哪位了解Plinius SA250/4 功放？ [复制链接]

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CD-101 CD PLAYER
In July 2001 our Director of Design, Ross Stevens, presented us with a piece of bent aluminium. This, he said, is how PLINIUS will look in the future.

At the time we had no real idea where this journey would take us but as time moved on and new amplifiers evolved we realised that we had created something very special.

The new PLINIUS look has been very well received by the Audio Public but the distinctive curves have created a gap. Very quickly we found that a source component was needed to match. We didn't really want to develop a CD Player as there are many very competent designs available but we were unable to withstand the constant pressure from our customers.

In true PLINIUS tradition we have approached the development of our CD Player from a different angle. We have always felt that the potential of Redbook CD has held promise but has been short on delivery. In our research we have listened long and hard to SACD and other formats but we have elected to stick with Redbook because of the results achieved and to support the extensive CD collections our customers already have.

Our DAC development has been time consuming. An initial false start using some of the latest technology (asynchronous upsampling, and bitstream conversion) lead to a disappointing sonic result. We then re-thought and developed a DAC following a very conservative path. Noting the DIY enthusiast's endorsement of simple solutions, and with our general philosophy of avoiding unnecessary complexity, we evaluated a DAC design that used simple synchronous oversampling, and a multibit DAC. This needed no additional analogue filtering, and was in keeping with our like of simplicity. The outcome was more than we expected. This design, coupled with a low jitter master clock feeding the transport, has delivered Redbook CD performance that surpasses that which we have previously heard.

Physically the PLINIUS CD101 matches our range of Integrated, Pre and Power Amplifiers. The operational styling of the CD101 has only one control button on the front panel with all other functions driven from the distinctive remote control. The remote control also has some basic functions allowing volume and mute adjustment on PLINIUS Pre and Integrated Amplifiers. We put much effort into understanding the interface requirements, and decided that as music is the goal, the interface should distract as little as possible. Considering the user interaction with vinyl replay, where there are no digital track-time-elapsed displays, and the focus is on just listening to music, we decided to make the user interaction with the CD101 similar. The display consists of a series of micro LEDs showing the progress of the tracks through the disc. This is simple, elegant, and directs the listener's focus to the music and away from the technology.

The mechanical design has also seen much effort go into ensuring the transport is isolated, and the chassis is well damped. We have developed a substantial tray support and bearing system, and applied damping material and compliance where necessary. The build quality is beyond reproach.

As with other PLINIUS products it is the music that matters most. The CD101 is a worthy addition to our range.

Check the revision of a particular product


  
  Conversion: 24-bits 353kHz.

Frequency Response: 20Hz to 20kHz ±0.2dB.

Distortion: <0.01% THD at rated input level.

Hum & Noise: -100dB at rated input level, A Weighted.

Maximum Output Level: 2V RMS into 10kohms or higher.

Output Source Impedance: Typically 100ohms

Digital Output Impedance: 75ohms

Dimensions: Height 105mm (4"), Width 450mm (17.75"), Depth 400mm (15.75"), Weight 10kg (22lb).



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CD REMOTE CONTROL
The CD remote control is an 11 button remote that provides access to all CD Player functions. Mute and volume controls are integrated as well to enable control of the CD101 and Plinius integrated or preamplifier with the one remote control

The CD Remote remote comes in either anodised black or silver finish to match the CD player

对啊，新西兰。我就是搭配Harbeth，科研级有所了解吗？我刚问到Plinius CD 101的价格是 $ 4495，哇！

／器材评论／书世豪
大地的芬芳
Plinius 9200综合扩大机〔图〕
音质柔美绵密，讯息量丰富，中频水分充足，甜甜动人，却不会过于软绵绵或是无力，而是丰沛的柔美，把阿淘唱歌的力道完全传达。听起来实在很像真空管扩大机的丰厚感，却是充满力道的丰厚，没有一丝体质虚弱的感觉，而且也不会只又中频厚，而是中高低都丰厚绵密，这在晶体综合扩大机中是很少见的。
晶体综合扩大机，附遥控器，可当前级使用，有MM唱头放大，输出功率200瓦（8欧姆负载下），AB类设计。两组喇叭输出端子，一组环绕扩大机输出与输入，一组前级输出，一组低电平（PHONO）输入，四组高电平输入（两组录音输出与输入）。频率响应20Hz～20 kHz±0.2dB，总谐波失真：小于0.05%，输入灵敏度300mV，输入阻抗47k欧姆，尺寸450（宽）×120（高）×400（深）mm，重量：约14公斤。参考售价：122,000元。进口总代理：新湖科技（02-87914331）


〔图〕Plinius新的系列由Ross Stevens主导设计，推出深具纽西兰色彩的独特造型的前后级与综合扩大机系列。外观洗炼大方，表面处理的极为高雅，一派高级走向，完全不输现在流行的Life Style风格的音响器材。


〔图〕Plinius 9200使用单一极性（PNP）的功率晶体作左右声道的放大，并使用TL071与TL072这两颗生产多年却广获好评的OP，上面是前级线路部分，楼下是电源与后级功率模块，后级部分是采用DC直接交连的方式。

〔图〕静音按钮（mute）坐在背板上还真是少见！上面还有接地选择开关与外接环绕处理器的Bypass开关。

〔图〕搭配试听软件：洛神组曲（如是我闻BD1050）说的是曹丕与甄宓的故事，本来是四幕舞剧，在作曲家王正平的巧妙配器下，让这个配乐也成为一个艺术性极高的作品。中国乐器是很难表现的，一搞不好就会过尖过涩。这首曲子用了很复杂的配器还有许多打击乐器营造出丰富的情绪与深度。加上气势磅礡，是少见的优秀国乐录音。
焦点：来自纽西兰的Plinius的综合扩大机，驱动力强，音质柔美，低频力道强劲。有接近真空管机的音质特色，却有很好的两端延伸。有优秀的PHONO输入，是模拟用家可以考虑的机型。
搭配建议：驱动力完全不像是一台综合扩大机的感觉，而像是一套前后级的力道。应该为它寻找音质更柔美的喇叭搭配，而不用担心它的驱动能力。如果搭配高效率的喇叭，应该更能体会到Plinius 9200开放的声音特色。


Plinius现任的设计总监Ross Stevens，早年在费雪帕克（Fisher and Paykel）这家颇负盛名的纽西兰家电公司担任产品设计师，闲暇时就自己设计音响器材，对音响器材的热爱自是不在话下。待过B&W、Linn甚至是Philippe Starck的设计事务所，Ross会做出像9200这样的机器一点都不让人意外。对美学有独特的看法与见解，从9系列之后，Plinius推出由Ross主导设计，深具纽西兰色彩的高级音响器材，不禁让人折服其造型之独特。这种融合充满阳刚气息的厚重与现代感十足的线条的设计，就像纽西兰的大地与来自深海的传说一般令人感到神秘又渴望亲近。一直专攻扩大机领域的Plinius，最近也发表了新的CD讯源CD101，也是如出一辙的外观设计，摆在一起整体感十足。
充满信心的设计，强调电源与接地的重要
在Plinius的网页上说明中提到要如何让Plinius的扩大机发挥实力，原厂的建议是加强电源的处理。在厂方的研究里证实，大部分的用家或是评论员如果认为他们家的扩大机不好听，都是因为电源有问题，可见原厂对自家的产品充满了信心。不过我想事实也是如此：不然为何百万音响要自备电源处理，交流转直流，直流再转交流，所以读者对于电源不可不慎！
在Plinius的机器上都会有一个接地的开关，一档是「OPEN」，一檔是「CHASIS」，这是为了不同机器的接地电位不同时设计的开关。在实际使用上，原厂的建议是用听的最准！不过，一是因为这是晶体机，哼声本来就很小，小到音量开到最大也听不到，所以开到那一档都一样。二是因为这是综合扩大机，不同接地电位的问题本来就比较小。不过，原厂会有这样的设计也算是很用心的。但是我在使用黑胶唱盘时，音量转到最大就可以很明显的听到哼声，当切到「OPEN」时哼声就明显降低，可见唱盘与扩大机的有电位差，用家在使用时还是要用听的为准。
坚持传统好声底，重视模拟老讯源
从8系列的厚重沉稳到9系列的现代感十足，Plinius在外观上下足了苦心，但是在线路上却是非常坚持传统。本刊2000年评论过8100MKⅡ，2003年评论过比9200小一号的9100这一系列全都是承袭多声道旗舰后级扩大机Odeon的线路设计。很巧妙的是，竟然都是完全类似的内部构造：使用单一极性（PNP）的功率晶体作左右声道的放大，使用TL071与TL072这两颗生产多年却广获好评的OP，上面是前级线路，楼下是电源与后级功率模块，后级部分是采用DC直接交连的方式。采用直接交连的线路通常比较复杂，所以对线路的稳定度要求也高，所以负回授也较高。但是这样作的好处是各频段的响应线性良好，声音细致柔和。
现在的综合扩大机或是前级大多已没有PHONO的放大线路了，就算有也是聊备一格，有等于没有。可是Plinius可不是，我实际使用9200的PHONO输入，接上我的Linn LP12 Lingo与Linn K9 MM唱头，声音柔美，细节不算多，但是刚好美化了音质。这哪像是一般聊胜于无的「公板」PHONO线路啊！待我打开机箱，原来在上面前级的电路版上PHONO就占了一大块，而且在输入的地方还用了K389这颗JFET，难怪声音这么「靓」！如果有模拟唱盘的用家可以列入考虑，这样也会节省一点成本。
健康而柔美，搭配不困难
在论坛的试听室聆听的时候，搭配几对喇叭不论效率高低，体型大小，Plinius9200都有很好的表现。在搭配时不用担心软脚，给人非常安心的感觉。最后在考虑到门当户对的情况之下，我选择了OPERA的Callas Gold，这对小喇叭各频段声音平衡，密度高，音质柔美，两者搭配相得益彰。在听「阿淘的歌」XRCD（SR-XRCD-001）时，音质柔美绵密，讯息量丰富，中频水分充足，甜甜动人，却不会过于软绵绵或是无力，而是丰沛的柔美，把阿淘唱歌的力道完全传达。听起来实在很像真空管扩大机的丰厚感，却是充满力道的丰厚，没有一丝体质虚弱的感觉，而且也不会只又中频厚，而是中高低都丰厚绵密，这在晶体综合扩大机中是很少见的。健康而柔美是我对这台扩大机的第一个看法。再来听一听Carol Kidd的「Nice Work」（LINN AKD229），不论是人声，钢琴触键，低音贝斯与爵士套鼓听起来都是自自然然的风味，不尖不涩，柔和如春天的微风。让人陶醉在Kidd姊的歌唱时甜美又自然的神韵之中，而且不会只有人声突出，各声部乐器都有很好的型体感，没有模糊或是被盖过的问题。各频段形体正确平衡是我的第二个感觉。
不可思议的低频量感
最后，我要拿出论坛上一期的精选软件「洛神组曲」（如是我闻BD1050）来测测Plinius 9200，要知道中国乐器是很难表现的，在洛神里更是，因为这首曲子用了很复杂的配器还有许多打击乐器营造出丰富的情绪与深度。第四首一开始的古琴声丝丝入耳，洞箫声音空气感十足，突如其来的大鼓声扎实又稳重，冲击力十足，到细微处也可清晰明辨。丝竹齐鸣时，古琴也不会被淹没，把Plinius以复杂的线路设计换取低失真高解析的好处尽显无遗。9200柔美的音色把古琴的美感表现的淋漓尽致。凝聚扎实的高密度与丰富的细节是Plinius9200的强项，在这张国乐录音中听得一清二楚。再听听第一首，一开始渐强的打击乐器的澎湃感是很难表现的，虽然用的是小喇叭，可是这样的低频表现简直不像是一台综合扩大机的感觉，而像是一套前后级的力道，相信搭配落地式的大喇叭会有更惊人的表现。再听下去，我开始怀疑是Callas这对小喇叭的低频量感是不是过于丰富，当我换上PMC LB1 Signature，9200依然把它驯服的服服贴贴，低频量感依然惊人，虽然PMC LB1 Signature也是属于低频延伸就很好的喇叭，但是要把它驯服，推出这么多的量感也是不容易，这不可思议的低频量感是我的第三个感受。
永续经营才是对消费者最好的服务
综合以上所说，Plinius 9200不只有洗炼的外型，在声音的表现上柔美绵密、形体正确与低频丰富是Plinius 9200的最佳写照。
本地的代理商，目前代理Harbeth与Plinius两个品牌，而且就只专心经营这两个品牌。去年更斥资重新打造视听室，塑造一个优质的聆听环境，是非常用心经营的代理商。在网络上，用家都非常认同他们与音响迷作朋友的经营模式。这样的经营模式让他们旗下的品牌深获用家的支持。就像Plinius在1980年成立，在海外市场广获好评，却没有急于扩张，而是稳健的经营，至今也快二十五年了，这才是对消费者负责的态度！

呵呵，谢！L版真是无所不知。可有SA 250/4的资料或实际感受？

250只有英语的了：（

PLINIUS SA-250
  'IAR' 1998

  The PLINIUS line from New Zealand extends from a $1995 integrated amp, through the medium power SA-50 and SA-100 stereo power amps, to the flagship SA-250, which at $7500 puts out 250 watts per channel in class A. The PLINIUS line also includes an M16 line section ($4250)
and M14 phono preamp ($3495).

Tne PLINIUS sound hits all the high points that very good solid state equipment should. It is very transparent and very clean, surpassing some of the big name solid state amps. When listening to the PLINIUS system on its own, one has the comforting sense that all the music is being revealed, with none of the veiling, truncated trebles, or other sonic shortcomings we hear all too readily in most other solid state amps. Only in direct comparison to the McCormack DNA-2 LAE and Odyssey does the PLINIUS sound a touch reserved, being not quite as fast, transparent, and articulate.

The PLINIUS sound also is among the most musically neutral of solid state amps, coming very close to the hybrid ideal. It has an enchanting touch of tubelike liquidity in the lower midrange and midrange, but then jumps the fence and has a touch of solid state hardness in the upper midrange and lower treble. Both these qualities are slight in degree, and they balance each other well, to give the PLINIUS a subtly distinctive musical sound that sets it apart from other solid state products.

PLINIUS technology includes fully balanced, class A operation for all products; this reduces many kinds and sources of distortion. The balanced circuitry inherently cancels out even order distortions, and the class A operation eliminates small signal nonlinearities and crossover distortions. A switch allows the user to select class AB operation; this produces less heat for noncritical listening (dance parties), and allows you to hear for yourself and appreciate the sonic benefits of class A operation, contrasted with the class AB operation mode that many other power amps (both solid state and push pull tube) employ. It also provides a convenient way of leaving the power amp on, and warmed up for optimal fidelity, at all times, but with reduced power consumption compared to the class A mode.

The SA-250 can be bridged for 1000 watts monoblock operation. Incidentally, PLINIUS' balanced circuitry differs from the usual complementary symmetry circuitry, which actually employs unlike devices for each balanced half, so they don't exactly match; PLINIUS says they use a unique approach with asymmetrical building blocks for their balanced circuitry.

PLINIUS products employ a high level of construction quality, with massive chassis extrusions for heat fins, vibration absorbing mountings for PC boards, silver wiring, etc. - so they are clearly worth the money in hardware as well as sound. If you're looking for a massive, well built amp that sounds better than the best from Levinson, Krell, etc., you should take a listen to PLINIUS for yourself, and see if its distinctive solid state sound appeals to you.



PLINIUS SA-250 MK IV POWER AMPLIFIER
  'THE ABSOLUTE SOUND' August/September 2000

  Put simply, this is an excellent power amplifier and the rival of some of the best around in its price range. It is the fourth iteration of the extremely well-received PLINIUS SA-250, which introduced the New Zealand audio company to the US audiophile market some years ago. The Mk IV costs $8,495, which means it is a leading competitor in a pretty demanding arena. Its best features are deep, powerful, tightly defined bass, and excellent depth, but there is nothing it does not do relatively well.

To begin with key features, the PLINIUS SA-250 Mk IV uses fully balanced, Class-A operation to minimize even order distortions, and reduce crossover distortion and low-level non-linearities. PLINIUS points out that Class-A operation keeps the total current flowing, regardless of demand, while Class-AB varies the current flow with demand, as well as the rail voltage, and this can modulate the power supply. While this is true technically, the best Class-A and Class-AB amplifiers I have reviewed have been competitive in sound quality; the execution of a given design seems to matter more than the class of operation.

The Mk IV delivers 250 watts per channel into 8-Ohm loads, 500 watts into 4-ohm loads. (You can bridge the Mk IV for 1,000 watts of 8 ohm monoblock operation.) This high power may explain its excellent performance and control in the bass - something that many low-powered Class-A amplifiers can be a bit shy on. My reference Pass X600s are a bit better in dynamics, but not by much - and Pass amps have some of the best dynamics at any price. A switch in the rear allows you to select operation in RCA stereo, RCA bridged mono, XLR stereo, or XLR bridged mono. No shunts across the input jacks to convert from RCA to XLR, no internal changes for bridging, etc.

Other features include a front-panel main power switch, a mute switch, and a power bias switch that allows you to choose between Class-A and Class-AB power. The front panel does not indicate what the pilot lights for the mute and bias switch settings mean. As a result, it took me several weeks to discover that if there is no sound coming out, the mute switch is on. I'd prefer a slow turn-on to a largely pointless mute switch (see sidebar). As for the ability to choose between Class-A and Class-AB, I suppose it is useful to keep the amp warmed up with a low power drain, but any audiophile is going to listen in full Class-A.

The PLINIUS has two sets of top-quality binding posts for speaker connections to make bi-wiring easy. It allows internal selection of 110- or 220-volt operation, and has a very nice little ground lift switch near the AC input socket so that you can remove the hum from ground loops without using a cheater plug - a feature that is particularly useful in hometheater applications. Protection features include both error detection and fusing. As for construction, the power supply is massive, as are the heatsinks, and the layout, circuit boards, component quality, and overall construction are excellent. This is not the kind of amplifier that has a great facade but no guts. Mimes cannot juggle them at CES receptions. In fact, the unit weighs 145 pounds.

The first thing I should say about sound is that the PLINIUS SA-250 Mk IV really got my attention. At this price, I take, at the very least, good sound quality in every aspect of performance as a given. The sound of the PLINIUS went beyond the, "ho hum, another very good power amplifier" category. I 'm not kidding about the bass. It performed superbly with the Wilson Maxx, Dunlavy SC-V, Thiel 7.2, and Revel Salons. Only the best Krells do better. And this is one amp where you can really hear the dynamic life of the best recordings, and the nuances between cartridges and digital processors. You'll want a front end with lots of dynamic life with this amp.

This is a great amp for deep pipe organs, for the kind of space music that HP likes, and camp demos like the Jennifer Warnes recording of the "The Hunter" [Private Music 01005-82089-2, bands 1 & 8]. This also is an amp that deserves the best in speaker cables. I found that the Kimber Select and Transparent Audio Reference XL series worked exceptionally and expensively well, as did the new top of the line Discovery Cable, at a more reasonable price. This amp can really control the speaker, if you give it a chance.

Soundstaging was also striking; the Mk IV is a highly three-dimensional amplifier, with an excellent balance of depth, width, image size, and image stability. It approaches the best Conrad-Johnson tube amps in getting all the depth out of recordings that have it.

The midrange and treble were equally good, but need a bit more qualification. The PLINIUS has a relatively neutral overall timbre that has little more upper-octave energy than most tube amplifiers and Krell Class-A amplifiers, but is in no way hard or bright. It is close in timbre to my Pass X-600 reference amps. I found no fault with any aspect of the way it handled male and female voices, woodwinds, strings, or brass. The upper midrange was natural and relaxed, and treble detail was present at any dynamic level - qualities that the best Class-A amps often bring out better than most of their competition.

The only criticism I have is that the Mk IV does not seem to have quite the "life" and "air" of the very best reference amplifiers, although I cannot think of any amplifier in its price range that does everything better. The losses in this area are somewhat similar to what you hear in a traditional warm concert hall; the PLINIUS has a natural "Row K" sound. As result, it offers a nice mix of sound qualities with most modern recordings.

In sum, very impressive. A product from a designer who really loves music, knows how to listen, and truly cares about soundstage quality.

       Anthony H. Cordesman

  IMPORTER INFORMATION
ADVANCED AUDIO TECHNOLOGIES
1280 West Peachtree Street, Suite 230
Atlanta, Georgia 30309

Tel 404 872 2564
Fax 404 872 0817
Source Manufacturer loan
Price $8,495





  PAUL BOLIN COMMENTS
I must preface this by noting that I have had the PLINIUS SA250 Mk IV in my system for only three weekends of listening, and have not had the opportunity to consider it as thoroughly I'd like. I reserve the right to add further comments in the event that a more extended audition yields different results. That said, Tony Cordesman has captured the essence of this fine amplifier.1

I have been able to audition some high-quality amplifiers in the last two years, both tubed and solid-state, but none with the PLINIUS' impact in the bass. I initially hooked up the SA-250 Mk IV to the Silverline Sonata speakers. The Sonatas' bass is quite amplifier-dependent, but the PLINIUS seized them in a gorilla grip and took their usable response down further than I'd heard. "Journey to the Line" from the Hans Zimmer's Thin Red Line [RCA 09026-63382-2] showed more depth and force when the Silverlines were powered by the PLINIUS than any of the other amps I've used with them. On my reference Apogee Duetta Signatures, the PLINIUS was in a class by itself in bass power and control. Extraordinarily demanding CDs such as Thin Red Line and Zimmer's recent Gladiator [Decca 289 467 094-2] showed the PLINIUS a perfect match for the Apogees' outstanding bass capabilities; the entire room shuddered from the superbly defined impact of the mighty bass drum (and its equally impressive reverberations). The growl of the bowed double basses and cellos on Gladiator was astonishingly close to the instruments' live sound. Like PLINIUS' front end electronics, the SA-250 Mk IV exhibits a combination of control, definition, and focus in the bottomend that places its performance in this range very near to the state of the art.

As AHC has noted, the PLINIUS' midrange is very good - uncolored and harmonically complete. It can be creamy and romantic sounding when the recordings require it. Jean-Benoit Dunckel's Fender Rhodes electric piano is recorded to sound bell-like and beautiful on 'Les Professionels" and "J'ais dormi sous l'eau" on Air's Premieres symptomes [Virgin/Source 7 243 8472450-4 (EU) CD]; the PLINIUS does it full justice, resolving the muted shimmering of the instruments tuning-fork-like tone generators. Leigh Nash's charming, waifish voice on Sixpence None the Richer's 'Kiss Me" [Squint Entertainment 701 7032316] is as light and sweet as spun sugar, just as it ought to be.

For now, I've found the PLINIUS' only tonal failing to be in its top octave, a shelving down of energy relative to the lively mid-treble. I heard this despite a system-wide change from Siltech cabling to Nordost Quattro Fil interconnects and SPM speaker cables, and on both the Silverlines and Apogees. It appears to have no effect on soundstage dimensions, where I expected it. Gladiator throws a deep and broad soundfield through the SA-250, but there is a diminution of cymbals' sparkle and shimmer and a slightly closed-in sound to the upper harmonics of up-front instruments with high-frequency energy. This also contributes to the PLINIUS' fairly laid-back spatial perspective. Still, the amplifier's overall presentation is neither dark nor light. It is just not perfectly neutral. The PLINIUS has not yet shown itself capable of the kind of endlessly extended and delicate top end found on the similarly priced Atma-Sphere MA-] Mk II.2 and AudioValve Challenger 140 amplifiers, but further listening may yield different results.

I cannot recall hearing another amplifier that can equal the PLINIUS in the breadth, depth, and height of the soundstage - the SA-250 Mk IV is fully competitive with better monoblocks in this regard. Definition to the back of the stage falls only slightly short of the best tubed amplifiers I've heard. Images are palpable and rounded: Instruments and voices emerge life-sized and three-dimensional. Nor does this amplifier sacrifice substance for hyped-up detailing. Even when paired with the Jeff Rowland Coherence II line stage, unsurpassed in my experience at low-level detail retrieval, the PLINIUS never elevated parts over the whole except when the recording required it.

All of the PLINIUS components offer upper-echelon dynamic performance, but the SA-250 is special even so. This is the most powerful sounding amplifier I've had inhouse, surpassing the similarly rated Ayre V-1 and Jeff Rowland 8T. Even on my inefficient, power-hungry Apogees, the Mk IV went nowhere near its limits, even at the loudest moments. One gets the impression that if you mounted a magnet and voice coil to a barn door, the Mk IV would drive it to 110dB without breaking a sweat. Yet for all its muscle, the amp is also able to capture the delicate microdynamics of instruments such as the piano. The PLINIUS SA-250 Mk IV is a lot of amplifier for its considerable price - both physically and sonically. For those with difficult speakers or large rooms, it may be the best choice. But anyone who likes power music presented with lifelike dynamics and finesse should hear this mannerly bruiser.

1] Like AHC, I did all critical listening with the amplifier in Class A. The amplifier runs murderously hot in this mode, but requires only about ten minutes of warm-up to sound its best. Class A adds an extra degree of refinement and smoothness over Class AB, from the lower mids upward. I recommend it for serious listening.


DESIGN OF THE PLINIUS SA 250 MK IV (sidebar)
The PLINIUS SA 250 Mk IV differs substantially from the unit (the Mk II) that Arthur Pfeffer described in Issue 111. It represents, according to designers Peter Thomson and Gary Morrison, a critical re-thinking of the overall circuit design and topology of the older unit. While the two amplifiers closely resemble each other externally, they diverge a good bit electrically and in the interior construction and layout.

First the mute switch no longer acts simply as an input short (which allowed safe and silent switching of input cabling with the amplifier on); it also disconnects, via a relay, the output to the speaker terminals, so that one can switch both input and speaker cables while the amp is powered up without fear of shorts or other problems. The front-panel bias switch now has a user-adjustable timing/logic control incorporated into it so that the amp will automatically switch from Class A to AB if left without input signal for a predetermined time. These features did not change the sonic character of the amplifier, but are thoughtful touches to help prevent mishaps, as is the ground lift switch (missing on the Mk II).

More telling sonically were the internal changes: a major layout redo that included combining the input stage, voltage amp, and logic circuit onto one board placed on a 3mm aluminum shelf, instead of being scattered throughout the interior; electrical design changes to the input stage and current source; and improved regulation on the input and voltage amp. The power supply now includes four power transformers (instead of one massive unit of old), along with pre-regulation components, in a separate enclosure in the bottom of the amp, all fixed to a 3mm steel shelf for better isolation and less physical hum and vibration. The output stages and main filter supplies are attached to each side, forming an integrated heat sink/output module.

The amount of internal wiring has been reduced from several clumps of various sizes and types (about 8-9 feet in total) to only four cables linking the voltage amp to the output stage. Each is under 2" long and is made from Siltech G-3 wiring (a silver/gold alloy, versus the pure silver Siltech G-2 that was employed in the Mk II).

The net result sonically is an amplifier that has a considerably more majestic presentation of soundspace dimension and spatial information than its forbears, a bit sweeter, softer high treble reproduction, and a slightly more laid-back presentation of perspective. The Mk II units (one of which I owned for a few years and used to perform side-by-side comparisons with the Mk IV) were a bit more forward-sounding and had a more intense top-octave response, which gave the earlier amps a bit more vivid and lively sound, at the cost of bordering on fatigue with some loud-speaker systems. Bass reproduction, always a strong suit, is slightly improved here and has, as described by both reviewers, tremendous power and weight.

       Scot Markwell

http://www.pliniusaudio.com/


PLINIUS COMPANY HISTORY
PLINIUS Audio Systems was founded by Peter Thomson in August 1980. The first amplifiers were designed mainly for the New Zealand market and enjoyed mild success during the first few years of operation.

Exports have always been an important ingredient for New Zealand manufacturers given the very small home market, and growth for PLINIUS was dependent on establishment of overseas markets. Australia was the closest market to us and some moderate success was achieved there in the early years. Later in the 1980s small volumes began to be exported to Germany.

In 1987 Gary Morrison joined forces with Plinius and a new company "Audible Technologies Limited" was formed. Gary was previously manufacturing amplifiers under the Craft Audio name and his association with PLINIUS has lead to our designs being accepted as among the most innovative and respected in the world.

During the early 90s' we realised that PLINIUS had to be accepted in either the US or the UK to gain worldwide credibility. The US and UK are recognised as the 'homes' of Hi Fi and credibility elsewhere is largely based on reviews originating from those two markets.

Connections made at the Winter CES in 1993 led to a distribution agreement with Victor Goldstein of Fanfare International. With Victor's help PLINIUS started to establish itself in the USA and to come to the notice of the major magazines. Fanfare and PLINIUS have since parted company but the relationships that developed during those first couple of years are firm and warm.

Currently PLINIUS distribution in the USA is handled by Advanced Audio Technologies, and PLINIUS products are also available in 26 other countries, with more interest developing daily.


  
PLINIUS PRODUCT HISTORY
Approximate time-line of Plinius product releases.

  1980
> Plinius 2 Preamplifier launched
> Plinius 3 Class AB 80 Watt Power Amplifier launched

  1983
> Plinius Limited Edition Mono 120 Watt Power Amplifier launched



> Plinius 2B Preamplifier released

  1984
> Plinius 3C Class AB 150 Watt Power Amplifier launched
> Plinius 2C Preamplifier released

  1985
> Plinius M9 & M10 Class AB 200 Watt Mono Amplifiers released
> Plinius 3100 Class AB 100 Watt Power Amplifier launched

  

> Plinius 3200 Class AB 200 Watt Power Amplifier launched

  1986
> Plinius MA100 Class A 100 Watt Mono Power Amplifier launched
> Plinius 760 Class AB 60 Watt Power Amplifier released
> Plinius 2.4 Preamplifier launched




  1987
> Plinius 3100B Class AB 100 Watt Power Amplifier launched
> MA102 Class A 100 Watt Mono Power Amplifier released
> SA-50 Class A 50 Watt Power Amplifier launched


  1990
> SA-100 Class A 100 Watt Power Amplifier launched
> M5 & M7 Preamplifier released



  1991
> M12 Preamplifier released
> P7 Class AB 100 Watt Power Amplifier launched

  1992
> SA-250 Class A 250 Watt Power Amplifier launched
> M12 Preamplifier upgraded to Mk2 Specification

  1994
> SA-50 and SA-100 Power Amplifiers upgraded to Mk2 Specification
> 2100i Class AB 100 Watt Integrated Amplifier launched



  1995
> M12 Preamplifier upgraded to solid aluminium chassis
> P7 Class AB 100 Watt Power Amplifier redesigned and relaunched

  1996
> Jarrah Phono Stage released
> SA-250 Power Amplifier upgraded to Mk2 Specification
> M14 Phono Stage launched

  1997
> M15 Limited Edition Preamplifier launched
> M16 Preamplifier released



  1998
> All SA series Power Amplifiers upgraded to Mk3 Specification

  1999
> 8150 Class AB 150 Watt Integrated Amplifier released
> SA-250 Power Amplifier redesigned and relaunched as Mk4
> 2100i/2 Class AB 100 Watt Integrated Amplifier launched


  2000
> 8100 Class AB 100 Watt Integrated Amplifier launched
> 8200 Class AB 175 Watt Integrated Amplifier launched
> CD·LAD Preamplifier released

  2001
> 8200P Class AB 175 Watt Power Amplifier released
> SA-102 Class A Power Amplifier launched

  2002
> ODEON Class AB Multi-Channel Power Amplifier launched
> SB-300 Class AB 300 Watt Power Amplifier launched

  2003
> 9100 Class AB 120 Watt Integrated Amplifier released
> 9200 Class AB 200 Watt Integrated Amplifier released
> P8 Class AB 200W Power Amplifier launched
> M8 Preamplifier Launched

  2004
> SA-201 Power Amplifier Launched
> SA-REFERENCE Power Amplifier released

PLINIUS M16L LINE-STAGE AND SA-250 CLASS A POWER-AMP
  'HI FI+' July/August 2000

  The massive reverberent "womp" of the drum kit toppling onto the stage rang through the house, waking the sleeping tortoise and raising clouds dust. Clouds of dust like the ones you can almost see, pushed out sideways on the cushion of air that shoots from beneath the falling drums. This isn't just about volume, although the results in that respect are extremely impressive, it's about subtlety too. Upright, the whole drum-kit becomes a shifting pattern of vibrating air and skin, vibrating planes that are angled precisely in space.

Beneath the calm, almost studied exterior of Keith Johnson lies a maniacal streak which litters his recordings with the kind of huge dynamic peaks which bring hi-fi systems to their knees. A similar maniacal urge lurks in dark recesses of the average audiophile mind (note the term audiophile; this has absolutely nothing to do with music) compelling us, when confronted by a big amp, to reach for the loudest recorded sound we possess: wick up the volume, select track, try to look unconcerned. Such is the weight of expectation - big equals sound. Simple as that really.

The problem is that expectation is fuelled by many things, and second only to a row of foot high heat sinks comes price. If the PLINIUS amplifiers respond with gusto to excessive application of the volume control, then they play a more circumspect game when it comes to pricing. Six grand is a great deal of money, but when it's buying you 250 Watts of predominantly Class A power, then it looks like a bargain. And bargains make people suspicious. After all, the US competition from the likes of Krell and Pass are much more expensive. Never mind, if it makes you feel any better, the PLINIUS SA-250 sells for $8495 plus sales tax in the US, a market where it competes quite happily with the other $9000 designs. The same $9000 designs that cost ?000 over here. So what's in a price? A lot of profit I hear you say and whilst it isn't quite that simple, it's certainly a salutary lesson in the fact that the retail price of a product is no guarantee of that product's quality, with respect to its peers or the market as a whole. There is a tendency amongst hi-fi's conspicuous consumers to dismiss 'cheap' product and not take it seriously. And whilst the SA-250 can hardly be described as cheap, to underrate it would be a serious error.

The PLINIUS SA-250 is a big amp. Stop visitors in their tracks big if that's what turns you on. Ironically it's physically relatively compact, but it has the kind of blocky, squat dimensions that leave you in no doubt as to its latent energy. The thick front panel and massive handles (thankfully front and back) fit everybody's notion of what a big amp should look like, whilst the massive protruding heat sinks give it the slightly hunched kind of self contained confidence that I associate with power lifters. At 145lbs that's far from a coincidence.

Controls are minimal, but also extremely sensible. The front panel sees a pair of toggle switches, on the left a mute and on the right a bias mode selector. With any amp of this power a mute switch is a real benefit, both in allowing you to manipulate cables and connections without endangering your speakers or output stage, but also to prevent catastrophic reduction of those speakers by a mishap or failure upstream. Of course, that wouldn't be a problem if you turned the amp off between listening sessions, but you don't want to do that. I found that it sounded better and better over a week long warm-up period: which brings us to that second switch. This allows you to switch between Class A and Class A/B, meaning that you can leave the amp idling between listening sessions, drinking about as mush power as a light bulb, then flick it to high juice Class A just before you settle down to play. It still takes about 20 minutes to really hit its stride, but that beats the hell out of seven days. You can of course listen in Class A/B (perhaps while you're doing the washing-up) but once you've experienced the Class A option, I can't see why you'd bother. Why go to all this trouble? Look at your electricity meter with the amp running in Class A and you'll soon get the picture.

Round the back you'll find single-ended and balanced XLR connections, along with a four position input mode switch. That's right, real megalomaniacs can bridge the SA-250. One kilowatt anybody? There's also four speaker binding posts a side, and a switch to float the chassis earth. Like I said, minimal but sensible. One small point of interest, perhaps related to the amp's easy sense of musical flow, is that it employs two transformers per channel, connected in parallel. The original thinking was to reduce mechanical noise (smaller transformers are less prone to hum) but PLINIUS soon discovered a sonic benefit out of all proportion with the cost of the modification. And they're not the only ones to move in this direction. Maybe it has to do with cancelling mains borne problems, but whatever the reason it's a topology which seems to offer very real benefits.

The PLINIUS combination worked flawlessly all the time that I had it. I used Nordost cables to hook it up (Quattro-fil and SPM), for once preferring the balanced pre to power option. I also used a variety of speakers, but the bulk of the listening was done with the NHT 2.9s, exactly the kind of wide bandwidth, low-efficiency, awkward load that the SA-250 was built for. Main source was the Clearlight Recovery Turntable, armed with the excellent Incognito-ed RB300 and a variety of cartridges, amplified by the Pass Aleph-Ono.

We already know that the PLINIUS amps do the big-amp thing with aplomb. The thunderous crash from Dafos (Reference Recordings RR-12) is proof enough, as is the startled tortoise (Albert was a-kip upstairs in a back bedroom, and for those of you who don't major on wildlife documentaries, scientific opinion tends to the belief that the average tortoise is stone deaf!!). Given speakers with appropriate bass extension the SA-250 is capable of both high levels and massive dynamic swings. But there's nothing earth-bound about this bass. The attack and texture of the individual drum beats is perfectly portrayed, as is the vibrance and decay of the skins.

It works on a grand scale too. The deep foreboding of the pulsing double basses that underpin the mournful tuba solo which opens the 4th movement 'Fears' of Shostakovich' 13th Symphony 'Babi Yar' (EMI ASD 391 1) hangs in the room, the instruments breathing in unison to their bow strokes. The subterranean bass drum rumbles menacingly. The PLINIUS floats the soundstage convincingly, and it does so consistently, where the recording has captured it. The bass is powerful and warm, natural, not overblown. It's a warmth that carries through the mid-band but diminishes as you rise, leaving upper register percussion crisp and poorly recorded violins exposed in all their digital anaemia. The better the recording the better it sounds, and although the PLINIUS doesn't destroy recordings, it reveals their shortcomings without necessarily highlighting them.

But it is at the opposite end of the scale that big amps so often stumble. The Steeplechase recording Trouble In Mind (SCS 1139) captures Archie Shepp's tenor sax in intimate, breathy close-up, and the PLINIUS delivers the goods. But what really impressed me was the easy way it opened out Horace Parlan's phrasing. He constantly stretches and massages the piano's contribution, lifting it away from the role of accompaniment and engaging Shepp's lead. The SA-250/M16L allowed the music to unroll in front of me, the timing of the sax's interjections perfect, the shifting patterns of the piano alternately filling in and making space.

The other thing that I really like about these amps is their generosity. They show no particular preference for LP or CD, classical jazz or rock. They simply get on with the job. Experimentation with the line-stage proved it to be impressively unobtrusive, although for some reason it really didn't like the Jadis JA100s. The impedances look alright, so I can't explain that one. But used together they were unfailingly enjoyable and unflappable. They even coaxed a decent soundstage out of the NHTs, which has been a problem in m listening room. Used with the Ars Acoustica Divas it was positively huge, precise at the front and very wide, but a shade shallower and not quite as airy as I'm used to with the JA30s. Nor di music have the same immediacy and presence that the Jadis produce. But the PLINIUS amps got a lot closer than I expected them to, and are a world away from the sterile precision that I associate with so many of their competitors. Close enough to lead to more than one much later than intended listening session at a time when both Victoria and I could ill afford loss of sleep.

I've also been pulling rather louder music from the shelves, not because it particularly suits the amps, but just because I can. The effortlessly unobtrusive power delivery of this antipodean behemoth brings a sense of relaxed and uncongested grace to the likes of Rachmaninov symphonies and Puccini operas. Oh, okay, I admit it, I played them louder than normal at times too. And the dance tracks, the ambient albums, the reggae, the Cure..... In fact, our neighbours are going to be glad to see the back of the PLINIUS (I see them cringe with the arrival of each increasingly large box, especially the ones with loudspeaker stencilled on them. Mind you, their daughter is learning the recorder!)

The PLINIUS SA-250 has made me reconsider my feelings toward heavyweight solid-state amplification. It's refreshing to know that if I ever had to go this route then there's at least one relatively affordable contender waiting to entertain me. And that really is the bottom line. The PLINIUS pairing is without significant musical flaws, and gets the all important mid-range right. It brings a performance to life, it engages, it entertains and above all, it doesn't obstruct. If you favour the ultra precise, almost clinical presentation of some fashionable designs, you may feel the PLINIUS sounds rather, well, dated. I think it sounds more like music and less like hi-fi. With the SA-250 in the system, it reminds you, just often enough, just how much power you've got on tap. It never lets that power intrude or dominate proceedings. Rather to my surprise, I shall be sad to see it go.

THE M16 LINE-STAGE
It's so easy to get carried away with the SA-250 that you overlook the matching line stage. Constructed on similar monolithic lines, the M16L also shares the power-amps common sense approach. It offers six line inputs, one of which can be selected for balanced operation, and another for an optional MM/MC phono-stage. Likewise the outputs are available as either balanced or single-ended.

Internally, the line stage is configured as a balanced bridge, using sophisticated power supply regulation to help reject mains borne noise. Solidly built, the boards are littered with audiophile grade components, and whilst I remain to be convinced of the necessity of this, the brands chosen show a willingness to investigate rather than simply follow the crowd. Internal signal wiring is all Siltech, and for users who choose to employ a high quality external phono stage (such as the PLINIUS M14) the phono input can be upgraded with even better wire and a shorter signal path, a ?50 option that wasn't fitted to the review unit. You get a ground switch like the one on the power-amp, and a dinky little standby button which needs to be pressed to enable the unit after switch-on.

Round the front you'll find switching for the six inputs (including the two tape loops), tape monitoring, balance and volume control. The two toggle switches are for mute and absolute phase. The remote control is particularly nice; not too heavy, with large, clearly labelled buttons. An object lesson for other manufacturers.

       by Roy Gregory

Plinius CD-LAD Preamplifier


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Descriptions


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來自紐西蘭非常hi-end 級的Plinius CD-LAD 前級放大器
有著簡潔亮麗的外觀,聲音不疾不緩,溫柔婉約,氣度高雅...有平衡與非平衡輸出入,附遙控.
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根據美國Audio Blue Book記載,本機美金售價$2995.台灣的定價為112,000

是二手啊，6折也wuwu. 但愿那位大爷高抬贵手。L版，麻烦你二手要注意什么？看到这些介绍我真有些动心。我就喜欢“聲音不疾不緩,溫柔婉約,氣度高雅“。L版可曾听过？