请大家给epos m12.2推荐个功放 [复制链接]

欧博M100SPLUS，MELODY SP3

除了这2款，还有没有好的石机？
我这里M100卖的太贵，个人感觉好像不太划算。

石机,如果能超点预算到5600的话,可以买AUDIOREFIMENT(YBA副牌)合并机,论坛里的ZMOUSE在用,可以和他联系下

http://bbs.hifi168.com/bbs/article.asp?ntypeid=10&titleid=72068&page=2


另外PUCCINI也是可以考虑的

http://bbs.hifi168.com/bbs/article.asp?titleid=43045&ftdate=20031231&ntypeid=10

http://bbs.hifi168.com/bbs/article.asp?titleid=35990&ftdate=20030903&ntypeid=10

二手的可以用AUDIOLAB或DENSEN B100

多谢各位。
请问L版，你推荐的几款功放都是50瓦左右，不知道控制力如何？有时候也听听交响，能有点气势最好，呵呵。
我现在用的cambridge 540a，感觉力道不足，声音有点出不来。当然，540a也很便宜了。
另外请教anfield兄，audiolab 8000p后级瓦数多少？网上都查不到参数了，呵呵。
多谢。

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The Complete amp?
Well, perhaps not ... but here's a new amp with an impeccable pedigree and high-end aspirations. SUJESH PAVITHRAN samples some rather refined audio fare
YVES-BERNARD Andre may not ring a bell, so how about YBA Electronics? Remember the French high-end company that made quite a few waves in esoteric audio circles during the 80s? Fabulously expensive stuff emerged from the YBA stables, the manufacturer being among the handful of Europeans that could command stratospheric prices.

The climate in planet hi-fi has changed considerably during the past decade and the YBA lustre may have dulled a bit, at least in the eyes of the aspirant; one assumes that business for the company hasn't actually been roaring in recent times. The high-end market, after all, is a downward spiral.

So when prospectively lucrative mid-end markets from various parts of the globe beckoned, it was clearly time to enter the fray. YBA's test landing on terrestrial hi-fi surfaces comes in guise of the Audio Refinement marque, whose three products in the Complete Series are licensed by YBA technology and manufactured at an unspecified venue in Asia.

We have the Complete integrated amplifier, single-box CD Complete and Tuner Complete, all priced under RM4,000, with an optional remote handset that can be used to control all three products--on the rack this week is the amp.

Features

You've got to hand it to these guys--all the Audio Refinement products look like they've come out of the US of A and cost double their actual price tags. The Complete amp's 8mm brushed aluminium faceplate is precision machined, as is the 2mm top plate (black finishes can be specified); the company emphasises that all materials used are non-magnetic.

Much of the Complete amp's innards, with original parts supplied by YBA, are hand soldered to the circuit board. Capacitors, wiring, terminals, sockets, transformer ... all top quality with the YBA seal of approval. The inside looks tidily put together, the four 4,700 microfarad capacitors and substantial transformer separated from the main circuit board by a central heat sink.

The amp stands on three non-magnetic aluminium, rubber-damped feet that look like they're adjustable for height, but aren't--check out the picture! The 8kg weight hints at the substantial build quality.

The Complete amp delivers 50 watts per channel into 8ohm loads. The bandwidth is from 10Hz to 40kHz (+/- 3dB), with a harmonic distortion of <0.02% at 1W and signal-to-noise ratio of >95dB. The dimensions of 442x320x105mm (w/d/h) aren't out of the ordinary.

This minimalist design has just a handful of controls on the fascia--standby/power-on button (with tiny LED indicator above it), rotary volume and record knobs, and six input select buttons (each with its own LED above). All inputs are line level--tuner, CD, aux, video and, strangely, two tape.

The rear is as well laid out, with a single array of speaker terminals, source inputs and AC mains in/power switch. The amp looks solidly put together and the somewhat unusual all-aluminium finish adds a touch of industrial savvy to it.

Performance

The Complete was given the standard 48-hour burn-in, plus a couple of days more of running time--just wanted to see how it would behave under continuous operation. No hiccups here. Loudspeakers for the review sessions were Monitor Audio Studio 15 and TDL Studio 1m, via van den Hul The Wind cables.

Sources were Theta Data/ProPrime transport/Dac combi using Ensemble Digiflux and Straightwire Virtuoso connects, and Philips CDR 765 CD recorder, hooked via Nordost Flatline Blue Heaven. Featured music included albums from Diana Krall, Holly Cole and the usual test regulars.

Right out of the box, it was obvious that the Complete needed to be heated up a bit--although I was told that the review sample had "almost" been run-in. Nothing like doing your own bit of grilling with these things.

Initially, there was a suggestion of roughness around the edges, although signs of the Complete's audiophile trappings were more than hinted at by way of the finely etched projections of vocals and lead instruments. Clearly, the manufacturer assumes that the simplest and purest forms of music comprise the diet of those who purchase the amp.

A few days later, the amp began to exhibit more distinctive characteristics ... or more accurately, the near lack of additive qualities. The 50 watts on tap per channel should suffice for most budget speakers, and even occasional high-end ones--like the Studio 15--which are less demanding of amps. Still, the bass I heard, pushing the amp hard, was more benevolent in nature than aggressive.

Low end is manifested in well-defined musical notes, with a suggestion that, should the speaker demand more (as did the TDL), the amp isn't always able to match this need. Still, speakers with medium-to-high efficiency and an inherently tight bottom end should be able to draw the best out of the Complete.

Moving up the frequency spectrum, the amp displayed a nature more in keeping with its pedigree--midrange with a fine tinge of warmth and a crisp treble, both melded together very nicely, but a tad unkind to recordings that are inherently forward. Pushed hard, with more upbeat material, the amp exhibited a tendency to shout, but almost always, I found that recordings of an audiophile nature were treated more appropriately.

The presentation is usually laidback, and it's only when you push the Complete hard that it begins to swing; at softer volumes, this amp can sound too reticent in its staging.

A reflection of the Complete's pedigree can be found in the attention paid to detail and nuances; every care is taken to place instruments in what is perceived as the correct position, while subtler instrumental textures are faithfully reproduced. The amp works beautifully with acoustic and classical recordings, easily handling and accurately reproducing simple arrangements and instrumentation. It's only when the recording gets noisy or the speaker demands too much that the Complete exhibits some discomfiture.

Conclusion

Good looks, useable features and quite clearly, checking into the price/sonic void left in the local market after the turmoil of the past two years. If you're more serious about sound than name, then the Complete beckons invitingly.

Not having heard any YBA product whatsoever, I cannot tell you if the Audio Refinement Complete amp comes close to replicating its parent's sonic attributes. But certainly, on its own, this is an amplifier that the competition must reckon with in the long run.

Model: Audio Refinement Complete integrated amplifier

Price: RM3,900

Review sample courtesy of CENTRE CIRCLE AUDIO (03-333-2508), 99 Lebuh Turi, Taman Chi Liung, Off Pesiaran Raja Muda Musa, 1200 Klang, Selangor / Website: http://www.centrecircleaudio.com.my

For: Capable delivery; nicely behaved sound; musically coherent; well built and priced, and the looks don't hurt either.

Against: The name? May show up against more demanding ancillaries.

Creek 5350 se 虽然是一家的，但太贵哦

chenhfeng 在 2005-4-19 13:14:43 发表的内容 AudioLAB8000S，Creek 5350es，Onix 120MKII。

chenhfeng 在 2005-4-19 13:14:43 发表的内容 AudioLAB8000S，Creek 5350es，Onix 120MKII。

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An amp for all seasons
Here's a product that's still warm off the conveyor belt; it's an all-new Audiolab amp that, as SUJESH PAVITHRAN discovers, converts to anything at the flick of a switch ... well, almost
ONE of the fundamental rules of survival is the ability to adapt; the hi-fi industry isn't exempted from this universal law. Manufacturers who don't keep up with the times end up either in a dwindling niche market, or go out of business altogether.

One can't accuse Cambridge Systems Technology of being oblivious to this -- to what else could the sustained success of Audiolab products be attributed . . . apart from exemplary design and shrewd marketing?


Audiolab amplifiers have evolved continuously since their conception in the early 80s, in parallel with the on-going progress of digital sound, even while taking into consideration the needs of punters across the globe.

The 8000A started off as a basic integrated amp for the discerning audiophile, despite the plethora of controls on its fascia. Rough around the edges but dynamic, thoughtfully laid out and extremely flexible, it won the hearts of numerous hi-fi enthusiasts . . . few non-minimalist amps paid that much attention to sonic character.

But as the digital medium improved, so did the 8000A evolve, until it ultimately took on its trademark "neutral and almost clinical" sonic signature. Late last year, the fourth acknowledged generation of the amp (the "D" series, although there were minor upgrades every couple of years) finally showed signs of a future that was being subtly re-shaped -- a gentle sweetening of its tonal character reflected emerging trends among listeners.

What next, one asked?

Well, this brings us to the all-new 8000S integrated amp, a radical departure in numerous ways from the Audiolab tradition (although the 8000Q preamp already sounded a warning) -- no tone controls, no balance, a markedly different sonic approach, upgraded circuitry, and not surprisingly, sans phono input.

Features

I must admit to being more than a little thrilled when news of the 8000S filtered down to me. You see, over three years ago, when I first met CST's Philip Swift, I had suggested to him a "special, anniversary edition" of the 8000A, a minimalist version, if you will, for hard-headed sonic purists. All I received was an enigmatic smile, and a nod of the head as if to say, "Well, we'll see . . . ."

The 8000S couldn't be closer to what I had envisioned at the time . . . and then, some. Stripped down to the essentials, and paradoxically, taking flexibility and user-friendliness to new levels, it boldly sets out on the path carved last year by the 8000Q.

The tone and balance controls have been banished, but along with the selectors for source (six line inputs), record and volume comes a "mode" feature. This allows the user to choose five different operating parameters; here's a brief explanation:

Pre -- The 8000S operates purely as a preamp, the power amp section is disconnected;
Mute -- Self-explanatory;
Integrated -- The preamp and power sections are internally connected;
Pre-power -- As in (3), but the external preamp outputs remain operational, allowing control over an active sub-woofer;
Pre-Power AV -- The pre and power sections operate fully independently, allowing hook-up to a processor or equaliser.
On the crowded -- but neatly laid out -- rear panel, you'll find enough speaker terminals for bi-wiring (despite the new dummy sockets on the binding posts to comply with EU regulations, 4mm jacks fit tightly enough into the vertical slots). Plus two pairs of preamp outputs, one power amp input and three source outputs (two for tape, one for video). A ground terminal is also provided, should you want to route a turntable through a phono stage.

A headphone socket is included, but best of all is the remote control feature -- the handset provided is common to this amp, the 8000Q and the 8000CDM, and controls volume and source selector. Aesthetics, ergonomics and economics dictate that the 8000S is built into the same casing as all other Audiolab products.

Circuitry is based on the new versions of Audiolab 80000A and 8000C, but upgraded, while the switching and control systems borrow from the 8000Q (however, the proprietary Zq Technology wasn't an economically viable option for the 8000S). The innards include gold-contact relay signal switching, voltage regulators for low level power amp stages, and a new DC servo system for the power amp section that retains pure direct coupling even when hooked up to external gear.

Sound

The evolving nature of Audiolab sound couldn't be more obvious than in the 8000S. But first ....

Charging in to test the 8000S' prowess were Signet SL260 B/U speakers (original and newer bi-wired versions), Krix Super Brix monitors and 8000CDM/8000DAC, all wired up via van den Hul The Wind and The First. Analogue samplings were provided by Michell Gyro Dec/Morch DP-6/vdH MM One fed into 8000PPA phono preamp (obviously!).

The difference between the 8000S and the 8000A -- apart from the RM600 gap in price tags here -- is immediately noticeable. The former seems quieter yet fuller, more generous with its soundstage and supremely confident in its delivery.

The 60-watts per channel on tap helps, no doubt, but the 8000S makes everything seem so easy and relaxed. I heard two distinct approaches with different programmes. Feed the amplifier rock and pop music and it can closely reflect the genre's style -- punchy, upfront and gently brash. Switch to classical and acoustic programmes, and the amp allowed the recordings more space and ambience. Transparency, clearly, is an attribute of the 8000S.

As such, every nuance of the singer's performance, various instrumental textures and subtle variations in musicians' techniques were brought to my attention. The soundstage seemed to take on more dimension and body, and instrument placement appeared to replicate the original intention of the sound engineer. It goes without saying that the 8000S possesses an impeccable and precise sense of focus, the result perhaps, of close attention being paid by finicky designers to the purist's needs.

However, this doesn't mean that the 8000S is as intolerant as the notoriously inflexible 8000C/8000P pre-power combination -- an elegently re-tailored midband and treble allows the new amp to be more forgiving in its tonal reproduction of source signals.

You simply can't fault the near-limpid fluidity of the midrange, or the crisp edge of the higher frequencies . . . down in the lower registers, the 8000S certainly knew how to keep those grunt notes under control. It never struggled even with the most bass-heavy music I could feed it. I suspect it'll take on more cumbersome floorstanders with relish and I intend to fully test its endurance in this area at a later date.

Conclusion

I could go on and on about the 8000S' attributes, and how I believe it defines the future of Audiolab and is very possibly one of the best British integrated amps you could buy for under RM3,000 right now. But I'll stop here.

Instead, I shall leave you with one telling comment from Anthony Lim, who's attained infamy of sorts at Cambridge for his terse, "no-soul" shocker dismissal of an Audiolab amp.

A short while into a listening session with the 8000S at my place, he summed it up the only way he's capable of: "It's good, it's powerful, it's dynamic . . . why, it's got . . . SOUL!"

Model: Audiolab 8000S integrated amplifier
Price: RM2,590
Power: 60 watts per channel
Inputs: 6 (line level)
Others: Preamp outputs (2), power amp input (1), tape out (2), video out (1), various operating modes
Review model courtesy of SAPPHIRE AUDIO SYSTEMS ( 03-221-8017), 65 Jalan Pasar, Pudu, 55100 Kuala Lumpur.

Category: Group D
Verdict
For: Powerful, smooth and fluent delivery; supremely coherent, with seductively re-tooled midband; the future of Audiolab is reflected here.
Against: Can't really think of anything . . . too cheap, maybe?


Rating
Sound: * * * * *
Value-for-money: * * * * *




AND where does the 8000S leave 8000A owners? Fear not, there's no need to hold a live wire to your neck. Here's what Philip Swift has to say:

"The 8000S is based on our vision of an amplifier which would be a real step above and beyond the 8000A. It costs a little bit more and it does not replace the 8000A.

"The 8000A remains an incredible amplifier and for those who are stretching their budget from a lesser integrated amplifier, the 8000A will continue to fit the bill perfectly. Who knows, the same customer may buy an 8000S later on and then use the 8000A for bi-amplifying, or as the basis of a simple surround system.

"I think we'll see a lot of existing 8000A owners who cannot justify the investment in a pre-power amplifier combination, moving on to the 8000S, safe in the knowledge that they can always move to a full pre-power amplifier system when funds permit, and pleased to discover that the 'old' 8000A is worth more than they thought."

paraid 在 2005-4-18 19:04:40 发表的内容 房间十几平米。 预算5k以内不知有没有什么不错的？胆机石机都无所谓。 希望音乐味好点(如果还能兼顾的话)，呵呵 多谢了。

还要说说你喜欢听什么类型的音乐的。