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HAA家庭声学联盟创始人与主席:Gerry Lemay


问:
Hi-End线材与普通线材的差别?是否能够透过测量的手段得到结果?

Gerry Lemay:I think it’s important to point out that it's not whether or not cables can change the sound of your system or even if you can measure it, but rather the utility and value of such changes.  For example, adding resistance to a piece of wire changes the load on the amplifier; is this audible or measurable?  It depends on the amp.  It's not unreasonable to assume that this change will be both somewhat audible and measurable, but is it beneficial?  Its doubtless that one of the characteristics of proper speaker cable is low resistance so the power of the amp does, actually, drive the speaker and not heat up the cable.  I won't restate the many discussions that have been made about the audibility of expensive cables or changing other electrical characteristics such as capacitance or inductance; I'll post a couple of interesting links here.

我认为重要的是要指出,尽管你可以测量出变化,但线材也不能改变你系统的声音,而是有其他的效用和价值。例如,增加一条导线的电阻会改变放大器的负载,这是可以听到还是可以测量的吗?这取决于放大器。假设这种变化既可以听到又可以测量不是不合理的,但它有益吗?毫无疑问,恰当的扬声器导线的特性之一是低电阻,因此放大器的功率实际上是驱动音箱而不是加热导线。我不准备重申许多关于昂贵线材的可听性或改变电容、电感等电特性的讨论,但我会在这里发布一些有趣的链接。

http://www.audioholics.com/gadget-reviews/speaker-cable-and-audio-interconnects&newtab

http://www.roger-russell.com/wire/wire.htm#thetruth&newtab

Playing with any or all of the electrical characteristics of interconnects and speaker cables can change the sound but it's no different than using an RC or RL circuit to change the frequency response of the system.  That's pretty much what old-fashioned analogue tone controls did.  For audiophiles who relish direct circuits without tone controls, adding a "bright" or "dull" sounding cable may be the only way to "tune" the system's interaction with a conversely "bright" or "dull" sounding speaker, but that's not going to preserve the accuracy of the signal or contribute to the clarity or detail of reproduction.  Today we have digital signal processing (DSP) that allows us to not only adjust the target frequency response of the system but also correct acoustical problems that are far more audible than any very minor changes caused by various cables.  These DSP units minimize any distortion and do not contribute to phase distortion.  In fact, it has been shown that correcting the systems frequency response actually corrects the phase response.

任何或者说所有连接器和音箱线材的电特性都能改变声音,但这和使用RC或RL电路去改变系统的频率响应没有区别。这就是老式的模拟音调控制所做的。对于喜欢没有音调控制的直通电路的发烧友来说,添加一条“亮”或“暗”音色的线材可能是调整系统和相反的“亮”或“暗”音色音箱相互作用的唯一办法。但这不是维持信号的准确性或者有利于声音重播的细节和清晰度的方法。今天我们有了信号数字处理(DSP),它使我们不仅可以调整系统的目标频率响应,而且还能正确地解决声学问题,这比各种线材所导致的微小变化听得更清楚。这些DSP单元能最小限度地减少失真,并且不会造成相位失真。事实上,修正系统频率响应可以修正相位响应。

I always recommend keeping the load on the amplifier manageable by using the proper gauge stranded wire for speaker cable and choosing high quality interconnects that are flexible and durable.  And yes, gold connectors are a good thing to minimize corrosion at connection points (and even that can have problems with corrosion if not properly attached).

I think it's worthwhile buying high quality cables, but not to add some non-quantifiable element of quality to the sound, but rather to allow the system to perform reliably and at it's proper specifications.

我总是建议通过在音箱上使用合适粗细标准的线材和选用高质量、灵活耐用的连接头来保持放大器的负载可控。是的,镀金的连接器是一样好东西,它能减少连接点的腐蚀现象(如果连接不当,也会产生腐蚀问题)。

我认为购买高质量的线材是值得的,但是不要在声音上添加一些不可量化的质量元素,而是让系统能够可靠地执行并且符合适当的规范。

Speaker-Near-vs-Far-Response[1].jpg

问:如何在家用环境设置近场、中场与远场音箱的高频衰减量?

Gerry Lemay:I am interpreting your question to be understanding the sloping of the high frequency (HF) response at various distances from the speaker.  The near field is usually defined as within 1 meter of the speaker; here we will see no sloping of the HF response.  A measurement at this distance is often considered similar to the anechoic (no acoustical distortion) response.  This distance is most often used in recording studios and some would argue many audiophile systems are close enough to be mainly a near field signal.  It's important to understand that this non-sloped or flat response is considered to have too much HF and thus is not the best.  Speakers placed this close to the listener should be equalized (EQ) to have a sloped response to sound correct.  This is usually already accomplished in the cross-over of near field studio monitors, but it can be adjusted by a slight adjustment of a treble tone control for other speakers.

我想你的问题应该是想了解与音箱不同距离下的高频响应衰减。通常来说,扬声器在1米以内被定义为近场,这里我们看不到高频响应的衰减。这种距离的测量通常被认为与无回声(无声音失真)响应相似。这种距离最常在录音室中使用,有一些人认为许多音响系统的距离都很近,主要是近场信号。重要的是要明白,这个没有衰减或者平直的频响被认为有太多高频,所以不是最好的。音箱放置在靠近聆听者的位置应该透过均衡处理来得到一个高频衰减的响应曲线,以使得声音听上去更为正确。

这通常是在录音室近场监听音箱的分频设定上完成的,但它可以通过对其他音箱的高频音调控制的轻微调整来达到目的。

In small room acoustics, we rarely discuss the middle field.  The reason is that the defining distance for the far field, the critical distance, is usually in front of any listeners in a proper listening room.  The key to understanding the best sloping is matching the frequency response of your system to the frequency response of the recording or mastering studio where the recording was mixed.  For most high quality movie studios, the dubbing stage has a strongly sloped HF response.  For most music studios, there is a much lesser but still sloped response.  The difference is due to the size of the mastering room; large rooms are calibrated to have strong sloping and small rooms use much less sloping.  In our home theater or listening room we generally desire a less sloped HF response but certainly not a flat response.  It is the calibrator who can determine this but, again, a consumer can simply adjust the treble control to their preferred sound.  I have attached a picture of a "flat" near field measurement versus a preferred "sloped" listening position measurement to help clarify my comments.

在小的室内声学中,我们很少讨论中场。原因是为远场定义距离,标准距离,通常是在一间适当的聆听房间的任何听者前面。理解最佳衰减量的关键是匹配音响系统与录音或者混音录音室的频响。对于大部分高质量的电影工作室来说,配音阶段的频响都有一个很大的高频衰减。对于大部分音乐工作室来说,也有一个较小但仍然需要高频衰减的频响。不同之处在于工作室的大小,大的房间被调校成拥有较大的高频衰减,而小房间拥有较小的高频衰减。在我们的家庭影院或者听音室里面,我们通常需要高频响应曲线有一个小的高频滚落而不是平直的。调校人员可以确认这一点,但是消费者也可以简单地调整高音控制来获得他们喜欢的声音。我附上一幅“平直的”近场测量相对“倾斜的”聆听位置测量的图片来帮助说明我的评论。

I should add that movie sound tracks are often not re-mastered for home theater use although more and more are.  An untouched movie sound track is usually considered too bright (not enough HF sloping) because it was designed to sound good in a large theater with a much more sloped HF response.  Most home AVRs offer a compensation control designed for such sound tracks but it must be manually turned on.  An acceptable alternative is to again use the treble control to adjust the sound to the users preference.

我还要补充的一点是,电影声轨通常不会为家庭影院的使用而重新灌录,虽然这种现象越来越多。一个未经处理的电影声轨通常都会被认为太亮(高频响应衰减量不够),因为它被设计成在有更多高频响应衰减量的大型专业影院听起来更好。大多数的家用AV功放为这些声轨提供了一个补偿控制设计,但它必须手动打开。另一种可以接受的选择是再次使用高频音调控制来调整,以获得使用者更喜欢的声音。

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