nad d 3020i数字功放，谱诗epos elan 10高级限量版玫瑰木

一地鸡毛orz

打包出，成色新净如图，使用1年多，功能完好无损，箱说都齐全，配件都在。箱子少了一个桥线，用紫铜代替，不影响使用，前面板轻微白渍，带上面板就没问题。遥控器电池盖丢了，不影响使用。爽快送线，佳耐美+高级屏蔽层手工制成
https://2.taobao.com/item.htm?id=555499330710&spm=686.1000925.0.0.3f11c9edscjwvt

一地鸡毛orz

Epos，圈内翻译为“谱诗”（其实这个单词的意思是“史诗”），是一个老牌的英国喇叭厂家。玩hi-fi超过十年的老发烧友恐怕都听说过它。特别是那些对英国书架箱有兴趣的人，几乎不可能没有听说过Epos这个牌子。当年，它和Rogers、Spendor、Harbeth、ProAc、Monitor Audio、JPW、Castle、Wharfedale等，并列于英国最有名的hi-fi书架箱厂家之列。特别是九十年代经典的Epos 11、Epos 12，可谓经典之作。

Epos这个厂家一直是比较低调的，进入21世纪后仍保持低调。最近，我拿到了一对厂家新设计推出的Elan 10书架箱，出于对Epos这个老牌子的尊敬和好感，当然也由于我对书架喇叭的浓厚兴趣，我把它接入系统仔细聆听。

下图为这对小喇叭的前后图。它有着漂亮的木皮，高音单元是一个1英寸的软球顶，低音单元为直径156毫米的PP盆，中间的防尘帽做成类似相位塞的形状，单元为铝合金框架。我们知道PP盆在英国传统的书架箱里用得比较多，能出一个柔顺优美的声音，音色柔和不硬，不追求冲击力，而追求“韵味”。从Elan 10这款喇叭依旧使用PP盆来看，这可能不是一对声音很现代感的产品。倒相孔开在喇叭背后上端。



英国Epos书架箱重温（朗泉EVO <wbr>50A放大器）

这对Epos Elan 10书架喇叭，阻抗为4欧姆，但并不难推，灵敏度有89分贝，所以厂家建议的放大器功率为25瓦-100瓦。对付这个价格不贵的英国小书架，当然没必要动用Devialet 170那种放大器，用英国中小功率的合并放大器就可以了，比如美丽安、Rega、Creek、Audiolab等。手头正好有一台英国Creek朗泉最新推出的合并放大器EVO 50A，每声道55瓦功率，拿来搭配Epos，看上去挺合适。



这对Epos的小喇叭，初听下来印象很好，所以我打算多把玩一段时间。初听印象好在哪里呢？我觉得它的声音首先是非常松软的，毫无硬边，十分地柔顺，播放流行人声或古典中小编制，都有一种蓬松的美感，其次，基本音色是中性的，并不像一些老派的英国喇叭那么“昏黄”。很多英国传统喇叭，音色明显发暖，中频过于突出，这种声音应该说现在并不流行，显得过于老派了。Elan 10小喇叭并非这种老派声，基本音色还是很中性和透明的，这其实也是很多传统英国牌子近期的走向——声音调整得越来越中性，透明度比老箱子明显提高，但仍保持柔顺的格调，不会冷硬。

中性音色+柔顺声底。这种声音构成了一种很有吸引力的新派英国声。它不强调冲击力和速度感，而注重声音的“柔”“圆润”“耐听”等要素。Epos Elan 10小喇叭正是这种风格的声音。这是我喜欢的。

EposEL10书架喇叭在我的听音室里最近又陆续听了几次，它给我留下的印象越来越好，可能也和喇叭逐渐煲开有关。这对喇叭在保持柔性声底的同时，具有良好的中高频解析能力，展现出很好的高频空气感，能表现出录音里的很多信息，声音的规模感也相当不错，比起老派昏黄的英国喇叭那种徒有韵味而缺乏实质信息的声音相比，我个人明确更喜欢EposEL10。干净、柔性、顺滑、良好的解析和空气感、良好的小喇叭声音规模感，这些加起来，就是EposEL10给我留下的印象。如果要说缺点，就是小喇叭的物理天限了——低频下潜不可能做到十分出色，播放大动态、大编制的交响，也不可能媲美大喇叭，在气势和动态上都受制于箱体的尺寸。不过，假如仅仅是用来听中小编制的音乐、听流行歌曲、听轻音乐、爵士乐，那EposEL10作为一对英国书架箱，几乎是无可挑剔的。

一地鸡毛orz

Listening
I was immediately struck by the low-level air and room ambience the Elan 10s were capable of resolving. With Gina Bachauer's performance of Chopin's Piano Concerto 1, with Antal Doráti conducting the London Symphony Orchestra (CD, Mercury 434 374-2), the Elans rendered every silky nuance of the orchestra in its deep ambient space. And with "Maracatu," from Egberto Gismonti's Works (CD, ECM 2692), I was struck by the bed of air enveloping each note of Gismonti's piano, Mauro Denise's flute, and Nana Vasconcelos's battery of percussion. And the Epos resolved gobs of detail that enabled me to listen deeply into the mixes of familiar recordings and experience them in a new way. On every track of Björk's Homogenic (CD, Elektra 62061-2), I found myself analyzing the harmonic and dynamic envelope of each of her synthesizer patches.

On the downside, the Elan 10 was ruthless at revealing less-than-well-recorded music. Although I normally enjoy listening to "Sex Kills," from Joni Mitchell's Turbulent Indigo (CD, Reprise 45786-2), even though I recognize that it doesn't sound as natural as her recordings from the 1960s and '70s, through the Elans I was distracted by the track's dynamic compression, the digitally processed acoustic guitar, and the electronic glaze on Mitchell's voice.

The Elan 10's ability to render precise and linear articulation of low-level dynamics from ppp to p made it an excellent showcase for János Starker's recording of J.S. Bach's Suites for Solo Cello (CD, Mercury 432 756-2). On every track, his cello resonated with wood, bow, rosin, and air. Listening to "Chan Chan," from Buena Vista Social Club (LP, World Circuit/Elektra Nonesuch 79478-2), I followed every subtle striking of the congas, bongos, and udu drum, whereas I usually focus on the voices. And when I heard "Sleeping Metronomes Lie," from my jazz quartet Attention Screen's Takes Flight at Yamaha (CD, Stereophile STPH021-2), I focused on my unaccompanied intro. Even though the piano I was playing is fundamentally an electronic instrument, the Epos enabled me to remember just how delicately the Yamaha AvantGrande can re-create the low-level dynamic articulation of an acoustic piano.

https://www.stereophile.com/content/epos-elan-10-loudspeaker

一地鸡毛orz

一地鸡毛orz