Luxman 復刻限量版 CL-38uC 和 MQ-88uC 電子管前后級放大器

在2018德國慕尼黑高級音響展上,Luxman(力仕)展出的CL-38uC新前級的設計靈感來源自1970年Luxman經典型號CL-35,全平衡線路輸入結合專用輸入變壓器、以Slovak JJ電子管作放大,經典的線路配合現今先進的元件和設計優化,精致的金屬面板和木箱外殼的設計,讓Luxman CL-38uC更具吸引力。

配合推出的還有一台MQ-88uC立體聲功率放大器,同樣是復刻自1969年經典型號MQ-60,以新的元件和工藝制造,提供25W的功率放大輸出,支持4,8或16歐姆揚聲器負載選擇。定位於中高級市場。

Luxman成立於1925年,從1961年發布的真空管前置放大器SQ-5A到現在一直致力於真空管放大器的研究和發展,其中有很多被高度評價為“檢查員”的機型,以及自從發布后的數十年內即作為活動機器經常使用的個人。

由於電路結構簡單,真空管放大器極大地影響了單個部件的質量。對於CL – 38uC和MQ – 88uC,Luxman自己的高品質部件大量用於變壓器,阻容電容器等。除定制外,尼吉康公司還制造了高壓金屬化聚丙烯薄膜電容器作為耦合電容器,進一步實現了自然和自然的聲音。

CL-38uC和MQ-88uC是是一個真空管放大器,最新的技術和設計,真空管全盛時期的模型被普遍解釋(CL-38uC的CL-35在1970年宣布的外形設計,MQ-88uC是我想象的是1969年發布的MQ-60)。對於經典設計的外觀,通過縮短內部布線實現了追求“美觀”的旋鈕和杠杆開關以及高音質的使用良好。您可以同時享受充滿懷舊和現代高性能的傳統設計。


CL-38uC和MQ-88uC在產品組裝完成后的老化過程48小時后進行最終性能確認。所有要安裝的真空管都統一到JJ(斯洛伐克),這是質量很好的。電路的運行穩定性進一步提高。長壽命設計,真空管工作電壓和散熱結構有余量。除了徹底的支持系統繼續維護產品超越了幾十年自發布以來,溢價延長保修系統的應用保修期延長至三年(真空管部件為1年)。您可以長時間放心地使用它。

正如38系列傳統衛生間木箱的情況一樣,它擴大到現在的Luxman的標准尺寸440mm的橫向寬度,並且更新了設計。MC墨盒增益調節杆開關已添加到前部。內部機箱也採用全向屏蔽金屬外殼。為防止漏磁通,環形電源變壓器和扼流圈變壓器均覆蓋一體式屏蔽箱,並採取措施以獲得理想的噪聲。


CL-38uC採用SRPP(並聯ReggratedPush Pull)配置,用於所有唱機均衡器部分,音調控制部分和平面放大器部分。SRPP是一種電路,具有低阻抗輸出(輸出阻抗為300Ω),低失真,真空管壽命長等諸多優點。這種豪華的作曲隻允許安裝許多真空管的專用音箱的前置放大器,這使得實現清晰准確的音樂表現和吸引音樂愛好者的吸引人的音質成為可能。

CL-38uC通過專用變壓器具有平衡輸入端子,以提高可擴展性。內置與MM / MC兼容的唱機均衡器放大器電路,配備升壓變壓器,用於LR / 2級增益獨立(共4個)的MC盒。配備低切開關和單聲道開關,您可以享受真正的模擬播放。此外,BASS和TREBLE的音調控制可以根據每個3級切換類型的周轉頻率調整到您最喜歡的音質。

 

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木哥的Soulution音樂之旅

跟老友木哥相識了廿年,在公在私也頗有緣份,工作上曾於不同公司相遇共事,而燒閒上大家口味相近,當年都選擇了MBL和Sonic Frontiers CD機,VPI唱盤和YS phono。

至前年他也踏上Soulution之路選擇了511後級,我當時有幸參與開箱,一開聲他已被Soulution深深吸引著,我還提議他下一步可考慮Soulution前級吧⋯⋯

轉眼過了一年多,平日沒有太多時間聯絡卻給我們在街上踫到,閒聊中他忍不住喜悅地説他的新前級剛到港,如冇意外當晩收貨!

真的很有緣又給我撞到機會見證開箱之喜,下班急急趕到,已見東哥正忙於拆箱,眼前一部好有親切感的名器⋯Soulution 725 preamp!

東哥説這一批725為更新版本,內裡用料質素提升了,機背後插座升級了,連機腳也升格為CMS特制品種,可謂升級版亦是首一批到本地用家手中!

木哥剛剛裝修好家居,佈置和格局也落了心機務求令音效更理想,加上獨立電源,整體音效真的比以前提升很明顯。

但要聽真725跟511這組合當然要比點耐性,就讓木哥先把它煲練一段時間才再來朝聖吧!

個多月匆匆過了,這刻725+511音效提升幅度真的很大,非常細緻定位,質感豐富,還有很理想的層次感,由小提琴開始那動人音色已令我陶醉,然後敲擊速度和動態也很到位,而令我感覺最驚訝的是Hugh Masekela Hope那麼強而震憾的感染力,725+511控制得很好,強而有力得來鬆容自然,我和木哥摸著酒杯底輕鬆地享受了一個醉人音樂之夜…..

想聽木哥親身分享他的Soulution音樂之旅? 去片啦⋯⋯

轉載自 “Hiend Tower”

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WHARFEDALE DENTON 2「85周年限量版」 – 重製佳釀

先用 Hegel 合併機開聲,不對,是味道不對,略嫌太過刻板單調。立即搬來兩台 Dignity Audio DA-08 MKII 備音量控制的單聲道 300B 膽後級,這回對了。氣氛對音樂重播非常重要,就如夜闌人靜喝一口蘇格蘭威士忌,是一種享受。對筆者來說,Denton 2 是帶著濃烈兼追尋舊日的氣息再添上今日對細節和清晰度的追求,不用膽機推,味道就是不足,不夠自然流灑。

傳統與現代追求

揚聲器的設計就有調酒的感覺,我們不能單憑設計用什麼音盆、什麼磁體、哪類分音器去判別揚聲器可能會呈現什麼聲音?!揚聲器最後的聲音,是經過設計師的調配,也是他/他們的目的與取向。Wharfedale 現任工程師 Peter Comeau 的目標就是要重拾當年 Gilbert Briggs 退休前,Rank Organisation 初接手後的突破設計 – Denton 書架揚聲器那種溫暖、豐富與自然,再加上今天追求的開揚與細節表達能力。

形容一款產品的聲音並不容易,玩 Denton 2 一如玩 3/5a,追尋的是一種聲音味道與情懷。Denton 2 既有如 Big Band 的那份華麗璀璨,復有陶瓷般的明亮清晰,還有爽彈敏銳的反應與活潑精神的起動力,聲音總能保持亮麗光鮮,從不暗淡,就如 50、60 年代的明星,行出人群時不單止有三分體面四分仔細修飾,還有一種獨特有台形的星味,十分壓場。聽 Denton 2 的聲音,會令人燃起一份要收藏的衝動,既要收藏一對 Falcon 3/5a,也要收藏一對 Denton 2。它們的聲音,就有如翻開那些年用菲林拍下來的黑白照片、茶色照片,是一種能牽動情緒與情懷的聲音。

五年之變

五年前,Wharfedale 為 Denton 推出過 80 周年版,設計造型與 1976 年第一代一脈相承,由前輩 Thomas Wang 測試。五年前的 Denton,把絲膜高音安裝在 Kevlar 低音單元的正上方;來到 Denton 2,絲膜高音單元移離揚聲器面板中軸 8 度角,目的是進一步拓展聲音擴散能力,亦改善了高音與低音單元的銜接表現。箱體設計比上一代闊了 40mm,厚度薄了 20mm,背板上仍然追隨 Diamond 系列的雙低音反射氣孔設計。這個最新版本的頻率響應為 45Hz-20kHz(+/-3dB),靈敏度由上一代的 86dB 提升至 88dB,阻抗由 6Ω 跌至 4Ω。

如何擺位?

有趣了,Denton 85 的單元排列與不少鑑聽揚聲器有相近之處,到底高音單元是向內,還是向外呢?答案其實因環境而異,在本社細房,我喜歡兩顆高音單元靠近,即向內擺放。

求同存異

1967 年第一代 Denton 的高音單元用 ceramic 磁體,Denton 與 Denton 2 則用 ferrite 磁體,其實 ferrite magnet 又可稱為 ceramic magnet。Ferrite 除了內含陶瓷物料,還有鐵,由於製成磁體前,鐵已經過氧化過程,所以 ferrite 不會再氧化,有耐高溫、耐潮濕、容易控制、高阻尼表現等特性,成本夠便宜。應用於 Denton 2 那顆 1 吋絲膜高音的 ferrite 磁體直徑達 70mm。說穿了,高音的音色就是要貼近 1967 年版,再進一步改善聲音的分析力與拓展音場。

低音仍然是 Kevlar 編織音盆,不過由 80 周年版的 5 吋口徑,拓展至 Denton 2 的 6 吋半口徑,換句話說,低音的能量會有明顯提升。

筆者喜歡 85 周年版的箱體設計多於 80 周年版,視覺上的 vintage 味更濃。敲打木箱,結實質感濃烈,據指設計採用三文治結構,利用天然木材與複合板加強箱體硬度,箱內亦加入骨架結構加強控制諧震與避免囤積駐波的效果。

玩音色

音色,是 vintage 喇叭最強的吸引力。雖說高音部份設計主導了喇叭的音色,其實低音單元也有自己的音色,只是沒有高音鮮明。Denton 2 的特色是上緊下鬆,中高音分明鮮麗銳利爽敏,低音從容有寬度與蔓延力,營造出來的空間與舞台立體感比這對喇叭的體積可能營造出的效果明顯寬闊,舞台深度也更加鮮明。放心,設計沒有讓人聲變成血盆大口,而是比例恰當,能融入細小聆聽空間而加強了聲音畫面的細繪能力。

Denton 2 的高音有凌厲的眼神,就如京劇的楚霸王眼睛一瞪,眼神充滿殺氣射程威武盡在不言中,要說清楚,中高音並非硬瞪,而是彈力強而爽猛,清脆乾淨,絕非死瞪著不放的狂。高音的古典味,就是那份亮麗細滑感,Lisa Batiashvili 演出巴赫,小提琴敏銳不嬌,起落分明連貫流灑清晰,古鍵琴伴奏從後方傳來,分明又不搶小提琴風頭,立體感強烈鮮明。

由 Denton 2 播鋼琴能令筆者感到喜悅,落指分明敏捷,琴鍵的起動力與瞬變的動感如數家珍,Alexandre Tharaud – 《Autograph》內一曲 Ramsay Les Sauvages,活潑動彈,低音結實不鬆散,同是帶有一種能量的延伸力,清晰仔細快捷靈敏與音樂氣氛並存。

Peter, Paul & Mary 《In These Times》,人聲內厚潤滑,結他彈力清敏動感十足,要重播Union Medley的幽默感與那個年代的情懷不太容易,Denton 2能播出那份暗藏心底的笑意!三人的聲音就有一股與老友共聚的懷舊氣息,沒有多少重播能達到此效果。

《Audio Compass 2018》收錄了 Louis Armstrong 演唱的 St. James Infirmary Blues,銅管樂埋身貼身,管樂的明亮、氣動力直接率真,鼓棍清脆立體敲力猛而烈,強弱動態鮮明,cymbal明亮抖動仔細分明,Louis Armstrong 就在面前,若然無法擺一對 JBL 大衣櫃聽爵士、聽藍調,Denton 2 是一個非常值得推薦的選擇!接著 Eva Taylor – Papa De-Da-Da 一曲播得輕鬆幽默趣味盎然。

筆者喜歡《戀戀風塵》許景淳的聲音,當她「啦」出音韻,從前聽到的是秀美透澈,Denton 2 為她添了一點人生歷練,不是嗓音不同,而是添了一點可觸發共鳴的情感,輕輕抹上一點風霜。「歲月的船」,結他指力動彈分明,弦線彈射有力。接著,我一口氣欣賞了三張王家衛電影原聲大碟,《東邪西毒》、《春光乍洩》、《墮落天使》,共通點,是情感被甩低的點點憂愁,醒來時,心境又不是一樣的情味!

Denton 2,是設計給感情豐富的樂迷的佳釀!

總代理:駿韻音響有限公司

零售價:HK$6,800

轉載自 HiFi Review 2018/08

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超乎想像的 YG Hailey 1.2

在自己家中測試音響器材,其中一個目的是為日後的升級尋找目標(例如中咗六合彩頭獎… )。早前認識一位資深的音響從業員,他的執著態度著實令我佩服;他見多識廣,我問他覺得什麼樣的喇叭會適合我(聽古典音樂),他不加思索就說 YG – Hailey! 我腦海即時出現念頭…… 唏!YG是駿韻代理的,東哥那裡不就有對Hailey嗎!哈哈…….

我當然在東哥的主場聽過這對Hailey, 當時分別用合併機Luxman L-509X 和Soulution 330 去推,都已經覺得好靚聲,不過,我當然希望能在自己的主場盡情地試啦!

YG 基本上可分為 Sonja, Hailey 和 Carmel, 不過 Sonja 推出四柱的 XV後,Hailey算是排第三了。Hailey又可分為1.1和1.2,1.1即是上面那兩單元的音箱再配上專用腳架而成的書架款式,而1.2就是加上「低音柱」而成的座地式。不過,就算只是用1.1,其低頻已可下潛至65Hz, 所以低音柱只是負責65Hz至20Hz的超低頻段。給我選擇的話,一定會揀1.2!

Hailey 是全金屬音箱,靈敏度有87dB,我用每邊4支KT88的單聲道膽後級(功率160W)去推,完全無問題!一開聲已把我的擔憂一掃而空,然而,隨之而來的是連連的驚喜與慨嘆⋯⋯ 點解自己咁鬼窮!

金屬箱喇叭以往給我的印象是比較冷和清的,但經過全套膽機推動,竟然是另一碼子事,鋼琴鏗鏘悅耳,聲音乾淨,但又不乏適當的泛音和殘響,小提琴的音色細膩,松香味和空氣感十足,或者可以講,聲音的表達非常準確!當然,最殺食是重播大型的古典樂曲,音場除了很寬闊外,最重要的是很有層次感;我現在擺喇叭基本上是跟鄺大俠的理念,很高興能夠獲得理想的效果,Hailey的能量感很強,兩隻喇叭拉開相距差不多八呎,才能令音場左中右的能量達至平順;我尤其喜歡低頻的表現,除了速度夠快,有線條外,而且可以落到地,一浸浸地散開,在低音提琴和大鼓的呈現上,我從來沒有在家中試過這種境界!

在這段試聽的期間,我只想每天有多些時間去享受這對 Hailey 所帶來的喜悅,認真地揀選自己最喜愛的樂曲去播放,以及…… 每期都不忘去買番兩注六合彩!

測試器材:

揚聲器: YG Acoustics – Hailey 1.2
前級: Kondo KSL-M7
後級: Triangle ART Reference Tube Mono
唱放: Triange ART Reference Phono
黑膠: Dr. Feickert Firebird, IKEDA IT-407 & 9TT MC唱頭
CD機: Electrocompaniet EMC 1 UP
隔離牛: Wilmer Workshop Ultimate Isolator

線材: Acoustic Zen Double Barrel 喇叭線, Wilmer Workshop 龍皇及真龍電源線, Loyalty Nickel Power 電源線及訊號線

轉載自 Hiend Tower

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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.

Conclusion

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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