欧博的reference9.9有4种不同型号，用不同的管子，分别是用845管子的9.9A，用211管子
的9.9B，用300B管子的9.9C，用2A3管子的9.9D，这里面用845的9.9A不是最贵的，卖5500
美元，用300B的9.9C卖5900美元。
除了845的R9.9外，其他管子的R9.9都要订制，先交订金，3个月交货。我的这套R9.9据说
国内没其他客户，用管是300B,5R4，12BH7，E88CC，偏压调整，电容用上了战神。原装4层
包装附件齐全，因为我还有其他的欧博R9.9，这套使用时间很短。我的电话：13808716826
以下是国外媒体的评论：
Listening to the Reference 9.9C Along with the 9.9A, Opera also sent along a
pair of their 9.9C amplifiers, which sell for $5900. The decision was made to
measure and review the 9.9A, but the 9.9C was more than deserving of passing
mention. In many ways the 9.9C is similar to the 9.9A -- from the front the
two look identical. On the rear are three binding posts instead of four-- a
negative and two positives -- one each for 4- and 8-ohm speakers. The biggest
difference (structurally) between the two amps is the tube complement. The
9.9C uses a single Chinese 300B tube in each amp for a claimed 10-watt output.
Of course, two different tubes make for two very different-sounding
amplifiers. If the 9.9A using the 845 output tube is vanilla, then the 9.9C
with its richer-sounding 300B would have to be French vanilla. The two
amplifiers share much in common sonically, like the pure and grain-free treble
and the uncommonly transparent and unfailingly musical midrange. What
separates the two amplifiers is the 9.9C’s warmer overall character, its
deeper bass, and its even higher degree of focus.
The 9.9C’s bass is a completely different animal as compared to that of the
9.9A. Where the latter is clean and tight, if a little truncated in extension,
the 9.9C's bass goes deeper with more subjective power. While the bass is more
powerful, it is also a bit more ripe. It gives up some of its sibling’s
precision in exchange for a bit more embellishment. On some pop music, such as
James Taylor’s Hourglass, the bass could be a little overdone, a little
uncontrolled, and a little bit obscuring of harmonic detail. On well-recorded
classical discs, such as Sony’s Rostropvich Return to Russia [Sony SK 45836],
the added adornment sounded magnificent.
I could imagine that the 9.9A’s complete honesty through the upper bass and
lower midrange could leave some intrinsically stark speakers sounding lean and
threadbare. If this is the case, the 9.9C offers a gentle warming that even
with my speakers was not what anybody could term disagreeable. OK, it was rich
and endearing, and it never seemed to get in the way of musical integrity.
The other difference between the two amplifiers was a subtle one but one hard
to turn away from once I heard it. One day a friend of mine brought over a CD
of Japanese drum music. With its more prolonged periods of deep silence
between notes I noticed that the 300B variant was a little quieter than its
845-based sibling. I’m not talking about hum or any other artifact, but a
very subtle electronic mist that overlaid the 845 amp’s presentation. This
happened very early in the review period, and I was never again made aware of
its presence. But I suppose it is due to its absence that the 9.9C had a
higher degree of focus than the 9.9A. While the 9.9A did an excellent job with
soundstaging, the 9.9C did a spectacular job -- the best I’ve ever
experienced. Voices were highly focused and seemed to emanate from a very
highly defined point in space. Instrumental outlines were incredibly
delineated.
The 9.9C is a wonderful amplifier that varies from its very capable 845-based
cousin in some sonically meaningful ways. But with roughly one-third the
power, it does have its down side. On one hand it would seem that I’ve failed
to discover the proverbial free lunch, but on the other, what I have
discovered is some exceedingly delicious fare at a very fair price -- no
matter which Opera amp you choose.
...John Potis
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