傳統高音單元都大多以球頂振蟆方式設計，而為了減少發聲時波形的誤差，球頂高音單元必須要達至既小巧又輕薄，不然將會大大減低高頻的效率及準確性。Wharfedale Elysian 系列特別使用 AMT (Air Motion Transformer) 氣動式高音單元，運用空氣流動方式，將一片片輕巧的震動薄膜放置在層列的強力磁極中間，薄膜表面覆蓋一層針對性排列的金屬線圈軀動其整個表面運動，在音樂驅動的影響下，膜片中的褶皺將會收縮並膨脹，擠壓它們之閒的空氣以形成所需的聲波。
這不僅是一種高效的空氣流通方式，而且由於薄膜由始至終都處於軀動系統的繁密控制之下，因此它也是非常的準確。另外，由於 AMT 是一種速度傳感器而非壓力傳感器，故此它能夠產生令人驚訝的快速瞬變和動力，由於失其率低，使其可產生出特闊的頻寬，並可自然地提供出色的音樂細節。
輕巧剛強的玻璃纖維中音單元
為了能獲得與 AMT 高音的靈敏度和精度相匹配的結果，Elysian 系列在中音單元錐體上採用了獨特的玻璃纖維編織物料，從而實現了輕巧和強度的完美結合，然後賦予其高可塑性塗層以控制其聲學性能。如此輕的質量，只有低阻尼的泡沫橡膠材料懸邊才能與它匹配，並再次塗有塗層以提高耐用性。中心相位錐的形狀經過特殊設計，可在較寬的頻寬（甚至偏軸）上達到線性輸出，從而增強了對音樂的自然響應，讓聆聽者隨心所欲地欣賞音樂，呈現有如裂場演奏般的空間感！
Nearly all of the functions are self- explanatory, everything – tone controls, filters, etc – are defeatable for purists, while the phono settings are relegated to the rear panel
Continuing its modern take on traditional Japanese purist amplification, Luxman finally offers a MM/MC phono/line preamp partner for its ultra-retro MQ-300 valve amplifier
Review: Ken Kessler Lab: Paul Miller
Just over three years ago I had my first taste of cost-no-object Luxman [HFN Nov ’16] in an achingly long time. The company has had its ups-and-downs, but fortunately its new owners – IAG, home to Quad, Wharfedale, Audiolab and Castle Acoustics – realise what a plum brand Luxman is, so it was expected that the flagship MQ-300 power amplifier which so charmed me would be followed by a worthy preamp. Enter the alluring CL-1000, at £16,000 a grand more than the power amp and looking every penny of its price.
To clarify what Luxman offers, the company has three main amplification ranges (as well as turntables [HFN Oct ’19] and digital source components). The three comprise the NeoClassico ‘minis’ [HFN Nov ’19], the solid-state models [HFN Jan ’18] and the vacuum tube offerings, of which this is the dearer of two preamps.
MODERN CLASSIC
But this isn’t any ol’ high-end preamp, for it is, after a staggering 45 years, the successor to 1975’s C-1000. This should have special resonance in the UK because I believe that our own Tim de Paravicini, of EAR Yoshino fame, had a hand in the design of that much-sought-after classic. You have to put them side-by-side to tell them apart. Rotaries and toggles in similar locations, a lavish wooden sleeve – Luxman knows how to handle retro with panache.
Aside from the lack of remote control, this is absolutely a 21st century offering. Valves long ago ceased to be anachronistic or sentimental, and are now permanently a sub-genre of contemporary high-end, just as this unit also benefits from numerous advances not available in 1975 – hence its true modernity. In keeping with current practice, it accepts one balanced source, three RCA line sources and phono via an input labelled ‘Ext In’.
Why the odd tag? I grabbed the Japanese catalogue at the Tokyo show, and found inside a photo of the rear of the CL-1000 without phono stage rotaries, so I’m guessing it’s an option in some markets. What we get are adjustments for MM with three gain levels and six capacitance values and MC with three impedance/gain settings to match most cartridges. I tried two of each of varying characteristics and found gain, headroom and other parameters perfectly suitable, while the phono stage is deathly quiet, to boot.
Another nice touch are two sets of RCAs and two balanced XLRs for outputs. Though you can only run either/or, selected from the front panel, both pairs within the chosen type operate concurrently. Hence you can feed either two amp/speaker combinations simultaneously, or you can bi-amp via a split crossover. You just cannot run one balanced and one single-ended, or all four, at the same time.
The LECUTA relay-switched, transformer-based volume control and E88CC tube buffer [far right, and see boxout, p53] feed the main E88CC triode line stage [centre], all powered via a screened linear PSU [left]
SHEER MAGNETISM
That loaded fascia may reek of the era before the minimalists took over, but every function purists deem deleterious to the sound can be defeated. The tone controls have user-selectable turnover points, there are polarity inversion switches for main output and balanced input, a ‘line straight’ bypass, a low-cut filter and – for those who have archive recordings on LP or tape – a mono/stereo selector and balance rotary.
Meanwhile, above the balance knob is a light that blinks when the unit switches on, and which glows steadily in playback state. Then there’s the ‘Articulator Function’. This is a procedure in which the device generates a special toneburst to demagnetise the transformer cores, ‘for an even higher degree of sonic purity’ according to Luxman.
Ready to listen, I was first treated to a waiting period when the row of lights next to the Articulator went through their sequence. It degausses the system, a practice that’s not so whacky as to be unique: some years ago, Gryphon sold a system demagnetiser, Air Tight offered a cartridge demagnetiser, as does Luxman in its EQ-500 phono stage.
Unlike switchable polarity inversion, degaussing is difficult to assess here because the CL-1000 goes through the process every time you turn it on, and I cannot find any way to defeat it from activating at switch-on. It’s not impossible, though, if you do want to try to hear a difference beyond the automatic degaussing when powering on because you can manually activate the process whenever you like simply by pressing the button on the fascia.
Despite never hearing that demagnetising was an issue that needed quotidian attention, I am not prepared to suggest whether or not Luxman is making a mountain out of a molehill. It remains to be seen (or heard) and I prefer to be generous and to look upon it as a form of automatic maintenance, as the switch-on sequence is hardly an intrusion, and it relieves us of having to worry about it, like valve auto-biasing or a self-defrosting fridge. And after all, anything that makes my life easier is welcomed with open arms.
TRANSFORMERS AND TUBES
When purse strings are relaxed, the high-end audio designer has several routes open in the quest for the ideal ‘analogue’ volume control. Beyond a high quality film potentiometer there’s always the option of a switched attenuator using a ladder network of resistors to offer precisely calibrated ‘stepwise’ control. Then there’s the transformer route, realised in its most simple form as a purely passive control offering some +6dB of voltage gain at the expense of a high and variable output impedance. Luxman may use a pair of transformers in the CL-1000 but its ‘LECUTA’ (Luxman Electronically-Controlled Ultimate Transformer Attenuator) is closer in execution to the volume control regime used in Nagra’s HD PREAMP [HFN Nov ’18]. Here a tube line buffer (employing E88CC triodes) is combined with a transformer employing 34 secondaries that are switched in combination to provide very fine adjustment in volume. A further E88CC-based line stage, with super permalloy output coupling transformers, delivers a more consistent output impedance, and though ~480ohm is still on the high side, the CL-1000’s extended frequency response remains less sensitive to volume position than is typical with transformer-based preamps.
SILK DEGREES
Used with Audio Research REF75SE and D’Agostino Momentum Stereo power amps, which are balancedinput-only, I also had the opportunity to try it with the Audio Research REF160S in both single-ended and balanced modes – and you already know I preferred the latter configuration. Even from cold, the CL-1000 exhibited two initial impressions that stayed with me throughout the listening sessions.
First and most notable is its utter gracefulness. There is no shortage of subtle,
refined preamps on the market, but this unit exhibits such finesse that I found myself turning to overly familiar works just to hear if it could eke out more low-level information or infinitesimal details. With the 50th anniversary edition of The Beatles’ Abbey Road on the turntable, I decided to wallow in the masterpiece that is the medley on Side 2.
It certainly possessed a forensic quality that drew my attention to disparate musical events, but the magic was in doing so without sounding hygienic, aggressive or disciplinarian. Instead, it sounded –and there is only one word for it – ‘silky’. Whether reproducing raucous moments – ‘Polythene Pam’ burst from the speakers with the force of a military march – or ‘Because’, the CL-1000 retained an overall behavioural mode that inferred peerless consistency – the second of its most notable virtues. It was delivering reference-grade detail, neutrality and coherence.
As an unintended benefit, especially for listeners who feel the need to dissect music, the openness and transparency were of such a revealing standard that one could, if masochistic enough, listen for edits. I resisted digging out ‘Strawberry Fields Forever’ or ‘Being For The Benefit Of Mr. Kite!’ or other tracks assembled from myriad splices, but you get the idea.
Four line ins (inc. one balanced on XLRs) are joined by one phono in (on RCAs) with rotary MM/MC gain and loading options. Four line outputs are offered on single-ended RCAs and balanced XLRs. The CL-1000 has no remote control
TIME LORD
This is not, however, a caveat warning of painfully analytical behaviour. The sound remains of a seamless, mellifluous whole, such that I was continually reminded of full-range electrostatic speakers. When I turned to one of the ‘showoff’ recordings in my arsenal, the 60-year-old score to The Music Man, the spoken-word ‘Rock Island’ verbal assault that opens the post-overture proceedings was presented as what is best described as a holographic spatial event.
Why is this important, or, crucially, beneficial? Because that is one of the most irritating experiences in the history of Broadway, despite the recording being awarded ‘Best Original Cast Album’ at the first Grammy Awards ceremony in 1958. It’s just a bunch of whiny people shouting at each other in a rhythmic pattern. Hearing it once is enough. But so life-like was the reproduction through Luxman’s CL-1000 that I was drawn in, with spider/fly irresistibility. Hell, I even ‘Gary, Indiana’, which was sung by a screeching, lisping 11-year-old.
Is rendering the unlistenable ‘listenable’ a virtue? I can think of no higher compliment for a piece of hi-fi equipment. After all, it’s one of the bases of my obsession with open-reel, which even has me playing Ray Conniff, Mantovani and the like. Which led to another revelation: what the CL-1000 does with massed strings and huge orchestras is something to behold.
It was, however, an SACD that had the greatest impact. (I beg you: try it!) As dazzling as is The Thelonious Monk Quartet’s Monk’s Dream on One-Step LP, the SACD should be regarded as a milestone in this digital format. Via the CL-1000, it recreated the necessary club-like intimacy small-ensemble jazz albums demand to sound of their best.
The CL-1000’s part? It reaches into its own past, as well as that of the music itself, to deliver such vibrancy and realism that one might even suggest it is a time machine.
HI-FI NEWS VERDICT
At the risk of alienating those of you who think hair shirts are comfortable, the Luxman CL-1000 unashamedly marries truly stellar sonic performance with the sort of perceived value – and build quality – that eludes much of the high-end. It is a delight to use, it leads to hours-long listening sessions and it is so gorgeous that you’ll want to fiddle with the controls just for the tactile rewards. Magnificent!
SoundQuality: 90%
LAB REPORT – LUXMAN CL-1000
With the LECUTA volume cranked fully clockwise, maximum gain is +15.1dB (XLR in/out) with a channel imbalance of 0.12dB at +6dB gain. Maximum output is a substantial 19.5V with distortion increasing steadily with level from 0.0025%/100mV to 0.014%/1V and 0.15%/10V. This holds true from 100Hz-10kHz but THD increases marginally at higher frequencies (0.032%/1V/ 20kHz) and more obviously so at very low frequencies to 0.08%/ 20Hz and 0.9%/5Hz. This is more likely a function of the input and output coupling transformers than the dual-mono E88CC tube line stage [see Graph 2, below]. The triode stage is also very quiet, revealing an A-wtd S/N ratio of 100dB (re. 0dBV) and a residual noise of just –97dBV (14μV). The response is extended, showing a lift in the ultrasonic to +1.7dB/100kHz but, more worrisome for vinyl sources, a +12dB spike at 3Hz. The low cut filter [dotted trace, Graph 1] is mandatory for LP-based systems.
The CL-1000 has a versatile MM/MC phono stage even if the gain is not exactly as advertised! In practice the ‘+38dB MM’ input is closer to +54dB while the +57dB and +66dB MC options (40/10ohm loading, respectively) are closer to +73dB and +76.5dB. This means the CL-1000 is rather better suited to low-output MMs and MCs than you might suspect, without there being a trade-off in either the input overload margins or S/N ratios. In MM guise the CL-1000 has a sensitivity of 2.1mV with a generous limit of 90mV (32.6dB headroom) and a wide 86.2dB A-wtd S/N ratio. For MC (low/medium and high gain) the figures are 225μV and 150μV for sensitivity with overload limits of 10.5mV and 7.5mV, and 73.6dB/67.0dB for the S/N. Clearly ‘MC Low or Med’ are the settings to choose for 95% of likely MCs.
Output impedance (red infill) versus MM/Line response (black, solid line; low cut filter, dotted)Distortion versus extended frequency at 0dBV (Balanced line input, red; MM phono input, black)
一年容易又過去，執筆之時踏入了 2020年的 1月，雖說是新一年新開始，這篇測試報 告卻是姍姍來遲，全因 Center Stage2 與一槍般墊腳輔件極之不同，想當日 CMS 老總 Joseph Lavrencik 來到本刊，親自示範 Center Stage2 的效果，並說到這套墊底需要時間浸出效果，期間會表現反覆，首次擺放在機底，短暫間會獲得甜頭，隨後的兩三天計或會變差，但別要擔心，就讓狀態保持下去，漸漸地觀聲便會回來，這麼兌，到底需要多少天呢？Joseph笑著回答：「10天至14天不等！」
尋根本治重點
請恕小弟見識淺薄，在過往測試生涯裡，兩週時間足以了解輔件的功 效，這套墊腳剛好是相反，兩週後方見真章，到底是有何原因呢？就著 Joseph 當日的解說：音響市場上，大部份抑震產品，例如是音響架或墊釘！絕大部份是把震動能量轉化熱能，我嘗試找出另一種方法來處理諧 振，於是經常和我兒子進行討論，他是電機工程學理博士，提到音響器材諧振處理，他說出了重點，就是熵 (Entropy)，嫡是指能量失序，音響器材 振出現這現象，不僅是來自外部環境的震動，器材在通電後，元件及線路板產生出不同的振動，形成螺旋效應（Spiraling Effect)，這種影響是沒可能徹底消除，但能夠減至最少程度，而 Center Stage2 利用鋁合金結合特殊阻尼塗層，通過耦合把嫡的狀態從高轉為低，從而提高穩定性，令干擾降至最低程度，整個轉化過程是需要時間，正因這原故聲音在頭數天好像變差了，經過一週或更長時問便達到預期效果。我向 Joseph 問及，這套機腳對於 CMS 的用家可有效益？他的答案是 CMS 機架與 Center Stage2 非但沒有抵觸，一起使用效果只會是加倍理想，那刻我的確認為他是黃婆賣瓜，自賣自誇！如今細心咀嚼 Joseph 的一番解說，這也不無理據，若把諧振簡單地區分為內外兩類型，那麼 CMS 機架便是應對來自地面及聲音構成的震動，與 Center Stage2 一併使用便是內外徹底處理，當然，在其他機架或墊板上使用亦會得到類似效果，說到尾都是墊機輔件，在不同的搭配情況下減震的程度自然是有所不同，否則是不用我來寫測評報告了！
公器私用
Joseph 離開本刊前，再三叮囑小弟，切戒心急，如情況許可的話，不妨效法小學生寫週記般，寫下每週的聲音變化表現．一或許美國人習慣以一個禮拜作為計算週期，房租和薪水都是每週清算，我也很想按他意思來做，奈何現實情況是辦不到，本刊每個月有不少新款器材輪流替換，根本沒時間讓 Center Stage2 慢慢成長，這類需要時間育成的輔件，還是帶回家中測試比較合適。難得找 到一個完美借口，我有大條道理向大草哥申請，把總數 6套的 Center Stage2 帶回家詳細了解，從安裝到現在已有個多月，我也不敢斷定此刻的效果是最好，只知道在近一星期裡已感覺不到聲音有明顯變異，我估計就算未完全穩定也該相距不遠吧，是時候寫下感受了！
高度與運用
Center Stage2 原則上是4個算為一組，當日 Joseph 在試音室親身示範時，極為建議每部器材都要用齊4個，然而，我嘗試過無數次，每次在機底放4個墊腳是較難取得平衡，很多時需要作出獨立調整高度，而 Center Stage2 的高度是固定為0.8吋、1吋及 1.5吋，雖然不能調節高低，但廠方提供了 1/32吋或 1/16吋金屬墊片，以便用家按實際需要加墊於 Center Stage2 底部，而我為了讓寒舍的器材都能使用 Center Stage2，個別器材只用了 3個，我把 1.5高度的 Center Stage2，放置於 Esoteric K-03 SACD / CD 播放機，及 Shunyata Research HYDRA TYPHON QR、HYDRA TRITON V3 及 HYDRA DELTA D6 機底，每部器材放了 3個，這樣便完整分配給 4部器材，另外的 12個 1吋 Center Stage2 每 4個為 1組，墊於 Acoustic Signature Double x 黑膠唱盤、LAB 12 Melto 2 唱放及 KECES P8 DC 電源供應器，對於高度的選擇，我純粹考慮器材機腳的高度，正如 Joseph 所講，最重要是升起器材，礙於 Esoteric 和 Shunyata Research 的機腳都算是高，因此才有此安排，順帶一提，我的兩組音響架分別是 Vibrato R1實心鋁合金 3層機架及 Solid Steel 舊款機架。
循序漸進的改善
在這段期間我每夜回到家中也會聽個多小時的音樂，一直聽著聲音在逐漸起變化，應用的首天只覺高頻有極為輕微提升，之後數天聽到低頻量感似有遞減，整體的變化好比減肥修身，當中我察覺播放 CD 比播放黑膠，感受到的轉變是更明顯，我認為與器材的本質有很大關係，CD 播放機無論是線路元件以至運作均比黑膠複雜，衍生的震動干擾亦比黑膠唱盤繁複得多，出現效果差異似乎很合理。如是者兩週時間很快過去，或許我每天以聽覺來觀察變化，所以沒覺得音場忽然擴大了，又或是低頻會突然衝破最低點，相反，細水長流式測試更令我認清一件事情，就是從混濁走向清晰的聲音，不單只有頻率延伸，焦點幼細度，聲音密度這幾方面有進展，同時間，音場的結構會覺得充實，連帶高度和寬闊度亦更為合理，播放黑膠時最強烈感受是聲音極之穩定，這種定的感覺是樂器和人聲都有固定而明顯的位置，音象的形態之鮮明令我感覺聲音有乾淨效果，從中更體會 Center Stage 2與不同材質耦合，例如黑膠唱盤的基座是木材，K-03 CD 播放機是鋁合金，兩組機架也是木材與鋁合金，如此的配合就令聲音剛性也有異樣，我感覺 Center Stage2 耦合鋁合金是令低頻有高密度扎實聽感，相比之下，耦合木材則略為軟身，這情況時有出現於墊腳輔件，畢竟 Center Stage2 主要是用鋁合金製成，物料之間是會改變諧振狀態，這是不稀奇，然而，這套墊座對器材帶來的改善幅度是大到不捨得拿走！
痛苦的比較
在下筆前一晚，我做了一件相當殘酷的事情，就是從 K-03 拿走 Center Stage2！我想感受箇中有何分別！取出前我預備了 3款專輯以作比較，「王維倩一新天涯歌女」、「鍾氏兄弟一極」及 Abbado 貝多芬全集（DG 2008年發行5CD，指揮柏林愛樂），每款分別聽了一首歌，先說兩款人聲的聽感，王維倩的（海上良宵〉與鍾氏兄弟的（說不出的未來)，不約而同音樂部份演奏相當精彩，人聲與樂器除了分隔得立體之外，唱功包含的技巧與細節亦有清楚交代，在〈說不出的未來〉更表現了鍾一諾、夏韶聲及 Joey Tang，三位嗓音的質感和感情，特別是歌曲尾段的電結他 Solo，變化不定的調子旋律，奏出的感覺是和歌詞內容相符，同樣帶有控訴與憤概，聽完真有說不出的無奈感覺。Abbado 那套 CD 全集我選播了第九交響曲，甫開始，短短的數十秒前奏音樂竟然令我集中注意力，靜待接下來的精彩演奏，這份令我投入到樂曲的感染力，使我懷疑 K-03 的解碼能力真有這種本事嗎？抑或是我從來都冷待了它，所以未有察覺呢？不管如何，此刻聽到的就是音樂廳演奏感覺，在 Abbado 的指揮捧下，樂團熟練的演奏更添一份熱情和細膩，總的來說，3段音樂都帶出了聽歌的最大要求，就是領略到感情。隨即我拿走 3 個墊腳，重播剛才的歌曲，起初 10 多秒是不覺效果驟變，我想應該是從穩定回升至高干擾狀態也有一段小時問，之後便覺得高音清晰度開始降低，約莫維持了 10 來秒，聲音愈來愈朦，到最後連低頻都鬆散了，剛才聽得滿有感慨的電結他，竟然變得索然無味，就連 Abbado 在此刻也像倦極乏力，興高彩烈的「貝九」頓成黯然失色！值得一提是過程裡，當高音逐漸變暗的同時，人聲中頻聽起來似很飽滿！查實是干擾朦朧了人聲所造出的假象，或許是這原因令人以為拿走 Center Stage2 的效果更佳，只有是真正的前後比較才明白是什麼一回事，我只能說這套墊腳的確要耐心看待，急也急不來！
總結
很快我便受不了，急著去撥亂反正，但透過比較歙發了我，若將用於唱放及 DC 供電器的兩套墊腳，用於喇叭身上，除干擾的功效應會更直接，於是爽快地完成了移動工作，很有趣，這次等候穩定的時間不長，當晚已聽到聲音在修身，隔了一晚效果更大有進展，本來聲音是離了箱，用後只感往外伸展得較之前寬闊，背景的寧靜度也有改善，如今整套器材的效果都變得明確細緻，這次測試我終於體會到，器材內部的能量失序比起外部受震，產生的干擾影響遠遠大得多，無怪乎瑞士Soulution 會選擇 Center Stage2 作為 3系列各款型號的機腳，因為功效實在是明顯得很，有心提升聲音表現的發燒友是值得到代理那邊作詳細了解！
OPA-5A 雖屬傳統真空管放大器，但卻備有 AptX 藍牙接收功能，可見 Original 不會故步自封，既考慮到基本發燒友需要，亦充份照顧到一群擅於運用單一手機便足以做齊日常各類需要的網絡型人士應用情況，讓重型結構的 OPA-5A，用途得以藉此擴闊。不過由於 Original 始終是傳統音響製造廠，OPA-5A 只設平衡 XLR 和非平衡 RCA 模擬輸入各一組，因此最宜與傳統雷射唱盤匹配，而同廠 A8MK在這方面正是理想對象，只因改版自 A8 的這部雷射唱盤造型簡潔，內部使用 NXP 的5AA7824 伺服系統配合 KSS 213CL 雷射機芯運作，D/A數模解碼則用 Cirrus Logic CS4398 的 24bit/1 92kHz 芯片，而左右聲道亦各自使用 一片 BB 134PA 運放，確保 CD 重播獲有效處理，今配合 Sennheiser HD800 和 Denon AH-D9200 頭戴式耳機使用，揚聲器則使用 Focus Audio FC6SE 和 Cyrus One Linear，各方面表現皆頭頭是道，可見 Original OPA-5A 標示的功率輸出雖然看似不大，但 8W + 8W 輸出的 KT88 卻不會力不從心，驅策 Focus Audio 書架揚聲器．能帶來玲瓏浮凸的音場表達，改用 Cyrus One Linear 公後則 OPA- 5A 驅動起來更見得心應手，且所需花費更低，連訊號線與喇叭線仍在兩萬元以下，然而論到表現出色，耳擴部份才是 OPA-5A 的精華所在，所以若只考慮以耳機建立私人音樂廳，這部膽耳擴就特別合適，而透過機面左側的按鈕，就能輕易切換耳擴和喇叭輸出！
聲音柔潤之中富濃郁蒙情
使用一對 KT88 的 Original OPA-5A 的耳擴輸出平穩有力，無論耳機阻抗高低，都能帶動出濃情滿溢的傳真音效，而所具無匹勁度，更使其最適宜與大型監聽級頭戴式耳機配合，由於 OPA-5A 屬真空管設計，聲音帶經典膽機獨有溫暖和諧感，與同類貴價機種相同，有助中和數碼音響經常出現的冷冰冰感覺，聆聽人聲作品時就最能反映其在這方面的優勢，無論是聽 Eva Cassidy 或 Mary Black, Eagles 或玉置浩二的作品都叫人深深感動，柔潤自然又溫暖的膽韻正是 OPA-5A 非同凡響處。以 Denon AH-D9200 與之配合，OPA-5A 富動感的驅策力使中低頻顯得雄渾而飽滿，而且雖則力量感澎湃，但卻無礙人聲質感表達，再現流行與搖滾音樂最能聽到人渾身火燙，緊隨音樂節奏起舞，改而使用 OPA-5A的4針平衡電路驅動 Sennheiser HD800 的音響效果就更是不得了，高、中、低頻再現顯得平衡有度，訊息量豐富地使每個細節絕不遺漏地樣樣齊，且分析力極高的同時更不會呈現任何尖削現象，能因此有效把音樂中蘊藏的微絲末節一一奉上，藉所具人性化聲效監聽各類型音樂盡皆表現得精彩絕倫，而且 OPA-5A 在兩組耳機一併連接的情況下能夠同時輸出訊號，代表藉此能與至愛親朋分享立體聲音樂，以大家各自擁有的耳機同時品味0 PA-5A再現感性自然之優美旋律。
總結
Original OPA-5A 所具膽機韻味絕非一般原子 粒機可比，而與同廠 A8MK 兩者匹配起來， 售價僅約一萬港元，配合 QED 訊號線連接使 用，七仟餘元代價已能取得相當理想的音響效果，而走恆久不變經典路線的 Original 更在製作上沒有偷工減料，份量十足的結構加上在運作時由KT88發出《花樣年華》般情調的燈絲 光芒， Original OPA- 5A 正合活於現代城市內一群鍾情於懷舊風格的愛樂人士所需！
聲音試聽
老發燒友都說，Wharfedale 與 QUAD 產品很搭配，所以這裡筆者使用了 QUAD 經典的 QC-24 膽前級搭配 QII 40膽后級。音源部分，使用了 QUAD Artera play+ 一體機。試聽曲目為 Jheena Lodwick 的《For the first time》、小剛的《情人的眼淚》、烏克蘭籍美國鋼琴家 Valentina Lisitsa 的《La campanella》、明興格爾(Munchinger) 指揮 Stuttgart 管弦樂團 演奏的《Canon in D major》等。
鋼琴被稱為 “樂器之王” 所以先用 Valentina Lisitsa 的《La campanella》。鋼琴版的《La campanella》是 Franz Liszt（弗朗茲·李斯特）根據意大利著名的小提琴大師 Nicolo Paganini 所作的一首聞名遐邇的小提琴協奏曲《Violin Concerto N.2 in B Minor ‘La Campanella’》改編創作的鋼琴小品。由於難度大，是很多學習鋼琴朋友的“噩夢”。這首曲子有兩個重點：1、聆聽高潮音區出現了“鐘的主題”。用鋼琴高音區的音色特點，奏出了不同節奏的鐘聲。2、通透的高音和泛音，對空間感的營造。Linton 85周年紀念版音箱簡單來說就是音樂味很濃厚，速度不是很快，獨立的135mm黑色縮制凱夫拉防彈布中音單元，讓該曲的中頻聲音很厚實。鋼琴高音區表現的也很通透，短促、有力、節奏變化大的琴聲，很形象的將眾多鐘鳴聲表現出來。泛音部分由於有獨立中音喇叭的影響，絲膜軟球頂高音水平獲得更加充分的發揮，整首樂曲的泛音和堂音效果充斥整個試聽空間，給人一種美的享受。隨后聆聽的是明興格爾(Munchinger)指揮 Stuttgart 管弦樂團 演奏的《Canon in D major》。這是一首經典的D大調卡農，在這裡的主要作用是聆聽小提琴、大提琴的音色以及他們合奏時候的聲音效果。在音色上，這套系統還不錯，聲音屬於溫和的類型：開場的大提琴在 Linton 85周年紀念版 200mm 黑色綿制凱夫拉防彈布低音單元下低音有了比較不錯的質感和密度，很好的給人帶來一種悲傷的情緒。隨后的小提琴很厚實，很有木質感。與中提琴、大提琴聲音銜接很流暢。音樂氛圍也有了春天般的感覺，很溫馨。
Jheena Lodwick 的聲音清圓、清秀，柔美多姿，被譽為“美麗的天籟”。在聆聽《For the first time》裡，Linton 85周年紀念版很好的表現了 Jheena Lodwick 的聲音特色：純淨、清晰、潤澤、柔美、音域寬廣，富有變化，都被這套系統很好的表現出來，讓人心靈也跟隨歌者變換。最后聆聽的是小剛的《情人的眼淚》，這也是筆者經常聆聽使用的樂曲，這套系統給人的感覺就是小剛聲音沉穩許多，除了以往的磁性、厚重的聲線，還多了幾分人性的情思：熟悉的旋律，細膩的低聲吟唱，含蓄而富有張力。此時不舍的情愫感受被這套系統很好的演繹出來。
Hailey 2.2 可稱得上直接，音色中性，動態、聲音訊號交代完整，又給你一種潛力還未被搾盡的感覺，沒有任何緊張，永遠儀態萬千。就是這樣，它並非奔放型，總是氣定神閒地把音樂動聽之處一一重現，然後在不影響像真度的前提下又不急不躁地收起不夠「美麗」的細微枝節。 例如聆聽平井堅的《歌バカ》，平井的聲音偏向尖細，不是厚潤雄渾型，人、假聲轉換算是頻繁，Hailey 2.2 充分重現當中的轉折、變化，又 因為中音密度足夠，所以聽起來不會帶有妖氣，也不會粗或薄。乾淨中不 覺乾寡，雖然沒有強調水分，但與乾、粗還有好一段距離，亦示範了咬字 清晰其實無需強化齒音的。 音場、定位是這對揚聲器另一強項，受益於準確相位，令音像十二分清晰，定位沒有偏差，輪廓亦沒有模糊，更不會因動態起伏而變化，非常 安定。前後層次其實比左右闊度更加吸引，這種前後定位並不誇張，聽起 來有種「正是如此」的自然感，但不用誇張化，亦可清楚聽出不同音像的 前後位置，而且無需把自己固定在皇帝位，都可以聽得到上述一切，因此，Hailey 2.2 是一款眾樂樂的揚聲器。
晶體管放大與膽機是兩種截然不同的表現，聲音一軟一硬各走極端，偏偏又能共存，互補長短！只能說「膽石」混合放大是別有一番滋味，事實上，KRATOS 播放女聲和古典音樂，特別是絃樂，聽感是份外嫩滑，執筆時想起當晚開聲，那刻引起我注意是高頻聲音升了格，平日我聽慣了晶體管擴音機驅動 Morel Octave Signatue 書架喇叭，與這對書架喇叭相對了數載，深知道它的半球體軟膜高音單元，鮮有像此刻幼細如絲的輪廓，滑如牛奶的聲音，幾乎能肯定是 KRATOS 的功勞了，當時播放陳潔麗「1/2」專輯，Lily 從來都恰如其份掌握感情，這晚我熟悉的 Lily 歌聲竟感覺多了一份女性嬌媚，〈情迷Milano〉流露了跳脫活潑感，她以降半度的唱法演繹出〈天生一對〉，營造出兩人合唱效果，在 KRATOS 播放底下真是維妙維肖，這次不單只Lily歌聲吸引，就連男聲趙鵬亦令我非常投入聽他唱出每字每句，人聲低音炮〕是他的聞名作品，我擁有一張 UHQCD 版本〈閃亮的日子〉，拿來一放，打從「是誰．…」那句起，我已被磁性嗓音懾著，（被遺忘的時光）曾幾何時被音響店鋪播到爛熟，是夜又再重溫，只覺歌聲中滿載感慨，趙鵬低沉的唱腔令無奈感覺加倍入肉，過去聽他的歌我是覺得喉頭音運用得有點過多，似是為了配合低音炮形象才刻意壓低，但今次卻完全地改觀，我認同他是唱得之人，這次聽得很清楚趙鵬運用丹田氣和控制呼吸力度的技巧，不需要花巧已很吸引，KRATOS 將過往迷糊感覺洗去，換來有血有肉的實在聽感，播放出的每首歌都能傳情達意，又如播放同一張專輯的〈味道〉，未有聽到歌聲已被鋼琴彈出的前奏迷倒了，這段引子帶來的效果並非所謂發燒境界，而是帶有親切熟悉的感染力，如像聽了故事的開端，期待接下來的主旋律出現，若沒有這次的經驗，我是想不到趙鵬的歌聲也可以很輕很溫柔，全然唱出了歌詞裡故事的感覺，毫不張揚的技巧令我重新喜歡上這專輯，區區兩支 ECC8O3S 管配合A類線路用作前級放大！想不到發揮會是如此理想，不得不服 PATHOS 的設計啊！
OPA-5A 與 Original 早前推出的萬元級合併放大器最大分別，在後級部份所用兩支放大管，現已由 KT88 分別取代 OPA-2A 的 2A3 和 OPA-3A 的 300B 之位置，前級部份則一如以往應用兩支 12AU7。由於 OPA-5A 的製作目標是要讓樂迷切身體驗 KT88 雄渾有力的音效，因此 Original 特為此訂製電源和輸出變壓器，供電部份所用的更屬漏磁特低的環牛，並以優質 PCB 線路板穩定銲接所用的每粒電子零件。電路中可見 OPA-5A 第一級運用雙 12AU7 三極管作訊號放大，並在其陰極電阻並聯 100u 電容，第二級同用 12AU7，並以陰極方式作推動級，目的在確保擁有理想低阻用以驅動第三級所用的兩支 KT88，然後再以兩隻頻寬特闊的日本 Z11 鐵芯之 El 型輸出變壓器作配合，使採用 A類單端功率放大的 OPA-5A 能為 4-8Ω 的揚聲器完滿提供 8W+8W 功率，OPA-5A耳擴在平衡輸出時達 4500mW + 4500mW (32Ω), 單端輸出在同一阻抗下亦達 1000mW + 1000mW，透過使用日本 ALPS 的 27型電位器作音量調控，能為音樂重播帶來理想操控，而且 OPA-5A在敔動後設有 30秒靜音延時功能，確保工作穩定而真空管經久耐用。
轉載自 HiFi 音響 Vol. 403
試聽之初，播放的是 Guarneri Trio Prague 的 《Schubert: Piano Trios Nos.1 & 2》。甫一開聲，既有寬
換上 Emilia Amper 的《Trollfågeln – The Magic Bird》，這張專輯不乏意境空靈、蒼涼的音樂，加上 Nyckelharpa 的原始音色，令聽者有如置身懸崖邊，眺望北海。OPA-3A 為古樂器加入多一點熱情，色彩變化亦有所加強，再稍為增加木腔共鳴比例，帶出清麗、 透明以及更多溫度，少一點悲涼，多一點溫婉。 OPA-3A 用輕微的糖衣包裹每一粒音符，固然十分吸 引，不過音樂感情起伏，尤其是歌聲，才是最討好之處。 OPA-3A 推力不俗，密度亦足夠，就算拉開一對揚聲器的彼此距離，音像都有充足厚度和密度，沒有半點虛浮。 分析力方面，由於速度夠、控制力不俗，而且線條清 晰，故此帶出了大量聲音訊息，聲音亦沒有黏性，分離度出色，所以容易聽到大量細節，是清楚的細節，沒有半點 含糊。