Saturday, August 28, 2021

請務必讀懂器材說明書

近幾年將生活重心移到台灣後,與本地的音響業者/玩家有比較多的接觸交流。其中令我相當驚訝不解的一點,是很少人會去讀器材所附的說明書。而真正將說明書讀懂的,那就更少了。這引發的問題,是很多器材的使用/設定方法錯誤,結果輕則無法發揮性能,重則造成損壞而不自知。

以黑膠唱頭為例,多數廠方都會在說明書裡,將設計特點,調整注意事項及該唱頭的基本特性數據等,都列印出來。對安裝/使用者來說,這應該都是正確調整設定唱頭的重要資訊。但多數業者與消費者,幾乎都不會去認真研讀理解。

Thursday, August 26, 2021

Nasotec Swing Headshell

The Swing Headshell is an interesting device from the South Korean company Nasotec. Conceptually, the headsell adds another layer of damping with its embedded springs, working along the damping effects within the installed cartridge to absorb side force exerting on the cartridge. This approach is claimed to achieve near zero side force on the stylus during playback, an ideal situation. On the downside, the "swing" may incur unpredictable tracking errors.

My test data obtained with a low-compliance MC cartridge does not show any noticeable difference compared to the case of installing the same cartridge on a regular headshell. Similar amount of anti-skating force is still necessary to approach balanced THD on both channels. And with insufficient anti-skating force, significant distortions appear in the right-channel waveform. 

In tests using the same cartridge sample, the Swing Headshell demonstrates two key areas of measurable differences from a conventional headshell. 1) The natural resonance frequency of the cartridge/tonearm combo is broken up into two bumps, one at lower frequency with smaller magnitude and one larger magnitude at higher frequency near the 20Hz mark, significantly higher than the ideal 8 to 12Hz range. 2) Channel separation numbers are lower, along with wider phase differences between the channels, possibly due to the "swinging" actions during play when side force is present.

In A/B listening comparisons using two cartridges of the same make/model, the Swing Headshell is found to alter the sonic characteristics of the installed cartridge, turn the overall presentation toward the softer side, consequently hiding the sharp edges. Such forgiving attributes can be pleasant to the ears when the cartridge is not precisely installed/tuned. The price paid though, is perceived in the somewhat dulled transients, less focused bass notes, and shallower/narrower sound stages. The overall effect is in some way akin to softening the cartridge's damping mechanism, or swapping a line-contact stylus with the elliptical or conical variety.

 

為何要「玩音響」,之二

 

另外一大類玩音響的人士,他們在音響/聲音之外的最終動機,並非取得利潤或地位,就只是滿足擁有的欲望,把壯觀漂亮的名牌高價器材/珍稀軟體擺設在家中,心態跟坐擁名牌皮包珠寶等類似。真正音質如何不太重要,只要價位夠高,看得喜歡,受到視覺與價值判斷的制約,耳朵就會覺得好聽。如同多數喝葡萄酒的人士,看到酒標是名貴的酒,就必然認為是好喝,同樣的道理。

iFi iPhono 3

 

The iFi iPhono 3 phono preamp builds on the strengths of its predecessor, the iPhono 2, and improves in several key aspects. Firstly, the background noise level is further reduced in subjective perception as well as measurements, partly due to the new power supply unit, the iPower X. Consequently, out of a darker background, low-level information in recording becomes more abundant. Secondly, the overall texture is further refined with minimized electronic glare, vocals and string tone can now compete with phono stages at a much higher price point. With careful component matching and proper vibration control, no doubt the iPhono 3 can be part of an affordable, enjoyable, high-resolution system.

Thales Simplicity唱臂的抗滑

 

ThalesSimplicity唱臂有不少人使用,但幾乎沒有人知道它有抗滑,而且是用磁力互斥的方式。有許多人說,因為它是正切臂就不會有抗滑的問題,其實是錯誤的觀念。只要唱頭安裝的部位,與臂管有補償角存在,播放時就會產生向內的側向力。而且由於它的補償角在播放期間一直改變,抗滑力的需求也隨之變化。這在音響論壇348期我的專欄文,就已經討論過。它的抗滑力是用了同極互斥的磁鐵,固定在唱臂軸心點後側,位於重錘之前的兩個臂管之間。當受到向內側向力時,兩臂管之間的間隙變小,磁鐵的互斥力會增加,來抵銷側向力。這個設計算相當巧妙,但抗滑力的大小不能調整。用過幾個不同的唱頭實際測試,顯示有些唱頭會抗滑太強,有些唱頭則會不足的情況。我曾直接與設計者用電子郵件討論過,他同意有些唱頭會有抗滑強度不匹配的問題,但在種種其它因素的考量之下,仍不願意改變設計提供調整機制。

Tuesday, August 24, 2021

為何要「玩音響」,之一

 

玩音響的人士,其隱含的真正最終動機(ulterior motive),不見得是「追求音質」本身,或甚至與「聲音」並無關連性。雖然不會承認,但行為上顯示這只是他們次要動機,真正動機在其它方面。

舉例來說,我所觀察到,許多代理商經銷商及出版事業等音響相關業者,當初純粹是從玩音響開始,出自於對音響/聲音的熱愛,而選擇進入這行。但隨著生活與經濟上的考量,經過一段時間之後,就不得不與現實妥協,逐漸地以營利為取向。以營利為目標,本來就是各行業生存的基礎,但如果變成是唯一的動機,把音響當成手段,對音響界來說,不論是廠方/消費者/讀者,就不是好事。換句話說,如果對音質好壞不能誠實評估,不為顧客或讀者利益作打算,所有考量與所從事的行為,只是要賣廣告或器材賺錢,以追求利潤為最高指導原則,那等於是把玩音響當成生財的工具而已。

Benz Micro LP-S Cartridge

 

The Benz Micro LP-S is exemplary in its build quality, with every critical parameter matching or surpassing specifications. This is also reflected in lab measurements, showing nearly 40dB of channel separation and ruler-flat high-frequency response. Its sonic characteristics lean slightly toward the direction of being mellow and subdued, and are less demanding on the associated equipment and setup precision. Though it is not quite state of the art in terms of transient speed and extracting low-level details, the LP-S is perfect for users who prefer to spend time listening to music rather than tweaking their systems.

Saturday, August 21, 2021

AMG 12J2 Tonearm

 

AMG adheres to the engineering approach in designing their products, with straightforward functionality and understated style which clearly deviate from the current trend of the vinyl playback business, where extravagant and sometimes bizarre features are becoming prevalent.  Their 12J2 tonearm is an indisputably successful product. It can be installed with ease, and is highly adjustable with very few usability quirks. In terms of sonic performance, the 12J2’s ability to extract high-frequency harmonic details is exemplary. Its sound-stage delineation can compete with any arm on the market, assuming the use of a cartridge with softer suspension hence requiring less anti-skating force. Overall, it is without doubt a front runner for the best tonearm in its price range.

音響與社會地位

 

除了實質金錢收入之外,常見的一個玩音響的動機是為了爭取社交地位。而最快方式之一,是投資去買高價器材,然後經銷/代理商立刻就會奉之為上賓,並為之吹捧。而且在社交圈或網路上貼圖宣傳一下,獲得能見度與話語權,就會被認定是神級玩家,甚至進而被封為先知,享受許多人的崇拜追隨,得到呼風喚雨的力量,也就是一種政治影響力及權力。而從觀察世界上各國政治界就知道,政治權力的滋味是非常吸引人的,所以即使不藉此獲得利潤報酬,也讓不少人樂此不疲。

Friday, August 20, 2021

首刻版 ED1 黑膠音效必然最好?

追求「ED1」首版,如果為的是像收集古書的第一版,以珍稀為前提,算是有些道理。若盲目認為首版就一定音效最好,多半是受到同儕間吹捧的影響,算是將「稀有」與「好」互相混淆的價值判斷。而且花了那麼多錢買到的片子,就像用高價買的名牌器材,聽的時候「催眠」的效應很強,多數人必定跟著起鬨大讚好聽。同時,買賣雙方為了維護市場價格與自尊,也必須堅稱首版之優越性。 

在錄音完成後,一般的多音軌錄音,都還要經過混音處理,製作成二聲道的工作母帶,才來刻片。「ED1」首版所代表的,是用這工作母帶所刻的蠟盤裡,第一個得到認可而拿去從事後續程序,所產製的唱片。這樣的第一批產品,「有可能」音效會最好,因為工作母帶播放多次之後,會有損耗的狀況。因此在所用的第一個蠟盤無法再用,用後續再刻蠟盤所產製的唱片,理論上是會比較差沒錯。但是,對刻片過程稍有瞭解就會知道,如果工作母帶還是在接近完美的狀態,而刻片師「手氣」好,甚至不同人來刻片,說不定會得到比首版更好的音質。 

前面所說還是用同一工作母帶的情況,像現在一些專業出發燒級重刻片的廠牌,如Analog Productions,Speakers Corner等,拿到原始錄音母帶而非已經使用過多次的工作母帶來製作。除非母帶本身已經嚴重衰老,否則用現階段最佳硬體,像刻片機(至少轉速就準確多了)與刻片頭就比幾十年前進步很多,加上專業刻片師又不必擔心一般消費者的唱頭無法播放刻得「太兇」的音軌,然後用高級塑料壓得的唱片成品,比首版得到更好音效的可能性是相當高的。但就像器材系統是否「好聽」是主觀意識的判定,這些優質重刻片或者是首版比較「好聽」,又會牽涉到是否使用音質中性的系統來聆聽,及上述「催眠效應」等心理因素。

我自己的情況,以前在美國追求稀有名盤的時期,也花了很多錢買首版唱片。當重刻片開始出現時,用當時的系統聽,覺得還是原版比較順耳甜美。然而隨著音響經驗的增長,器材系統及唱頭唱臂調整的技能進步,逐漸的就越來越少去聽原來的首版片,覺得Classic Records等高品質重刻片,會比較接近錄音的原始樣貌,而不是舊時首版常見的,隔了一層朦朧甜美的薄紗。不過,還是有許多人認定原版聽起來最好。從邏輯上來說,如果心態上已經定義了什麼是最高典範,任何與之有所不同之處都當作是缺點,那當然就無話可說了。 不過近年來,從事重刻的廠家很多,多數拿不到原始類比母帶,只能用拷貝過,或甚至數位化的版本來發行,最後得到的唱片音質往往令人失望。這讓許多剛入門的新手為之卻步,也使重刻片蒙上壞名聲。因此我在挑選重刻片時,與多年友人/前輩的黑膠教主L先生一樣,一定會確認所使用的刻片母帶來源。除了上述的這些有名望的廠家之外,其它牌子的就必須有標註音源是來自於原始類比母帶的,才會購買。

Thursday, August 19, 2021

Ortofon SPU#1S Cartridge

 

Ortofon’s SPU series of cartridges have been available on the market for many decades, and even today still enjoy many dedicated followers. Listening to the affordably priced SPU#1S on my system quickly dispels any doubt why the model has been successful for so long. It has an uncanny ability in engaging listeners by generating authoritative bass, full-bodied midrange, and transparent, airy highs. Meanwhile, there’s diminishing amount of euphonic colorations or unpleasant distortions. The slightly reduced resolution in minute spatial details is only noticeable when directly compared to other mid to high-priced MC cartridges. Otherwise by itself the SPU#1S is an excellent value as a versatile tool facilitating long-term music enjoyment.

Surprise Best Cartridge Match with SME V Arm

 

In my experience, even though other sonic attributes are excellent, most cartridges tend to sound somewhat lifeless with the SME V tonearm. Of all the cartridges I've tried on the arm, this one below is the best match, regardless of price range. All the measurement data is quite good, including low THD, IMD, and the resonance frequencies in both planes are near the ideal 10Hz. It also needs very little antiskating to track properly. Though it still needs about 2.8 on the scale to eliminate side force and achieve fully symmetrical soundstage.The sound is definitely hi-end, no doubt. Vividness with great resolution, transparency, clean and fast.


Wednesday, August 18, 2021

以「二手經驗」作器材評論?

 

有不少撰寫器材評論的人士,可以到代理/經銷商處或友人家,只在別人的系統上聽過一件器材,然後就可以憑藉這「二手經驗」寫一大篇文章來對該器材的音質抒發感想。在我看來,這種完全缺乏變因控制的評測方式,是匪夷所思的事情。

甚至會有「專家」,只不過在某處音響展聽了某件器材在某個系統裡的表現,就可以立刻對該器材下音質的定論。這常是一種幫商家宣傳促銷的作為,並以「鐵口直斷」的風格造就自己聽力高超的形象,帶動風向且吸引追隨/崇拜者。然而實際上,這樣的文字內容,對認真想知道實情的讀者,看不出有多少參考價值。而且,既然聽感是主觀的,藉著生花妙筆,把不好的說成好的或反之,也沒有人可以質疑。

「大」喇叭與「小」喇叭

一般所謂喇叭的大與小的分別, 主要是外型給人的感覺為主。體積大的喇叭,容易給人有價值感,自然可以訂出較高的價位。所以,從前面的討論,可以自然的推導出,各廠都要想法做出更高大的喇叭,來得到多方面的利益。而大型喇叭之可以賣得貴,主要是「硬體為上」,「船堅炮利」的思維在主導的價值觀。從外箱的成本看來,大喇叭是會用比較多的材料與做工。從發聲單體來看,主要是比較大,數目比較多,分頻線路可能複雜一些。但相對於較小型的喇叭,其售價究竟是否等比例而且合理地反應這些成本差異,是值得思考的問題。

而大型喇叭,除了視覺上「有份量」的效果之外,在音質上的優勢在哪裡呢?主要在於低頻的響應,與產生大音量的能力。喇叭的箱體大,可以提供低頻單體足夠的空氣容量,得到良好的延伸。用了較大較多的單體或號角,就能發出大音壓而不會有失真的狀況。但是就像所有的工程問題一樣,世界上並不存在完美解決所有面向的方案。得到這些好處,就必然要付出一些其它方面的代價。例如箱體大,就容易使發出的聲波產生繞射。大型的音箱容易共振,就必須增加箱體厚度/質量來抑制,但這樣又會吸收能量,使得效率減低,造成後級擴大機的負擔。此外,使用大的單體,錐盆質量較高,就會有運動/停止相對遲緩的現象。多單體的話,又難以讓所有單體同時開始/結束運動。而且多音路的設計,分頻線路在分頻點附近一定會有相位失真等問題存在。因此,大喇叭用儀器測量起來,在一些關鍵數據上通常會比小喇叭差些。

還有一點要考慮的是,把高大的喇叭擺在小房間,要面臨的不只是視覺突兀或常見的低頻問題。特別是單體之間有相當間隔的喇叭,一定要有足夠的聆聽距離,各單體發出的聲波才會在接近一致的時間點到達耳朵。否則肯定會有先天上無法解決的相位不一致/時間差的問題,不可能得到最佳化的效果。


將立體唱頭改成mono唱頭?

 

立體聲唱頭播放mono唱片,在技術上完全沒有問題。那為何還要用mono唱頭?有些資深的「專家」說是廠方賺錢的噱頭,有些則信誓旦旦說一定要用mono唱頭才會有最佳音質。

從數據方面來看,用標準的1kHz正弦波mono測試訊號,用同型唱頭的立體聲與mono版本分別去測量,mono唱頭的THD失真數據會低很多。另外的好處是,從理論推測與聽感驗證,唱片的表面雜音會比較少。這些效應,都是由於mono唱頭只感應水平向的針尖運動,使得失真與雜音量減低。

坊間有些師傅把立體聲唱頭裡頭的線圈串接起來,說是變成mono唱頭,其實除了輸出電壓增加,垂直向的針尖運動還是會感應出訊號,因此並沒有以上所說的兩個優勢。