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  1. #21
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    A.R.T.在2015舊金山加州音響展




















  2. #22
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    謹祝黃大哥參展順利!!!DPP_0004.JPG
    此篇文章於 2015-08-19 06:04 AM 被 kl2tw 編輯。

  3. #23
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    Enjoy the music.com Steven R. Rochlin在加州音響展參觀A.R.T.展房

    他認為此次A.R.T.展房的聲音非常優秀,由A.R.T.線材、調音道具、Pass Lab和Tannoy喇叭組成,是此次2015加州音響展整體最佳聲音展房。乾淨、快速、聚焦、優異的透明性。他在世界各地聽過很多次Tannoy喇叭,這次可能是他聽過最好的一次。這證明了發燒友很難聽到器材的全部潛力,因為有太多潛在的變數,例如系統的組合、空間的整合、室內聲學、整體使用的線材。

    無論是什麼原因,A.R.T的展房無疑是這次他認為最好聲的,甚至在過去不曾體驗Tannoy落地喇叭有這樣的表現過。







    報導來源: http://www.enjoythemusic.com/Califor...noy_Pass_Labs/

  4. #24
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    引用 作者: Leo Yeh 查看文章

    搭VR-55耶................

  6. The Following User Says Thank You to john925 For This Useful Post:


  7. #26
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    預設 A.R.T. Super SE 導線評價

    A.R.T. Super SE 導線系統評價
    By: Ed Momkus | March 2015 翻譯:李紀恩 Chi-En Lee




    Audio Reference Technologies Super SE 導線系統

    過去幾個月我針對Pass Labs XS300 單體音響(monoblocks)、 Tannoy Canterbury GR 揚聲器以及 Bricasti M1 Stereo 數位類比轉換器(評鑑後補)做了評鑑。當然某些情況下這些產品的評鑑不免彼此互相重疊,其中有一段很短的時間甚至有三個產品同時使用的狀況。不過,在這些不同排列組合的評鑑過程中,連接元件以及提供電源的的導線是唯一共用且不變的元素。而我們使用的導線組合其中就包含了我們今日的主題: Audio Reference Technology (A.R.T.) Super SE 導線組。

    導線對照組很幸運的,我手上擁有其它兩組參考連接線(interconnects)。同時,我也有幾組非常出色但相對低階的連接線可以提供比較。參考導線分別為 Tara Labs Zero Gold (建議售價$16,000)(本文中價格皆為美金)以及 Silent Source Music Reference (建議售價$7,600)。我個人認為,在連接線的市場中上述兩組產品已經是接近頂尖的水準。另外,我手上還有 Silent Source Silver Signatures (建議售價$1,800)以及 Lessloss Tunnelbridge 系統連接線(建議售價 $2,500,另需特殊電源供應器 $2,600),這兩組也是非常優異的導線,價錢也比 Zero Gold 和 Music Reference 來得低。價格方面,A.R.T. Super SE (建議售價 $5,650)和 Tunnelbridge 差不多位於同一個價位,不過 Tunnelbridge 的電源供應器可以支援最多四對連接線組。

    我在揚聲器導線的部份是使用兩對獨立的 Silent Source Silver Signature(已停產。我不記得建議售價是多少,但估計每一對大概是 $2,500)來作雙路放大( biamping ),搭配兩組的 Walker Audio Eliminators (建議售價每組 $450)以及數組 Z-Sleeves (根據配製的不同,建議售價在 $200 到 $400之間)。 由於 A.R.T. Super SE 揚聲器導線和 Z-Sleeves 不相容,因此我無法拿來和 Silver Signatures 加上 Z-Sleeves 的組合做比較。 A.R.T. Super SE 的建議售價為 $9,750。

    我個人使用的電源線為 Isoclean Super Focus 以及 Lessloss DFPC Signatures,都是非常優異的電源線,聲音乾淨且延展性強,同時音色非常飽滿。上述兩者都屬於各自製造商的中高階產品。價格上來說,它們的建議售價分別為 $3,000 (A.R.T. Super SE)、 $1,150 (Lessloss DFPC Signature) 以及 $2,100 (Isoclean Super Focus)。

    聆聽比較

    Super SE 連接線 – 無論是獨立特性或是總體呈現, Zero Gold 的表現總是一如往常的卓越。但考量到它的價格比低一階的競爭產品貴超過兩倍,這樣的現象好像也是理所當然。不過,令我訝異的是這些高階連接線的聲音真的太好了。為了確認不是錯覺,我跑到我的倉庫裡翻出了一些我在我的升級熱初期的時候購買的導線。這些舊導線的價格大約在 $75 到 $250 之間。我把它們跟高階導線隨機互換,實驗的結果很快的證明了為什麼有時候人們會花不可思議的高價購買導線。





    說了這麼多,具體而言我們到底該如何比較這些 Audio Reference Technology Super SE 導線呢?就讓我們從流暢度、節奏以及時準( pace, rhythm and timing,簡稱 PRAT)這些部份來比較吧。由於Silence Source 的連接線在鮮明活潑度上是我目前所有聽過的前2到3名,所以在這部份我將以它們為參考。果然,一經比較, Silent Source 的 Music Reference 以及 Silver Signatures 立刻表現出極度優異的速度以及 PRAT 值。 相較之下,Zero Gold 則顯得稍稍的「慢」了一點點。Super SE 比起Zero Gold 又要稍微「慢」一些,不過,音色方面則提供了比 Silent Source Silver Signature 更渾厚豐滿且清亮的低音。這當中的差別並雖不是很巨大,但透過仔細的聆聽可以發現它們的差異依然是明顯的。在此我必須要強調,這幾組都是非常優異的連接線,如果不把它們肩並肩的比較一般人可能跟本聽不出有什麼不同。單獨來看,Super SE 依然擁有非常好的 PRAT 值,足以讓你隨著鮮活的音樂起舞。

    接下來讓我們來討論低音重現性(這部份常常跟 PRAT 值是正相關的,因為它影響到了我們感知音樂的「速度」 )。在這方面,我稍稍的偏好 Tunnelbridge 導線。不過,由於 Super SE、 Zero Gold 以及 Music Reference 三者的低音都非常好,所以這很明顯的只是我的個人喜好,或(可能是)系統的協同放大作用(Synergistic Effects)。

    在最重要的中音域部份,Super SE 的表現則非常耀眼 – 我這麼說一點也不誇張。它最明顯的特徵就是能讓人聲以及中音域帶著一層隱隱閃耀的「光澤」。我記得多年以前我在聆聽 BAT 前極放大器以及功率放大器時曾有過類似的體驗。這感覺彷彿就像是音樂裡有某種特質讓它從裡面亮了起來 – 我知道這不是很具體的形容,但是我也想不太到更好的形容詞了。別誤會,我並不是說有什麼東西被加工進了音樂裡,相反的,我覺得是彷彿有某些早就存在音樂裡的特質被顯了出來。OK,我知道這些聽起來很像胡言亂語,不過放過我吧,我盡力了。

    和 $16,000 的 Tara Labs Zero Gold XLR 連接線比較起來,Super SE 並沒有被比下去 – 你必須要很注意的聆聽才能聽出兩者的差異。除了在立體性上面有少許的喪失以外,Super SE 和 Zero Gold 最大的差別在於後者對於聲音色彩和細節的刻畫能力。除了這些以外,這兩組導線在各種特性上都非常的接近(雖然價格差很多)。

    Super SE 電源線 – 這是個難度很高的比較。我手上只有一組 Isoclean Super Focus,但我有兩組A.R.T.Super SE 電源線。由於使用多條 Super SE 導線時會有很明顯的協同放大作用(事實上,所有的 Super SE 產品都有非常明顯的協同放大效應,不管是連接線、揚聲器導線或是電源線。這點我們後面會更多談到),所以我只能夠一次把一條 Super SE 和一條 Super Focus 做比較。由於我使用的是單體音響,無法讓我這樣子比較,於是我採取替代方案,把 Super SE 和 Isoclean Supe Focus 用在我的數位類比轉換器或是前極放大器上面。實驗結果,兩種情況下我都對 Isoclean 有相當明顯的偏好。Super Focus 在聲音色彩上面比較圓潤,動態部份也沒有任何流失,Super SE 則比較厚實。不過,雖然乍聽之下 Super Focus 好像比較「中性」,但仔細聆聽之後我的結論是它似乎稍稍比A.R.T. Super SE 來得乏味。



    至於跟 Lessloss DFPC 的比較,這個難度也很高。由於 Lessloss 電源線必須要搭配 Lessloss Firewall 電源整流器方能達到最佳的表現,所以我們使用了 Lessloss Firewall 在所有比較和對照的系統中。但這同時也代表了拿其它廠牌的電源線搭配 Firewall 得到的比較結果可能會有點問題。所以讀者們請自行考量上述問題可能造成的偏差。在此比較中我使用 A.R.T. Super SE 來對Pass Labs XS 300 單體音響、 Electrocompaniet Nada 單體音響或 Electrocompaniet Nemo 單體音響供電。當搭配 Pass Labs 時我們直接推整個頻率範圍。 搭配 Electrocompaniet 時,則是由 Nada 來處理中高頻,並由 Nemo 來處理低頻。

    Lessloss DFPCs 在系統中的表現相當中性,音色非常的乾淨且生機盎然,不帶有任何明顯的不平衡、不自然刻畫或柔化的感覺。我相信音色乾淨的重要原因在於其極低的噪音訊號。至於 Super SE,雖然在構造上使用了非常不同的科技,但音色上也是同樣的非常乾淨。兩者比較起來, Super SE 比較偏向重量超過速度,音色上比較厚實有重量,但同時也比較「慢」。具體而言我覺得Super SE和反應相對較「快」的 Nada 音響配合得比較好,但和 XS 300 搭配的狀況下我則比較喜歡 Lessloss。至於和 Nemo 單體音響搭配時我則無法抉擇。在此,我必須要強調它們之間的差異其實很小,尤其又考量到它們的前端全部都搭配了 Lessloss Firewall,要講出我比較喜歡哪一組真的非常困難。我想我唯一能說的是,雖然長期以來我都是一個 Lessloss 的擁護者,但是 Super SE 證明了它真的是頂級的電源線。

    Super SE 揚聲器導線 – 就如同上述電源線的比較一般,由於有許多不同的變數介入,揚聲器導線的比較也相當的複雜難以評估。讓我來解釋一下為什麼:由於大部份的時候我都是用兩組功率放大器來作雙路放大,因此我需要用到兩對揚聲器導線。 很不幸的,我的 Vivid Audio Giya G1 揚聲器接頭位於喇叭的後面而且有點凹進去,同時接口有點小。這對於我手上的 Silver Signature 導線不成問題,但是對於像 Super SE 這類較粗規格的線材問題就很大了。我告訴 A.R.T. 廠商我使用的是雙路放大的配製,所以他們寄給我兩組導線來讓我測試,但我完全無法同時把兩組線塞進 Vivid 的接口中;此外,我也沒辦法使用 Z-­‐Sleeves 來搭配 Super SE。不過,塞翁失馬,這剛好提供了一個機會來證明 Super SE 對抗空氣中雜訊的屏蔽能力有多好。

    在這個聆聽實驗中,我大部份的參考系統都是使用 Pass Labs XS 300 功率放大器來推 Vivid G-­‐1。同時,我也在另一個聆聽室裡面用多出來的一對 Super SE 導線搭配 Sonus Faber Venere 3.0 揚聲器、Electrocompaniet Nada 功率放大器以及 Pass Labs XP-­‐20 前極放大器建構了第二組參考系統。肩並肩比較的結果, Super SE 很明顯的打敗了我的 Silver Signature 導線。兩組導線的速度和 PRAT 值近乎相同,但前者比後者多了更多的厚實度和細節。即便我後來把 Silent Source 加上了 Z-­‐sleeves,Super SE 依然展現了比它更高水準的屏蔽,並表現出極度豐滿和純淨的聲音。後來我把 Walker Audio Eliminator 和 Silver Signature 兩者混合使用,結果聲音是有變得比較接近,但我還是比較偏好 Super SE。之後我移位到放置了 Sonus Faber Venere 3.0 揚聲器、Electrocompaniet Nada 放大器和 Pass Labs XP-­‐20 前極的第二聆聽室,拿 Super SE 和一條 $500 的老舊 Audioquest 雙線分音(biwire)導線做比較。當然我知道結果一定是 Super SE 比較好,但實際好的程度還是大到讓我吃了一驚。在 Super SE 的影響下,聲音的每個層面都有了決定性的明顯進步 – 高音變得更廣且更圓潤,低音變得更廣且更能控制,中音變得更厚實且更有表現力,同時也變得更立體且更具有全面性。不過,這結果講起來也是滿實際的 – 畢竟我們這邊討論的可能是單一條就比平常人整組音響系統都還要貴的導線 – 能用實驗來證明一下自己不是頭腦燒壞了還是滿令人開心的。

    協同放大作用 – 我想我在此必須要強調所有的 A.R.T. 導線都有互相強化的作用。某次實驗中我曾經在整個系統中除了一對搭配 Electrocompaniet Nada 的揚聲器導線以外全部都用了 A.R.T. 導線(包含跳線)。我用Super SE 連接線將前極送訊號送到 Nada, 用 Super SE 電源線供電給每一個單體音響,同時用 Super SE 揚聲器導線和跳線推動 Vivid G-­‐1 揚聲器。在這個配製下我所聽到的是 SE 導線被發揮到極致的聲音 – 卓越的厚實度、力量、速度和細節。 A.R.T. 官方有強調,將他們的導線同時一起使用會有互相放大和強化的累積效應。我可以很直接的告訴你,此言不假。如果手頭上有預算,你可考慮使用一整組的 SE 導線來享受它們的最大效益。



    總結

    整體上來說,在一片競爭激烈的高級導線市場中,Audio Reference Technologies 的導線是非常非常好的產品。它們能夠傳達緊實並充滿細節的低音,高音的延展性強並且不尖銳(除非音樂本身要求尖銳的效果),同時中音部份帶著溫暖的光澤。搭配每一組我試用的音響, Super SE 都能近乎完美的融合進去。我想,任何人都幾乎不可能不愛上它對於音樂所施加的魔力。當然,任何選擇最後的決定還是取決於個人的喜好(還有口袋的深度),不過如果你正在高階導線市場上尋找類似的導線,這款產品絕對是一款上上之選。
    此篇文章於 2015-11-04 11:50 AM 被 Leo Yeh 編輯。

  8. #27
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    預設

    A.R.T. Super SE cable system Review
    Print Article
    By: Ed Momkus | March 2015




    Audio Reference Technologies Super SE cable system

    In the last few months I’ve reviewed the Pass Labs XS300 monoblocks, the Tannoy Canterbury GR speakers, and the Bricasti M1 Stereo DAC (review to come). In some cases these different components’ reviews overlapped one another, and for a short time all three were used together. The constants during all these reviews, however, were the various cables that connected and powered them, and include in that group of cables were the Audio Reference Technology (A.R.T.) Super SE cables.

    Comparison Cables

    I am lucky to have two reference interconnects that I could use for comparison, as well as several excellent step-down ICs. The reference ICs were the Tara Labs Zero Gold (MSRP $16,000) and the Silent Source Music Reference (MSRP $7,600), both of which are, in my opinion, at or near the pinnacle of interconnects. I also have the Silent Source Silver Signatures (MSRP $1,800) and the Lessloss Tunnelbridge System ICs (MSRP $2,500, plus $2,600 for the special power supply), both of which are very good cables, and much less expensive that the Zero Gold and the Music Reference. The A.R.T. Super SE (MSRP $5,650) comes in at the same price point as the Tunnelbridge, though the Tunnelbridge’s power supply unit handles up to 4 interconnect pairs.
    My speaker cables are two separate pairs of the Silent Source Silver Signatures (can’t recall the exact MSRP for the silver signatures, which don’t appear to made anymore, but estimate $2,500 per pair) for biamping, used together with two sets of Walker Audio Eliminators (MSRP $450 each) and multiple Z-Sleeves (MSRP $200-400, depending on configuration). The A.R.T. Super SE speaker cables don’t fit into the Z-sleeves, so I could not compare them to the Silver Signatures with the Z-Sleeves. The A.R.T. Super SEs come in at an MSRP of $9,750.
    My own power cords are Isoclean Super Focus and Lessloss DFPC Signatures. Both of these are excellent power cords, very clean and extended, with good body. Both are also in the middle/upper middle of their manufacturers’ range of offerings. From a pricing standpoint we are comparing PCs that have MSRPs of $3,000 (A.R.T. Super SE), $1,150 (Lessloss DFPC Signature) and $2,100 (Isoclean Super Focus).

    Listening and Comparisons

    Super SE Interconnects. The Zero Gold was consistently at the top of the heap when comparing individual characteristics, as well as in overall presentation. This is as it should be, given that the Zero Golds list for more than twice as much as the next most expensive competitor. However, I was struck by how good all of the ICs sounded overall. Just to get a reality check, I went down to my storage area and pulled out several of my old cables from the early days of upgrade fever – ICs in the $75-250 range. Substituting these for any of my high end cables immediately confirmed that there is indeed a reason why we sometimes spend insane money for a cable.





    So how did the Audio Reference Technology Super SE compare in specific ways? Let’s start with pace, rhythm and timing (PRAT). In this respect Silence Source interconnects are my reference, being among the 2 or 3 most lively interconnects I’ve ever heard. As expected, once my comparisons began, the Silent Source interconnects, both the Music Reference and the Silver Signatures, conveyed the best sense of speed and PRAT, with the Zero Gold the slightest bit “slower”. The Super SE was in turn slightly “slower” than the Zero Gold, but provided a much fuller bass with greater body and bloom than the Silent Source Silver Signature. The difference was not huge, but nonetheless obvious with careful listening. Now I want to be clear here: these are all excellent interconnects, and if you weren’t running head-to-head comparisons you might not even notice the difference. The Super SE has very good PRAT and you will be tapping your toes on lively music.

    Moving on to bass reproduction (which is often closely tied to PRAT because it affects the perceived “speed” of the music), the Tunnelbridge was my preferred cable by a hair. However, all three of the Super SE, Zero Gold and Music Reference were so good at bass reproduction that this was clearly only personal preference and (possibly) system synergy.

    In the all-important midrange the Super SE really shines, and I mean that almost literally. The most distinctive trait of the A.R.T. Super SE was a “sheen” that made voices and the midrange have an inner glow. I have a memory of a similar experience listening to a BAT preamp and amp many years ago. I thought that there was a quality to the music that made it seem as though it was illuminated from within. I know that’s a poor description, but I’m a bit at a loss to come up with something better. It did not feel as though something artificial was being added to the music. Rather, it felt as though some quality of the music that was always there was being revealed. Ok – I know that sounds like mumbo-jumbo, but it’s the best I can do.

    Compared to the $16,000 Tara Labs Zero Gold XLR interconnect, the Super SE holds its own very well. It required attentive listening to identify the differences between the two cables. Though there is an slight loss of dimensionality, the chief difference between the Zero Gold and the Super SE was the Zero Gold’s ability to vividly portray nuances and tonal pallets. Otherwise, in terms of all of the other audiophile characteristics the two cables are remarkably close, despite the large price difference.

    Super SE Power Cords. This was a very tough comparison for me. I only have one Isoclean Super Focus. On the other hand, I had two A.R.T. Super SE Power Cords, and it is clear that use of multiple Super SE’s is very synergistic. (In fact, using all the Super SE’s – interconnects, power cords JD speaker cables – together was very synergistic. More on this later.) As a result, I could only compare a single Super Se with a single Super Focus. Since I run monoblock amps, this would not lend itself to comparison. Consequently, I alternately used the Super SE and the Isoclean Super Focus on my DAC and then on my preamp. In both cases I had a distinct preference for the Isoclean. Super Focus, which created a smoother tonal palette without loss of any dynamics. The Super SE had more body, and though the Super Focus initially seemed more “neutral”, closer listening led me to the conclusion that it sounded a tad sterile compared to the A.R.T. Super SE.



    The comparison with the Lessloss DFPC was also complicated. The Lessloss power cords’ effects are maximized when they are used with the Lessloss Firewall power conditioners, so using other manufacturers’ power cords with the Firewalls can create some questionable comparisons. Consequently, the reader must take into account that the results may be biased because the Lessloss Firewalls were in each test system. In this comparison I used both A.R.T. Super SE’s to feed either the Pass Labs XS 300 monoblocks, the Electrocompaniet Nada monoblocks, or the Electrocompaniet Nemo monoblocks. When used with the Pass amps the Super SE’s were powering the entire frequency range. When used with the Electrocompaniet amps the Super SE’s powered the either the Nada’s handling the midrange and treble, or the Nemo’s handling the bass range.

    In my system the Lessloss DFPCs are neutral and produce a very clean but organic sound, without any sense of artificial softening, etching, tonal imbalance or any other characteristic that calls attention to them. I believe that the clean sound is due in no small part to the extremely low noise level that comes through these cables. The Super SE’s were also extremely quiet, though by employing a very different technology. The Super SE’s exhibited a bit more body and weight, but were also a bit slower, erring more on the side of weight than on the side of speed. In particular, I thought the Super SE worked better with the Nada, which is a slightly “faster” amp than the others. I preferred the Lessloss with the XS 300, and could not really choose between the two when they were used with the Nemo monoblocks. I have to emphasize that the differences were small, and I found it very difficult to express a preference, especially in light of the fact that the cords all ran from Lessloss Firewalls to their respective components. All I can say is that I’ve been an ardent admirer of the Lessloss PCs, and the Super SE is clearly a top power cord.

    Super SE Speaker Cables. The interconnect comparisons were straightforward, but like the power cords, the speaker cable comparisons were complicated by various factors that made them more difficult to evaluate. Let me explain. Most of the time I biamp my speakers, and thus need to use 2 pairs of speaker cables. In addition, my Vivid Audio Giya G1 speakers’ terminals are recessed in and under the rear of each speaker and have a smallish opening for the speaker cables. This is no problem for my Silver Signatures, but can be a significant issue for stiffer speaker cables with larger diameters. That proved to be the case with the A.R.T. Super SE speaker cables. I simply could not fit both pairs of speaker cable through the Vivid’s opening (A.R.T. Sent me two pairs because I told them I am biamping), so I eliminated the most direct comparison of biamping with both the Super SE and the Silver Signature. I also could not use the Z-Sleeves with the Super SE, though this actually proved to be a great way to show how good the Super SE is at shielding against stray signals in the air.

    I did most of my reference system listening with the Pass Labs XS 300 amps driving the Vivid G-1s. As a second reference point, I also installed the extra pair of Super SE cables in a secondary listening room that featured Sonus Faber Venere 3.0 speakers, Electrocompaniet Nada amps and Pass Labs XP-20 preamp.

    The Super SE speaker cables clearly bested my Silver Signatures in direct head-to-head comparison. They had greater body and nuance and nearly equal speed and PRAT. Even when I added the Z-sleeves to the Silent Source the Super SE speaker cables demonstrated their superior shielding and produced an extremely clean but full-bodied sound. When I added the Walker Audio Eliminators to the mix when using the Silver Signatures the sound became much closer, but I still preferred the A.R.T. Super SE’s.
    When I used the Super SE cables in my secondary listening room that featured Sonus Faber Venere 3.0 speakers, Electrocompaniet Nada amps and Pass Labs XP-20 preamp I was comparing the Super SE’s to an old $500 bi wire cable from Audioquest. I expected an improvement, but I was totally surprised at the extent of the improvement. Absolutely everything improved in a really obvious way – treble extension and smoothness, bass extension and control, midrange body and articulation as well as dimensionality and soundstaging. This was another good reality check because, after all, we’re dealing cables that are more expensive than most peoples’ complete stereo systems. It was comforting to prove that we’re not totally insane.

    Synergistic Effects. It is important to describe how use of all of the A.R.T. Cables reinforced all of the strong points of each of the cables. In one configuration I used all of the A.R.T. cables (including the excellent jumper cables) except for one pair of speaker cables with the Electrocompaniet Nada monoblocks, so that the preamp sent its signal to the Nada’s via Super Se interconnects, the Super SE power cords powered each monoblocks and the Super SE speaker cables and jumpers drove the Vivid G-1s. Now I could hear the full extent of the SE’s ability to powerfully present the music with excellent body, power, speed and nuance. A.R.T. Emphasizes that use of their cables together has a synergy that has a cumulative effect. I can verify that that is true, in spades. If you can afford them, employing a complete complement of the SE’s will let you enjoy the SE’s qualities to the fullest.



    Conclusion
    The bottom line is that the Audio Reference Technologies cables are very, very good products in a highly competitive segment of the uber cable business. They had an excellent ability to deliver tight, yet meaty and nuanced bass. The highs were extended and never shrill (unless the music actually demanded it), and the midrange had a warm sheen that melded extremely well with each set of amps and speakers I used. It was totally impossible not to like what they did for the music. If you are choosing between very high end cables like these your ultimate decision will depend on your personal taste and the size of your pocketbook, but rest assured that you’ll be getting cables that are among the best available.

    http://www.dagogo.com/r-t-super-se-cable-system-review
    此篇文章於 2015-11-04 11:51 AM 被 Leo Yeh 編輯。

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    預設

    我覺得ART除了的線材很好之外,調音錐更算是獨門的產品。
    調音錐如果能夠善加使用,效果除了可比 EQ,更能達到前後音場和聲音層次的提升。

  10. The Following User Says Thank You to koei27 For This Useful Post:


  11. #29
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    預設 Audio Reference Technology 調音錐以及L.F.E低頻音效裝置評鑑

    Audio Reference Technology 調音錐以及L.F.E低頻音效裝置評鑑
    By: Jack Roberts | October 2015
    翻譯:李紀恩 Chi-En Lee


    Audio Reference Technology (A.R.T.) 公司是由 Luigi Basagni 在 1983 年於義大利佛羅倫斯創立的。根據 Basagni 的說法,由於聲音訊號的傳遞過程中存在著大量的外部干擾因素,該公司創立的主要目標就是找到一個能從音響系統中聽到「真實的聲音」的方法。A.R.T 並不是一個很大的公司,包含三名研發人員在內總共只有 12 個員工。在 2013 年 一次 Dagogo 的訪問中,身兼研發主任的 Luigi Basagni 提到:「我想, A.R.T 能夠歷經 25 個年頭仍然屹立不搖的原因在於…我們可以提高音響系統的性能來得到它本來就應該要有的,我稱之為『真實』的音質。 」「『讓聲音變得真實』是讓A.R.T 能夠蓬勃發展 25 年的關鍵。」

    A.R.T 最有名的產品大概是他們的導線,不過,他們同時也生產其他產品,包括一整個系列的電源相關產品、一款 CD 墊、一款黑膠唱片夾鎮以及一些室內聲響校正配件 – 本文所評鑑的對象就是他們的室內聲響校正裝置。在前面提到的同一次訪問中,Basagni 有說到:「我們所設計的調音錐(Tuning Cone)其原理是根據在端點固定的振動下,空氣振幅的變率會跟著頻率做改變,因此我們所聽到的聲音也會跟著改變。使用調音錐可以改良整個音場,帶出更多低中高頻,同時增加動態。」我知道這些話聽起來很像誇張的官方宣傳,這也是為什麼我推託了一陣子不太願意做這份評鑑的其中一個原因 – 坦白講,我一開始是對這些產品充滿懷疑的。

    直到某一天,Audio Reference Technology 的 David Huang 先生來到我的家中調校我的系統。當天他帶了他們公司的金屬製以及木製調音錐,並且還帶了一台低頻音效裝置(Low Frequency Effect unit)。當調校我的音響房間時,他一邊作業,一邊叨叨的念著要讓我的系統發出「真實的聲音」。我記得我上次好像也是從某個亞洲裔的音響發燒狂口中聽到這個詞。


    圖:ART 調音錐


    圖:ART 木錐


    ART 金屬音錐

    一開始的時候,黃先生詢問我在整體聲音上有沒有任何地方是我希望可以改進的。我告訴他說我希望可以在中低音以及低音的部分聽到更多的延展性,但不要犧牲任何 PRAT 值以及那充滿神奇活力的中頻。再次強調,當時的我並沒有很樂觀的覺得放幾個錐狀物在我的系統周圍就可以達到這個效果。

    不過,黃先生對於不同調音錐以及其對於聲音和音場影響的瞭解程度著實讓我相當訝異。於是20分鐘之內,我就漸漸的從滿腹懷疑開始轉為覺得也許這真的有用。接下來,他開始問我更多問題:請問我是否有覺得越來越靠近我想要的聲音?低音有沒有改善?中音是否有變亮或變多變少?他甚至問我整個音場的高度和寬度是否有改變。每次我回答他之後,他就會再拿出一些不同的調音錐再做微調。大概一個半小時之後,他正式完成調整,而這時的我已經完全被說服了。可想而知,我立刻躍躍欲試想要自己來調看看,不過我還是忍著先保持原樣的聆聽了幾天之後才開始玩。別擔心,我可不是個傻瓜 – 所有黃先生的做的配置都被我好好的用相片記錄了下來。

    這些金屬調音錐看起來好像只是一個個器材上的尖釘,但它們不是。這些金屬錐,以及其它兩個不同顏色,分別稱為「明」 錐 和「暗」 錐的木製調音錐,全部都經過調校並鎖定在特定的頻率上。在公司提供的使用說明中有列出不同大小的調音錐所相對應的頻率,使用者可以透過這份資料很精確的調整他們的系統。於是,兩天之後我開始自己移動並增加更多的調音錐。我發現當我加入太多木錐的時候,聲音的中音和上低音開始變得混濁。相反的,當我把所有的木錐都移除時,同樣的頻率範圍會變得比較薄。同樣的,中音以及高音部分也可以做很類似的改變。我發現這些東西相當有價值,因為它們能夠調整我的系統讓它播放出更接近「真正的音樂」。感覺上,它們好像可以在整個系統的聲音上增加泛音。當然,你可能會出現加太多矯枉過正的問題,不過,經過仔細的聆聽調整,現在我的系統播放的音樂聽起來比以往我所有聽過的都更真實。

    長年以來,我都覺得把平衡以及音色控制從前極移除這件事是個錯誤。我絕不會考慮沒有平衡控制的前極,但同時我也已經放棄想要購入有音色控制的世界級 linestage 前極的想法。Audio Reference Technology 的調音錐是我目前用過最好的音色控制裝置。它們能做的事情比起老式的前極音色控制多得多,同時它們也比所有我用過的全頻等化器來得更好。它們讓你可以把泛音以及音樂表現度增加得恰到好處,同時不用犧牲掉系統的透明以及清晰度 – 這非常的重要。這些調音錐在我的系統裡越久,我越覺得它們對於整個音色在泛音上的優化程度非常顯著。現在弦樂器的豐富度以及質感都提升了,整體的聲音也變得更飽滿,充滿著美麗的音色。

    除了調音錐以外,他們的低頻音效裝置也同樣的讓我非常印象深刻。長久以來我都希望我的 Teresonic Ingenium 揚聲器在低音的音域可以表現出它在中音域部分一樣的延展性,但是所有我試過的重低音揚聲器在搭配上 Teresonic Ingenium 之後在速度上都顯得不協調。然而,這台 A.R.T. 低頻音效裝置竟然能在沒有任何對於低音的負面效果之下完成上述目標,同時在音色上沒有喪失任何透明度。


    圖:ART 低頻音效裝置 XLR



    是的,這是一台主動式的裝置。雖然 A.R.T. 公司不希望把它叫做一台等化器,但我不知道除此之外它應該叫做什麼。在他們公司的網站上有這麼一段話:「如果考慮到頻寬以及音色品質,我們發現大多數的音響器材都沒有在其最佳條件下運作,這對於消費者而言是個很大的損失。即使某些高級的音響系統在低頻部分可以下探 20 Hz,但回音、音波波長或者後極放大器無法自控低音等原因都會造成我們無法好好的聽到真正的低音。A.R.T. 的低頻音效裝置就是專門設計來解決上述這些問題的。透過這台裝置,你不只會聽得到非常棒的低音,同時令人訝異的是整個頻譜都會聽起來更開闊和寬廣。中音部將變得純淨圓潤,低音部將變得深刻清晰,整個音域的立體性將令你流連忘返 – 你再也不會想要回到沒有它的日子。」

    我不知道該怎麼評論這些官方網站上的話,但是可以確定的是我非常喜歡我的系統中加入這台裝置後的結果。此時此刻,我正一邊寫這篇評鑑一邊聆聽 Cat Stevens 的演唱會現場錄音。在 70 年代我曾親身體驗過這場演唱會,而我可以告訴你,現在是我有史以來最靠近當年的臨場動態以及情感體驗的一次。我必須要說,雖然這台 LFE 沒有給予我的揚聲器直擊重低音深處的能力,但它在我的上低音部分加入了更多自然的延展性,同時給予我在 30 到 50 Hz 的音域更多的力道。順帶一提,假如你對於在系統內加入等化器這件事情感到惴惴不安的話,可別忘了在聆聽黑膠唱片時,你的唱頭放大器(phono stage)本身裡面早就已經有一個等化器了。

    我曉得,這些產品都不便宜。不過我認為花在上面的每一分錢都是值得的!當然市面上還有很多的室內聲音調整裝置,你也可以使用 A.R.T. 的產品和這些其他產品搭配,但也許你根本不需要這麼做。值得一提的是,所有的調音錐最後都是座落在揚聲器的周圍或中間,並不是在房間裡散得到處都是。我非常喜歡這樣的結果,同時我對於它們給予我的聽覺享受感到不可思議,因此,假如你的音響系統距離你心中的理想狀態還差這麼一點點,我極力推薦試試看這些 A.R.T. 產品。


    ART 低頻音效裝置 RCA

    此篇文章於 2015-11-13 09:13 AM 被 Leo Yeh 編輯。

  12. #30
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    預設 Audio Reference Technology Room Tuning Cones and L.F.E.

    Audio Reference Technology Room Tuning Cones and L.F.E.
    By: Jack Roberts | October 2015
    http://www.dagogo.com/audio-referenc...ones-and-l-f-e


    Audio Reference Technology (A.R.T.) was founded by Luigi Basagni in 1983 in Firenze, Italy. According to Basagni, realizing that there were myriad external factors that interfere with the transmission of audio signals, their main purpose was to pursue a way to get “the real sound” from audio systems. A.R.T. is not a big company, with only 12 employees, including 3 R&D engineers. Luigi Basagni, who is also the Chief Engineer, said in a Dagogo interview in 2013, “I think the main reason that A.R.T. can survive over 25 years . . . we can enhance the performance of audio systems to have the sound quality that it should. I called it “real.” “Make sound real” is what allows A.R.T. to flourish for over 25 years.”

    While A.R.T. is perhaps best known for their cables, they also make a whole line of power products, a CD mat, a LP clamp, and room tuning accessories. This review is of their room-tuning devices. In that same interview Mr. Basagni said, “Our Tuning Cones are designed based on the theory that fixed vibration frequencies change the amplitude slope of the air, which consequently changes the voice we hear. These Tuning Cones are able to bring out low to mid to high frequencies and enhance your soundstage, as well as dynamic.” I know that sounds like so much company hype, and is one of the reasons I had put this off for a while because to be honest, I was quite skeptical about these products.

    Mr. David Huang of Audio Reference Technology came over to my house to tune my system, using their Metal and Wooden Tuning Cones. He also brought along one of the Low Frequency Effect units. While he was tuning my room, he kept talking about getting the system to produce “Real Sound,” a term I hear from some other Asian audiophiles.


    ART Tuning Cones


    ART Wooden Cones


    ART Metal Cones

    Mr. Huang started by asking me if there were any areas where I would like to see improvement. I told him the only thing I would like is more bloom in the lower midrange and bass, but I wasn’t willing to give up any of the PRaT or that magical alive sound in the midrange. Again, I wasn’t very optimistic that a few cones placed around the system could do this.

    In a word, I became very impressed with Mr. Huang’s ability to know what the different cones would do for both the sound and the sound stage. It took him less than 20 minutes for me to go from skeptic to thinking there was a chance there might be something to this. Then, he begin to ask me how close was he to the sound I wanted, if the bass was better, if the midrange was bright or recessed and even questions about image width and height. Each time I answered, he would pull out a different range of cones and make small changes. By the time he had finished, about 90 minutes later, I was a believer. Of course, I couldn’t wait to try tuning it myself. I listened for a couple of days before I changed anything, and I was no dummy though: I took pictures of where Mr. Huang had placed the various cones.

    The Metal Tuning Cones look like equipment spikes, but they aren’t. They, and the two different colored wooden cones,namely the Light and Dark Wooden Tuning Cones, are all tuned to specific frequencies. The company provides, in the instructions, the frequency for each different sized cone, which allows one to be pretty specific in tuning the system. So, after two days I started moving the cones and adding more cones. When I added too many of the wooden cones the mid and upper bass became muddy; conversely, when I removed all the wooden cones the same area sounded thinner. Changes like these were possible throughout the mid-range and top-end. I have found these very valuable in tuning my system to sound more like “Real Music.” They seem to be able to add harmonics to the sound of my system. As I have said, you can overdo it but with some careful listening I was able to get my system to sound more like real music than I ever have before.

    For years, I have felt it was a mistake to have removed the balance and tone controls from preamps. I will not own a preamp without a balance control, but have given up on getting a world-class linestage with tone controls. Audio Reference Technology’s Tuning Cones are the best tone controls I have used. They are so much more than the old tone controls on preamps and better than any full range equalizer I have used. The A.R.T. allow you to add just the right amount of harmonics and musical presentation without compromising the transparency or clarity of your system.

    That last statement is very important. The longer I have lived with these tuning cones in my system, the more convinced I am that they improve the harmonics of the sound of my system to a rather significant degree. Acoustic string instruments have much better harmonics and texture. The sound is simply fuller of beautiful tones.

    As impressed as I am with what can be done with the cones, I am equally excited about the LFE box. I’ve always wished I could get the same bloom in the bass registers of my Teresonic Ingenium speakers that I get in the mid-range. I have tried several sub woofers over the years and have never found one that didn’t sound incoherent when mated with the speed of the Teresonic Ingeniums. The A.R.T Low-Frequency Effect unit was able to achieve this without any of the negative effects of subs and to my hearing, without any loss in transparency.


    ART Low Frequency Effect XLR



    Yes, it is an active device and while the people from A.R.T. don’t want to call it an equalizer, I don’t know what else to call it. On their website they say, “Most audio equipment operates below its optimum, with regard to bandwidth and tone quality, which is truly a great loss to the consumers. Even with some excellent stereo systems with frequencies that extend into the low 20Hz range, one cannot hear the bass properly because of echo, the length of the sound wave, or because the power amplifier can’t control the bass on its own.

    A.R.T. Low Frequency Effect is designed to solve all these problems. You will not only experience fantastic low frequency, but the whole bandwidth will be amazingly open and wide. The roundness and the purity of the tenor, the clarity and profoundness of the bass, and the three-dimensional compass are so lovely; you will never want to be without it again.”

    I don’t know what to say about those two paragraphs, but I know I love what it does for the sound of my system. As I write this, I’m sitting here listening to Cat Stevens’ live concert recording. I went to this concert in the ‘70s and I can tell you this is the closest I have ever come to the dynamics and emotional experience of that night. I need to say the LFE doesn’t give my speakers the ability to plummet the depths of a sub. What it does do though, is give me a more natural bloom in the upper bass and more power in the 30 to 50-hertz regions. By the way, if you are worried about using an equalizer in your system, don’t forget that if you listen to vinyl, you already have an equalizer in your phono stage.

    I know these products aren’t inexpensive, but they are worth every dime they cost! There are lots of room tuning devices out there. You can use the A.R.T. products in combinations with others if you wish, but you may not need to. One of the things I really like is that all of the turning cones go around or between the speakers; not all over the room. If your system is nearly where you want it, I highly recommend these. I simply am amazed at what they did for my musical enjoyment!


    ART LFE RCA


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