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发表于 2012-2-17 16:53:48
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隔壁小龙是玩这个的
《又一次感动，Klein + Hummel O300 正！》http://bbs.erji.com/read.php?tid=1018717
有了小孩后，客厅就不再属于俺，家里音响很久没开过了，暂时也没啥钱专门建个听音室，近几年一直在玩耳机，玩音箱玩了好多年，再来玩耳机，始终是感觉不爽，神马的800，T1只是浮云。折腾音箱，实验室环境有限，只有搞对摆放没太大要求的近场有源监听，原来一直在用单拿BM5，声音一般，最近偶然机会，搞到Klein + Hummel O300,就这么随便摆在桌上，又一次感动了，音乐就在你的两个耳边响起，夸张的声场定位，中正饱满的声音，让我一听就是好几个小时...
原来在架子上用的单拿BM5和它比差距那是太大了。
高階三音路近場監聽：Klein + Hummel O300D http://modernmusician.com/forum/blog.php?b=138
發表於 12-06-2007 06:48 AM 作者: 掌門人
掌門人 更新於 12-06-2007 01:04 PM
響應 Shanw 兄的 speaker 經驗，小弟也談一下我的監聽系統，是一對 KLEIN + HUMMEL O300D。由於事情很多，先簡單談一下。
許多年來我用過不少專業監聽，慢慢知道自己的需要、習慣和喜好後，也想選一個可以用很久的監聽喇叭。基本上近場監聽大多是二音路的，也就是將頻率區分成高低，分別從高低音的單體來推動。我後來感覺到固然有許多二音路的 monitors 做的不錯，如 ADAM 2.5A、PMC 同等級者，但它們都無法完整呈現音樂。最常的情形是：
1) 缺乏低頻，例如 YAMAHA NS-10M。
2) 有足夠低頻，但低頻不受控制，不清楚，例如 Mackie (新的 Mackie 解決部份第一代的低頻問題，高音單體卻變得很暗......)。
3) 分頻點聽起來不太對；中低頻共用一個 speaker，導致效率和清晰度都減損。
4) dynamic 不平均，音量大時聽起來 compressed，這點 Genelec 價位以下的特別明顯。
5) 音量大時感覺聲音受限於箱體，例如 KRK (聲音有些刺激又怪異....)、JBL 等。
6) 高頻刺耳或不耐久聽，例如低價韓國貨品 (非常 harsh sounding)、甚至中偏高價位的 Genelec (Genelec 的高音還算 smooth，和高階 monitors 比起來卻還是差了不少)。
7) 高低頻的反應速度與時間差。為補足低頻問題，和增加銷售量，許多廠商推銷 2.1 的設計。於解決問題的同時，也增加更多的問題。
8) 不過最大的問題仍然是 "深度不清楚"、無法呈現完整頻率、左右定位不清楚等。前兩者上述的 monitors 都無法辦到。
所以最後決定選擇高階三音路 monitors，這個價位倒挺好選。通常低價位沒什麼好選，反正都一樣差，選個最便宜也就是了；中價位最難選，各有優缺點；高價位則不難決定，一來選擇不多，二來主要是符合個性、需求也就是了。
這個價位 (於 2007 年一對大約 $6000 美金上下) 我考慮的是 Klein + Hummel O300D、ADAM S3A (S4A 我也仔細考慮過，但它不太能算是近場監聽，價位更高，約 1 萬美金一對)、約同等級的 PMC。這三者都真的不錯，常在專業 mixing、mastering studios 中可以見到。PMC 聽覺上對我而言有點像 Hi-Fi speakers，所以先淘汰掉。ADAM S3A 的聲音很棒，S4A 更是令人震撼，不過 S3A 和 S4A 聲音對我而言有時顯得有點亮 (可以調整)，另外我不是很欣賞 port 的設計，而 S3A 其低頻和 Klein + Hummel O300D 比則略遜色些。
(上圖：O300D 和 NS-10M。因為之前設的高度之於聆聽位置的高度不太對，兩者都還沒有墊防震隔離墊。)
最後我選擇了 Klein + Hummel O300D。只能說，我從來沒有聽過這樣體積的 monitors 可以發出如此真實的低頻、如此 open 又細緻的聲音。第一次聆聽會因為這樣的聲音而感到驚奇，難以置信，隨後發現它的 "深度與立體感" 更是令人讚嘆，後者只有很少的 monitors 可以做到。其高、中、低頻非常平均，沒有分頻點、壓縮、受限於箱體的問題，高頻聽起來清晰異常，時間久了卻一點都不累。聲音定位清楚，同時聆聽角度又寬廣。
它的缺點是：
1) 真的很貴！
2) 會花很多時間聽音樂 (固然也算是好事)。
3) 再也無法忍受低於此品質或任何二音路的 monitors，不論是 Dynaudio、Genelec.....。
4) 扎實的德國工藝與歐洲聲音美學，不幸的是，卻長得不怎麼賞心悅目。
無論如何，有一對值得信賴的 monitors 真的很好。儘管如此，服務我多年的 YAMAHA NS-10M 還是留下來繼續做比對方面的工作！
PS：
1) Gearslutz.com 上有人認為 Klein + Hummel O300D 的缺點是有時音量不夠大。這點是不存在的，除非工程師的聽力已經受損或有不安全的聆聽習慣..........。
2) 我還是比較喜歡 passive 的 monitors，特別是專業監聽的 power amps 受限於箱體空間、銷售考量，其 power amps 品質還是有發展的空間，和 Hi-Fi 音響的產品設計比較就差了一些。不過專業監聽和 Hi-Fi 音響畢竟是不同的切入角度。如果原廠仔細匹配 speakers 和 power amps 的話，的確可以做到最佳的整合。
Klein + Hummel O300D 的官方介紹：
General Description
The goal: accurate, absolutely uncolored sound
Our aim with the O 300 D was to strive for nothing less than perfection in developing the best compact active reference monitor possible, with accurate, uncolored sound, superb transient response, and ideally shaped waveguides.
The O 300 D is a monitor which draws upon all of Klein + Hummel’s years of experience in monitor design, which has been fine-tuned through extensive computer simulations and countless listening tests. It is indeed unique in its class, for it does in fact deliver superlative sound absent of colorations, precise bass response, picture-perfect dispersion patterns, and a stunningly real soundstage with remarkable image focus and depth.
The advantages of the three-way system
To authentically re-create the sound captured in a recording-particularly a recording of the human voice-an active three-way system was chosen. In comparison with two-way monitors, the 300 D offers clear advantages that have been discussed in detail earlier in this catalog. The sophisticated three-way design employed in the O 300 D makes this loudspeaker system extremely precise and revealing of detail, and it enables the mixing engineer to make critical judgments with supreme confidence.
Exact localization and extraordinary sense of space
By utilising a dense, new, extremely low-resonance material called LRIM, we were able to mould the waveguides required for optimal dispersion directly into the baffle. The elliptical shape of the high-frequency horn makes the dispersion angle in the vertical plane more narrow thus reducing the amount of early reflections off the console surface which would otherwise interfere with the direct sound from the speakers (comb-filter effects), thereby improving spatial definition. At the same time, the effective horizontal listening area is made wider, giving the recording engineer greater freedom of movement in front of the console. The use of LRIM has also made it possible to align the acoustic centers of the two drivers exactly on one plane, parallel to the baffle, thereby preventing time and phase coherency problems at the crossover frequencies. This allows the individual drivers to work together perfectly to produce a precisely detailed soundstage.
Superb sonic qualities
For a loudspeaker system to achieve extremely flat frequency response and create an authentic reproduction of the original sound, its components need to be of very high quality, carefully manufactured, and selected for their compatibility with one another.
The 8¼” (210 mm) cone woofer is made of a special lightweight polypropylene material that has excellent self-damping properties. Its long-excursion voice coil enables this driver to produce very low frequencies at high sound pressure levels with practically no distortion. In contrast to common bass-reflex systems, which tend to blur the low end, the acoustic suspension system of the O 300 D delivers tight, articulate bass which is strikingly clear, detailed, and natural, particularly in transients.
The midrange is handled by a treated fabric dome with a dia-phragm/voice coil of 3" (76 mm) in diameter. Since its mass is much lower than that of cone drivers, it has the advantage of being able to achieve superior impulse response and extremely uniform amplitude response. As a result, midrange reproduction is impressively true-to-life, especially with the human voice.
The high-frequency driver is equipped with a titanium/fabric dome that combines the transparency of a titanium dome with the low distortion of a fabric dome. This driver has been finely matched to its elliptical waveguide, ensuring exceptional directivity.
All three drivers are magnetically shielded, allowing you to place the speakers directly next to video monitors or computers.
Precise room-matching
The O 300 D includes very flexible room-matching circuitry to alter the amplitude response of the monitor as needed, depending on speaker placement, in multiple steps and in three critically relevant frequency ranges. This flexibility can be instrumental in turning less than ideal room acoustics into a favorable listening environment.
High-performance amplification
Each of the three drivers in the O 300 D is powered by a high-performance amplifier that is exactly matched to the driver’s technical requirements and which embodies Klein + Hummel’s long years of audio experience. Precisely tuned electronic crossovers help provide proverbial operational reliability and high amplifier output with minimal distortion.
The monitor is equipped with effective protection circuitry designed to allow impulse peaks through and to respond with limiting only when a voice coil is in danger of thermal overload or a power amplifier runs the risk of overheating. Activation of the limiter is indicated by blinking of the illuminated K + H logo.
Future-proof digital input
The O 300 D is equipped with switchable inputs for analog signals and digital signals in both AES/EBU and S/P-DIF formats. The D/A converter incorporates the latests technology, has a wide dynamic range, 24-bit resolution, and accomodates sampling rates from 32 to 96 kHz.
The analog input of the O 300 D is tranformer-balanced and floating, utilising a superior quality transformer that, even at high volume levels and the lowest frequencies, helps achieve extremely low distortion.
The input sensitivity of +6 dBu allows you to connect all standard studio signal sources.
Unique: separate inputs for external processing
A special connector included as standard equipment on the back of the O 300 D gives you direct access to each of the three power amplifiers. This unique feature enables you to use an external digital controller Pro C 28 to modify the response to compensate for amplitude and phase anomalies resulting from the monitor’s placement in the room or the particular acoustic conditions of the studio. While this type of acoustical optimization will require the appropriate experience and equipment, it is certainly more economical than a structural renovation of the studio.
Solid MDF enclosure, award-winning design
The monitor stands out not only for its sound but also for its attractive, modern design, and in fact received an international design award in 1998. The sides of the cabinet are constructed of low-resonance MDF wood, and the front baffle is moulded of dense LRIM. The cabinet is available in either a charcoal-gray enamel finish or a rugged dark-gray nylon-fiber nap. The attractive metal grille is the final touch.
[ 本帖最后由 davidxtb 于 2012-2-17 16:59 编辑 ] |
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