力仕(Luxman)品牌的獲獎器材(下篇)

下面是HIFI說幫您整理出來的截至2018年11月7日、力仕(Luxman)在各大媒體或者機構評選中獲獎的器材,其中有些產品可能已經停產或者停售,為了便於操作,我們並不予以區分,感興趣的朋友可以直接咨詢品牌方或者其代理商。

23. 力仕 Luxman C-700u 前級放大器

力仕 Luxman C-700u 前級放大器

該產品榮獲的獎項:
●日本《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

產品亮點:

“和頂級機 C-900u 一樣,搭載了以電子控制替換固定電阻器的 88接點的 LECUA 1000。是通過主板材料的不同和採用單端放大等壓制價格的實力機。只反饋失真成分的 Luxman 獨特的 ODNF 是最新的4.0版。控制音質的理念,中性且寬音域的前級……

24. 力仕 Luxman D-08u SACD/CD 播放機

力仕 Luxman D-08u SACD/CD 播放機

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該產品榮獲的獎項:
●日本《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

口碑評說:

“D-08u 吸取了原有型號的所有優點,增加了最新升級的高性能 USB 接口組件,配合雙單聲道設計而基於 PCM1792A 芯片的解碼系統,連接電腦使用時支持 PCM 和 DSD 文件的解碼播放,支持播放電腦的高清母帶級音頻文件 PCM 32bit /384kHz 和 DSD5.6MHz 格式。USB 輸入端配備了一個專用的 DSP 和高精度低抖動的數字時鐘,讓 USB 音頻數字數據時基誤差更低、精度更高……

25. 力仕 Luxman D-380 CD 播放機

力仕 Luxman D-380 CD 播放機

該產品榮獲的獎項:
●日本《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●2017年度日本視聽銘機賞AEX(Audio Excellence Award)評選揭曉(全部獲獎器材名單)

口碑評說:

“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……

26. 力仕 Luxman L-550AX 合並功放

力仕 Luxman L-550AX 合並功放

該產品榮獲的獎項:
●加拿大發燒友最愛啥?這個年度評選告訴你!
●《Stereo Sound》2014年Best Buy精品:合並式功放(1萬元-3萬元)

口碑評說:

“絕佳的線性表現、絕美的音質表現,加上出色的瞬態反應,音樂聽起來快速又真實,美妙的聲音表現真會讓人覺得要被融化一般。這樣的聲音表現有不適合聽的音樂類型嗎?當然不會有,不論是古典音樂、爵士樂或是流行、搖滾音樂,L-550AX 都能不偏不倚地表達出音樂最真的每一面……

27. 力仕 Luxman PD-171 唱機

力仕 Luxman PD-171 唱機

該產品榮獲的獎項:
●《Stereo Sound》2014年Best Buy精品:模擬唱盤
●美國《Stereophile》雜志2014年度獲獎產品推薦:模擬類

產品亮點:

“前兩年作為值得信賴的皮帶傳動式唱盤而誕生的本器材,非常傳統,沒有特別突出的地方,但也正因如此成為他最大的特點。包含的唱臂使用方便。雖然沒有聽,本器材作為無唱臂式機型進行發表,十分期待……

28. 力仕 Luxman L-590AX 合並式功放

力仕 Luxman L-590AX 合並式功放

該產品榮獲的獎項:
●《Stereo Sound》2014年Best Buy精品:合並式功放(3萬元以上)

口碑評說:

“L-590AX 的設計電路設計以整機為基礎,輔以實時 3D 來設計電路板,相對以往隻是以2D方式設計,讓電路走線的優化更加合理而且全面。同時,在一些重要的音頻電路,更以高品質信號線直接代替電路板走線,而且壓合以鍍金套錢基板方式,比傳統焊錫連接方式的電阻更低,也能減少由於電焊產生的高溫氧化銅線和電路板,實現音頻傳輸最優質化。內部音頻走線全部以定制的 OFC 無氧銅線連接,實現音頻信號無失真傳輸能力。採用電腦級的雙面玻璃纖維電路板,能有效改善電路性能,信號傳輸能力更好,使電路穩定性更高,而且能達到電路板無噪聲干擾,使信號放大的信噪比與音質得到保証……

29. 力仕 Luxman LX-32u 合並式功放

力仕 Luxman LX-32u 合並式功放

該產品榮獲的獎項:
●《Stereo Sound》2014年Best Buy精品:合並式功放(1萬元-3萬元)

產品亮點:

“價格也比較低,輸出也小。但絕不可小瞧。本機讓人聽到的聲音世界實在是迷人而別具風韻。如同挺身而出與整個世界對決一般,輕輕鬆鬆得到放鬆的聲音,我覺得這一點真了不起。在高價的 Hi-End 系統上演奏出這樣的世界,是極其困難的。即使僅僅從這一點來說,本機的存在意義就很高……

30. 力仕 Luxman DA-100 解碼器

力仕 Luxman DA-100 解碼器

該產品榮獲的獎項:
●《Stereo Sound》2014年Best Buy精品:D/A轉換器(4萬元以下)

產品亮點:

“解析度不錯,感覺低音沒有過分熏染,聲音也很干淨……

31. 力仕 Luxman MQ-88u 後級

力仕 Luxman MQ-88u 後級

該產品榮獲的獎項:
●美國《Stereophile》2014年度推薦產品:后級功放

口碑評說:

“Luxman CL-38u 和 MQ-88u 聲音柔順自然,強於表現人聲、抒情音樂(不一定是弦樂!),能清晰淮確的把不同類別的音樂表達;相對上「迅雷不及掩耳」的瞬變並不是它倆的強項(大部分真空管器材都不太擅長這個吧)。追求個性化音響的朋友必有個性。有人天天聽大鑼大鼓、播「摔酒杯落地」,CL-38u 和 MQ-88u 未必是這類發燒友的最佳選擇。但喜愛「聽歌」的朋友(人聲的、器樂的曲子),在買新機之前,一定要先去領略 CL-38u 和 MQ-88u 的「清甜雋永」才作最終決定啊……

32. 力仕 Luxman C-600f 控制放大器

力仕 Luxman C-600f 控制放大器

該產品榮獲的獎項:
●美國《Stereophile》2014年度推薦產品:前級功放

產品亮點:

“前置放大器 C-600f 採用了與旗艦 C-1000f 一樣的全平衡電路設計,信號中的正負弦波被四份獨立線路及放大器線路分開處理,互調失真及噪音被完全控制,這是公認為最佳音色的設計……

33. 力仕Luxman D-05 SACD/CD播放機

力仕 Luxman D-05 SACD/CD 播放機

產品亮點:

“D-05 裝載了 LxDTM 機械轉盤系統,它是力仕新開發的,該機械裝置特別針對SACD媒體高速旋轉時的讀碟功能,通過良好的剛性和穩定的結構,實現整體的重量平衡,有效將信號記錄面的失真抑制至極限……

34. 力仕 Luxman L-550A 合並功放

力仕 Luxman L-550A 合並功放

該產品榮獲的獎項:
●《HI-FI WORLD》這些年我們追過的好器材:功放

產品亮點:

“2007年推出的產品,目前參考價格 2800英鎊。MONSTER A級一體機,強有力的聲音和大量有用的特征,高能力的MM/MC唱頭放大器……

轉載自 HIFI 說

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力仕(Luxman)品牌的獲獎器材(中篇)

下面是 HIFI說幫您整理出來的截至 2018年11月7日、力仕(Luxman)在各大媒體或者機構評選中獲獎的器材,其中有些產品可能已經停產或者停售,為了便於操作,我們並不予以區分,感興趣的朋友可以直接咨詢品牌方或者其代理商。

續前期報道:力仕(Luxman)品牌的獲獎器材(上篇)

12. 力仕Luxman ES-1200隔離牛

力仕 Luxman ES-1200 隔離牛

該產品榮獲的獎項:

●《Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●2017年度日本視聽銘機賞AEX(Audio Excellence Award)評選揭曉(全部獲獎器材名單)

產品亮點:

“ES1200「隔離牛」交流電源優化設備,裝載大型隔離變壓器和自動電壓控制技術,將供電網絡的干擾隔離於系統之外,為AV影音系統和Hi-End音響提供純淨波形、恆定輸出的電源供應……

13. 力仕 Luxman E-250 唱頭前級放大器

力仕 Luxman E-250 唱頭前級放大器

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●2017年度日本視聽銘機賞AEX(Audio Excellence Award)評選揭曉(全部獲獎器材名單)

口碑評說:

“Luxman E-250 唱頭放大器的推出,沿襲了 Luxman 一貫的優良配置,這次搭配TheFunk Firm Flameca 黑膠唱盤更加相得益彰,帶來輕鬆舒適的黑膠韻味……

14. 力仕 Luxman PD-171AL 轉盤

力仕 Luxman PD-171AL 轉盤

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

產品亮點:

“能夠自由選擇唱臂的本機大大地撩撥狂熱的模擬粉的心。懸浮的轉盤,組合重量級唱臂很難,但像本機這樣的硬懸挂型的話,Ikeda 和 FR 的動態平衡型,以及 SAEC 等的重量級唱臂也能毫無問題地使用……

15. 力仕 Luxman PD-171A 轉盤

力仕 Luxman PD-171A 轉盤

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

產品亮點:

“PD-171A 是 Luxman 於 35年前推出的 PD-121 唱盤之復刻版,採用 15mm 厚的全鋁合金作 platter 機構,並搭載了全新的高扭力 AC 馬達驅動,以提供穩定的轉速。整體造型感覺有濃濃的復古味,金屬加工處理相當細致,絕對值得您珍藏好多年。PD-171A 在唱盤本體中,另有兩項技術值得多提一下,第一項稱為「under-slung」設計,如果從內部看,可以發現多項元件在機殼中,都是採上下顛倒的裝置方法,根據 Luxman 原廠表示,這項設計的靈感是取自於日本傳統的建筑工法,應用在唱盤上,能夠有效的隔絕很多外在振動干擾。另外一項是「Floating mount」,字面上看來有「懸浮」的意味,實際上也是這樣沒錯;在唱盤中,馬達、電源變壓器等元件,是產生振動的主要來源,Luxman 在 PD-171A 唱盤之中,特別將以上元件與機體之間,透過橡膠組件、讓它們唱盤箱體中呈現有如「懸浮」的狀態,如此一來,計能夠讓唱頭、唱臂、paltter等容易被振動干擾的部分,不會受到馬達、電源變壓器等振動源干擾……”

16. 力仕 Luxman L-590AXII 合並式功放

力仕 Luxman L-590AXII 合並式功放

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●香港知名雜志《HiFi音響》發布“2016年度最杰出的音響器材”
●CES 2016展會最值得關注的親民型功放和解碼精品

口碑評說:

“如果讓筆者用一句話來總結力仕 L-590AXII 的重播特點,那就是‘極佳的平衡美’。如果要再加一個定語,就是‘極佳的古典式的平衡美’。它充滿力量但是不莽撞,控制力強但是又不讓音樂萎縮,聲音醇厚又不乏清晰的質感和層次,既有Class A的好聲也有Class AB的快速。可能有些朋友會說,以力仕 L-590AXII 的售價我可以購買一套獨立的‘前級+后級’組合,但是你的組合要達到力仕 L-590AXII 合並機的這種‘平衡美’恐非易事,如若不信,您不妨預約親自到力仕的代理商處實際試聽一番,便能體驗到它‘有血有肉有骨頭’般的真實魅力……

17. 力仕 Luxman L-550AXII 合並式放大器

力仕 Luxman L-550AXII 合並式放大器

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

產品亮點:

“L-550AXII 採用了 LUXMAN 自家的放大器反饋電路 ODNF 技術(為4.0的最新版本),此技術能有效使高頻范圍的失真大幅改善。而電源方面採用了高容量電容器,兩聲道為獨立40,000μF(10,000μF×4),加上高規的電源變壓器,提供20W×2ch(8Ω)及40W×2ch(4Ω)純A類輸出功率……

18. 力仕 Luxman L-507uX 合並式功放

力仕 Luxman L-507uX 合並式功放

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●國內權威雜志《新音響》發布“2016年度風雲音響器材榜”
●《Stereo Sound》2014年Best Buy精品:合並式功放(1萬元-3萬元)

口碑評說:

“LUXMAN L-507uX 合並式放大器是台扎實的好機器,盡管 L-507uX 細節表現也不是著重在高解析的聲音走向,但是明亮通透的高音表現,讓 L-507uX 聽起來不會過於笨重呆板,而且這種聲音特質,正好可以掩飾一般放大器與數碼信源聲音干瘦、冷硬的缺點。它的特色未必每個人都喜歡但是它的選項夠多,擁有好聲的基礎又可稱超值……

19. 力仕 Luxman MQ300 90周年經典復刻膽機

力仕 Luxman MQ300 90周年經典復刻膽機

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《立體聲/Stereo Sound》“2015 Grand Prix大獎”獲獎器材專輯(下篇)

口碑評說:

“MQ-300 不單止將 Isabelle Faust 那一支小提琴的空氣、諧波散滿一房,這浸空氣、這陣諧波本身就是音樂的一部份之同時,我更清楚聽到小提琴推拉之間、能量爬升之間所釋放出的生命力,叫人好生感動的演譯、回放、音樂……

20. 力仕 Luxman M-900u 後級功放

力仕 Luxman M-900u 後級功放

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《Stereo Sound》2014年Best Buy精品:功率放大器(5萬元-11萬元)
●2014年度最佳音響器材獲獎產品(下)

口碑評說:

“聲音方面,C-900u/M-900u 並不以量取勝,走的是重質不重量的路線,有著優秀的聲質,將音樂層層剝離,不流於平面化,同時奉獻出寬闊的音場。它的聲音是委婉的,也是細致典雅的,人聲與弦樂表現得流暢自然。它的聲音中性,偏於通透,速度感也不錯,低頻的量感不夸張。在搭配 Spendor SP200 落地式音箱時,大動態的樂段或者是大場面的樂段,它都能輕鬆應付,那種力度、密度、層次感都將人引入勝境。M-900u 後級的驅動力也不可小覷,聲音表現比較全面,適合搭配大中型落地箱……

21. 力仕 Luxman M-700u 後級功放

力仕 Luxman M-700u 後級功放

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

產品亮點:

“M-700u 繼承了旗艦機 M-900u 的特色,採用推挽輸出電路,提供高品質的音質,能夠駕馭任何一款揚聲器……

22. 力仕 Luxman C-900u 前級放大器

力仕 Luxman C-900u 前級放大器

該產品榮獲的獎項:

●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《Stereo Sound》2014年Best Buy精品:前置放大器(5萬元以上)
●《Stereo Sound》2013 GRAND PRIX格林披治獲獎產品
●SoundStage推薦2014年最佳發燒影音產品(下)
●2014年度最佳音響器材獲獎產品(下)

口碑評說:

“我採用跟評論歐美擴大機的一致標准來檢視它們,C-900u、M-900u是一套真正優質的擴大機,它們唱起歌來該透明就透明,該厚實就厚實,該靈動就靈動,該柔就柔,該爆就爆,從靜電喇叭到錐盆喇叭都推得輕鬆裕如,您還認為這是「日本聲」嗎?以現在的日幣匯率買這套優質擴大機,您真的是賺到了,此時不買更待何時……

轉載自 HIFI 說

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力仕(Luxman)品牌的獲獎器材(上篇)

下面是 HIFI 說幫您整理出來的截至 2018年11月6日、力仕(Luxman)在各大媒體或者機構評選中獲獎的器材,其中有些產品可能已經停產或者停售,為了便於操作,我們並不予以區分,感興趣的朋友可以直接咨詢品牌方或者其代理商。

1. 力仕 Luxman L-509X合並式功放

力仕 Luxman L-509X 合並式功放

該產品榮獲的獎項:
●《WHAT HIFI》評選15款最值得購買的立體聲放大器
● 歐美發燒友2018年4月最關注的影音產品 TOP10

口碑評說:

“通過一段時間的試聽,我們認為力仕 Luxman L-509X 是一款素質優秀的合並式功放。從價位上看,L-509X 其實有著很多實力強勁的競爭對手。但是無論是從設計還是調音方面,L-509X 還是保留了很多日本器材特有的風格。略顯復古的日式電器的設計元素很容易讓我們感嘆經典的傳承,而偏向老派的調音與現代的高素質相結合,讓L-509X迸發出一種屬於這台功放特有的聲音表現。加上豐富的功能以及精細的工藝,都成為 L-509X 吸引發燒友的殺手鐧……

2. 力仕 Luxman L-507uXII 合並式功放

力仕 Luxman L-507uXII 合並式功放

該產品榮獲的獎項:
●日本VGP 2018夏季大獎獲獎器材全名單

產品亮點:

“L-507uXII 秉承著嚴謹的工藝制作,並通過採用革新的技術,卓越的調教,為影音愛好者帶來了更趨向於完美的音質享受……

3. 力仕 Luxman CL-38uC 前級放大器

力仕 Luxman CL-38uC 前級放大器

該產品榮獲的獎項:
● 看看 “2018慕尼黑高級音響展” 上哪些品牌的器材入了它法眼?

口碑評說:

“Luxman CL-38uC 和 MQ-88uC 聲音柔順自然,強於表現人聲、抒情音樂(不一定是弦樂!),能清晰淮確的把不同類別的音樂表達;相對上「迅雷不及掩耳」的瞬變並不是它倆的強項(大部分真空管器材都不太擅長這個吧)。追求個性化音響的朋友必有個性。有人天天聽大鑼大鼓、播「摔酒杯落地」,CL-38uC 和 MQ-88uC 未必是這類發燒友的最佳選擇。但喜愛「聽歌」的朋友(人聲的、器樂的曲子),在買新機之前,一定要先去領略 CL-38uC 和 MQ-88uC 的「清甜雋永」才作最終決定啊……

4. 力仕 Luxman CL-38u 前級放大器

力仕 Luxman CL-38u 前級放大器

該產品榮獲的獎項:
●美國《Stereophile》雜志“2018年度推薦器材榜”全部獲獎器材

口碑評說:

“今次試聽的 Luxman CL-38u 真空管前級、MQ-88u 真空管后級,集合了現代零件和廠方精准運用真空管線路的好例子,CL-38u 採用的 SRPP 線路,充份發揮了線性優良,失真率低的特性,MQ-88u 在 KT-88 五極管選擇了三極推挽接法,使音色與輸出力有較平衡的表現,如用家想增強音色的通透度和色澤亮麗,可用一些通透度和線條感強的真空管或線材,配上高靈敏度設計的喇叭,如今次試聽喇叭靈敏度有90dB,已營造出滿意的細致音質和恰如其份的力度,無論你是想初嘗試玩真空管擴音機,或已是資深的音響發燒友,快抽空到代理試聽這套會使人有回「甘」音樂味的真空管前后級……

5. 力仕 Luxman DA-06 解碼器

力仕 Luxman DA-06 解碼器

該產品榮獲的獎項:
●《Stereophile》雜志“2018年度推薦器材榜”全部獲獎器材
●《立體聲/Stereophile》雜志“2016年度發燒音響器材評選”獲獎及入圍產品全名單
●《Stereo Sound》2014年 Best Buy 精品:D/A轉換器(4萬元以下)
●《Stereophile》雜志 2014年度獲獎產品推薦:數碼類

口碑評說:

“DA-06 解碼器當以電腦接入 USB 狀態下,支持 PCM 32Bit/384kHz 和 DSD 的2.82/5.64MHz 音頻文件解碼播放!當播放 DSD 文件的時候,也對應支持 DOP 和ASIO。DA-06解碼器的模擬輸出電路上,模擬放大電路為左右聲道各自獨立的設計,採用四份獨立線路處理正負弦波信號的全平衡放大技術,以差動輸入 FET 方式放大輸出,令互調失真及噪音得到完全控制。DA-06 更採用了最新版本的 ODNF回路,實現了更快速和高透明感的音質……

6. 力仕 Luxman D-06U 全能數碼播放器

力仕 Luxman D-06U 全能數碼播放器

該產品榮獲的獎項:
●《Stereophile》雜志“2018年度推薦器材榜”全部獲獎器材
●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單

口碑評說:

“計算機文件的音效,每件樂器,每把人聲,那種清晰、細微變化和結像的凸出立體威,毋庸置疑是遠超 CD 及 SACD 的,D-06u 亦不會例外,還想特別強調的是,D-06u那股自然和流暢的音樂氣氛,令我出乎意料,聽「當鋪爵士」,音場的深度威未必 有CD/LP 那麼厲害,但橫向展現的寬闊感覺,再有現場零碎聲響纖毫畢露的清晰度,D-06u 播來卻達到匪夷所思的地步,喜歡聽計算機文件的讀者,一定會聽得樂不可支……

7. 力仕 Luxman EQ-500 真空管唱機均衡放大器

力仕 Luxman EQ-500 真空管唱機均衡放大器

該產品榮獲的獎項:
●《Stereophile》雜志“2018年度推薦器材榜”全部獲獎器材
●價位由低到高,《WHAT HI-FI》推薦六款最佳唱放前級
●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《立體聲/Stereophile》雜志“2016年度發燒音響器材評選”獲獎及入圍產品全名單

產品亮點:

“EQ-500 是 Luxman 推出的旗艦級唱放產品,是從1980年代第一次推出的 E-06 唱放升級而來。E-06 採用了發燒友津津樂道的無負反饋CR型線路,這種線路在EQ-500上得到改進。EQ-500採用了4隻ECC83、2隻ECC82和1隻 EZ81膽管。接口方面,EQ-500 提供 RCA PHONO 輸入共3組,也就是說用家可接三套不同的黑膠唱盤。日本是現時世界上黑膠文化氛圍最好的國家,每個玩家至少有兩套系統,Luxman 這樣的設計顯然是順應了日本本土發燒友的需求。輸出方面則提供2組RCA 以及1組 XLR,方便用家使用不同的唱盤以及不同的功放系統……

8. 力仕 Luxman DA-250 前置放大器

力仕 Luxman DA-250 前置放大器

該產品榮獲的獎項:
●《新音響》雜志揭曉“2017年度風雲器材榜”(獲獎器材全名單)

口碑評說:

“以往各大廠在推出周年紀念產品的時候,大多是推出高不可攀的頂級旗艦機種,但 Luxman 在慶祝 90周年之際,卻用盡心力設計出平價的 DA-250,讓更多人能夠享受到音樂所帶來的美好與感動。在 DA-250 身上,我看到 Luxman 這間老廠扎實的設計功力與源源不絕的創意,也聽到它依然古典端正的聲音表現,為他們奠定下一個百年的基礎……

9. 力仕 Luxman P-750U 耳機放大器

力仕 Luxman P-750U 耳機放大器

該產品榮獲的獎項:
●《Hi-Fi+》眼中的2017年慕尼黑音響展最值得關注的全部精品

口碑評說:

“Luxman P-750u 是日系耳擴之中的頂峰之作,雖然價錢不是一個人人負擔得起的水平,但質素絕對對得起這個價錢, 輸出功率足夠應該會大部分耳機,有極低的音染,豐富的細節,可以將訊源及耳機的味道保留,個人認為這是一部相當理想的耳擴應該要做到的……

10. 力仕 Luxman D-05u SACD/CD 播放機

力仕 Luxman D-05u SACD/CD播放機

該產品榮獲的獎項:
●器材搭配誰最強?推薦發燒音響展會上“最受好評的”開聲系統
●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《Stereo Sound》2014年Best Buy精品:CD播放機(1萬元-3萬元)

口碑評說:

LUXMAN D-05u 重播一些優美悅耳的小提琴和人聲CD,音色甜潤濃厚,變化輕盈柔順,每一音符每一造句都能給予聆聽者一份非常浪漫優美的醉人感覺,D-05u 的演繹就較為理性,聲音在優美流暢之余還帶著一份謹慎的感覺,每一造句都像是經過精心計算似的,感情表達要理性,力度變化亦要恰到好處,不能讓感情過於感性地傾斜而出。在D-05u 這種較理性的處理手法下,較著重於一份凝聚力,音像的邊緣輪廓亦不容鬆化,人聲和樂器間的彼此分隔亦有著理想的還原,不容含糊。D-05u更具有一份強者的權威性,結實穩重,深潛而下,拳拳有力……

11. 力仕 Luxman LX-380 真空管放大器

力仕 Luxman LX-380 真空管放大器

該產品榮獲的獎項:
●器材搭配誰最強?推薦發燒音響展會上“最受好評的”開聲系統
●《立體聲/Stereo Sound》雜志“2016-2017年度最值得購買音響器材”獲獎全名單
●《立體聲/Stereo Sound》雜志“2016年格蘭披治(Grand Prix 2016)”評選獲獎全名單
●2017年度日本視聽銘機賞 AEX(Audio Excellence Award)評選揭曉(全部獲獎器材名單)

口碑評說:

“LuxmanLX-380 電子管合並式放大器可古典,可時尚,真正融合了不同時代的審美要求。傳統一點,可接駁唱盤感受模擬的味道;活力一點,也可驅動耳機細細品味一番。她有傳統電子管那種暖意的聲音表現,同時也有現代器材那些多元化的功能,對Luxman有興趣的朋友千萬不能錯過這款LX-380電子管合並式放大器……

未完待續……

轉載自 “HIFI 說”

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大草編 – 令我給予 Standing Ovation 極品揚聲器 YG Acoustics Sonja 2.3

當「駿韻音響」的同事們把 YG Acoustics 的 Sonja 2.3 送來本刊試音室安裝的時候,其陣容之鼎盛簡直把我和一眾兄弟嚇了一大跳!

6 大個木箱分別裝載兩個各重 46kg 的高/中音單元鋁合金聲箱,兩個各重 84kg 的中截低音單元鋁合金聲箱,與及兩個各重 75kg 的下截低音單元鋁合金聲箱,要把它們裝嵌成兩隻各重 205kg 的 Sonja 2.3,實在需要大量體力勞動和要極度細心行事才成,不過廠方相當貼心,為用家提供四隻直徑長達 8吋,設有大型手挽並且用唧筒抽氣和放氣的真空吸盤作為搬運輔助工具,四位壯男合力把聲箱逐一抬出來,再按位置疊起,在吸盤的協助下再加上聲箱接合位置的特製六個凹凸榫位導航,安裝如此重甸甸的一對聲箱也並非太過困難,廠方更在聲箱接合的凹凸榫位從前到後準確地鑽了貫通的孔洞,再以兩支實芯不誘鋼棒貫穿這些榫位並且鎖緊,所以如此碩大而且分成三截的全鋁合金喇叭在裝嵌妥當之後,便會搖身一變成為超級堅固紮實的一件過高身座地揚聲器。廠方也為每隻喇叭的三隻釘腳提供三塊墊片,用家單人匹馬便可以把重 205kg 的聲箱在地氈或地板上移動擺位,果然夠貼心。

經過 Lee388 兄悉心為 Sonja 2.3 擺好一個觀位之後,甫開聲,偌大一對個子高過我的鋁合金喇叭就在眼前消失,它們的甩箱能力實在超卓。全金屬聲箱加上全金屬音盆中音和低音單元,連高音單元也有金屬支架,但 Sonja 2.3 重播出來的聲音卻全無半點冷、硬、薄和不耐聽等等想當然的所謂金屬味,相反,聲音是從容、自然和反應極快,音色的特性和場面的寬緊完全視乎你重播軟件的內容,換句話說,它有著有碗話碗,有碟話碟的正直性格,傳真度高得驚人。重播日本爵士女伶Mie Joke演繹經典名曲 (Cheek To Cheek),這是來自Mie Joke 夥拍山本剛爵士三重奏,去年八月在東京代代木的波麗佳音 (Pony Canyon) 錄音室灌錄的新專輯「Etrenne」,Mie 那把充滿騷靈味道的唱腔,把這首由美國當代偉大的作曲、作詞家 Irving Berlin 寫於 1935年的經典作品,演繹得入木三分,她的嗓子通透嘹亮,咬字清晰自然,歌曲的起承轉合拿捏得恰到好處。日本爵士大師山本剛的鋼琴演奏輕盈躍動,充滿逍遙的感覺,配合香川裕史充滿彈跳力的牛筋撥奏!與及大隅壽南的輕敲慢掃爵士鼓,加上充沛豐滿的空間感,聽起來簡直是把我們帶到錄音室的現場,Mie就在眼前七情上面地演唱!像真程度無以倫比!

重播 Analogue Productions 再版經典發燒名曲—萊納指揮芝加哥交響樂團演奏「天方夜譚」,當銅管樂以強奏象徵專橫的蘇丹王出現揭開序幕,到象徵為蘇丹王說故事的「舍赫拉查德」(Scheherazade) 現身的小提琴奏出旋律,調暗了燈光的本刊試音室立時變身一個偌大的音樂廳,音場完全撐穿前牆和兩邊側牆,小提琴、中提琴、大提琴和低音提琴各個聲部都清楚可辨,琴音絲絲入扣,營造出一片順滑流暢的絃海,獨奏的小提琴琴音非常清晰細緻,就像說故事般婉轉可人,娓娓動聽。木管樂的演示也是非常突出,和銅管樂的絢麗燦爛可謂互相輝映!聲音的密度非常足夠。當大風暴沉船的高潮一幕來臨,所有樂器都以最強音奏出風高浪急的場景,再加上金鼓齊嗚的澎湃敲擊樂段,極強的聲壓填滿整個試音室的每一吋空間,但聲音仍然是有條不紊,清晰有序,你會感到氣氛非常緊張,令你透不過氣,但卻不會糊成一團,音場亂七八糟,是我在本刊試音室最佳的聆聽體驗之一,值得起立鼓掌!

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Critical Mass Systems CenterStage2 Footer: Unparalleled Performers

The new 1.5 inch tall Critical Mass Systems CenterStage2 footer with its packaging, and two different thickness of shims, provided to assure the best possible contact.

I’ve honestly no idea why I was so surprised to hear from Critical Mass Systems’ Joe Laverncik this past July asking if I’d like to audition the “new” CMS CenterStage2 footers. He has shown himself to be unrelenting in his pursuit of performance, so I suspect that it was because it was coming so closely on the heels of the publication of my profound experiences with the radically effective original CenterStage footers just some three months earlier (HERE). I must admit to being both skeptical and somewhat curious to see if these groundbreakingly effective devices could be improved upon—especially in such a short period.

Within weeks, my original thirty CenterStage footers were upgraded to thirty of the new CenterStage2 footers…with one additional consideration; he sent along eight additional new CS2footers. Originally, the devices had been available in two height profiles, 0.8 inches and 1 inch tall, both at 1.5 inches in diameter. Now, with the superscript 2 iteration, a new 1.5-inch height is also available, all retaining the same 1.5 inch diameter. He also included four of the original 1-inch CS footers for direct comparison.

In Joe’s original communications to me he mentioned that he felt the CS2 to be so effectively improved as to be regard as a new product. In addition, he indicated that the CS2s effectiveness increased as they got taller, which turned out to be a very meaningful differentiation, as you shall soon discover.

In a very simplistic view, the Critical Mass Systems CenterStage2 footers act as a highly sophisticated “drain,” a mechanical diode or sorts, for induced and generated vibration in the components that rest on them, giving that unwanted, corrupting energy a route out of and away from those components, thereby reducing disordered and chaotic resonance within the component itself, and converting and dissipating that energy as heat. Joe claims the reason that components take so long to settle in on these unique feet, and why the system’s sonic signature swings so widely during that period, is related to the 2nd Law of Thermodynamics.

He explains as follows. “The principle is cross-border entropic transfer in reversible thermodynamic systems. Broadly speaking this principle recognizes that electromechanical systems experience internal disorder at the moment they are engaged (turned on). The commonly recognizable sign of entropy is the generation of heat, but there are others.

“Dynamic systems can be reversible or irreversible. Human beings, for example, are irreversible biodynamic systems where entropy is retained, and equilibrium is ALWAYS reached. As we age, strange things happen at an accelerating pace. Our vision degrades. We might lose hair. Our joints sustain damage through wear and tear. Our muscles weaken. Eventually disease may set in and, after a time, the system shuts down completely. Even then bio-dynamic systems have residual energy. The energy is exhausted when the components of the system turn to dust. The 2nd Law implies that this is perfectly normal. Entropy accelerates in dynamic systems unless some portion of it can be transferred into another system.

“On the other hand, electromechanical systems are reversible. With respect to audio components, a portion of naturally occurring and environmentally induced internal entropic disorder can be transferred into another system. Assuming that an external system (Center Stage, in this case) is specifically designed to facilitate the transfer and the external system is appropriately positioned to facilitate the transfer process, time is required to set the pathway and create a new electromechanical equilibrium point. Once settled in, Center Stage acts like a trash can that takes the “garbage” out to the curb when your system is playing music. There is also a 1st Law component to Center Stage with respect to mitigating noise as vibration moves upward through it (just like your very good Grand Prix racks), but it’s the degree to which they help reduce disorder in the system above them that makes them unique.”

From my ongoing conversations with Joe, the essence of what differentiates the superscript 2 version would seem to come down to both a substantive diminution of the inherent noise of the materials used to fabricate the footers combined with a diminishing of the upward movement of vibrational energy through them. Together with these decreases, Joe also states he has found a way to enhance their entropy, to increase the amount of energy transferred out of the components to the footers; essentially increasing their efficacy as “drains!”

At the time they were installed, my system included my Kronos Sparta turntable, Helena tonearm, and the Air Tight PC-1 MC cartridge, feeding my DSA Phono II phono stage. Digital was rendered by either my own Windows 10 based PC, using either JRiver 24 (64-bit) or Roon 1.5, Fidelizer v8.2, or my extensively modified McCormack UDP-1, both handing off to my Hegel HD30 DAC. My linestage is the Constellation Audio Inspiration 1.0, and I was using a pair of Constellation Audio 1.0 stereo amplifiers in a vertical biamp configuration to drive my Von Schweikert Audio VR-5 Aktive loudspeakers. Signal cabling is from Stealth Audio, with a Helios phono cable, Śakra V12 single-ended interconnects, and the Dream v14 speaker cables, while all power and the USB cables were flagship products from Audience. Power conditioning is managed with the PS Audio DirectStream P20 Power Plant, with the total system investment just eclipsing the $300,000 mark.

My original set of thirty first generation devices included twenty-two of the 0.8 inch units, employed under my source components, DAC, linestage, phonostage, and external music media storage drives, and eight of the 1 inch units, four each under my mono amps. These thirty were initially replaced with the same profile of CenterStage2 footers. By allowing me to duplicate the original installation exactly, I would more effectively be able to judge the degree of improvement, if any, the CS2s deliver over the original CS version.

The thirty CS2 footers for my listening, arrived in their bulk shipping “egg carton.”

My listening began mid-day Sunday, Aug 5th, after some 3 days of reclamation listening following the removal of the original thirty CS footers. Once I had gotten used to the reduced level of performance, sans the remarkable magic wrought by the original CS footers, I was ready to proceed with the duplicate installation of CS2s.

Once installed, and the system back on, I immediately noted a clear loss of extension and control in the lowest regions, a lessening of the overall sweetness and air to treble, a general softening of detail from the upper midrange on up through the top octave, as well as a notable loss of focus and specificity to the staging and imaging. So, with those observations, I set my favorite run-in track to repeat on my music server, set the volume to about 60dB at my listening chair, and walked away for the night.

I had time for some brief listening in the late evenings of Tuesday, Aug 7th, and Wednesday, Aug 8th, days two and three. For both sessions I played music from my music server for about an hour, sampling from my most frequently used demo tracks. I found the system sounding rather dull and dry, surprisingly unengaging in nearly every way Tuesday night. But it was almost unrecognizable and unlistenable during Wednesday’s session. Bass extension was severely limited and was bloated and ill-defined. Leading edges were softened to the point of smearing, and midrange focus and specificity were diffuse and amorphous. Worst of all, there had been a distinctly cooler shift in timber. I finished up my notes and restarted the run-in track.

I had no time to listen on Thursday, Aug 9th, but by Friday evening, the 10th, I was treated to a little of the old CS magic. For the entire four and a half hours of that listening session, which I shared with a good friend, sampling his LPs as well as mine (this time it was an exclusively analog session), we were transfixed. Bass and midrange bloom and body had returned, as had a large portion of the previously missing sparkle and air above about 3,500Hz. The sound bordered on beguiling and sounded much more engaging and involving than it had in previous weeks. And not by any small margin. We finished our session excited and moved. It had been a highly emotional listening session. After I bid my friend goodnight, I restarted the burn-in track.

I noticed minor performance variations over that Saturday’s listening, on the 11th, but by the evening of Sunday the 12th, all that Friday night magic, and more, was back. I was transfixed during my early evening listening and took a lot of notes.

The most obvious improvements could be distilled into three categories; a substantially lowered noise floor, remarkably improved warmth, with more realistic body, more natural tone and texture, and a vastly enriched, more enveloping and immersive soundstage.

First and foremost, there was a laid-back, relaxed ease to the presentation that just drew me into the music. The overall noise floor had seemed to plummet, even lower than I had recalled with the original CS footers in place. The resultant stillness this afforded, by way of a darker, starker, background, was just intoxicating, adding a power and persuasiveness to everything I played, allowing me to be informed as much by the silence between musical impulses as by the effortless drive and pace of the musical gestalt itself.

Instrumental tone colors, including their textures and verve, had bloomed. There was a newfound effortlessness and neutrality to every aspect of the music I played now, even with my digital rig, which cannot quite match my analog front end in this respect. And this sense of neutrality, of naturalness, of faithfulness, was broad-band, extending from the deepest reaches of the bass to include a newfound shimmer and sparkle in the uppermost octaves. My Von Schweikert Audio VR-55 Aktive’s custom-built Scan-Speak Beryllium tweeters seemed to be even more unrestrained than ever, allowing them to develop that sense of graceful effortlessness, of unfettered extension, replete with the perception of the air of and around instrumental voices that allows them to regenerate that final, compelling measure of attack, trailing ambiance, and decay.

And what a spatial presentation! My initial sensation of three-dimensionality, that enveloping immersiveness bordering on surround-sound that the original CS footers had created so effortlessly, was back, but was even more apparent and unmistakable. The presentation I was hearing from my reference two-channel system was approaching the spatial characteristics rendered by an exceptionally well setup 5.1 multi-channel music surround system!

Over the next two weeks, I honestly didn’t notice any significant relapses or advances from the powerful performance I had first witnessed on that seventh night. Does this mean the CS2s settle more rapidly than their predecessors, that they are more effective overall? I can’t say with absolute certainty, but I suspect those observations to be true.

But now I had another question. What improvements, if any, might I be treated to if I removed the 1.0 inch models from under my mono amplifiers and replaced them with the 1.5 inch CS2s waiting in the wings, then replaced the 0.8 inch models underneath my linestage and phono stage and with the recently freed 1.0-inch models?

Four of the 1.5 inch (the fourth hidden by the prominent front right unit) CenterStage2 footers in place under one of my mono amplifiers on a separate amplifier stand.

I made that change on Monday night, August 27th, and was somewhat surprised that the change had not caused as great a diminishment in overall performance as had the original reinstallation of the thirty CS2s. After all, I had just disturbed the settled performance of over half (sixteen of thirty) of all the CS2s in play. Honestly, I didn’t spend a lot of time listening after that change and having noted my initial impression. I just set my music server to repeat my run-in track and let it play at about 60dB one more time.

By Thursday, August 30th, I was utterly shocked by what I was hearing, and by Saturday, September 1st, I was simply knocked out by the transformation! The most notable developments after this change were much deeper, more powerful, and substantially more defined pitch in the bass, a decisively more accurate tonal shift, and a deepening and tightening of focus of imaging and soundstaging cues, which had become even more expansive, more enveloping, and more accurately sized. By Sunday September 2nd, I was having trouble believing so much change could be wrought by such ostensibly minor changes. It was as if my linestage, mono amps, and sources, even my loudspeakers, had all been replaced by components that were at least two to three times more expensive!

My initial impressions with the direct replacement of all the original CS devices with the same sized CS2 devices was that the CS2s delivered on the order of 25 to 40% improvement. To be honest, that represents a staggeringly large percentage increase. But the improvements wrought by the application of the 1.5 inch tall CS2s are almost indescribable and otherwise unattributable! What they bring to the game in terms of enhanced, articulated bass, more faithful tonal purity, and more enriched and accurate spatial enhancement is beyond my ability to label. They are that good!

To say that the Critical Mass Systems CenterStage2 footers are game changers may be the father of all understatements. In closing my review of the original CenterStage footers, I opined that they should not be considered as optional accessories but were indispensable necessaries! Doubly so, the CenterStage2 footers. They are so remarkable, in fact, that companies as prestigious as Swiss electronics manufacturer Soulution have begun to install them at manufacture as the factory feet on their products, with several other companies planning to follow suit.

The CenterStage2 footers are so significantly better than any other single footer, cone, or isolation device I have experienced over the past 35 years, that comparing them, or trying to equate their effectiveness in any manner, would be to insult the accomplishments attained by the CMS CenterStage2.

While the thirty CS2 devices employed in my installation carried a retail value of $12,640, that still represented an additional investment of only about 4 ¼ percent. Yet, the degree of performance enhancement they rendered in that otherwise remarkable sounding system was staggering! I honestly don’t believe that I could reap this significant a sonic improvement if I were to double the total invested price of my system, maybe even if I were to triple it! They truly are that effective.

These devices represent a near quantum leap forward in their ability to unlock and release the most faithful and accurate voice your equipment can recreate. They allow the purity and clarity of its true voice, a voice that has previously been masked and contaminated by the unaddressed destructive, polluting forces of vibrational energy, thereby setting a ridiculously high benchmark of performance. What Joe Laverncik has achieved with the Critical Mass Systems CenterStage2 footer is to realize the otherwise unfulfilled promise such products have heralded from their inception in 1983 and should be seen as more than merely an order of magnitude of improvement in the performance of the now 35-year-old “footer” product category. No, they aren’t cheap. But they represent the highest degree of value obtainable from any isolation device known to me, and the single most effective way I’ve yet found to release the utmost best from your system, period.

Critical Mass Systems Center Stage2 Footers

From “Positive Feedback”

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不用再糾結了 – Critical Mass Systems Black Sapphire MK3 與 Black Platinum MK3 層板開箱試聽

論音響之富貴,世界上頂級 Hi-End 器材很多,但如果說器材架和承板的話,我想沒有哪個配件牌子可以和美國 Critical Mass Systems 相提並論了,早幾年就聽說他們推出了貴到無論的 MAXXUM 卸振平台和層架,一件層板賣到 6萬元在音響圈中引起了不小的轟動。而今年又聽說 Critical Mass Systems 推出了升級版的Olympus V12,售價更大幅提升了約 50%,差不多要10萬元一件,堪稱是音響架領域裡的勞斯萊斯,實在不是一般發燒友可以消費得起的。但這麼昂貴的器材架層板,卻在全球音響圈掀起了一浪接一浪的換架熱潮,不少富豪級玩家試過MAXXUM 和 Olympus V12 之后,發現用上這款卸振平台(層板)調聲可以令原本已經玩到盡頭的器材再攀上了另一個高峰,此刻仿佛被封印的潛力才真正被釋放出來,簡直是太神奇了。

Black Sapphire MK3 與 Black Platinum MK3 兩款入門級層板

頂級的 MAXXUM 和 Olympus V12 層板的卸振性能無疑極好,但高昂的售價卻令很多音響迷望而卻步,有鑒於此,廠方研發推出了採用相同的原理設計的兩款較入門級的層板產品 Black Sapphire MK3與 Black Platinum MK3。朋友 A君垂涎 CMS 已久,這次約上幾個軍師一同來到廣州經銷商聲越美音響對比試聽兩款層板,打算從中二選一,回家用在他的 Esoteric K-03x SACD 機上。

拆包試聽


兩款層板的區別在於 Black Platinum MK3 比較厚也比較貴,層板的包裝算不上富貴,但保護還是不錯的。

層板很是厚重,看著就信心滿滿,原包裝有很厚實的膠袋封裝著

終於得見廬山真面目了,灰黑色的外觀雖然沒有廠方的旗艦MAXXUM那麼奢華漂亮,但和同類產品相比顯得更有專業的味道

這是較薄的 Black SAPPHIRE MK3

這是較厚的 Black Platinum MK3

兩款層板炭黑色外觀無疑比頂級的 MAXXUM 低調很多,細節上可以看到底板應該為一整件航天的鋁金屬板,外框同樣以金屬制造,內部則以多層不同密度的材質疊層加工而成,原廠配有墊片供隔離影音器材機腳及避震板之用,實際使用中發現用不用這幾片墊片區別還是蠻大的,尤其是低頻的通透感和凝聚力方面更是涇渭分明。

釘腳、釘墊、放於器材機腳底部的墊片是用航天級鋁金屬制造,是必備的附件

無論是單獨使用Black SAPPHIRE(寶石)MK3和Black Platinum(鉑金)MK3層板,或者配合腳架使用,廠方建議搭配同廠MXK腳釘使用才能發揮最大的效能。MXK腳釘採用航空鋁材制造,一套4個釘錐及釘墊足夠承重200磅。廠方認為很多音響迷用三點式方式使用避震支撐,雖然效果也很顯著,但卻強烈建議用家選擇4點式支撐的方式使用這套角錐,因此這樣可以帶來額外的30-40%的提升。使用時置於避震板四角,有趣的是放置的位置靠外或靠裡對聲音影響都不小,尤其是音場方面和低頻密度感的變化都非常明顯,玩家不妨多動手調校,以尋獲自己滿意的表現。

來自實驗室的理論研發

Critical Mass Systems 的頂級卸振平台產品之所以賣這麼貴,當然是有道理的,廠方的設計理論源於實驗室科學研究,通過結構和材料無所不用其極的研發,才造就了如今令人矚目的成就。在理論上,CMS 產品的概念基於 Thermodynamics 熱力學第一和第二定律的物理現象進行研發的。第一定律是能量守恆;能量既不能憑空產生,也不會無緣無故地消失,隻能從一種型式轉化成另一種型式,而能量的總和是保持不變。第二定率,能量傾向於從集中的狀況散發至逐漸消散狀況,而且不可逆轉。

振動是聲音的根本,卻是音響系統好聲的大忌,從諧振處理的原理上知道,理想的避震板大多採用復合材料制成,經合理的比例和結構才能有效引導、消彌振動能量,而CMS獨特雙區域減震系統有效發揮效果,讓音響電子產品的電子信號免受諧振的干擾,才能發出更傳真的聲音。比如現實身邊的例子比比皆是,在一個聆聽環境中,音響組合從揚聲器發出來的聲能量除了會傳到我們的耳朵之外,聆聽空間的其它位置,包括牆壁、天花、地板、家具甚至音響架上的器材,都會無可避免地受到聲波能量的振動影響,這些振動不但會影響對諧振非常抗拒的黑膠唱盤、唱臂和唱頭組合,也會波及對振極之敏感,位於器材機箱內的各種電子零件和元件,例如電阻、電容、電感、變壓器、晶體管和真空管等等,因而影響音樂訊號重播的質量,更甚者,上述的各種電子零件和元件在通電工作的時候,自身也會產生輕微的機械性能量(振動),在雙重振動影響下,器材的重播音質因此而大打折扣。

CMS 真正從科學的角度研究振動對音響重播的影響,並且採取最合理的方法解決這些振動。在美國,隻有兩間公司擁有研究阻尼物質方面的專利,一間為電子顯微鏡公司,另一間就是專注 Hi-End 領域的 CMS,因此 CMS 在卸震方面有獨到的技術。於是,CMS 深入研究如何透過音響架承板來轉化這些能量,以減少對器材的負面影響,結果 CMS 研制出已經成功取得專利注冊,廠方稱為 Filter System 的層板把外來的振動能量轉化為熱能消散。這些 Filter System 由上下兩層阻尼材料夾著一層厚身的特殊阻尼物緩沖物料(Elastomeric buffer)組合而成,由於上層與下層需要應付的能量轉移有所不同,所以兩者的阻尼結構亦不盡相同,上層是要把所有承載的器材因為受到聲波能量影響而產生的震動,經過機腳迅速通過阻尼結構而下傳至彈性體層轉化成熱能消散,而下層則是要把從地板和音響承架接收到的振動,同樣通過阻尼結構而傳導至阻尼層轉化成熱能消散,這樣便能夠令層板上的器材因為大幅降低振動影響而發揮出自身應有的重播質素。

在 CMS 的測試手段中,有一種方法是以測試汽車減震器的試驗平台,來測試產品設計的合理性和結構堅固性,經長時間測試后,用航空鋁材打造的釘腳已經嚴重變形,避震板卻依然安然無恙,而同時,避震板對震動的處理卻非常到位。CMS 避震板並不是企圖分隔震動的系統,它並不會阻隔諧振的傳輸,然而平台配合支撐架能有效調整諧振於音響器材本身的流入和流出量,CMS 避震板可以同時將平台本身和器材的諧振引導到地面和支撐架上。

大幅改善聲音清晰度、分析力

試聽避震板的過程是艱苦而有趣的,我們得反復把參與測試的器材搬上搬下的,以反復比較用與不用 Black SAPPHIRE MK3,及與 Black Platinum MK3 調聲板的之間的區別。當然,聲越美這裡用的素質本來就很厲害的Esoteric旗艦級SACD/CD播放機 K-01X,最后得到的答案都是基本一致的,使用兩款調聲層板獲得了正面而全面的改善功效,對音效的提升(准確講應該是對器材音效本質的發揮)非常有效。

無需糾結的選擇

將 Esoteric K-01X SACD 機置上 Black SAPPHIRE MK3 調聲板上,能夠發現當即就能夠大幅改善全頻的分析力及低頻的質感。比如播放鋼琴唱片,能感受到不用調聲板時較微弱的延音踏板運用效果變得極為明晰,而且頻寬向下拓展的能量感和清晰度都大幅改善,似乎鋼琴原本被遮蔽的琴箱共鳴頓時通通浮現出來一般,形體變得更加龐大而且保持清晰的形態線條感,琴音彈奏充滿前所未有的層次變化,這種改善大大提升鋼琴再生的聽感真實度。這種改善的幅度甚至遠大於換上一條高級線材。除了分析力和低頻密度感大幅增加之外,低頻反應也變得更加明快確實,在鋼琴快速彈奏的樂段它絕對不會令聲音拖泥帶水,演奏速度越快,聽起來越充滿快速有勁的力道,同時還有極為難得的音樂層次。另外,反復的比較之下,BLACK SAPPHIRE MK3和 Black Platinum MK3調聲板之間的區別還是非常明顯的,在乘放Esoteric K-01X的時候,兩者都大大改善了聲音的清晰度和音像的凝聚力,動態和分析力都躍升到新的境界。而相比較而言,Black SAPPHIRE MK3 顯得音質更透徹細膩、靈動鮮活一些;Black Platinum MK3 就顯得更沉穩厚重一些,但速度相對會稍慢一點。后來,經銷商聲越美建議將較厚的Black Platinum MK3 放在后級功放上使用,果然感覺更為合適,可令功放的背景寧靜度提升的同時,仿佛力水都大了幾分,令到控制力更從容、音場也更寬廣且更通透,高音呈現出另一種收斂而滑順細膩的線條,就算用大音壓播放也不會讓人感到心浮氣躁。

朋友最后的選擇是哪一款呢?你猜?兩塊 CMS 入門級層板各具擅長,但用於他家的 Esoteric K-03x 這款高級SACD音源器材的話,朋友還是更喜歡 Black SAPPHIRE MK3那種更通透、更細膩的效果,並不是因為 Black SAPPHIRE MK3 稍便宜一點,而是買到合適的才是對的。無需糾結了,乖乖掏錢就對了。你試過拿開避振板后聲音聽不下去的困惑嗎?這次的體驗就是這樣,沒有對比不知道效果,不信你也去試試看。

全文轉自《新音響》

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Critical Mass Systems CenterStage2 – Accessory of the Year @ HiFi+ UK

Although Critical Mass Systems is best known for its large and heavy rack systems, perhaps its most important product is the CenterStage2, a range of three equipment support feet designed to correct physical impedance mismatching to greatly reduce vibration moving upward from the floor, the reduction of the noise inherent to the materials used to fabricate the foot, and a means to transfer entropy out of the component. To these ends, each CenterStage2 footer represents an ideal combination of damping, elastic modulus, and thin rod speed. The three model are designed to accommodate different sizes and weights of components, although there is a good/better/best performance aspect, too.

The curious thing about the CenterStage2 is that you know when its working because it makes the system sound a lot worse, at first. Until the footers harmonise and begin to correct those impedance mismatches and beyond, the sound of the system goes thin, light, bright, and the soundstage and dynamic range all but collapse. Then, as it begins to settle, the sound undergoes a quick and significant change for the better, and it keeps getting a lot better. We felt that “You notice this change by a shift in your internal dialogue. ‘I’d forgotten just how good that really is!’ (referring to both record and equipment) seems to be the first sign. About an hour later, you find yourself composing a thank-you email to the designers of the components in your system. Although it’s the bass that first comes back, it’s the midrange that seals the deal: the enhanced clarity, the walk-in detail to the soundstage, which seems to not change a thing, all the while being far more enveloping than before. This is no small change, and as the listening progresses, you begin to find this feeling of being immersed in the music.”

Reviewed in Issue 163

AWARDS / THE HI-FI+ AWARDS 2018

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