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  • ·

    (作者:oldx 时间:2002-03-16 17:09:47)
    • ·

      (作者:大忙人 时间:2002-03-16 20:32:26)
      IDE口上的控制器,8031自己写的软件?还能遥控
      • ·

        (作者:oldx 时间:2002-03-16 22:49:02)
      • ·

        (作者:威虹 时间:2002-10-16 13:59:52)
    • ·

      (作者:oldx 时间:2002-03-29 23:33:43)
      • ·

        (作者:hb-wu.. 时间:2002-04-01 17:59:35)
  • ·

    (作者:lancerx 时间:2002-03-16 20:39:53)
    是DIY套间还是成品板,准备如何推向市场?

    佩服佩服!
    • ·

      (作者:oldx 时间:2002-03-16 22:51:29)
      • ·

        (作者:lancerx 时间:2002-03-17 00:27:47)
        我是学电子的,佩服你有这个精神,搞一个这样的板子。但市场化可能与技术无关了。
        我不知道您所用的器件和成本,但我想买这个DD的人应该有这样的特点:1、有一个旧的cdrom,或很容易得到;2、喜欢动手;3、不愿意花太多的钱;4、不是非常发烧;当然喜欢音乐是肯定的。
        我很喜欢台湾的diyzone。它主要面向学生(我觉得有很多可能是中学生),国内虽有很多套件和成品板,我觉得没有能够做到象diyzone类似的;如果我的孩子长大了,对电子感兴趣的话,我会先买上一些套件让他玩(总比玩游戏好)。

        我觉得diyzone的东西有几个特点:比较小巧,容易上手;比较便宜,不会带来太多的经济负担;种类比较齐全,可以慢慢从cdplayer到扬声器玩一个遍。我曾见到该网站上有一个做cd-rom控制器的计划,但没有看到最终的套件,您的这个算是填补空白。

        我有几个建议供老兄参考。1、将系统分为几个部分,控制部分、显示部分、遥控部分。控制部分是一基础,可以单独使用,显示部分和遥控部分可以分开选购,它们与控制部分通过接口相连。对生产者来说,总体设计成本有所升高。但单独一项的成本降低了,销售价格也下降了。这样每一次的爱好者开销会降低,但显示部分和遥控部分对他仍有吸引力,将来他也会买入,又是一种玩法。2、我很久不搞单片机了,我记得原来有过国外的废片(主要是单片机内的存储器坏了或不能用了),价格很便宜,但需要使用外部的存储器。可能也能够降低一部分成本。3、老兄有空可以将产品线搞得全面一些。

        有空再聊,我的mail:xlancer@yhaoo.com

      • ·

        (作者:allegro 时间:2002-03-17 02:38:23)
        控制atapi接口的CDROM,难度较高,也许会者不难吧,另外不知有没有速度问题。
        • ·

          (作者:lancerx 时间:2002-03-17 08:19:43)
          不赚钱,没有利润,就不可行。
        • ·

          (作者:oldx 时间:2002-03-17 10:03:40)
          所以现在这个设计已经成为鸡肋了,怕是制版费和房租摊消都赚不回来了。谢谢大家的关心!
      • ·

        (作者:audiochina 时间:2002-10-15 23:07:44)
        可否把它弄道DVD ROM上去
        这样实现HTPC时用起来也方便,另外就是声卡输出数据流,有没有好的缓冲电路?
      • ·

        (作者:sanhu 时间:2002-10-16 13:51:00)
        我认为40上下的价格才可能有吸引力。
  • ·

    (作者:lyb886 时间:2002-03-21 13:02:09)
    关键是要把显示部分做好,做得大一些,有些人用光驱作转盘,苦在没有显示,使用很不方便。现在这一套东西,有没有显示部分?
    • ·

      (作者:6p14 时间:2002-03-21 13:32:07)
      老兄,有这手艺还愁没饭吃吗?不一定非要自己搞一条龙的。你有技术,那么有市场的人自然会找上你的。呵呵
    • ·

      (作者:oldx 时间:2002-03-26 10:29:00)
  • ·

    (作者:kell 时间:2002-10-15 19:33:56)
    是IDE口的、有SCSI口的吗?如何同您联系?用这个信箱行吗?xhbwork@263.net
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  • ·

    (作者:wg0918 时间:2002-03-16 17:32:41)
    请大家帮忙推荐MBL4004A+8006A前后级的接线、电源线。现感觉稍微清淡,想厚润一点,但不想丧失原来的通透。
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  • ·

    (作者:long-g 时间:2002-03-16 18:31:38)
  • ·

    (作者:书香 时间:2002-03-16 19:31:44)
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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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  • · 俺来放个臭屁 (作者:chichi 时间: 点击数: 5714)
    收藏
  • 都说ATC是典型的监听音箱.那么想必有一些录音室或者是STUDIO在使用了?
    谁能给俺举一些例子,看到底哪里在用ATC做监听?
  • ·

    (作者:xiaofang 时间:2002-03-16 21:55:52)
    飞到欧美恐怕那些唱片公司也未必接待你。
    • ·

      (作者:chichi 时间:2002-03-16 21:59:55)
      • ·

        (作者:chichi 时间:2002-03-16 22:07:47)
        http://www.sospubs.co.uk/sos/1997_articles/may97/andymunro.html
        • ·

          (作者:chichi 时间:2002-03-16 22:17:17)
          http://www.studio-sound.com/archive/nov00/soundings3.html

          Decca Recording Centre in North-West London......... B&W 801/802 monitoring and ......

          The monitoring will remain the same, as in B&W 801 and 802s, but will upgrade to surround.

          Not exclusively; the rooms are being designed for acoustic music, so that could include acoustic pop and jazz. And the picture work will include TV soundtracks, for example, which can be in any style.

          看来801在DECCA手里是全能的.什么题材都能用.嘿嘿.
    • ·

      (作者:chichi 时间:2002-03-16 22:00:30)
  • ·

    (作者:YGR 时间:2002-03-16 22:39:19)
    • ·

      (作者:chichi 时间:2002-03-16 22:58:55)
      都是电台电视台什么的.甚至剧院也好意思搬上来.
      就EMI沾个大录音公司的边.
      看看这里:
      http://www.meyersound.com/news/2000/x10-europedebut_300.htm

      还有那么多大的录音公司呢.还有好来污呢.都在用什么?
      • ·

        (作者:chichi 时间:2002-03-16 23:05:30)
        比如:
        http://www.planetpoint.com/bongobobmusic/bongobobbio.html
        看看他们的业务范围吧.

        这里有全美国RECORDING STUDIOS 的名单.
        http://www.1212.com/rec/usa/

        先关心关心他们在用什么吧.
        • ·

          (作者:chichi 时间:2002-03-16 23:17:44)
          http://www.darkhorserecording.com/

          他们的近场监听是:
          Genelec 1031 - NS-10 - Mackie HR 824 - Auratones Truth Audio Monitors



          • ·

            (作者:chichi 时间:2002-03-16 23:27:46)
          • ·

            (作者:chichi 时间:2002-03-16 23:28:58)
          • ·

            (作者:chichi 时间:2002-03-16 23:30:12)
        • ·

          (作者:chichi 时间:2002-03-16 23:40:39)
          而一个小小的Bongo Bob Music工作室,就有以下客户:
          AirTouch, NBC, IMAX, Amtrak, Disney, Warner Bros, Beverly Hills 90210, NBA Golden State Warriors, Sacramento Kings and the WWF, Taco Bell, Chiquita Banana, AT&T, Cellular One, Apple Computers, Marie Callendar, Duraflame, SONY, Healthy Families, CCPOA, Duraflame, Howard Hughes Corporation, PBS, BBC, NBC Sports

          Music & Film:
          Whitney Houston, Joe Satriani, Aretha Franklin, James Brown, Lionel Ritchie, Jefferson Starship, Katie Segal (Peg Bundy), The Little Mermaid, Disney, Super Mario Bros, The Hitcher, Mannequin, 88 Olympics Theme w/ Whitney Houston, Beverly Hills Cop II, Beverly Hills 90210, Melrose Place & Innerspace

          得奖:
          Clio, Emmy's, Telly Award, NAF Addy, NBC Golden Peacock Award's, PROMAX Gold Medallion, National Silver Microphone

          业务伙伴:
          BMI, NARAS, NATAS, Polygram Music, Virgin Music

          比起来,ATC的影响好象小了点......嘿嘿嘿
          • ·

            (作者:xiaofang 时间:2002-03-17 12:27:26)
            多去英国找找ATC,我发现监听音响的地域性还是比较强的,美国的多用美国货、英国的多用英国货、中国的多用……洋货。
            • ·

              (作者:chichi 时间:2002-03-17 15:25:13)
              • ·

                (作者:xiaofang 时间:2002-03-17 16:45:07)
                我还看到有用Platinum的。
                • ·

                  (作者:chichi 时间:2002-03-17 20:57:06)
          • ·

            (作者:广东菜鸟 时间:2002-03-17 15:27:23)
            虽然我还没有发现有什么录音室或电台使用MBL的喇叭或音响器材,但并不减弱我渴望拥有全套MBL音响系统的愿望。
            录音棚里的要求和普通音响用家的追求有时还是满大的。
            • ·

              (作者:chichi 时间:2002-03-17 15:39:28)
              只是想说,其实没多少人真的用ATC做监听。快成香武士第二了。
              BTW,ATC其实是音染很重的一种音箱。
              • ·

                (作者:sacd 时间:2002-03-17 16:04:01)
                拿什么标准去衡量是否有音染?曲线?带宽?听感?
              • ·

                (作者:广东菜鸟 时间:2002-03-17 17:31:38)
                昨天在我家是第一次听ATC箱子吧?昨天自文大虾是拿一张非常难以播好的chandos公司出的维瓦尔第变奏曲碟片调机的。
                在搭配不够完善的系统上小提琴会发尖,没有木味。你听的ATC的音染是和AKG的耳机作比较吧?有机会听听森海塞尔580吧。
      • ·

        (作者:xiaofang 时间:2002-03-16 23:14:49)
        现在很多英国公司都在使用PMC的bb/xdb、mb1等的中音单元都是ATC的,另外好莱坞和一些美国唱片公司大多使用JBL、westlake、tad的监听喇叭。
        • ·

          (作者:purer 时间:2002-03-17 17:49:01)
          因我没见过奸听箱子有那么漂亮的木皮的我见到的奸听箱子都是难看到死的BLACK(不好意思,不是卖书包是不会打这字五笔)色,不过我美国的朋友家里的那对ATC20就标有《泰坦尼克》的奸听标记全世界只有十对!
  • ·

    (作者:llm 时间:2002-03-17 18:27:48)
  • ·

    (作者:烧录一族 时间:2002-03-17 21:36:44)
    上ATC网站看看不就知道了!
    • ·

      (作者:chichi 时间:2002-03-17 21:58:26)
      可是,这ATC的网站有点难找.
      比如用ATC,SCM10,SCM20在GOOGLE上,就找不到ATC的网站.
      再用ATC,MONITOR在YAHOO上查,结果给出来了个错误地址.
      把错误地址只留下域名.这回行了.
      http://www.atc.gb.net/
      这就是ATC的厂家网站了.
      看域名,不太象商业网站.呵呵.先不管它.
      看看内容再说吧.
      • ·

        (作者:chichi 时间:2002-03-17 22:20:44)
        但是,一个也没说明,具体是什么型号,用在什么地方.
        这样的资料,和上边那张印刷品上的资料没有实质性的区别.
        是否一只控制室向录音室里喊话的喇叭也算?
        从没听说过哪个录音室,对外宣称,用ATC做为main monitor.

        试试用yamaha ns-10在www.google.com查查.看看结果是什么.
        结果几乎都是录音室的资料.
        一个一个看下去吧.如果运气够好能看到ATC的影子,别忘了帖上来给大家高兴高兴.
        • ·

          (作者:烧录一族 时间:2002-03-17 23:03:18)
          莫非你要发奖!再说了,中国用CAV的名人比用MBL的多得多!
          • ·

            (作者:chichi 时间:2002-03-17 23:09:36)
            其实俺说了半天,真正要说的就是,ATC虽然自己说是监听音箱,但它不够格.没什么录音室真的在录音时用ATC监听.
            俺也是看不惯ATC在中国打着监听的晃子招摇.
            俺认为ATC其实是一种音染不小的家用欣赏型音箱.仅此而已.
  • ·

    (作者:llm 时间:2002-03-17 22:21:52)
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  • · 麦景图的新前级 (作者:taoge 时间: 点击数: 114)
    收藏
  • 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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  • · “日本箫”你好,能说一下HL-5的详细情况吗? (作者:小众 时间: 点击数: 107)
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  • --------------------------------------------------------------------------------

    海印我见过有两家有HL-5。 (作者:尺八 时间:02-01-24 22:30 点击数: 2) 都在海印广场,一家是力高对面那家,另一家叫x雅?还是雅?我忘了,就是卖PMC那家。
    另外还有一家还在卖一对很旧款的HL-5,好像是特价8000元,免费保修一年,终生包修(零件费自付)。

    --------------------------------------------------------------------------------
    我喜欢HL-5。NO HL-5ES。多谢。

  • ·

    (作者:tiger_jr 时间:2002-03-16 23:06:22)
    HL-5的低音单元是泡沫边的。而HL-5ES不是。我喜欢后者。声音更清甜一些。
  • ·

    (作者:尺八 时间:2002-03-17 17:43:08)
    “尺八”二字也是如假包换的汉语。所以千万不要想错,叫错了。我是很讨厌日本*子的,请不要让我和日本人与东洋狗有任何联系。

    Harbeth的风格我都比较喜欢,但它的制作工艺我觉得不甚满意,所以对Harbeth的产品系列也不是很熟悉。就我所知,HL-5已经有很多版本,新版,老版,又有5ES,还有金高音版(好像目前这个版最贵),特价那款我是在昌业见到的,现在可能已经卖掉了。
    • ·

      (作者:taoge 时间:2002-03-17 18:48:27)
      • ·

        (作者:尺八 时间:2002-03-17 22:37:49)
        尺八

        亦称箫管。古管乐器。因管长一尺八寸而得名。竹制。有六指孔,另一孔蒙竹膜,竖吹。宋以后即不使用。约在七到八世纪时传至日本。现仍流行于日本尺八,称普化尺八,形制长短不一,仅有五孔,前四后一,无膜孔。
        • ·

          (作者:尺八 时间:2002-03-17 22:41:34)
          尺八的历史

          尺八是我国古老的吹奏乐器,源于竖篴,竹制,长一尺八寸,在隋唐颇为盛行,自宋代后渐少使用。
          尺八在隋唐之际东传日本。>>


            尺八是我国古老的吹孔气鸣乐器,源于竖篴,因长一尺八寸而得名。也有“竖篴”、“箫管”和“南音洞箫”之称。管身竹制,音色圆润、柔美,可以独奏、合奏或伴奏。

            在东汉时期,竖篴已流传于民间。到了隋代,尺八成为宫廷中的主要乐器,至唐则大盛,广泛用于宫廷乐舞。唐代吕才善制此器。《新唐书·吕才传》:“贞观(627—649)时,祖孝孙增损乐律,与音家王长通、白明达更质难,不能决。太宗诏侍臣举善音者……侍中王珪、魏微盛称才制尺八,凡十二枚,长短不同,与律谐契”。

            宋代尺八,又称箫管,陈旸《乐书》有所记述。沈括《梦溪笔谈》载:“后汉马融所赋长笛,空洞无底,剡其上孔,五孔,一孔出其背,正似今之尺八”。从传世唐代尺八和沈括所述宋代尺八的形制来看,它与箫相近,但管身短而粗。后来箫、笛等乐器逐渐取代了尺八的地位,尺八渐少使用。

            尺八目前只流行于闽南和台湾,是福建南音的主要乐器之一,(南音的主要乐器是琵琶和尺八,其他还有二弦、三弦和唢呐等),并吸收了笛子的一些演奏技巧。

            福建省泉州南音乐团王大浩研制成低音尺八。长82厘米、内径3.4厘米。管上端加贴塑料片,并将第五孔移至管侧由小指控制。音色浑厚饱满。


          1300多年前,尺八东传日本。

            隋唐之际,日本曾屡派“遣隋使”和“遣唐使”前来中国,许多中国乐器,流传东瀛。

            据浙江省国际文化交流协会副研究馆员孙以诚考证,日本尺八源于我国杭州。南宋时,日本名僧觉心来中国杭州护国仁王禅寺学习,在此期间向同门居士张参学会了吹奏“尺八”的技艺,回国带回尺八及尺八曲《虚铃》和《虚空》 等。后来,心觉创立普化宗,传授“尺八”技艺,故将他所传授的尺八称为“普化尺八”。而至今仍保存在浙江省艺术学校校园内的护国仁王禅寺旧址就是日本“尺八”的祖庭。

            最早传入日本的尺八仅用于宫廷雅乐,称为“古代尺八”,也常作为达官贵人的玩物,故也叫“雅乐尺八”。据传,日本圣德太子特别喜爱尺八,他当时所用的中国尺八,如今还珍藏在奈良的法隆寺中。

            在奈良东大寺的正仓院里,现在也保存着我国唐代传去的8支尺八。其中一只刻雕尺八,长43.7厘米,管上端开口,管身前面五孔后面一孔。每一按音孔边缘有圆形花纹。制作十分精美,通体雕花纹和仕女像。第一孔上刻有二女,一者俯而摘花,一者立其后作张袖状。后面一孔下有一女立而手执扇,另一女坐弹琵琶。其余部分均饰以花鸟纹。此外还有玉尺八、牙尺八、雕石尺八和桦卷尺八等。苏州民族乐器一厂曾复制刻雕尺八一件。

            1871年以后,“普化尺八”传于民间。日本现在使用的尺八就是从“普化尺八”演变而来的,不限长短,一般多为3节、 5孔(前4后1)、不设膜孔。它是日本民间主要的吹奏乐器,既能吹奏古典乐曲,也能演奏现代乐曲;还经常与筝和三味线一起合奏,甚至还能与西洋管弦乐队、电子风琴等合作。

            此外,由我国传入日本的还有“一节切尺八”。

            20世纪70年代美国人海山(kaizan)将尺八从日本传至美国。

          尺八的制作

          尺八形制与箫相近,以竹根制作,中通无底,管体一尺八寸,吹口多做成斜面月牙形,正面开五个按孔,背面开一个按孔,在吹口和正面音孔间设有膜孔。其吹奏方法与箫相似,但音量较箫声大。


            尺八的形状和箫相近,但管身较箫短而粗,取竹根制成,全长56~6O厘米,吹呐径2厘米。

            尺八的选材和制作十分考究,多采用石竹、观音竹和茉莉花竹,从齐土的地方切下,将竹节挖通,无底,管体长一尺八寸,上端内径六分。吹口多做成斜面月牙形,正面开5个按孔,背面开1个按孔,吹口和正面音孔间设有膜孔。

            尺八的音色和演奏方法与箫相似,但音量较箫大。吹奏时,要求左右手臂抬起呈半圆形,以嘴吹奏吹孔,手指按孔,通过改变嘴唇吹奏的角度和力度,以及手指按孔的位置,从而发出不同的的音响和音高。

            尺八的音域从(d ~b2)。音色圆润柔美、深沉含蓄,略带凄凉之感。尺八本身不能转调,要演奏复调性乐曲时,需选取不同调的尺八。

          • ·

            (作者:taoge 时间:2002-03-18 07:02:36)
    • ·

      (作者:小众 时间:2002-03-17 21:21:11)
      我倒觉得我们应该学学日本鬼子。同样都是战后。为什麽我们这麽落后那?因为爱内战。
      • ·

        (作者:尺八 时间:2002-03-17 22:44:53)
        不过我确实很不喜欢日本,我认为日本是个大邪教。
        • ·

          (作者:fly 时间:2002-03-17 23:27:31)
    • ·

      (作者:tiger_jr 时间:2002-03-18 11:55:43)
      是超高音吧?加装超高音的是SUPER HL-5。好象有金高音的只有C7和P3。
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  • · 看点好东西!Dynaudio Evidence (作者:发烧初哥 时间: 点击数: 125)
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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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  • · 关于喇叭线的问题? (作者:wcf 时间: 点击数: 107)
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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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