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  • ·

    (作者:qy 时间:2002-03-17 17:39:53)
    过了两天还在回味那天的美声~~~~
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  • ·

    (作者:purer 时间:2002-03-17 15:18:43)
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  • ·

    (作者:jyfang 时间:2002-03-17 14:29:26)
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  • ·

    (作者:加加虎 时间:2002-03-17 13:33:17)
  • ·

    (作者:书香 时间:2002-03-17 13:33:17)
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  • · 关于喇叭线的问题? (作者:wcf 时间: 点击数: 103)
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  • 目前有一位朋友转让他使用的喇叭线怪兽M. 75TM 是四线双线分线, 朋友是94年购买的, 我想购买, 但不知它的性能和实际价位, 特向各位请教该线性能特点, 请朋友们解答, 本人音响配置为CD: 雅骏α7 ,前置: 仿马兰士7胆前置,功放: 雅骏α5,音箱: 思奔达3-5,信号线: 怪兽550i,电源线: 钟神,自制净化电源滤波.
  • ·

    (作者:wcf 时间:2002-03-16 23:53:49)
    喇叭线的问题,目前有一位朋友转让他使用的喇叭线怪兽M. 75TM 是四线双线分线, 朋友是94年购买的, 我想购买, 但不知它的性能和实际价位, 特向各位请教该线性能特点, 请朋友们解答, 本人音响配置为CD: 雅骏α7 ,前置: 仿马兰士7胆前置,功放: 雅骏α5,音箱: 思奔达3-5,信号线: 怪兽550i,电源线: 钟神,自制净化电源滤波.
  • ·

    (作者:wcf 时间:2002-03-16 23:58:11)
    目前有一位朋友转让他使用的喇叭线怪兽M. 75TM 是四线双线分线, 朋友是94年购买的, 我想购买, 但不知它的性能和实际价位, 特向各位请教该线性能特点, 请朋友们解答, 本人音响配置为CD: 雅骏α7 ,前置: 仿马兰士7胆前置,功放: 雅骏α5,音箱: 思奔达3-5,信号线: 怪兽550i,电源线: 钟神,自制净化电源滤波.
  • ·

    (作者:wcf 时间:2002-03-17 00:07:25)
    目前有一位朋友转让他使用的喇叭线怪兽M. 75TM 是四线双线分线, 朋友是94年购买的, 我想购买, 但不知它的性能和实际价位, 特向各位请教该线性能特点, 请朋友们解答, 本人音响配置为CD: 雅骏α7 ,前置: 仿马兰士7胆前置,功放: 雅骏α5,音箱: 思奔达3-5,信号线: 怪兽550i,电源线: 钟神,自制净化电源滤波.
    • ·

      (作者:凌乱 时间:2002-03-17 13:11:33)
      雅骏α5我也有,这么小的功率推思奔达3-5。不合适吧。
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  • · 关于线材的问题? (作者:wcf 时间: 点击数: 134)
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  • 关于线材的问题? 有哪些朋友用过XlO(至高)150,VDH D-102V和AUDIQUEST QUARTZ(线圣) 它们这三种线哪一个性能要好一点. 我现在准备买其中一种线, 急. 请朋友们解答.
  • ·

    (作者:llhu 时间:2002-03-14 21:54:44)
    你用什麽器材,现在声音怎样,你希望向那个方向调整。
  • ·

    (作者:dadb 时间:2002-03-14 22:01:41)
    器材是身體,線材是藥.
    你沒說出問題,人家又怎幫你配線呢!
    你可把你的組合及不?M意的地方告訢大家,大家才有意見給你的.
    但最重要還是自己聽.
  • ·

    (作者:百线生 时间:2002-03-14 22:02:31)
    XlO(至高)150不算太平衡,中高>中低,系统肥厚的适用,像落地箱+马兰士想改善一点点混蒙就用吧,播钢琴还可以,播弦乐质感一般,人声有些尖齿音。
    VDH D-102V质感、耐听性、工整度、平衡度、音乐味都不错,高音的细腻润滑度不及其上级线integration超合金,但反映音乐的感情色彩方面却变化更大,不会像超合金千曲一面的感觉。个性也百搭。
    AUDIQUEST QUARTZ(线圣),除了高音有点涩,其它很中规中举。
    VDH D-102V综合好些。
    • ·

      (作者:wcf 时间:2002-03-16 01:00:36)
      本人音响配置为CD: 雅骏α7
      前置: 仿马兰士7胆前置
      功放: 雅骏α5
      音箱: 思奔达3-5
      信号线: 怪兽550i
      电源线: 钟神
      自制净化电源滤波
      现在有一事请教, 不知线材如何配置, 本人多谢了
      • ·

        (作者:hesheng 时间:2002-03-16 16:51:24)
        我的是6550的胆机,KEF的3/5A,马兰是的67,OS0NIC2*504芯的喇叭线,现在觉得声音好象高音有点暗,中音不够甜润,还要厚实点,请问要配什么样的喇叭线,最好不要太贵了的。
        • ·

          (作者:小众 时间:2002-03-16 18:07:09)
          这麽说,我更倾向与皇太子了。
          • ·

            (作者:hesheng 时间:2002-03-16 21:19:35)
            • ·

              (作者:小众 时间:2002-03-16 21:45:37)
        • ·

          (作者:dadb 时间:2002-03-16 19:31:03)
    • ·

      (作者:hesheng 时间:2002-03-16 21:44:44)
      • ·

        (作者:百线生 时间:2002-03-17 12:52:29)
        • ·

          (作者:hesheng 时间:2002-03-17 13:10:21)
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  • · 看点好东西!Dynaudio Evidence (作者:发烧初哥 时间: 点击数: 116)
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  • Dynaudio Evidence Temptation Loudspeaker

    By Larry Greenhill, December 2001

    Stereophile Magazine Vol.24 No.12





    Film sequels are a mixed blessing. If an action movie holds my attention, I can't wait to see the sequel: same characters, same actors, new adventures. And if the first film was successful, studios are more than willing to oblige. So Jurassic Park begat The Lost World, which begat Jurassic Park III. But the results are often unsatisfying.

    Which brings me to Dynaudio's Evidence Temptation speaker system. Ever since their flagship loudspeaker, the Evidence Master, left my listening room (see Stereophile, May 2000, Vol.23 No.5), I've been waiting for its sequel. Although it costs an astonishing $85,000/pair, the eight-driver, nearly 7'-tall Evidence Master is one of the best-sounding loudspeakers I've ever heard, surpassing all comparison loudspeakers in its lack of grain, total freedom from distortion and dynamic compression, topnotch focus for nearfield and farfield listening positions, and deep, wide, layered soundstage. It did all this without listener fatigue, without an overdone bass response, and without muddying the separate lines of complex musical textures. On the test bench, John Atkinson found the Evidence Master to have "superb measured performance" with an "astonishingly flat" farfield frequency response, "superbly well-controlled lateral dispersion," and a clean cumulative spectral-decay plot that was "free from resonant hash." He concluded that the Evidence Master "represents a serious attempt on the state of the loudspeaker art."

    To follow in the Evidence Master's footsteps, the Temptation would need to have high power handling, low coloration, precise bass response, damping of resonances, excellent transient response, large dynamic range, low distortion, and controlled vertical dispersion. To some extent - how much, I couldn't say - the Master's ability to meet all these criteria depended on hand assembly, time-consuming fine-tuning, and precision construction. I am told it takes over an hour just to CNC-machine each midrange/tweeter baffle, let alone the midrange housing, cabinet connecting tracks, and base. The labor-intensive manufacture limited Dynaudio to building only 75 pairs of Evidence Master loudspeakers per year. Their goal for the Temptation was to apply the technical experience gained from making the Master to a more economical design that could be produced in lots of 300 or 400 per year.

    Could Dynaudio transfer the Evidence Master's technological advances and musical magic to a less costly model? I didn't have to wait long for an answer - Dynaudio launched the $30,000/pair Temptation at the 2001 Consumer Electronics Show. When the opportunity to grab a review pair arose, I eagerly volunteered, hoping the Temptation would buck the trend and prove a satisfying sequel to the Master.

    Design
    At first glance, the Evidence Temptation is a dead ringer for the Evidence Master. Both are tall, narrow columns that provide control of vertical dispersion with minimal floor reflections when listened to from 10' to 46' away. Except for the woofer, each Temptation uses the same drivers, in a symmetrical array: two 28mm soft-dome tweeters and two 6" polypropylene midrange drivers arranged in an MTTM configuration in a CNC-machined, 40mm-thick aluminum baffle, and surrounded by four woofers - two above, two below - in separate reflex-aligned woofer cabinets, each with a 4" rear port. All of this is supported by a massive 17.5"-square steel-plated base plinth equipped with adjustable feet and internal spike assemblies. The bottom woofer cabinet's rear panel features two finely machined, very substantial WBT gold-plated binding posts for speaker cables, complete with special spades.

    Both the Temptation's and Master's crossovers use polypropylene capacitors and large-gauge, multi-wire air-core inductors hand-wound to a tolerance of less than 1%. Resistors are zero-compression, low-inductance, low-capacitance, wire-wound types with high heat stability. All components are wired into double-thickness, multi-layered, fiberglass-reinforced printed circuit boards with thick copper traces. All internal cabling consists of high-purity, matched-crystal, oxygen-free, silver-coated copper.

    The drivers were developed during the six-year gestation of the Evidence Master. The 28mm soft-dome tweeter is protected with a titanium wire guard, has a 40mm aluminum-alloy front-panel mount, a pure aluminum-wire voice-coil with magnetic-fluid cooling, a vented pole piece, an aluminum-alloy rear chamber with high heat dissipation, and a high-sensitivity, 72mm neodymium magnet. The 6" midranges employ a one-piece molded polypropylene cone and a 38mm pure aluminum voice-coil. Each of the four woofers has a 6.8", one-piece, molded-polypropylene cone, a 75mm pure-aluminum wire voice-coil, and large amounts of neodymium magnet material for high sensitivity.

    If the Master and Temptation look the same and use the same drivers, how did Dynaudio reduce the Temptation's price by $55,000/pair? First of all, the Temptation's cabinets are not modular, but are bonded together at the factory. They therefore don't need the Evidence Master's interlocking rail system and external van den Hul wiring. (This explains why the Temptations are shipped in two long flight cases rather than the eight cases that brought me the Evidence Masters.) Still, a few CNC-machined aluminum sections are common to both systems: the one-piece midrange-and-tweeter baffle and the adjustable floor spikes.

    The Temptation is slightly shorter (78.5" vs 80.7"), narrower (7.9" vs 9.5"), shallower (19.3" vs 22.8"), and lighter (249 vs 297 lbs, with base plinth attached) than the Master. The volume of the Temptation's bass cabinets is smaller (64 vs 106 liters, top and bottom cabinets combined), and the Temptation uses slightly smaller polypropylene woofers (7" diameter vs 8"). Its voltage sensitivity is also lower (90dB vs 92dB (B)/2.83V/m), and the long-term IEC power handling is lower (500W vs 600W). Although both use first-order slopes in their five-way systems, the Temptation's crossover frequencies (300Hz, 500Hz, 2.3kHz, 8kHz) differ slightly from the Evidence Master's (250Hz, 400Hz, 2.5kHz, 7.5kHz). The five-way system is used to make the vertical dispersion uniform across the speaker's frequency range. However, only the Evidence has an impedance-corrected crossover.

    But the two models' quality of construction are identical. The Temptation's bird's-eye-maple veneer is every bit as beautiful as the Evidence Master's. There is extraordinary attention to detail, as shown by the precision machining of the center section's front baffle, the slightly asymmetrical cutouts for the woofers, and the adjustable, spike feet. The fit'n'finish represent the state of the cabinetmaker's art. The Temptation's overall visual effect is elegant, but its package is slightly smaller and more suitable to most living rooms.

    Setup
    My introduction to the Temptations was one sunny Friday afternoon, when two 7' latched aluminum flight cases were slid out of the delivery truck - why delivery companies fail to use vehicles with lift gates is not clear. They were accompanied by a wooden cube holding the steel-and-MDF base plinths, and a cardboard toolkit in the shape of a briefcase.

    Wilfried Ehrenholz, Dynaudio's CEO, was already waiting with me at my home for this delivery, along with Dynaudio North America's Mike Manousselis. They mounted the base plinths with hex-head socket screws. Manousselis pointed out that the plinths have a 2.5" raised area that elevates the entire cabinet, so the MTTM center section is raised to optimize the sound for the seated listener. They then pulled the long Temptations to a standing position and positioned them 22" from the back wall and 82" apart. Manousselis then used a spirit level from the toolbox on the sides of the upper bass cabinet, and leveled each column using the adjustment screws - one at each of the base plate's four corners.

    Next, to fine-tune the towers' positions, they removed all of the furniture from one end of my listening room. Then, one by one, the pieces of furniture - a marble table, four upholstered chairs, an area rug - were returned to their original positions, after a listening check to make certain that the speakers were still optimized. The rug had to be moved several feet back so that the loudspeakers could sit directly on the wooden floor.

    After another hour of listening tests, Manousselis positioned each Temptation 48" from the back wall, 43" from side walls, and 82" apart (measured from the tweeter centers) - toed-in slightly to focus on the farfield listening position, and facing the full length of my narrow listening room. (The room is 26' long, 13' wide, and 12' high, with a semi-cathedral ceiling. The far end adjoins a 25' by 15' kitchen through an 8' by 4' doorway.)

    The Temptation, which has a relatively high voltage sensitivity - if lower than the Evidence Master's - produced ample output when powered by a 250Wpc Mark Levinson No.334 or 1200Wpc Krell FPB 600c stereo amplifiers, or by 954W Bryston 7B-ST monoblocks, all rated for a 4 ohm load. Each amplifier added its own sonic fingerprint: the ML No.334 was transparent and sweet; the Krell was solid and dynamic, with sledgehammer bass; and the Brystons had bass with massive heft, but were brighter and harder on the top end than the other amps.

    The Temptations, driven by the ML No.334, were left in position to serve as the front two channels for a multichannel SACD-player review. I used the opportunity to compare nearfield (9') and farfield (18') listening positions, phase checks, channel checks, and the orientation of my large blue velvet chair for the best imaging and soundstage depth. I found that moving the four upholstered chairs away from my listening position and covering a nearby table with an afghan throw stabilized the imaging and widened the sweet spot.

    Later, I connected the Temptations to the Krell FPB 600c amplifier and ran the low-frequency warble sweeps from Stereophile's Test CD 3 (STPH006-2). In my listening room, the Temptation's deep bass output was flat to 40Hz, then shelved down by 4dB for a plateau that ran from 35Hz to 25Hz, and then fell off smoothly below that, with no doubling. Although at 39" the Temptation's lower tweeter was only 2" higher than my seated ear height, the tone of the pink noise dulled when I stood up during the "sit down, stand up, walk around" portion of the nearfield—but not the farfield - tests. In my room, the Temptation's MTTM assembly - measured from the bottom tweeter to the floor - was 4" lower than the same dimension of the Evidence Master. For setup tests and music sessions, I left the grilles covering the woofers on, as they probably wouldn't affect the sound below 300Hz.

    Listening
    The Temptations followed the all-aluminum Krell LAT-1 loudspeakers into my listening room. Heavier and more expensive than the Temptation, the LAT-1 performed with superb midrange clarity and bass speed, and at first, the Temptation did not seem quite as prominent in the midrange. On the other hand, the Dynaudio was more transparent and reached down further into the lowest bass octaves, offering plenty of satisfying, nonmechanical, well-damped, deep bass, with good heft and pitch definition. This was partially the result of the Temptations' positions, which were closer to the room corners and back wall than the LAT-1s'.

    Once I realized that the Temptation was capable of exceptional bass definition, I went directly to my deep-bass reference CDs, among them Massive Attack's Unfinished Sympathy (Circa WBRX2); "Assault on Ryan's House," from James Horner's Patriot Games soundtrack (RCA 66051-2); David Hudson's raspy, pulsing bass didgeridoo, from Didgeridoo Spirit (Indigenous Australia IA2003 D); the title track of John Horner's Casper soundtrack (MCA MCAD-11240); the tight, controlled synthesizer rumbling that opens Emmylou Harris' "Deeper Wells" (Spyboy, Eminent EM-25001-2); the stand-up acoustic bass from the title track of Natalie Merchant's One Fine Day (Columbia CK 53146); and the bass-drum strokes that open "Prelude and Aztec Dance," from H. Owen Reed's La Fiesta Mexicana (Reference RR-38CD). The resulting bass notes were rich, tight, tuneful, and defined, with speed and impact. The speaker reproduced what JA calls "the sharply defined edge to the onset of the bass sound, with then a literally visceral impact" (Stereophile, August 2001, p.95), as shown by the tom-tom strokes that open "I'm So Afraid," from Fleetwood Mac's The Dance (Reprise 46702-2). Held synthesizer notes also generated a heavy, oppressive, sinister quality, although less intense than heard over the Revel Salons.

    The Temptation brought a solidity, power, and grandeur to organ-pedal notes. Its deep-bass pitch definition helped me follow the deepest notes on César Franck's Pièce Héroïque, from the CD reissue of Marcel Dupré's Recital (Mercury Living Presence 434 311-2); from "Gnomus," from Jean Guillou's organ transcription of Mussorgsky's Pictures at an Exhibition (Dorian DOR-90117); and from Elgar's Dream of Gerontius (Stereophile Test CD 2).

    The Temptation also excelled in the midrange. Voice, piano, and solo instrumentals were reproduced with good pitch distinction. Its two tweeters and midrange drivers had the speed, frequency extension, and timbral accuracy heard from the MartinLogan Prodigy electrostatic loudspeaker. From the midbass through the treble, there was a seamless, even quality that enhanced instrumental detail. Etta Baker's acoustic guitar, playing the title track from Railroad Bill (Cello Music Maker 91006-2), conveyed the metallic sheen and blurred buzz of the treble strings, as well as the soundboard's resonances.

    The Temptation was free from treble grain, rendering a superbly clean-sounding upper register with plenty of air and transparency. Billy Drummond's Zildjian ride cymbals, which open "The Mooche" on Jerome Harris's Rendezvous (Stereophile STPH013-2), sizzled like the real thing rather than sounding like static. This clarity permitted the Temptation to reproduce complex orchestral works without getting in the way. The dynamic opening of Dvorák's Carnival (from Nature's Realm, Water Lily Acoustics WLA-WS-66-CD) is a lively, raucous Slavic dance rhythm. Played over the Temptations, the strings, tambourine, castanets, and cymbals maintained their individuality and separate characters, even when the tempo was most frenzied.

    The Temptation also did a great job with macrodynamics. At high peak sound levels of 106dB, the speaker was fast, clean, and effortless. Dynamic compression did not occur often, although I did note an occasional flattening of macrodynamics when the Krell FPB 600c was driven hard. However, this was understandable - the Krell clipped at 1200Wpc into the Temptation's 4 ohm load.

    Stereo imaging was precise, particularly in the nearfield, resolving musical textures in new and provocative ways. Although a large speaker, the Temptation produced a deep, wide, layered, airy soundstage that gave a vivid sense of the recorded space. On "Lord, Make me an Instrument of Thy Peace" (Requiem, Reference RR-57CD), the layered-in-space voices of the Turtle Creek Men's Chorus and the deep organ accompaniment gave me a sense of being in a huge performance hall -in contrast to the intimate acoustic of Patricia Barber singing "Use Me" in the Green Mill night club in Chicago, from her Companion (Premonition/Blue Note S 22963 2). The speaker also rendered one of the most natural, spacious presentations of Robert Silverman's Beethoven sonata cycle (Orpheum Masters KSP-830) I have ever heard.

    However, I must add that the sweet spot - where the depth and width of the soundstage was almost palpable - was in the nearfield. If I sat in just the right place, Stevie Nicks singing "Rhiannon" (from The Dance) became a three-dimensional being. I could close my eyes and imagine just where she was standing and the space around her - as long as my head was in the right spot. I could be wrong, but I recall that the Evidence Masters' sweet spot was larger in the nearfield, but accessible in both the nearfield and farfield.

    The Temptation's sweet spot enlarged considerably when it was used in a multichannel system driven by the Sony SCD-C555ES SACD player and TA-P9000ES multichannel analog preamplifier. The speakers brought out the best of the SCD-C555ES's natural, liquid midrange, the tight midrange-bass, and the effortless, wide-open dynamic range. The ambience of the Trinity College Chapel in Hartford, Connecticut was so real that, listening to "Ubi Caritas" from DMP's Sacred Feast (SACD-09), I was there. I particularly enjoyed sensing the space of the hall, the resolution of different vocal textures in the 31-member chorus (Gaudeamus, conducted by Paul Halley), the layering of voices, the clarity of the reverberation, and the intense reproduction of the bass. The chorus was placed solidly in front, with ample but natural reverberation in the surrounds.

    Just before the speakers were picked up by Dynaudio's Mike Manousselis and Al Filippelli, to be transported to JA's lab for testing, I put on a new recording of the 16-member Venice Baroque Orchestra playing Vivaldi's The Four Seasons (Sony Classical SK 51352). I had just heard this group at their American debut concert in Alice Tully Hall the night before, and had been awestruck by the speed, dynamics, technical brilliance, and warm tone of the violin soloist, Giuliano Carmignola.

    After I've heard a live performance, my system often sounds pretty pale. Not this time. Listening to the last movement of Winter on the Venice Baroque CD, I immediately recognized the warm, rough timbre of Carmignola's 17th-century Italian violin, his blazing speed, the tonal underpinnings of Tobias Lindner's pipe organ, and the light, clear notes of Ivano Zanenghi's lute.

    Conclusions
    After several months of ecstatic listening, I'm here to report that the Dynaudio Evidence Temptation loudspeaker is a superb sequel to the much more expensive Evidence Master. It enjoys the Master's superb fit'n'finish, fabulous pitch definition and impact in the lowest frequencies, wide soundstage, freedom from treble grain, and transparent top end, all while seeming to disappear as the apparent source of the sound. This places the Temptation in the top rank of loudspeakers.

    But, like any sequel, the Temptations differed from the original. Their sweet spot was smaller, their soundstage imaging more readily apparent in the nearfield than the farfield, they were less sensitive, and didn't go quite as deep in the bass. On the plus side, their smaller size works better in small rooms than the Evidence Master. At 84% of the Master's weight and 35% of its cost, the Temptation will fit a few more living rooms and budgets. However, it remains an expensive investment, even for high-end audio.

    Each person will have to judge whether the Evidence Temptation's state-of-the-art sound is worth the price of admission. But whatever you conclude, I strongly recommend that you at least audition this loudspeaker. Then you can decide whether you agree with me that this sequel is as good as the original.

    Specifications
    Description: Five-way, 8-driver, floorstanding reflex-loaded, loudspeaker. Drive-units: two 1.1" (28mm) soft-dome tweeters; two 6" (150mm) polypropylene-cone midrange units, each with 1.5" (38mm) voice-coil; four 7" polypropylene-cone bass drivers with 3" (75mm) voice-coils and hybrid magnet systems. Crossover frequencies: 300Hz, 500Hz, 2.3kHz, 8kHz. Crossover slopes: 6dB/octave. Resonant frequency: 28Hz. Frequency response: 29Hz-25kHz, ±3dB. Sensitivity: 90dB/2.83V/m. Nominal impedance: 4 ohms (3.1-6.1 ohms, -50 degrees to +26 degrees phase angle, 20Hz-20kHz). IEC Long-term power-handling: 500W into 4 ohms. Amplifier requirements: 200W.

    Dimensions: 78" (1981mm) H by 7.9" (201mm) W by 19.3" (490mm) D. Weight: 249 lbs (113kg).

    Finishes: Bird's-eye maple veneer (or rosewood) with black, high-gloss black piano lacquer sidepanels; full high-gloss black piano lacquer, add $3000.

    Serial numbers of units reviewed: 712777, 712778.

    Price: $30,000/pair. Approximate number of dealers: 55. Warranty: 5 years.

    Manufacturer: Dynaudio A/S Sverigesvej 15, DK-8660 Skanderborg, Denmark. Tel: (45) 86-523-411. Fax: (45) 86-523-116. E-mail: sales@dynaudio.com. US distributor: Dynaudio North America, 1144 Tower Lane, Bensenville, IL 60106. Tel: (630) 238-4200. Fax: (630) 238-0112. Web: www.dynaudiousa.com.

    Associated Equipment
    Analog source: Linn Sondek LP12 turntable with Lingo power supply, Linn Ittok tonearm, Spectral moving-coil cartridge.

    Digital sources: Krell KRC-28 transport, Sony SCD-C555ES multichannel SACD player.

    FM tuners: Day-Sequerra FM Reference Classic, Rotel RH-10, Magnum Dynalab MD-102 and 205 Sleuth RF amplifier, Fanfare FT-1A.

    Preamplification: Krell KCT, Sony TA-P9000ES preamplifiers; Mark Levinson ML-7A with L-2 phono section, Margulis and Duntech MX-10 moving-coil preamplifiers.

    Power amplifiers: Mark Levinson No.334, Krell FPB 600c, Bryston 7B-ST (monoblocks) and 9B-ST (5-channel).

    Loudspeakers: Dynaudio Contour 3.0, Revel Ultima Salon, B&W 805 Nautilus (rear surrounds), Mirage HDT-FCH-1 (center), Velodyne HGS-18 subwoofer.

    Cables: Digital coax (75 ohm): Silver Starlight, Ultralink. Interconnect, balanced: Krell CAST, Bryston, Krell Cogelco Yellow, PSC Pristine R-30 silver alloy. Interconnect, single-ended: Randall Research, Mark Levinson HFC (with Camac connectors), Totem Acoustic Sinew, Coincident CST Interface, Ultralink Performance Audio. Speaker: Mark Levinson HFC-10, PSC Pristine R-50 biwired double ribbons, Ultralink Excelsior 6N OFHC, Coincident Speaker Technology CST 1.----Larry Greenhill

    Measurements
    All measurements were taken using DRA Labs' excellent MLSSA system. However, the bulk and weight of the Dynaudio Evidence Temptation made it impossible for me to raise it off the floor for the acoustic measurements. As a result, the anechoic time window was not as long as I usually enjoy, due to the presence of an early reflection from the ground, which will reduce the resolution of the measurement in the midrange. However, the amplitude of this reflection was not as great as I was expecting, due, I imagine, to the speaker's controlled vertical dispersion, with the radiating length decreasing with increasing frequency.

    The Temptation goes very loud with only a small input signal - I estimated its voltage sensitivity as a high 91dB(B)/2.83V/m. However, its impedance (fig.1) is moderately difficult, with a minimum value of 3.1 ohms at 120Hz and a demanding combination of 4 ohms and a 42 degrees capacitive phase angle at 80Hz.


    Fig.1 Dynaudio Temptation, electrical impedance (solid) and phase (dashed). (2 ohms/vertical div.)

    The saddle at 28Hz in this graph's magnitude trace indicates the tuning frequency of the twin large-diameter ports. Note, however, that the traces are free from the small wrinkles and discontinuities that would otherwise indicate the presence of cabinet resonances. Fig.2, a waterfall plot derived from the output of a piezoelectric accelerometer fastened to the side of the midrange enclosure, confirms that the Temptation's cabinet is acoustically inert. I detected no other modes of any significance.


    Fig.2 Dynaudio Temptation, cumulative spectral-decay plot of output of accelerometer fastened to midrange enclosure side panel. (MLS driving voltage to speaker, 7.55V; measurement bandwidth, 2kHz.)

    Fig.3 shows the individual outputs of the midrange units, woofers, and ports, all measured in the nearfield; ie, with the microphone capsule (a Mitey Mike II) almost touching the diaphragms or the boundary between the port and the outside world. The port output is the broad bandpass centered on the 20-40Hz octave; while there is some output visible both around 160Hz and in the middle of the midrange, this is well suppressed. The sum of the woofer responses has its minimum-motion point at the port tuning frequency of 28Hz, as expected from the impedance plot, and it appears to roll off smoothly above 200Hz, with a first-order slope. The sum of the midrange units' response also appears to roll off below 200Hz with, again, a first-order, 6dB/octave slope. There are some small peaks and dips evident in what would otherwise be a smooth curve; as it is not possible to drive the woofers and midrange units separately, it's possible that these effects are due to interference from the output of the woofers.


    Fig.3 Dynaudio Temptation, summed nearfield responses of the midrange units, woofers, and ports.

    The complex sum of the individual responses is shown in the left portion of fig.4. The speaker's bass response is down by 6dB at the port tuning frequency, with a 24dB/octave rolloff below that point. Higher in frequency, the midrange and treble regions - assessed in the farfield with a calibrated B&K microphone and averaged across a 30 degrees horizontal window on an axis midway between the twin tweeters - are basically flat, though with a couple of small suckouts apparent in the low treble.


    Fig.4 Dynaudio Temptation, anechoic response on axis midway between the two tweeters at 50", averaged across 30 degrees horizontal window and corrected for microphone response, with the complex sum of the nearfield midrange, woofer, and port responses plotted below 300Hz.

    There is a slight positive plateau evident between 9kHz and 15kHz, which might be thought to add a slight brightness to the perceived balance. However, the Temptation's lateral dispersion plot (fig.5) shows that the speaker is quite directional in this region. In a typical room, the resulting lack of energy in the top two octaves of the reverberant field will work against the on-axis boost, giving a neutral character to the speaker's treble, though the 5-9kHz region might still stand out a bit in small, live rooms.




    Fig.5 Dynaudio Temptation, lateral response family at 50", from back to front: responses 90 degrees-5 degrees off-axis, central tweeter-axis response, responses 5 degrees-90 degrees off-axis.

    Other than the increased directivity above 9kHz, the Temptation's lateral radiation pattern is wide and even, which will help ensure stable, accurately defined stereo imaging. In the vertical plane (fig.6), the speaker's multiple drive-units and first-order crossover filters give rise to quite complicated behavior. To get the optimal sound quality, you basically need to sit close to the middle of the tweeters with your ears a highish 39" from the floor - as LG discovered in his auditioning.


    Fig.6 Dynaudio Temptation, vertical response family at 50", from back to front: differences in response 15 degrees-5 degrees above central tweeter axis, reference response, differences in response 5 degrees-15 degrees below central tweeter axis.

    In the time domain, the Dynaudio's step response (fig.7) indicates that the tweeters and woofers are connected with positive acoustic polarity, the midrange units with negative polarity. While the Temptation is not time-coherent, each pair of drive-units' step response smoothly hands over to the next lower in frequency, implying good amplitude-domain integration, as seen in fig.4. The farfield cumulative spectral-decay plot (fig.8) is basically clean, particularly in the treble, but is marred by some delayed energy at 4.3kHz, the frequency of the lower of the two on-axis suckouts. I suspect that this is the result of acoustic interference rather than a resonance as such.


    Fig.7 Dynaudio Temptation, step response on axis midway between the two tweeters at 50" (5ms time window, 30kHz bandwidth).




    Fig.8 Dynaudio Temptation, cumulative spectral-decay plot at 50" (0.15ms risetime).

    Overall, this is excellent measured performance that indicates similarly excellent loudspeaker engineering.----John Atkinson

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  • · 麦景图的新前级 (作者:taoge 时间: 点击数: 109)
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  • McIntosh's newest addition to its acclaimed Heritage Products series succeeds equally well as both a stand-alone component and as the companion to either the MC2000 or the MC2102 Vacuum Tube Power Amplifier. Created to make the most of both new and venerable technology, the C2200 relies on vacuum tubes for all signal amplification, with spectacular results.
    Type of Volume Control VRV
    Low-Noise 1% Metal Film Resistors
    Type of Amplifier Tube
    Frequency Response 0 Hz - -0.5 Hz + 20 / - 20 dB
    Audio Signal to Noise Ratio 80 dB
    Dimensions (in.), (cm) 17.5 W x 7.125 H x 15 D
    Weight 29 lbs. ( 13.2 kg.)
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  • · 因为还缺一根平衡线,百线生推荐我用厚一些地超线灵。 (作者:llhu 时间: 点击数: 82)
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  • 今天超线灵到了,用三小时以将平衡线做好,正在试听当中,第一感觉很不错。
    做的过程中我有些担心,因为这根线的构造很像怪兽1000i,直到开声我才放心,分析力,场面,音质都不输于我借来试听的“石英”,我想煲煲还会好吧。

    --------------------------------------------------------------------------------

  • ·

    (作者:百线生 时间:2002-03-14 22:27:38)
    煲2-3周会通透些,人声与弦乐更润,其实他的RCA接地形式不同,声音变化很大的,我玩过好多种厚薄、动态任你调。玩腻了平衡就。。。
    • ·

      (作者:qy 时间:2002-03-14 23:29:15)
      我明天下午回福州,你改发到福州吧,我等着用。
      • ·

        (作者:yansong 时间:2002-03-15 10:07:55)
        QY兄,我也在福州市,能否听听您的超线灵线?请CAll -- 1298639451,我姓黄。
        • ·

          (作者:QY 时间:2002-03-15 10:18:25)
          我今晚回榕到是可联系,你给个电话号码给我。
      • ·

        (作者:百线生 时间:2002-03-15 19:48:02)
    • ·

      (作者:okfly007 时间:2002-03-16 20:04:07)
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  • ·

    (作者:包整烂!! 时间:2002-03-16 20:02:19)
    飘坛有事找你!
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