Lee388靚聲推介:
我始終覺得音響與音樂一定要平衡,缺一不可!有好的音樂也要有靚音響器材來播放,這樣才是完美!相信這家來自瑞士成立於2010年專門製作喇叭的公司Stenheim一定也有以上的理念。
我從Stenheim最細型的Alumine Two書架喇叭、往上Alumine Three、曾用過的Alumine Five、Alumine Five Signature、現用的 Alumine Five SE(*註)、Reference Ultime、Reference Infinite到Reference Statement旗艦四柱式喇叭也聽過,當然在級數上有所差別,不過在聲音底氣上是一脈相承,也是以高度傳真,無音染為依歸,所以絕對可以作為錄音的參考喇叭。不知是不是這個原因,Stenheim在製作喇叭之餘也投資在錄音方面,即是一般稱為發燒碟,而Stenheim製作公司專屬發燒碟不是向其他唱片公司申請版權,以舊錄音來製作雜錦式大碟,而是真真正正請來樂手,請來專業錄音師,用到最好的專業器材來錄音,全新製作專屬發燒碟,大家可想而知成本一定相對較高,所以以一家製作喇叭的公司來製作這類專輯,這是相當難得。當然製作出來的錄音是以自家的喇叭作為最後監聽。
談回今次這張Stenheim最新製作的CD名為〈Imagine〉,這是Stenheim公司總裁 Mr. Jean-Pascal Panchard連同他的新年祝福專誠寄給我,我首先要多謝他的心意。而我細心聽了這張CD後,我發覺絕對值得向大家介紹,所以才出帖與大家分享,還有這張CD現在可以向『音響技術』預訂,既然可以買得到,更加要把好音樂向大家告知。
這張CD音樂內容是一隊來自南非的爵士三重奏樂隊,名為Charl Du Palessis Trio的現場同步錄音,多首改編自古典音樂的名曲以爵士三重奏方式重新演繹出來,其中音樂旋律大家一定聽過,而且改編後也保留原曲的旋律,亦演奏出他們富於音樂的韻味,絕對是可以一聽再聽的靚聲CD。錄音方面,採用無壓縮、無加工、無染色方式來錄製(因為無壓縮,可能要開大一點音量),所以聲音有種非常直接的感覺,在我的Alumine Five SE喇叭上播放,真的毫無阻隔,樂手就在面前演奏一樣,三件樂器定位出色,相互亦有明確的距離感,雖然音樂內容不是這些驚天動地的大爆棚音樂,不過蘊含很多細緻、微弱的訊息,這是相當考驗系統的分析力,另外,鼓聲也錄得相當有立體感,鼓聲不是這種死死實實的低頻,而是有起落、有層次、有變化的低頻,如果系統低頻的速度感和量感不足,就感受不到鼓的立體感。如要我給這張CD來個定義,這是一張有品味的發燒碟,無論音樂、錄音、製作也有很好的平衡,絕對適合有品位的發燒友。最後,通過這張CD,使我知道Stenheim喇叭雖然是高度傳真的喇叭,可能有人覺得欠缺人性化,不過我知道Stenheim喇叭的人性化和音樂感是從播放錄音當中出來,不是來自喇叭本身,這對喇叭只是反映出錄音本身有沒有音樂感。忘了說給大家知,原來這CD最後一首不是改編自古典音樂,這是John Lennon 的 Imagine,不是古典是經典!
*註:2020年2月號(第461期)音響技術會詳細報導Stenheim Alumine Five SE 喇叭
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同時也有1部Youtube影片,追蹤數超過2萬的網紅Hi Fi 發燒台,也在其Youtube影片中提到,*** 2019年我最喜歡的音響器材 *** 今個月五十男月記,要同大家分享2019年我最喜歡的音響器材,另外還有兩個超級家訪,再加市場資訊,音響發燒友一定要留意! 希望大家喜歡這類純粹口水分享,亦歡迎大家互動交流,如果有興趣甚至可以找我一起上來吹吹水,如果喜歡記得畀個like,留言鼓勵下,鬧都...
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stenheim reference ultime 2 在 Lee388 Hi Fi 發燒專頁 Facebook 的精選貼文
Alumine Five of Stenheim
Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.
I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.
Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.
The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.
The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.
So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.
The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.
The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.
Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).
Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
........................................................
Price: $60,000 per pair.
Warranty: Five years parts and labor.
(Source: The Audio Beat)
stenheim reference ultime 2 在 Lee388 Hi Fi 發燒專頁 Facebook 的精選貼文
全套加拿大EMM Labs SACD轉盤、解碼器和前後級組合推動瑞士 Stenheim Reference Ultime喇叭,成為一套靚聲組合!而這部EMM Labs Pre前級更是試製版本,首次開聲,表現出色!
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stenheim reference ultime 2 在 Hi Fi 發燒台 Youtube 的最佳解答
*** 2019年我最喜歡的音響器材 ***
今個月五十男月記,要同大家分享2019年我最喜歡的音響器材,另外還有兩個超級家訪,再加市場資訊,音響發燒友一定要留意! 希望大家喜歡這類純粹口水分享,亦歡迎大家互動交流,如果有興趣甚至可以找我一起上來吹吹水,如果喜歡記得畀個like,留言鼓勵下,鬧都可以,等我可以改善。 仲有記得訂閱,叫埋其他發燒友訂閱!
0:40 市場資訊:SME 不賣唱臂!?
1:40 Sound Lab 大喇叭家訪
2:34 Stenheim Reference Ultime 超級喇叭家訪
5:48 2019年我最喜歡的音響器材
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stenheim reference ultime 2 在 Reference Ultime Two - Stenheim - YouTube 的推薦與評價
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