家访J先生,超强的劲浪大乌托邦,马克532H后级,诗醉前级驱动

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分类: HIFI理论与经验hifi-theory |


J先生是一位高品位成功人士,从他选择了音响界最为优雅浪漫,却又具有引以为豪的最强素质的法国劲浪的喇叭,就可以体会得到这点。的确,法国劲浪就没有不好的喇叭,从最低级别到最高级别,法国劲浪的喇叭,在HIFI界,都具有泰斗般的顶级地位,毫无疑问,属于可以常相厮守的顶级老牌HIEND!
本套系统音质之优秀,我可以用“叹为观止!”来形容!在我家访过的一百多位发烧友的系统中,本系统的音质名列前茅!
那么,长舒一口气,让我慢慢的,详细的,淡定的,将我边听,边实时用手机的记事本功能记下的听感,向各位分享经验。因为,在中国,有很多我的发烧友朋友,因为地理位置关系,无法接触很多高级音响器材,我有责任与义务,尽我力所能及,帮助他们一起进步,少走弯路。
从本系统的组成说起,SACD机为马兰士SA7S1,我自己就曾经长时间使用SA7S1,因此对其比较了解,在大乌托邦落地箱的超强实力下,SA7S1展现出旗舰机种具有的全面性与高音质,不管什么类型的音乐,SA7S1都能有着非常好的全面性,而且,音乐的耐听度也相当出色。对音乐细节的呈现很充分。在这套系统中,是完全胜任的,将音乐性与音响性结合得很不错。
前级放大器为美国顶级中的顶级品牌,CONRAD JOHNSON,诗醉,这是一台极为优秀的电子管前级放大器,绝无你想象中电子管的慢,混,糊,染。而是非常之高保真,透明度无可挑剔,纯净,开扬,大气,细腻,赋予音乐真实的逼真的质感,这台前级放大器诠释了世界最好之一的“美国诗醉”品牌的实力!可以很负责地说,买顶级电子管前级?闭着眼睛选择美国诗醉都不会有错。
后级功放,美国最著名的品牌之一,大名鼎鼎的MARK LEVINSON,马克莱文森,以下简称马克。532H后级放大器。这是一台非常优秀的功放。要想玩好大喇叭,你必须有一个觉悟,没有良好的驱动是无法搞得定的。驱动足了,还要声音细腻,方才是驱动好了,一台功放如果空有力量没有细腻,充其量只能做AV系统的功放而已。马克莱文森的5系列功放,有一个非常优秀的特性,就是顶级的细腻度与透明度,它能够让劲浪乌托邦发出最细腻的声音,颗粒感不可闻。532H本身具有超高的线性,全频段没有音染与隆起突出,这使得超高音与极低音有着极佳的延展性,超强的瞬态使得音乐毫不拖沓,正是由于以上的特性,使得马克532H后级能够让乌托邦喇叭描绘出不可思议的空间感,音乐结像之逼真,可以说以真实的比例塑造了强大的现场感,绝不会让演唱者口型偏大,绝不会让音染像穿了棉袄一样容易腻。这样的后级放大器,驱动劲浪大乌托邦,完全发挥了乌托邦的真实的素质与魅力。美国的价格如下:
No.532H ($8500) is the most no-nonsense stereo amplifier in the HPAV line. Its monotone black chassis differs from its more expensive stablemates, the No.532 stereo amplifier ($20,000) and the No.53 Reference monoblock ($25,000 each)
532H的价格是8500美元,其上级机种532后级的价格是20000美元,旗舰53后级的价格是50000美元一对。
美国权威HIFI媒体STEREOPHILE对532H的评价如下:每段后有我的简要翻译。
Mark Levinson No.532H power amplifier
I do have a starter collection of Mark Levinson amplifiers from different eras. This either makes me exactly the right or the wrong person to size up Mark Levinson's new No.532H.
我收藏了很多马克不同时期的功放,这使得我似乎义不容辞的成为那个有资历负责评测532H功放的人
Listening
I played CDs on a
Bryston BCD-1 CD player, and high-resolution digital files on a
Bryston BDP-1 digital file player, including 24-bit/176kHz
files from Reference Recordings' HRX series, 24/88.2 files of
Stereophile master recordings engineered by John Atkinson, a
24/88.2 file of Beethoven's Symphony 3 as performed by Andrew Manze
and the Helsingborg Symphony (Harmonia Mundi HMU 807470), and the
24/96 and 24/48 versions of two Chesky recordings: Ultimate
Demonstration Disc, Volume 2, and David Chesky's Urban
Concertos (both originally released on SACD, on Chesky SACD343
and SACD326, respectively).
我用BRYSTON BCD1与BDP1进行试听
I soon discovered that I loved the No.532H's clarity, huge dynamic range, resolution of fine detail, and bass impact. Harman's Jim Garrett told me that the No.532H was designed to produce big dynamic contrasts.
我很快发现,我爱上了532H那纯净的,大动态的,高解析的,富有低频冲击力的声音。532H被设计成具有大动态对比度,宽频响应。
The No.532H delivered greater jaw-dropping dynamic contrasts than I'd heard with my No.27 or No.334. The effect was much more than just some extra headroom. Driving the Snell A7 Illusion towers, the No.532H resolved what seemed the subtlest dynamic differences, whether at low or lease-breaking volumes. Take "The Hand-Off," from James Horner's music for the film Sneakers (CD, Columbia CK 53146). Explosive piano scales jumped out of dead black silence on a wide soundstage. Don Dorsey's synthesizer-based "Ascent," from Erich Kunzel and the Cincinnati Pops' Time Warp (CD, Telarc CD-80106), erupted with sledgehammer bass pulses and crystalline highs, which then melded into a mix of softer pulses, bleeps, whooshes, and high-pitched tones that swept back and forth across the soundstage. The track culminates in an explosive shot, then finishes with a deep, subterranean rumble that sounded edgy and sinister.
当我对比我收藏的马克的27与334后级时,我发现532H比前两者的动态对比大得多,下巴都合不拢的惊讶程度。效果远远比频响宽要震惊得多。在驱动SNELL的A7喇叭时,532H将最细微的动态全部挖掘出来,哪怕在极低的音量下。钢琴弹奏时,富有爆炸性的超强钢琴规模感在超级黑超级安静的超大型舞台上跳跃出画面!低音乐器带来的极低频脉冲与高音乐器水晶版延展的高音质感,在舞台上自然流畅地清晰飞舞。
Soundstaging, too, benefited. The No.532H enabled my Quad
ESL-989 electrostatic speakers to project a broad, detailed,
involving, three-dimensional soundstage with vivid dynamics that
equaled, and in many cases bettered, the soundstage created by my
ML-2 monoblocks. "Breathe," from the SACD remastering of Pink
Floyd's Dark
Side of the Moon (SACD/CD, EMI 2435-82136-2), presented a
wicked brew of throbbing helicopter blades, jackhammers, footsteps
running across my listening room, dive bombers, and announcements
made on the PA system of a railroad terminal—all on a wide
soundstage, to create a cinematic effect.
532H驱动我的QUAD
ESI989静电喇叭有强大的声场表现。我感受到宽广的,充满细节的,包围感的,全三维的声场,内有鲜明的动态,不输给,甚至在很多场合超越了经典马克单声道后级ML2。唱片中的演员的脚步声,就仿佛在我家里踏响,逼真无比的临场感。
I easily heard the senses of space and instrument placement in
the Eagles' Hell Freezes Over—the No.532H achieved a
well-defined positioning of audience sounds, acoustic guitars, and
conga drums set on a very wide soundstage. Listening to a 24/192
digital file of "Kote Moun Yo?," from Markus Schwartz & Lakou
Brooklyn's
Equinox (also CD, Soundkeeper SR1002), I was again
stunned by the width and depth of the soundstage, the totally
"black" background, the great dynamic range, the silky-smooth
highs.
我轻松听见空间感与乐器摆放的位置,532H精确还原了观众发出的声响,吉他与康加鼓的位置,他们出现在极为宽广的舞台上。在聆听熟悉的唱片时,我被声场的宽度与深度震惊,完全漆黑的背景,强大的动态,如丝绸一样顺滑的高音,532H太强大了。
The No.532H's bass response was outstanding. Driving the Snell
A7 Illusions, the Mark Levinson produced tuneful, solid, punchy
bass with great pitch definition. Snell's smaller Phantom B7 also
shone, tracking the deepest synthesizer notes in "Silk Road," from
I Ching's Of the Marsh and the Moon (CD, Chesky WO144). As
for room lock—a level of deep bass sufficient that the low
frequencies can be felt as a pressure wave—both Snell models outdid
themselves in reproducing: the 32Hz pedal note that ends organist
James Busby's performance of Herbert Howells's Master Tallis's
Testament on the collection Pipes Rhode Island (CD,
Riago 101); the sustained, massive pressure wave generated by the
low G played by the double basses in the Introduction of
Strauss's Also sprach Zarathustra,
532H的低频反应非常杰出,他塑造出扎实的,和谐的,冲击力的低频,非常之精准!低频有深深的下潜细节。极低频极有冲击力,喇叭发出了32赫兹的低音细节。低音提琴具有深深的波浪。
This level of pitch definition let me discern: Jerome Harris's
careful acoustic bass guitar work weaving in and out of his
quintet's playing, as well as the different tensions of the heads
of Billy Drummond's tom-toms, in "The Mooche," from Rendezvous
(CD, Stereophile SPTH013-2); the sound of a fabric-covered
drumstick striking a large bass drum in H.
可以感受到鼓皮的织物振动的细节
532H强大的中频还原力让声场表现大合唱是一绝。我听到清晰到数的清的人头精确的定位,一排排高低清晰无比,清晰度与平衡度优秀,管风琴踏板的定位精确无比。
Similarly, the No.532H transmitted more of the timbres and harmonics of solo male voices, without tubbiness or midbass emphasis. José Carreras's light, lyrical tenor remained pure during the Kyrie of Ariel Ramirez's Misa Criolla, as conducted by José Luis Ocejo (CD, Philips 420 955-2); Willie Nelson's voice in "Getting Over You," from his Across the Borderline (CD, Columbia CK 52752), was palpably present in my listening room as a sonic hologram; and Harry Connick Jr.'s voice in "Don't Get Around Much Anymore," from the When Harry Met Sally . . . soundtrack (CD, Columbia CK 45319), was transparent and free of extra resonance.
532H表达出男声独唱丰富的自然细节与泛音。没有任何肥大钝圆,或是强调中频的饱满度,相当自然真实无染。使得声音完全化为了真实的图像,把歌者带到我面前。瞬态快速而且让喇叭没有多余的不必要的共鸣。
The No.532H's upper midrange and treble responses were commendable, especially when cymbals were center stage. I heard subtle instrumental harmonic overtones, such as: the sweet, translucent cymbal notes in the drum solo in "Nardis," from Patricia Barber's Café Blue (SACD/CD, Premonition/Blue Note/Mobile Fidelity Sound Lab UDSACD 2002); the sounds of cymbals stoked softly with wire brushes in "Fruit Forward," from Attention Screen's Live at Merkin Hall; the subtle dynamic shadings of the fading cymbal sounds that end the overture from A Chorus Line, on Beachcombers, with Frederick Fennell conducting the Dallas Wind Symphony (CD, Reference RR-62); and the metallic cymbal sheen that opens "The Mooche," from Jerome Harris's Rendezvous, which the No.532H rendered as a shimmering sound rather than as soft, hissing static.
532H的中高频与高频值得赞扬!金属敲击乐器的泛音自然真实,带有自然的清甜感觉。不会有生硬的金属撞击感。
Conclusion
The Mark Levinson No.532H may not be strikingly beautiful to the
eye, but its sound won me over time after time. Its superior bass
slam, soundstaging, treble detailing, midrange pitch definition,
and jaw-dropping dynamic range equaled or exceeded that of my other
ML amplifiers.
The No.532H's price of $8500 makes its purchase a serious decision. One must consider this amplifier's superb build quality and impressive dynamic range playing hi-rez digital files. The No.532H made my Snell A7 Illusion and Phantom B7 dynamic speakers sound more alive and more authoritative than ever before, with bass slam galore, while coaxing dynamic musical contrasts and subtle timbral textures from my more sensitive, electrostatic Quad ESL-989s.
Perhaps it's time to add another Mark Levinson amplifier to my collection. Meanwhile, I'm recommending we give this relatively affordable stereo amplifier with the plain-Jane exterior and stunning inner beauty a Class A rating in Stereophile's "Recommended Components."
结论:532H外观看起来可能外观不是最惹火。但是其音质之好,一次又一次打动我。他超强的低音打击感,声场表现力,高音细节刻画力,中音点对点的精确度,以及,下巴都惊讶得要掉下来的强大动态,不输给,或者说,战胜了其他我拥有的马克的功放。532H有很强的实力应对现代高规格的数码文件,他让我的喇叭听起来更活生,更权威!低频充沛!我要郑重在STEREOPHILE的历史上,给予532H后级功放“A”的最高评价
Description: Solid-state, dual-mono power
amplifier.
Output power at 0.5% distortion into 8 ohms: 300Wpc RMS,
Frequency response at 300Wpc
Input impedance: 60k ohms balanced, 30k ohms unbalanced.
Power consumption at 1/8 power: 3W standby, 85W idle, 475W
driven, 4A current draw.
Price: $8500.
性能:双单声道立体声后级。功率:8欧300瓦重量:33.6公斤,价格:8500美元。
为什么我要花这么多笔墨,翻译这篇532H的权威评测呢?原因很简单,优秀的后级,对于大喇叭,是必须的最关键的存在。后级的好坏,大大影响到喇叭的发挥。再好的前端,使不上力的话,是根本无法推好大喇叭的。从某种意义上而言,大喇叭远远比小喇叭书架箱难玩得多,不管对空间,还是对器材,都是如此。在对J先生的家访后,我自己都被新一代马克5系功放的声音打动了,马克的声音,极度真实,而这种极度高保真的风格,恰恰是还原古典、交响乐所必须具备的特质。当你主要听流行音乐,你可能体会不会太深,因为很多流行乐本来就有着夸张的添油加醋。但只要你喜欢真实的古典音乐,马克功放还原的古典乐,太正了!于是,一个小插曲是,我回来后第二天就消费了20000美元,买了532H的上级机种马克顶级立体声功放532,声音自然令我非常满足。这是后话,暂且不详细展开,继续往下说。
下面谈谈J先生这套系统的线材搭配:
J先生的全套线材,全部由我代为选配。电源线方面,音源为了配合马兰士SA7S1的特性,J先生选择了加拿大GUTWIRE的水晶限量版,这条无论外观还是声音,都无比美丽与平衡的电源线可以说让马兰士发出了非常大气饱满又动听的声音。水润细腻的高频,绵密的中频,超弹性的饱满低频,最大限度还原出细节丰富而自然的巨大立体场景。前后级部分,选择了声音自然透明,质感上乘的荷兰银彩单晶铜线,我提供的超低价格,让此线的性价比具有无可比拟的特性,差一点,J先生三条电源线都上了这条电源线。以此线的优秀的平衡度与顶级的音质表现而言,连我自己都不得不说:太棒了。(卖个关子,需要了解本线超低价的朋友可以加我微信或给我短信13917564051)。信号线部分,为了配合劲浪大乌托邦高贵开扬的特性,选择了相对注重中低频平衡度,声场纵深度立体感与还原古典乐内敛尊贵权威气质的荷兰卡玛最具性价比的型号,以最小的代价取得了最大的收获。喇叭线毫不妥协的选择了瑞士顶级的能最大限度保留前端讯号的CH喇叭线,本线与劲浪的结合,已经完美,无需多言。
下面我结合具体唱片详细谈谈本系统的听感
本套系统一开声,我的脑海里清晰浮现出了一行英文字,hiend!
喇叭,如同一个人的喉咙,决定了系统能够达到的高度,劲浪大乌托邦,如果用人类的嗓子作比较,当仁不让是帕瓦罗蒂级别的顶级金嗓子了。你很难去想象劲浪喇叭有不好听的可能。从我个人以前听过的劲浪喇叭而言,即便是马兰士全新5万元级别一套的110瓦8欧的SC11系列前后级,都能让劲浪落地箱发出气质极佳,楚楚动人的声音。高度透明的声底,让一切细节都能轻而易举展现在画面上。不要去抹杀劲浪的优点,我听过的最抹杀劲浪喇叭的特质的,就是在中国代理商强行组合的麦景图功放驱动劲浪了。这并不是说麦景图不全面,只是麦景图驱动出来的劲浪喇叭,缺乏高雅鲜活细腻的特质,仿佛一个翩翩起舞诱惑无比的连衣裙少妇,变成了穿着棉袄的美国大妈,那还有什么意义选择劲浪呢?不如选择麦景图自己的喇叭,或者一些粗放大气型的美国喇叭了。究其原因,还是瞬态不够快的功放不适合劲浪。我听到过驱动劲浪优秀的功放,无不是具有优秀的瞬态与高透明度特质的现代派的功放。
本套系统的声音,具有极为强劲的素质,表现在音乐的声场超级大,又透明到顶,瞬态如闪电,又保持极高的密度与鲜活度。难怪美国的WILSON AUDIO威信要向劲浪购买喇叭的单元,究其原因,就是声音的确优秀。劲浪自己的喇叭,与美国威信的不同之处在于,相比威信的中性,劲浪的音色更具有一种金碧辉煌的贵气,这种感觉,可以说,是绝大多数追求声音品味的发烧友无可抗拒的理想之声。我感受到全频散发着充足的泛音,音乐绝不仅仅是死板的主体,那丰富又细腻的泛音让我陶醉,音乐的泛音完全融化在整个房间的空气中,丰富的细节没有压迫感,没有刺激感,没有迟钝感,具有极为高雅鲜活的格调。聆听蔡琴的头版CD,吉他弹拨出的超超超高密度,韧性十足,带着不刺激的高贵的气质带动周围的空气一起晃动,美极!这一听就是HIEND极品器材的声音。再来一盘邓丽君头版CD,哇塞!邓丽君在空间中具有强烈的真实感,背景绝对宁静透明如水晶世界,那自然柔顺的泛音仿佛让我置身于录音室现场的代入感难以言表的兴奋与激动,嘴唇的变换与吐息历历在目。本系统对不同歌手的嗓音具有顶级的辨识度,可以轻易突出歌手鲜明的个性,而不会如低解析的系统让什么听上去都一个调调导致人物辨识度变差。男女声合唱时将女生高贵湿润的气质与男性的磁性在背景中拉出高低两条线,泛音扩散开来,充满立体感的水乳交融的质感,我的心都被毒得颤抖感动了。
表现古典乐中的斯坦威钢琴太逼真,大钢琴仿佛就在我眼前,高音晶莹剔透的金属碰撞声仿佛看得见金属板的大小与形状,超低音处快速的下潜与回弹表达出强烈的动态对比,将琴腔共鸣细致的刻画出来清晰的纹理质感,真是辉煌而灿烂!劲浪喇叭的低音单元塑造的低音质感是超一流的。大编制交响听起来酣畅淋漓,空气感能够体会得到。本系统绝无拖泥带水,在高度透明的背景中展现出辉煌的乐队,而且,解析力强大到可以轻易数出人头,分辨出乐器的定位与质感。全频段凝聚度与质感的描绘,即便放眼所有高级喇叭,劲浪都处于名列前茅的顶峰。
这样出色的大喇叭驱动完全后,根本不存在短板,我聆听了各种类型的音乐,流行,爵士,金属,摇滚,古典等等,都能充分表现出真实音乐的魅力,而且,音色又极其优秀。不是空有素质没有音色的喇叭。法国劲浪,将素质与音色都做到了喇叭中的巅峰,本喇叭三个单元正好三分频对应高频,中频,低频,平衡而优异的表现,我可以说,不需要再折腾任何喇叭了,足以退烧了。
最后,特别感谢J先生的热情招待,能够让我写成这篇家访记供大家分享经验,发烧友,需要多交流。
