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PIONEER SP-BS22 LR LOUDSPEAKER
先锋sp-bs22 LR扬声器
The Devil and Mr. Jones
魔鬼和琼斯先生
Equipment report
设备报告
by Neil Gader | Dec 13th, 2012
2012年12月13日，尼尔哈勒|
Categories: Stand-mount | Products: Pioneer SP-BS22 LR
类别：站在山|产品：先锋sp-bs22 LR
What are your expectations for a $129/pair loudspeaker? Not all that high I would guess. At the very least, you’d expect it to work reliably, play reasonably loud, and not look too schlocky. But high-end sonics? That’s setting the bar way up there. And that was pretty much what I thought when the redesigned Pioneer SP-BS22 LR was presented to me for review. But there was one significant difference—the new BS22 sports a discrete signature on its back panel just above the binding posts: A. Jones.
你的129美元/双扬声器的期望是什么？不是所有的，我猜。至少，你会希望它可靠地工作，发挥相当响亮，不太差。但高端啊？这是设置栏的方式有。这几乎是我想当重新设计的先锋sp-bs22 LR提出了我的评论。但有一个显着的差异，新BS22运动离散签名在背面板上方的接线柱：A.琼斯。
So what’s in a name? This particular A. Jones is Andrew Jones, the British gentleman known principally for his exquisite designs for TAD Labs, the high-end wing of parent company Pioneer Electronics. However, he’s also the chief speaker engineer for Pioneer, where the demands of that global titan include a broader-based, budget-conscious market. I can’t speak for Mr. Jones’ ability to compartmentalize, but it does speak volumes about his creative range—a bit like engineering a McLaren one day and tinkering with a Mini the next. However, whether it’s designing the latest beryllium coincident transducer, or bringing the new TAD Evolution 1 ($29,000, review to come) or, in this case, the modest SP-BS22 LR to market—the influence of Mr. Jones’ design cannot be taken lightly.
这样的名字是什么？这种特殊的琼斯是安得烈琼斯，英国绅士主要为他点实验室，图案精美，母公司先锋电子高端翼。然而，他也为先锋的首席发言人工程师，其中包括更广泛的全球巨头的要求，预算意识到市场。我不能说琼斯先生的能力划分，但它大声说出他的创作range-a点像工程迈凯轮一天和摆弄下一个迷你。然而，无论是新的铍重合的换能器的设计，或带来新的TAD进化1（29000美元，审查来），在这种情况下，适度的sp-bs22 LR市场琼斯先生设计的影响不能掉以轻心。
To look at, the SP-BS22 LR is as conventional and unassuming as a speaker comes. It’s a two-way bass-reflex design that tips the scales at little more than nine pounds. If you imagined its driver array as something along the lines of a TAD-derived coincident driver trickling down to the sub-$150 price point, think again. Mid/bass duties are handled by a prosaic four-inch driver with a structured-surface diaphragm to aid rigidity and fend off breakup modes. The one-inch soft-dome tweeter uses a large, custom- designed waveguide to control dispersion and increase sensitivity. Construction and fit and finish appear solid, consistent with today’s “made in China” workmanship. The SP-BS22 LR speakers utilize a curved cabinet design, which adds stiffness to the enclosure and is said to reduce internal standing waves. (This last issue is less germane in small boxes than full-range enclosures.) Although SP-BS22 LR is small, its relatively low 85dB sensitivity means that it requires more than minimal power. Bass is better controlled and there’s more of it with additional watts; plus, the added power enlivens dynamics and enriches tonality.
看，这sp-bs22 LR是作为一个演讲者是传统的和谦逊的。这是一个双向的低音反射式设计，提示很少超过九磅的刻度。如果你想象的驱动器阵列沿一个点源同步驱动扩散到子150美元的价位的东西线，再想想。中/低音职责是由一个平淡无奇的四英寸驱动器具有结构化表面隔膜帮助刚度和抵御破碎模式处理。一英寸软球顶高音单元使用一个大型的，定制设计的波导色散和增加灵敏度控制。建设和适应和完成出现的固体，与今天的“中国制造”的工艺。该sp-bs22 LR扬声器使用弯柜设计，增加了刚度的外壳，说是减少内部驻波。（最后这个问题在小盒子比全方位的外壳。不恰当的是）虽然sp-bs22 LR是小，其相对较低的85dB的灵敏度意味着它需要更多的比功率最小。低音是更好的控制，有它的更多额外的瓦；另外，增加功率的活跃和丰富的色调变化。
But, like they say, the devil’s in the details, and the wildcard is the not-to-be-underestimated Jones Factor. What makes his concoction such a delight to listen to is how well he applies high-end values to such a small and (let’s face it) cheap bundle. To be clear, my point is not that the BS22 somehow dethrones every loudspeaker below, say, five grand, but that Jones has hit the bull’s-eye (it figures he’s an archery buff) in the nature and proportion of the speaker’s many inevitable compromises.
但是，正如他们所说，魔鬼在细节，和通配符是不容低估的琼斯因子。是什么使他捏造这样一个喜欢听他如何将是高端价值这样一个小的（让我们面对它）廉价束。很明显，我的观点是不是BS22不知通过每个扬声器的下面，说，五大，但琼斯已经击中靶心（这表示他是个射箭爱好者）的性质和说话人的许多不可避免的妥协的比例。
The BS22 has an honest tonal signature that doesn’t pander to the “let’s move ’em” sensibilities of big-box-store salesmen. It is remarkably free of sonic hype. From the outset I noted how quiet the cabinet was. There was little sense of a veil or cloud hanging over the soundstage, smudging images and restricting acoustic boundaries. The choristers of the Turtle Creek Chorale were firmly rooted in position during Rutter’s “A Gaelic Blessing” from his Requiem [Reference Recordings], and there was a well- defined, dimensional soundstage, albeit one that was somewhat abbreviated in depth and size.
有一个诚实的BS22色调签名不迎合“让他们“大盒子店销售人员的感情。它是声炒作非常自由。从一开始，我注意到安静的内阁。很少有意识的面纱或云笼罩的声音，图像和声学边界限制污染。在龟溪合唱团的团员都牢牢地扎根在的位置在鲁特的“盖尔祝福”从他的安魂曲[录音]参考，并有一个良好定义的，三维声场，虽然这一点有点简略的深度和大小。
However, the essence of the BS22’s performance is found in the quality of its midrange. Jones has fashioned a smooth, tonally ripe midband with just enough heft and weight behind vocal and instrumental images to provide reasonable dynamic and harmonic scale. The treble is surprisingly open, which lends overtones a fullness and dimensionality that are often lacking in blue-plate loudspeakers. The BS22 does roll off the top treble to some degree, giving sonics a darker and somewhat more forgiving character, but credit the waveguide tweeter for limiting dispersion at the lower end of the tweeter's passband so its dispersion more closely matches that of the upper end of the woofer's passband. As a result, vocals of either gender are tonally authentic rather than helium-breathing, Munchkin-like caricatures. On a track like Linda Ronstadt’s “Poor Poor Pitiful Me” from Simple Dreams [Asylum] the BS22 demonstrated canny balance, articulating low- level niceties while producing the weight and dynamic energy of the tracks’ rhythm section. Similarly Don Henley’s high harmony during Jackson Browne’s “Colors of The Sun” was fully realized with that distinctive smoky character soon to be made famous when he formed t
然而，该BS22性能的实质是其中发现的质量。琼斯已是一个完全成熟的光滑，带具有足够的分量和在声乐和器乐的图像质量提供合理的动态和调和音阶。三是令人惊讶的开放，使色彩丰满和维度，往往缺乏在蓝色平板扬声器。这是推出了顶高音BS22在某种程度上，给超音速的黑暗，更宽容的性格，但信贷限制分散在波导高音高音喇叭的通带的下端，其分散更紧密地匹配的低音扬声器的通带的上端。作为一个结果，不论男女主唱是完全真实的而不是氦的呼吸，芒奇金喜欢漫画。在轨道上像琳达Ronstadt的“可怜可怜我，“从简单的梦想] [庇护的BS22证明Canny平衡，低水平表达细节在生产量和轨道的节奏部分动能。同样，唐亨利的高度和谐统一在杰克逊布朗的“太阳的色彩”与独特的性格很快成为著名的当他形成充分的实现
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