評測 | Estelon Aura 落地喇叭 | The Absolute Sound

【全文節錄自「The Absolute Sound」】

原文網址 : https://www.theabsolutesound.com/articles/estelon-aura-loudspeaker/

Estelon 喇叭一直以來都是高端音響中最美麗的之一。它們擁有平滑的表面和曲線，腰部微收。看著它們，你完全可以理解為什麼人們會認為它們的外型是設計的主導因素，而聲音的考量則排在第二位。但事實上，Estelon 喇叭是「形式跟隨功能」的最佳範例。

Estelon speakers have always been among the most beautiful in high-end audio. They’re all smooth surfaces and curves, tapering at the waist. Looking at them, you couldn’t be faulted for assuming their shape was the predominant design parameter, with sonic considerations coming in a distant second. But, in fact, Estelon speakers are prime exemplars of form following function.

那些無邊的外殼？它們消除了平行面，最小化了內部駐波。那性感的腰身？這是設計師 Alfred Vassilkov 偏愛虛擬點聲源驅動配置的結果，在這種配置中，中音單元位於高音單元上方或兩側，低音單元則位於其他驅動單元下方。這樣，高音單元就位於中心位置。再加上與驅動單元寬度相符的前面板，以減少衍射，這就形成了 Estelon 的獨特形狀。而這些光滑的表面？它們是由高度密集的、聲學死氣的瑪瑙和其他石材材料製成喇叭的副產品。

Those edgeless enclosures? They eliminate parallel surfaces, minimizing internal standing waves. The sexy waist? That’s explained by designer Alfred Vassilkov’s predilection for virtual point-source driver configurations, where midranges flank (or are placed above) tweeters and woofers flank (or are placed below) other drivers. That puts the tweeter near the center. Combine that with a front baffle that hews to the width of drivers to reduce diffraction, and you have the distinctive Estelon shape. And the ultra-smooth surfaces that grace that sensuous shape? They’re a byproduct of speakers made of highly dense, acoustically dead marble and other stone materials.

然而，儘管 Estelon 的產品一直充滿吸引力，但有一點它們一直不具備，那就是纖薄。它們的標準佈局意味著，前面板（或者在某些情況下是側面板）必須至少與最大的驅動單元——低音單元一樣寬。但對於許多房間和裝飾來說，更纖細的喇叭會更合適。這正是 Vassilkov 試圖開發一款更緊湊的喇叭的原因。

But while Estelon’s products have always been alluring, one thing they haven’t been is svelte. Their standard arrangement means that the front—or in some cases, side—baffle must, at its broadest point, be at least as wide as the largest driver, the woofer. But for many rooms and decors, a sleeker speaker would be a better fit. This is what drove Vassilkov to attempt a new more compact speaker.

那麼，他是如何解決大低音單元問題，而不犧牲低音的功率和延伸的呢？他的聰明方法是將一個堅固的10英寸低音單元置於喇叭的底部，朝下發聲。這不僅使得前面板可以瘦身——現在它只需要與中音單元的寬度一樣寬，而且還利用了地板作為增強低頻的手段。

But how did he get around the big-woofer problem without sacrificing bass power and extension? His clever answer was to place a hardy 10″ woofer on the bottom of the speaker, firing downward. This not only allowed him to slim down the front panel—which now only had to be as wide as the midrange—but also enlisted the floor as a means of reinforcing bass frequencies. 

緊湊性只是 Vassilkov 為新款 Aura 喇叭設立的三個目標中的一個。第二個目標是製造一款能夠與盡可能多的房間和擴大器兼容的喇叭。向下發聲的低音單元在這方面提供了幫助，因為它不依賴於背牆來增強低頻。為了與 Estelon 傳統做出不同的嘗試，他還放棄了使用通氣口，改用了封閉式外殼。這有助於增強擺放的多樣性，但封閉設計通常效率較低。然而，Vassilkov 竟然成功地提供了一個相對容易驅動的 89dB 靈敏度。

Compactness was but one of three goals Vassilkov had for the new Aura. The second goal was to build a speaker that would be compatible with as many rooms and amplifiers as possible. The downward-firing woofer aided in this effort, since it didn’t rely on a backwall for bass reinforcement. In a break with Estelon tradition, he also switched from the use of ports to a sealed enclosure. This aided the cause of placement versatility, but sealed designs are typically of lower efficiency. However, Vassilkov somehow managed to deliver a reasonably easy-to-drive 89dB sensitivity.

第三個目標是讓這款新喇叭比典型的 Estelon 更加實惠。在 Aura 之前，Estelon 的起價是每對 32,000 美元，價格最高可達（天哪）269,000 美元。而 Auras 的起價是每對 19,900 美元。這當然不是小錢，但確實將這款新喇叭置於一個不同的價位範疇，與其他 Estelon 產品相比。這些其他型號在《The Absolute Sound》等地方獲得了無數好評。因此，挑戰就在於如何在不失去 Estelon 喇叭特有魅力的情況下降低價格。

The third goal was to make the new speaker more affordable than a typical Estelon. Before the Aura, Estelons started at $32,000/pair, with prices climbing to (gulp) $269,000. The Auras start at $19,900/pair. That’s not chump change, certainly, but it does put the new speaker in a different price class than other Estelons. Those other models have garnered nothing but rave reviews in TAS and elsewhere. The challenge, then, was to reduce the price without losing what makes Estelon speakers so special.

許多其他設計師會通過引入技術和設計選擇的向下流動來解決這個難題。而 Vassilkov 則將這種方法視為忌諱。除了幾種他不會妥協的技術，例如彎曲的箱體，他對每一款喇叭的設計選擇都是量身定制的。例如，他會根據每個喇叭的整體目標、系統環境和特性，為每款喇叭挑選驅動單元。以 Aura 為例，為了節省成本，他選擇不使用高端 Estelon 型號中的定制驅動單元，而是選擇來自知名製造商如 ScanSpeak、Satori 和 Faital 的驅動單元。

Many other designers would solve this riddle by turning to trickle-down technology and design choices. Vassilkov considers this approach anathema. Aside from a few techniques on which he will not bend, like the curved cabinet, he makes every design choice specific to the speaker in question. For instance, he selects drivers individually for each speaker, based on the model’s overall goals, system context, and characteristics. In the case of the Aura, to save cost he chose not to use the custom drivers found in higher-model Estelons. Rather, the drivers are sourced from respected manufacturers like ScanSpeak, Satori, and Faital.    

然而，最大的成本挑戰無疑是外殼。到目前為止，所有 Estelon 喇叭的外殼都是由基於瑪瑙的複合材料製成的。但這正是推高它們價格的原因之一。對於 Aura，Vassilkov 需要一種原材料較便宜，並且製造過程較為簡單的材料。解決方案是使用熱成型的人造石板材。可以將它們想像成現代版的 Corian。這些板材經 CNC 機加工尺寸後，再使用類似材料製成的特殊膠水將它們粘合在一起。這樣可以達到隱形的光滑接縫，並減少反射。

Yet the biggest cost challenge was unquestionably the enclosure. Until now, all Estelon speakers were made of a marble-based composite. But that’s one of the things that pushes up their price. For the Aura, Vassilkov needed something that was less costly in its raw form, and less expensive and time-consuming to manufacture. The solution was thermo-formed sheets of artificial stone. Think of them as a modern-day Corian. The sheets are CNC-machined to size, then bonded together with a special glue made of a similar material. This makes for invisible, smooth seams and reduced reflections.

最初，Estelon 發現很難將這種新外殼材料塗上各種顏色。事實上，顛覆了福特T型車的老格言，Aura 最初只提供一種顏色——白色。最終，該公司克服了這一難題，現在 Aura 已經可以提供一系列引人注目的顏色，以匹配其纖細的外型。

At first, Estelon found it difficult to paint the new cabinet material in a variety of colors. In fact, turning the old dictum about the Model T Ford on its head, the Aura was initially available in any color you wanted—so long as it was white. Eventually, the company overcame this hurdle, and the Aura is now available in a spectrum of striking colors to match its lithe model-esque appearance.

聆聽

我第一次聆聽 Aura 是在沒有任何設置調整或煲機的情況下。然而，有兩個特點立刻吸引了我。第一個是 Aura 的影像效果，它的聲場寬廣，儀器和人聲非常清晰。Aura 的表現像是兩分頻喇叭，完成了一個完美的消失表演。我猜這也不應該讓人驚訝，因為其前面板實際上是兩分頻的，只有一對中音和一個高音單元朝前發聲。進一步來說，MTM（中音-高音-中音）驅動單元佈局使得 Aura 能在中高頻範圍內表現為一個點聲源，而點聲源喇叭以其出色的影像能力而著稱。

Listening

My first listening session with the Aura took place prior to any set-up tweaking or break in. Yet, two virtues struck me immediately. The first was the Aura’s imaging, which is spacious, with exceptionally well-defined instruments and vocals. The Auras come across like 2-ways, performing a complete disappearing act. I suppose this shouldn’t be surprising, since the front baffle actually is two-way, with only a pair of mids and a tweeter firing forward. Further, the MTM (midrange-tweeter-midrange) driver arrangement enables the Aura to act as a point source in the mid-to-upper frequency range, and point-source speakers are known for their imaging capabilities.

第二個給我留下深刻印象的是 Aura 的低音。坦白說，我對向下發聲的低音單元配置有些懷疑。過去，我聽過幾款具有此配置的喇叭，但它們並未提供自然的低音。我也曾擔心 Estelon 會如何在這麼緊湊的箱體中實現如此強大的低音。然而，即使在這個早期的聆聽階段，這個 10 英寸的驅動單元所產生的低音深沉且有力，令人驚訝。

The second thing that struck me about the Aura’s un-optimized sound was the bass. I admit that I had my doubts about the down-firing woofer scheme. In the past, I’ve had speakers with that arrangement, and they failed to deliver natural-sounding bass. I also wondered how much low-end power Estelon could achieve from such a compact cabinet. But even at this early listening stage, the 10″ driver was producing deep forceful bass that frankly stunned me.

這一切都是非常好的預兆。但在進行更嚴格的測試之前，我需要進行更徹底的設置。之前，我在我的新房間裡安裝了三對喇叭（包括封閉式和通氣口設計），它們都是由製造商專業設置的，並且都被放置在差不多的位置。唯獨 Aura 不一樣。

All this was a very good omen. But before any more serious evaluation could take place, there’d need to be a more rigorous setup. Prior to the Auras, I’ve had three speakers (both sealed and ported) in my new room. They were all professionally set up by their manufacturers, and all three ended up in roughly the same spot. The Auras did not.

我將此歸因於其獨特的底部低音單元。不管是什麼原因，Estelon 喇叭並不喜歡像通常情況下那樣靠近前牆。正如所說，這個低音單元輸出大量低頻，如果喇叭放得太靠近前牆，低頻就會壓倒並主導音色平衡。使用手冊建議 Aura 應該至少距離前牆 18 英寸，這個建議應該認真遵守。在大多數房間裡，這不會成為問題，但如果你真的需要把喇叭放在前牆附近，那麼 Aura 可能不是最佳選擇。

I put this down to its unique bottom-located woofer. Whatever the reason, the Estelons didn’t care to be as close to the front wall as usual. The woofer, as noted, puts out gobs of bass, and if the speaker is too close to that wall, the low end will overwhelm and dominate the tonal balance. The manual suggests that the Aura be positioned no less than 18″ from the front wall, and this guidance should be taken seriously. In most rooms, this won’t be a problem, but if you really need to place your speaker near the front wall, the Auras may not be your best choice.

除了這個唯一的設置要求之外，Estelon 喇叭的擺放相對容易。例如，它們可以放得相當遠，就像在我的房間裡一樣。此外，它們對擺放位置的變化非常敏感，讓你清楚知道自己是否已經過度擺放了某一側。當擺放位置正確時，它們“鎖定”位置，毫無疑問你已經達到了最佳音效。

Other than that sole proviso, the Estelons are, as intended, a breeze to place. They can, for instance, be quite far apart, as they were in my room. Further, they are quite revealing of positional changes, so they let you know when you’ve gone too far one way or the other. When you get it right, they “lock in” and there’s no doubt you’ve achieved aural optimization.

這樣做帶來的結果是，除了先前提到的影像效果外，還有一個令人愉悅的寬廣音場，甚至延伸到了喇叭的兩側。Vassilkov 告訴我，他希望即使是 Aura 這麼小的體型，也能夠產生大聲音。它做到了。在 Buddy Holly 的《True Love Ways》這首歌中，我感覺自己像坐在全樂團的前排，Buddy 本人就在我的腳邊輕輕唱著。

What that brings, in addition to doubling down on the aforementioned imaging prowess, is a delightfully wide soundstage that extends beyond the speaker’s sides. Vassilkov told me he had hoped the Aura, despite its small stature, would produce a big sound. That it does. On “True Love Ways” from the Buddy Holly CD From the Master Tapes, I felt like I had a front-row seat to a full orchestra, with Buddy himself crooning away just beyond my toes.

在正確的擺放下，低音表現也有所改善。不僅是功率，還有樂器的特徵表現。然而，Aura 的低音雖然豐滿，但不像 Wilson Sasha V 那樣強而有力——也就是說，它缺乏一些初始攻擊的清晰度。然而，它那富有靈魂的音色和令人驚訝的力量，在其工作範圍內非常令人滿意。

With proper positioning, bass also improves. Along with power, there’s more information about the instrument’s character. However, the Aura’s bass, though full, isn’t as hard-hitting—meaning it lacks some of the crispness of the initial attack—as that of, say, the Wilson Sasha V. However, its soulful timbre and surprising force make it highly satisfying within its operating range.

那個小小的警告值得再進一步說明。嚴格來說，Aura 並不是一款全頻喇叭。儘管它標稱頻率範圍下限為 35Hz，我發現這個規格稍微樂觀了一點。大約 50Hz 以下，一切都還好——事實上，表現得非常好。這個向下發聲的低音單元在典型的搖滾低音線上做得非常出色。以 The Cure 的《Lullaby (Extended Mix)》為例，電貝斯表現得無可挑剔：饱满、有力，且彈性十足。

That last caveat is worth a little further commentary. Strictly speaking, the Aura is not a full-range speaker. Though it’s rated down to 35Hz, I found that spec a little optimistic. Down to about 50Hz, all is good—very good, in fact. The down-firing woofer does a stellar job with typical rock bass lines. Take the Cure’s “Lullaby (Extended Mix).” The electric bass is everything you could want: full, powerful, and reasonably taut.

然而，Billie Eilish 的情況就不同了。在她的許多曲目中，她喜歡悄悄加入由低音合成器演奏的超低頻線條。Aura 對這樣的超低頻反應不太友好。事實上，它會明顯反應不良，並發出聲音問題。在《Xanny》這首歌中，低頻的激烈共振讓我立刻關閉了系統，生怕損壞了喇叭！

However, Billie Eilish is another story. On many of her tracks, she likes to sneak in a subterranean bass line played by a low synth. The Aura will have nothing to do with bass this low. Indeed, it will audibly object to being fed such a diet. On “Xanny,” there was so much cavitation I had to immediately shut down the system for fear of destroying the speakers!

這並不意味著 Aura 的低音表現差。再次強調，它在其指定的工作範圍內表現非常出色。但這個範圍是有限的。如果你喜歡 Aura 的表現——你一定會喜歡——但想要一個全頻範圍的喇叭系統，那麼你將需要一個低音喇叭。

This doesn’t mean the Aura has poor bass. To reiterate, the bass is exemplary within its prescribed envelope. But that envelope has limitations. If you like what the Auras do—and you will—but want a full-range speaker setup, you’re going to need a subwoofer.

正巧，Vassilkov 在慕尼黑展會上透露，他正在開發一款名為 Aura Sub 的新喇叭。這個名字說明了一切。Aura Sub 將是一款專為 Aura 設計的低音喇叭，旨在創造一個全頻範圍的組合。對我來說，這將是 Aura 的理想設置，不論是初期選擇還是升級選項。這款低音喇叭預計將在 2025 年上半年上市。

As it happens, Vassilkov confided in me at the Munich show that he is working on a new speaker called the Aura Sub. The name says it all. The Aura Sub will be a subwoofer specifically designed to complement the Aura, creating a full-range combo. This, it seems to me, will be the ideal Aura setup, either initially or as an upgrade path. The sub is expected to be available in the first half of 2025.

除了影像效果和低音表現，Aura 還符合其他很多音響愛好者的需求。其中之一是無拘無束的動態範圍。但這款喇叭最具吸引力的特點是其音色質感。簡單來說，Aura 的音色非常豐滿。這不是那種會遮蔽細節的方式；事實上，解析度是它的強項之一。聽 Aura 的感覺就像是陷入一張熟悉的、經久耐用的皮椅中。這種經歷是豐富、迷人和放鬆的，讓你對音樂所帶來的魅力更加開放。

Besides imaging and bass, the Aura checks a lot of other audiophile boxes. One of those is unrestrained dynamics. But the speaker’s most alluring characteristic is its tonal quality. To put it simply, the Aura is lush. Not in a way that obfuscates detail; indeed, resolution is one of its greatest strengths. Rather, listening to the Aura is like sinking into a favorite chair of well-worn leather. The experience is rich, inviting, and relaxing in a way that leaves you open to whatever charms the music you’re playing may hold.

例如，在 Notting Hillbillies 的《Your Own Sweet Way》中，我發現 Aura 將圖像呈現得極為鮮明。儘管我距離喇叭有 10 英尺，這一點仍然明顯可見。此外，低音線條豐滿令人滿意，儘管（如先前所述）初始音攻擊稍微柔和一些。

For example, on the Notting Hillbillies’ “Your Own Sweet Way,” I found it remarkable how distinctly rendered the images were through the Auras. This despite being 10 feet apart in my room. Further, the bass line was satisfyingly full, though (as previously noted) leading edges were slightly soft.

在 Rammstein 的《Los》中，我也聽到了類似的情況，這首歌曲成為我新的低音測試曲目。Aura 在低頻功率上表現得非常出色，這一優點在這首歌曲的龐大低頻線條和鼓聲中得到了充分展示。儘管那個鼓聲很低，但它仍然在 Aura 的範圍內，表現非常好。

I heard much the same on the raucous “Los” by Rammstein, a track which has become my new favorite bass test. The Aura is perfect when it comes to low-end power, and that virtue came through on the track’s prodigious bass line and kick drum. And though that kick drum is low, it was well within the Aura’s scope.

結論

有一位才華橫溢的設計師像 Alfred Vassilkov，Aura 達成它所有目標也就不足為奇了。這款喇叭非常緊湊，卻能夠提供強大的低音。它的價格比典型的 Estelon 要更具可達性，但並未犧牲該公司知名的外型和表現。事實上，憑藉其豐富的音色、迷人的影像和豐富的細節，Aura 是聆聽的快樂，也是一個視覺上的享受。

Conclusion

With a talented designer like Alfred Vassilkov, it’s perhaps no wonder that the Aura achieves all its goals. The speaker is remarkably compact yet manages to deliver tremendous bass. It hits a much more accessible price point than the average Estelon, yet it doesn’t sacrifice either the form factor or the performance for which the company is known. Indeed, with its lush timbres, spellbinding imaging, and wealth of detail, the Aura is as great a joy to listen to as it is to behold.