| 评 述: |
name:
Tim
mail:
show:
願意
Date:
1999/4/7
Time:
上午 12:37:55
Remote Name:
163.30.91.33
Comments
To:SYchen
ㄧ般而言, 音響系統之建立, 可能由確定你喜歡的喇吧起始, 個人的意見, 僅
供參考。
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name:
蕭金明
mail:
show:
願意
Date:
1999/4/7
Time:
上午 12:27:25
Remote Name:
139.175.156.199
Comments
更正剛剛的留言如果還是一樣斷斷續續，應該是AMP內部的問題！
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name:
蕭金明
mail:
show:
願意
Date:
1999/4/7
Time:
上午 12:25:35
Remote Name:
139.175.156.199
Comments
回：Alex
就是換一般的紅黑色的喇叭線，然後看看是否有同樣的情形。
如果沒有"斷續"，應該是AMP的喇叭輸出端內部焊接的線有鬆脫，也許是您喇
叭線?K沒有鎖緊！
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name:
蕭金明
mail:
show:
願意
Date:
1999/4/7
Time:
上午 12:21:04
Remote Name:
139.175.156.199
Comments
回：WAYNE
是不是每一片CD都一樣，如果沒有則是CD錄音的問題，如果都有，那可能是CD
讀取頭的線接觸不良！
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name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/7
Time:
上午 12:19:31
Remote Name:
168.95.86.128
Comments
To 李陵兄：
謝謝您的建議，非常受用！不過也忘記說明，我現在使用的是Harbeth的
3/5a。
最近也想到一些平價音響族的困擾。由於平價一族在考慮升級的過程中，必須
為下一步預作打算；也就是說，不但無法一把器材一次升級完成，還得為再下
一次可能更換器材時預作搭配的考慮，以避免折舊出讓時的$$損失。
但是在這種過程裡，就出現�?似我在想的相關問題。若是我要考慮配合現役的
audiolab 8000B，可能正如李陵兄所稱，較適合英系小喇叭；但是若朝此方
向前進，則下一次升級器材時（應該是擴大機了），又得再一次為了現在的英
系喇叭尋找合用的搭配（因為也許負擔不起連喇叭也脫手的折舊損失）。如此
一?恚蟾啪蜎]有跳出這個循環的機會了。
為了跳出這個循環，可能必須再每次換機時，先預想下一步的動作，?K且找到
（如果有）同時適合下一步和現有設備的器材，這樣才算是最適合的選擇。
所以在我的例子?碚f，如果我換一對喇叭，我會希望它和audiolab的配合不會
太差，?K且還得適合我下一次要換的擴大機。這樣，才能適合平價族一步一腳
印的換機法。
這種想法或許不一定正確，但的確是現�?的考量。不知道李陵兄或大家對這點
有沒有什麼想法，可以給我一些指導。謝謝！
PS. 我在想的另一對喇叭，是Spendor的SP2/3（或者更大的1/2），或許比
Dynaudio更能符合我的這種想法。當然，我也知道這是差別很大的二條路就是
了！ :-)
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name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/6
Time:
下午 11:54:06
Remote Name:
168.95.86.128
Comments
關於3/5a，如果個人印象不錯，李陵兄製作過一次很完整的專輯；有興趣的人
應該可以參考。
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name:
小麥
mail:
show:
Date:
1999/4/6
Time:
下午 10:09:18
Remote Name:
202.109.32.88
Comments
大家好：
小弟近日又見到NAKAMICHI AV－1S RECEIVER，不帶DECODER， 但有5。1 輸
入，店家說聲音質素很好，價錢也不貴。 哪位仁兄有用過，請發表意見。
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----------------
name:
阿蜜
mail:
shangc@tpts6.seed.net.tw
show:
願意
Date:
1999/4/6
Time:
下午 09:19:25
Remote Name:
139.175.194.62
Comments
在Rogers 的網站找到這篇談LS3/5a 演進的文章.前一陣子似乎有人呼籲出個
3/5a專刊,若您看英文的速度尚可,也許可以解解饞(希望不會太長):
A little legend The BBC LS3/5A HiFi News & Record Review, March
1990
Conceived originally as a 'Grade II monitor' for the BBC's own
use, the LS3/5A has been in production for a dozen years and
remains as popular as ever. Trevor Butler unravels the true
story.
There can hardly be another single box which as provoked as
much emotive comment, or given rise to so many myths and
misunderstandings, as the BBC LS3/5A. The very name has caused
confusion, but in fact it simply follows the BBC's coded
equipment format. In this, cabinets have the prefix 'CT',
filters 'FL', and loudspeakers 'LS', hence the first two
letters. The figure '3' in the code indicates that the design
is primarily for outside broadcast (OB) use. A figure '5' would
mean studio broadcasting, as LS5/9. The number '5' after the
stroke is the model number, the LS3/5 supplanting previous OB
speakers like the LS3/1. So we arrive at LS3/5 which was the
title of the initial model. Later the 'A' was added to indicate
the first and only design alteration to the original
specification. Any further specification change would result in
a 'B'; but that hasn't happened, and isn't likely to, for
reasons which will become apparent.
The concept of this speaker was to suit those BBC environments
where monitoring on headphones was not satisfactory and yet
there wasn't sufficient room for a 'Grade I' monitor. A Grade I
monitor can be used for critical tonal balancing of programme
material, setting of microphone positioning, etc. Current Grade
I monitors are the LS5/8 and LS5/9. A grade II monitor may be
used for checking the quality of programme, but balance and mic
positioning are normally Grade I-checked unless there is no
alternative. It was recognized that what would be required was
a small Grade II unit with some sacrifice of bass response and
loudness reproduction, this being justified for the sake of
achieving compactness. The likely users were, for instance, the
production control areas of television OB control vans, where
there producer needs to listen at a lower level than that used
for the actual mixing.
There was no suitably available commercial unit, and so the
Research Department of the BBC was asked to design one, at its
headquarters in Kingswood Warren. Less than a week elapsed
between this request and the first prototype being offered for
field trials and evaluation. this came about because the LS3/5
was based around an experimental loudspeaker which had been
developed for some preliminary work on acoustic scaling tests
at Kingswood.
By using one-eighth scale models, and one-eighth wavelengths
(IE, 8-times frequencies), recordings can be made by which the
merits of particular acoustic techniques can be assessed
without the expense of a life-size environment. Naturally,
though, this implies that the entire model reproduction chain,
of tape player, loudspeaker, microphone and recorder, must be
capable of operating at very high quality with a frequency
range of 400Hz to 100kHz, in order to be able to model
accurately a typical bandwidth of, say, 40Hz to 15kHz.
Pictured is the model speaker the BBC used from 1972 until
1980, which represented a major step in the modeling process.
Although it had its limitations, primarily in terms of its
tonal quality and maximum power handling, components of this
small loudspeaker were found to be of a sufficiently high
quality to help fulfil the demand for the unusually compact
monitor needed in outside broadcast use. This was therefore
packaged and called the LS3/5 and showed the model
experimenters to have achieved good results.
A small number of these units where made in house by the BBC
and used in television mobile-control-rooms where they gave
satisfactory service. The BBC got to the stage of inviting
applications to make the LS3/5 under license by outside
manufacturers. Indeed, Rogers issued a press release on 19th
February 1974 which proudly announced that they would be
exhibiting the new design at SONEX '74, an exhibition to be
held that April. They offered a photograph and a provisional
specification: 25W power handling with +/-3dB 80-20,000Hz and
+/-4dB 60-20,000kHz. Crossover frequency was quoted at 3kHz and
the units were a 110mm bass driver with a Plastiflex doped
Bextrene cone and a 27mm Mylar dome tweeter. The price, &52
each plus VAT!
Alas, though, there were to be early problems. Although the BBC
had confidence in the KEF B110 bass unit at the time, when a
subsequent batch of in-house LS3/5s was needed it was found
that the low and high frequency units had undergone significant
changes and a re-design of the speaker would be required before
production could resume. Accordingly, the speaker was passed on
to the BBC's Designs Department, then located in Great Portland
Street, with a request to modify it so that it would once again
be suitable.
The trouble was in three areas; the B110 had changed, exciting
the cabinet in a different way, producing a coloration both
from the LF unit and the cabinet; and the HF unit had developed
a pronounced 'lipsy' quality.
In an attempt to ensure that cabinet resonance would not cause
problems, the side panels had each been damped with a
bituminized pad, and the top and bottom panels likewise, except
that two layers were required here. In addition, a PVC edging
was applied to the chassis of the LF unit and to de-couple it
from the front panel and seal the join. In order to damp the
air modes of resonance inside, all internal surfaces were lined
with polyurethane foam. The cabinet was sealed to prevent air
leaks, which might produce extraneous sounds from the high
pressures produced - indeed even the screw holes were made
airtight. The cabinet problems were associated with the
softwood parana pine fillets which connected the back panel to
the front; these had an insufficient impedance and were
therefore replaced with beech. The back panel was re-specified
from the precious sandwich of spruce to multi-ply birch, thus
obviating the voids often associated with spruce. This then
became the CT4/11A.
The opportunity was also taken to sort out the treble lisp of
the tweeter. It was felt that this unit, the KEF T27 SP1032,
was vulnerable because it was exposed and could easily be
damaged during rigging at a venue. It was decided to
incorporate a protection grille and a suitable one was found,
with some modification, from a Celestion HF2000. The tweeter is
surrounded by a thick felt-strip mounted on the baffle in order
to prevent acoustic discontinuity presented by the edge of the
cabinet setting up an interference pattern, since the T27
radiating surface is small and the radiator nearly Omni-
directional. The addition of the protection grille was wholly
beneficial as it raised the output at higher frequencies and
help cure the lisp. The effect of the Tygan cover on the front
was taken into account in the design, and the loudspeaker
should always be used with the grille on, to avoid
discontinuities in the upper presence region.
Having carried out these changes, the crossover had to be
adjusted to compensate and the new type, FL6/23 replaced the
original FL6/16. Sporting these alterations the first variant
of the LS3/5 was born - the LS3/5A. The 'A; suffix was
necessitated because although the LS3/5A sounded similar to the
LS3/5, the differences were significant enough for it not to be
possible to use a mixed pair for stereo listening. Since only
small quantities of the LS3/5 had been built, this did not
present much of a problem and only 20 units had to be
considered obsolete.
For those not fully acquainted with it, the design is still now
very much as it was then, with just a few slight enhancements
which came about over the years, as will be explained.
There were a few noted difficulties in 1977, and almost every
Summer saw the reject rate at the manufacturers rise slightly.
The early 1980s saw a change when the surround-dip was seen to
have moved slightly. This was resolved when the crossover
resonator controlling it was tuned to a lower frequency and the
damping resistor changed. Any alteration like this is issued by
the BBC to the current manufacturers and is incorporated into
their license. There have been also some adjustments to the
value of the tweeter coupling capacitor; these are part of the
relative balance adjustment. As the material of the tweeter
alters, the 'Q' changes and there is a mild 'tippling' of the
response. This coupling capacitor affect the shape of the
network and decides whether it is under or over damped. To
adjust the treble balance, an output from a tapped transformer
on the FL6/23 is adjusted, and the coupling capacitor changed
to maintain the crossover frequency.
Re-assessment
The major re-assessment of 1987 was widely reported in the
specialist press; but this time the alterations had been
requested primarily by the manufacturers. As one of the
licensees, Richard Ross of Rogers, explained, over the years,
whilst it had been possible to make an LS3/5A which sounded and
measured within spec, and which was acceptable, the number of
units, in particular the woofers which were within tolerance
varied. Because of the particular design of the LS3/5A, the
B100s, although being to KEF's standards, happened to have the
point where their tolerance was most variable occurring at the
most critical point in the speakers design. In hot summers the
reject rate of the bass units could be anything from 10 to 85
per cent, and, for the licensees, this was not satisfactory
from an economic standpoint.
At the same time as the licensees were finding it difficult to
make consistent units, the BBC was encountering their own
problems. At the end of 1987 it was noticed that the units were
tending to drift towards the limit of acceptability.
Specifically, they were found to be about 2dB up at a octave
around 1kHz, a particularly critical area for balance. There
had always been a slight lift on the LS3/5A here, but now it
started to become objectionable. It should be stressed that the
units were still operating within limit for a Grade II monitor,
but would have been unacceptable in a Grade I.
The crux of the matter was again the 'surround-dip', the
precise frequency of which varies by a few hundred Hertz over
time. This had become interactive with the box resonance to the
extent that action was needed. A change had to be brought about
so that speakers could be manufactured which the BBC would find
acceptable, to provide them with a consistent loudspeaker they
designed, and wanted.
The BBC referred the matter to KEF, who set their Special
Products Division to work. The problem was traced to variations
in the consistency of the Neoprene used in the making of the
SP1003 B110 and so a new B110 was specifically designed for the
LS3/5A. This uses a PVC surround, more consistent and
temperature stable than the Neoprene but less compliant. A new
spider voice-coil assembly was therefore required to give the
new drive the same sensitivity as the older one, in order to
achieve the bass performance. This is the B110 SP1228.
Crossover design is always a source of great debate and this
has certainly been the case with the LS3/5A. Changes have been
made, as reported, but the main specification and overall sound
balance of the speaker have remained the same.
Crossover
A book could be written on this subject as far as the LS3/5A is
concerned. The complexity is indicated in the circuit diagram.
L1 and R1 are employed to equalize the rising axial response
and frequency characteristic of the bass unit, while the group
C5, L2, and R2 compensate for a hump in this characteristic.
For the tweeter, L3 acts as a shunt inductor and as an
autotransformer to allow for differing levels of sensitivity.
C2 is adjusted to keep the crossover frequency constant and R3
is there to prevent ringing, with R4 and C6 to adjust the
frequency response at the upper end.
The SP1228 has a considerably smoother response than the older-
type B110, and hence needs gentler crossover equalization. It
was decided therefore that the crossover could not only be re-
designed to compensate for the change to the drive unit, but
could also incorporate new technology. In essence the
equalization is very much the same with a similar looking
circuit. The earlier design used the already mentioned taped
auto-transformer as part of the high-pass filter and to adjust
the level of the tweeter in 1dB steps, but it was noticed that
as the tweeter sensitivity was becoming increasingly consistent
(to within 0.5dB), a simpler constant impedance resistive
attenuator could be used to give the +/-1dB of adjustment in
0.5dB steps. One consequence of the simpler equalization is
that the overall impedance has been reduced from the previous
15ohm nominal to now 11ohm nominal.
KEF analyzed the effect of component tolerances on the overall
response and found that by tightening these in the most
critical areas an improvement in consistency could be achieved.
In previous units it had been possible to obtain a 2dB
variation. For example, if the network was +1dB in the critical
area and the accompanying drive unit was also +1dB the two
compounded. KEF decided that by opting for computer-aided
matching, it was possible to nominally select components so
that if the network was +1dB a drive unit with a -1DB figure
would be chosen to give 0dB overall change. the new crossover
is the FL6/38, SP2128/
Therefore KEF was able to offer matched components to the
manufacturing licensees even though the company does not
manufacture the speaker in its entirety themselves. It so
happens that all three current licensees use the KEF matched
parts. At the end of a day it has to be said that KEF did a
superb job. They were issued with a BBC LS3/%a reference unit
(no. 6) of 1975 vintage and produced a set of 1988 parts which
sounded so similar that they were within Grade I limits, and
could be made much more consistently. Hence LS3/5A remains.
Spendor used to make their own complete crossover units and say
that they could start again if they situation called for it.
They have now adopted the iron-dust inductors, not to be
confused with ferrite, and have dispensed with their previous
silicon-iron E & I transformer winding. The E & I laminates
tend to be more costly, and the opportunity to buy the matched
KEF sets was taken.
Rogers had for years used various ferrite and iron-dust cores,
because their research showed that they were more economical
and gave superior saturation qualities compared with the radio
metal or grain-orientated strip steel, given that in the
transformers there are quite small gaps with quite high fluxes,
whereas in the ferrite there are big air gaps and a lot of
magnetic material. Although there are probably a few more turns
and the DC resistance rises slightly, the saturation properties
are considerably enhanced. Rogers decided that with modern
crossover techniques, it was simpler to make a 2 or 3%
tolerance iron-dust core inductors than to make a gapped radio
metal choke. This is partly because the design is complicated
and any opportunity to make things less so should not be
avoided.
It would perhaps have been simpler in the long term for the BBC
to have completely re-designed the speaker, and to have
produced a LS3/5B, but they did not want nor could they afford
this option, since some three and a half thousand of the
existing design were in use up and down the country. And design
change had to produce similar results and the same response
because future models would end up alongside existing ones.
Even today, when a batch is taken to a location, it does not
matter whether some are from one generation and some from
another - they should all be capable of matching as stereo
pairs. That in essence is the whole purpose of the design,
consistency through production and during use, anywhere. To sum
up, then, the recent changes have offered no enhancements in
terms of specification, simply a means to provide better
consistency in production to maintain the speaker's standard.
This is now back on 'median' and so may sound a little
different from those latter 'older models' of just pre-
Christmas 1987, but will sound the same as earlier production
runs.
The impedance has altered slightly post modifications - this
can be seen by the modulus shown, reflecting the Rogers' two
standard models. Whereas the original was a nominal 15ohms the
newer model is nearer to a nominal 11ohms. Looking at the
nomograph, we can see the original as 15ohms, using the old
equalizer and with the old bass unit which had about a 7ohm
resistance. The new bass unit has a lower DC resistance but,
with the new equalizer, the curves are very similar in shape,
although the average level is now more like 11ohms. This still
means that the LS3/5A is voltage rather than current driven and
needs an amplifier that will swing volts and produces
reasonable power levels, but not into low impedance.
So an LS3/5A circa1977/78 will not in any particular way be
better or worse than one from 1983 or now. The consensus of
opinion from those who understand balance, is that the system
is the same and offers the same qualities as it always has in
terms of its tonal characteristics.
In detail, the latest models are now marginally smoother
because irregularities of the high treble have been sorted out,
and the coloration has been reduced by a small degree with the
new surround, but not so as to affect the tonal balance,
because the perception of localized coloration is all part of
the balance of the loudspeaker system and its equalization. So
if the tonal coloration was reduced to an extent in, say, the
1kHz region where it was noticeable, it could highlight
coloration elsewhere.
The new design offers only, in real terms, a better
consistency, executed by KEF to maintain the standard. No
enhancement in terms of the specification was made although
commentators say the loudspeaker now sounds a little better
because it is back on the median. Essentially it produces the
same sound. This has been backed by tests carried out at the
BBC and with manufacturers, with regard to the units stereo
capability.
The total number of LS3/5As made since the first license was
granted is estimated to be around 60,000 pairs so it is not
surprising that a huge interest has been generated around the
world. In the BBC the speaker has found many uses from the one-
man OB to the control and balance of experimental quadraphonic
transmissions from the Promenade Concerts several years ago and
in BBC Local Radio Stations, the design provides the main
cubicle monitoring. Even so, the design has its fallbacks like
the passive and complicated equalizer in the crossover to
restore the loss of low frequency caused by the cabinet size
and limited cone area.
Licensees
The very history of the speaker has interesting connections
with licensees who have been permitted to manufacture them.
After early production runs at the BBC's own Equipment
Department in Chiswick, the Corporation permitted a number of
companies to apply to produce the speakers under license, as it
is obliged to do under its Charter.
The license fee is a means of recouping the original
development cost, not purely a way of cutting unit costs by
mass-production, and the money is recovered by the Director of
Engineering and not BBC Enterprises, the commercial arm
of 'Auntie' which has taken over other money making areas like
publications and records. Recently as many as four companies
had licenses although in essence only two actually had a
production line at that time. This situation came about when
Harbeth, formed by HD Harwoodd who was working on the LS3/5A at
BBC Research Department, was granted a license while Rogers.
Spendor and Goodmans were also permitted to manufacture.
Goodmans in fact had ceased production and did not re-apply for
their license when the renewal time came, and Harbeth had yet
to start making any.
Another licensee manufacturer, Spendor, founded by the late
Spencer Hughes who had worked with Dudley Harwood at the BBC,
did not apply for a license at the first opportunity. The
company was then already working to full capacity, but when
a 'vacancy' next arose it did apply, encouraged by the fact
that Mr. Hughes knew the design and all that would be entailed
by association with it.
Rogers were involved almost from the start and now own the
Chartwell brand, a company who also previously licensed to make
the LS3/5As. The parent company, Swisstone, acquired the
defunct Chartwell, a previous competitor, in 1978 having merged
with Rogers in 1975. Manufacturing to quantity demands, in 1979
Rogers announced that it had sold its ten thousandth pair and
proclaimed LS3/5A the worlds most successful small loudspeaker.
With the Rogers total to date standing at 33, 534 pairs.
The latest company to be permitted to manufacture is Harbeth,
now under the control of Alan Shaw. They had samples from their
first batch passed by the BBC and are now eligible for full
production; all are of the computer-optimized type. This
initial sampling process, a condition of all licensees, is to
assure the BBC that their speakers are being made correctly.
The licensee selects two units from the initial batch to send
to the BBC. One of these is kept by the Corporation as that
licensee's working reference, while the other is tweaked so
that it matches the BBC's own reference, a unit from the very
first in-house batch. This second speaker is then returned to
the licensee and becomes the reference for all their subsequent
units to be compared with.
Earlier companies to have been licensed by the BBC have not
fared as well. It is agreed that the LS3/5A is not an easy
product to make properly and must be marketed correctly. Some
names have fallen by the wayside because they found the market
was not as large as they forecast, and some found it too
difficult to make to the BBC's tight tolerances. These problems
could be because people expect more than they see for a
£250 loudspeaker, and that without the correct marketing,
sales are just not realized.
Names like Audiomaster, who launched their models in April
1976, had a rather short lived license span while RAM never got
any units out on the street: they went bankrupt before the
production line got underway. Falcon, who were making
crossovers for Goodmans, made a batch for ailing RAM company
and then found themselves having to distribute the boards
directly because RAM were not in any position to pay for them.
A flurry of activity was seen from JPW but no quantities to
speak of ever materialized. Constant checking of the licensees
production is carried out, and there are some tales
of 'nasties' being found. There's the case of a unit coming in
for evaluation with a thicker than usual grille material
causing a two-octave 1 1/2dB dip. Needless to say it was
swiftly returned.
Of the three current manufacturers, Spendor says that although
a percentage of their production line ends up in the UK, 80% of
their sales are to the export trade, the areas being mainly
Europe, the USA, and the Far East, including Japan and Taiwan.
Rogers also export to Japan, Europe, North America, Hong Kong
and Singapore, with more sales to Japan than to the United
Kingdom even, where, while a quantity go to the BBC, the hi-fi
retail outlets get through a fair volume too. Despite the
advances of other designs, the LS3/5A remains a reference
standard loudspeaker in its class.
Acknowledgements
I am indebted to BBC Engineering for ensuring the accuracy of
this article. Within the BBC the work of two people, T
Somerville and D E L Shorter, must be considered as having laid
the foundation for current standards. The particular work on
the LS3/5A was carried out by Messrs H D Harwood of Research
Department and both M E Whatton and R W Mills of Designs
Department. It was with deep regret that we learned of the
recent death of Mr. Whatton.
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----------------
name:
阿蜜
mail:
shangc@tpts6.seed.net.tw
show:
願意
Date:
1999/4/6
Time:
下午 08:53:03
Remote Name:
139.175.194.62
Comments
To Jei:
Jasonc was right, it's "Vocalise".
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----------------
name:
Alex
mail:
shiehkyh@tpts5.seed.net.tw
show:
願意
Date:
1999/4/6
Time:
下午 06:10:25
Remote Name:
163.30.106.72
Comments
我有條信號線(?S線 Space & Time) 出現了彷似接觸 不良的毛病(信號有時
會斷掉).本以為是焊點脫落, 拆開RCA頭一看又沒有,噴接點清??劑可以撐一陣
子, 約2-3天,問題應非出在擴大機或RCA母座,因換條線 就正常了. 網上有許
多製線高手,有誰知道哪出了問 題嗎?或有那在修理,請告訴小弟,感激不盡.
另,蕭兄: 您說換條紅黑線指的是---?
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name:
WAYNE
mail:
MISMANAGER@MS2.URL.COM.TW
show:
願意
Date:
1999/4/6
Time:
下午 05:19:36
Remote Name:
168.95.119.44
Comments
我在聽cd時一曲結束後喇叭會"剝"一聲,接著 另一首開始前又"剝"一
聲...... 所以兩首曲間會"剝...剝"兩聲
why????
system: audion 300b + 王盤+ dac1
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name:
盧興華
mail:
ap39@taisugar.com.tw
show:
願意
Date:
1999/4/6
Time:
下午 05:02:06
Remote Name:
210.66.156.39
Comments
請問： 我的喇叭為harbeth HL-5 低音喇叭破了，請問哪裡 可修理？
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name:
aaa
mail:
show:
願意
Date:
1999/4/6
Time:
下午 04:55:30
Remote Name:
168.95.0.8
Comments
to jei The background music comes from his piano concerto ,not
his symphony.
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name:
蕭金明
mail:
show:
願意
Date:
1999/4/6
Time:
下午 04:24:24
Remote Name:
210.66.195.145
Comments
回:Alex
換一條紅黑線試試!
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----------------
name:
Wayne
mail:
show:
願意
Date:
1999/4/6
Time:
下午 04:21:45
Remote Name:
210.62.180.20
Comments
To Jei, TAS上選的那個一號還是二號交響曲的版本裏面就有 那首，而且是管
絃樂，搞不好就是?V告上一模一樣的。
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name:
jasonc
mail:
jasoncha@microsoft.com
show:
願意
Date:
1999/4/6
Time:
下午 02:08:20
Remote Name:
131.107.3.75
Comments
To: Jei
The music that you are inquiring(MB's Ad) is Rachman Ninov's
Vocalise op.34 no.14 (聲樂練習曲 第14首), 作品34號.
The original is for vocal, the Ad uses the Orchestra version.
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----------------
name:
fisher
mail:
show:
願意
Date:
1999/4/6
Time:
下午 01:10:36
Remote Name:
168.95.0.10
Comments
To 菜鳥大哥 我已經去買了一米二十五元的的線,可能會先用一陣子吧.謝謝
你 提供的資�?.其�?,我只是想知道是不是打上WE名號的東西就會比較 好聽.
沒有諷刺的意思.因為我曾聽過用WE 300b裝的管機.他的聲音 就硬是比其它管
子.好上一截.Thanx.
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name:
Alex
mail:
shiehkyh@tpts5.seed.net.tw
show:
願意
Date:
1999/4/6
Time:
上午 11:50:01
Remote Name:
139.175.220.122
Comments
謝謝李陵兄,本?砦乙策@麼想, 可是換組線就無此問題了.
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name:
李陵
mail:
linnlee@cadvision.com
show:
願意
Date:
1999/4/6
Time:
上午 09:27:02
Remote Name:
207.148.133.184
Comments
To 劉名振，
CDM1SE搭配Marantz PM17究竟如何？你試過了嗎？
有空送個EMAIL過?戆伞２恍⌒陌涯愕膃mail add.都殺光啦。
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----------------
name:
李陵
mail:
linnlee@cadvision.com
show:
願意
Date:
1999/4/6
Time:
上午 09:01:40
Remote Name:
207.148.133.184
Comments
To SYChen兄，
既然用了Audiolab 8000B，建議您考慮以英國喇叭為搭配主軸。Harbeth
P3ES目前的售價非常合理，同價位英國喇叭之中可能是用料最紮�?的，建議您
試試。如果空間大，Mirage新的OM系列搭配Audiolab也不錯，我在?椆瓧钋�
輩那裡聽過二次。Dynaudio平價系列高音很容易標，請小心行事。
To Alex兄，
請檢查看看您的RCA母座。有時問題不見得出在�?號線。
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name:
菜鳥
mail:
show:
願意
Date:
1999/4/6
Time:
上午 04:20:38
Remote Name:
139.175.144.3
Comments
這條線外皮是透明的，什麼品牌我不清楚，是在台中的自助五金行找到的，因
為它們只有這一種發燒線，也不會說很粗。所以蠻好找的！
上面的字樣...PILO HIGH DEFINITION SPAKER CABLE.....
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----------------
name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/6
Time:
上午 02:52:36
Remote Name:
168.95.85.39
Comments
To: 楊過兄
大力提供資�?已經非常感謝！不敢再麻煩您影印、傳真，這些事我自己?砭涂�
以了。畢竟還是得自己花花工夫嘛！ :-)
To: JACK
我目前的擴大機是audiolab 8000B，喇叭其�?還在考慮中。其中包括
Dynaudio較便宜的型號（例如Contour 1.1之�?），所以會有4歐姆喇叭一
問。 只是到現在還是三心二意，不太能下定決心。
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----------------
name:
Jei
mail:
libiy@ms13.hinet.net
show:
願意
Date:
1999/4/6
Time:
上午 01:56:36
Remote Name:
168.95.85.30
Comments
Sorry..I get one question...about the background music of
latest Mercedes Benz "S- class" AD.....people in that AD said
that's adapted from Rachmaninov, but I've checked about almost
all the symphonies composed by him(1-3), and still can't get
any ideas where it from. Please! Please anybody kindly can do
me a favor! Tell me where it from!
Thank you!!!
Jei
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----------------
name:
Alex
mail:
shiehkyh@tpts5.seed.net.tw
show:
願意
Date:
1999/4/6
Time:
上午 12:47:16
Remote Name:
163.30.110.40
Comments
我有條信號線(?S線 Space & Time) 出現了彷似接觸 不良的毛病(信號有時
會斷掉).本以為是焊點脫落, 拆開RCA頭一看又沒有,噴接點清??劑可以撐一陣
子, 約2-3天,網上有許多製線高手,有誰知道哪出了問 題嗎?或有那在修理,請
告訴小弟,感激不盡.
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----------------
name:
小麥
mail:
show:
願意
Date:
1999/4/5
Time:
下午 09:55:58
Remote Name:
202.109.32.54
Comments
各位高手：
小弟現考慮�?入AV放大器，選中SONY TA－V88ES和SONY STR－V55ES，請問
?募円魳烦霭l，質素何者更優？ 又及：TA－V88ES 比STR－V55ES重不少，似
乎用了更大力的變壓器？
望不吝賜教。
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----------------
name:
小�?
mail:
lonchen@ms28.hinet.net
show:
願意
Date:
1999/4/5
Time:
下午 08:48:38
Remote Name:
163.32.137.55
Comments
大家好, 小弟最近剛斥資�?買了一部新後級,正愉快的共度蜜月期,或許是太得
意忘形了,不小心連續開關主電源. 保險絲馬上報銷了.沒辦法, 代理商無法馬
上寄出原?S的保險絲,只好跑到電子街去找尋, 還好是規格品,一顆才五塊錢,
裝上後音質?K無多大變化. 不過想想還真嘔, 花了多大的心力去拉專用電源
線,還打了地棒, 後級的電源線也花了萬把塊, 更花了數十萬買了這部後級,
不過這一切都得靠這五塊錢的保險絲?韨魉碗娏�,所以奉勸各位同好,音響是用
?砺犚魳返�,不要太吹毛求疵了,搞的自己神經西西,發燒過頭了.
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----------------
name:
楊過
mail:
show:
願意
Date:
1999/4/5
Time:
下午 06:06:41
Remote Name:
163.29.175.189
Comments
sychen兄：您可以參考音響論壇第66期、67期(分別在第 213頁、244頁、252
頁；第66期目前不 在手上，所以無法告訴您在第幾頁 )裡面的『音響小百
科』──談阻抗，內容非常詳盡，應 該可以盡釋您心中之疑才是。如果您找
不到這兩期雜誌，請您在流言板吩咐一聲，?K留下您 的傳真機號碼，在下會
盡速影印該資料傳真給您( 該不會觸犯著作權法吧？ )，用不著客氣。
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----------------
name:
hk
mail:
show:
願意
Date:
1999/4/5
Time:
下午 03:12:40
Remote Name:
203.69.148.5
Comments
TO JUNE 若你無DIY經驗 , 將AMP搬到佑昇 ( 八德路 ) , 試試何種電容
SIZE 較適當 , ?K請老闆指點吧
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----------------
name:
Emmanuel Yiu
mail:
e@techie.com
show:
願意
Date:
1999/4/5
Time:
下午 03:03:13
Remote Name:
161.69.207.17
Comments
Can you please provide with me more info on subscribing
AudioNet from Hong Kong?
Many thanks!
Emmanuel
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----------------
name:
coolw
mail:
coolw@ms10.hinet.net
show:
願意
Date:
1999/4/5
Time:
下午 01:49:53
Remote Name:
168.95.103.83
Comments
請教各位前輩 用小功率的擴大機,推低效率的喇叭(ex.MBL101,81db ).會有
何不良後果嗎?會損害擴大機或喇叭嗎?
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----------------
name:
Anderson
mail:
show:
願意
Date:
1999/4/5
Time:
下午 12:56:57
Remote Name:
168.95.229.87
Comments
音響論壇網站要改版了，在此有一個小小的建議。 每次為了看留言版，必須
等好久的時間等它下載完，特別是在每個月下旬的時候， 即使幾天前已看
過，還是得全部下載一遍。 建議參考Hinet的BBS，參觀者只看到每則留言的
標題，覺得有興趣的話，再點選進 去，或是發言回應。 請到的Hinet首頁：
www.hinet.net，選擇"線上互動網"，之後再選擇"分�?討論區"，看 看其BBS
的架構。
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----------------
name:
Wayne
mail:
show:
願意
Date:
1999/4/5
Time:
下午 12:00:16
Remote Name:
210.62.181.59
Comments
To 蔡鳥大哥 你說了那麼多，好像沒說到重點，就是線長什麼樣，在那 買的
呢?我有興趣想試試，謝謝
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----------------
name:
菜鳥
mail:
show:
願意
Date:
1999/4/5
Time:
上午 03:31:47
Remote Name:
139.175.156.49
Comments
關於線..................
我剛好因為環境的關係沒有辦法用一些貴線，而我只是用雅瑟的綜合擴大機，
我因為要求效果，自己改線，我在自助五金行找到一條十分便宜的發燒線，每
公尺不到20元，接上AMP之後本?頉]有太大的希望會有好聲，但是RUN一陣子之
後，高音真美、柔順、挺有管機的味道，解析、音場都不錯，可以說是醍醐
味，比一些貴線比起?砺曇粽娴拿罉O了，如果有人高頻會太亮，或者會刺耳，
用這條俗線准沒有錯，因為我也是因為高音太亮的問題在煩?溃苍S我怎麼說
沒有人相信這條線會像我說的這樣好，但是當然有美中不足，這條線最好只使
用在高頻，如果使用在低頻部份會比較沒有力，但是有點像是使用300B那種溫
暖的味道，如果高音?y飄或刺耳的問題困擾您很久了，或許您可以試試這條
線，反正也不貴，不試白不試，用過就知道！
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----------------
name:
peter
mail:
peter999@eranet.net
show:
願意
Date:
1999/4/4
Time:
下午 11:04:56
Remote Name:
203.95.225.129
Comments
TO:eddy
你的描述和我狀況的一模一樣 只是沒班到有友人家試過 但是有時會發出令人
感動的聲音(星期六晚上) 我猜也是電源問題 但是無法?囊粯抢� 只能?募�
中電箱拉一條專線 曾將家中所有電源關掉模擬專線好像沒有太大分別
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----------------
name:
王興盛
mail:
KRS
show:
願意
Date:
1999/4/4
Time:
下午 07:16:54
Remote Name:
168.95.0.3
Comments
Sychen:我看你是想買speaker.一部amplifier有他的額度規格.若負載
speaker始用不同.將會影響amp輸出能力.不過你可告訴我何種牌子?或將說明
書歸格公告?或你想使用何speaker?要不然帶到我這?�? JACK
KRS@MS15.HINET.NET
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----------------
name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/4
Time:
下午 02:00:54
Remote Name:
168.95.85.115
Comments
To: 楊過兄
謝謝您的指導。這樣我就可以放心地買了！
但是還想再請教，因為我還是有點不懂，因為擴大機的輸出阻抗若高於喇叭的
阻抗，那麼擴大機不是較有可能無法負荷所需的電流而燒掉嗎？
另外就是如果撇開喇叭的阻抗值會改變的問題，到底在喇叭與擴大機阻抗的匹
配上，不同阻抗還有什麼其他影響呢？曾看過高阻抗喇叭接低阻抗輸出音質會
較好，是因為電流較大之故嘍？
不希望太耽誤您的時間，因此亦可指出所需查閱的書刊。謝謝！
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----------------
name:
eddy
mail:
eddy97@ms15.hinet.net
show:
願意
Date:
1999/4/4
Time:
下午 12:59:46
Remote Name:
163.32.111.4
Comments
To Lawrance , peter 兄: 我ㄉ兩套音響和你們所言一樣，總覺ㄉ好像左聲
道大於右聲道，但將器材班到朋友家中卻無�?處，不知妳們會有覺得焦點糢糊
ㄉ感覺？好像隔窗看人﹝窗戶還髒髒ㄉ﹞？還有擴大機似乎較沒力？擺位我已
奮戰過兩年了，甚麼奇怪擺法都試過.....但無用，最後差想應是電源問題，
最近著手往這方面努力，對了！我還曾把4BT推出紅燈，旦聲音仍渙散不飽
?M，是空間問題嗎？拍洩！我換過三個空間了。建議你們可把整套音響搬到友
人家中試試，最好離你家遠一點，結果如何，我們再一起研究！對了！你是否
覺得左生聲道解稀力教好？聽鬥牛士現場演唱會瓊�?絲那?垖＜l現左聲道
場面浩大清析，旦右聲道就迷迷糊湖了，連?埢菝猫裳莩獣眉彝≡郝犚彩�
如此，不知有何高手能解？
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----------------
name:
楊過
mail:
show:
願意
Date:
1999/4/4
Time:
上午 10:53:30
Remote Name:
163.29.175.189
Comments
sychen兄：其�?您大可不必理會喇叭與後級擴大機的阻抗匹配問題，因為雖然
有的喇叭標示 其阻抗為4歐姆，但是據我所知，除了KEF的喇叭『號稱』為?a
定阻抗外，所有的喇叭都不 可能維持在4歐姆，所以您大可放心，用8歐姆的
後級推4歐姆的喇叭絕對沒有問題，安啦！ 那為什麼有些喇叭要標示其阻抗為
4歐姆呢？第一點是取其平均值；第二點則可能是想增加 消費者的信心，誤認
4歐姆的喇叭較好推吧！
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----------------
name:
Tacking
mail:
minhsnko@ms19.hinet.net
show:
願意
Date:
1999/4/4
Time:
上午 02:22:12
Remote Name:
163.32.91.27
Comments
to:瑩昇電子
感謝貴公司解惑。另外，關於?V告一事，應為本人之誤，將雜誌內文誤記為之
前就有的?V告，對貴公司造成困擾，在此致歉。
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----------------
name:
fisher
mail:
show:
願意
Date:
1999/4/4
Time:
上午 01:48:28
Remote Name:
168.95.0.7
Comments
To 楊過大俠 請問您的WE喇叭線試聽報告何時可以出爐. 最近剛好需要一對喇
叭線, 很想知道線材純度的進步對聲音的影響有多大 還是又會出現老東西在
解晰度上有所讓步, 卻在�?味上取勝的合理or不合理的戰況.
題外話,小弟以前在花�?當兵,那裏要買cd不簡單吧.
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----------------
name:
June.
mail:
show:
願意
Date:
1999/4/4
Time:
上午 01:46:08
Remote Name:
163.30.80.71
Comments
請問: 我有一台普騰A-2120後級.因想更換其濾波電容.想請問各位先進.若以
提昇音質為目的. 除了更換較好的 電容外.其電容容量(法拉)可否增加.若可
行的話.大約可增加多少.還有.不知 以何種?S牌的電容為佳.及更改濾波電容.
是否還有其他須注意事項?煩請各位先進解說. 謝謝!!(還有.我住在台北.何處
可�?得上述適用的電容及其價格.請告知)
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name:
瑩昇電子
mail:
show:
願意
Date:
1999/4/4
Time:
上午 12:04:31
Remote Name:
163.30.106.63
Comments
To Tacking and woodli:
首先感謝兩位對於本公司所代理之PMC系列產品之關心, 對於兩位的疑問,本公
司之回答如下:
1. PMC之BB5/XBD,其Peak SPL@ 1 meter 為132dB, Peak SPL@ 2 meter
per pair 為136dB. 至於126dB,則應為BB5/A(即為BB5/XBD去掉XBD)之
Peak SPL @ 1 meter. 162dB之說 ,應純屬論壇之筆誤.
2. 既然是論壇之筆誤,本公司自然不可能將其做為?V告訴求之重點,這一點還
請Tacking先生明察.
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----------------
name:
Tacking
mail:
minhsnko@ms19.hinet.net
show:
願意
Date:
1999/4/3
Time:
下午 11:08:14
Remote Name:
163.32.89.213
Comments
to:woodli
本?砦乙舱J為應是126dB之筆誤。但之前PMC?V告中一直以162dB?�?娬{這對喇
叭的性能，現在論壇又以科技成就這一評選標準?砜隙ㄋ矣X得又不像是筆
誤。你提到最大音壓是genelec 1035B 的135db，就我所知它應已進入台灣的
專業市場，那很明顯的若為126dB之筆誤，那PMC BB5+XBD 即使再好聲都不應
以科技成就這項標準入選風雲器材。所以最好還是請論壇諸公向?S商取得更詳
細的資料。
在今年的Stereo Sound年鑑看到木下正三(Ray Audio負責人)旗下另一個?S牌
KINOSHITA一款新喇叭，由一支高音號角與四支低音單體所組成，標稱效率為
123dB，沒錯的話，在音樂動態?頃r，如果它能承受16W的功率(它家的單體通
常可承受幾百瓦)，也能達到135db，但要到162dB雖不用千萬瓦也要八千多
瓦。
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name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/3
Time:
下午 04:46:30
Remote Name:
168.95.89.148
Comments
To JACK:
謝謝您的指導。
關於4歐姆喇叭接8歐姆擴大機的問題，不知道您指的背板上的說明是什麼，還
請再指教。 我的意思是是，若我想�?買一對4歐姆喇叭，但是我的擴大機是8
歐姆阻抗的話，會不會有影響？應該換擴大機嗎？
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name:
Eldon
mail:
eldon5@ms32.hinet.net
show:
願意
Date:
1999/4/3
Time:
下午 04:26:08
Remote Name:
210.66.191.121
Comments
旋鈕越少的擴大機越高級,謂為主流,我一直有?S商簡過 度,偷工減料的感覺.
不管是錄音或.其他週邊器材左右不對稱而造成左右聲道不平衡,其�?是很難矯
正.但是只要有左右獨立音量調整或volumn balance鈕,三秒鐘就克服了.我在
20年前吃過這苦頭後,對前級的一些功能認為是 必要之罪?�.當然,如果您調整
功力超人,或者一天不調音響就不舒服,那另當別論.
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name:
Lawrence
mail:
show:
願意
Date:
1999/4/3
Time:
下午 04:11:42
Remote Name:
139.175.207.40
Comments
感謝 peter; 蕭金明; diala; cch 諸兄的高見。
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name:
cch
mail:
show:
願意
Date:
1999/4/3
Time:
下午 02:05:28
Remote Name:
168.95.0.4
Comments
左聲道音量大於右聲道要看聽那一�?型音樂,如果是交響樂曲.管弦樂之�?,它
的小提琴群位置在左側,音色上較為高亢亮�?,感覺上聲音會偏左.
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name:
woodli
mail:
woodautr@ms16.hinet.net
show:
願意
Date:
1999/4/3
Time:
下午 02:04:56
Remote Name:
163.32.103.234
Comments
TO:Tacking
上次我看時也發現這個問題，我想可能是126db之誤。在此之前，我所知的最
大音壓是genelec 1035B 的135db。
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name:
diala
mail:
diala@tpts4.seed.net.tw
show:
願意
Date:
1999/4/3
Time:
上午 10:23:16
Remote Name:
168.95.96.192
Comments
To peter:
想知道你是用什麼片子當參考.有很多人是用單一vocal的 定位是否在中央?�
作判斷.但是其�?有些唱片錄音時vocal 就錄的有點偏左或右.
我建議先買一片測試片,然後用以下方式?頇z查:
1.將cd或da到前級的�?號線左右對調後放音,如果這情況換邊了, 就應是cd或
da的問題.
2.將前級到後級的�?號線左右對調.如果這情況換邊了, 就應是前級擴大機的
問題.
3.如果情況不變,將喇叭線左右對調.如果這情況換邊了, 就應是後級擴大機的
問題.
4.如果上述方法都沒改變,很有可能是擺位或空間的問題. 不要認為搬了家就
一定不一樣,除非你的新聆聽室是完 全按照聲學理論打造.當然也有可能是喇
叭的問題.你可 將擴大機同一聲道分兩次接到不同聲道的喇叭上,以同 樣的音
量和同樣的曲段靠近點去比較兩次是否有差距
這些方法不盡然客觀而精準(畢竟人耳和腦不是機器) 但是人對於辨識"是否不
同"是有能力的.不妨一試:)
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----------------
name:
李陵
mail:
linnlee@cadvision.com
show:
願意
Date:
1999/4/3
Time:
上午 03:12:41
Remote Name:
207.148.131.95
Comments
楊過兄，
我在加拿大訂Stereophile，也是一樣，書店書都出了幾天才收到。而且，寄
?G二本到現在也未補寄（反應過三次）。唉。
反而訂Glass Audio與Speaker Builder挺準時的，也比書店快。
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name:
楊過
mail:
show:
願意
Date:
1999/4/3
Time:
上午 02:41:01
Remote Name:
163.29.175.189
Comments
才休了一天假，便看到劉大總編吹鬍子瞪眼睛地揚言要告人，不知是那位網路
『白目仔』發 表了什麼足以損害他人名譽的『繆論』，竟惹得心胸一向寬厚
的劉先生大發雷霆之怒？不過 小弟在此要說句公道話：損損論壇可以( 言論
自由嘛 )，?阂夤搫t不行，無憑無據的話更不 能?y講 ，飯可以多吃，話可
不能?y說，這是原則，也是遊戲規則。 前天在書局看『白書』，發現除了原
有的『跳蚤市場』周刊外，又多了一本『撿便宜』雙週 刊雜誌，我在本期
『二手音響區』裡面找到台北一位楊先生要出售一對3M長的W.E喇叭布線 ，竟
然只要一千五百大洋，當下二話不說，於昨晨將錢郵匯過去，昨天下午便收到
楊先生寄 ?淼睦染�，老天，只有半天唉( 台北─花�? )，可是我每個月等
論壇都要等到15號以後才能 收到書，差太多了吧！收到線，捧著一捆沉?�?�
的線，看著歲月的痕跡以及做工精美的鍍金 香蕉插，先不管聲音如何，就算
當作收藏也覺得很過癮；再跟現在動不動便要A您五位數、 甚至六位數鉅款的
喇叭線比起?恚阋肆死玻『昧耍〉芤丶蚁硎芟硎芰�•看看是不是 真的
『俗貨無好物』，且聽下回分曉，拜拜！
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----------------
name:
jack
mail:
n/a
show:
願意
Date:
1999/4/3
Time:
上午 02:28:02
Remote Name:
210.64.53.207
Comments
能否請貴刊協調�?唠p先生推出電源處理器普渡眾生.
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----------------
name:
peter
mail:
peter@eranet.net
show:
願意
Date:
1999/4/3
Time:
上午 01:20:23
Remote Name:
203.95.226.87
Comments
TO:Lawrance
奇怪 我也有同樣的問題 換過幾台前級有的比較不明顯 而且有時還會較正常
(是否所謂飄移) 只是一直以為是空間左右不平衡 可是搬了家情況還是一樣
到底是何因素 註:前級為KLIMO 後級為KRELL 喇叭 MBL 101
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----------------
name:
蕭金明
mail:
show:
願意
Date:
1999/4/3
Time:
上午 12:51:20
Remote Name:
139.175.156.193
Comments
TO：Lawrance
我的音響不會有這種情形，出現這種情形應該是喇叭沒有擺好才是！
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----------------
name:
Lawrance
mail:
show:
願意
Date:
1999/4/3
Time:
上午 12:38:08
Remote Name:
139.175.195.236
Comments
請問大家一個問題：您的音響是不是左聲道音量大於右聲道？亦即音場偏左。
我的兩套音響皆有此問題， 同好中十之八九亦如是。
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----------------
name:
小�?
mail:
joe_c@sina.com.tw
show:
願意
Date:
1999/4/3
Time:
上午 12:34:39
Remote Name:
163.30.125.183
Comments
請問本人的擴大機為kenwood 990d 因只有AC-3的功能,如 想要升級至DTS請
問要如何才有解呢,曾去音響店問老板, 可是卻沒有消息,如何才能用最省錢的
方法達到目的呢? 盼請解答,謝謝
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----------------
name:
Tacking
mail:
minhsnko@ms19.hinet.net
show:
願意
Date:
1999/4/2
Time:
下午 09:49:16
Remote Name:
163.32.89.172
Comments
To:江俊德
關於125 期年度風雲器材中的PMC旗艦喇叭，?S方標稱效率有91dB，而最大音
壓是162dB。我剛才不經意算了一下，如果我們要讓它發出162dB的音壓，需要
的後級功率為2的23.6次方，也就是說，超過一千萬瓦。看?砦覀冃枰牟皇�
一部後級，而是一座發電?S。即使用床頭音響的PMPO算法，好像要達到一千萬
瓦也有點不可思議。162dB這個數據如何求出我很好奇，能否請你向代理商或
原?S索取更詳細的資料。另外，我也不太能想像162dB是何境界，是像原子?�
爆炸還是像世界末日？人體承受162dB的音壓時會怎樣？墾請告之。又，?囊�
千萬瓦的觀點?砜矗F在我們對高功率擴大機的認知(200W?500W?1000W?)，
是不是該重新定義？
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----------------
name:
JACK
mail:
KRS
show:
願意
Date:
1999/4/2
Time:
下午 09:40:43
Remote Name:
163.31.4.131
Comments
SYCHEN:音響面板有BALANCE這就是他的功能 4 OHM接上去時大聲會跳機.最好
看一下背部說明
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----------------
name:
宏興
mail:
a9664@ms.hinet.net
show:
願意
Date:
1999/4/2
Time:
下午 09:08:37
Remote Name:
168.95.0.3
Comments
請教各位先生小姐音響的電源要怎麼接
謝謝!
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----------------
name:
Eldon
mail:
show:
願意
Date:
1999/4/2
Time:
下午 07:02:14
Remote Name:
210.66.191.121
Comments
常聽人說數位器材和�?比器材共用一個延長線插座會影響聲音(?夯�),現有一
經驗,打開D/A,和電視用同一延長線 插座,結果電視畫面立刻?夯�,明顯可
見,D/A切斷後即恢?驼�,相信對音響器材亦有很大負面影響.不過老�?說 ,數
位及�?比器材要用不同電源,恐怕一般人難以做到. 不過,以上對聲音之影響是
否微小到可以忽視?電視畫面確有嚴重影響(使用天線,非有線).
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----------------
name:
Curtis
mail:
show:
願意
Date:
1999/4/2
Time:
下午 02:24:23
Remote Name:
207.23.248.63
Comments
To:江俊德先生 我那部4BST的濾波電容是黑色ROE濾波電容,黑色或咖啡色有什
麼不同嗎?謝謝您的解惑!
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----------------
name:
sychen
mail:
sychen@cheerful.com
show:
願意
Date:
1999/4/2
Time:
下午 01:21:31
Remote Name:
168.95.84.202
Comments
各位先進大家好： 我有幾個問題想請教，希望大家能多指導；或者告訴我該
去哪裡找相關資料?砜础�
1.由於擺設的關係，我無法將喇叭擺在客?d的正中央（也就是到二側�?距離不
等，比較靠右�?），此外二側�?的材料也不同，左邊是窗簾，右�?是普通RC
�?。 因此，在聆聽時音場的位置會怪怪的偏向一邊。想請問的是，如果不在
右�?掛東西，是否可能僅靠擺位（例如二支喇叭toe in不同角度等）方法加以
改善？
2.請問以4歐姆阻抗喇叭接在8歐姆阻抗的擴大機上，會不會有不好的影響？又
會有哪些影響？
謝謝各位！
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name:
SKY
mail:
show:
願意
Date:
1999/4/2
Time:
上午 11:07:59
Remote Name:
129.223.193.244
Comments
To:小高 我也有同感, 這年頭就是"紙上"的專家太多, 才會有這等的?y像, 如
同音響與相機一般. 我們這個國家每個部長都是博士, 隨便一個立委議員也是
博士, 可是看看這個國家被治理成什麼樣子? 奉勸自視為專家的人, 出筆務求
慎重, 不論是?砹粞园宓脑L客或是論壇的主筆皆然, 好好珍惜我們的園地.
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name:
劉?h盛
mail:
jack@jackliu.com.tw
show:
願意
Date:
1999/4/2
Time:
上午 10:15:16
Remote Name:
210.67.82.111
Comments
SFC 您這個主意其�?是最理想的方式，因為文字的敘述畢竟無法向耳朵所聽到
的那麼明確。以前早期論壇也辦過幾次，後?硪驗槌粤Σ挥懞枚Ｖ埂�
本?砦覀冇邢脒^在本刊顧問劉仁陽家裡或曹永坤先生那裡舉辦這�?活動，不過
想想還是做罷，音未到最後會有太多的批評讓主事者覺得二面不是人。
我想，目前最理想的方式可能是找較具規模的音響店，他們擁有理想音響室
者，由我們與他們合辦。，這樣一?恚繇懙昕丛儆猩饪勺龅姆萆希瑫娨�
合作。
不過，由於一次能夠容納的位置有限，而如果您坐在不同的位置上時，所聽到
者也會不同，這些問題還要克服。
論壇在前年曾經舉辦過總編下鄉，到各處音響店舉辦試聽會，，其目的也就是
想做到您所說的。有些地方反應很好，有些則不太好。因此做起?砗苄量唷�
我想，我可以與一些音響店談這個問題，看大家有沒有興趣。
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name:
劉?h盛
mail:
jack@jackliu.com.tw
show:
願意
Date:
1999/4/2
Time:
上午 09:47:24
Remote Name:
210.67.82.111
Comments
大腸癌與與金庸小說現代版
你們這種言論已經嚴重觸犯了毀謗罪，請去翻翻法律條文便知。
還有，不要以為沒有留下地址就無法查出，只要我們提出告訴，檢察官馬上就
可以查出，你信不信。
假若你在散?堰@種?阂鈿еr的文字，我們一定請律師在法庭與你相見。
另外，普洛所有留言版?K不是要讓你在此遂行�?己私行用的，所以我馬上會請
版主將你的言論刪除。我相信普洛或我本身與你無冤無仇。請你不要污衊自己
的人格。
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name:
江俊德
mail:
show:
願意
Date:
1999/4/2
Time:
上午 09:22:19
Remote Name:
210.67.82.250
Comments
To Leslie﹕
目前市面上搭配Genesis喇叭，有三種擴大機推起?硖貏e好聽(其他?S牌當然也
有不錯的產品，端看個人口味而定啦)，第一首選當然是MBL或Gryphone，不過
�?在太貴了一些，一般人買了昂貴的Genesis之後擴大機就買不起了。第二種
是Audio research的管後級，其中以VT-150的聲音最厚也最溫暖，不過還是
很貴。第三種選擇當然就是Bryston，最主要取其推力大,聲底厚以及價格合理
的特點。
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name:
江俊德
mail:
show:
願意
Date:
1999/4/2
Time:
上午 09:13:08
Remote Name:
210.67.82.250
Comments
To Vincent:
解析度不足，問題可能出在真空管身上，換一支好一些的6922即可，不過目前
市面上仿冒品甚多，非熟悉者不容易判別，其�?廉價的Sovtek 6922就已經足
夠，Audio Research,Sonic Frontiers等仍然使用這些真空管。可以利用墊
材或線材的搭配，增加高頻的清晰度。或者，Siemens的E188CC(或之�?的)，
高頻量感也較多。不過我認為，既然您有意使用TSP，何不先聽半個月，試試
看能不能接受(或轉為喜歡)這種軟調的高頻，有時候這種聲音就像3/5a喇叭，
越聽越沒有火氣，越聽越順耳的。
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name:
江俊德
mail:
show:
願意
Date:
1999/4/2
Time:
上午 09:05:09
Remote Name:
210.67.82.250
Comments
To Curtis:
注意三端AC插孔，就是插電源線的那個插頭，中央的接線即為接地線，這條接
地線連接機箱底部，與機箱短路，就是拔除這個接地插銷，使電源線接地不要
與機箱接地，換句話說，這部器材與其他使用兩孔電源線的器材一樣，不要接
地。 另外，請注意您那部4BST的濾波電容是黑色的還是咖啡色的﹖
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name:
江俊德
mail:
show:
願意
Date:
1999/4/2
Time:
上午 08:57:48
Remote Name:
210.67.82.250
Comments
To SFC:
我?K不是金屬震膜的?塾谜撸徊贿^我的喇叭單體全部是金屬震膜製成，但另
一對PMC則是傳統塑料材質。 震膜的材質與聲音表現沒有絕對關係，得看整體
設計而定，被遺忘已久的紙盆最近又開始?突睿S多高價位的喇叭開始改用紙
盆(加入?秃喜牧�)的單體。 喇叭要重現原音確�?有困難，我們只希望發出的
聲音越像�
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