To put it simply, hi-fi equipment sounds good, and there is a "trick". If you don't catch the trick, it is a stupid way to get rid of the wrong things in the wrong place, and often it doesn't work well. At the same time, what is “good voice†is indeed geographically different. People from different places and people who have grown up in different cultural environments have different interpretations of what kind of voices are natural, nice, beautiful, and understandable. Since Europe and the United States are in the forefront of hi-fi replay, they are also the most mature in terms of music. Therefore, the good standards in Europe and the United States (represented by European and American high-end equipment) are the leading aesthetic standards of the current hi-fi circle. .
A considerable part of Japanese equipment and domestically produced equipment belong to the lack of grasping the tricks, stupid methods, and piled up weights in the wrong places, and finally did not achieve good results.
The workmanship and heavy materials of Japanese equipment are well-known in the industry. Of course, experienced enthusiasts must also understand this. If you have used Japanese high-end equipment, you must have feelings - old landscapes, Tianlong, Marantz, Esoteric, Jinzizi, Yamaha, many Japanese high-end machines open the lid, It’s really heavy. It is not necessary to say that the workmanship is superb. Often the power transformer and the mechanical structure of the turntable are all working hard. I am deeply impressed by a Tianlong power amplifier that has been played. The power transformer is tightly sealed and fixed. It is fixed and shock-proof. The bottom plate of the machine has several layers, and the components used are neat and neat. The square matrix is ​​similar, unlike many European and American machines, the capacitors are all over the top.
The problem is such a neat workmanship, a parade-type component array, a tightly sealed heavy-duty power supply, an armored chassis bottom, and the resulting sound is often really "not good." I am particularly impressed by the Japanese Esoteric amplifier. It is a huge size, perfect workmanship, and spectacular materials, but every time I hear it at the audio show, it feels ugly.
In terms of sound source (mainly CD player), Japanese manufacturers still have some advantages brought by technological innovation, materials and technology, but in terms of amplifiers and speakers, the Japanese have always been lacking in first-class materials and processes.
On the other hand, the products of some hi-fi factories in Europe and America may not be able to do the "parade". The power supply may be just enough. The casing may knock on the box, but the sound coming out is more than the Japanese armor. The military parade must be natural and nice.
The Japanese have been working on it for years, and this is indeed very admirable. No matter how good the sound is, the work of others is really real and heavy. Even if the voice is like a beggar, this attitude of excellence in Workmanship itself is worthy of respect. The Japanese have a "artisan" that is dedicated to getting the machine done and doing it from the outside to the inside. But just from the sound point of view, many Japanese equipment is really not good enough. This kind of unpleasantness is not technically inaccurate and distorted, but the sound is too meticulous and pays too much attention to some aspects of quality (such as delicateness, detail, etc.), but the overall grasp is not in place. Many high-end Japanese equipment, first-class fineness, good performance, but overall dry, without the rich natural flavor of live music. Domestic enthusiasts have always called the so-called "radish sound".
Of course, some Japanese manufacturers are also aware of this issue. For example, Denon has promoted the concept of European sound in recent years, and promoted his voice to take the European route. It seems that it is necessary to clear the relationship with the "old Japanese voice." But in essence, as long as the designer is Japanese, there are still traces of old Japanese sounds that cannot really become the sound of European equipment. This at least shows that Japanese manufacturers are also aware of this issue, and they realize that the voices they have produced are not to be seen overseas except for foreign countries.
Of course, as I said before, even if it is just a perfect process, coupled with reliable quality, it can guarantee the status of Japanese equipment. For example, we all know that Accuphase is one of the most popular amplifier brands in Germany, relying on his superb craftsmanship and reliable quality. Many fans are paying for it with its beautiful appearance and solid workmanship. There are also such fans around me - they are attracted by the invincible appearance of the golden scorpion, not by their voice.
I’m going to talk about the Sony ZX2 player I’ve been listening to for a few days – this is one of the starting points for me to write this post. I think this is also a typical Japanese product, the advantages and disadvantages of Japanese products, it is accounted for. Absolutely excellent workmanship - CNC cutting, holding a cold and cold mechanical texture - can be said that the national bricks are not possible, the sound, serious and strict, slightly low-frequency, strong but not flexible enough The details are very good, the fineness is first-class, but the mid-low frequency is not full. Overall, this is a toy that is too serious and not interesting enough, but the work is admirable.
I think a lot of Japanese mid- to high-end machines are like this - first-class work, serious sound, and no fun. If you want to describe it specifically, I don't think their voice has the natural fluidity, liveness, and richness of live music. I want to describe No Fun. Technically impeccable, but No Fun. No Fun's stuff, for many music lovers, is hard to be a companion for long-lasting music. But in the short term, there are no problems in listening to details, listening to the details, listening to the frequency and dynamics.
Domestic machine? Due to the gap between the basic industry and the quality of personnel, it is impossible to achieve the level of craftsmanship of the Japanese machine. However, the Japanese have already been learned at one point, and that is to believe in heavy materials. Many enthusiasts also believe in heavy materials, and believe that the power supply part uses a device with a large power, or use XX cattle to ensure good sound. A few days ago, there was no one in the forum to announce that the switching power supply would not be good? Then you must engage in X-Niu, tight isolation package, or power split. There is also the belief in the use of various types of "fever components." The selling point of many equipment is how many fever components are used and what power is used.
But the experience of playing the machine tells me that these are not "slams." In the place where it is not the trick, if you use the best power supply and the best components in the world, you can't guarantee a good sound.
Example: A domestic premium top-level preamp, power split, volume potentiometer is an expensive imported step-by-step, compared to a non-power split, ordinary Alspot potentiometer of the US pre-level, the result is seconds. The gap is obvious in all aspects. Then ask what is the power supply of the split, the expensive stepping volume, what do you eat? Used in this domestically produced pre-level, which is expensive to sell, is it wasteful, violent, or useless?
I believe that many experienced fans who have done similar comparisons will have similar experiences and feelings. When a machine with heavy materials is lost to an ordinary European and American machine, why do we think about it?
European and American machines are of course more important. They use heavy casings, expensive components, and heavy-duty power supplies, but they are generally expensive. The key is that the sounds of top-class machines in Europe and America are good. The most critical reasons are not those. “Heavy material†is also an excellent circuit design and component combination. The so-called "heavy material" is only used in its own excellent circuit design, in the hands of experienced designers, to reflect the value, used in some of the bad circuit design, in the hands of the level of general designers, only It can be a waste. There is a saying in the laser mouse moderator: the designers who rely on the stockpiles are actually because there is no flaw, there is no other better way to improve the sound quality, and only rely on the stock.
I talked a lot and finally summarized 5 points.
1, in the end, hi-fi equipment is a good voice, is an excellent circuit design, is the adjustment effort brought by the designer's many years of experience, rather than heavy materials. The level of designer and practical experience are the most important.
2, the line itself is not good, chaotic and heavy materials, belonging to the wrong place, and can not bring good sound. It is very likely that a very heavy material has been smashed, and the result is not as good as a work that is experienced by a designer with a level of experience.
3, the enthusiast does not recognize the level of the designer, but only recognizes the heavy material, it is not wise. Of course, it doesn't matter if you buy it back, it doesn't matter if you pay attention to the appearance.
4, a lot of Japanese, domestic designers, I think still did not catch the hi-fi good voice, in the pile of timber. Hi-fi is not high-tech, but it does require long-term experience of immersion.
5, can not deny that, because the European and American countries (the United States, Germany, Britain, France, Italy, etc.) have been in the music culture and hi-fi audio in the forefront, the most mature development, its established mainstream sound aesthetic can not be shaken. It is very difficult to find another "Japanese sound" and "Chinese sound" that can be widely appreciated by everyone. Whether it is a Japanese designer or a domestic designer, it is necessary to learn from and learn from European and American equipment, and rely on the sound and aesthetics of Europe and the United States. It is impossible in my opinion to build a car behind closed doors, not to learn from it, and to learn to make a good hi-fi. As far as I can see, the more the domestic designers are open-minded and the more famous European and American machines they have contacted, the more they learn from them, the more likely they are to make good equipment.
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