Luxman L-509X 旗艦合併擴音機 蒼萃旗艦精粹音質超乎想象

如果閣下是 Luxman 的擁躉或有留意他們的產品,相信也認識 L-509U 這台 A/B 類旗艦合併擴音機,於 2006 年推出立即受到各大媒體一致好評,因為音質出眾而且價格定位親民,因此迅速獲得許多發燒友的支持,多年來一直是 Luxman 旗下最暢銷的產品之一。經過 12年光景,廠方宣佈把旗下旗艦前級和後級擴音機的重點技術與電路整合,演化成一台超級合併擴音機,這就是今次試聽的 L-509X。

精準細緻壽命特長

L-509X 是一台 A/B 類的新旗艦合併擴音機,譽萃了 C-900u 前級和 M-700u 後級擴音機的頂尖技術於一身。前級方面採用了 C-900u 大部份的電路設計,當中包括了獨立緩衝電路,能保留音頻訊號的最高清晰度,同時又能顯著增強往後的功率放大級之驅動能力。音量控制器可說是前級擴音機最重要的一個部份,L-509X 亦用上了與 C-900U 同級的 LECUA 1000 電子音量控制器,音量旋鈕直接連接著後方的數控電路板音質的影響相對傳統音量控制器能大幅並能提供 88級平順細緻的音量調節,而且不容易受到外部振盪的影響,使用壽命亦比傳統音量控制器更為長久,即使長時間使用也不會出現雜音或者令音質下降等問題發生,是一款極為優質的音量控制器。

獨門專利技術

L-509X 運用了 LUXMAN 最新的 ODNF 4.0 (Only Distortion Negative Feedback)負回輸專利技術,採用了三級並聯電路,於第一級設置了誤差檢測電路,可以即時比較輸入與輸出的訊號,實時偵測是否出現失真的情況,於沒有發現失真的情況下會維持沒有負回輸的狀態,一旦發現失真的情況便會立即施加負回輸,如此便能將負回輸帶來的負面影響降至最低,並且不會產生相位偏移,而且也能達到極低失真,實現了超廣頻寬、強大動態和豐富的音樂感,同時阻尼系數亦能大幅提升。輸出級採用 3 級達靈頓電路和4路並聯推挽結構,基本上可說是將 M-700U 整個功率放大部份放進 L-509X,從而讓 L-509X 擁有相當高的分析力和強大的動態!每聲道輸出達到 120W (8Ω)及 220W (4Ω),而阻尼系數亦達到 370 的高水平,即使一般難推動的揚聲器對 L-509X 來說也能輕鬆應對。

結合堅固和優雅設計於一身

L-509X 機箱結構也絕不簡單,前面板採用了厚達 15毫米的航天級鋁合金板以 CNC 機床車製而成,中央位置設有兩個模擬式指針電平錶,並備有可以開關的白色背光照明,散發出優美典雅的氣質。機箱頂板採用了廠方旗艦後級擴音機相同的設計,用上了一塊厚達 6毫米的鋁合金板同樣以 CNC 機床車製而成,左右兩旁每邊各設有 14個大型散熱孔,這個設計結合了堅固耐用和良好散熱能力的優點,還讓外觀更為醒目吸引。機箱底部設有四顆直徑達 50毫米的大型鑄鐵機腳,底部設有一塊特殊阻尼物料軟墊,以達至最佳的抗震效能。

內置優質唱頭放大電路

L-509X 內置了能對應 MC 及 MM 唱頭的放大電路,對於黑膠迷來說是一項相當不錯的功能,前面板設有一個 MC/MM 選擇旋鈕,此外就沒有其他設定!非常簡單易用。

升級版電源供應

L-509X 的電源部份設有一隻 600 VA的高質 El 鐵芯變壓器,並以金屬外殼包裹作為屏蔽,從而隔絕變壓器產生的磁場和電磁感應等效果對其他電路造成干擾。此外L-509X 的大水塘亦大幅度提升,每聲道設有四顆 10,000 uF高質電解電容,總電容量達 80,000 uF,即使在負載非常波動的情況下也能維持良好的穩定性。

每項細節也絕不馬虎

L-509X 使用了很多旗艦型號的高質零件,例如LINE 1  輸入配備了高質銅合金 RCA 端子,這個端子結合了紅銅的優良導電性能和黃銅的耐用程度,表面並採用了鍍金處理,擁有非常優良的導電性能和極高耐用程度的優點。 L-509X 還配備了大型高質揚聲器端子,能對應香蕉插頭和大型叉形端子。此外還附有一個高級遙控器,外殼以鋁合金車製而成,外觀與質感同樣出眾。L-509X 的電路板和內部走線亦同樣講究,兩者均採用了高質純銅作為導體,而線路板的佈線也相當獨特,於所有轉角位置也採用了 Luxman 獨有的圓角形設計,而非一般傳統線路板所採用的直角設計,這種設計能有助提升訊號傳遞的效率,讓訊號能更流暢地傳送,從而令到音質也有更佳的表現,處處流露出旗艦級器材的風範。

感情詮釋淋漓盡致

今次試聽以 SME Model 20/3 唱盤和 SME V 唱臂配上 My Sonic Lab 的 Ultra Eminent BC 唱頭和 T+A PDP 3000 HV CD/ SACD 播放機作為音源,再以 Kubala-Sosna Expression 喇叭線將 Luxman L-509X合併擴音機連接到 Tidal Piano 揚聲器來進行試聽。由於這台 L-509X 是全新的關係,所以接駁完成後再將它堡煉約三十小時後才正式進行試聽。先聽 「Diamonds & Rust in the Bullring LP」,這張專輯是 Joan Baez 於 1988 年在西班牙 Bilbao 鬥牛場舉辦一場演唱會。此專輯的錄音達到很高的水平,今次只是使用 L-509X 的內置唱放,但竟可讓我感到十分驚喜,表現絕不比分體唱放遜色,除了底噪極低之外聲音也十分細緻迷人, Joan Baez 嘹亮的嗓音加上感性的表達方式,徹底展現出她獨特的氣質和成熟的韻味,將歌曲中的濃濃情感詮釋得淋漓盡致,還能如實地展現出結他那份樸素無華的感覺,音場寬廣且深,整體互相配合之下絕對讓人盡興。

聲勢浩大震懾人心

接下來轉為試聽CD 「Earquake」專輯全碟合共 16 首爆棚古典樂章,如重播系統的控制力、分析力或是速度反應等等能力稍有不足,便無法重現這些曲目撼天震地的懾人氣勢,更糟的情況聲音可能變得混濁甚至模糊不清,這台 L-509X 除了有充裕的輸出功率之外,發覺它的控制力和分析力也非常優異,例如最後一曲是描述了冰島最大的活火山 Hekla 爆發,這麼爆棚的曲目也能輕鬆駕馭,低音大鼓連珠爆發也絕不混濁,層次依然能保持分明,爆炸力和低頻下潛力也相當強勁,而且速度感十足,此外敲打鋼板和鐵鏈的聲音質感強烈,不停沖擊耳朵神經絕對叫人興奮。

動熊強大量感充沛臨場感覺豐厚無比

試聽 lsolajazz專輯,這張於2017年在意大利熱拿亞舉行的演奏會現場錄音,由Venus旗下多位爵士樂手及歌手演出,整張專輯的現場氣氛相當濃烈」讓人有置身現場的感覺。碟I頭兩首純音樂已讓人感到興奮,特別是敲擊手 Ernesttico 在Theme From Mash 一曲中展現出高超精湛的技藝,L-509X 擁有強大的動態和極佳迅變能力,完全能將快、狠、準的音效重現出來。碟 2 的Quando Quando Quando 由 Denise King 引導現場觀眾一同高歌,全場的情緒非常高漲,可說是彼此打成一片。整張專輯能讓人感到滿載歡樂與熱鬧的氣氛,如此豐厚的現場感覺確實盡顯 L-509X 的功力。

總結

L-509X 貴為 Luxman 的旗艦級 A/B 類合併式擴音機,除了外觀優雅吸引眼球之外,重點就是蒼萃了廠方旗艦前後級擴音機的許多頂班技術,擁有充裕的輸出能力,能輕鬆對應市面上一般大型揚聲器,即使較為難推的揚聲器也能駕馭,而且能展現出強大的動態和細緻傳神的音色,只須付出較上一代 L-509U 略高一點的價格便能享受極高的音質,可說是貼地價錢頂級享受,所以非常超值!如要挑剔查找 L-509X 不足之處,唯一只可說是內置唱頭放大器,如能增設阻抗與容抗值等設定,讓用家能因應擁有的唱頭特性來調校,那就更為完美了。

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精致與傳統共冶一爐 – Luxman LX-380 電子管合並式放大器

 

LX-380 參數
·輸出功率:18W×2(8Ω)、20W×2(6Ω)、14W×2(4Ω)
·輸入靈敏度/阻抗:380μV/100Ω(phono MC)、3mV/47kΩ(phono MM)、180mV/47kΩ(非平衡)
·電子管:ECC82×3、6L6GC×4
·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
·重量:17.6kg
·體積(WHD):440×197×403mm

很多日本電器都享有極高的名氣,你我心中都有幾個老品牌可列舉。我們當中很多人身邊都不缺日本的電器家電,如此受歡迎,消費者看中的無外乎是其出眾的產品品質,或者是超高的性價比。到后來,我們玩起了音響,慢慢地也轉投到歐美品牌的懷抱裡了。立足於當前,不少日本音響品牌其多功能、高性價比的特點依舊值得用家駐足停留,而且絲毫不遜色於高端歐美品牌。比如電子管放大器這類“膽機”,現在依然擁有不少鐘愛模擬聲的“粉絲”。當提及“膽機”,自然而然就想起了日本的老牌音響廠商——Luxman。最近筆者也試聽過 Luxman 的一套西裝,在此便重點談談當中的 Luxman LX-380 電子管合並式放大器。

逾九十年的老牌廠商

Luxman(力仕)於1925年在日本成立,屈指一算至今已有九十多個年頭。當時的第一件產品是電台廣播接收器(收音頭),並同時是該年於日本剛開始了電台廣播后的第一部日本本土生產電台廣播接收器。發展至今,Luxman於過往曾推出了不少令人津津樂道的音響名器,電子管功放技術更是其強項。旗下多款放大器型號於世界各地引起了廣泛注意,所獲獎項不計其數,創造了日本音響界的輝煌歷史。和很多日本品牌一樣,對產品質量的重視亦是 Luxman 一直堅持的態度。一些舊式的型號更成為了音響收藏家的珍品,在數十年后的今天與當年一樣正常運作並保持最高回放質量,這全賴廠方對每一件產品出廠前的極嚴格質量監控及成熟而穩定的線路設計。在今天,日本其它競爭對手為了迎合市場需要而隻開發AV產品的同時,隻有 Luxman 繼續在立體聲的研究上投放最大的資源,電子管放大器的開發更是隻此一家。從這一點上看,今天要介紹的這款LX-380電子管合並式放大器已經給人極大的信心保障。

招牌技術,再現音樂細節

如今Luxman有兩個重要的模塊,一個是 ODNF,另一個則是 LECUA。LECUA 是將前級與音控一體設計的電子式音控模塊,沒有傳統音控劣化音質的問題。而ODNF全名 “only distortion negative feedback”,隻有在有失真時才給予負回授。無負回授優點就是聲音自然,但是聲音不穩定並容易有高失真;而高失真雖然訊號穩定,但是聲音聽起來不自然,聽久會很累。所以Luxman開發ODNF,在訊號輸入與輸出端偵測聲音波形,偵測到失真的段落才給予回授。LECUA模塊則是為了縮短傳輸路徑,Luxman原廠研究發現不管是電力還是訊號傳遞,隻要路徑超過3公分音質就會受影響。而最新的LECUA中,前級到后級中間有個緩沖模塊,採用這個模塊之后失真減少一半以上,擁有更好的訊噪比,更廣大的帶寬。

傳統造型下玩法並不單調

乍看這款 Luxman LX-380 電子管合並式放大器,造型上稍顯“傳統保守”,復古味很濃,就像一個古典美女,絲毫不帶妖媚的粉飾。如果說這種古典造型是“蘿卜青菜各有所愛”,那麼 LX-380 的內涵應算是“人見人愛”了。說到底,LX-380 遵循了復古與現代的結合的設計理念。作為一款電子管放大器,其“膽管”並沒有直接暴露在我們視野中。當把她古典的“外衣”褪去之后,你會發現其主放大線路由三支ECC82、四支6L6GC以及一對輸出變壓器所組成,每聲道功率輸出為20W(6Ω),總結架構上就是傳統的電子管放大器。Luxman 首次在“膽機”產品中使用前文提及到的 LECUA 電子音量控制線路,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。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6.3mm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。原來在搭檔的選擇上,她相當多元化。想不到吧?LX-380 冷峻古典的造型之下,竟可給人如此多的功能,如此多的樂趣。

細膩順滑,膽味濃郁

一開始試聽,Luxman LX-380 電子管合並式放大器給人鬆軟舒適,淡定自如的感覺,展現出高水准電子管放大器應有的穩定性。在播放《Only Love Remains》時,女聲演唱展現出嬌嗔甜美,柔情和愛意可真是甜到心坎裡,歌聲尾韻的變化細膩,甜潤可人。而其背景伴奏則展現出飽滿和厚實,更帶點空氣感,把人聲突顯得具備厚暖和中氣十足。LX-380 對現場的還原相當到位,人聲結像也很清晰,可以感受到歌者清晰喉音變化和運氣細節,好像演唱者就在面前一般,稍加擺位歌手輪廓和結像都能展現。細節上,人聲當中的唇齒音、喉頭的氣音、轉音、咬字的清晰等的細節都一一被整個套裝扑捉到了。

LX-380 同時具有高密度的音質和極為中性的音色,播放李雲迪演奏的《肖邦:敘事曲》時,琴鍵的敲擊富有力量感和凝聚力,琴身的共鳴帶著密實的細節和准確的形體感,在空間中產生的殘響也異常豐富。鋼琴的聲音冷靜、穩定,在凜然不為所動的外表下又潛藏著深厚的情感和飽滿的力量。這往往是高級放大器所共有的特性。而應對大動態的場面,LX-380絲毫沒有軟腳感或是速度散亂。比如在《行星組曲》中,展現出寧靜的背景,底噪也非常低,背景表現深遠,整個空間表現甚為龐大。火星、木星這些編排相當大的章節能演繹出很不錯的氣勢,音量調大也不會超限,控制力保持得很好。

后話

Luxman LX-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。

轉載自 “影音極品” 2018 年 3 月號

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傳統的經典氣息扑面而來 – Luxman D-380 CD 播放機

規格參數:
兼容碟片類型:雙聲道CD
模擬輸出:非平衡
數字輸出:同軸、光纖各一組
輸出電壓:晶體管2.1V、電子管2.4V
輸出阻抗:300Ω
頻率響應:晶體管115dB、電子管105dB
電子管型號:一隻ECC82
電源供應:230V(50Hz) / 115V〜(60Hz)
功率消耗:待機時16W
尺寸(WHD): 440×167×286mm(包括旋鈕和接線柱)
淨重:10.8kg(主機)

官方網址:http://www.luxman.com/product.php?pid=61

“復古風”刮遍市場的每個角落

也許是被日新月異的潮流變化弄得狼狽不堪、審美疲勞了,近幾年來在社會的各個領域都有一種“復古”的清流。無論是時尚界、家裝界,甚至是代表先進生產力的汽車界、電腦IT領域,都可以看到各種各樣模仿或是沿用上個世紀后半葉設計風格的產品模式,最重要的是:它們還非常受用家們的歡迎,也成為了市場上的一大賣點!

對於音響業這種歷史悠久、傳統與最新科技並存的行業來說,要玩這種復古風自然是再合適不過的了。除了像一些堅守傳統外觀設計的品牌之外,很多數字時代誕生的新銳品牌也紛紛走上復古道路。不過說到復古,就很難能像來自日本的Luxman品牌這樣玩得自然而有內涵了。

百年品牌的歷史結晶

Luxman 品牌可以復古到哪個地步?簡單說吧:可以追溯到將近100年前!Luxman誕生於上個世紀初的 1925 年,至今已有多達93年的歷史。縱觀整個音響市場,品牌歷史能夠超過它的,不需要兩隻手就可以數完,堪稱是音響界“元老級”的大神角色了!

在近 100年的發展歷史中,Luxman 始終堅持“自然”這一標准,認為隻有“自然”並且擯除人工處理才能夠在人和音樂之間搭起溝通的橋梁,才能夠通過音響器材來還原作曲者、演奏者、音響工程師所渴望表現給大家的激情和音樂的靈魂。而 D-380就是這樣一台兼具了復古外觀和 “自然” 音色的 CD 播放機。

綜合電子管/晶體管放大輸出方式

D-380 是在 2015 年 Luxman 為了紀念建廠 90 周年推出的一款機型,隸屬於廠家的 Classic(經典)系列。為了突出復古設計,D-380 採用了經典的木質機殼,機器的頂板、側板和底板均由類似於核桃木色的木紋板材構成。前面板則是優雅精致的鋁合金拉絲材料,帶有一條貫穿左右的細細溝槽,配合小小的輕觸式按鍵和顯示簡單的小窗式液晶顯示屏,一股濃濃的上世紀中期風格扑面而來。這也不奇怪,Luxman歷史上最為輝煌的年代便是上個世紀 60-80 年代,D-380 這種經典風格的設計自然是向傳奇致敬的手段。

除此之外,D-380 面板上還有兩個小細節值得玩味:由於這是一台採用可選電子管/晶體管放大輸出方式的 CD 播放機,所以面板上特意用一個像老收音機上使用的那種小撥杆式開關來切換電子管或是晶體管放大輸出方式,很有歷史感。另外在液晶顯示屏旁邊還開了一個小玻璃窗口,透過它可以看到內部的一隻放大電子管,一旦切換到電子管放大輸出模式時便會亮起,同時上方還有亮起橙色燈光的輸出指示燈。不得不承認,這樣的設計確實可以瞬間贏得老牌發燒友們的芳心。背板上,D-380 也沒有什麼復雜的設計,除了電源線插孔就是一對 RCA 模擬輸出端子、一隻同軸數字輸出端子和一隻光纖數字輸出端子。D-380 整體看起來雖然簡潔無任何多余的累贅,但是由於制造工藝相當高超,整機的質感和古典氛圍極為出色。

內置先進的數字處理電路

不過你千萬不要因為 D-380 傳統的外觀而對它產生誤解,在它的內部卻是裝備了最先進的數字電路。廠方資料顯示,D-380的轉盤安裝在8mm厚的鋁制底板上,以降低重心及增加結構強度,配合全屏蔽式轉盤框架,避免諧振對信號讀取的影響。數字/模擬轉換芯片採用了一片Burr Brown公司提供的PCM5102A,具備32Bit/384kHz的高精度處理能力,並設有兩組數碼濾波供玩家選擇,配合降時基誤差集成電路共同工作,從數字/模擬信號轉換開始的階段就對時基誤差進行有效控制。放大輸出選用了一隻斯洛伐克 JJ Electronic 公司生產的ECC82雙三極電子管,同時負責左右聲道,通過切換可以讓用家玩味兩種不同放大輸出方式的音色差異。而機內的信號路徑接線全部採用OFC無氧銅導體,PCB線路板中的線路彎位採用圓弧形,盡一切可能實現信號的無損傳輸。

輕鬆獲得現代聲底之下的兩種風格

如果光憑古典的外觀,你就想當然地認為 D-380 的聲音昏黃緩慢,那就大錯特錯了。D-380 整體的聲音非常干淨爽快,細節表現極為充足,全頻段的平衡感相當出眾,同時又具有厚實、溫暖的怡人音色,完全顛覆了很多人對於日系音響器材的刻板印象。播放《普契尼歌劇唱段》時,整個舞台自然而平順地鋪開在聽者面前,伴奏音樂層次分明地依次響起,歌手的歌聲被准確地定位在舞台之上,前后樂聲的強弱明暗對比、左右方向流暢的分布都顯得相當生動。光從這一點來說,已經達到了普通 CD 唱片音質的上佳水准。在播放這張唱片的過程中特意在晶體管放大輸出和電子管放大輸出之間進行了切換,前者可以有效地提升音場的清晰度和骨感,歌手的聲音也顯得活潑輕快一點;而后者的優勢在於音場的密度更加明顯,現場氣氛更好,同時歌手的聲音略顯成熟和感性一些。

播放《杜普蕾:摯愛大提琴》這張唱片時,D-380 又展現出相當不錯的低頻控制力。大提琴的聲音節奏明快而富於彈性,低頻在保持相當不錯的下潛深度時,又帶有富於活力的躍動感,其中的層次和細節也非常豐富,大提琴那種獨有的琴弦震顫感很容易打動人,將人帶入到演奏現場之中。如果你切換晶體管放大輸出和電子管放大輸出兩種模式,可以發現晶體管放大之下,大提琴的低頻更干淨結實一些,同時琴弦摩擦的細節也要突出一點;不過電子管放大也有著低頻彈性更為鬆軟自然,琴聲更為順滑流暢的優點。

對於發燒友來說,一台機器通過切換放大輸出方式就可以輕鬆獲得兩種不同的聲音風格,可玩性和兼容性無疑明顯大增。如果你是“復古”派的老牌發燒友,具有對CD 唱片的純粹愛好,那麼,Luxman 這款 D-380 就是你難以替代的最佳選擇!

轉載自 ” 影音極品” 2018 年 4 月號

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What HiFi? 5 Stars Review – Luxman L-509X

This superb analogue amp is much more than an expensive retro throwback.

Tested at £8,500

Within hi-fi circles, the conventional wisdom of an inverse relationship between amount of features and quality of performance prevails.

It’s a point of view that came into prominence back in the 1970s and, in our experience, still holds true today. But for every rule there’s usually an exception – in this case it’s the Luxman L-509X.

This is a fully loaded analogue amplifier. Anyone who thinks such a unit should also include digital inputs should know such modules are rarely great, even when fitted to high-end products – they are generally outperformed by outboard digital-to-analogue converters such as Chord’s sub-£400 Mojo. At this price, such a level of performance is just not good enough.

The inclusion of digital modules also tends to make the analogue side of things sound worse, which in our view is a compromise too far.

Features

The L-509X packs a moving magnet/moving coil phono stage, headphone output, tone controls and switchable speaker outputs – all things in demand back when its decidedly retro appearance was the latest fashion.

There’s no shortage of connectivity. Alongside the phono stage, this Luxman also has four single-ended RCA line-level ins and two balanced XLR options. We can’t think of a typical stereo set-up in which this integrated might get caught short.

The company has kept this amplifier as flexible as possible – so, although it’s an integrated amp, it’s possible to split the pre- and power sections (at the press of a button) and use them separately.

You can connect two sets of speakers and switch between them, or use them together.

Build

Take a look inside and it’s hard not to be impressed by the standard of construction.

Everything looks neat and carefully planned. We’re pleased with the quality of the components used, right down to the material from which the circuit board is made. It’s clear Luxman hasn’t skimped.

The internal view is dominated by the power supply arrangement. There’s a chunky mains transformer (600VA) and dedicated banks of smoothing capacitors (40,000 micro Farads) for each power amp channel.

The power amp circuitry is a Class A/B design capable of 120W per channel and, even more impressively, able to double output as impedance halves. On paper at least, this is an amplifier that will have no trouble driving difficult speakers to high volume levels.

The preamp side of things hasn’t been ignored either, with Luxman developing its own 88-step volume control system and using the basic circuit from its top-end preamp.

The message is clear: this may be an integrated amplifier, but it really is more like a separate pre- and power amplifier in a single box rather than a compromised electrical design.

General build quality is excellent. The L-509X feels immensely solid and weighs in at almost 30kg. Fit and finish is terrific, and good enough for amplifiers costing considerably more.

We love the feel of the controls – they’re nicely damped and pleasingly precise in use.

 

Even the remote handset is nice to hold and use, even if its button layout is a little odd. Handsets tend to be a blind-spot for most high-end manufacturers, but overall there is much to like here.

This Luxman may be an expensive amplifier but we feel, physically at least, it’s well worth the money – and then some.

Sound

That view doesn’t change once we start listening. The L-509X is an amplifier that creeps up on, rather than wows, the listener when the music starts.

It has an understated presentation it takes a while to appreciate. Those looking for sonic fireworks will find them here only if they’re in the recording. This amplifier doesn’t spice things up for entertainment’s sake.

Tonally, the Luxman is as neutral and balanced as they come – provided you leave the tone controls alone. It sounds a touch cleaner and crisper with the Line Straight button pressed – doing so bypasses the tone and balance controls, and gives a purer signal path.

We also switch off the backlighting on the power meters. We do this not just to avoid distraction but for the slight increase in transparency it offers. These are tiny gains in the whole scheme of things, but in the context of an amplifier with such talent we think they’re justifiable.

 

Equally, such an amplifier deserves a top-class source and speakers.

We use our usual Naim NDS/555 PS streamer for the line level inputs, together with Clearaudio’s Innovation Wood record player (including the Stradivari V2 moving coil cartridge) to test the phono stage. As for speakers, our reference ATC SCM 50s are pressed into service, along with KEF’s Reference 1 standmounters.

We throw the L-509X in at the deep end with Orff’s Carmina Burana and it swims confidently. This is an impressively detailed and insightful performer, one that’s capable of class-leading clarity.

It recovers subtleties, even in a production as dense as this, and keeps them audible as the piece becomes demanding. The low-level reverb defines the acoustic space the concert was recorded in, and spatial clues help us identify the exact positions of the orchestra and choir upon the sound stage.

 

The music’s wild dynamic swings are delivered with enthusiasm, the amplifier’s generous power output obvious in the punch and solidity of the presentation.

There’s no shortage of drama in the sound ,yet we become aware of the L-509X’s impressive composure and the sense of control it imparts. There’s an ease of delivery here that shrugs at high volume levels and the readings on the power meters.

We become a little concerned all that control and composure might take the edge off more upbeat music, so play a number of tunes from the likes of alt-J, Macklemore & Lewis, Bruce Springsteen and Chic.

We’re pleased to report it’s not the case. Feed the Luxman a hard-charging track with a complex rhythm and the L-509X renders the music with a hand-on approach that keeps all the energy and rhythmic organisation intact.

We’re particularly impressed with the way this amplifier can deliver deep bass with such texture, agility and power.

 

The story remains positive when we try the phono stage. The amplifier loses none of its even-handed nature with this input, delivering a good dose of insight and entertainment.

There’s just a mild drop in transparency compared to the line stages, and a slight loss of the low-level finesse. Still, the phono module has more than enough gain to work with most cartridges, and stays commendably quiet when it comes to background hiss and hum.

We’re less taken with the headphone output. The tonal character of this output is consistent with that we hear through speakers, but using a range of headphones from Grado’s RS-1s and PS500s, as well as the Beyerdynamics’s T1s, we feel the sound is less lively and expressive than we’d like.

If you’re an occasional headphones user, the circuit in the Luxman is fine. However, if you’ve got high-end headphones and want to hear them at their best, a good dedicated outboard amp will do the job better.

Verdict

Overall, though, we’re deeply impressed by the L-509X.

On the surface it might present like an expensive retro throwback, but it’s so much more than that. It has a blend of build, features and performance that’s hard to better at anywhere near this price.

If you’re lucky enough to have this kind of budget and are looking for a neat package without sacrificing performance, this Luxman demands your attention.

From WhatHiFi

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【漲姿勢】 學會這幾種保養,讓您的音響壽命延長40%

對於廣大發燒友來說,音響設備是自己的心頭肉,是自己情感的寄托。但如果在使用中不會保養,就會大大減少“心頭肉”的使用壽命。因此掌握一套合理的保養方法很有必要。

1. 新機試機不要急

Luxman L-505uXII

很多燒友剛買了新功放,就迫不及待的想接通電源,但是要注意的是千萬不要在功放沒連接音箱是接通電源。

因為大部分音箱都是無源音箱,無源音箱的全部能量都來源於功放。所以當功放沒有連接音箱時會導致這股能量電流無處釋放,因此可能會燒壞電路板。

2. 合理的環境溫度很重要

▌注意工作溫度

音響器材正常的工作溫度應該為18℃~45℃。溫度太低會降低某些機器(如電子管機)的靈敏度,溫度太高則容易燒壞元器件,或使元器件提早老化。夏天要特別注意降溫和保持空氣流通。

▌注意音響擺放環境

音響的擺放不僅要避免陽光直射與重壓,還要規避灰塵過多的環境及震動環境。在音響的系統中,特別是功放對於環境灰塵非常敏感。過多的灰塵可能會堵塞功散熱孔,甚至進入機體內部對電路造成破壞。

▌注意環境干濕度

音響要放置於相對濕度50%至80%之間。當環境過於潮濕時,會使得機內元器件過早失效,或機體內外生鏽,這時可以在屋內放置干燥劑降低濕度。

當環境過於干燥會導致音箱箱體木皮干枯開裂,這時可以在房間內放盆清水或使用加濕器加濕環境。

3. 注意使用頻率

機器要常用。常用反而能延長機器壽命,一些帶電機的部體如果長期不轉動,部分機件還會變形。

如果不常用也要定期通電,在潮濕、高溫季節,最好每天通電半小時。這樣可利用機內元器件工作時產生的熱量來驅除潮氣,避免內部線圈、揚聲器音圈、變壓器等受潮霉斷。

4. 避免灰塵過多及過大震動情況發生

由於需要散熱,每部功放上都會有散熱孔,過多的灰塵不僅會封閉散熱孔阻隔熱量散發,而且進入機體內部后會對具體電路造成破壞。此外音響不論是功放還是音箱,四周都要留出足夠的空間,特別是在功放上不要摞置其他設備。

5. 注意設備開關順序

音響同電腦一樣同樣存在設備開關順序的問題,使用音響時應該先啟動的是信號源設備。通常除了功放,我們還會選擇碟機等音源設備,在幾樣設備先后啟動的過程中,我們應當特別注意開機關機順序。

開機時應當先啟動像碟機這樣的音源等前置設備,再開功放;關機時則先關功放后關前置設備。

關機時還應將音響的音量調至最小,不僅可以減輕開關機時對音響的沖擊,而且下次開機時也不會嚇自己一跳。


6. 清潔切忌用水擦

清潔音響時不建議使用水來擦拭。功放、CD解碼設備外殼以金屬材質較多,音箱設備外殼以木質為多。防水的音響設備是很少的,因此水會造成對外殼的侵蝕,而且水的導電性也不適宜用來做清潔劑。

如果要清潔機體,不要使用揮發性的溶液型清潔劑,例如汽油、酒精之類,盡量選擇軟布,減少對機體的劃傷。

今天的“音響保養秘笈”分享完了,如果各位大佬覺得有用的話,別忘點贊轉發哦!

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Pure Luxury

They don’t make’em like they used to – until you see the new Luxman LX-380 valve amplifier from Japan that I’m reviewing here. Japan went down the nostalgia road somewhat before the UK and this new amplifier mines Japan’s not-so-distant past beautifully.  It doesn’t just look good, it feels solidly hewn and its controls are delicious to use.  Luxman always produced great products – I’ve owned many and this amplifier gets right back to the qualities that attracted me and so many others decades ago.

The LX-380 is not quite pure though: it is a hybrid.The preamplifier stages are solid-state; only the power amplifier is valve (tube) equipped, using 6L6GCs.  These are compact tetrodes considered good for 30 Watts in guitar amplifiers where overload is tolerated, but for around 20 Watts in everyday audio use where long life from lower anode volts is preferred – and indeed Lux make this point in their user manual, “operating conditions of the output tubes having some allowance  they say.

So the LX-380 delivers 20 Watts per channel. It may seem feeble against the 100 Watts or more we expect nowadays, but in conjunction with sensitive floorstanding loudspeakers (90dB from 1 Watt) it is more than enough for very high volume.  If you don’t want to wake the dead then it will drive smaller loudspeakers nicely too but I’d recommend large standmounters as a minimum for reasonably high volume coupled with strong bass.

I’ve seen worries about the unreliability of valve amplifiers, the expense of running them and what have you.Yes, power output valves do need replacement after a few thousand hours of use but 6L6GCs are plentiful and around £42 for a matched pair -not a king’s ransom.  Expect around 3 years for three hours of use per day, every day – heavy going. Auto-bias makes bias adjustment unnecessary.

Our underside view shows large yellow high-voltage film capacitors and large resistors typical of valve amplifiers. Switching is carried out by sealed small-signal relays.

The LX-380 is very user friendly then: it is what it looks, an everyday integrated amplifier, built to standards long gone and with a sound only valves can give – easy going, free from transistor fatigue and with a capacious soundstage.  The tubes are hidden and heat output is moderate, so everyone -including the cat – is safe.

Like any self-respecting valve amplifier the LX-380 is heavy, weighting 17.6 kg (39lbs). But it doesn’t take up a lot of space, measuring 440mm (17.3in) wide, 403mm (16in) deep and 197mm (7.8in) high. Most of the weight lies in the two output and one mains transformer but the case is solidly built and Luxman don’t skimp, using a chunky machined alloy fascia with a superb standard of finish.The control knobs and switches are likewise solid machined alloy, having beautifully smooth yet silent actions.  I should mention that Luxman advise space be left around the unit for heat dispersal; I’d suggest 6in (15cms) or so above.

Although the volume control looks like a conventional motor driven (remote control) Alps, in fact it is an electronic attenuator with discrete resistors selected by relays operated from a normal volume potentiometer.  This gives the feel of a volume control and allows a motor to be used to rotate the knob by remote control.

A 6L6 output valve, sitting in a printed circuit board mounted ceramic socket – a common arrangement in modern valve amplifiers.

Such a system has the accuracy and quality of a resistive attenuator, including its immunity to overload, whilst also ensuring frequency response is unaffected by volume control position, as it unfortunately can be when a conventional volume control is used in a poorly designed circuit.  To do this you must use logic to switch the relays – it is a complex but very purist way of changing volume.

Clever stuff then – electronically sophisticated and expensive to produce – but effective in theory and in practice our measurements showed.  The volume control of the LX-380 is a great piece of modern audio engineering in an amplifier that’s seemingly old by looks.This well illustrates what Luxman are offering here: the best of today with the best of yesterday.  The past brought up to date.

Like all Luxman amplifiers this one carries a wealth of facilities. It has four Line inputs to accept CD, DVD players and what have you.They are very sensitive, suiting low output devices like low gain external phono stages and old portable players or analogue tuners with low output.

There is a phono stage for LP, front panel switched to suit MM or MC cartridges.The entire preamplifier is solid-state so you don*c
get valves here.

Unlike most modern amplifiers this one has Record Out and Monitor input RCA (phono) sockets to handle externa! open-reel recorders, or cassette decks – a real blast from the past! The valve power amplifier can be accessed direct from Main In sockets – useful for today’s portable players and DACs that have their own volume control and high output (IV or more).

Like amplifiers of yore, there are Bass and Treble tone controls, here with switched turnover frequencies. This makes fine adjustment of frequency extremes possible – great for subtly tailoring the sound of connected loudspeakers. In true audiophile fashion the tone control circuitry can be switched out with a Line Straight lever switch.

The front panel switches and controls do not appear to switch directly: rather they actuate relays, so there was a small kerfuffle when I flicked a lever, because this initiates mute/relay/unmute sequences.You get longer life and better sound quality over that life with this approach but not the instantaneous response of switching direct.

A solidly carved remote control unit alters volume and has a Mute function but does not select input or the other controls and has no On/ Off function.

The rear panel carries two pairs of *speaker sockets, for A and B loudspeaker pairs. Front panel switching selects A, B, or A +B together.

The rear panel carries chunky modern loudspeaker terminals – no sign of the horrible spring clips or shaky screw terminals of the past that allowed shorts and tarnished quickly.They accept spades, 4mm banana plugs or bare wires. All other inputs are unbalanced through the usual RCA type phono sockets; there are no balanced XLR connectors.

Internally there is one protection fuse within the mains transformer primary circuit but none in the secondary HT lines, to protect the output transformer primaries in event of tube failure – something I consider important. Since fuses and fuse holders are cheap I am surprised at this.

SOUND QUALITY

The Luxman sounded unhappy driving our in-house reference Martin Logan ESL-X hybrid electrostatic loudspeakers: bass was limited.  This surprised me because valve amps like our Icon Audio Stereo 30SE (30W) are a perfect match.

One of the ECC82 small signal preamplifier valves, also used for phase-splitting. Valves like this have a long life of around 10,000 hours.

Contrarily,PMC’s twenty5.24 loudspeakers were a match made in heaven.The PMCs have obvious and well-extended bass as well as strong treble with a smooth and easy midband.  This did not just suit the LX-380 but the two sounded fabulous together.  This does suggest however that the LX-380’s limited bass power of 8 Watts (see Measured Performance) needs to be understandingly accommodated Loudspeaker matching is an issue but I believe it will suit most conventional floorstanders.

Digital was fed in from an Oppo BDP-205D Universal disc player, meaning CD and hi-res from an optically attached Astell&Kern AK120 portable player.  For LP I used our in-house reference Timestep Evo modified Technics SL-1210 Mk2 turntable with improved control circuits and linear external power supply, carrying an SME309 arm with Audio Technica VM750SH MM cartridge and, alternatively, an Ortofon Cadenza Bronze MC cartridge to assess both MM and MC inputs.

Four 6L6 output valves and three ECC82 double triodes are visible, together with twin output transformers and one big mains transformer. Vertical daughter boards at front and rear carry preamp and support circuits.

Spinning Josefine Cronholm’s ’In Your Wild Garden’(CD) the reason for buying a valve amplifier was thrown at me: her voice had enormous contrast against a silent background that made for a feeling of great dynamic power.

“There was ease of deIivery, a fluidity of event that makes for a lifelike presentation free of the mechanical sound from transistors.”

 

Valve amplifiers do this,they have seemingly muscular delivery that suggests primary feedback taps.  

The result was an utterly gorgeous sound, vocalists having a lovely rounded presence and lively nature.  Treble was as sweet as I could hope for, the emphasis of the PMC’s being reasonably obvious at times, but also contributing to conspicuous and precise stereo images across the sound stage.

The Berliner Philharmoniker playing Strauss ‘Don Quixote’ (24/96) stretched wide and filled our large listening room, massed horns having a lovely brassy quality and plenty of dynamic push. But when all fell silent for a solo violin the Luxman tracked this change beautifully, conveying its emotional impact in full.

Whatever I played, digital from the Oppo was graced by the Luxman^ signature sound – but so too was analogue from LP after switching from Line 1 to Phono and pressing the Technics On button. With Audio Technical VM750SH MM cartridge the bass line behind Mark Knopfler’s ’Madame Geneva’ was firm, expressive and easy to follow via the PMC loudspeakers.The whole delivery was liquidly smooth, atmospherically spacious and a performance to wallow in.

At high volume there was no hiss or hum, LP sounding as deeply silent as CD. I swapped the VM750SH for our Ortofon Cadenza Bronze MC cartridge and flicked the front panel lever switch to MC (no clicks or thumps).

Again, there was virtually no hiss and plenty of available gain – so no apparent matching problem. But the Cadenza was less glassy up top and a tad more amenable and considerably more powerful in its bass.

The reggae-like bass line of Dire Straits ‘Ride Across the River’ was expressed superbly well, sounding strong, deep and articulate. So in spite of poor measured figures I heard a great result here.The PMC’s give strong bass without drawing bass current and this suited the LX-380 perfectly.

Ranks of gold plated phono socket inputs, including Tape and Pre-out/Main-in. At left is a Phono input, plus earth post, catering for LP. A front panel switch selects MM or MC cartridge matching.

CONCLUSION

They don’t make like they used to: in the LX-380 they now make ‘em better.You pay for this sort of quality and attention to detail but Luxman amplifiers always were more expensive than the herd.They have to be with all the facilities that come included.With ourTimestep Evo updatedTechnics SL1210 Mk2 turntable and a new Audio Technica VM750SH MM cartridge, spinning LP in particular brought past wonders back to life in entirely modern form, giving a luscious sound. So if you hanker after an easy to use amplifier built the way they were – with no digital in sight – the new LX-380 from Luxman is a must.  Just use it with suitable loudspeakers to ensure strong bass.

MEASURED PERFORMANCE

The 6L6GC power amplifier output stage is quoted at 20 Watts and just about managed this within a 1% distortion limit. However, it was down to 8 Watts output absolute maximum (3% distortion) at 40Hz due to output transformer core saturation — quite a severe drop. Together with a damping factor of 1.7 the LX-380 will be no bass machine. However, with floorstanding loudspeakers of 90dB sensitivity — not uncommon — 5 Watts or so is enough for extremely high volume so the LX-380 is fine if used in an appropriate system.

Distortion was low, measuring 0.2% at 1 Watt and 1kHz, comprising mostly second harmonic. This figure rose slightly to 0,26% at 10kHz — still a good result. Distortion increased with rising output, hovering around 0.5% at full output (volume).

The output transformers swap power, which needs big cores, for bandwidth — easier to achieve with small cores and bobbins. Frequency response measured flat to a high 60kHz our analysis shows — very wide for a valve amplifier. It also reached flat down to 3Hz — not the best idea as core saturation occurs very early at such low frequencies. Digital usually contains no deep lows but LP can have strong warp signals at 5Hz, but a Subsonic filter is fitted.

Frequency response was unaffected by the 88dB stepped LECUA volume control that is placed within the preamplifier that is solid-state. Line input sensitivity was very high at 120mV and noise low at -95dB, with no hum.

Phono stage equalisation was accurate, giving flat response from 10Hz to 20kHz with MM and MC. The Subsonic filter rolled off output below 100Hz, being -1d13 down at 50Hz and -17dB down at 5Hz — plenty enough to suppress LP warp signals. The Bass tone control, set to 150Hz turnover, compensated for subjective lightening of bass reasonably well when turned up by a very small amount; it has fine resolution.

Phono input sensitivity was very high, 2mV MM and 0.12mV MC being enough for full output. Overload was high at 85mV and 11 mV respectively and noise was also low at -82dB and -65dB respectively, the latter representing a superlow 0.07pV equivalent input noise.

The LX-380 measures well in all areas except bass power, where a limit of 8 Watts was out of keeping with all else. NK

From HiFi World Feb 2018

 

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從微觀角度賞樂,再新定義敏銳、直率與力量 Luxman P-750u 耳機擴音機

日本國內三大暢銷高級音響品牌之中,既有固守現在產品類型的,需要確定有足夠需求,才開發 新產品;亦有專注Hi-End路線的,認為Hi-Fi市場非常穩定,依照原有策略即可持續經營;而Luxman 則選擇第三個方向,就是致力開拓年輕人市場,在CAS、桌上音響以及耳機系統上努力耕耘,並取得 豐碩成果,成功降低顧客平均年齡。 Luxman也是三大品牌之中,現時唯一擁有純耳擴的廠家,經歷多次轉款,來到最新的P-750u, 也是第二台擁有平衡輸出的型號。

以第四代ODNF技術組成全平衡架構

Luxman P-750u的線路規模,比不少歐美家用耳擴都要 豐富,打開機殼頂蓋,可以看到內裏塞滿線路板,並非機物 體積大但內部空洞的類型。P-750u耳擴的核心部分,是品 牌專利的ODNF(Only Distortion Negative Feedback)放 大技術,上一代P-700u採用的是ODNF 3.0A,到了P-750u 已進化為ODNF 4.0,順帶一提,同廠的C-700u前級,亦用 上同類技術。

ODNF 4.0線路,就設置在機身中央偏右,一共兩片 PCB,各兩負責單一聲道。每一片ODNF 4.0 PCB同樣擁 有兩分完全對稱的放大線路,兩聲道加起來一共四分,組 成全平衡放大架構。全平衡以外,大電流輸出亦為重點之 一;另一重點在於PCB上的訊號路徑,轉折位造成圓角而 非常見的直角,這是Luxman慣常設計,他們認為這樣有助 工程師找到更短的訊號路徑走線,亦可以令訊號傳送得更 順暢。

日式匠心貫穿每個細節

音量控制方面,同樣找得到Luxman獨門技術, 那就是LECUA(Luxman Electric Controlled Ultimate Attenuator),利用集成電路(IC),準確控制音量升降, 尤其着重低音量時的左、右聲道平衡,精準度以及耐用程 度更勝傳統衰減器。此外,P-750u的三段「SENSITIVITY」 設定(即是調校增益),同樣由LECUA技術去達成。 至於電源供應部分,與上一代P-700u一樣,P-750u亦 擁有一隻廠方稱為OI型的變壓器,以及兩支10,000μF電容 器。不過,後者外新增了一對容量各為3,300μF的特別訂 製電容,專注為初級、驅動級電路供電,加強電能儲備, 應付動態變化就更為從容。

P-750u當然擁有傳統的6.3mm TRS非平衡耳機輸出, 亦有兩組平衡介面,分別為一對3pin XLR,以及一組4pin XLR。

選用非平衡介面時每聲道輸出為4W(8Ω)、2W (16Ω)、1W(32Ω)、53mW(600Ω);訊噪比 113dB(IHF-A);總諧波失真0.003%(1kHz),表現比 上一代優勝。 換成平衡介面,每聲道輸出增至8W(16Ω)、4W (32Ω)、213mW(600Ω);訊噪比116dB,比上 一代低1dB;總諧波失真比非平衡更低,達至0.002% (1kHz)。 耳機向來比揚聲器敏感得多,不但擅於重現細節變 化,更容易被聆聽者接收,故此耳擴每一個環節都不能馬 虎,否則難以令聲音變得平順、降低底噪。隔離外界干 擾,包括電波與震動,需要特別小心,Luxman一眾工程師 對之未有輕視,他們為P-750u設計出一個以3mm厚鋼板為 基礎的雙層機殼,再加上源來同廠旗艦900系列的鑄鐵機 腳,為內部組件提供安穩的工作平台。

難推、易推一機搞定

要試聽Luxman P-750u耳擴,當然要為它找來兩個門當 戶對的拍檔,分別是beyerdynamic T1(2nd Generation) 耳機和Electrocompaniet EMC 1 MK3 CD/SACD機,線材 是一對Analysis Plus Power Oval 2電源線、TiGLON MS- DF12X XLR訊號線,再加上beyerdynamic原裝4pin XLR 平衡線,組成全平衡組合。接駁時要小心相位,P-750u的 XLR輸入,預設是2-3+,假如配合2+3-的訊源例如EMC 1 MK3,就需要在耳擴機背按下反相掣。 只要花半分鐘去比較單端與平衡,就會輕易愛上 後者,在控制力、分析力、分隔度、動態表現、寧靜 度,都比單端優勝。而P-750u實在推力雄厚,三段 「SENSITIVITY」之中,只需「MID」檔位就足以應付T1這

款600Ω耳機。除非是極之難推,或是喜歡帶有強烈侵略性 的聲音,否則絕少機會用得着「HIGH」。「LOW」的驅動 力明顯比「MID」低一截,似是專為一眾便攜頭戴式或是入 耳式耳機而設。

顯微鏡下看世界

P-750u的分析力十分出色,總是非常仔細地重現不同 細節、弱音,弓弦摩擦聲、吹管樂師的花舌技巧是真花舌 還是喉花舌、歌手咬字與收結是否出色等等,都毫不掩飾 地告訴你。 音色上,這台耳擴十分中性,沒有明顯偏冷或偏暖, 可以準確還原錄音製作意圖。 好吧,如此這般,P-750u是否鑑聽耳擴?又不盡然, 因為它並非工作聲,不會把細節放到主體之前,依然將音 樂放在第一位,不是給你存心找碴。它的厚度不俗,人聲 有肉地,亦有感情。背景夠黑,細微起伏夠多,一切都連 貫流暢,致令音樂中的感情能夠一一展現,情深之處,要 令你聽到毛管棟也屬尋常。 光鮮、亮麗、高頻延伸出色,高音特別晶瑩,不過 中、低音仍然質感充足,儘管不是豐厚型,但厚度理想之 下,聲音不帶任何瘦削與單薄。(阿基米德)

載自 “Hi Fi 音響: 2018年 1 月號

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Luxman L-509X

 

The style may be ‘retro’, but this powerful integrated amp from a Far East legend is no exercise in nostalgia: it lacks fashionable digital inputs, but has serious sonic appeal Review: Andrew Everard Lab: Paul Miller

OK, so it may help explain the whole ‘vinyl revival’ thing, from portable record players with greater tracking weight than a Caterpillar bulldozer to supermarket own-brand LPs, but looking to the past will only get you so far.  Forget all that longer summers, colder winters and ‘jumpers for goalposts’ stuff: even nostalgia’s not what it used to be. Products must stand on their own merits in today’s competitive market.

RESOLUTELY ANALOGUE
You see, there’s not exactly a shortage of big-money integrated amplifiers out there, and launching the £8500 L-509X into that arena sees Luxman facing rivalry not only from other manufacturers, but also from within. After all, the company has a handful of integrateds on its books, all of which look somewhat similar at first glance, distinguished only by the colour of their meter illumination and price. The designation echoes the original L-509fSE, which first saw the light of day back in 2002 as an attempt to combine the virtues of preamp and power amps in a single chassis, while slightly confusingly there’s already the similarly-numbered L-590AXII [HFN Apr ’16].

Now we have the L-509X, and while the basis is the same, this is a somewhat different animal, with a claimed output of 120W/8ohm, rising to 240W/4ohm – not that the L-590AXII proved exactly starved of power when PM lab-tested that one, delivering 95W/8ohm and 165W/4ohm. I have to confess to being something of an adherent to the maxim that a bit of extra grunt never goes amiss when it comes to the ease with which music is delivered, and so it proves with this new Luxman.

A bit of extra grunt may also be what you emit when called upon to unbox and set up the L-509X for it weighs a not insubstantial 29.3kg. At least the effort gives you a reassuring sense of where all your money’s gone, an impression that’s reinforced when you have the amplifier in place, connected up and switched on.

The star turn, as on all current Luxman amps, is the presence of the two illuminated meters, placed exactly front and centre, but the symmetrical layout of the substantial fascia is also highly pleasing, as is the attention clearly paid to the feel and weighting of the controls. There may not be the knowingly retro flip-switches of the wood-sleeved ‘Classic Series’ Luxman products, but even before you start using it in anger the L-509X has a sense of substance and total quality – luxe indeed. The design here is very much classic‘ preamp and power amps in one box’, with the two sections able to be split if required. And at heart this is a very simple amplifier, with none of that built-in DAC nonsense, let alone a sniff of a Wi-Fi antenna or Ethernet port – it’s resolutely analogue, with no more than four line-ins on RCA sockets plus two sets of balanced inputs, plus a switchable MM/MC phono stage.

‘The Mael brothers’ sound is an exercise in studied chaos’

HARD AS BRASS
Record out and monitor sockets are provided, along with pre-out/power amp in – you could use the last of these to integrate the L-509X with an AV receiver or processor – and there are two sets of switched speaker outputs and a fascia headphone socket. The controls, though there seem to be a lot of them on the front panel (somewhat at odds with the ‘input selector, volume control and that’s it’ trend), are similarly simple. The input selector is one of the two beautifully precise knobs either side of those meters, while the identical-sized adjustments arranged below allow MM/MC cartridge selection, record out, speaker switching and tone/balance controls, bypassable using the ‘Line Straight’ button. Oh, and there’s a remote handset provided [see p39], also able to ‘drive’ a Luxman disc player – and turn off the L-509X’s meter illumination too.

The volume control bears the legend ‘LECUA’, which looks like one of those meaningless Japanese terms, right up there with Acura, Regia and Canter (the last of these an unfathomable designation for a range of trucks). In fact, LECUA is the Luxman Electric Controlled Ultimate Attenuator, here in its latest LECUA 1000 version, which controls both volume and balance with a system directly connecting the substrate of the attenuator and amp circuits to reduce noise, and offering 88 steps of volume adjustment. Other claims for this design include greater resistance to the effects of vibration, enhanced accuracy across the volume range, and long-term durability.

This system is inherited from the company’s C-900u flagship preamp [HFN Sep ’15], as is the buffering circuit in the preamp section, designed for optimal drive of the power amp stages. The output stage itself uses a push-pull configuration equivalent to that in the company’s M-700u power amp, and outputs through copper alloy terminals said to have the conductivity of copper plus the hardness of brass. The switched connection to the output stages is via high capacity/low resistance parallel relays and thick copper wiring to maintain the claimed high damping factor. The whole plot is sustained via no fewer than six independently rectified/regulated PSUs fed from separate transformer windings – even the protection circuitry has its own supply. The substantial 600VA transformer, Luxman says, is a ‘high inertia’ design ‘that does not shake even under load fluctuations’. Well, that’s all good, then. The vibration-resistance goes beyond that hefty, thick panel work in evidence in the ventilation grilles in the top panel, for rather than use fancy damping feet in exotic materials, the L-509X simply sits on massive cast-iron supports. Sometimes a little brute force is the best way!

No digital or network connections here: just MM/MC phono, four line-ins on RCAs and two sets of XLRs, plus a good old-fashioned tape loop and pre-out/power amp inputs, with internal connection broken by front-panel ‘separate’ button

SWEET AND EASY
Not that there’s anything brutal about the way this amplifier plays music. Give it a while to settle down from cold – as PM noted during his lab testing [p39], when set to play at a given output level the meters kick up a bit after a while of running, at which point the L-509X can be assumed to be cooking pretty well, and good to go. And the immediate impression is that, while there’s no mistaking this for an amplifier with anything less than ‘more than sufficient’ power under the hood, it sounds sweet, refined and entirely at ease, whatever the music you choose to play through it, and whichever source component you opt to use.

It’s not quite a ‘take no prisoners’ ultra-revealing amp of the brash and bright school, though the amount of information it delivers is frequently breathtaking, and it never leaves the listener with the sense that something’s missing. So however big and rich the bass may be it’s also entirely controlled, tight and rhythmic as well as having wonderful character. From the growl of orchestral double-basses in a spot of Wagner from the excellent overview of the composer’s work by Iván Fischer and his Budapest Festival Orchestra [Channel Classics CCS SA 32713; DSD64], all the way through to the snap and punch of Kyle Eastwood’s instruments on his recent In Transit set [Jazz Village JV570146; 44.1kHz/24-bit download], this is an amplifier fully able to convey instrumental textures and techniques.

What’s more, while the brass duo leading several of the Eastwood tracks can sound overly aggressive via some amps, the L-509X conveys them in fluid, attractive fashion without blunting either their breathiness or the metallic edge to the sound. In other words, it does excitement to spellbinding effect – just without the irritation. Even with a really dense mix, such as some of those on Squeeze’s The Knowledge [Love Records LVRCD004], this amplifier manages the impressive task of delivering the big, majestic wash of sound while still allowing the usual masterful lyrics and the individual instruments due clarity.

NO EXCUSES NEEDED
The L-509X rewards both ‘lean back’ and ‘lean forward’ listening, not least because it always seems entirely in control of the speakers, with no sense of speed-impeding smear or overhang. Notes start sharply and decay realistically, giving a sound that’s both immediate and delivered with real presence. It’s a sound that even the wilful mayhem of the latest Sparks set, Hippopotamus [BMG 538279612], can’t catch out. Yes, the sound the Mael brothers deliver is an exercise in studied chaos, but even those falsetto’ish vocals are clearly audible in a track like ‘So Tell Me Mrs Lincoln Aside From That How Was The Play?’, which is every bit as bonkers as the title suggests. It may not be quite what the Luxman engineers had in mind when they designed the L-509X but the fact it works so well shows that their amplifier has wide-ranging capabilities beyond the breathy jazz of so many hi-fi demonstrations.

That said, when you do treat it to a demonstration-quality recording, such as Classical Opera’s lovely set of Mozart’s Il Sogno diScipione [Signum Classics SIGCD499, 96kHz/24-bit], the LX-509X’s warmth and vitality come together to create a truly exciting presentation, the soundstage broad, deep and detailed, the presence and ambience almost uncanny, and the dynamics so wide open that one could easily forget all the machinery involved between performance and the listening experience. This amplifier is no mere exercise in rose-tinted nostalgia, and needs none of those ‘ah, but in those days…’ excuses to be made. It’s simply special.

HI-FI NEWS VERTICT
Big, rich, sweet and totally controlled: sounds like something of a soft listen, doesn’t it? Yet the truth is that the L-509X is all of the above in a good way, and none of those in a bad: it simply conveys the music in a manner that always seems exactly as it should. Don’t look at the styling and expect all those clichés of amplifiers of yore – this is a bang up to date design, in both engineering and sound.

LAB REPORT

Dynamic power output versus distortion into 8ohm (black trace), 4ohm (red), 2ohm (blue) and 1ohm (green) speaker loads. Max. current is 16.7A

Power meters are always fun to watch and, here, are ‘calibrated’ in dB relative to full output. In practice the red ‘0dB’ point is pretty close to Luxman’s rated 120W/8ohm but, perhaps more importantly, a 10W/8ohm output is indicated at –15dB when the amplifier is cold and –10dB when it is warm… So treat the meters as decoration rather than a precise measure of level! Precision is the watchword in our lab reports, of course, and here it was soon clear that while the L-509X might look almost identical to the L-590AXII [HFN Apr ’16] its technical performance suggests a merger of the brand’s C-700u/M-700u pre/power [HFN Sep ’15]. Indeed, where the former racked-up a full 2x145W and 2x250W into 8/4ohm, increasing to 165W, 315W and 551W into 8, 4 and 2ohm loads under dynamic conditions, the new L-509X delivers a very similar 2x155W/8ohm and 2x255W/4ohm with a dynamic 183W, 342W and 507W into 8, 4 and 2ohm. With both the M-700u and L-509X, protection limits output to ~300W/1ohm or 16.7A [see Graph 1, below].

Distortion versus extended frequency at 10W/8ohm, 5Hz-40kHz (left, black; right, red)

In similar fashion, the integrated L-509X has –1dB response limits of 3Hz-42kHz (–4.6dB/100kHz) while its 0.02ohm output impedance, rising to 0.05ohm/20kHz and 0.43ohm/100kHz still encourages a slightly earlier roll-off into tougher loads. Distortion is also very low at <0.002% from 20Hz-1kHz before rising gently to 0.03%/20kHz (all at 10W/8ohm). Where the L-509X scores, however, is in maintaining this distortion trend with increasing output, so THD is 0.0025% at 1kHz/1W, 0.0026% at 100W and 0.0034% at the rated 120W. Meanwhile, bearing in mind its high +43.4dB overall gain (balanced input), the A-wtd S/N ratio is a solid 86dB (re. 0dBW) while separation is >80dB midband. PM

 

From HiFi News

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Luxman C-900u/M-900u

 

 

Luxman’s C-900u preamp and M-900u power amp (£9995 each) are part of the wave of retro-flavoured hardware that has captivated the big Japanese houses, many of whose ‘period-look’ units eschew digitalia.

“The weight, the power, the flow, all conspired to make our feet tap”

 

As Luxman offers separate DACs and phono stages, they’re not fitted here, eg, the C-900u offers only line inputs and full-function remote control, with tone and balance controls set via large rotaries, but it has no tape monitor facility.  The supplied remote allows zooming of the informative fascia display.  At the rear of the preamp can be found a choice of balanced or single-ended inputs and outputs, earthing posts should you wish to add an external phono stage for a vinyl source, and a couple of Ethernet remote comms ports.

With its resolutely analogue fascia meters, the matching M-900u power amplifier offers both single-ended and balanced (XLR) inputs, remote power on/off, massive multi-way binding posts – some of the best we’ve seen – and switching for mono bridging and polarity inversion.

INSTANT SWEETNESS
Our first encounter was with ‘Rock The Boat’ by The Hues Corporation [Camden (CD)], with the amps hooked up to Wilson Alexias. While the track isn’t overripe down below, it is a dance track with a cool, loping bass, gorgeous harmonies, whucka-whucka guitar, and punchy brass and strings soaring above it all. The Luxman package sounded almost as tube-y as the company’s MQ-300 stereo amp [HFN Nov ’15], but with 25 times the wattage and a far more clearly delineated bass.

Detroit Emeralds’ ‘Feel The Need’ [Atlantic] is more of the same, but with richer, more Motown-y vocals and stronger drum activity. Moving to vinyl, the strings grew even sweeter, but saccharine never intruded because the ’900s possess such balance, with true equanimity from top to bottom.

After a double-dose of disco, we were drawn to mixed percussion, and Santana’s ‘Oye Como Va’ from Abraxas [Mobile Fidelity] did the trick, with the track’s congas, woodblocks, guiro scraper and other paraphernalia. Here the weight, the power, the flow, all conspired to make our feet tap – critical listening be damned! And that’s pretty much as high a compliment as one can pay.

Then in place of the Wilson Alexia speakers we hooked up Spendor LS3/5As, and loaded up ‘Rock The Boat’ once more. The little gems ‘disappeared’ and we were reminded of why we’d worshipped them for so long… the soundstage bordered on the epic.

What clinched it for us, though, was neither the punch nor the percussive majesty of the above tracks, but the subtlety of At Last from Lou Rawls in tandem with Dianne Reeves [Blue Note].

VERDICT
These units worked faultlessly, the remote was a joy to handle, the sound blissfully natural, while the units are made with the sort of finish that’s as cool as Swiss air.

 

From HiFi News

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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

曾幾何時,為心儀之異性留燈的節目紅遍大江南北,但細心的觀眾或許會發現,電視節目無疑是吸引眼球提高收視率,最終目的依然是獲取贊助商巨額贊助的商業套路,究竟節目內容牽拉的紅線有多少真與假,倒難以考証了。這不重要,為你留燈的一幕依然令無數觀眾期待,這類節目創造的效果已經達到目的。

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。

傳統與現代
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

骨子裡依然是傳統膽機
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。

音樂感染力超凡的好搭檔
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。

意想不到的聲音密度感
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

總結
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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