这里有一段英文评测，看不懂。。。。。。。。。。
Sound
Before I auditioned the Stirlings, I spent some time with my 1978-vintage Rogers LS3/5as. (I used both sets of speakers with their grilles in place.) There was a touch of nasality in the upper midrange, the treble sounded less smooth than modern contenders, and the upper bass was less well defined than audiophiles now expect from even inexpensive speakers. But the accuracy and stability of the stereo imaging and the sheer purity of the speaker's midrange reproduction were both still competitive with the best small speakers.
Replacing the originals with the Stirling V2s on the same 24" stands, with pads of Blu-Tack connecting each speaker to the stand's top plate (bypassing the LS3/5a's small rubber feet), I was struck by the fact that the upper midrange had lost its nasal character, but also by the feeling that there was now a slight lift in the treble region. It had been a decade since I'd auditioned a recent LS3/5a (the final KEF version), and that was in a different room, but I remember it as being a little more subdued at the high end. Having said that, I did adjust quite quickly to the Stirling's tonal signature, which was balanced at lower frequencies by a definitely rich-sounding upper bass, even with the speakers well away from room boundaries.
Of low- and midbass there was none, of course. But the upper-bass boost does give the illusion of there being more bass than there actually is. With appropriate recordings, such as the charming Bach-Malloch The Art of Fuguing (CD, Sheffield Lab 10047-2-G), or Antony Michaelson's performance of the Mozart Clarinet Concerto on K622 (SACD, Musical Fidelity SACD017), both of which use a small orchestra, the double basses were reproduced with a natural-sounding tonality, even at quite high playback levels. On larger-scale works, such as Vladimir Ashkenazy's 1983 recording of Rachmaninoff's Symphony 1 with the Concertgebouw Orchestra (CD, Decca 411 657-2), where the double basses are joined by timpani and bass drum, the illusion could be maintained only at modest volumes. The bass-drum blow that begins the fugal section in the symphony's first movement, for example, had superb definition, though it definitely needed to be played a little quieter than would be strictly required for optimal visceral stimulation. At more realistic levels, the speakers started to sound gruff and too warm.
But even with the Stirling's slightly exaggerated treble and the early digital sound of this Rachmaninoff recording, the upper strings sounded smooth and edge-free, and the brass had a most satisfyingly realistic crackle. Naturally recorded voices also sounded free from coloration. The CD I recently engineered of Minnesotan male-voice choir Cantus singing works about the sea (There Lies the Home, Cantus CTS-1206) features a variety of solo voices, each faithfully reproduced by the Stirlings. And the speakers' superbly stable, accurate stereo imaging allowed me to hear deep into the rich acoustic of Sioux Falls' Washington Pavilion, where I recorded the album.
Dynamics were never the LS3/5a's strong point, and the original always sounded a little "slow" on rock music, as though the body of the bass-instrument tone was lagging a little behind the beat. Following Steve Guttenberg's dissing of Bob Dylan's Modern Times (CD, Columbia 3826 87686-2) in his December 2006 "As We See It," I picked up a copy to see what the fuss was about. Well, this album does sound "modern," in that a thin, grainy scrim hangs between the musicians and the listener, and Dylan's voice has a distinct, cheap mike "quack" to it. But over the Stirlings I could hear a respectable amount of "room" around the drums and piano, especially in "Spirit on the Water," and the cymbals had decent HF extension.
