美国Magnepan大屏风我前几年在家里用过不到一年，稍微说下。和传统多路分频扬声器相比，它优点和缺点都有。优点是“群感”好，听乐团演奏声音像一堵墙一样过来，有种密不透风的感觉。缺点是结像偏大，听需要精致的小编制和室内乐时，稍微显得粗线条一些。
还是值得玩玩的东西。
看这个评测，td712这个方面还是很牛的，单声场和定位比威信还好点，差的是声压和低频延伸。
https://www.stereophile.com/content/wilson-audio-specialties-sabrina-loudspeaker-page-3
The soundstage thrown by the Sabrinas was wide and deep, with images on it precisely defined. The deepest soundstage and most precisely defined images I've heard from a pair of speakers under review were with Fujitsu Ten's Eclipse TD712 Mk.2, which I reviewed in January 2007. The spatial definition produced by that single-driver speaker was uncanny—but the Eclipse couldn't match the Sabrina (or any number of high-quality, multi-driver speakers) in maximum loudness capability and bass extension. Compared to other multi-driver speakers, the Sabrinas' imaging was excellent. When I played the "Depth of Image" tracks from The Best of Chesky Jazz and More Audiophile Tests, Vol.2 (CD, Chesky JD68), the Sabrina's reproduction of them was comparable to that of the GoldenEar Triton One—and the GoldenEars did better on this test than any other multi-driver speaker I've heard in my listening room.
小白 发表于 2023-9-13 22:41
美国Magnepan大屏风我前几年在家里用过不到一年，稍微说下。和传统多路分频扬声器相比，它优点和缺点都有。 ...
谢谢白版，Magnepan这个牌子是个非常有意思，且值得一听的音响品牌。有机会一定要试一对屏风音箱!
Magnepan脱箱感肯定好，因为它根本没有箱;P
脱箱感还是丹拿
老想乐70 发表于 2023-9-21 12:20
脱箱感还是丹拿
丹拿我玩过的不多，至少弦歌在这方面被威信tt打的满地找牙，体无完肤了
弦歌已是丹拿近年来的上上之作，不过论脱箱感传统密度板做的音箱真的没法和威信这些现代特殊材料音箱比。
7成以上取决于声学环境吧
屏风！
不太差的箱子，脱箱感应该是必备的。真正影响大的还是功放，前级、后级水平。其实atc7、1sc都有脱箱感
本帖最后由 天方夜谭天说地 于 2023-9-22 13:37 编辑
先前在广州逛了很多店，脱箱感基本必备。
结像跑出来，定在什么地方其实不难的啊。
也不是什么环境、摆位问题，或者说，器材都不错情况下，对环境适应性好。
最大影响就是放大部分。
譬如一万前级和几万前级就有比较大的差别。
而众多品牌里面，马克的声场 透明度最为规整，包括结像之外环境描绘。
金嗓子也可，相对马克就委婉不少。
而不同箱子区别主要是声场规整性，声场的边边角角有没有照料到。画面比例如何。
别折腾啦只有YG能达到你的期许
如果往highend里说，就是yg的声场结像最好吧
贵的都不差，但好声音也不止是这方面
有人回答我一下嗎?
聲場不是由反射聲跟直達聲搞出來的產品嗎?
除了箱子跟系統跟錄音, 房間不一樣重要嗎?
我現在我舞台不大不少, 就是半個房間
LZ我看你也研究很久了, 要不要試一下定位李的室相連?
幾十平的房間能出大教堂的感覺
第十章 – 喇叭擺位 – 老師傅的方法 Tips from Masters（2）
定位李的Room Coupling
定位李也是香港發燒高人，也許是香港玩屏風喇叭的專家，發燒音響出版之際，陳主編己經經常提到定位李和他的大屏風，出神入化，有朋友到他的家裡聽過，說定位精準，令人乍舌，一張DuPre的大提琴奏鳴曲，聆聽者在位置上真是聽到一支大提琴在你的前面，所以喇叭擺位的定位，應該是認了第二，沒有人敢認第一。在港陸的網站中，也常會看到他的獨立聆聽空間的照片，各位也可到北京道一號網站和李先生交流。
李先生的喇叭擺位，自成一家，博覽中外經書也只在Nordst 的white paper 看過喇叭位置和聆聽位置對調的方法，但絕對沒有這方法的精妙。Stereo Sound石井也提過小喇叭選擇擺放時可選擇低頻較響的位置，但是靠測量來達成目標。
傳統喇叭擺法，不管是Wilson 的Neutral Zone，或是Cardas 的神奇1.618 都是隨著之路線，都是把房間的負面因素減到最低，另外大部分都是著重低頻駐波的處理，李先生的方法，稱Room Coupling （房交連），目的是將喇叭和房間連成一體，天人合一，房間變成喇叭合理延伸，喇叭從小變大，音樂的層次，定位都會歷歷在目，音樂重播因而達到另一境界。這方法李先生已經鑽研三十多年，也不是博士論文的複雜，方法簡單而容易重複，把李先生的原話和大家分享：
Here comes the core—the action part of the whole thing, a method that has proven to work wonders for me over the last 30 odd years.
Have the speakers placed along the lengths of the room, A B Out ¼ to 1/3 from the back wall, and ¼ the breadth roughly. Then play some vocal music, the hilarious type, the more instruments the better.
Now walk slowly to and fro along the mid-line between the speakers, from one end of the room to the other and then back, may be several times to get the mind set (if the speakers are standing low, you may well have to crawl). Somewhere along the aisle, you would hear the sound getting louder and at the same time it rises A B Ove your head, filling the ceiling as if you’ve entered a Gothic church. Bingo, that is it, the focal point.
Mark this focal point and drag your speakers over the lateral line crossing the spot. You’ve just coupled your speakers to your room. What is left, may be the crucial part yet, is to find the perfect stereo seat. As the name suggests, you’ll have to look for the widest stereo soundstage again along the aisle, between the speakers. If one side of the room does not give you the best definition and soundstage, try the other side. I was the one having my seat moved over to the wrong side of the room to get the best out of my system.
Final note, if you are unable to find the focal spot despite trekking up and down diligently the whole afternoon, your room dimension is probably too bad to be a listening room. Try another room if you have one. If not you’ll have to move house.
