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本帖最后由 孟获 于 2015-12-22 16:20 编辑
对应声波飞行员第19期里面，草民一介和Amex 总都大篇幅提到hd250 linear 这个优秀的封闭式耳机型号，并说Graham Slee 老爷子最爱的耳机之一就是它。搜索了一下，在Slee 的论坛上有网友提出了标题的问题——为什么hd250 是老爷爷的最爱？GS 老爷爷在帖子的3楼写长文做了回答，翻译如下——
Posted: 03 Dec 2008 at 1:49am
发表于2008年12月3日，所以文中的时间节点和时态都以这个为准，请注意。
The "mark 1" was discontinued quite a while ago and re-emerged as the 250 linear II a few years ago due to demand from professional broadcasters and studios.
hd250 linear 的一代产品在之前几年停产了，并用hd250 linear II 作为替代型号，主要用途在于供应专业广播和录音室作监听使用。
I probably used the HD250 "mark-1" at some point in the past but can't remember too much about it, but having worked in professional broadcast audio in design I recognise that products like the Sennheiser HD250 linear II are made to fulfill a proper purpose. In the case of the HD250 it was for sound engineers to monitor the quality of broadcast and studio audio. The more mundane daily tasks like checking for feed by station engineers would be done with *better not say - don't want to upset folk!*
我可能曾经使用过hd250 一代耳机，但我具体记不清楚了。但我知道在专业广播工作中，hd250二代这种产品会发挥适当的租用。hd250 帮助声音工作者监听到真实准确的声音。更多时候，他们的日常监听工作则会用到一些?????（怕吓着你们，具体是啥就不说了）
I'm very sorry to have to say this, but Hi-Fi and sound engineering are very different. Hi-Fi is what people think sounds correct where professional sound engineering is what is correct. Hi-Fi is also a bit like eating chilli or curry - the hotter it is the more the consumer can brag to his pals! Professional sound engineering is done by people with trained hearing who work with or alongside performers and musical directors - you know, the people who actually produce the music we listen to?
这么说非常令人遗憾，但不得不说Hi-Fi 的声音工程与之相差甚远。Hi-Fi 的追求是人们认为正确的声音，而专业音频则追求真正正确的声音。玩Hi-Fi 有点类似于吃辣椒或咖喱——味道越辣，食客越爽！专业音频则是给受过专业听音训练的人士使用的（比如调音师、录音师、导演）——也正是这些人制造了我们（这些非专业人士）听到的声音。
So when I say the HD250 II was the choice of the professional sound engineer but not the Hi-Fi enthusiast it should send out a few shock waves...
所以我说hd250 二代是我专业音频的首选耳机，而并非我的Hi-Fi 最爱。这个说法引起了一定的争议。
I don't want to boast idly, but the "miraculous" Era Gold V, as Michael Fremer wrote, was developed solely with the Solo and HD250II's! Just like much of professional broadcast and studio output was quality checked using the HD250II. All these things have been found to be worthy by the customer/listener, but at the same time, the thing that made it all sound good to their ears, they have rejected. It is completely beyond my understanding.
我不想做无意义的自夸，但被Michael Fremer 评价为“神器”的Ear Gold V（Graham Slee 家的唱头放大器），开发过程中的监听环节我只用到了solo 和hd250 二代，正如同很多专业广播站和录音室的音质监听部分都在使用hd250二代一样。这些工作人员制造的声音被大众所认可，但同时，他们又拒绝使用让声音变得好听的普通器材而选用监听器材。个中道理值得深思。
At the opposite extreme the hot curry brigade shout how good headphones like the K701 are! I would not give that headphone house room! If I had done my development work with them I would be stacking shelves in the local supermarket by now! The K701's are the most awkward and difficult as well as HF distorted and bass shy headphones I have ever come across - and I've built one heck of a lot of different amps but none are able to give "a jot or tittle" with it of what the HD250II can do. I do not usually comment about other manufacturers if I can help it, but I just don't know what AKG were thinking about.
另一面，那些吃咖喱的（没有专业背景的发烧友）常常大喊，我艹K701 是个好牛逼的耳机啊！可是我绝对不会买一副这玩意儿放我家里。如果我用K701 给我的产品调音，估计我现在已经在沃尔玛仓储区扛大包了（破产哏233）。K701是我这辈子见过最诡异的曲解Hi-Fi 理念+低频残废的耳机。我造了一大票放大器，都没法让K701 的表现做到哪怕接近hd250二代的水准。我一般不对那些我没法儿理解的产品评头论足，但这里我不得不吐槽AKG，我不知道丫们在想什么。
Perhaps most Hi-Fi headphone amps are that skewed that the K701 sounds good with them? I know that any professional broadcast or studio booth "out" could never drive them. On the other hand, the HD250II works great with professional gear (I'm talking about proper professional - not that of bedroom wanabes).
可能最Hi-Fi 的耳机放大器，就是能把车祸现场一样的K701 驱动好的吗？我觉得没有任何专业广播或录音室设备能驱动K701 达到良好的声音。另一方面，hd250二代则和专业设备配合良好（当然我说的专业设备是真正的专业设备，不是那些在自己卧室里弄几个调音台玩票的）。
Vinyl is a very naturally balanced sound and has much more of the original signal qualities preserved in it: Phase is much more faithfull if using a low inductance phono cartridge (high or low output moving coil) - the power bandwidth is 25kHz but the roll-off is 20-40dB per decade - not "brick-walled" as with digital. With vinyl there is no need for crossfeed as the crosstalk is only 20-30dB, so there is, as it is termed in the studio: "side tone". With digital there is a real need for "side tone" and it can be easily done with 4 resistors - it simply doesn't need the frequencies friggin about with like the indignant folk would tell you.
If people quoted phase response instead of frequency response, digital would not be classed as high fidelity - it would never have caught on! With a bandwidth of 20kHz (even with oversampling) it's phase response is only up to 2kHz! But even then it's a poor accuracy: each filter pole introduces 6 degrees phase shift at one tenth the turnover frequency - that's 18 degrees if 4x oversampled and you use a third order Butterworth. With vinyl the phase response is 2.5kHz - not much better? Yes it is! With a 1st order filter slope it's only 6 degrees out.
So what's phase got to do with it? Timing! Move the phase and the harmonics play in a different "time-warp" and that's not music - it's an excuse for music!
So, I guess the truth of the HD250II meant it would never sell well to the digital user, but hey Sennheiser! You sold it for the professional - the real professional, did you expect big time sales? And that's why the world has lost an excellent headphone - the "voice of the indignant" added to the pressure to make money.
I will be trying to obtain another pair of HD250's before they are gone for good - how else can I keep plying my trade?
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发表于 2015-12-22 16:12:17
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发表于 2015-12-23 09:17:41
