors simply reflect the quality of the signal they receive.

The cabinets look like they’ve been made with care, and the real wood veneer is neatly applied. This latest generation of Spendor’s Classic speakers have grilles that are held on with magnets.

This not only makes it far easier to take the grilles off, but the speakers also look much neater without them. There are two finish options for the enclosures – the dark walnut of our review samples, or cherry.



The Classic 2/3s have an easy-going sonic nature, one that draws the listener into the music rather than shouting for attention.

These speakers may not win out in a quick dealer comparison, but given time their considerable charms are obvious. Most modern rivals sound smaller, leaner and more aggressive by comparison.

Tonally, the presentation is pretty even. There’s certainly less warmth to the midrange and bass than in previous generations, but there remains a lack of overt aggression.

This characteristic doesn’t go as far as taking the venom out of tracks such as Nirvana’s Come as You Are – where the 2/3s show a surprising amount of attitude – but it still makes poor recordings and below-par electronics a little more palatable.


As we listen to a range of classical music from the gorgeous Clair de Lune by Debussy right the way through to Stravinsky’s often frantic The Rite of Spring, we’re aware of the Spendor’s impressive sonic authority and their ability to deliver dynamics – both subtle and large-scale – with remarkable grace.

There’s a beautiful sense of fluidity to the way these standmounters go from quiet to loud, and it’s coupled with a delicate sense of ease most rivals struggle to approach.

Those large mid/bass drivers really manage to shift plenty of air without sounding like they’re working hard at all. Push harder and the Classic 2/3s retain their composure and refuse to harden.

Of course, there’s lots of bass – how could there not be with such a generous cabinet volume and such big mid/bass units? But it’s delivered with finesse as well as plenty of weight and power.

Compared to previous generations of this model, there’s far more in the way of precision – the Classics revealing the texture of low frequency notes with considerable skill.

There’s plenty of punch too, as we find out with Major Lazer’s Pon de Floor. Hard-hitting music such as this reveals a level of rhythmic momentum that challenges the likes of Dynaudio’s award-winning Special Fortys.

Earlier generations of this Spendor could sound a little sedate but, given the right music, the 2/3s are happy to party. That’s something we weren’t expecting.


It’s not all change though. The 2/3s remain true to their heritage in delivering a midrange that is seamless and inviting. Voices come through with body, weight and just the right degree of natural warmth.

There’s plenty of detail too, with the standmounts picking up subtle nuances and instrumental textures without highlighting the fact unduly.

These are speakers that we could listen to for hours on end without tiring, yet they have enough in the way of excitement and drive to entertain when the music demands.


The 2/3s surprised us quite a lot during the review period. They retain the charm and easy-going nature of their highly regarded predecessors, but now have the punch and rhythmic precision to work well with a wider range of music.

We can’t think of a better all-round alternative at this price level.

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滿足發燒友的大胃口 Spendor Classic 2/3 書架箱

Spendor(思奔達)是英國眾大廠牌中,少數由夫傳妻、妻傳子經營的家族品牌,其看待音響的理念,與對聲學技術的堅持一直傳承至今。后來傳給有師徒關系的Audiolab 創辦者 Philip Swift 先生,然而經典風味依舊不減,改變的隻有其市場策略,擴展了多個種類的產品線。Spendor在面對市場需求已經很明確指出下一步該如何進行的時候,他們仍堅持要按照自己的步調慢慢進行,務必設計出最符合Spendor 精神的音箱產品。因此 Spendor 音箱不會隻是跟隨流行,而是真正經得起時間考驗的經典之作。Spendor對愛用者的最佳保証是:產品不會在短時間內落伍;更不需要每隔幾年就掏腰包出來換機升級。這種狀況的缺點是不容易搶得市場先機,優點則是Spendor絕對能夠保証設計與制造上的嚴謹程度


從某個角度來看,Spendor 是有點守舊而傳統的。Spendor 在 1969 年由 Spencer Hughes 創辦,這位是音響界大名鼎鼎的傳奇人物。英國 BBC 監聽音箱的標准是Spencer Hughes 和他的伙伴 Dudley Harwood 共同制定的,其后他們研發了符合BBC 要求的 LS3/5A 音箱,而 Spendor BC1 成為第一對能完全符合 BBC 鑒聽標准的商業產品,在半透明的聚丙烯塑料涂上Bestrene阻尼物質創造出零音染的中低頻,這些成就都是可敬的。然后在共同打造經久不衰的話題產品——BBC LS 3/5a鑒聽音箱的四塚公司中(Spendor、KEF、Rogers、Harbeth),Spendor 以慢斯條理的方式緩步前進,不追求過度擴張,沒想到多年后當年那些伙伴都已經改頭換面了,隻有 Spendor 忠實的成為正統 BBC 揚聲器的守護者。

Spendor 與 BBC 深有淵源,Spendor Classic 2/3 的設計可以追溯到 80年代經典的 SA2,而開發理念更是從 60年代為 BBC 開發音箱時起源的。雖然 Spendor 多年來一直保持著復古的外觀設計,箱體尺寸也沒有像現在一些時尚書架箱一樣小巧,但並不意味著Spendor的揚聲器就過時了。


Spendor 來自於 BBC 的開發理念對於箱體構造有著獨到的見解。一般來說,音箱都會採用非常厚實穩固的材料去做箱體,以盡量減少箱體的諧振。但不論箱體有多堅固,諧振是無法完全消除的,越厚實的箱體,會使諧振的頻率越高,反而會對中頻段造成不良影響。而 BBC 的做法,則是將箱體做得較薄,這樣諧振的頻率就會比較低,而人耳對低頻沒那麼敏感,然后在內部使用大量的緩沖物料,來降低諧振的影響。Classic 2/3 同樣採用了這樣的理念,不過使用了很堅固的前面板,並在特定位置加入了最新技術制造的泡沫板,這些泡沫板會吸收諧振能量並將之轉化為熱能,不過在長時間使用 Classic 2/3 后並不會感覺到明顯的變熱。

Spendor 堅持自己開發單元,Classic 2/3 使用的是全新開發的 21cm 聚醯胺纖維錐盆,再配合鎂合金盆架帶來良好的穩定性。單元從錐盆到懸挂,到馬達都經過精心運算,確保達到最佳效果。而 22mm 球頂高音單元,是挪威 SEAS 合作開發已在多款 Spendor 產品上使用了,效果也是有保証的。分頻器並沒有使用太復雜的電路,Spendor 化繁為簡,隻求最佳的效果。


試聽搭配的是 Luxman 的播放機和功放。Classic 2/3 尺寸在書架箱中算不上小巧,可以說是比較大的。而它也需要比較講究的擺位,遠離牆壁。木質貼皮光滑、緊密,看得出精湛的做工,遠看是復古的美感,近看又能感受到 Spendor 之精細。有些音箱貼皮的邊角位處理的不好,給到我做工不佳的印象,我對音箱的印象也大大減分,而 Spendor 的產品則從未令我失望。Classic 2/3 外觀很簡潔,四方的箱體前方就是兩個單元和倒向孔。如果蓋上網罩就會把這些全部遮住。Classic 2/3 所使用的特殊涂層中低音單元十分光滑閃亮,露出單元其實也是蠻漂亮的。


和一些聲音較為厚重的英國聲不同,Spendor 的聲音是比較清新的,應該說是更為傾向於完全的中性。所以唱片的聲音便還原出了它本來的樣貌,厚實,是因為聲音渾厚,低頻強猛;清新,則是通透,輕盈。Classic 2/3 標示的頻響范圍是 35Hz – 25kHz,35Hz 已經算是相當不錯的下潛頻率了。雖然 Classic 2/3 並沒有很強勁的低頻,但它的下潛震動所給我的感覺,這個35Hz是貨真價實。而且低頻也有著自己的活力,下潛出色而且很靈活。結像清晰,泛音恰當好處。




BBC 監聽音箱,畢竟是用來重現錄音播放,真實還原度是Hi-Fi發燒友所追求的理想,所以 Spendor 的取向是相當討喜的,如果想要給系統增添一些味道,則可以考慮搭配比較有味道的功放播放機。在我試聽過程中,使用了不同的 CD,多數感覺良好,但有一些則並不理想,那是因為 Classic 2/3 的中性聲線讓一些錄音的缺陷顯露出來了。某些設備上這些缺陷是“可以忍受”的,因為器材會將錄音潤色一下,而Classic 2/3 則沒有這些修飾,於是這些缺陷便更為明顯,變得“不能忍”了。但這樣也能用來辨別優劣的錄音(或者灌制問題),這樣我要是能在 Classic 2/3 上聽到優美的音樂,我就會知道這張唱片是個好唱片,那也是一件樂事。


Spendor Classic 2/3 靈敏度 88dB,8Ω 阻抗,容易驅動,對功放(的推力)要求不算高。Classic 2/3 貫徹著 Spendor 的還原風格,三頻優秀而中性,素質高。外觀則復古秀麗,不過略顯大的體積是需要考慮的一點。偏中檔入門的價位值得入手,而其音質已經可以滿足發燒友,不會讓人聽久了就有升級的沖動(有些箱子會這樣)。我接觸 Spendor 的音箱不多,隻是經常聽起這個著名的品牌,這次再次欣賞到,確實名不虛傳。

轉載自 “視聽前線音響短評” 原創: 家祺

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尋覓如意郎君 英國 Spendor S3/5R2 Special Edition 書架箱初開箱全記錄

出於對音樂喜好和家居條件的原因,一直鐘情於精致唯美的小書架箱,尤其是在音響界曾經盛極一時的 BBC 二級監聽箱 LS3/5a,那水靈潤澤的中音更是如無解的毒物一樣總是魂牽夢繞揮之不去,潛意識中總認為這樣的音箱重播人聲和弦樂呈現的音質韻味最是醇厚醉人。更很長一段時間固執地認為,這才是正宗“英國聲”的代表。以至於,后來陸續聽了很多現代設計的書架箱,仍無法找到一款能夠在中頻音質和情感細膩度上取代 LS3/5a 的產品。但是,LS3/5a 已經無法滿足我對重播聲壓和動態的要求。

包裝上粘貼了總代理駿韻音響的“ 身份証”,証明這是經過合法渠道進口的行貨。大家選購時需要注意包裝上這些細節,以確保自己的消費權益,最穩妥的購買渠道當然是到各地的經銷商處購買全新行貨
劃開“保鮮紙”,封口處還有SPENDOR 的標簽?每一對行貨都是這樣的嗎?
開啟紙箱,映入眼帘的是厚實的立體成型白色環保泡沫,包裹著一對S3/5R2 SE
費了些勁才把包裝泡沫取出,兩隻S3/5R2 SE 身披塑料薄膜袋靜臥箱內,並且以印有Spendor 字樣的不干膠貼紙封口,是不是令人很期待呢? 市面上相似的優質書架箱林林總總多不勝數,深知很多音箱在某些方

面會比 LS3/5a 強,比如 ProAc Tablette、Dynaudio Focus110 和 ELAC BS243 等等,頻響兩端延伸和動態均有不俗水准,分析力和透明度也都是現代器材風格的代表,但音色往往都過於清冽而少了韻味,重播人聲總是欠那麼一點 LS3/5a 那樣扣人心弦的吸引力。難道魚與熊掌真的不能兼得嗎?就沒有一款音箱既能保有傳統英國聲的美聲,也兼具現代需求的動態、透明度和高分析力的需求嗎?

包裝時,防塵網罩已經安裝好在箱體上,座放在為LS3/5a 設計的貴族胡桃原木腳架上,通過腳架作參照,赫然發現S3/5R2 SE 比LS3/5a 稍窄一點,略深一點。其實從規格表上也能了解到這一點,隻是沒有放上腳架上這麼明確罷了
看看背板,碩大的鏡面厚金屬銘牌上印著豐富的信息,表明了英國原廠設計、制造的身份,而且每一隻音箱均有獨立的產品編號。事實上,Spendor 在英國自有大型箱體制造工廠,不但完全滿足自家品牌的生產,還幫很多同行代工
隻提供一對鍍金多用途喇叭線輸入座,塑料制造的接線盒也採用密封墊,防止漏氣。老實講,這個接線端子的設計不如以往採用接線柱直接緊固在箱體上的做法。而隻提供單線輸入,証明廠方對這一代S3/5R2 SE 的分頻器和喇叭單元素質極有信心,但作為發燒友卻少了一種雙線分音甚至雙功放驅動的玩法選擇
掀開網罩一睹廬山真面目,結構上繼承了LS3/5a 的架構,典型的傳統兩路兩單元書架箱設計,如出一轍的密閉箱體設計,令低頻響應更快

尋尋覓覓中,偶然在一個小型發燒聚會中聽到了日本 Luxman 力仕 D-380 和 LX-380 組合推英國 Spendor 思奔達 S3/5R2 Special Edition 書架箱的聲音,僅憑18W×2(8Ω)膽機的輸出功率,驅動體型和 LS3/5a 幾乎無異的 S3/5R2 SE 小書架箱,那飽滿、厚實的音質,重播交響樂時頗具規模感的表現,令人大感意外。初步的感受:音質密度、低頻厚實度,以及細節分析力等方面已經超出了以往對LS3/5a的舊有印象,而中音溫暖厚實,這不正是我要找的聲音嗎?事實上當年KEF 停止供應 LS3/5a 的喇叭單元后,LS3/5a 的各生產廠商無奈悉數停產這款常青樹監聽箱,轉而研發替代產品,Spendor 的 S3/5 就是在這個背景下誕生的,而現在的最新版本 S3/5R2 SE 則是不斷進化的第五代產品了。

使用廠方全新開發的15cm with EP77 polymer cone 中低音單元;22mm widesurround寬環高音單元
這枚22mm 高音單元已經採用到同系產品中,包括最新的New Classic 100,其音質密度和寬闊的指向性都值得期待
新箱開聲不可避免有點緊、頻響兩端延伸不夠順暢,無疑需要留給足夠的時間煲練,才能進入較理想的狀態。剛開始時先接上藝術家作品一號晶體管功放,用中等音量煲箱,說說聲音初體驗吧:雖然高低頻延伸較緊,有點放不開,但中頻的那種“毒性”已經若隱若現了。至於S3/5R2 SE 的聲音究竟如何?留待音箱“煲”出狀態后再和大家分享吧。過段時間我會換上麗磁膽機,並且嘗試換上不同的線材搭配,正式享受這款純粹英倫書架箱的音樂美味盛宴
15cm 中低音單元口徑比S3/5 上使用的稍大一點,是全新開發的產品,採用固定式子彈頭相位塞,目的是改善中頻的相位和指向性

以往搭配 LS3/5a 的經驗是“無膽不歡”,加上這次聽過 Luxman 力仕 LX-380 膽機的經歷,令我對 S3/5R2 SE 搭配膽機的效果充滿信心。我正好使用的是 211 版本的麗磁 LM-218IA 膽機, 用來搭配 S3/5R2 SE 看來是成功率比較高的選擇。另外,我還有羽商 Classic 藝術家 OP.1 作品一號晶體管功放,也可以試試搭配這款廠方富有盛名的 S3/5R2 SE 小書架箱的搭配適應性。於是,一對全新的 S3/5R2 SE 收入囊中,激動的開箱過程見証續夢 LS3/5a 的旅程再次啟航。

全文轉自 2018-05-07 《新音響》

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Spendor S3/5R2黑檀木特別限量版

要數音響界書架式楊聲器的經典中之經典!英國 LS3/5a 絕對是 當之無愧。這款其貌不揚的小書架揚聲器原本由兩名 BBC 錄音工程師設計而成,他們將錄音室的收音標準到重播時的標準統一並納人到揚聲器設引之內,而其他揚聲器生產商無論以任何物料製作產品都必須要符合 BBC 工程師所制定的標準才算合格,從然得到 BBC 認証生產 LS3/5a。當然,要達至 BBC 的嚴格要求,最簡單的方法就是選擇原始設計時的單元、箱體物料、 阻尼物·接線等等。不過亦正因為原單元供應商 KEF 停產了該單元, 各廠商唯一的出路就是要另實單花來完成製作,各施各法在LS3/5a 的規格上變奏出符合標準而又截然不同的新型書架式揚聲器。

緊貼時代 推陳出新
在眾多 LS3/5a 揚聲器製造商之中。英國 Spendor 可說是其中一所極養活躍的廠家,由早期獲得 BBC 認可直至一九九七年 KEF 停止供應相關單元為止。為了延續 這款經典揚聲器,Spendor 決定自行製作單元部分,並按照 LS3/5a 的同一設計概念,沿用兩路雙單元的小型書架箱體標準,結合 Spendor 單元製作成新代書架式 揚聲器:S3/5。

事實上,新世代音頻標準不段提升,要迎合嶄新的數碼音源重播,揚聲器單元的設計定必需要作出調整,以符合不斷提升的音響重播標準,為 LS3/5a 注入新元素也是情理之內的,而當年的 S3/5 甫推出市場便大受歡迎, 證明 Spendor 的方針完全正確,用戶對這類優質小型書架式揚聲器的需求極度殷切!然後,廠方 不久又再推出 S3/5SE 版本以饗用家;直到 2002 年,Spendor 首次為這款小霄架喇叭加以改良,並按照 BBC 監聽喇叭的命名方法將 S3/5 新版定名為 S3/5a。 而到了S3/5推出十周年即 2007 年,廠方再一次將 S3/5a 改良並將型號定為 S3/5R。到了 2010 年,Spendor 將版本再一次升級,脫變成第四代型號 S3/5R2。

20 年技術完美提煉
2017年,正是 S3/5 面世 20 周年,Spendor 再一次延續傳奇,以 S3/5R2 作為基礎推出 Special Edition 特別版,新版本選用了頂級黑檀木面製作,亦基於罕有,此一版本亦只能以特別限量形式推出;專為 Spendor 的支持者而投產,將產品二十年的完美進化技術獻給鍾情於 S3/5R2 的用戶及收藏家。

Spendor S3/5R2 黑檀木特別版是款兩路兩單元書架式揚聲器,其保持了過往所有S3/5 的一貫音樂味及討好的音色,並且在高,低頻延伸、動態、功率包容性、通透度、音樂連貫性等各方面都有著顯注改良,插放音樂的平衡度上更顯自然流暢。

S3/5R2 黑壇木特別版的箱體沿用最經典的設計,選用最新的 Spendor 15cm 中/低音驅動單元及經典寬邊半球型高音單元,中/低音以鑄造合金支架解決內部散熱問題,配合長沖程單元振膜達至最理想的中低頻表現。電腦設計精良箱體以 Spendor 獨門厚薄不一設計,每個不同厚度都是為了得到最優良的共嗚效應,同時並能杜絕箱 體物料的共振現象,讓聲音更動聽、要逼真,

轉載自 “影音生活” 76 期

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將經典進行到底 – 試聽 Spendor S3/5R2 SE 黑檀木特別限量版書架音箱

由香港駿韻音響代理的英國思奔達品牌創建於1960年代,至今已有50多年歷史。品牌的英文名稱 Spendor 源於兩位創始人Spencer Hughes 和 Dorothy Hughes(Spencer的妻子)姓名的組合。Spencer 先生曾擔任英國 BBC 公司的音響工程師,憑借此間經驗,他制作出平生第一款音箱 BC1,這款被譽為 “改變了游戲規則(game-changing)” 的音箱,具有聲音通透、自然中正、音樂性佳的優異性能,旋即被全球各大廣播電台和錄音師選為監聽音箱,由此開創了思奔達品牌的光榮歷史,也奠定了思奔達作為“英國聲”代表的先驅地位。

本文評測的思奔達S3/5R2 SE是該品牌經典傳奇的延續


本次試聽的思奔達(Spendor)S3/5R2 SE 黑檀木特別限量版書架音箱,其歷史可謂源遠流長。看到“3/5”這個數字,稍有經驗的朋友都知道它代表的是 BBC 一代監聽名箱 LS3/5A,其中的 “3/5” 表示該類型音箱的箱內容積是 3/5 公升,“A” 表示為改良型號。正是Spencer及其合作伙伴確定了 BBC 監聽音箱的聲音風格,而思奔達順理成章地成為了這一市場先行者,並且直到現在一直是正統 BBC 監聽音箱的守護人。

思奔達 S3/5R2 SE 的老前輩是1997年該品牌發布的S3/5音箱,當時由於 KEF 停止供應 LS 3/5A 音箱的相關喇叭單元,思奔達改用自家研發的的發聲單元,遵循 LS 3/5A 監聽音箱的理念和標准,推出了 S3/5:
●再之后又更新設計,推出了思奔達 S3/5 SE。
●2017年,迎來這個傳奇揚聲器家族的第20個年頭,思奔達特別推出這款特別限量版S3/5R2 SE音箱。

Spendor 第一代的S3/5音箱
Spendor S3/5R2(它是本次試聽的S3/5R2 SE音箱的上一代)

一款音箱能夠綿延20年經久不衰,而且傳承有序,足見思奔達作為 “BBC 監聽音箱守護人” 的不忘初心。而其背后則是眾多知名錄音室、專業人士和廣大發燒友對這款經典音箱的一路不舍和追捧。

綿延20年的思奔達經典音箱最新款:S3/5R2 SE黑檀木特別限量版

在思奔達50多年的發展中,推出了諸如 BC1、LS 3/5A、SP100 等眾多經典音箱。經過不斷改型和更新換代后,如今思奔達採用三個系列對其產品進行歸納,分別是:A系列(包括A1、A2、A4 三個型號)、D系列(包括D1、D7和D9三個型號)以及Classic(經典)系列。其中當屬Classic(經典)系列最能代表思奔達的品牌基因和聲音個性,而這個系列也是它產品型號最豐富的,一共六個型號。HIFI說此次試聽的S3/5R2 SE音箱是這個系列中個頭最小的一款。如下圖所示:

二、思奔達 S3/5R2 SE音箱新在哪兒?

在中國總代理駿韻音響發布的新廣告上,這款音箱的全稱是“思奔達 S3/5R2 SE 黑檀木特別限量版”,先不說別的,可以看出“黑檀木”是這款音箱的特色和賣點之一,嚴格說來它用到的是具有相當厚度的黑檀木片,而不是常見的木皮或者木紙,觸覺可以感到音箱木質表面的凸凹紋理,質感、檔次和視覺美學遠勝於普通版的同類音箱,給你先聲奪人的第一眼好感。實際上,思奔達在2003年就推出過 S3/5 SE黑檀木特別版,當時一共生產了200對很快售罄,此后不少新舊顧客不斷要求廠方再次推出這類特別型號產品,但基於限量原則以及原材料的短缺一直沒能滿足。相信這次S3/5R2 SE限量版仍然會是緊俏品,出手慢的用戶要等到下次至少還需10年。


除了特別選擇的黑檀木片,S3/5R2 SE 的箱體設計和制作依然延續了思奔達的工匠精神,它的箱體經過電腦的精確模擬設計,箱壁並不是完全等厚,而是恰當的厚薄不一,其目的是為了得到更接近真實樂器的共鳴效應。

思奔達 S3/5R2 SE是一款典型思奔達風格的兩分頻兩單元書架箱,與 LS3/5A 一樣是密封式箱體,這種箱體類型無需考慮離牆遠近等擺位顧慮,使得擺放非常靈活和方便,更加適合在臥室、書房、小型客廳等較小空間裡使用。

與前代版本 S3/5R2 音箱相比,這款特別限量版音箱在喇叭單元和分頻器設計上均有變化。中低音單元方面,前代產品 S3/5R2 採用的是直徑140mm 的 EP39,而S3/5R2 SE 採用了思奔達獨有的150mm 的 EP77 長沖程錐盆,口徑更大,配合寬懸邊、錐盆中央的相位錐以及高效率散熱的鑄造合金盆架。

相比前代產品,S3/5R2 SE中低音單元口徑更大性能更優

S3/5R2 SE 的高音單元仍然採用了思奔達經典的液磁冷卻球頂振膜,口徑為 22毫米,寬懸邊設計。根據高音單元和中低音單元理想的工作狀況,思奔達對這款限量版音箱的分頻器進行了重新設計,將分頻點定在4.2kHz(前代產品S3/5R2為5kHz),使得 S3/5R2 SE 效率更高,靈敏度提升到 86dB(前代產品 S3/5R2 為84dB),低頻范圍也由前代產品的 75Hz下潛到了 70Hz。

從上面介紹可以看出,從箱體到喇叭單元和分頻器,思奔達針對S3/5R2 SE都進行了優化設計,可以說是“換湯又換藥”,絕對不是那種打著限量特別版的名義兜售老產品的做法,其背后宗旨依然是遵循聲學科技的進展、以及當代用戶的口味變化,通過精益求精的設計讓經典產品成為新的經典。


本次試聽在廣州新地影音進行,店門位於廣州市越秀區大沙頭路海印廣場A035,它除了代理思奔達品牌,還是力仕(Luxman)、寶華韋健(B & W)、加利(Cary Audio)、朗泉(Creek Audio)、君子(REGA)等多個國際知名品牌的正規代理商。

試聽室的面積約有20平方米,搭配的是Creek(朗泉)Evolution 100 CD 播放機和Evolution 100A 合並式功放。對於S3/5R2 SE這樣的小型書架箱,買家多數會用於書房、臥室等小型聆聽空間,這樣的搭配無論是價位還是方便程度還都是相宜而簡潔的。

思奔達 S3/5R2 SE音箱的聲音表現給筆者的第一個印象是良好的通透感。無論是播放人聲、流行歌曲還是小編制樂曲等,音樂透明晴朗,節奏清晰,動態反應敏銳輕靈,彷佛在月明風清的晚上,空氣中毫無雜染。重播 Jerome Harris 爵士樂專輯《Rendezvous》中的 “The Mooche” 一曲時,其中的 solo 樂段精致優雅,音樂氣息纖細微小而不失韻味,樂句尾音的消失也刻畫得柔滑細膩。S3/5R2 SE 的聲底依然是思奔達好聽、耐聽、音樂性極佳的韻味,聲音通透但不蒼白,清朗而富有溫潤,人聲和樂器聲質感真實。不像一些現代派監聽音箱由於過分追求聲音通透而喪失了音樂韻味。

思奔達 S3/5R2 SE音箱給人的第二個感覺是聲音鮮活細致,試聽 Dorian 的專輯《Tribute to Sarasata》可以感到小提琴聲在真實之外更有一份細膩鮮活的特質,音樂線條優美流暢,思奔達改進后的喇叭單元顯得更為靈敏,可以把小提琴擦弦最細微的聲音都表現了出來。拉到小提琴較低把位時琴弦的共鳴更加真實過癮,這得益於 S3/5R2 SE 更大的中低音單元和寬懸邊設計。音樂中鋼琴的琴音相當豐富,規模感宏大,而且三頻的銜接順滑,聲音風格具有高度完美的一致性。當然,對於這樣一對緊湊尺寸的書架箱,你不可能過於苛求它的低頻量感,但是在聆聽人聲、弦樂、小編制樂曲時,你絲毫不會感到低頻的缺失,倒是讓人驚訝於它低頻的優雅質感和鮮活沖擊力,整體音樂的極小極大動態范圍表現得很完整,沒有被壓縮的感覺,這恐怕要歸功於思奔達針對喇叭單元的分頻器重新設計以及厚薄得當的箱體結構。

總體來說,S3/5R2 SE 音箱給人的感覺在保留了監聽名箱 LS3/5A 的靈魂之外,更加完善了針對現代用家的聆聽需求,比如更高的解析力,大動態音樂的適應能力以及更多的高品質低頻量感。可以說,它既具有古典音箱溫潤而甜美的聲音特質,又具有現代音箱的分析力與動態,高音純正甜美,中低音飽滿豐盈,音樂美感十足。此外,它小巧而不佔地方,密封式箱體的箱體類型讓您的較小聆聽空間內的擺位異常靈活。如果您考慮在小面積客廳、書房或者臥室購置一套HiFi系統,S3/5R2 SE音箱稱得上物超所值的理想選擇。別忘了,它可是最經典英國名箱的限量供應,而且正如思奔達的設計追求:我們的音箱是可以讓您用一輩子的!

轉載自:HIFI說 2018年1月肇綱評測

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Spendor D9 Loudspeaker – HiFi+


Spendor may be one of the oldest (and most respected) names in the UK audio industry, but since its acquisition by Philip Swift (once of Audiolab) its products have been anything but old-fashioned. Admittedly, the Classic Series products look the ‘pipe and slippers’ part -all nostalgic finishes and appearance – but even here, beneath the skin these venerable designs have benefitted from carefully considered upgrades and technological improvements – developments that have filtered down directly from the unmistakably modern A- and D-Line products, whose slim cabinets are themselves anything but The-too’ versions of modern thinking, You don’t have to look too far before you find the evidence that Spender may build on the solid foundations that made speakers like the BC1 world famous, but it is only too ready to invest in modern technology and investigate practical solutions to modern concerns, The A6R, a slim, floorstanding two-way that looks remarkably conventional is anything but, at least in musical terms. Instead it manages to offer all the advantages of two-way operation in a compact enclosure that (in stark contrast to the competition) doesn’t sing along with the music. Then there’s the D1, a compact standmount of such remarkable musical coherence that it’s capable of challenging all those high-end miniatures that cost many, many times its modest price. And that’s the thing: it’s not just what these speakers do (which is impressive enough), but how they do it for the price that is the burning question, The arrival of the D9, a new flagship for the line, neatly encapsulates current thinking at Spendor, offering the opportunity to dig a little deeper into what makes these products not just perform, but exceed expectations.

Outwardly at least, there’s little to separate the D9 from the other tall. slim floorstanders lining the walls of your local dealer’s showroom. Narrow, deep cabinet – check: Plinth base – check: Vertical array of multiple drivers – check. But examine the detail and the differences soon start to emerge. Even a cursory glance suggests that there’s something different about the tweeter, while the plinth base barely extends beyond the cabinet footprint itself. Meanwhile a look round the back shows a complex port arrangement that’s a world away from the simple drainage pipes of yore. Look at the numbers and you’ll see that Spender suggest an in-room bandwidth that goes as low as 27Hz – not in itself unusual, but difficult to do well from a cabinet this size. Most speakers claiming that sort of extension achieve it at the expense of lumpy, uneven, and often one-note bass. Yet listen to the D9 and the first thing that strikes you is its clear and linear bass output. The bottom end of this speaker goes lower than you expect (suggesting that 27Hz figure is a lot less fanciful than some manufacturers’ numbers), but it’s also articulate, tuneful, and agile, with no overhang and no thickness to clutter and smudge the midrange.

To understand why that is, it’s necessary to dig a little deeper and take a look at the D9’s constituent elements – and what’s been done with them. The 180mm Kevlar-coned bass drivers were developed specifically for the 09, their physical and electrical characteristics tuned specifically to match the requirements of the bass enclosure. So what we have here is a bass system, in which the various parts are designed in tandem to create a coherent whole. That’s not unique, but it’s the rest of the box that makes the D9 stand out from the crowd, both in terms of what’s in it and how it sounds. The box itself is constructed from specially selected HDF, and the walls are thinner than those on much of the competition. Instead, resonance in the structure is dealt with by strategically sited low-mass resonators, small, constrained layer slabs placed at vibrational nodes to absorb energy and dissipate it as heat. The result is a cabinet structure that’s both better behaved and stores significantly less energy than conventional constructions. Add to that the lack of internal wadding and the use of Spender’s Linear Flow port technology, and you have an incredibly quiet cabinet that prevents stored energy belatedly finding its way back into the enclosed air-mass to muddy the output and limits spurious output from the port itself polluting the room.

With all that attention paid to low-frequency linearity (and it’s a lot easier to describe than it is to achieve) you might well think that Spender would want to provide the most stable footing possible – and you’d be right. So what’s with the diminutive plinth that barely extends beyond the cabinet edges? Look underneath and you’ll find that each corner of the solid plinth is supported on a substantial steel disc, 45mm in diameter. On the outer edge of each disc is the threaded hole for the M8 spike. It’s an arrangement that combines a narrower plinth with the wider footprint associated with much more obtrusive structures, a happy match of aesthetic, domestic, and mechanical requirements. The discs deliver a strong, stable, precision coupling of spike to cabinet, making for easy attitude adjustment and good energy transfer. Best of all, the mechanical stability allows the use of nice, long spikes, which allow easy adjustment in the crucial vertical dimension. The end result is both more discrete and more effective than many far more obvious (for which read ‘ugly’ or “intrusive’) arrangements.

At the other end of the range, we find Spendor’s innovative LPZ tweeter. This soft dome, coupled-cavity driver is familiar from both the D1 and D7, but it should still be noted just how effective and musically accomplished this apparently simple design really is. The perforated face plate acts to equalize phase and pressure across the face of the driver, producing time- and phase-coherent output, while the equivalent cavities in front of and behind the diaphragm means that the moving parts constitute a linear, balanced-mode generator: simple but effective.

Of course, all that effort expended on the cabinet, bottom end, and high-frequencies is wasted if the midrange isn’t up to it. But then, mid-band has always been a Spender speciality and the 180mm midrange driver with its in-house EP77 polymer cone won’t disappoint. The inherent self-damping and even mechanical behaviour of the driver allows it to be used with shallow crossover slopes that lead in turn to an easy impedance characteristic — meaning that you are going to get the best out of your amp, too. Like everything else, the crossover components are carefully selected, as is the internal wiring and the single-wired terminals. And in many ways, that’s the basis of the Spendor story: there’s a clarity of vision, fastened on the rigid, low-storage cabinet and in-house drivers, but the other side of the coin is the attention to detail that’s been lavished on everything from the port to the spikes, the product’s domestic impact to its packaging. It’s a long and rocky road between an initial design and a viable end product. Look at the D9 – or any other Spendor product – and what becomes obvious is that somewhere in the factory, there’s a large sign that reads “No Short Cuts”. It’s a philosophy that becomes even more apparent once you listen to this speaker.

“The D9’s deep, linear bass is remarkably well behaved a factor that can easily lull you into a false sense of security.”


The D9’s deep, linear bass is remarkably well behaved – a factor that can easily lull you into a false sense of security. Put it down almost anywhere and it will sound pretty good – but it won’t sound as good as it can after some time spent on optimising position and attitude. Once you’ve found the right spot, make sure that you level the speaker and then experiment with its height from the floor, using the spikes to lift or lower it. If you start with the spikes set tall and position it with them set that way, lowering the cabinet closer to the floor will bring added weight and dimensionality without any compromise of pace, pitch, or clarity. Once you’ve done that, it’s worth checking rake angle and lateral tilt, as both can have a significant impact on the music’s sense of presence and purpose.

Although their easy load characteristics mean that the D9s don’t demand supremely capable amplification, their performance certainly deserves it. Run with amps as varied as the latest TEAD Linear Bs, the VTL S400-11, or the Levinson 585, the speakers responded with enthusiasm to the character and quality of the signal they received. The astonishing clarity and innate sense of musical organisation that makes the Linear Bs so special was well to the fore, as was the S400’s presence, body, and dynamic authority. But of these options perhaps the 585 is the D9s natural partner, both in terms of cost and capability. In fact, just like the similarly priced Vienna Acoustics Liszt, these are speakers crying out to be hung on the end of today’s super integrated amps, whether that amp is the 585, the Neodio Origine A2, the Gryphon Diablo 120, or even a Lavardin IS Reference. The 09 might not match the sheer scale and bandwidth of the Liszt (even though they are virtually identical on paper) but it is a far more friendly load – which is where the little Lavardin promises to be such an interesting match.

With so many stellar new entries in the 210K speaker stakes, the 09 is going to have to carve its own niche. It does so by doing what Spendors do. Play something quick and clean, like Eleanor McEvoy’s Yoke [Moscodisc], with its crisp dynamics and surprisingly deep bass and the D9s don’t disappoint. The bottom end is deft and sure-footed, with plenty of instrumental character, rhythm, and definition, pushing things along at just the rignt pace; tight enough to be interesting without sounding hectoring or driven. Melodies and phrasing are articulate and the vocals – oh, the vocals: intimate. affecting, direct, and communicative, those vocals make this a captivating and addictive listen, one of those speakers where you set out to play a track and end up playing the whole side. Work up to larger scale works and the 09 might lack the expansive palpable acoustic space thrown by the Liszt or Wilson Sabrina, as well as the unburstably enthusiastic dynamics of the Sopra 2, but it more than makes up for those deficiencies through its sense of integration and musical integrity. Everything just slots in around that natural, expressive mid-band, underpinning voices and solo instruments with an unforced sense of musical shape and context. Did I mention the tweeter? No – that’s because you just don’t notice it, at least not as a separate entity. It’s simply a beautifully integrated extension of that open and intimate midrange. From this it might be easy to assume that the 09 is a beautifully balanced but fatally polite offering: nothing could be further from the truth. You want rude the D9 can be positively bawdy when required. It just doesn’t make an unwelcome habit of it.

Put those attributes together and what you have on the one hand is a classic British speaker, pace, rhythm, and timing all present and correct. On the other – you have a classic British speaker, tonally neutral, linear, and musically coherent. In a very real sense the 09 combines the two great traditions of UK speaker design, without diminishing either. It delivers the superbly open and communicative mid-band of a model like the D1, but succeeds in grafting on a bottom end that is as impressive as it is effective. Does that mean you can have your cake and eat it? Yes it does – and you can enjoy it with a surprisingly wide range of partnering amps too. In fact, the D9 is so system and room friendly that in many cases it might well be the best speaker you’ve ever heard, especially at the price – simply because it works more readily than the competition, With elegant lines to match its thoughtful engineering, and a range of attractive finishes, both modern and traditional, to match its room friendly bass voicing, the D9 really hits the sweet spot of attainable price, achievable performance, and acceptable domestic impact. Indeed, it’s so unmistakably English and so precisely suited to the English market that it probably needs a passport to travel. But when it arrives, I suspect it’s going to shake up more than a few of the locals. Tall, slim, and innately understated, this English gentleman might not shout, but the message is still delivered with purpose, clarity and where necessary, definite intent, A superbly balanced and beautifully judged design, this is the best Spendor yet – and that’s no mean feat.


Type: Three-way rear-reflex loaded loudspeaker
Driver Complement: 2x 180mm Kevlar coned LF, 1x 180mm EP77 polymer MF, 1x 22mm Spendor LPZ HF
Bandwidth: 27Hz-25kHz ±3dB in-room
Sensitivity: 90dB
Load: 8 Ohms
Weight: 35kg ea.
Dimensions (WxHxD): 222 x 1125 x 409mm
Finishes: Natural wood veneers, satin white, Spendor dark high gloss or slate grey high gloss
Price: £8.500 per pair
Manufacturer: Spendor Audio Systems Ltd.

From HiFi+ Issue 151 Sep 2017 by Roy Gregory

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為你亮起小黃燈 LUXMAN D-380CD 播放機 LX-380 合並膽機 SPENDOR 3/5R2 SE 書架箱組合


帥哥美女相互吸引的條件無非始於顏值,那才華呢?那是終一生才能細細品嘗的。其實我們選購 Hi-Fi 器材又何嘗不是如此呢?很多器材讓人一見傾心,未聞聲已經印象分滿滿了。就如這次試聽的這套 D-380 CD 機與 LX-380 合並膽機組合,是日本 LUXMAN 力仕為紀念建廠90周年(1925-2015) 推出的 Classic 經典系列的新產品。其復古、典雅的原木外殼機箱,光造型就已經迷倒一眾音響迷。不知道大家是否有同感,其實懷舊是一種情懷,很多稍有點資歷的音響迷的審美觀都傾向於復古、傳統一類,尤其對於經典的造型更是情有獨鐘,至少我就是如此,看見橫平豎直的線條,醇厚的木質感色彩就會由衷產生好感。在音響領域耕耘 90 余載的LUXMAN 當然知曉這個元素,他們發展的黃金時期是上世紀 60-80 年代,D-380 與 LX-380 就是源於那個時期的經典造型。而同為經典系列中,還有採用 300B 的MQ-300 后級、採用 KT88 推挽設計的 MQ-88u 后級、旗艦級的 CL-38u 膽前級、晶體管合並功放 L-305 和 D-30u CD 機。

然而內涵呢?外觀雖然復古,但生於現代的 D-380 與 LX-380 自然無法完全復刻以往的產品,比如 CD 是近代數碼音源的產物,而升頻技術更是數字音頻發展的趨勢,除此之外,D-380 卻提供了晶體管和電子管輸出選擇,盡最大的可能融合現代與傳統的精粹。在今年(2017)年中的香港音響展上,總裁社長 Teruyoshi Kawakami 川上晃義先生更是在展會現場發布會上隆重推薦了 LUXMAN 近期眾多新產品,其中就包括了 LX-380 合並功放。

和 D-380 相似,LX-380 的設計理念也遵循復古與現代的結合,其每聲道採用兩隻6L6GC 輸出20W,在總體架構上就是傳統的電子管功放。但卻是首次在膽機中採用源於 L-590AX 的 LECUA 電子音量控制線路,避免傳統電位器的損耗和一致性問題。從這一點,就可見 LUXMAN 是用盡一切廠方先進技術,希望為傳統膽機融入更多新理念,發揮出更佳音質。同時,LX-380 具備前后級輸出/入端子,可方便組件周邊器材提升搭配適應性。並具有耳機輸出口,方便耳機玩家的需求。另外還具有 MM/MC 對應的唱頭放大線路,黑膠玩家可直接搭配唱盤使用,比如 LUXMAN自家的 PD-171A。曾採訪過 LUXMAN 現任副社長末吉達哉先生,他表示 LUXMAN 今年穩健發展,所有 Hi-Fi 產品嚴選高音質元件,整機提供三年原廠保養(電子管一年),並且,LUXMAN 積極在創新領域發展,比如近年積極開拓 DAC和耳放市場,以滿足更多年輕音響迷的需求,現在,LUXMAN 已經是日本國內高級音響品牌最暢銷三甲之列。

D-380 ●使用電子管:ECC82 ●模擬輸出端子:RCA×1 ●數字輸出端子:光纖、同軸各一 ●輸出阻抗:300Ω ●信噪比:115dB ●體積(WHD):440×167×286mm ●重量:10.8kg

專注於CD 播放
D-380採用木制外殼配上鋁制面板,充滿古典與雅致的風格,面板上部有一道橫向貫穿的凹槽,在其上除了左側的電源開關,還有靠右側的兩個小孔,一個是電子管輸出指示燈,點亮時一圈橙色燈光顯得柔和精致,而右側的則是遙控接收窗。D-380 面板上另外兩處亮睛點,一是在於碟倉和右側的顯示屏之間,可見橫臥著一支電子管,這種設計在 80-90 年代 LUXMAN 的產品上都可覓得蹤跡。這枚斯洛伐克 JJ Electronic 生產的型號為 ECC82(12AU7) 的雙三極電子管,採用陰極輸出線路,為D-380提供更具韻味的模擬音樂信號;二是這枚電子管的下方有一個小小的切換開關,用以選擇晶體管輸出或者電子管輸出。
而D-380 其實是一款純粹的 CD 播放器,隻設一組 RCA 立體聲模擬輸出,以及兩組數碼輸出(同軸、光纖,可手動關閉),沒有配備時下流行的 USB、串流等功能,加上可以放大字體的點陣式顯示器,即使距離較遠都可清楚看見播放信息。廠方資料顯示,D-380 的轉盤安裝在底板8mm厚的鋁板上,以降低重心及增加結構強度,避免諧振對拾訊的影響。D/A 解碼芯片採用一片TI 德州儀器 PCM5102A, 具有 32Bit/384kHz 的高精度處理能力,並設有兩組數碼濾波供玩家選擇。而機內的訊號路徑接線為 OFC 無氧銅導體,PCB線路板線路彎位採用圓弧形,如此細致周詳的設計,完全在於 LUXMAN 對任何可能改善音質的因素都費心考証的結果。

LX-380 ●輸出功率:18W×2(8Ω)、20W×2(6Ω) ● 輸入靈敏度/ 阻抗:380μV/100Ω(phono MC)、3mV/47kΩ(phono MM)、180mV/47kΩ (非平衡) ●使用電子管:ECC82×3、6L6GC×4 ●體積(WHD):440×197×403mm ●重量:17.6kg ●接線端子:唱頭輸入1 路(MM/MC 可切換)、 RCA 高電平線路輸入共4 組、磁帶輸入/ 輸出1 組、 Pre out/main in 端子1 組

初次見到 LX-380 時, 其與 D-380 幾乎無異的原木制機箱設計,若不是頂板后半截留出了散熱孔,很難想象它是一款膽機。相比較 D-380,LX-380 的面板設計復古氣息更為濃烈,在功能上 LX-380 維持了日系功放真正的合並機豐富的功能,比如面板左側的4個旋鈕音調控制,可選擇 150/300/600 中低頻,及 1.5k/3k/6k 等頻率控制高、低頻的增益與衰減;比如面板中間的 5 個大型撥杆開關可切換直接輸出、等響度開關、超低頻濾波開關、單聲道/ 立體聲輸出、唱頭 MM/MC 切換等等;同時,面板中間還具有 6.3mm 耳機輸出插孔,提供高素質的耳放輸出。面板的右側,則提供訊源輸入切換、喇叭輸出組切換、監聽模式、左右平衡和音量控制等功能。LX-380 的豐富功能相對於現代追求簡約設計的理念可謂背道而馳,但無可否認這確實日系產品的傳統。其實豐富的功能也並非雞肋,有助用家根據自己的空間環境和搭配調整出最佳的效果,而且日系產品的可靠性還是值得信賴的。轉到背板上,可見 LX-380 同樣採用傳統的設計,僅具有模擬接口,而沒有配備時下流行的數字接口。比如 Phono 唱頭放大輸入一組,通過面板切換 MM/MC;高電平RCA 輸入 4 組;錄音輸入和監聽輸出各一組;前級輸出和后級輸入各一組,完全能滿足音響迷對與合並功放的各種應用。而喇叭線輸出則提供了 A/B 兩組,通過面板的切換旋鈕可選擇任一組輸出或者兩組一起輸出。對了,很多膽機都提供不同阻抗匹配的輸出,而 LUXMAN 在採用全耦合式輸出變壓器,因此能自動適應 4-16Ω  的音箱阻抗,使用上更顯方便。

內部結構上,LX-380 為前后級純電子管信號放大設計,前級及驅動級採用三支ECC82小管,輸出級採用四支 6L6GC,每聲道兩支推挽輸出 18W(8Ω)、20W(6Ω) 功率。膽機一直是 LUXMAN 的專長,尤其是輸出牛,早在五十年代,他們就曾經推出名為OY-15的輸出變壓器,並取得理想的銷售數字。及后更注冊了一些真空管線路的專利技術,例如無負回輸線路等等。在音量控制方面,LX-380 不計成本地採用了廠方專利的 LECUA(Luxman Electric Controled Ultimate Attenuator) 電子電位器音量控制技術,採用模擬的方式88級控制,信號僅經過單一隻電阻分流,借著啟動FET開關而非接觸模式,並且應用高性能光速斷流器得到杰出的無噪音轉換,從而避免傳統電位器產生的耐用性、誤差和噪音等問題。這項技術的優點:1、出色的信噪比;2、極低的失真;3、對頻響無任何影響,對音質無任何影響;4、左右聲道的差異最小化;5、左右聲道的串擾極低。

經驗告訴我們,LUXMAN 器材的聲音風格並非單純日系風的高分析力、快速瞬態響應,在此基礎上更融入了美式風格的厚暖從容感,其實這些聲音元素並不矛盾的,至少在 LUXMAN 身上,我們覺得是魚與熊掌而兼得的。尤其是當 LUXMAN 搭配來自英國著名音箱老品牌SPENDOR思奔達的時候,那厚潤的音色加上並不慢的速度和不俗的分析力,甚至讓人覺得不敢相信面前的音箱是英國的傳統老牌。比如我曾在音響展上聽過代理商用 LUXMAN 的純 A 類合並機 L-590AX Ⅱ 驅動SPENDOR 的 SP100R2 書架箱,既然可在近百平方的開放空間中播放敲擊樂,那動態、能量和密度都令人驚訝。或許現代的SPENDOR聲音風格也與時俱進了,比如面前搭配 D-380/LX-380 的這款 Classic R2 完美經典系列的 3/5R2SE(Special Edition)小書架箱也與LUXMAN碰撞出精彩的火花。

其實以身價論門當戶對,D-380 與 LX-380 組合更適合和大一號甚至兩號的音箱搭配的,比如 SP3/1R2SE 或者 SP2/3R2,那樣子滿足 30 平方左右的聆聽面積需求也毫無壓力。追本溯源,其實3/5R2 SE的前身是從 1997 年 KEF 停產 LS3/5a 相關喇叭單元時,SPENDOR推出的替代型號 S3/5。在多年多次的進化中,誕生過S3/5a、S3/5R、S3/5R2 等型號, 而 3/5R2 SE 是 S3/5R2 的進化版,除了箱體大小一致之外,其實改進是天翻地覆的,比如中低音單元就從 140mm EP39 改換為全新研發的 150mm EP77, 採用 Polymer 聚合物振膜,令低頻延伸從 75Hz 提升到70Hz(±3dB)。分頻點從 5kHz 下降到 4.1kHz,從而減輕了高音單元的負擔。振膜中央的防塵罩也改為“子彈頭”式相位錐,目的是改善中頻的擴散性,令音箱的指向性更寬闊,改善“皇帝位”的甜點范圍。搭配 22mm 寬環邊軟球頂振膜高音單元,也帶來更好的高頻細節和泛音表現。靈敏度也從 84dB 提升到 86dB,因此對功放的要求也更寬鬆一些。這一系列的性能改進,令3/5R2 SE 的聲音表現更全面,動態更大,密度更好,也更易驅動。另一方面,3/5R2 SE 採用黑檀木外飾皮,無論觀感上的高貴氣質,已經和 LUXMAN 組合木制機箱的搭配,都更和諧協調。3/5R2 SE 的另一個設計特點在於延續了 LS3/5a 的傳統,箱體採用密閉式設計,因此相比倒相設計的音箱,低音的延伸稍有不如卻換來更快的響應速度。而靈敏度也稍低卻有更好的聲音連貫性。另一方面,3/5R2 SE 並沒有採用雙線分音輸入方式,可見廠方對自家分頻器設計充滿自信。

多次聆聽過 LUXMAN 和 SPENDOR 的組合, 都能感覺到這兩個品牌的聲音風格是相融的,LUXMAN 的厚和潤的音色,更在這套電子管組合 D-380、LX-380 中呈現得淋漓盡致。在試聽期間,我多次切換對比 D-380 的晶體管及電子管輸出,發現電子管輸出的寧靜度與分析力相比晶體管輸出幾乎沒有區別,而音色更柔美甜潤,重播人聲的情感更細膩、重播弦樂的質感更纏綿,泛音也更悠長,暖暖的調子令音樂更動聽。顯然,LUXMAN 和 SPENDOR 的搭配不是中性的監聽風格,而是融入了更多人文色彩和兩個品牌對聲音美學追求的染色,因此總能呈現出一種獨特的音色誘惑力,這是一種令人意想不到的聲音密度感,讓人無法相信功放的輸出功率僅有18W(8Ω),而音箱的低音僅有5.5吋。
當然了,我們要很清楚認識到 LX-380 和 3/5R2 SE 還是會受物理限制局限,不可能重播出洶涌澎湃的超低頻,但對於絕大部分音樂而言,尤其是超低音成分本來就不多的古典音樂,3/5R2 SE 的低頻延伸和中低頻的能量感已經足夠應付苛刻的要求了。即使是試聽時播放一些類型的敲擊樂,也不會顯得捉襟見肘,比如選擇《非洲之聲》的《Swing Rhythm搖擺節奏》,LUXMAN 與 SPENDOR 組合能把這段有著濃烈的非洲打擊樂風情的原始音樂,顯現出非洲音樂強調清晰明快的節奏特質,抑揚頓挫的動態起伏響應和敲擊力度,音場中交織出萬花筒般的效果。但在重播《鼓動紅塵》的“牛斗虎”中,面對兩面大鼓的對奏,小系統超低頻的缺點就暴露出來了。但即使如此,我們也僅是無法感受大鼓的真實規模形態而已,在可重播的頻響范圍內,鼓聲敲擊的扎實感和形體感、音場中雜聲等細節依然是歷歷在目,毫不含糊的。而且,3/5R2 SE 音箱的 5.5 吋中低音單元承受能力確實不俗,即使一再把LX-380 的音量加大,在二十平方的環境中,鼓聲也是扎實有力的,絲毫不會像很多小系統那樣鬆散發虛,從而能証明 LUXMAN 膽機有著不俗的驅動力。

換上 Jheena Lodwick 珍娜演唱的《You Raise Me Up 你鼓舞了我》,試試這套膽機驅動小書架箱組合重播人聲的效果。理論上這套組合重播的人聲可有極高水准,事實上也是如此,我曾採訪過某著名音箱設計師,他說要重播好人聲,就該選擇人頭大小的音箱,3/5R2 SE恰恰就是極具代表性的作品,而LX-380所用的6L6 電子管也同樣以超卓的中頻韻味著稱於世。預設,這套組合重播的人聲溫潤感情豐富,音質細膩飽滿,用網絡潮語說就是:“毒”,令人全身酥軟,無法抵御的“毒”。
重播人聲如此美妙的 LUXMAN 和 SPENDOR 組合,重播弦樂又如何呢? 放上一張《Return To Live Concert Hall》中的門德爾鬆 D 大調大提琴奏鳴曲,作品2號,俗語說中頻好的系統聽什麼都不會差,這話果然沒錯,雖然 LX-380 僅有 18W 輸出,3/5R2 SE 音箱也僅如鞋盒版大小,但所重播的大提琴卻有恰當的音質厚度感,樂器結像豐滿不瘦削,琴腔的木頭質感共鳴十分迷人。濃稠的擦弦質感聽來非常有味,伴奏的鋼琴同樣是圓潤飽滿又顆粒分明,分量和比例都拿捏得很到位。
而換上另一種樂器,用薩克斯演奏的《土耳其進行曲》又如何呢?莫扎特的這首作品通常是用鋼琴獨奏的方式演奏的。LUXMAN 和 SPENDOR 組合略為昏黃的暖調音色和飽滿質感,氣息的流動如在面前歷歷在目,樂器的金屬質感飽滿而不冷硬,重播金屬管樂器是那麼的動聽。另外,我發現LUXMAN和SPENDOR這套組合重播吉他也是非常到位的,吉他的頻響不算很寬,但通常掄指飛舞的演奏是極為考驗重播器材的響應速度和分析力的。比如試聽的這張《Hit Lobo》,暖調音色的組合依然能重播出晶瑩通透的吉他樂器質感,演奏雖然沒有令人眼花繚亂的炫技,但吉他的質感、演奏時的細節,以及結像形態等元素都很到位,加上這張唱片中人聲演唱的細膩情感,整體聽感暖融融的,音樂情感尤為動人。

3/5R2 SE ●喇叭單元:15cm with EP77 polymer cone 中 低音單元;22mm wide-surround 高音單元 ●承載功率:100W ●靈敏度:86dB ●分頻點:4.1kHz ●阻抗:8Ω ●頻率響應:70Hz-20kHz(±3dB) ●體積(WHD):165×305×190mm ●重量:4.8kg/ 每隻 ●顏色:黑檀木

LUXMAN 的聲音風格真的不像是日系風格,其厚、暖的音色加上不俗的速度感和分析力非常討好人耳。這種風格其實和現代流行的高清晰度、高透明度、高分析力也有不同,這套組合的線條感沒那麼銳利卻也不含糊,速度不算快但也不拖沓,透明度不算最高的行列但也不是霧蒙蒙的感覺。呈現的音樂穩定、內斂、耐聽,音樂感染力之強更是很多現代系統所不能比擬的。真的佩服日本人的音響設計,無論是細致的字體、還是大小適中的金屬按鈕,一切都是來的得宜。細看 D-380 和 LX-380 的金屬前面板,還特地保留了空間展示電子管燈絲幽幽光芒,在夜晚將燈光調暗,看著電子管迷人的光暈,已經上方橙色的指示燈,聽著舒服有感染的音樂,那享受絕非冷冰冰的現代器材可以相提並論。如果你正希望在書房或者起居室中添置一套外觀極具品味,音質耐聽有感染力的音響系統,這套日本 LUXMAN 和英國 SPENDOR 的組合就是最佳的選擇。

轉載自 2017-12-27 新音响

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