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

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

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

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

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

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

轉載自 “影音生活” 76 期

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

一、數十載傳承有序

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

思奔達 S3/5R2 SE 的老前輩是1997年該品牌發布的S3/5音箱，當時由於 KEF 停止供應 LS 3/5A 音箱的相關喇叭單元，思奔達改用自家研發的的發聲單元，遵循 LS 3/5A 監聽音箱的理念和標准，推出了 S3/5：
●再之后又更新設計，推出了思奔達 S3/5 SE。
●2002年，思奔達再次進行改款，將這一傳奇音箱直接命名為BBC監聽音箱的慣用名稱“S3/5A”。
●2007年，思奔達採用當時最新聲學技術將S3/5A改造升級為S3/5R，其中“R”代表Rivision，意思就是“修訂，修改”。
●2011年，思奔達發布了S3/5R2音箱，“R2”當然表示的就是基於上個版本的第二次升級，從單元到分頻器設計全部採用新設計。
●2017年，迎來這個傳奇揚聲器家族的第20個年頭，思奔達特別推出這款特別限量版S3/5R2 SE音箱。

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

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

二、思奔達 S3/5R2 SE音箱新在哪兒？

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

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

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

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

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

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

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

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

At the other end of the range, we find Spendor’s innovative LPZ tweeter. This soft dome, coupled-cavity driver is familiar from both the D^–1 and D7, but it should still be noted just how effective and musically accomplished this apparently simple design really is. The perforated face plate acts to equalize phase and pressure across the face of the driver, producing time- and phase-coherent output, while the equivalent cavities in front of and behind the diaphragm means that the moving parts constitute a linear, balanced-mode generator: simple but effective.

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

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

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

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

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

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

TECHNICAL SPECIFICATIONS

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

From HiFi+ Issue 151 Sep 2017 by Roy Gregory