Date: 2024-10-14

電源線的重要性

• 在理想情況下，市電供應重播系統使用而無任何抑制。
• 那些具有複雜低音的動態音樂為電子器材帶來脈衝負載。
• 電導體具有電容、電阻及電感特性，干擾電源插座和重播系統之間能量的流動。
• 終極目標是電源無任何時滯且損失最小，能夠在很短的時間內傳輸大量能量。因此，從牆壁插座到高傳真系統的電源線在傳輸鏈中扮演著非常重要的角色。

AC-2405 AIR電源線

• 電介質：空氣
• AIR Helix 點對點設計
  (導體懸空穿越龍骨架，而05系列線材自起點到末端無縫延展空氣電介質)
• 結構：4 x 1.5mm²多芯|總橫截面2 x 3.0mm²
• 高純度銅導體
• 多組單獨電線減少了高頻下發生的集膚效應，還增加了整體橫截面。
• 厚銅鍍錫緻密編織層屏蔽，保護器材及減少鄰近的線材免受電源線中高電流峰值引起的輻射干擾場的影響
• 屏蔽：厚銅編織，鍍錫（防氧化）
• 高質素鍍銠 UHQ 連接器
  線材直徑：25 mm
• UHQ：美式 -> C15
• UHQ：美式 -> C19
• 單獨檢測：功能 | 地線 | 絕緣 | 高壓
• 防護等級 1 證明
• 負載 C15：2300 W（230 V AC/10 A）
• 負載 C19：3680 W（230 V AC/16 A）
• 額定電壓：250 V AC | 50/60 Hz
• 額定電流：10 A / 16 A
• 長度：2 m | 可依要求訂製長度

AC-1205 AIR電源線

• 電介質：空氣
• AIR Helix 點對點設計
  (導體懸空穿越龍骨架，而05系列線材自起點到末端無縫延展空氣電介質)
• 結構：4 x 0.75mm²多芯|總橫截面2 x 1.5mm²
• 高純度銅導體
• 大量的單獨電線減少了高頻下發生的集膚效應，還增加了整體橫截面。
• 厚銅鍍錫緻密編織層屏蔽，保護器材及減少鄰近的線材免受電源線中高電流峰值引起的輻射干擾場的影響
• 屏蔽：厚銅編織，鍍錫（防氧化）
• 鍍金連接器
• 線材直徑：13 mm
• Basic：美式 -> C15
• Basic：美式 -> C19
• 單獨檢測：功能 | 地線 | 絕緣 | 高壓
• 防護等級 1 證明
• 負載 C15：2300 W（230 V AC/10 A）
• 負載 C19：3680 W（230 V AC/16 A）
• 額定電壓：250 V AC | 50/60 Hz
• 額定電流：10 A / 16 A
• 長度：2 m | 可依要求訂製長度

05 AIR 系列型號：

AC-1205 (4 x 0.75mm²多芯|總橫截面2 x 1.5mm²)
AC-2405 (4 x 1.5mm²多芯|總橫截面2 x 3.0mm²)
AC-4005 (16 x 0.5mm²多芯|總橫截面2 x 4.0mm²)

Date: 2024-10-14

When I started reading hi-fi magazines over four decades ago, there was always one amplifier that its writers recommended. The NAD 3020 was so good in terms of sound quality relative to its price that it was a no-brainer. Many years later, I found myself as a poacher turned gamekeeper and needed something to celebrate as a great, 'one size fits all' integrated…

After reviewing umpteen mid-price amps and conducting several blind listening group tests, I finally settled on Exposure's 3010S2. It really was hard to argue with. A relatively minimalist design, it had few gimmicks but solid build and a lot of quality components under the hood. Moreover, its sound was excellent at the price, with a simple, musical and powerful feel that wasn't the most detailed or transparent, but just seemed to make everything it played fun. A bit like that classic NAD, actually!

So it was that the 3010S2 grew; it gained built-in DAC functionality and a few other tweaks, and a price hike. But still, when I came back to it, I couldn't find anything that really came close as an all-round package. I tried Arcams, Creeks, Marantzs, Naims, Roksans, etc., and for me, the Exposure delivered the musical goods like no other at the price. After many years though, it has finally been replaced with the new 3510 that you see here. The worry for me is, has Exposure engineered out the magic?

UP CLOSE
Exposure tells me that this new Tony Brady design took roughly a year to do, and features trickle-down technology from Exposure's top-of-range 5010 series. It puts out a claimed 110W RMS per side into 8 ohms – the same as its predecessor – and 200W into 4 ohms. Apparently, its 2 ohm power output is limited by the overcurrent protection circuit to around 200W, too. The preamp section is a version of that used in the 3010S2-D, modified in order to drive headphones. The power amp is new and said to have been reworked for better linearity and lower distortion, especially at high output.

Designed and built in the UK, it sports six RCA line inputs, with the option to substitute one or two of these to fit the optionally available MC or MM phono modules, or a plug-in DAC. Exposure says that ideally, they should be fitted by a dealer, but when this is not possible, a “competent customer” should be able to do it. Styling is very similar, although the input selection arrangement has changed, so the input selected is now shown by one of a row of LEDs mounted centrally in the fascia. For me, this is a retrograde step and not as clean looking as the 3010S2.

The new amp retains its predecessor's fine connectivity. The rear panel sports doubled-up speaker binding posts (for bi-wiring, if you are that way inclined), a preamplifier output (for bi-amping, or to use with a separate power amplifier – handy for many) and a new central fascia-mounted headphone socket. The AV input can be set to fixed or variable gain, so you can use it as a standard stereo in or a fixed gain home cinema input.

Inside, we get to the heart of the 3510's appeal – and indeed that of its predecessor – a beefy Class AB solid-state power amp section using fast bipolar power transistors in the output stage, as per Exposure tradition. Again, many rivals use MOSFET power modules, an approach that tends to be less popular with obsessive audiophiles. The power supply has extra smoothing and uses a chunky 400VA toroidal transformer. The preamp uses all discrete transistors in the gain stage, with a power supply designed to minimise supply rail noise. Input switching has been changed to lower crosstalk, and signal paths and power supply paths have been shortened.

The nicely turned out all-aluminium casework – available in black or titanium – is superior to that of many rivals, which use pressed steel rear sections at this price. It is complemented by the chunky extruded aluminium fascia, which Exposure says minimises noise and controls magnetic fields.

THE LISTENING
Back in the nineteen-eighties, Exposure built a reputation for itself as a purveyor of high-end solid-state pre and power amps that were just a little smoother and more beguiling than those of its then arch-rival, Naim. The sound has always been powerful and musically enjoyable, but just a little softer around the edges than some others. The 3510 is absolutely no different in this respect and shares a strong family 'voice' to its 3010S2-D predecessor.

It has a gutsy sound alright, and has a big, strong bouncy bass. The midband is smooth, creamy even, and has lots of detail without ramming it down your throat. Treble is just a little soft and diffuse in absolute terms, but still as sweet as any Class AB solid-state design can be at this level, and devoid of harshness or grain. Imaging is decently wide, and the soundstage drops back a fair bit too. It's a teensy bit crisper and more detailed than the 3010S2-D, I'd say; there's a slightly stiffer backbone to the sound compared to the amp it replaces. It's a worthwhile improvement over this then, but I'm not sure that I'd sell my old one and spend out on a new one given the relatively subtle nature of the change.

All the same, compared to its price rivals, most of which I have heard or reviewed over the years, I'd say the new 3510 is a very strong proposition. It does precisely what its predecessor did, which is to round up all the good bits of its rivals and package them up in one single product, whilst having no obvious downsides at its price. In other words, it's a great all-rounder – an integrated amplifier jack of all trades, and master of some.

It excels in power delivery. I reviewed the 3510 back-to-back with Rotel's monstrous (and far more expensive) Michi X5. The Exposure didn't have the latter's epic levels of power and clarity, yet it still turned in a really engaging and chunky sound – one that was tonally warmer and sweeter, albeit more diffuse. For example, Dance on a Volcano by Genesis was loads of fun, when driven by my Chord Hugo TT2 DAC and powering my reference Yamaha NS-1000M speakers. The Exposure really made use of its large reserves of power, thumping out the track at high levels with relative ease. There was a good deal of detail, but I was most taken by the bassline, which was never meek and mild, and if anything was just a little fuller than the aforementioned Rotel. This was certainly the case in the upper bass, giving this amp a weightier sound than expected.

Of course, the 3510 can't deliver breathtaking dynamics at high volume levels – Exposure can sell you its more expensive pre/power amps for that – but it still does very well compared to rivals. In a way, it reminds me of Roksan's K3, but with more grunt. It's got an 'up and at 'em' sort of approach, like a bulldog on a lead that wants to pull its owner's hand off to get to another dog coming its way. Rather than sitting back and playing it cool, it loves life and wants a piece of it. The complex strains of early Genesis showed this brilliantly, but you could tell this regardless of musical genre. For example, the Human League's The Things That Dreams Are Made Of came over in a barnstorming way, with oodles of energy and drive. This was despite its smooth tonality, which never grated or seared – a fascinating point because many 'lively' sounding amps achieve this simply by being tonally forward. Not this!

That warm, fulsome upper bass is complemented by a pretty neutral midband, one which has a good sprinkling of detail and a fairly silky treble that seems to me to be just a little too smooth sounding with some programme material. I found that hooking it up to a great pair of open sounding standmounters – the Neat Majistra in this case – really suited the Exposure. Its ribbon tweeters seemed to unlock the 3510's treble detail, and project its smooth midband better. It was a great combination, made better by the amp's great current-driving ability, which this particular speaker really appreciated. The jazzy soul strains of Randy Crawford's You Might Need Somebody were joyous; crisp, detailed and intricate; this integrated really did justice to the rich grain of this singer's distinctive tremulous voice.

Soundstaging is decent enough, but not this amplifier's finest trait. It's just a little closed-in compared to some price rivals – and I do mean just a little. For example, an old recording of Beethoven's Pastoral Symphony (Karajan, Berlin Phil) didn't have the vast expanse that some pricier designs are able to communicate. The music was still very enjoyable, though, the Exposure showing off its ability to accurately capture the natural rhythm of the piece and the human spirit behind it. It's an animated and engaging sounding amplifier for sure, just not the world's most accurate. That's something you can excuse it for at this price, yet no one can learn to live with an amplifier that's not fun.

THE VERDICT
Exposure's new 3510 sounds pretty similar to its excellent, class-leading predecessor – meaning it can do little wrong. It's a useful improvement and makes a genuinely capable amplifier available to cost-conscious mid-market buyers. It has few, if any, real weaknesses – plus a natural love of music and enough power and detail to enjoy it. I would strongly suggest you audition it if you're in the market because it does so much so well at the price.

Date: 2024-10-10

• SE基本規格與Classic相同，但改用Panzerholz製作前障板。
• Panzerholz是由resin樹脂和山毛櫸木組合而成的硬化夾層板。其密度極高，防彈，沉水，內阻尼佳。它又耐熱、耐壓、耐潮濕，屬於工程用夾層木材。
• Rogers重新審視分音器，把鐵氧體(ferrite電感器升級為最高品質的粉鐵芯(dust iron cores），提供更自然的音色，完美補充Panzaholz障板的聲音平衡。
• 飾面：阿瑪遜黑木(Amazaque)、胡桃木、紫檀木和橄欖木。

聲音

• 有比LS3/5A能量更充沛，音壓更高，適合較大空間使用。
• 不難推動。
• 全頻細緻度、質感、密度、飽滿度，穩定度綜合表現令人詫異。
• 保持Rogers呼之欲出的人聲，特別動人，與眾不同。

Rogers Panzerholz腳架

• 採用Panzerholz木材手工製作，發揮揚聲器的最佳性能。
• 具有類似金屬的硬度和剛性，由於振動被分散，無附加鈴震，不會產生額外的聲音。
• 屬於高品質半開放式腳架，具有最佳阻尼比。
• 外型優雅，視覺影響最小。

曾經有報道
「為SE型號設計的Panzerholz腳架價格昂貴，但對於任何LS3/5A來說都是值得升級的。其改進是驚人的。我認為該腳架是LS3/5A必須配備的。」
（Alan Sircom HiFi +）

LS5/9 SE技術規格

• 類型：兩路低音反射
• 頻率響應：50Hz–16kHz +/-3dB
• 高音單元：Audax 34mm，相位校正
• 中低音單元：Rogers 210mm PP聚丙烯錐體（vinyl乙烯基膠邊）
• 分音器：3kHz（27 個精密元件每倍頻程 18dB）
• 靈敏度：87dB (2.83V/1m)
• 標稱阻抗：8歐姆
• 功率承載：100 瓦 (不削波)
• 最大聲壓級：106 dBA（室內）
• 前障板：Panzerholz山毛櫸木和樹脂硬化夾層板
• 箱體：9mm 樺木層（採用瀝青阻尼板進行嚴格阻尼）
• 面網：黑色Tygan
• 飾面：阿瑪薩克木、胡桃木、紫檀木和橄欖木
• 連接：立體聲一對4mm香蕉插座
• 尺寸：460mm x 275mm x 285mm（高x寬x深）
• 重量：12kg（每隻）
• *腳架另售

LS5/9 Classic SE Panzerholz腳架

• 底板：350mm（寬）x 400mm（深）
• 頂板 280mm（寬）x 270mm（深）
• 高度（包括底板和頂板）：550mm， 不包括腳釘
• 重量：每件 6.0公斤，不包括腳釘
• 結構：Panzerholz木(不似金屬材料附加鈴震)
• 表面處理/顏色：黑色
• 一對提供，需要組裝
• 腳架另售

Date: 2024-10-07

輯錄自《音響論壇》

Peak Consult 是公司名稱，而他們推出的喇叭品牌是 Peak，這家公司自從 Dynaudio 喇叭創始人 Wilfried Ehrenholz 入主之後，與德國另一家喇叭公司 Fink Audio-Consulting 的創始人 Karl-Heinz Fink 合作，研發出他家的新旗艦喇叭 Dragon Legacy，並且在 2023 年慕尼黑音響展時展出。他們二人在喇叭界資歷加起來超過 80 年，所以也算是強上加強。

龍的傳奇
事實上，Peak 早在 2010 年以前就推出名為 Dragon 的旗艦喇叭，... 當時就是設計成 MTM 架構。所謂 MTM 就是 Mid-Tweeter-Mid，以一個高音單體為中心，上下夾二個中音單體，中音單體再夾二個低音單體，這種架構在喇叭界得普遍，經常都可以看到，也稱為 D' Appolito Configuration，因為最早是美國 Joe D'Appolito 提出的設計。

到了 2016 年，Dragon 改良成為 Dragon Legend，模樣不變，就是細部改良。 Dragon Legend 高度有 188 公分，重達 382 公斤。

在 2021 年之後，Dragon Legend 在 Wilfried Ehrenholz 操刀之下，改名為 Dragon Legacy，並且在 2023 年慕尼黑音響展展出，這對旗艦喇叭終於定錨。

鈦孚與音響展比較
聆聽 Dragon Legacy 的場地在鈦孚音響聆聽室，當天搭配的數碼訊源是 Innouos Zen 串流播放機 (沒有 DAC)，搭配 T+A MP 3100HV 當 DAC，前後級是 Constellation Altair Ⅱ 前級與 Hercules Mono 後級。這套系統搭配後 Rockport Lyra，音響效果很好，現在又拿來搭配 Dragon Legacy，顯然鈦孚很有信心。

除了在鈦孚所聽的聆聽經驗之外，我還會跟我在慕尼黑音響展、12 月 14-17 日圓山飯店音響展的聽感做相互比較，讓大家瞭解三個不同場地、三種搭配到底會讓 Dragon Legacy 的聲音表現有什麼變化。以下先說我去鈦孚音響的聽感。

與慕尼黑音響展不同
我很驚訝在鈦孚所聽到的Dragon Legacy聲音，跟我在慕尼黑音響展會場所聽到者有很大的差異。在此我摘錄一段在慕尼黑音響展的聽感：「非飽滿，非常厚實，非常龐大，非常快速，非常靈巧。爵士樂聽起來活生火熱，感覺每個聲音發出來都有實體感。這樣的聲音表現整個展場不是沒有，但只有少數幾家，真是難得聽到。」

然而，我在鈦孚所聽到的聲音卻是非常柔美，非常寬鬆，非常軟調，非常豐富的聲音，這跟慕尼黑音響展相比根本就是二樣情。為何會這樣呢？聆聽空間不同是原因之一，搭配的擴大機、數位訊源是原因之二，鈦孚這邊將喇叭靠近牆擺是原因之三。事實上，從所測得的頻率響應曲線就大概可以看出端倪，20Hz-50Hz增加了大約10dB，80Hz處大約也增加10dB，8kHz以上大約衰減10dB，這樣的情況反映到聽感上就是低頻豐富，高頻柔美。雖然慕尼黑與鈦孚二者的聲音調子對比剛好是一剛一柔，但二者相同之處就是音質非常美。

音質真美
聽過這麼多首古典音樂之後，Dragon Legacy的音質之美毫無懸念，而磅礴的氣勢會讓人誤以為是整個房間在唱歌，而非二支喇叭而已。接下來我聽一些流行音樂。當我聽五輪真弓的「戀人啊！」時，她的嗓音同樣也變得更美，更柔。而當腳踩大鼓出現時，噗噗低頻是軟Q的，缺了一點硬調，這是因為從80Hz以下幾乎都增加10dB所致。這種軟Q跟我在慕尼黑音響展會場所聽到的爵士樂猛勁不同。同樣一對喇叭，能夠表現出截然不同的低頻聽感，這代表Dragon Legacy是無所不能的，它會隨著聆聽空間、搭配的器材而呈現不同的音響效果。

接著要說的是12月14-17日音響展時我所聽到的Dragon Legacy。由於我在V110有一場主講Dragon Legacy的演講，還有一場主辦單位的演講，所以在此聽過幾次Dragon Legacy的聲音表現。總的來說，Dragon Legacy在會場的喇叭擺位還是跟鈦孚公司一樣，比較靠近後牆，這使得低頻量感很豐富。

介紹Dragon Legacy時，我一直都只能站在側面。即使是側面，我還是能夠聽到DragonLegacy唱出很美的音質，這是高價喇叭最有價值的地方，因為音場可以調整出來，層次深度定位也可以調整出來，10萬元一對的喇叭經過好好擺位調整，也可以有很好的層次深度定位感，唯有音質是與生俱來的，無法靠喇叭擺位得來。

我第二個感受是即使發出很大的音量，Dragon Legacy還是穩若泰山，聲音依然紮實凝聚，不會顯得虛軟分岔失真。此外，Dragon Legacy所發出的高頻段很甜美，帶有嬌柔的味道，尤其聽小提琴演奏時（Christoph Koncz演奏莫札特第五號小提琴協奏曲），那種甜潤嬌柔帶著彈性的聲音真的迷人，而且伴奏的小型樂團絲絲縷縷，清晰又融合，跟甜潤的小提琴相互呼應。聽Mullova演奏的柴可夫斯基「小提琴協奏曲」時，老實說那琴音太美了，我很少聽到如此的美聲。

幾項共同特性
聆聽Dragon Legacy的聲音表現，我歷經慕尼黑音響展、鈦孚聆聽室，以及12月圓山音響展，這三個場所所呈現的Dragon Legacy聲音特質都不太一樣，但終歸都可以感受到相同的幾項表現，那就是美質、寬闊的音樂規模感、甜潤的聲音，飽滿紮實的音像、音樂的活生感很好，樂器的木質溫潤與該有的彈性都不缺，大聲播放音樂時聲音還是能夠很Solid，不會虛掉。

龍的傳承
Dynaudio前創辦人Wilfried Ehrenholz果然厲害，他以自己四十幾年的喇叭設計製造實力打造出PeakDragon Legacy，這對喇叭可能也是他蓋棺論定的作品，更是他超越Dynaudio高峰之作。他終於驗證了龍的傳承這句話，超卓不凡，足以世代傳承。

點擊閱讀全文: https://reurl.cc/zDEGE0

Date: 2024-10-08

藝術與科學成就

• C30座地揚聲器繼承了出色的C20書架揚聲器的所有優點，昂然進入另一個新層次。
• 因應單元數量增加及排列需要，新設計DDC結合了Compex前障板，為三路三單元發揮獨特功能。
• 聲音別具分析力、威勢、氣派、動感、能量、透明度、層次感和龐大舞台感，表現出hi end座地揚聲器的風範。

Dynaudio Directivity Control
DDC是一種形狀獨特的機械式加工波導，將聲波集中成密集的垂直「聲束」，避免出現地板和天花反射，同時保持寬闊的水平圖像，讓皇帝位更形寬廣。您只聽到由單元提供的訊息，而不是房間干擾。這是難得的優點和體驗。

Dynaudio Compex

• 新型複合前障板盡量讓單元與箱體「分離」，減去互相影響。
• 它不僅輕，而且非常堅固，結實和阻尼良好，吸收共振。以指節敲打它，聲音非常低沉死寂。
• 單元透過特殊墊圈整合到前障板中。背面有一個包括螺絲的合金安裝板，耦合極為緊密，高音和中音單元也盡可能分離，以避免振動。
• Compex經過開發、模擬和加工，可視為DDC的一部分，與單元和分音器融為一體，效果展示在聲音上。

過去的Confidence前障板的MDF是無法達到新的DDC技術所需的精確角度、曲線和邊緣。而Compex可以。此外，它不會隨時間變化改變機械聲學特性。

KERF-cut
箱體內部貼上全新KERF-cut技阻尼物，呈鋸齒狀物，那是有垂直刻痕的MDF阻尼板，除了可讓聲箱變得更堅固、扎實，更能抑制諧振外，上面的垂直刻痕則有助於吸收、打散內部聲波，以免能量積聚在箱體後方。

Dynaudio 產品經理 Otto Jørgensen：
購買Confidence等同購買新的音樂收藏，我感到幾乎需要再次聆聽我所有的音樂。

技術規格

• 靈敏度：88dB (2.83V/1m)
• IEC功率處理：350W
• 阻抗：4Ω（最小2.8Ω@85Hz）
• 頻率響應 (±3dB)：38Hz–22kHz
• 聲箱原理：低音反射下開口
• 分音：3路
• 分頻頻率：290/3700Hz
• 分頻拓撲：二階/三階連DDC
• 低音單元：2 x 18cm MSP 錐體
• 中音單元：15cm MSP 錐體
• 高音單元：28mm Esotar3
• 重量：44.2kg/97.4lbs
• 尺寸（寬x高x深）:
  222 x 1337 x 399cm
  8-6/8 x 52-5/8 x 15 6/8inches
• 裝上腳/面網的尺寸（寬x高x深）：
  364 x 1382 x 424cm
  14-3/8 x 54-3/8 x16-6/8inches

外表

• Raven Wood High Gloss
• Ruby Wood High Gloss
• Smoke High Gloss
• Midnight High Gloss
• Blonde Wood

Dynaudio Jupiter揚聲器測量系統
即便是Dynaudio Confidence 30，一如許多現役型號，於市場中表現突出，在於其背後擁有世上獨一無二的揚聲器測量系統，稱為Jupiter。

本研發中心佔地17,200平方英呎（約478坪）。它是一個巨大的空心立方體房間，達到13 x 13 x 13米，其中裝有兩個起重機和機械臂，呈半月形安裝上31個分立式咪高風，以進行360°測量，記錄和分析脈衝響應（揚聲器的反應速度）。從而讓厰方掌握到揚聲器的聲音不僅在最佳位置，而且在其他位置也沒問題。