1000元及其以上多媒体有源音箱的选择

mal_china · 发表于 2007-5-4 19:31

丹拿bm5a评测

Dynaudio BM5AActive Monitors
Published in SOS June 2005
Printer-friendly versionReviews : Monitors

Dynaudio have concentrated on high-quality internal and external engineering to create a communicative new ported monitor which isn't afraid to go loud.

Phil Ward

Photos: Mark Ewing
You can't help but wonder just how many compact nearfield monitor products the market can support. Both new entrants and established manufacturers bring products to the market so fast that keeping up, for anybody, is little short of impossible. One manufacturer that falls firmly into the 'established' camp is Dynaudio, and the company's BM5A, the subject of this review, is in many respects typical of the rapidly expanding field.

Driver Construction & Signal Conditioning
The BM5A is a compact, two-way reflex-loaded system with a 170mm bass/mid-range driver and a 26mm fabric-dome tweeter. A rear-mounted panel carries two 50W amplifiers along with the necessary connection and control facilities. The BM5A's UK price is pitched towards the upper end of the range for the type of product, and it's clear from the speaker's components, engineering, and set of features that Dynaudio have aspirations for it that extend above the project studio to what they'd probably see as more professional applications. Dynaudio's drivers, for example, have always been engineered specifically for the high-power and low-compression demands of professional monitoring, rather than being inexpensive domestic hi-fi units adapted for the job, and the BM5A continues this tradition. The bass/mid-range driver features the company's external voice-coil construction, which results in a much larger coil than would conventionally be found in a driver of this size — a feature likely to reduce thermal compression significantly.

The tweeter is engineered to offer both high power handling and low compression, and it operates over a wider bandwidth than would normally be the case. The standard of engineering necessary to achieve these characteristics doesn't come cheap.

While the basic set of connection and control facilities fitted to the BM5A is nothing out of the ordinary, the monitor seems subtly tailored towards the professional applications. Firstly, there is just one balanced XLR input socket provided (no unbalanced jack sockets here!), and, secondly, there is no gain control provided beyond an input-sensitivity switch with +4dB, 0dB, or -10dB settings. The lack of variable gain control might, on the face of things, seem remiss, but in any truly professional studio setup there would almost certainly be a convenient monitor gain control facility somewhere else in the signal chain. The lack of variable gain controls also brings the benefit that there's less likelihood of unbalanced left and right channels.

Continuing the professional theme, the BM5A incorporates some thoughtfully considered equalisation presets selectable via small switches on the back panel. A high-pass filter, designed to aid the BM5A's integration with subwoofers, can be selected to operate at 60Hz or 80Hz. [During the review period news reached the SOS office that TC Electronic are about to release a new subwoofer designed to operate with the BM-series monitors, including the BM5A — Ed.] Also part of the design will be a low-level LFE input/output for daisy-chaining of subwoofers if necessary.

A ±2dB low-frequency shelf can be switched in to provide some tailoring of the speaker's bass level to its immediate surroundings and to personal preferences. A -2dB or -4dB mid-range notch filter provides approximate compensation for BM5As located above large reflective surfaces — mixers or desks, for example. And finally, a ±1dB high-frequency shelf enables a bright in-room balance to be warmed or a dull one to be brightened. While broad-brush EQ facilities such as these can never recover an inappropriately positioned speaker or poorly performing up-stream electronics, they do provide a usefully comprehensive ability to tweak the balance of the BM5A to suit specific installations.

Overload Protection Circuitry
One of the many clear advantages of active speakers over passive is that the interface between the drivers and their driving amplifiers is firmly defined. Knowing exactly how powerful the amplifiers are and precisely the thermal and excursion-limited power handling of the drivers means that effective and worthwhile driver protection can be incorporated. With passive speakers, effective protection is almost impossible — it just can't accommodate the almost limitless variety of possible amplifier and driver combinations — but with active speakers it can work well. The BM5A takes advantage by incorporating a full complement of protection features for both drivers. In the case of the tweeter, a mute circuit kicks in if the current delivered exceeds a preset level. And in the case of the bass/mid-range driver, a limiter circuit reduces the excursion if the extremities are approached. Along with the driver protection, the BM5A's amplifiers are also thermally protected and will shut down if they get too hot. Bearing all this protection in mind with the inherent high power handling of the drivers, I'd expect the BM5As to be all but unburstable. Should they approach bursting point, however, an orange front-panel LED indicates bass/mid-range driver protection and a red LED shows amplifier temperature protection.
Cabinet Design
One result of the huge number of compact nearfield monitors available is that it becomes harder for manufacturers to differentiate products in terms of their appearance — and this, frustratingly for the manufacturers, at a time when product aesthetics is becoming a more significant factor in success or failure. With the BM5A, Dynaudio have gone for a simple, clean, engineered style that to my mind dovetails well with the market sector the product is aimed at. There's a no-nonsense, serious look to the BM5A that comes from it's heavily engineered and aluminium-look driver chassis, deep cabinet proportions, and semi-gloss lacquered front panel. If the BM5A were a car, I suspect it would wear a BMW badge! Its only concession away from rectilinear shapes is a subtle profiling of the front panel edge thickness that both provides relief from straight lines and perhaps helps a little to reduce acoustic edge diffraction. As far as it goes, I like the appearance of the BM5A.

The speaker's reflex port, flared both externally and internally, appears at the top of the rear panel. The only audio input is on balanced XLR, and level control is limited to a three-position switch. The three EQ switches allow you to tailor the tonality of the speaker within your room.
Internal construction of the BM5A continues the high-quality professional theme established by the external appearance and components. I was pleased to see, for example, a reflex port that's flared both internally and externally. And the BM5A is well screwed together, my only minor gripe being the insubstantial nature of the driver fixing screws — wood screws that would only need a little over-tightening before they stripped their MDF pilot holes.

After all this positive news it would be a shame if the BM5A disappointed when switched on. But fear not, it didn't. It offers a pretty accurate and professional reproduction of the material it's fed, and despite gentle-slope crossover filters, which result in a wide band of driver overlap, it is relatively untroubled by vertical dispersion inconsistencies. In balance terms I felt happiest in my listening environment with the EQ presets set flat, but experimentation with them confirmed their usefulness. Along with being well balanced tonally, I found the BM5A to be revealing and detailed through the mid-range and high end, with an engaging coherence that helped make sense of the material. Hi-fi enthusiasts would call it 'communicative', which is actually not a bad term to explain what I mean.

The BM5A also seemed, as expected, completely untroubled by being asked to play loud. Its balance remained consistent and signs of distress only became apparent at a volume level in my smallish room that I'd personally not be able to tolerate for long. If pushed, I'd make just one critical observation; on occasions I experienced the usual feeling when faced by a ported speaker that bass transient accuracy had suffered a little in the search for bass extension.

So what if, rather than the market for compact monitors being full to overflowing, the Dynaudio BM5A were the only contender; would I hanker after some yet-to-be-designed alternative? Nope, I'd be perfectly happy with the BM5A.

Published in SOS June 2005

mal_china · 发表于 2007-5-4 19:34

交易区新帖推荐

8040a

Genelec 8040A & 7060AActive Monitors & Subwoofer
Published in SOS December 2004
Printer-friendly versionReviews : Monitors

Genelec update their popular 1000-series monitors, improving the technical specifications without losing the family sound.

Paul White

Photos: Mark Ewing
Genelecs new series of active studio monitors comprises three models: the 8030A, 8040A, and 8050A. These can be thought of as improved equivalents of the 1029A, 1030A, and 1031A. Because their performance is ostensibly similar, they can be used with the same Genelec subwoofers where additional low-frequency extension is required, and in the case of the 8040As reviewed here that would be the 7060A for stereo or the 7070A for multi-channel surround. If these new speakers have equivalents in the existing models, why produce them at all? A fair question, and the answer would seem to be that the 8000 series has a little more LF extension, lower distortion, and quieter electronics. The new models also include an extra DIP switch setting on the rear panel to compensate for the 160Hz hump that arises when small monitors are placed on a desktop or console meterbridge. Bass management is provided by the Genelec subwoofer, which removes unnecessary low frequencies from the main speaker feeds. Other claimed improvements include smoother on- and off-axis frequency response and better transient response. As with the previous models, both drivers are magnetically shielded.

More Of Everything
The most obvious outward change is that the 8000-series speakers have a distinctive new cabinet shape attributable to Finnish industrial designer Harri Koskinen. In order to maximise the internal volume of the cabinet while keeping the external size as small as possible, the cabinet is now cast from aluminium. This can be much thinner than a wood-composite cabinet and has a high degree of rigidity without the need for bulky internal bracing. Aluminium is also a very good conductor of heat and, by mounting the drivers directly onto the cabinet, the cabinet doubles as a heat sink. Genelec describe the cabinet design as MDE or Minimum Diffraction Enclosure (complete with obligatory trademark symbol), which in real terms means that the shape is designed to minimise edge diffraction (no sharp corners) and also so that the baffle shape matches the directivity of the drivers at the crossover point. Genelec were early adopters of the acoustic waveguide for HF baffles, and this cabinet seems to represent an extension of that. The bass/mid-range driver, which has a concave rather than convex centre cap, is protected by a contoured metal grille, and a similar perforated grille protects the tweeter.

To achieve lower distortion, Genelec have changed every component in the speaker, the low/mid-range driver being a new design with a more linear suspension and a tweaked magnetic assembly. The bass reflex port has been moved to the rear of the cabinet to make the best use of space and also to reduce port noise, and the shape of the port is based on research done when designing the 7000-series LSE subwoofers. Essentially the port is longer than normal, which means it has to be curved, and it has a wider cross-sectional area plus a flared outlet to reduce the noise of air in the port, though additional work was done to minimise the effects of the port resonance, which can be a problem with longer port pipes. Genelec suggest that, as a test, you play a clean sine wave into the speakers at the port's cutoff frequency and listen to the result, then do the same test with other speakers.

Having the port at the rear has no serious mounting implications, provided that the distance between the cabinet and the wall is at least 50mm. However, the positioning of the speakers is less critical if a sub is being used, because no significant bass energy is emitted from the speaker ports when they're set up for use with a subwoofer.

The 8040A features a 6.5-inch bass/mid-range driver complemented by a 0.75-inch metal-dome tweeter driving into a waveguide-shaped depression (DCW or Directivity Control Waveguide) moulded into the cabinet. Both internal amplifiers are rated at 90W, and the crossover frequency is set at 3kHz. At the base of the cabinet is a new mounting system called Iso Pod, which allows the cabinet angle to be adjusted, and the resilient material from which it is made provides a secure mounting without the need for Blu-Tac or other improvised solutions. The overall size is 365 x 237 x 223mm, and the complete monitor weighs a substantial 8.6kg.

Used in stand-alone mode, the 8040A (measured per pair) can deliver SPLs of 105dB short term RMS with peaks of 115dB at 1m across a frequency range of 48Hz to 20kHz ±2dB, though used in conjunction with the 7070A subwoofer the system response goes right down to 19Hz. Connection to the speaker is via an XLR connector, and the input gain trim now has an 80dB attenuation range. The familiar Genelec DIP switches are provided for adjusting the tonal balance for configuring the speaker for use with a subwoofer. In addition to the Desktop mode, these include settings for treble tilt, bass tilt and bass roll-off, where the appropriate settings are illustrated graphically in the manual for various placement configurations. In additional to the Iso Pod mount, there are also threads at the base of the speakers to fit Omnimounts. The smaller 8030A may also be mounted on a mic stand.

7070A & 7060A subwoofers
The larger 7070A subwoofer uses a single 12-inch driver, and the enclosure has a novel helical structure that provides the necessary porting with no problematic corners or abrupt transitions. It has a frequency range of 19-85Hz and can generate SPLs of up to 112dB. A bass level control gives a +12/-6dB range, while bass roll-off can be introduced in 2dB steps up to a maximum setting of -6dB. There's also a phase switch that goes from zero to 270 degrees in 90-degree steps. Power comes from an integral 250W amplifier, and the overall size is 625 x 555 x 490mm with an all-in weight of 50kg. Six regular inputs plus one LFE input are provided, allowing the sub to be used for surround monitoring — up to seven satellites can be fed from a single 7070A.

The smaller 7060A, which is the sub under review here, has a similar physical design and the same controls, but uses a 10-inch speaker rather than a 12-inch speaker, and the frequency range extends down only as far as 29Hz. There are still surround inputs (left, centre, and right for both front and rear), though in conjunction with the 8040A this subwoofer is recommended mainly for use in stereo monitoring systems. The 7060A is considerably lighter (26kg) and rather smaller (527 x 462 x 360mm) than the 7070A, and it has less than half the amplifier power of the 7070A (120W), the maximum SPL being some 4dB less at 108dB.

The 7060A's cabinet is both simple and pleasing, with a sheet-metal spiral at the centre and thick MDF end cheeks. This means that if you consider the port to be pointing towards you, the speaker is driving out of one side of the box and the control/connection panel is on the opposite side to the port. This panel houses the mains inlet and power switch as well as XLR inputs for a maximum of six speakers, which means you could use this sub in a 6.1 configuration if required. There's also an XLR feed for linking to additional subwoofers, and a corresponding XLR input to accept a daisy-chain connection. A Bypass jack lets you turn off the filtering of the main speaker outputs, allowing them to receive a full-bandwidth signal, but this does not affect the LFE channel. Additionally, an Ethernet-style connector provides a remote control option which offers overload LED, remote bypass switch with status LED, and a switch for +10dB boost, again with status LED — the latter is often used when switching between music reproduction and film soundtracks. A sensitivity control adjusts the input sensitivity of the subwoofer and affects both the six main channels and the LFE channel so as to maintain a constant main/LFE balance.

Of course no Genelec active speaker or subwoofer would be complete without its quota of DIP switches, and there are two blocks of four at the centre of the panel. The leftmost switch adjusts the LFE bandwidth (85Hz or 120Hz upper cutoff), and Redirect decides whether LFE frequencies above 85Hz are sent to the centre front speaker (operates only when LFE is set to 85Hz cutoff). The LFE +10dB switch does what it says, and also affects any daisy-chained subwoofers and the Test Tone mode. Test Tone mode provides an 85Hz test signal, and both the LFE +10dB and Sum In DIP switches must be turned on for calibration, after which they may be returned to their normal positions.

The right-hand block of switches controls the bass roll-off in steps of 2dB or 4dB, and when these are used together they provide a 6dB attenuation. The remaining two switches set the crossover phase to compensate for the physical position of the sub relative to the main monitors. One switch provides zero or 180 degrees of shift and the other 90 or 270 degrees.

Testing
My first tests were carried out without a subwoofer connected, and the little 8040As delivered rather more low-end extension than I was expecting for such small enclosures. They have an extremely clean and detailed sound with excellent stereo imaging, though they aren't particularly forgiving if you feed them even slightly harsh or distorted material — they let you know exactly what you're dealing with! Indeed, some commercial recordings sounded uncomfortably edgy played back via the 8040As, but I'd rather have a monitor that puts the spotlight on recording flaws rather than one that glosses over them.

Having said that, I've always felt that Genelec monitors are more 'forward' sounding than suits my own taste, but I know a lot of people like working with them, so it really is a personal preference thing. Overall, I'd say the sound was most definitely traditional Genelec, but with the benefits of some technical improvements, specifically in the area of amplifier noise and greater LF extension.

Some users complained that the 1029As had noisy amplifiers, but these ones are at least 4dB quieter overall, and around 12dB quieter in the 3kHz region where the human hearing system is most sensitive. It's also worth pointing out that 8000-series monitors can be mixed with their 1000-series counterparts in a surround system, although Genelec recommend that the older models be used as rear surrounds and the new models be used for the front three speakers in a 5.1 system.

Tested with the 7060A sub, the integration was seamless, and at no time did I feel that I could hear the sub sticking out at all. The impression was of the main speakers having great bass extension, which after all is the point of a good sub. Finding the best position for the sub in the room requires a bit of work, and you may need to adjust the phase switches, but the manual offers a procedure that makes this fairly painless. Technically, this system is larger than needed for my relatively small studio, but there were no problems in getting it to work correctly.

Family Values
I think it's fair to finish as I started by saying that these new monitors have the same family sound as the 1000 series, but they have been upgraded in several areas. In other words, if you like the Genelec sound, then you'll certainly appreciate these new monitors, whereas if you're not a Genelec person this new range is unlikely to convert you.

The integration with the subwoofer is near flawless, and the system seems fairly tolerant of room size and characteristics provided that some basic acoustic treatment is in place and you follow the setting-up procedure properly. The extra switch to help with desk mounting is a good idea, though any such compensation can only be approximate.

If you like a clean, clear monitor with plenty of high-end extension and great stereo imaging, the 8040As won't disappoint, and they make a great nearfield monitor without the subwoofer. With the sub you get a full-range monitoring system that's big enough and loud enough for most project-studio rooms, and there's a certain amount of tonal tweakability on the rear panel that can help you get the monitors sounding the way you'd like them if the flat position isn't to your taste.

mal_china · 发表于 2007-5-4 19:35

Event ASP8Active Studio Monitors
Published in SOS April 2004
Printer-friendly versionReviews : Monitors

Event up their game once again with their best ever design for project-studio monitoring. But have they come far enough to continue to face off the competition?

Paul White

Photos: Mike Cameron
Event Monitors have successfully occupied the middle ground in studio monitoring over the past few years, providing an affordable bridge between budget monitors that may fall short on accuracy and high-cost professional systems priced beyond the project studio market. Now Event have raised the quality stakes with the release of their Studio Precision series, featuring all-new drivers and electronics. There are four monitors in the range, two based on 6.5-inch bass/mid-range drivers and two on eight-inch bass/mid-range drivers. Each size comes in both active and passive versions, though this review focuses on the top-of-the-range ASP8 eight-inch active model.

Cabinet Design

Compared with other studio monitors, the ASP8 looks rather wide and squat, its 12.5 x 16 x 11.9-inch cabinet being almost 50 percent wider than that of my Mackie HR824s and weighing in at a substantial 32.5lbs. Like the other Studio Precision models, the ASP8s are two-way monitors based on a ported enclosure, where both drivers are magnetically shielded. The dual front porting means the speakers can be used close to a wall (or even be soffit mounted) without upsetting the cabinet tuning. A clever bit of design on the part of Event is that the port tubes are curved inside the cabinet, which means that they can be longer than could normally fit into the space. This extra port tube length apparently allows a more extended low-frequency response, while compromising the transient response less.

In line with other Event monitors I've tested in the past, the parts budget has gone mainly on good drivers and crossover components, rather than on over-fancy cabinet cosmetics. That's not to suggest that the ASP8s don't look great, however — the front baffle has generously rounded edges and is finished in a sumptuous black 'piano' gloss, with recessed driver surrounds and a shallow moulded tweeter waveguide. However, the rest of the cabinet is constructed, albeit solidly enough, from plain old MDF with a black ash finish. A green LED on the front baffle shows when the monitor is powered up.

The one-inch tweeter is a soft-dome device with a ferrofluid-cooled voice coil and neodymium magnet. In audiophile circles, soft-dome tweeters are generally held to produce the most natural and most musical sound, even though they can't match metal-domed tweeters or horns for out-and-out volume. Neodymium produces a stronger magnetic field than standard ferrite magnets, though designers often disagree on whether to use it.

The bass/mid-range unit also uses a neodymium magnet, and employs a mineral-filled polypropylene cone in a damped rubber surround. A high-temperature voice coil drives this cone, and the whole driver is set in a contoured plastic surround that also incorporates the power LED. The contoured surround isn't just cosmetic, however, as smoothing the transition from the driver edge to the baffle minimises diffraction problems, which might otherwise cause coloration.

Both drivers are magnetically shielded to avoid interfering with CRT computer monitors, though of course magnetic fields have no effect on flat-screen TFT displays. The shielding is accomplished not by means of some mysterious force field, but by the simple expedient of using additional magnets to substantially cancel out the stray magnetic fields. Although the drivers are designed to be fairly efficient, there's plenty of power on hand to ensure that they can be driven up to high SPLs without the risk of clipping. An 80W amplifier feeds the tweeter, while a 200W amplifier drives the woofer. These are both programme power ratings, so the continuous power rating will be correspondingly less, but there's definitely no shortage of level or headroom, and the frequency response is an impressive 35Hz-20kHz within 3dB.
The crossover is an active fourth-order asymmetrical design crossing over at 2.5kHz, and includes an internal subsonic filter plus a further filter to combat radio-frequency interference. One of the advantages of an active design is that steeper crossover filters can be employed to minimise the overlap between the ranges of the high- and low-frequency drivers, and also to ensure that very little energy is fed to the tweeter at frequencies below the crossover point where its performance isn't as accurate as within its designed working range.

Further protection circuitry niceties suppress power switching transients (to avoid thumps when switching on or off) and guard against overheating or excessive amplifier current. This is important, as recorded pop and dance music tends to be highly compressed to increase density and loudness, and this in turn means the overall sound energy content is higher than if the audio retained its natural dynamics. By monitoring current and heat, the amplifiers can be shut down in the event of them becoming dangerously hot due to prolonged periods of use at very high listening levels.

Connections & Controls

Event have been able to fit longer port tubes into the ASP8 by curving them back on themselves inside the cabinet.
The rear panel provides a chassis for the electronics and is also instrumental in shifting heat away from the power amplifiers, but from the user's perspective it provides the control and connection panel for the speaker. Mains comes in via an IEC socket with an adjacent rocker power switch, while the signal input can be accommodated by either a balanced XLR or a balanced jack (wired in parallel). The parallel wiring means that the unused input may also be used as a straight-linked pass-through output if such is required. A small rotary control adjusts the input sensitivity from -20dB to maximum.

For use in surround systems or stereo systems with subs, there's an 80Hz switchable high-pass filter, though there's also a manually adjustable low-frequency control offering up to 2dB of cut or boost below 400Hz (which is 3dB of cut or boost below 100Hz). A similar arrangement allows the high end to be adjusted over a ±3dB range for frequencies above 2.6kHz. This ability to adjust the frequency response isn't purely there to pander to the taste of the user, however, as the low-end performance of a speaker is partly determined by its proximity to walls and corners, so the ability to trim the low end can help compensate for room position. A 3dB cut isn't really sufficient to compensate for corner mounting, but as a rule corner mounting is a very bad idea anyway, as the bass end becomes very uneven. For less experienced users, the switchable 'full space', 'half space' and 'quarter space' settings provided by some other manufacturers may be easier to deal with. The high end may need to be adjusted to match the high-frequency reflectivity of the room, though user taste is also a factor.

Listening Tests

Sometimes I feel I need to describe every nuance of the sound in order to give the reader some impression of the character of a speaker I'm reviewing, but in the case of these Events, they just sounded 'right' as soon as I ran them up. They have enormous depth, courtesy of their extended low-end range, and I can't tell you how loud they go because I gave up before they did! Of course the fact that they sound 'right' doesn't mean they are the equal of the very best speakers out there — the Adam S3As I was using for comparison at the time had a slightly more tightly controlled sound and better transient definition, but then they're over twice the price in the UK and feature some very exotic ribbon tweeters. In their own price range, the ASP8s performed beautifully and compared well with my Mackie HR824s, though their soft-dome tweeters give them a slightly smoother sound at the high end and possibly a more natural-sounding mid-range. This smoothness may well win over some audio purists, but both monitors can produce excellent mixes and, at some point, the sound comes down to personal preference, with some users preferring a slightly more 'forward' high end.

Voices came across very naturally, and there's enough resolution to hear when something is perfectly recorded or not. For example, I'd been having some digital audio problems which had been resulting in jitter and occasionally glitches. The problems were quite evident when heard over the ASP8s, as were the benefits afforded by the eventual solution. Although the ASP8s are larger than many project-studio monitors, their stereo imaging is a good as many much smaller speakers, and because they have so much power in hand, they sound effortless, even when handling high-energy dance bass and kick sounds. I used them for a couple of weeks both for electronic and acoustic music recording and thoroughly enjoyed the experience. Any shortcomings they may have are so minor that they won't get in the way of making great mixes, and the quality is, I think, a further step up from previous Event models, which I still feel offer a high level of performance within their price range.

Precision For The Studio

These monitors are the latest and greatest in the Event range, and though the ASP8s are more costly than anything Event have done before, I think the hike in quality justifies the extra cost. It's probably fair to say that this range can stand shoulder to shoulder with the likes of Mackie and the smaller Dynaudio and Genelec models, but as the UK price is also comparable, you'll need to hear them for yourself to see if you prefer their 'musical interpretation' to that of their competitors.

You also have to keep in mind that these are the biggest monitors in the Event SP range, and as such they are probably best suited to those with larger-than-average project studios and who need plenty of level and bass extension for mixing high-energy music. The ASP8s are of course perfectly suitable for mixing more subtle material, but if you don't need this degree of level or bass extension, then the smaller ASP6 model may be a more practical choice, especially if you are working in a smaller room.

I've always had a lot of time for Event monitors, as the designer Frank Kelly always seems thoroughly immersed in his subject and spends his manufacturing budget in the areas that matter most. This new range of speakers is Event's best yet, and they compare well with anything in their price range. There are no clear winners in the monitor market, as every user has different expectations, but the Studio Precision range has placed Event amongst the front runners in their price bracket.

mal_china · 发表于 2007-5-4 21:15

如何选择你的第一对监听音箱

监听方式的改变

　　在几年前，录音师和制作人在录音时仍大多依靠嵌在墙壁上的大型音箱来监听，而混音完成的作品再用便宜的家用音箱或汽车音箱重复聆听，做最后的修正。

　　因为那时录音师们认为，假如在这些品质不高的音箱上放出来的声音会好听的话，那么制作出的成品在电台播放时，我们在街上随处可听到商家播放出的感觉应该也不致有何问题。换句话说，就是用低品质的音箱来模拟现实收听的环境。

　　后来，为了方便起见，录音室开始采用小而便宜的音箱，将他们放在调音台的表头(Meter Bridge)上，这样录音师就可以随时切换嵌墙式的大音箱和这种小音箱来比较，渐渐的，录音师对这种小音箱的依赖愈来愈重，而这种小而便宜的音箱，就是近场监听音箱的前身。

　　录音室自从大量的使用这种小音箱后，监听的习惯也随之而改变，从以往的用大型嵌墙式音箱来试听录音和混音的效果，改为用嵌墙式音箱来录音，而用小型音箱来混音。虽然大音箱在频率响应与定位上都比小音箱来得好，不过仍然有部分录音师认为他们从小音箱上所发掘出来的优点，总会有取代大型Hi-Fi立体音箱的一天。

　　事实证明他们并没有错，今天我们可以见到大部分的专辑都是用这种改良过的小音箱来进行效果监听的，也就是使用近场监听音箱来完成的，而大型的嵌墙式音箱只是偶尔用来放给制作人听，或是在专辑完成后做最后的审验时才用到。两者的角色巧妙的对调了。

　　著名的音箱设计家Ed Long是第一个解释这种角色对调原因的人，Long的观察与解释是：近场监听音箱的位置比较靠近录音师，换句话说直接进入耳朵的声音量(Direct Sound)要比经由墙壁、地板等反射后进入耳朵的声音量(Reflect Sound)多得多，因此这种音箱的设计避免了因环境反射而造成的模糊声响，也就是说，它们较能表现音乐的细节，而由于它们的音压(SPL)通常较低，所以可以避免因长时间聆听而造成的听力疲乏。

　　由此我们可以得知，录音师只有坐在音箱的"近场"范围内，才能听到优越、清晰的音乐，而近场监听音箱的名称已经描述了使用这种音箱进行监听时基本需要注意的地方。

如何选择近场监听音箱？

　　近场监听音箱有几个必备条件，平坦宽广的频率响应(Flat Frequency Response)，线性的相位特性(Linear Phase Charastics)，承受瞬间高峰值声音(High Peak Level)的能力，理想状况下，应该还要有避免不正常状况所造成伤害的保护线路(Protection Circuit)。市面上有许多不同的近场监听音箱都能够满足以上这些条件，只是在程度上有所不同，而察看它们的特性规格表(Specifications)可以缩窄你选择的范围。在察看时需要注意以下特性：

　　1．是否为同轴(Coaxical)音箱；
　　2．是否具有防磁功能；
　　3．是否具有低音反射孔，还是密闭式的音箱；
　　4．主动分音还是被动分音，分音点的频率；
　　5．高音单体为圆锥形还是圆顶型；
　　6．低音单体是一颗还是两颗，单体的尺寸；
　　7．二路分音还是三路分音；
　　8．平均音压值与承受音压；
　　9．峰值功率与输出功率；
　　10．频率响应曲线如何；
　　11．自备功率扩大机还是需要外接。

以上这些选择要点都可以为你提供一些选购参考，当然这一切还是要依用途而定。

　　举例而言，如果你在工作时需要使用多媒体，而监听音箱又要放在电脑旁边，那么防磁的特性就很重要；而对于经常需要变更工作场所的音乐人来说，自备功率的音箱则更为便于携带；如果音箱需要完成配乐、特效、电台、唱片...等不同任务时，所需要的音箱也不相同，许多国外的电影配乐工作者就比较喜欢使用具有两个低音单体的近场监听音箱。

　　即使有规格表可以参考，也并不表示你就可以完全依赖它，因为有很多参数是在理想状态下测量出来的，譬如音压值是在无响室中以1kHz的频率，在1W, 1m的标准下测量得出的；频响曲线，都是非常平坦，但是实际使用时是不会抱着一台频谱仪去实际量测的，此时，我们的耳朵就是另一个判断的工具。找来一些你很熟悉的音乐做测试片，可能的话最好包括男、女人声独唱、多声部合唱、钢琴独奏、管弦乐团合奏、室内乐、爵士乐、摇滚乐以及鼓、打击乐器的独奏，播放试听一下，测试时人要在近场范围内，让耳朵与驱动器的位置同高，听听看低音部分是否清楚？高音是否刺耳？定位如何？凝聚力如何？残响的尾巴是否自然清晰？好的进场监听音箱像显微镜一样，可以将声音的每一个细节都表现出来。试着加上一台EQ，作一些细微的调整，测试一下是否能够听出变化。

　　有一点要提醒大家的是，CD毕竟是经过混音过的东西，如果能找到一些动态大、频率范围宽的CD，还可以测试它的承受力，当然，扩大机的功率要够。近场监听音箱的摆放位置同样还影响着音色的平衡(Tonal Balance)与相位的特性(Phase Charastics)，通常，我们要注意避免必与其他物体的反射，否则很容易使低音增强，听到的效果也不再自然。

　　使用近场监听音箱虽然大家都知道音箱要怎么接、怎么用，可是我们仍然提出一些需要注意的小地方供您参考：

　　1．避免让监听音箱长期处于高输出状态，因为它们是放在离耳朵不远的近场，高输出会造成耳朵的听力疲乏，甚至会造成伤害，有一些音箱在高输出时会造成失真(特别是同轴音箱，容易造成内部调变失真(intermodulate distortion)，而且还会造成对音乐效果错误的判断。

　　2．避免使用功率不足的扩大机，通常我们都会选择使用高于平均承受功率两倍或两倍以上的扩大机，瓦数不足很可能会使瞬间的高输入音量无法被放大器消化而产生切削，大量的方波会冲像高音单体，造成高音单体被烧坏，许多录音室都是因为没有找到问题出现的具体原因而延误了设备的使用，其实有时问题就是出在扩大机上。

　　3．要注意近场监听音箱的低频限制，有些录音师在混音时常习惯性地使用EQ将低音增强，在录音室听起来的确很棒，但是如果将这样的成品转录成CD，可能低音就会过量，因为一般来说近场监听音箱在120Hz以下的表现还不够好，所以当你刚开始熟悉一对监听音箱时，最好把混音完成的作品重新检查一次，尤其是合成完成后的母带，一定要再检查一次，避免出现上述现象。

mal_china · 发表于 2007-5-4 21:17

买监听音箱前必看--名牌监听音箱大全
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本指南对您有帮助么? 10人评分，其中9人认为有帮助. 　
喇叭厂商在所有音响中器材中是数量最多的，通常也是音响店中最占地方的，最引人注目的。这篇文字将介绍现有的喇叭厂商中，比较具有知名度的，既然能在众多竞争者中生存下来，就必然有它独到之处，可值得大家学习的地方。　　

监听喇叭对抗赛　　

目前的录音室监听喇叭似乎没什么标准，不同的录音室会按照它们的环境与需求选择适合的扬声器，不过在七０年代以前，所谓的监听喇叭通常要照权威机构制订的规格来制造，有时还得获得认证才算数。早期的监听喇叭只要求有平坦的音域平衡、精密的解析能力与低染色等特质，好不好听并不重要。同样从七０年代开始，观念有了转变，录音师认为刺耳的声音会影响工作情绪，所以监听喇叭必须两者兼顾。从Altec Lansing独立出来的JBL是个好例子，它们所推出的4300系列因为相当好听，在日本造成很大的风潮，事实上像4320、4333、4343、4350这些喇叭并没有什么「监听标准」，当时录音室也习惯采用Alte c的604、605等系列喇叭。　　

早期英国的监听喇叭由Tannoy执牛耳，五０年代以后国营的BBC广播电台开始针对不同需求设计监听喇叭，例如演说、音乐、现场录音、副控监听等，有了一系列标准出来，包括Rogers、Harbeth、Spend or、KEF等都生产过BBC标准的扬声器。长青树LS 3/5a就是BBC标准之一，设计用来近场监听，它的声音公认非常富有魅力。美国方面由RCA奥松博士设计的LC1系列喇叭在四０年代风靡一时，之后由Altec与JBL逐渐取代，利用这两家公司单体改良的Westlake、Wooray也获得不错成绩。日本方面国营的NHK电台参考BBC标准也制订了BTS规格，三菱电机根据此一规格在五０年代制造的Diatone 2S205与2S305，有阵子几乎成了日本录音室的共同标准，直到Pioneer与Yamaha加入后，监听喇叭才有多元化的发展。　　

B&W 　　

1966年英国电子通讯工程师John Bower与朋友Roy Wilkins在Worthing这个地方合伙开了一家音响店，此即B&W的由来。John Bower在这里帮人家组装喇叭，以B&W牌子推出的第一号产品是P1，它们利用赚来的钱买来一些二手测试仪器。1967年推出的P2喇叭采用离子高音与积层玻璃锥盆的低音，颇获好评，成为B&W第一支外销的喇叭，B&W勇于创新的传统于焉建立。1970年B&W建立了研发部门，推出静电与锥盆混和设计的DM70C喇叭。1974年开始用研究以杜邦防弹布Kevlar来制造喇叭单体，第一对成品DM6在两年后推出。至于我们现在所熟悉高音长在音箱顶部的B&W造型，是从1977年开始的，革命性的B&W 801喇叭则在79年的WCES被介绍出来，以雷射干扰仪进行测试获得很大的进步，EMI的Abbey Road率先采用801 为监听喇叭，随即Decca与德国宝丽金集团也跟着加入。时至今天，Matrix 801的Series III，仍是古典音乐界使用最广泛的监听系统。这对喇叭使用30公分的高分子聚合物锥盆低音，Kevlar振膜的12.6 公分中音与2.6公分金属高音独立装在两个箱中，避免互相干扰的问题。日本Technics在1975年推出的SB7000，以及英国KEF稍后推出的105，都采用类似造型，但只有B&W顽强的生存下来。　　

1991年时由Laurence Dickie设计的鹦鹉螺喇叭原型展出，震惊世界，1994年正式推出后更被视为后现代主义的代表作，声音同样不同凡响。B&W为追求完美的声音，曾研发过许多大胆创新的造型，例如烟斗型的喇叭、像个胖娃娃的Blue Room等，集大成者当然就是鹦鹉螺了。但是鹦鹉螺毕竟过于前卫，售价也偏高，所以B&W把脑筋动到畅销的801身上，在推出崭新的Nautilus 801，以及更小的Nautilus 802、803、805等，我们看到已经有录音室把Nautilus 801供奉上去了。Nautilus 801仍采用2.5公分铝金属高音，磁铁改成钕铁硼磁铁，音箱后面也加了金属导管。六寸的Kevlar振膜中音除了加装相位锥，音箱则改用人造石材制作。至于低音从12寸改为15寸，振膜是纸纤维与Kevlar的复合材料，箱室内机关重重，低音反射孔朝下。规格上看新的Nautilus 801低频延伸只到29Hz-3dB，反而不如旧款801，实际上根据许多专家的试听，Nautilus 801不论是设计与声音表现，都远超过旧款801，价格亦然。B&W会就此打住吗？当然不会！

　　Tannoy与KEF 　　

Tannoy开始的历史相当早，可以说他们是英国音响工业的肇始者之一。1926年一位叫Guy R. Fou ntain的广播工程师在伦敦家中的车库里发展出一具既简单又可靠的整流器，对于当时刚刚起步的收音机刚好合用，于是三年后Guy Fountain成立了Tannoy公司。Tannoy这个名字的由来，也就是整流器所使用的两种金属材料钛(Tantalum)及铝合金的缩写(Lead-Alloy)。工厂成立后，Guy Fountain开始着手研究利用直流激磁的动圈式喇叭，很快的就获得成果，不过真正让Tannoy成名的，却是一九三○年他们接获的一纸合约。由米尔斯爵士(Bertram Mills)成立的「国际大马戏团」积极向外拓展，计划成为第一个靠铁路旅行的帐篷马戏团，他们需要一套可靠耐用，能发出很大声响又不会刺耳的音响系统，Tannoy 雀屏中选。　　

从此以后，Tannoy就以制造高品质的PA喇叭和录音室监听喇叭而闻名，英国的议院，联合国大厦相继采用Tannoy产品后，等于替他们挂上了保证书。一九五○年代Tannoy一方面在通信器材方面颇有斩获，一方面随着立体声的发展开始进入家用市场，就在这时他们推出第一批同轴设计的喇叭。目前不论是家用或监听喇叭，Tannoy仍然以同轴单体作为主力，System 215 MKII是Tannoy监听喇叭的顶级型号，使用一颗38公分的低音与一颗38公分的同轴单体，听起来却与家用Tannoy喇叭有极大差异，声音轻快明朗，表情直接，动态尤其可观，Tannoy的监听喇叭已经从英国走向世界市场。制作扩大机的David Manley向Tannoy购买25公分的同轴单体，自行设计了以Manley Laboratories为品牌的监听喇叭，并获得喇叭花老板Dung Sax的支持，可见得Tannoy单体也很厉害呢。　　

成立于1961年的KEF最早是以生产单体起家，几乎所有英国喇叭厂都曾向他们购买单体，著名的BBC LS 3/5A早期15欧姆版本，就是用KEF的单体。七○年代KEF的工厂发生过火灾，生产线付之一炬，有一说LS 3/5A之所以改成11欧姆是为了求得更佳的线性，但也有一说是因为KEF无法再供应旧型单体所致。无论何者为真，起码可以看出KEF在英国音响界举足轻重的地位。另外KEF所开发出来的椭圆形低音单体B-139，更是划时代的贡献，以其不大的振膜面积，却为将低频延伸至30Hz左右，这也说明了KEF设计单体的能力，许多喇叭套件挂上KEF标志后几乎就等于品质保证，KEF在专业领域的声望，单体多于成品。 KEF自制喇叭开始建立声望，是从1973年的104开始，在LP时代KEF这对喇叭的宽广音域和动态表现曾令许多人陶醉不已。KEF的自制喇叭并不快，1976年才推出105，随即改良为105/2，又掀起一片市场上的热潮。1979年KEF研究出S-Stop技术，八四年则推出使用空腔耦合技术(Coupled Caviy)的104/2喇叭，其独特的构思与丰富的低频表现当然引起许多惊叹之声。同一年KEF的工程师发表了高低音同轴技术，成为与Tannoy竞争的唯一对手。八九年KEF进一步改良设计，推出称为「Uni-Q」的同轴单体，第二年的105/3 同时使用空腔耦合与Uni-Q同轴技术，其优异表现震惊四座。不过目前KEF的旗舰仍是九二年推出三音路设计加上主动式低频等化的107/2。前几年英国市场极度不景气，香港财团资金开始介入KEF的经营，相信KEF会朝更大众化的路线前进。　　

Genelec 　　

来自芬兰的Genelec成立于1978年，主要生产主动式监听喇叭，越来越多录音室加入Genelec的行列。Genelec使用的都是传统锥盆单体，中高音部份装在具有号角扩散效果的面板上，厂方称为「Direct ivity Control Wave Guide」，可有效控制方向性与相位特性。所有单体的的电平、分频斜率可调，是Genelec喇叭的另一个特色，透过这些精细调整，在不同录音室中可取得理想效果。每个单体各有独立的主动式扩大机，也是它受欢迎的原因之一，接线上去就能得到逼真、硬朗、率直而高解析的声音，加上黑色身材给人雄壮威武的感觉，不愧是正统监听喇叭。　

Pioneer与Westlake 　　

Pioneer的最顶级产品通常使用Exclusive的品牌，喇叭亦然，使用TAD（Technical Audio Divise ）单体的Exclusive喇叭，看着漂亮，听着杰出，买着却很烫手。TAD的低音使用特殊铸造法，整个框架一体成型，可以发出很深沉的声响。装有铍金属振膜的高音驱动器，加上非对称的木制号角，使Exclusi ve喇叭非常富有力感，它的音域不是特别宽，但速度快，中频丰富，能量感十足。另外超高效率也是其优点之一，台湾俊金也利用TAD单体设计了一系列喇叭，品质不输舶来品，使用Luxman的小真空管机就能发出非常庞大且震撼人心的效果，当然它的价格也是很惊人的。　　

1970年由Glenn Phoenix所成立的Westlake，早年与JBL有密切的关系，使用JBL制造的各种单体，由于Glenn Phoenix原来是美国西岸的录音界名人，他按照自己标准所设计的喇叭，很快就打响知名度。Westlake的大型监听喇叭与Exclusiv有异曲同工之妙，它们都使用木制号角与大口径低音，五路分音的SM-1却比Exclusiv豪华多了。笔者曾在Glenn Phoenix设计的空间中欣赏过多套Jadis JA-200后级推动SM-1，播放在Westlake录音室制作的麦可杰克森专辑，凌厉的动态彷佛脸上被打了一巴掌似的，听完以后火辣辣的非常过瘾。不过近年来Westlake逐渐往直立型喇叭发展，也扬弃了号角设计（除了旗舰Tower与小一号的Tower 12之外），像BBSM12VNF、小型的Lc6.75W/N，或横置式的BBSM4F等，也都有极高的评价。　　

Electro-Voice与JBL 　　

1927年就成立的美国老铺，与JBL、Altec分足顶立，但Electro-Voice较少介入家用市场，因此受到的注意不多。多年来Electro-Voice坚持采用号角高音与锥盆低音混合的设计这种设计往往会遇到效率不匹配的问题，但它们却获得很好的解决。旗舰Georgian（已经推出第三代Georgian IIB）甚至采用46公分的巨大低音单体，中音也是庞大的30公分大家伙，它们能与两个高音驱动器组成的号角一起工作，实在不容易。Electro-Voice同样有效率极高的优点，动辄95dB以上的灵敏度，非常容易使用，速度快、细节丰富、动态大，都是Electro-Voice受人称许的地方。　　

1946年J.B. Lansing正式成立JBL公司，当时的目的是想制造媲美监听喇叭的家用系统，没想到后来JBL自己也进到专业市场分一杯羹。早期JBL的名作像是Olympus、Hartsfield、Paragon等，不但造型豪华，结构特殊，声音也有迷人之处，至今仍是玩家收藏的目标。Paragon比较像高雅的古董家具，从五０年代初开始生产的Hartsfield，却多半用于剧院等大型场合，前几年有爱好者让它重生，形成一段佳话。两位密西根州的发烧友Mark Weiss与John Wolff合组一家Classic Audio Reproductionds，以更新的技术与单体，再制新的Hartsfield，由于加上了超高音扩展频率，分音器经过改良，自然与旧的Hartsfield会有一些差异。不过典雅庞大的模样，以及宽松自然的韵味都令人怀念。Hartsfield建议摆在墙角，但与Klipschorn摆在墙角的构造不同，Klipschorn是以墙面当成低音折迭号角的延伸，没有墙面其低频会受影响；而Hartsfield基本上是方便摆位才这样设计的。有趣的是两者后来都设计了翅膀状的背板，方便离开墙角时摆位的需求。　　

如同Electro-Voice，JBL的大型监听喇叭以号角高音加上锥盆低音为主，1989年所推出的Project K2 S9500，使用了两个低音包夹住号角，由于大量使用新素材（玻璃号角、人造石材基座等），使得S95 00有了崭新的风貌。另一方面，JBL所设计的小型监听喇叭也很受欢迎，1971年所推出的L-100是为滥觞，近年来的4312MKII、最新的4325MKII，甚至庆祝五十周年所推出的Century Gold纪念喇叭，都采用近似的构思。这些喇叭有很刚强的性格，感觉上诠释流行音乐或当作家庭剧院喇叭都非常合适，一丝不苟的表情，强大的动态与鲜明的暂态反应，正是JBL赖以成名的地方。JBL 另有一个专业品牌称为Urei，许多大型录音室都曾使用Urei 815，这是主动式设计的产品，分阴气与扩大机都装在一起。Urei的模组化观念很新颖，全系列喇叭都使用一样规格的JBL单体，音箱也只有大小不同而已，结构与维修很容易，事实上调整却是要花些心思。　　

PMC与ATC 　

　PMC（Professional Montior Com.）是九零年才窜起的英国厂商，设计者Peter Thomas与Adrian Loader根据传输线式喇叭的原理，制作了一系列为录音室监听使用的喇叭。从最大的BB5/XBD依序往下有MB-1、IB-1、AB-1、LB-1等多款产品。把PMC与ATC一起介绍，实在是它们有很多相似之处，像大型的MB-1与BB5，中高音部份简直就是ATC的翻版。高音单体是法国Audax或Vifa产品，馒头型中音则是ATC所开发的，低音是不同型号而有不同的产品，最大的特色是它们都以传输线式音箱设计，因此可以在较小的体积内达到理想的低频延伸效果。与ATC比较，PMC拥有同样厚实的中低频与重量感，密度感极佳，中频尤其饱满，可以承受大功率（也必须使用大功率推动），也能发出大动态。但PMC比同样大小的ATC喇叭低频更下沉一些，速度也不会过慢，相当适合后制过程使用。　

　ATC则是1974年由Billy Woodman所创立的，他曾参与B&W 801的设计，并从那里汲取灵感而在1986年完成了SCM系列的设计。Billy Woodman提出大磁铁、大音圈、短冲程的单体独特理论，尤其在低音部份，它的单体往往要特别定做，而且一颗可抵别人两颗重，涂有阻尼材料的纸浆振膜也独树一格。Billy Woodman另一个成就是设计了7.5公分的凸球状中音单体，这颗单体让ATC喇叭的中频有极线性的演出，而且承受功率大，声音饱满结实。从用得比较多的SCM-100开始，往上有SCM-200，还有巨无霸的SCM-400，如果不是主动式设计的型号，ATC为了向大家道歉，推出了自有品牌的前后级扩大机，以解决难以推动的问题。往下ATC所推出的SCM-50、SCM-20、SCM-10与最小的A7，几乎都是家庭用途居多，它们的声音走向大致接近，在扩大机上所需的花费也是一样的。　　

Yamaha与Diatone

　　Yamaha音响部门是以制造扩大机起家的，1974年金字塔造型的B-1后级曾引起广大的回响，第一款喇叭是1973年的NS-690，很快就被人淡忘。NS型号代表Yamaha标榜的Nature Sound，被广泛用于近场监听的NS-10M则在1977年诞生，3.5公分的球型高音与18公分的白色振膜低音，放在小小的音箱中，居然能吸引许多人，成为录音室必备的小喇叭之一（原因是它也很便宜）。NS-10M后来经过多次改款，1987年推出NS-10M Pro，93年防磁型的MX Model上市，此外也有横置型的10M Studio、可加装超低音的NS-10MM、NS-10MT等型号发展出来。一款喇叭如此受欢迎，生命周期这幺久，实在也是特殊例子。除了这款监听扬声器，Yamaha只有YST技术制造的超低音扬眉吐气其它喇叭几乎全军覆没，连1986年为发扬国威所制造的旗舰喇叭NSX-1000型喇叭也难逃此命运。

　　以制造磁铁起家的Diatone，是三菱电机的附属公司，从二次大战前就已经着手制造单体。著名的2S205与2S305按照NHK放送技术规格制造，使它们在监听喇叭领域稳据王座。后来Diatone一方面往家用市场努力，一方面也继续在专业领域钻研，编号前加上2S者为专业用，DS则为家庭产品。与欧美厂商不同，Diatone花费很多力气在单体材料的改良上，多年来尝试过许多新素材，像是比音速快两倍的LCP振膜等。从1988的DS-V9000开始，Diatone与NHK共同开发的硼振膜（B4C）高音单体正式推出，延伸非常的好。中低音单体则以三线交织的蜂巢形结构，加上它们称为ADMC的磁铁结构，形成今天多数Diatone喇叭的基础。Diatone监听喇叭的最大特色是解析能力超强，从最小音量到最强音的变化可听得一清二楚，但有人嫌味道太过平淡，好象在喝白开水一样。

Rogers、Harbeth、Spendor

　这三家英国厂商与BBC都有密切的关系，其负责人或设计者均先后任职于BBC，然后再出来独立门户，所以从它们产品中，依稀可听到有相同的血统与个性。1947年，Jim Rogers在Hampstead创立了Rogers公司，最早他只生产Williams真空管扩大机，并且帮一家公司制造海上通讯设备。一直到1954公司迁往Woolwich，Rogers才开始生产喇叭。1970年代初期，Rogers开始与BBC合作，1974年所推出的LS3/5，使用KEF T-27高音单体与B-110低音的小喇叭，开始为小喇叭带来革命性的变化，Rogers也因为第一个生产LS3/5而名留青史。此后Rogers陆续推出LS5/8、LS5/9等几款BBC喇叭，在设计师Richard Ross主导下也开发了不少精彩的家用产品。后来Richard去世，Rogers几度易手，现在幕后老板已经是跨国集团，它们准备把Rogers当成英国的Bose一样推广，但暂时还未见成效。　

　原本在NEC服务的Alan Show在1986年买下了W. Harwood所成立的Harbeth公司，W. Harwood原本是BBC研究中心主管，他主导开发过LS5/5、LS3/5A、LS3/7、LS5/8等多款BBC规格的喇叭。Harwood是首先采用塑胶纸盆的设计者，他率先运用于LS3/4与LS5/5上面，七０年代早期他取得多元脂化合物的专利，并将这项专利卖给CBS，后来出现CBS向所有使用多元脂材料制造单体的厂商索赔趣事。离开BBC后，W. Harwood又发现一家法国公司所生产的TPX材料，这是比重最轻的热感塑胶，他将其用在HL Compact、HL-5等喇叭上面而得到第一流的声音。Alan Show接手后一直想摆脱过去阴影，推出取代Ls3/5a的HL-P3ES，以及颇受欢迎的HL Compact 7，现在也加入LS5/12A的制造阵容。

　　曾经是Harwood同事的Cughes Spendor，约略在同时期成立了Spendor公司。早期Spendor仍以生产BBC规格的喇叭为主著名的SP-1曾获得许多人青睐。但Spendor去世后，他的儿子Derek Hughes不善经营，把公司卖给了Soundtrack集团，Derek专心负责设计，G-1000就是出自他的手中。Spendor的产品并不多，目前仍活跃的监听喇叭除了LS5/12A以外，还有一款SA350，这原是为德国广播公司设计的主动式喇叭，看起来很像Spendor G-450。　　

Dynaudio Acoustics与Dynaudio

　　Dynaudio Acoustics它的母公司就是丹麦最著名的单体制造商Dynaudio。Dynaudio从1989年推出旗舰Consequence以后，确立了它们在喇叭成品制造方面的声誉，第二年英国著名监听喇叭设计者Andy Munro与Dynaudio合作，成立Dynaudio Acoustics公司，专门生产供录音室用的喇叭，总公司位于伦敦，两家公司关系密切，却独立作业。Dynaudio Acoustics喇叭当然会采用Dynaudio的单体，而且还是最顶级的，包括Dynaudio著名的馒头型中音在内，最大的M3就用了两颗中音与两颗低音。由于这些单体不易推动，结构与ATC又近似，所以两者竞争非常激烈。奇特的是Dynaudio Acoustics与Dynaudio使用同样单体，声音却有显着不同，前者比较率直有劲，后者却纤细透明而轻盈。

　　Dynaudio的喇叭分成Confidence、Contour、Audience几个主要的系列，此外还有Facette、Craf ft、Micron等独立型号的喇叭，BBC规格的LS 5/12A也是交由Dynaudio生产。无论哪种型号，Dynaudio 喇叭给人的印象就是常常吃不饱，扩大机的电流像是被挤干了，因此也不容易发出好声音。为此，Dynaudio曾推出售价惊人的前后级扩大机，设计与驱动力堪称是无敌的，但用了这幺好的扩大机难道只推Consequence这样的喇叭？太可惜了，所以Dynaudio正预备推出一对超级旗舰Evidence，原厂称为「Formula One」(一级方程式)，身高两米，一边共享了八支单体，音箱与分音器极尽奢华之能事 .

mal_china · 发表于 2007-5-4 21:19

交易区新帖推荐

监听相关术语
·5.1
·AAC - Advanced Audio Coding
·Absorption
·Accompaniment
·Acoustic Treatment
·AFL
·Ambisonics
·Aux Send
·Bass Management
·Bi-Amp
·Binaural
·Bleed

·BIOS
·Body Pack
·Bus
·Cans
·Click Track
·Closed Ear

5.1
5.1是杜比AC-3声音回放标准的一个子系统（也叫做Dolby Digital），是当今的最新水平家庭影院环绕立体声音技术。这意味着有五个信息通道（左，中，右，左后，右后）和一个副通道（.1通道）。它也是DVD标准的一个主要部分，这意味着在今后几年中这种格式将会有很多新版本发布。

AAC - Advanced Audio Coding
高级音频编码（也就是MPEG-2 AAC）
一种音频压缩方案，是MP3CODEC的后续，但是使用了更好的滤波方法，噪声整形和量化处理，在较低比特率的情况下产生更高质量的音频文件。AAC设计用于数码广播系统和多通道环绕声，由于AAC可以支持上至96k赫兹的采样速率和48个声道（包括LFE），在可以预见的将来它能够成为音频多媒体的基础。一些采用了AAC方案的音频流格式包括Liquid Audio (.lqt)，AT&T的already fading .a2b格式和即将实现的MPEG-4格式。
Absorption
吸收
在声学中，反射的反义词。当声波遇到柔软的材料时会被“吸收”。录音棚设计师利用这一特性来解决反射进工程师耳朵中的反射声波和来自监听器的主音频的干扰。不同材料的吸收能力用“吸收系数”来表示，吸收系数用当声音撞击到材料表面被吸收的相对声音能量来度量。

Accompaniment
伴奏
在音乐中，Accompaniment是指在独唱，独奏或讲话时用附加的乐器制作出的环绕声效或同时演奏的一些特效。例如，一个歌手会用钢琴作为伴奏。同样，一个有特色的钢琴家也会用合唱团的演唱作为伴奏。

Acoustic Treatment
声学处理
在音频制作中对一个房间进行声学处理是有必要的，这是因为很少有空间具有精确监听和适于录音的物理特性。在建之前或之中，有很多手段可以用来优化一个房间的声学性能。这包括改变空间的外形，隔音性能和表面材料。一旦一个房间已经建成声学处理大多数集中在处理表面。有两条主要的因素要考虑：吸收和散射。声学泡沫非常适于削弱拍击和振颤回声，对于并非特别为录音和表演而设计的房间，这两条是最常见的问题。实际上，泡沫可以令最为空洞的仓库和体育馆变为合适的声学环境。散射阻止声音的汇聚，所以在房间中就没有声音的加强点或零点。与吸收结合在一起，散射实际上可以有效地将任何空间变成适于录音和监听的房间，并且能够拥有很高的准确性。

AFL
推子后监听
推子后监听用于混音工作台，越过普通监听通道以便在混音器上的一个预定点监听一个特殊信号。与推子前监听不同的是，采用推子后监听信号会通过信道或母线的推子，这样推子即可控制在推子后监听电路中的电平。推子后监听有时也要效仿声像电位器，当声音信号在混音器中时，声像电位器也允许工程师通过不同的相位监听信号。在一台混音器中，推子后监听可以通过均衡，电平和相位等信息非常便捷的监听一小组相关的设备。含有相位信息的推子后监听电路也叫做“solo”或“solo in place”，这取决于混音器的制造者。

Ambisonics
多声道模拟立体声
一种由英国人发明的专门用来精确模拟原始三维声场效果的环绕声系统。它以牛津大学教授Michael Gerzon（(1945-1996)的理论成果为基础，成功实现了20世纪70年代“四声道立体声理论（quadraphonics）”曾经试图达到但是却没有成功的高保真立体声模拟功能。在实际应用上，它只需要通过一对儿编码立体声输入通道和4个解码重放通道（reproducing channel），就能够实现对听众周围360度水平范围内声场效果的精确模拟和复制。当然，所使用的输入通道和重放扬声器越多，听众的听音环境就越接近于圆球形。尽管Ambisonics具有如此完美的功能和效果，但是，在实际推广过程中，却由于以下种种因素的制约，始终没有形成大规模的市场需求：首先，在录音过程中，4个话筒要摆放成真正的四面体阵列。其目的就是要，用其中的前3个话筒来分别测量左右、前后以及上下这三个方向上的声压电平，而第4个则用来测量整体范围内的声音电平。但是，到目前为止，似乎只有一家公司（先是Calrec，后来相继被AMS、Siemens、现在是Soundfield Research所收购）在制作这种阵列方面稍有点名气。其次，专业的Ambisonics编码设备，要先对来自于上述4个话筒的声音信号进行矩阵排列，并将其合并成2个或更多的通道之后，再进行母带刻录或播放。最后，用户除了要准备至少能够提供4个通道的播放设备外，还必须拥有一台Ambisonics解码器。

Aux Send
辅助发送
Auxiliary Send的简称，支持独立混音调音台上的电路通道，可以通向一些外部（或辅助）设备，例如效果处理器或监听系统。绝大多数现代调音台在每一个通道上都有许多辅助发送，这样每一台设备都可以处理来自任何一个或一组通道的输入信号。

Bass Management
低频管理
一个电路或处理器，它接收环绕声或立体声混音器的主声道或低频效果信号中低于80赫兹的频率信号，并将它们混在一起送至亚低音扬声器。换句话说，低频管理是将所有通道上的电子低频信号分频并重新发布这些低频信号。对于环绕声或立低声工作室，特别是装有小型近场监听器的工作台，可以从低频管理和亚低音扬声器的正确组合中获益非浅。通过这些，现在工程师们可以听清由于室内反射，麦克风的震动，呼吸和其他不需要的人为噪声所引起的频率异常。并且，在成千上万家庭中都会有的最便宜的杜比数码设备----解调器中也会有低频管理器置于其中，使每一个信道中的低频成分能够反馈到一个独立的亚低音扬声器中，这意味着，拥有合适的低频管理器的工作室可以确信他们的混音能够传送到用户系统中。

Bi-Amp
双功放
一个单音信号被分成两个频率段的信号，在被送至两个独立的放大器然后驱动两个独立的扬声器，这被称为双功放。一个分频网络用于将声音分成不同的频率段，这很适合于将要推动信号的驱动器工作。双功放，三功放，和超高功放已经应用于声音加强系统很多年了，他现行的演播监听中也十分普通了。

Binaural
Binaural双声道立体声
一个带有人头可塑复制品的录音系统，带有置于耳朵中的麦克风，可以根据相位和方向等尽可能近距离的复制人的听觉功能。该信号信息脱离了普通的麦克风传感器。从置于人工头两只耳朵中的麦克风里获得的信号，在向最终听话者的立体声耳机的两个驱动传送的过程中，这两路信号保持彻底的分离。这一结果是令人信服地保存了360°的声场和对于人工头放置位置的定位能力

Bleed
在音频中，bleed是指从一个声音源的输出到另一个声音源的输入过程中的泄漏。这种情况可能发生在舞台上，比如鼓或铙钹的声音泄漏到电吉它的麦克中，或者在录音棚里歌手耳机的声音泄漏到录音的麦克中。一些减少漏音的办法包括：麦克风的选择和摆放----在声源上使用心形或者超心形麦克风来抵制其它方向上的信号，使用噪声遏止器来削弱麦克风的敏感性，这样麦克风就不会接受外来的噪音，优化你的混音器和外围设备的增益级以获得理想的信噪比。

BIOS
BIOS基本输入输出系统
基本输入输出系统（Basic Input/Output System）的缩写。大部分与个人电脑有密切关系，BIOS通常是嵌有电脑指导程序的可编程只读存储器。电脑母板BIOS可控制硬件如何定义，以及电脑的基本工作（例如控制键盘显示器等）。对于小型计算机系统接口的主机适配器，它的BIOS用于控制小型计算机系统接口的硬盘驱动和开机功能如果一台主机适配器没有BIOS，那么由该主机适配器控制的硬盘驱动器将无法启动（启动工作必须由另外一个独立源完成，例如软盘，集成设备电路或另外一个小型计算机系统接口的主机适配器的BIOS）。硬盘也可以拥有自己的BIOS，并由此来规定它的工作。BIOS也可以包含有用的软件程序，在某些情况下，可以通过软件的改变和升级来适应新的硬件。老式的个人电脑通常需要BIOS的升级来配合新硬件的工作。

Body Pack
在无线表演领域，body pack是表演者在身上某处佩戴的一种设备，它上面安装了一些电子器件，这些电子器件负责发射信号到远端的接收器。例如在个人监听系统中，接受远端定位信号。典型的body pack有一节电池和一些电子器件的组合，由它们完成发送，接受和放大的工作。一些无线系统并不需要body pack，因为这些电子器件可以内置于麦克风或直接连接到吉它或其它乐器上的小插头上。

Bus
Bus输出
在音频词汇中，Bus输出是指一条电路上的会聚点，许多信号汇聚于此。例如，绝大多数电子设备都有一条地线，在地线上，所有设备单独通向地面的路径汇聚于此。在混音器中，混合输出在Bus输出处将各通道的信号汇聚在一起。而在辅助输出时，各通道反馈汇集在一起，共同输出到外部处理器或监视器上，等等。总而言之，一台混音器的Bus输出越多，它的路由能力就越灵活。

Cans
Cans是录音室中对头戴式耳机的俗称。在所有领域中，涉及到技术名称的设备，其本身的名称就很长，出于方便的原因，某些很常用的词语都有了自己的简称。“headphones”（头戴式耳机），主要用于在录音时的监听，它就变短为“phones”，然后又变为“cans”，参考了过去人们用一根线穿过两个铁罐（比如咖啡罐）来制作土电话的方法。在录音室用语中有很多这样的术语。

Click Track
音乐家在演奏时（或录音师在给电影配音时）从耳机中听到的有节奏的“脉冲”声。Click Track的使用目的与所有节拍器相同：出于时间的连贯或其它时间上的考虑，使操作者能够更好的控制节奏。在电影配音中，会在电影的适当时间给与敲击或其它提示。传统上，Click Track被录在录音带上（这在名义上加强了词语“Track”的应用），但是在现代产品中它已经很少见了。Click Track经常由电脑软件产生（例如MIDI音序器），并通过一些MIDI音源实时回放。但是，在很多情况下为了方便起见，作为一种自动防故障方法Click Track也被录制在正在使用的复合音轨中。

Closed Ear
封闭式头戴耳机，它有某种围绕耳朵的设计。这种封闭式头戴耳机（与开放式设计相对）的设计意图是将耳机信号与外界声音隔绝。这有益于使用者在嘈杂环境中鉴别信号。这种耳机同样有助于阻止信号向外泄漏或向麦克泄漏进而破坏录音效果等。封闭式耳机的设计通常没有开放式耳机舒适，而且一些使用者也认为他们听起来效果并不好，但是对于绝大多数录音棚这种耳机是必须的。

mal_china · 发表于 2007-5-4 21:20

源监听音箱和无源监听音箱

　　有源监听音箱和无源监听音箱，哪一种更好？两者当然是各有利弊，主要取决于你的具体情况了。有源监听音箱的扬声器箱体内已经内置有功率放大器，使用者不需要再另行购买放大器；而无源监听音箱则需要额外购买功率放大器。

无源监听音箱
　　使用无源放大器，只需将调音台的line等级输出接口与功率放大器相连，然后再将扬声器连线接入监听音箱即可。如果你已经有功率放大器了，那么无源监听音箱就是一种比较省钱的解决办法。但是另一方面，使用无源监听音箱也有比较麻烦的一面：你得把包括监听音箱、功率放大器以及各种线缆和连接头在内的多个相对独立的部件和环节都要处理好才行。一般来说，监听音箱相对好弄一点，关键是功率放大器，虽然远远比不上发射火箭那么难，但是对于刚刚起步的工作室而言，其安装过程也绝非容易。下面是对功率放大器使用过程中可能遇到问题的一点建议。

确保功率放大器能够得到足够冷却：如果要给功率放大器套防护罩的话，千万注意不要把前后左右的排气孔给堵上。防护罩的四周与功率放大器至少要保持2英寸的间隔，而防护罩的后部则至少要与功率放大器的后部保持4英寸的距离。如果排气不畅的话，功率放大器的运转就会出现故障，从而对扬声器和功率放大器造成一定的破坏作用。
选购合适的连接线：仔细检查功率放大器上的输入输出端口，然后选购长度合适的连接线（功率放大器输入至少要选22到24米的，监听音箱要选16米或者更长的）。一般，功率放大器的插头不外乎是平衡或者非平衡卡农头和平衡或者非平衡的1/4英寸连接头，当然，有时也会碰到有香蕉型插头、铁锹型插头甚至接线柱式连接头等。因此，在选购时，要仔细参考用户手册上的相关具体信息。

在连接设备、选择信号源以及控制输出电平过程中，一定要小心，注意安全。
放大器自身也具有声学特性。就像需要把话筒和前置放大器的声学特性叠加调和一样，对于基准监听音箱，也要考虑其与独立的放大器声音叠加后的音响效果，因为同一台无源监听音箱经过不同的放大器处理后，其声音效果不一定相同。

在为无源监听音箱配备功率放大器时，有一条大致的规律可供参考，就是功率放大器以能够提供两倍于监听音箱所需功率的功率为合适。也就是说，假如你的监听音箱需要在8欧姆阻抗时达到300瓦特功率的话，你需要的放大器的技术指标就应该是8欧姆、600瓦特。当然，这条规律也只是粗略的估计，仅供参考而已，并非放之四海而皆准的。

有源监听音箱
　　购买有源监听音箱最直接的好处就是能够避免遇到上述麻烦问题。使用者根本不用再去操心关于欧姆、瓦特、降噪、过载保护以及分频等一系列问题，只用知道监听音箱能够工作而且声音非常美妙就行了。还有，在连接方面，只用把监听音箱的插头插入调音台或者电脑的音频接口，有源监听音箱可以工作了，这大大降低了无源监听音箱的连接难度。此外，有源监听音箱在技术层面上也有很多优点，如果您想进一步了解的话，不妨致电赛因公司销售部，在那里，您一定会得到满意的答复。

mal_china · 发表于 2007-5-4 21:21

工作室监听音箱摆放指南

　　在摆放工作室监听音箱时，通常会遇到下面两个问题：一是音箱的扬声器应该朝向哪里才能使声音效果最为平滑连贯；另一个问题就是两个监听音箱应该相距多远才能创造出更好的立体声效果。对于这两个问题，一般的规律是两只监听音箱和监听者的位置以形成等边三角形为最佳，而两只监听音箱之间的距离应该大致相当于听音点上监听者在控制台旁自然前倾时鼻尖到其中一只监听音箱的距离。而扬声器的转轴则应该指向听音点最前方和听音点最后方的二分之一处，这大概是600毫米。当然，你还可以试着让自己的耳朵与扬声器的竖轴保持在一条线上，以达到最佳听音效果。如果这样你的下巴就必须贴到控制台或者桌面的话，建议您不妨将监听音箱向后稍稍倾斜一点点，这样的话，无论你前倾以调节电平和均衡器还是后仰去听取混音，你的头部始终都会保持在最佳听音点上。最后一点，您根本不必要将这些数字精确到小数点后三位数，误差只要控制在几厘米之内即可。

　　建议您最好不要仅仅为了追求良好的视线效果而将监听音箱放置在调音台两侧，因为在这种情况下，你头部的水平移动就是在各种射线之中移动，而耳垂正是低音喇叭和高音喇叭的波频相互交汇的地方，这就意味着，随着你头位的变化，中频响应也会有所不同。因此，我们坚持认为，任何厂商生产的两分频监听音箱都最好在扬声器多驱动轴竖放的情况下使用。

　　下面具体介绍一下监听在录音室中的摆设方法，你也可以根据不同的情况借鉴不同的方法和技巧。

　　首先，将一对近场监听音箱放在与墙壁等远处，使其与聆听者的位置成一等边三角形，近场的聆听距离应在150公分以内，如果电脑和电视也要摆在工作室，记得不要摆在等边三角形内，以避免严重的反射，另外，许多录音室都忽略的一点是，混音台也影响着音质，它的表面也会造成反射，而形成破坏性的干扰，造成波形像锯齿波。　　

　　显示两种不同高度摆设所造成的影响，如果直接将近场监听音箱摆在表头上，对坐着的人会造成破坏性的干扰，若是用音箱架将音箱举高，对站着的人可能有所改善，对坐着的人却没有帮助。这种摆设则是公认的最佳摆设，将音箱置于混音台后方，则不论站、坐着的人都不会受到混音台破坏性的干扰。

　　你可以用镜子来决定确定的位置，把一面镜子放在混音台上面，自己坐在混音台前聆听的位置，移动音箱的位置，直到镜子在混音台上任一部位放置时，都看不到音箱出现在镜中为止。其他如墙壁、天花板也可以用相同的方式来测量，当然，墙壁是不能移动的，这时候你可以用吸音材质贴在直接反射的位置，或者克难的用窗帘、壁毯等来充当吸音材质，也有一些改善。

mal_china · 发表于 2007-5-4 21:23

校准你的空间-监听环境的建立

监听系统是音乐人的另一只耳朵，我们的音乐作品都必须以它为参考来达成，它的重要性可想而知。

　　对于许多预算有限的人来说，监听耳机可能是他们的第一个选择，好的监听耳机的确可以比得上一些差的监听音箱，不过透过耳机来监听，毕竟不是长久之计，因为大部分的音乐是透过音箱放出来的，是由前方传入耳朵，犹如我们看演唱会一样，这与耳机是不相同的。在音箱与我们之间建立起一道二次元的音场，包含了音乐的相位与深度由此来表现，关于如何选择监听音箱，我想这可以从另一篇技术文章去参考，但是拥有了监听系统之后，又如何来营造一个客观的监听环境呢？

　　所有音箱标示的规格，都是在非常理想的状况下量测得出的，通常所谓的理想是在无音室中，在没有残音与共鸣的情况下，所有的声音都是直接由喇叭发出，并且没有反射的问题。但是，现实的环境却不是如此，我们的房间本身就有自己的特性，当声音从监听音箱出来时，除了会受到音箱本身的影响外，声波在空间所产生的反射也会传到我们的耳中，所以所谓的近场监听音箱，是希望在靠音箱比较近的地方，更多地听到直接来自音箱的声音，这样受其它不正确反射音的影响就比较小。

　　所谓不正确的反射音，通常在监听音箱上最常发生的就是驻波(StandWave)问题，驻波的产生多是由于空间本身所造成的，也就是因为空间的设计让某些频率的能量蓄积过多，使得该频率的声音听来不正常的增大，一般说来，空间愈整齐，90度的墙角愈多的房间，驻波愈明显，因为这些墙角容易蓄积能量。此外，如果房间有许多空柜子、空抽屉...等也容易造成共振，能量蓄积之后再释放的结果就造成驻波，解决的方法是把这些空箱摆在墙角，同时，放置一些书籍或是质量大的东西在里面，这样会有助于打散驻波，很多人以为低频的共振透过吸音棉会有所改善，事实上，吸音棉主要是吸收中高频的声音，目前市面上最好的吸音棉对于低音的吸收最多只能达到300Hz左右，因此贴满吸音棉的房间通常声音都更糟糕，如果有预算，弄一些低频扩散板可能还有效些，不过需要花费的资金也更多一些。基本上提高了空间的复杂程度，不规则放些具有重量的东西如书籍等，是解决驻波问题的方法之一。愈复杂的房间会让声音的反射愈乱，这样驻波发生的可能性也就愈低。

　　接下来，你必须拥有一些工具，一张校准用CD，通常用Mix reference Disc，它里面有Pink Noise、各频率的方波，以及一些基本乐器的独奏，是很好的校准用CD；一张参考用的碟片；一台频谱仪(如果没有，用频谱的软件搭配不错的录音卡也是可以)；最后，一支专门测量频谱用的麦克风。

　　在校准音箱时，虽然说使用EQ不是一种很好的方法，因为EQ多少都会影响音质，不过对于监听音箱来说，只需稍作调整，然后通过均衡器来修正即可，对工作室来说，这应该是很实用而且很快速的方法，过程如下：

　　首先先打开音箱的特性图，看看音箱的交越频率(CrossOver Frequency)，一般来说，CrossOver位置的频率表现都会不足，这是音箱本身的缺陷，这里不用特别调整，否则你会发现加了几个dB之后都还是没有明显的改善，放入校准CD，把麦克风架好，选择Pink Noise，PinkNoise是一种类似站在飞机旁边的声音，它是一种20Hz-20kHz都充满的声音，因为每个频率能量都相同，理想上的频谱上看来是一个像豆腐一样方方的图形，用校准Mic去拾音，拾音的地点即是你聆听的位置(通常是正三角形)，看看频谱上的波形误差有多大，然后用EQ去调整，需要注意的是，虽然极低频与极高频通常都是能量越来越低的，但是各个频段的能量分配应该是均匀的，所以能量不平的声音我们就可以透过EQ去修正，理论上应该是修成平坦的梯形(因为极左与极右会衰减)，如果使用这种方法并没有改善情况，那问题通常是出在其他地方如音箱本身、房间摆位...等，此时不宜再去动EQ，而要开始去变动房间或是音箱摆设的位置。

　　接下来使用各个频率的单一声音来校准每个频段的能量与其频谱，如果你的EQ不是图形式的31段，这里大概能修得空间就不多，比较CD上直接产生的频谱与收音后的差别，即可修出近乎完美的频谱，这里注意如果有某个频率的声音能量特别大，表示这里有驻波，这时候先试着调整空间的摆设，然后再去修频谱。

　　以上是初步的调校，接下来你必须放一些独奏的乐器，将EQ Bypass之后听看看哪一种比较自然，以及它们的频率分布，最后，放入参考用的CD片，将最大音量的基准重新调校好，即可安心聆听音箱放出的声音，是否会因为EQ的影响而改变原有的音质，音色的改变在频谱上是不容易看出来的，透过以上的方法可以得到一个还算客观的"另一双耳朵"，当然，如果音箱本身的质量有问题，那么即使使用任何方法来作调试都是没有用处的。