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性价比很高的大功率单声道放大器 [复制链接]

1#

性价比很高的大功率单声道放大器
Coda TM单声道后级
文|马龙辉

来自美国的Coda是在各方面都比较人性化的放大器品牌。所谓人性化既是指在品质、声音和售价方面都比较有亲和力,是一般玩家都可以接受的。Coda属于较有实力但很低调的一类,因此在最初接触它时并未对其过分关注,但经过几年的接触,我对这个品牌越来越感兴趣。可以说Coda是目前性价比最高的放大器之一,论素质它可以和世界上一流的放大器产品媲美,但价格又是可以够得着的。从声音品质上讲,它又是挑不出什么毛病而且听来可以令人感动,而且其声音走向纯正,无论搭配什么器材,所体现的都是所搭配器材的个性。因此,Coda就是一个无污染的通道,整个系统的素质完全决定其他器材的好坏。
Coda成立于1985年,作为Continuum Elctronics的一个独立部门,1989年品牌定名为Coda,它以制造高素质的音响器材为目标。由于推广比较低调,不如其它那些美国大牌子更让人了解,但Coda是一个很有实力的厂家,由于C designation (Coda旗下的设计代工部门)也与Coda合并,重组后的Coda公司实力更加雄厚。进入上世纪90年代以后,Coda还为其它很多品牌提供OEM代工,如InnerSound 和Legacy等,因此它的产品品质大可令人放心。Coda的放大器我听过不少,这部 TM单声道后级是比CX单声道后级更新的型号,在声音和控制力上均有明显的改进,但售价并未提高多少。由于这部机器送来时没有将说明书一起送来,而后代理给出了一些基本参数。从TM的参数来看,这部放大器比CX略有提高,代理给出的参数中输出功率为1000W 8Ω,我估计应该是两个声道的功率,即每声道500W。当然这只是我的猜测,按常理应该是指每个声道都是1000W,这实在有些不可思议啊!失真率0.02%,比CX提高了0.01%;信噪比120dB,比CX高了10dB。不过在声音上表现,这部TM比CX细致了很多,控制力也有明显的提高。TM优质的声音来自于使用Coda最先进的技术和优质的原件,包括精心细致的电路微调令声音更加细致、更加传真。
20世纪初期,Coda积极寻求技术突破,力求在技术和升学上升一个新台阶,一些知名音响品牌委托Coda不计成本的OEM,使Coda在生产高级放大器上积累了丰富的经验,并体验了优质零件对声音的积极作用。TM放大器在电路设计和零件选配非常严苛,如全新V-MOSFET电压放大级与超低输出阻抗,Mills特级品作为射极电阻,IXYS 高速整流子、Black Gate、RelCap电容、Vishay电阻、WBT或Vampire OFC RCA输出入端子等。TM采用Coda最高级的设计和架构,具有很低的输出内阻,具备低阻抗驱动能力,4Ω时功率翻倍。V-MOSFET差动输入与增益级拥有抑制噪声的性能,并具有稳定的直流工作特性。透过精密的前端电路设计技术,转换速率高达50V/us,使本机具有优良的瞬态特性。TM可以提供高于125A的输出电流,无论多大的动态输出,都能保持同样的工作状态。精密偏压技术,即使面对复杂的负载阻抗特性,仍能稳定输出,这对于控制复杂特性的扬声器非常有利。
现在的音响产品,扬声器的效率越来越高,像ATC那样的大胃口扬声器已经不多了。但与此同时放大器的功率却越做越大,大部分放大器厂家都把较大功率的型号作为主打产品,这是不是两者背道而驰了呢?回答是否定的。其理由有三个方面:1.即使是很好推的音箱,大功率机仍然有更好的从容度、更厚实的声底和更沉稳的底盘,霸气不言而喻;2.即使是高灵敏度音箱,有时仍需要大功率才能将其潜力完全发挥,尤其是12英寸以上的大口径扬声器;3.如果可以提高声音品质,音响玩家从不吝惜放大器的功率,而高素质的大功率后级又是提升声音品质的良药。因此,在高效率扬声器面前,大功率放大器并非无用武之地或者说是浪费,它仍然是追求完美的发烧友的需求。
然而,大功率放大器存在的问题就是价格高昂,优质的著名品牌放大器可望而不可求,不过,Coda 为我们提供了实用高档大功率放大器的可能性,可以接受的价格是我对Coda 的最好印象,如果现在我要买一部可以作为参考的大功率后级,我首选Coda。当然TM是高档型号,拥有它在经济上还较吃力,但它的双声道后级的价格还是很有亲和力的。另外,经过几年的体验,人们对Coda的认知越来越深,评价越来越好,拥有Coda已不是买到了超值产品而偷着乐的事了,作为高级音响的拥有者,使用Coda一点不丢面子。
我喜欢Coda的主要原因是它明显具有美国高级放大器的特性,从容、沉稳、霸气,就像大口径扬声器的特性一样,是小家碧玉的器材所望尘莫及的。Coda在大功率放大器中,声音特性算是比较温和的,而这部TM则比以前的型号更为细致透明,与CX相比,TM在质感和从容度上有明显的提升,音色更为细致润滑,尤其聆听小提琴、钢琴和人声,TM可以表现出更多的细节和更真实的质感。它并不是单纯的追求细润而丢掉细节,而是在还原更多声音细节的同时又保证声音非常自然而松润。用TM聆听小提琴时,会感到多了许多东西,似乎不如那些较浓厚的放大器更圆滑,但细听之下就可以发现TM的声音是真实的,它把乐器应有的质感充分地表达出来。就像RCA那张弗雷德曼的小提琴小品录音一样,似乎有些夸张,但我们从中听到了真正的小提琴音质,痛快淋漓,令人振奋。另一方面,TM并非那种狂野的声音,虽然有很高的分析力,但音色仍然很松弛,清晰而不失=润泽。聆听邓丽君的《淡淡幽情》便可感觉到TM的温情和柔润,那委婉而娇柔的歌声把人间的天籁之声表达得淋漓尽致。
动态与润泽兼备,细节与音色兼得,这是优良放大器的象征,因此我说Coda TM像是一条无污染的通道,它忠实地还原每一个音乐细节,令你在欣赏美妙音乐之时忘记它的存在;它是一部参考及的放大器,无论是使用还是作为参考工具,它都是一部称职的器材。由于没有赶上TM的同系列前级试听,这次使用的是麦丽迪的WE2688前级。一则我并不认为TM搭配同系列前级是唯一的“天仙配”,二则TM的中性特性可以使用任何优质前级而不会出现问题,因此用麦丽迪WE2688配合TM仍然得到优良的表现。我用WE2688配合TM试听了多款音箱,值得敬佩的是TM并不是把每个音箱推得都很好听,但是推每一对音箱都很轻松,而且把每款音箱的特性都真实的表现出来,我这样说应该更为实事求是,因为TM本身的表现就是“实事求是”。
TM是Coda的高档系列产品,虽然不是Coda 的旗舰,但如果不是特殊要求输出功率的话,TM已经足以了。其实,放大器本不应该有太多的个性,只需要忠实地把扬声器的特性发挥出来,如果拥有了TM,再有一部优质的前级,那就无需担心放大器的问题了,您只要选定中意的音箱就可随心所愿。Coda TM就是这样一部让人放心的、性价比极佳的后级放大器。
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2#















          CODA Tm单声道后级

输出功率:800Wx2  8
         1600Wx2  4
         2Ohm 负载稳定
         10W甲类      
  失真度:< 0.03 percent from 10Hz to 20kHz
频响范围:DC or -3dB at 5 Hz -100kHz
增益:26dB
瞬态电流:150 A
  信噪比:110dB
输入阻抗:50k Ohms unbalanced/1k Ohms balanced
输出阻抗:0.03Ohms from 20Hz to 20kHz
  变压器:3000W
  电容值:80000 μF
    重量:50KG/对
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3#

有机会了,搞一台来试试,听说声音不错,略微带点甜味。
《一些知名音响品牌委托Coda不计成本的OEM,使Coda在生产高级放大器上积累了丰富的经验,》????
好像coda自己就是个小厂吧,他给别的大厂代工?.
《我用WE2688配合TM试听了多款音箱,值得敬佩的是TM并不是把每个音箱推得都很好听,但是推每一对音箱都很轻松》,coda最适合推什么音箱,能否多介绍一些
最后编辑老常德 最后编辑于 2014-02-17 17:06:22
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4#

CODA是美闻著名放大器品牌Threshold(美国精神)的主要设计者自立门户后创立的品牌,在国外具有较高的知名度。现在OEM依然是该公司的主要业务。2009年底我公司与该公司签订了代理协议全面负责CODA产品在中国的销售和推广工作,CODA属于大功率大电流设计,TM单声道后级每声道采用28对功率管,变压器功率为3000瓦,电容80000微发,瞬态电流150安培,这样就保证了强劲的功率输出,能很好地驱动和控制音箱。我们试过市面上大部分音箱基本上都能轻松应对。
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5#

CODA功放为终身保修,(外观除外),产地为美国,根据客人的实际情况可以选择美国交货,香港交货和国内交货,具体价格请咨询当地经销商,揭阳:铭友音响,锦州:伟地音响,成都:超音电器,呼市:碟友音响,温州:鸿皓试听。
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6#

上海有代理么?
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7#

上海特约展示中心:丽影音响广场201.
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8#

Feature Articles Coda Technologies 15.0 Stereo Amplifier
    Details Category: Full-Length Reviews Created on Wednesday, 15 June 2011 00:00
  • Written by Jeff Fritz



The upward-spiraling prices of high-end-audio components over the past ten years have exasperated many audiophiles, and understandably so. How many people are actually shopping for $200,000/pair speakers? Just as frustrating, particularly for committed audiophiles who, for a single product, might well spend into the high four or even the low five figures, is just how little, these days, such considerable sums can actually buy. There’s no better example than the power-amplifier department. It’s easy to find five-grand amps made from the commonly available, off-the-shelf ICEpower modules from Bang & Olufsen. Not that these are bad per se, but the same modules are available in products that cost under two grand. What’s up with that?
There was a time when $5000 or $6000 would buy a statement-type stereo amplifier -- say, a Krell KSA-250 or a Mark Levinson No.23.5. Today, used samples of those benchmark products, now almost 20 years old, still command prices of almost half of their original list prices. I wonder if, 20 years from now, today’s ICEpower amps will be doing as well.
The point is that audiophiles need to consider their purchases more carefully than ever, not only to ensure that they’re getting products they’ll enjoy listening to and that will be reliable for many years to come, but also that they’re getting something that will stand the test of time in terms of resale value. In my book, all three criteria need to be met before a product can be considered for purchase.
If you admired any of the behemoth, hot-running, sweet-sounding, solid-state amps of yore -- e.g., those Krells and Levinsons -- but missed out back then, not to worry: For those of you who, like me, have fond memories of the past but who want something fully up to date powering their speakers, there is an oasis in the desert.
Remember the old Threshold power amps? Well, Threshold is gone, and while Nelson Pass, founder of Threshold, has been producing amplifiers under his own name for some years now, other former Threshold employees are also designing and manufacturing power amps. Their company is Coda Technologies, and their amplifiers are completely up to date in terms of parts quality and circuit design, while capturing some of the all-out-assault of the hardware of years gone by.
The 15.0
The first thing you need to know about Coda Technologies’ 15.0 ($10,000 USD) -- that it weighs 105 pounds -- should instantly tell you the next two things: It is not an ICEpower-derived amplifier, and it has a mother of a power supply. Both of those characteristics are steps in the right direction. What its 105 pounds might also hint at is that the 15.0 has massive heatsinks to dissipate the heat that’s generated as a byproduct of its tons of class-A power. Now this is really getting interesting.
Yes, the Coda 15.0 runs in class-A up to a prodigious 100Wpc -- enough power that you’ll almost certainly never leave class-A for most of your listening at just about any volume level, with almost any speakers of reasonable sensitivity. The 15.0 switches to class-AB at 100W for a full output power rating of 150Wpc into 8 ohms and 300Wpc into 4 ohms. That power capability is supported by a 3000VA power transformer -- that’s friggin’ huge -- and 184,000μF of filter capacitance. There are 30 On-Semi bipolar output devices per channel, for a grand total of 60. The circuit boards hark back to Threshold days -- built with distinctive gold plating over a tin-nickel barrier, they look wonderful and should last forever. The chassis is made of brushed and anodized aluminum panels bolted together into a solid chunk of an amplifier that measures 17.5"W x 7.75"H x 19"D. The minimal internal wiring is 141-strand silver-plated copper, insulated with silicon.
The circuit design utilizes a fully discrete FET input stage along with a "vertical MOSFET" voltage-gain stage, and, of course, the massive bipolar output stage. The 15.0 is DC coupled and uses minimal feedback. There are two sets of five-way binding posts for biwiring, an IEC inlet for the power connection, and next to that the main power switch. The front panel’s Bias button switches the 15.0 from standby to on, and the Input button toggles between the RCA and the fully balanced XLR inputs. The heatsinks are nicely contoured on the edges -- you won’t cut your fingers -- and handles on the rear panel help you carry the thing around. The 15.0 sits on six feet fitted with a blue, rubbery damping material on the bottom. The build quality is very nice, overall. There’s no audio jewelry here, just solid construction that should last a couple decades, at least.

Sound
The Coda 15.0 had many strengths that shone through clearly in my first listening sessions. The sound was never less than striking in both overall clarity and truthfulness of tone. Voices, such as Astrud Gilberto’s in "The Girl from Ipanema," from Getz/Gilberto (24/96 AIFF, Verve/HDtracks), were prime examples. I could hear Gilberto’s breaths between words more clearly than almost ever before. This aspect of the sound gave her physical form an in-the-room presence that I’ve not heard from many lesser amplifiers I’ve listened to. But the beautiful tone of her voice was also fully and evenly revealed. In short, the 15.0’s extreme resolution didn’t wash out Gilberto’s voice at all, but instead revealed all the little inflections without ever losing the gestalt: Voices sounded beautiful and complete.
SoundStage! Network reviewer Randall Smith described the Coda’s sound as having a "golden tone," and I think that partly describes it (see Randall's comments below). I could hear deeply into all my recordings with the Coda, but the sound never lost that tonal completeness that makes well-recorded music beautiful and enjoyable. Is that loss the sort of trade-off that those who prefer tube-based systems are willing to settle for? It struck me that the tonal accuracy of tubes is a huge draw to their use, even if they don’t always exhibit the quiet backgrounds and precision of well-designed solid-state electronics. Well, the Coda got both right.
Was that aspect of its sound due to its class-A biasing? I can’t say for sure, but that beautiful tone color, crystalline clarity, and high resolution made itself known again and again, on tracks such as "Spanish Harlem," from Rebecca Pidgeon’s Retrospective (24/96 AIFF, Chesky/HDtracks): not only was the singer’s presence enhanced, her voice wasn’t overly smoothed where it sounded obvious that she was recorded. In fact, the Coda made Pidgeon’s voice sound less perfect and more beautiful at the same time. I think this apparent dichotomy was produced by the 15.0’s truthfulness of timbre running neck and neck with its ability to dig deep into recordings to reveal all the information in them. The two qualities were intrinsically connected. To use that audio-reviewer cliché, more of the artists’ intents were revealed when I listened through the Coda. Specifically, I think this is so because more of what was on the recording was making its way through the electronics and to my ears. The Coda was expert at retrieving information without, in the process, losing any of the soul of the recording.
One place where the Coda reigned supreme was in transient attack. Leading edges of notes were lightning-fast, displaying articulation that drew me into recordings that I normally admire from afar. "Low," from Jonas Hellborg’s The Silent Life (CD, Day Eight Music 26), made me rip the air bass like a rock-star wannabe. The riff that Hellborg plays starting about 90 seconds into the track soared with intensity, focus, and slamming attack. When he begins playing with even more gravitas at about the two-minute mark, the Coda was able to properly reproduce this increase in scale and volume with both precision and drama. The bass articulation I was hearing was beyond what words like plucky and crisp would describe. It was some of the most textured, fast, revealing bass I’ve ever heard. It was also deep and powerful, with very wide dynamic range.
"North Dakota," from Lyle Lovett’s Live in Texas (CD, MCA MCAD-11964), has lately been one of my go-to tracks for a number of reasons. The bongos at the beginning have real physical impact, and you can hear nuanced tonal shadings when they’re struck; Lovett’s voice is very present, and infused with real emotion; the guitar sounds natural, and is well delineated in space; and the drums, which enter a little past the two-minute mark, are deep and room-enveloping. I heard this track reproduced in revelatory fashion by some of the best systems at the 2011 Consumer Electronics Show; other systems absolutely butchered it. Through my Music Vault system with the Coda 15.0, this track reached very high indeed. The players, especially when Rickie Lee Jones comes in, remained separated in space, each sound a singular event in a greater performance instead of being part of a wash of confusing, competing sound sources. The drums sounded perfectly tight but with fully developed decay, as did the bongos, with both fundamentals and harmonics reproduced in perfect balance and with abundant power transfer to the speakers. The sound of the crowd’s applause at the end was even a notch more revealing than usual: the size of the audience was clear, and the hand claps were distinct, each focused in space as if made by actual people surrounding me.
The overall sound of the Coda was complete. There was no question that the 15.0 could pass along all the detail present in my recordings, and this was especially noticeable with recordings made at resolutions greater than 16-bit/44.1kHz. But it could also handle macrodynamics as easily as some of the huge brutes I’ve heard. I played Audioslave and Alice in Chains at peaks of 100dB, and the Coda showed no signs of strain or sonic distress. And mind you, this was with a pair of B&W 803 Diamonds, which aren’t the most easy-to-drive speakers in the world. The 803s benefit from a healthy dose of power, and the Coda was able to oblige at any volume level. In fact, in some of my near-out-of-control rock listening sessions, I sensed that I was out of headroom with the speakers more than with the amplifier. The 15.0’s 150Wpc rating is real power -- those watts are backed up by a huge power supply and plenty of output devices, so it was easy to hear the huge heart this amp has.
The gusto with which the 15.0 played manifested itself over and over in my listening. It displayed plenty of grunt with power music such as the rock mentioned above, but was never brutish in demeanor with more nuanced music. While I’m sure there are speakers that would tax it -- MBLs, perhaps? -- they wouldn’t be speakers that audiophiles would encounter all too often. If your speakers are 4-ohm designs, then you can draw a full 300Wpc from the 15.0 -- and that’s a lot of watts. My point is that the Coda proved very powerful in use, without sacrificing a bit of inner detail or subtlety to deliver that abundance of power.
Conclusions
The Coda Technologies 15.0 is one heckuva piece of US-made hardware. I would confidently put the 15.0 in any system at any price and feel certain that it would hold its own. It’s that good. It has plenty of brute-force drive, as well as that golden tone that only class-A amps seem to deliver. It is ultra-resolving of fine detail, yet can handle huge dynamic swings without breaking a sweat. And it’s evenhanded across the audioband, but can also sound magical in specific areas, based on the recording.
The 15.0 is made by a company that knows amplifier design as well as any. It’s not Coda Technologies’ first product -- you won’t be a guinea pig for a new company testing its first product in the field. In fact, the 15.0 will likely end up being a classic, like the Krell KSA-250 or the Mark Levinson No.23.5.
I have no caveats. The Coda 15.0 is a great amp. Period.
. . . Jeff Fritz

Website: www.coda-continuum.com
Randall Hears the Coda Technologies 15.0
Editor-in-Chief Jeff Fritz and I regularly speak by phone about audio and music, and the Coda Technologies 15.0 power amplifier has been the subject of several of our recent morning chats. Jeff, a veteran reviewer, rarely gets overexcited about a product. However, he went on and on about how great the Coda was, and said I simply had to come over and listen to it in his system. After a week of that, I made the hour’s drive north to hear the Coda 15.0 driving Jeff’s B&W 803 Diamonds.
Before we began listening, Jeff removed the Coda’s top plate to show me the impressive construction quality and technology inside -- something he’s done many times before, especially when he’s had Boulder electronics on hand. The Coda was as impressively built as almost anything I’ve seen. Then we sat down to listen.
Jeff and I use many of the same reference recordings, which makes hearing differences between audio components in each other’s system much easier. Jeff felt the Coda particularly improved the sound of his system’s midbass. Kick drums and other percussion instruments sounded quicker, with more detail and impact. I thought it provided a deeper, more vivid presentation of ambient space. I really loved what I heard, but sometimes hearing Jeff’s system changes the way I feel about my own rig. I was willing to give the Coda its due, but deep down, I felt that it was the quality of Jeff’s room that was perhaps the biggest contributor to the differences I was hearing. So I went home to improve my room.
By making several changes to my room acoustics, I was able to give my audio system a greater opportunity to do its thing. Unfortunately, this still wasn’t enough to bring my system up to the level of what I’d heard at Jeff’s that night. The next day, when I told Jeff this, his reply was simple: "I told you -- it was the amp." He offered to let me borrow the Coda 15.0, and I took him up on the offer.
I installed the Coda in my system and was immediately transported back to that night in Jeff’s room. My system’s speed and detail were now the best they had ever sounded. The Coda 10.5 exerted great control over all frequencies at low and high output levels. Music that had once been very volume-sensitive now sounded great at any volume. The highs were more focused, the lows more defined. There was more ambient information than before. The soundstage was bigger and deeper, particularly with live recordings, and imaging was even sharper. The positions of instruments on the soundstage were more precisely delineated, and the textures and timbres of their sounds were more accurately reproduced than by the Krell S300iL integrated amp I’d been using. Overall, the sound was very natural, and uncolored by the Coda 15.0 in any way I could hear.
I share Jeff’s opinion of the Coda Technologies 15.0. It made a significant improvement in the sound of my audio system. I’ll hate driving it back to Jeff’s house.
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