上接《软件&音质篇》：http://www.erji.net/forum.php?mod=viewthread&tid=2265741&extra=
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LUXURY & PRECISION P6 SYNERGY
EFFICIENCY
The P6 has an extremely impressive low-noise floor with sensitive IEMs on both single-ended and balanced outputs. Not perfectly pitch black but for an R2R implementation, you will not find any annoying hiss with the likes of Campfire Audio’s Solaris, Andromeda 2020, or Ara.
UNBALANCED
Unlike the Hifiman R2R2000, you do not need to go balanced with an ultra-low gain mode to achieve that, and also unlike both the Red and Black editions from Hifiman, you have a bit more micro-control over volume levels.
The stepped attenuator on the R2R2000 is normally only good for 5-10 steps on most monitors until you dip below 105dB SPL and ultra-low gain balanced where you can stretch high enough into the 15-20 region.
The electrical relay volume of the P6 is still relatively aggressive for volume but given the lighter power output on its single-ended output, it is more suited to monitors with a good 10 steps more useable volume.
BALANCED
For balanced with sensitive monitors such as the Solaris, the volume comes right in on the first step but seem a little steady with a more gradual upswing from steps 2-8, then it gets a bit loud on step 9.
With the likes of the Odin and the Sultan, you get a lot more useable volume headroom going balanced on the P6. And I do prefer balanced over unbalanced for those wondering. The dynamic range and harmonic balance felt snappier and more accurate respectively.
乐彼P6协同作用
驱动效率
推高灵敏度入耳时，比如Campfire Audio的太阳神、仙女座2020或天坛座，P6在单端和平衡输出上都有一个极其令人印象深刻的低底噪。虽然不是完美的漆黑背景，但对于一台R2R架构的机型而言，你不会发现任何恼人的嘶嘶声。
单端口
与Hifiman R2R2000不同，您不需要用超低增益模式来实现左右声道的平衡，也不像Hifiman的红色和黑色版本那样，对声音响度，您可以有更多的精细调节。
R2R2000上的步进式电位器在大多数监听入耳上通常只适用于5-10格，直到低于105dB 声压级并切换到超低增益来保持左右声道平衡，你可以延伸到足够响的15-20格区域。
P6的电子开关矩阵式音量控制系统仍然是相对激进的音量调节模式，但考虑到其单端输出的功率较低，它更适合于驱动监听入耳，一个不错的10格范围的音量调节就相对更实用了。
平衡口
对于像太阳神这样高灵敏度的监听耳机来说，音量在第一格就直接够了，但似乎在2-8格逐渐上升时较为稳定，然后调到第9格时音量会突然变得有点大。
推像Odin和Sultan这样的入耳时，你可以在P6上获得更多可用的音量调节空间。对于那些想知道结论的人来说，我确实更喜欢平衡口而不是单端。动态范围感觉更爽快，而谐波平衡相对更为准确。
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POWER
At 700mW into a 32Ω load, the P6’s balanced output is the way to go for all but the easiest of headphones to drive. 180mW into 32Ω single-ended really is not where you want to be if you own even modern planars like the Meze Empyrean and Final D8000 Pro, never mind the current-heavy variants such as the Abyss Diana Phi.
700mW is still shy of the DX220 MAX’s 1.7mW of power and the R8s’s 1W so it is not the most powerful out there in terms of pure voltage grunt. Having said that, up until this year 700mW would be a very acceptable level of power for most DAPs so things do change quite quickly for media player tech specs.
PLANAR PAIRINGS
I was half expecting the P6 to be a little too smooth for the already smooth sound of the Empyrean but it surprised me for its rich impactful sound and much better than expected headroom. The P6 has some excellent current on-demand beyond its initial 55 steps volume control so you will have no problems powering the Empyrean.
You still get vocals to the fore but the detail the P6 can tease out of the timbral performance of the Empyrean is excellent. Staging width and depth also are impressive with a low-end that is tight but meaty with plenty of depth.
You will get enough headroom and volume from the Hifiman HE1000 V2 and tonally they are an excellent pairing with the P6 keeping some of those aggressive upper mids tendencies of the V2 in check. Again current headroom is excellent and you will have no shortage of volume with the HE1000 V2, especially with the last 5 steps in high gain.
DYNAMIC DRIVER
The Sennheiser HD660s was a more topical balanced output pairing because I found how well it performed on the P6 related to how much you like the HD660S/650 sound.
Personally, I felt the relaxed nature of the P6 treble did not gel as well as I would like with the already relaxed HD660S treble. The Hifiman R2R2000 vocal body isn’t as good as the P6 but it does tease out a bit more sparkle from the HD660s which some might prefer.
A far more agreeable pairing is the old-school HD600 which just rocked with the P6, (balanced). Nothing felt out of whack, too shouty or lacking in substance despite its fairly demanding 300Ω load. It still will not deliver huge bass, it simply was never tuned to give you that slam. However, with the P6 it does sound solid and impactful.
The mids, as you would expect, were front and center but with a treble lacking in harshness they will never sound edgy or sibilance with the P6. Big? Yes. Shouty and edgy? Nope.
SELECT COMPARISONS
HIFIMAN R2R2000 BLACK
$2500
TECHNICAL
The R2R2000 listed as a BT streamer and is not being marketed as DAP by Hifiman. However, to all extents and purposes, it is being used as one by most who buy it. This is also an R2R discreet implementation and uses 2 R2R PCM1704k chipsets whereas the P6 uses a 100% discreet conversion design equivalent to 8 PCM1704K chipsets.
Whilst neither will offer delta-sigma capable DSD512 and PCM 32BIT/768kHz, the P6 does offer a higher decoding capability compared to the R2R2000. It is capable of up to 32BIT/384kHz PCM and DSD256 compared to the R2R2000’s lower 24bit/384kHz PCM and DSD64.
The P6 also has a bit more output power for balanced at 700mW into a 32Ω load compared to the R2R2000’s 500mW into the same load. However, the R2R2000 offers a higher output rating for single-ended at 320mW compared to 180mW into the same load @1kHz.
There are some pros and cons to this, however. Yes, the P6 3.5mm TRS output is weaker voltage-wise, but it is quieter with a less aggressive gain than the R2R2000 unbalanced. The R2R2000 has a good gain control going unbalanced so it’s quite quiet but there is more hiss going unbalanced with its more limited gain control.
The P6, however, is the quieter of the two for both balanced and unbalanced with a better SNR and THD+N performance of 123dB and 0.003% respectively compared to the R2R2000’s rating of 115dB @ +/-3dB and 0.006%. You do get a lot more current control on the P6 volume compared to the R2R2000.
Both devices offer LDAC Bluetooth receiver capability which feels tacked on but tidy on the P6 and of course, it is the main thrust of the product pitch on the R2R2000.
功率
P6的平衡输出在32Ω负载下为700mW，除了无脑易推的耳机之外，其他的也都搞得定。如果你拥有像Meze Empyrean和Final D8000 Pro这样的当代平板耳机， 32Ω负载下180mW的单端功率真的不是你想要的，更不用说像Abyss Diana Phi这样吃电流的平板。
700mW仍然比DX220 MAX的1.7mW（勘误：此处应为1.7W）功率和R8不锈钢版的1W功率要小，所以就纯电压功率而言，它不是最强大的。说到这里，直到今年，700mW对于大多数DAP来说是一个非常可接受的功率水平，所以对于音频播放器的技术规格来说，事情的变化确实相当快。
搭配平板
我半信半疑地以为P6对于Empyrean已很平滑的声音来说有点太平滑了，但它丰富的具有冲击性的声音和比预期好得多的空间感让我感到惊讶。P6在最初的55g格音量之后，还能提供出卓越的电流来喂饱这只平板，所以推Empyrean的供电是没有问题的。
你仍然可以听到引人入胜的人声，但P6能从Empyrean的音色中挖掘出的其他细节表现同样非常之好。声场的宽度和深度也令人印象深刻，低频很紧实，且富有肉感和足够的深度。
你可以从搭配Hifiman HE1000 V2中听到足够的空间感和响度，而且从音色上来说，它们是一个很好的搭配，P6可以控制V2的一些激进的中高频凸起。同样，目前的空间感是非常好的，你不会因为推的是HE1000 V2而觉得音量太小，特别是在高增益模式下的最后5格音量。
搭配动圈
森海塞尔HD660s是一个更具代表性的平衡口搭配，因为我发现它在P6上的表现与你喜欢HD660S/650的声音程度有关。
就我个人而言，我觉得P6高频的宽松特性并不像我希望的那样与已经足够宽松的HD660S的高频相融合。Hifiman R2R2000的人声主体不如P6好，但它确实从HD660s中挑出了更多的闪光点，有些人可能更喜欢。
一个更令人满意的搭配是老式的HD600，它与P6一起摇摆，（平衡端）。尽管它的300Ω负载对电压要求相当高，但听起来没感觉有什么是不正常的、太吵闹或缺乏实质内容的。它仍然不会提供巨量的低频，它只是从没被推到给你带来那种抨击感。然而，有了P6，它听起来确实很扎实且有冲击力。
中频，正如你所期望的那样，在靠前和中间位置，由于其高频毛刺较少，用P6听起来绝不会有毛躁感或咝咝声。声音够响吗？是的。声音很吵、很噪吗？不，没有。
精选对比
HIFIMAN R2R2000 黑色版
售价$2500
参数
R2R2000被列为蓝牙流媒体机，并没有被Hifiman作为DAP销售。然而，在整个hifi圈，它还是被大多数购买它的人作为播放器使用。这也是一个R2R架构的工程实现，用了2颗R2R PCM1704k芯片，而P6用一个100%全分立的R2R转换设计，性能相当于8颗PCM1704K芯片并联。
虽然两者都不能提供delta-sigma架构能硬解的DSD512和PCM 32BIT/768kHz，但与R2R2000相比，P6确实提供了更高的解码能力。与R2R2000较低的24bit/384kHz PCM和DSD64相比，它能够达到32BIT/384kHz PCM和DSD256硬解。
P6的平衡输出功率也更大一些，在32Ω负载下为700mW，而R2R2000在相同负载下为500mW。然而，R2R2000的单端输出功率更高，为320mW，而在相同的负载下P6为180mW @1kHz。
不过，这也有一些利弊。是的，P6的3.5mm 单端输出电压较弱，但它比R2R2000的单端输出更安静，增益幅度也更小一些。R2R2000平衡口有一个很好的增益控制，所以它相当安静，但它的单端口增益控制比较有限，底噪会比较大。
然而，P6在平衡和单端口底噪控制都比较安静，其信噪比和THD+N性能较好，分别为123dB和0.003%，而R2R2000的失真水准为115dB @ +/-3dB和0.006%。与R2R2000相比，你在P6的音量上确实会得到更多的电流控制力。
两台设备都提供LDAC蓝牙接收功能，这在P6上感觉是多余的，但这是个很简洁的功能，当然，这也是R2R2000的主要卖点。
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DESIGN
The R2R2000 is tiny, very pocketable with a very ergonomic shape, certainly much smaller than the P6. The P6 is a more traditional boxy shape, thicker but beautifully designed. I give an edge to the P6’s aesthetics with the bigger more legible color screen but there is no denying the handling comfort of the very light (142g) R2R2000 form factor.
Both offer microSD external memory but the P6 goes further with 64GB onboard memory whereas the R2R2000 has none. The two devices also have USB-C ports with USB-DAC, charging capability though no direct data transfer for the R2R2000. The R2R2000 does offer OTG digital audio via its USB-C which the P6 does not do.
Both have memory limits, however, though the P6 is double at 12k and the R2R2000 at around 6k tracks.
The battery numbers are better than what you would expect with the P6 coming close to 15 hours and the R2R2000’s eco mode offering well above 20 hours on a normal cycle. Of course, the R2R2000 eco mode gimps a lot of useful functionality but with it turned off it drops way down to under 10 hours.
SOFTWARE
Neither are touch-capable though the R2R2000 physical controls below the screen are touch-sensitive rather than physical. However, I do not find the touch button implementation on the R2R2000 to have a huge advantage compared to the P6.
Still, the P6 larger screen and snappy OS response are much easier to use than the tinier R2R2000 black and white screen. It’s more intuitive with better media management and a nicer playback screen.
The P6 also has a lot more options to control from the OS such as DSD and PCM filters, EQ, and USB connectivity modes. It also has a metatag media library with artwork and playlist management whereas the R2R2000 is pure folder navigation.
设计
R2R2000很小，非常便于携带，形状非常符合人体工程学，当然比P6小得多。P6是一个更传统的盒子形状，更厚但设计精美。我认为P6的美学优势在于更大更清晰的彩色屏幕，但不可否认的是R2R2000非常轻（142克），使得操作手感舒适。
两者都支持microSD外部存储，但P6更进一步，有64GB的板载内存，而R2R2000则没有。这两款设备都有USB-C接口，具有USB-DAC和充电功能，但R2R2000没有直接数据传输。R2R2000通过其USB-C接口提供OTG数字音频，而P6则不提供。
然而，两者都有存储限制，尽管P6是双倍数量的12000首歌，R2R2000是支持最高6000首左右的音轨。
续航指标比你所期望的要好，P6接近15小时，而R2R2000的省电模式在正常周期下提供了远超20小时的播放时长。当然，R2R2000的省电模式削弱了很多有用的功能，但在关闭的情况下，它的续航会下降到10小时以下。
软件
虽然R2R2000屏幕下方的物理控制是触摸式的，而不是物理式的，但两者都不具备触摸功能。然而，我不认为R2R2000的触摸按键与P6相比有什么巨大的优势。
尽管如此，P6较大的屏幕和迅捷的操作系统响应比R2R2000较小的黑白屏幕更容易使用。它更直观，有更好的媒体管理和更漂亮的播放屏幕。
P6也有更多的选项可以从操作系统中控制，如DSD和PCM过滤器、均衡器和USB连接模式。它还有一个带有专辑封面和播放列表管理的元标签媒体库，而R2R2000是纯粹的文件夹导航。
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PERFORMANCE
These are good examples of using the same chipsets but able to design very different sound signatures. The R2R2000 is cleaner, brighter with more treble presence, and overall a bit more bass/treble contrast in its presentation.
The P6 is warmer, thicker, and richer with a broader and more rounded timbre to its notes and a presentation that draws you closer to the mids and low-end. It has less of a bass/treble contrast preferring instead to tease out a bit more grit and detail in vocal and instrumental texture. The sound is liquid, ‘phat’ in a way but with excellent separation and clarity.
The R2R2000 seems to tease out a mild v-shaped sensibility from the Odin with a punchier bass response and a more forward upper mids/lower treble presence. There is also a bias to odd harmonic partial overtones on instrumental and vocal timbre with slightly less body.
Certainly, the treble extension is better on the R2R2000 but as a result, the vocals on the R2R2000 Black can sound a shade sharper on clean recordings compared to the P6 which I find more natural and forgiving.
Overall, the R2r2000 is a cleaner with a more vivid high contrast style of sound while the P6 delivers a natural liquid-like tone with a meatier smoother timbre and generally a more forgiving presentation.
SONY NW-WM1Z
$3199
The ‘1Z’ has been out for a few years now and still their TOTL or flagship DAP. Sony has felt no need to enhance with a Pro or Gen 2 and let’s be thankful for that given the price they sell for.
DAC
Inside, Sony has gone proprietary with their own S-Master HX system compared to the R2R DAC of the P6. Both are very different implementations but decoding levels are the same with both happily decoding up to DSD256 and PCM 384kHz/32BIT.
However, native DSD decoding on the Sony is only via the balanced output where going unbalanced will have it converted to PCM. The R2R2000 will natively decode up to DSD256 and you can choose whether to go native or PCM via the OS for either output.
Much of this has to do with the use of a digital amplifier design of the 1Z and how Sony, by opting at keeping the signal in the digital domain right up to the LPF, has shaped what each output will do. Clearly by not allowing native DSD and a lower amp output for 3.5mm they have gone for better battery life.
Both devices can receive a BT signal, and both can offer top-level LDAC capability. The Sony is bi-directional for BT but neither DAP offers WiFi or apps expandability. Both do offer excellent DSP but the Sony is more evolved with their filtering whereas the graphical EQ on the P6 is more limited to a few presets and standard digital filters.
性能
这是使用相同芯片却能设计出非常不同的声音特征的好例子。R2R2000更干净、更明亮，有更多的高音，总体来说，它的低频/高频对比度更强。
P6更温暖、更厚实、音色更丰富，其音符的音色更宽广、更圆润，其表现形式使您听到更贴耳的中频和低频。它的低频/高频对比度较少，而更偏向在人声和乐器的质地中挑出更多的颗粒和细节。声音是流动着的，在某种程度上是 "偏肥"的，但具有出色的分离度和清晰度。
R2R2000似乎从Odin中呈现出一种温和的V型调音，低频反应更有力，中频往上/高频往下的频域相对更为凸起。在乐器和人声的音色上，也有一种比较特别的谐波泛音，形体感稍小。
当然，R2R2000的高频延伸更好，但结论是，R2R2000黑色版的人声在干净的录音中听起来比P6要尖锐一些，我觉得P6表现这类录音更自然和宽容。
总的来说，R2R2000是一个更干净的高对比度的声音风格，而P6提供了一个自然的流动性更好的音色，更多的平滑音色，一般来说，对录音品质的挑剔性更宽容。
SONY NW-WM1Z
售价$3199
金砖一代已经问世几年了，但仍然是他们的天花板机型或者说是旗舰DAP。索尼认为没有必要用专业版或第二代来加强，考虑到它们的售价，我们应该对此表示感谢。
DAC
在内部，与P6的R2R DAC相比，索尼已经采用了他们自己的S-Master HX系统。两者都是非常不同的实现方式，但解码水平是相同的，都能轻松愉快地硬解DSD256和PCM 384kHz/32BIT。
然而，索尼的原生DSD解码只能通过平衡口输出，而单端输出会被转换为PCM。R2R2000将原生解码到DSD256，您可以通过操作系统选择原生或PCM的输出。
这在很大程度上与金砖的纯数字放大设计有关，索尼通过选择将信号一直保持在数字形态，直到经过低通滤波，从而确定每个输出口将要做什么。显然，通过不允许原生硬解DSD和较低输出功率的3.5mm单端口，他们已经能做到更长的续航。
两台设备都可以接收蓝牙信号，而且都可以提供顶级的LDAC能力。索尼的蓝牙是双向的，但这两款DAP都不提供WiFi或应用扩展。两者都提供出色的DSP，但索尼的滤波功能更先进，而P6的EQ则更多地局限于一些预设选项和标准的数字滤波器。
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AMPLIFIER
The P6 amplification is far superior for headphones and demanding IEMs with up to 700mW balanced and 180mW single-ended into a 32Ω load. The 1Z is much the weaker at 250mW balanced and 60mW unbalanced per channel and that is on an even lighter 16Ω load.
If you are thinking well, that’s great because the 1Z will be quiet, then that is not always the case with the Sony player. It can emit noise and background hiss on sensitive IEMs and there are times the P6 can seem the quieter of the two, depending on the IEM you choose.
The P6 also offers a dedicated lineout with 2 voltage settings whereas with the Sony you are going directly from the PO and therefore double-amping. Neither offer OTG though with Sony you can buy a proprietary cable for digital audio.
DESIGN
The 1Z, beautifully designed it maybe is nevertheless a brick. There is no getting around that at 455g compared to just 248g for the P6. Much of that weight is from the gold-plated oxygen-free copper chassis that is also very striking looking. Still, if you want something more pocketable, the P6 is the way to go.
I would not call the 854 x 480 FWVGA panel top-tier on the Sony these days but it is much more useable and touch-friendly than the P6 non-touchscreen and command button system.
Both have 4.4mm balanced and 3.5mm unbalanced as well as digital I/O for USB-DAC but I much prefer the P6 USB-C universal connector to Sony’s fussy 30-pin proprietary interface.
The battery life of 1Z is probably one of the best in the business at this level with up to 30 hours, even with hi-res playback. The P6 does quite well at 15 hours on paper but once you work BT and hi-res into daily use you will find it drops a little.
SOFTWARE
Both have a proprietary OS and whilst I think the Lotoo OS is better than the Sony version, it is considerably slicker looking than the simpler P6 OS.
You get a lot more EQ options, digital filters, NFC, a massive 256Gb onboard memory to tap into as well as external memory slots that are recognized as mass storage on PC and MAC. The screen is GUI capable so media management is also much easier.
However, the big drawback of the Sony OS is the boot time which is extraordinarily long as well as continually ‘creating the database’ after you update your media taking equally as long. The P6 software could be considered much faster on those two points.
模拟放大
P6的放大部分表现对于耳机和要求严格的IEM来说是非常出色的，在32Ω负载下，平衡功率可达700mW，单端为180mW。1Z的放大功能则要弱得多，每通道平衡250mW，单端60mW，而且是在更低的16Ω负载上。
如果你在想，那很好，因为金砖会很安静，那么索尼播放器并不总是这样的。它在高灵敏度入耳上会听出噪音和背景嘶嘶声，有些时候，P6似乎是两者中最安静的，这取决于你选择的入耳灵敏度。
P6还提供了一个专门的lo输出，有2个电压设置，而索尼则是直接从PO上输出，因此是双重放大。两者都不提供OTG，但索尼可以为数字音频购买一条专用线材。
设计
先说金砖，也许它设计得很好，但却是一块砖。它的重量达到455克，而P6只有248克，这是无法绕开的。大部分的重量来自于镀金的无氧铜机身框架，它的外观也非常引人注目。不过，如果你想要一些更容易携带的东西，P6才是你的选择。
我不会把现在索尼的854 x 480 FWVGA面板称为顶级面板，但它比P6的非触摸屏和指令按键系统更容易使用和触摸。
两者都有4.4mm平衡口和3.5mm单端口以及USB-DAC的数字输入/输出口，但我更喜欢P6的USB-C通用接口，而不是索尼挑剔的30针专有接口。
金砖的续航可能是这个级别的产品中最好的之一，即使是高清晰度音频的播放，也能达到30小时。P6在纸面上的续航表现相当好，为15小时，但一旦你在日常使用中使用蓝牙功能以及播放高码率歌曲，你会发现它的续航时间会下降一点。
软件
两者都有一个专有的操作系统，虽然我认为Lotoo OS比索尼的系统强，而且它比简单的P6的操作系统看起来更精简。
你可以得到更多的EQ选项、数字滤波器、NFC、256Gb的巨大板载内存，以及在PC和MAC上被视为大容量存储的外部内存插槽。屏幕支持图形用户界面，所以媒体管理也更容易。
然而，索尼操作系统的最大缺点是启动时间特别长，而且在你更新媒体后不断 "创建数据库 "也需要同样的时间。P6的系统在这两点上可以说是快得多。
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PERFORMANCE
Both have a lilt towards ‘musicality’ as defined by a hint of warmth and a swinging low-end over anything overly neutral and linear in their delivery. However, I want to just focus a bit more on dynamic range and power because the P6 has more of both for me.
You do need to go balanced with the Sony to get tease out its full potential but even with something like the Odin you are over 80 on the volume whereas the P6 sits comfortably at less than 40% going balanced.
Even when current or volume levels have matched you can tell the P6 has a slight edge in dynamic range sounding more open and expansive when notes come in and out at a fast pace. The Sony will deliver a lovely tone but it sounds more centered, slightly further back, and not as complex or vibrant when imaging flashes in and out from left to right.
MIDS TIMBRE
You can hear that in mids performances from our test IEMs. The Sony mids tended to just lack a bit of body and offered a smooth but glossier tone whereas the P6 mids felt richer with better texture teasing out a bit more detail.
The effect was most felt in female vocals with one, in particular, I tend to listen to, Nina Boldt. Her vocal pitch is often a head voice with an ethereal quality emphasized by a bright mix with reverb on a lot of her recordings.
With the Sony, it was clear, a little drier and smooth but also lacking in raw qualities you want to hear such as tiny cracks in vocal delivery, the roughness of a breath, or how it echoes in the reverb. You get more of that with the P6 plus a more liquid attack preventing any sharp nasties creeping in.
TREBLE INFUSION
The 1Z does have is a little more treble presence though not in the same vein as the R2R2000 and the Lotoo. You tend it hear it more in little timbral overtones than an out and out treble splash. Often it presents itself in vocal sibilance with a little bit of hardness now and then or a slightly cleaner brighter percussion hit.
The P6 does not seem to have quite the same overtone on its timbre but at the same time does not sound comparatively attenuated beyond the upper mids. Both have similar headroom
LOTOO PAW GOLD TOUCH
$3199
DAC
The PAW Gold Touch is $200 more than the P6 but I sort of look at it as the delta-sigma equivalent of the p6. It has its own proprietary OS, similar size and shape, and offering excellent audio quality.
However, there are some big differences. The Touch uses a delta-sigma AK4497EQ DAC as opposed to the P6’s discreet R2R implementation.
Decoding on the Touch is an impressive DSD512 and PCM 32BIT/768kHz via an AK4137EQ digital sample rate converter. The P6 is lower at DSD256 and PCM 32BIT/386kHZ but does not rely on single-chip computational processing, preferring instead for a bit by bit transformation into analog.
AMPLIFIER
For amping, the Touch is unusual, (in today’s marketing-driven world), in that it offers 500mW into a 32Ω from both balanced and single-ended outputs. The P6 offers 700mW on the same load balanced so more powerful, but less so single-ended at 180mW into 32Ω.
You can drive headphones pretty well from both though the P6 has an edge. For single-ended, the lower output of the P6 keeps things quiet for sensitive IEMs but the Touch has a very black background for both balanced and unbalanced.
Both are line-out capable with 4.4mm and 3.5mm TRS output options. The two DAPs both have voltage adjustment capability for single-ended lineout (low and high gain).
WIRELESS
Both have Bluetooth but the Touch is an older BT4.1 SoC whereas the P6 uses BT5.0. Both can receive LDAC and lower codecs, however, and the Touch can transmit, (bidirectional), whereas the P6 can only receive. The two DAPs can operate as USB-DAC’s, however, the Lotoo can go further with OTG digital audio capability.
性能
两者都给出了一份 "音乐性"的定义，即有一丝温暖和动感的低频，而不是任何过于中性和直白的传递。然而，我想更多地关注动态范围和功率，因为对我来说，P6这两点做得更到位。
你确实需要用索尼的平衡口来激发它的全部潜力，但即使是像Odin这样的东西，你用金砖推的音量也超过了80格，而P6在平衡口输出的情况下轻轻松松打到不足40%音量的位置。
即使是在电流或音量相匹配的情况下，你也能看出P6在动态范围上有一点优势，当音符以快节奏出现时，它听起来更开放、更宽广。索尼将呈现出一种比较可爱的音色，但它听起来更靠中心位置，略微靠后，而且当结像从左到右闪现时，没有那么具有层次感或充满活力气息。
中频音色
你可以从我们测试的IEM的中频表现中听出这一点。索尼的中频往往只是缺少一些肉感，提供了一个平滑而光亮的音调，而P6的中频感觉更饱满，有更好的质感，能挑出更多的细节。
这种效果在女声中感受最深，特别是我经常听的Nina Boldt。她的声调通常是头顶上的声音，有一种空灵的质感，在她的许多录音中，通过明亮的混音、混响来着重强调。
在索尼金砖部分，它的音色很清晰，质感偏干、偏滑，但也缺乏你想听到的原声质感，如人声传递中的微小裂缝，呼吸的颗粒感，或它如何在混响中实现回声。你在P6上可以捕捉到更多这样的东西，再加上更多扑面而来的水润感，它能防止任何尖锐的、讨人厌的东西进入。
高音注入
金砖确实有更多的高频存在，尽管与R2R2000和Lotoo的情况不同。你往往会听到它更多的是在小的音色泛音上体现，而不是一个飞溅出来的高音。通常它呈现在人声的咝咝声中，时不时地有一点偏硬的细节出现，或是一点更为干净明亮的打击乐。
P6在音色上似乎没有完全相同的泛音特性，同时也没有在中高频段听起来会有相对衰减。两者都有类似的空间感。
乐图墨菊
售价$3199
DAC
大墨菊比P6贵200美元，但我把它看成是P6的delta-sigma版本。它有自己的专有操作系统，类似的尺寸和形状，并提供出色的音质。
然而，它俩也有一些很大的区别。墨菊使用delta-sigma架构AK4497EQ DAC，而不是P6的全分立电阻式R2R架构。
墨菊的解码是通过AK4137EQ数字采样转换芯片实现的，达到令人印象深刻的DSD512和PCM 32BIT/768kHz。P6的DSD256和PCM 32BIT/386kHZ的解码支持较低，但不依赖单芯片的计算处理，而是逐位转换为模拟信号。
模拟放大
在放大方面，墨菊是不寻常的，（在如今的营销驱动的世界里），因为它在32Ω的平衡和单端输出上都提供了500mW。P6在同样的负载上提供了700mW的平衡输出，所以P6平衡口推力更强，但单端输出的180mW@32Ω就不那么强大了。
虽然P6有优势，但你都可以用这两款产品很好地驱动耳机。对于单端而言，P6的低输出功率能让高灵敏度入耳保持安静，但墨菊的平衡和单端口的背景都很黑。
两者都有4.4mm和3.5mm TRS接口输出，可切换为lo。这两台DAP都具有单端lo输出的电压调节能力（高低两种增益）。
无线
两者都有蓝牙功能，但墨菊是旧的蓝牙4.0模块，而P6使用蓝牙5.0。然而，两者都可以接收LDAC和更低码率的编解码器，而且墨菊可以发射蓝牙信号（双向），而P6只能接收。这两款DAP都可以当USB-DAC用，然而，乐图可以进一步发挥OTG数字音频能力。
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DESIGN
I love both designs. They are modern, very nicely cut and not too gaudy. The finishing on the Touch and P6 is exquisite and the form factor is not too big to operate with one hand. The big difference though is the weight with the Lotoo weighing in at 311g compared to 248g for the p6. You will feel that difference right away.
There are some differences in favor of the Lotoo with touchscreen capability being the biggest factor. It does make the Lotoo seems more user-friendly and operations are a lot faster to execute. The screen is also a bit bigger and easier to read on the Lotoo than the smaller less dense P6 screen.
Both have external memory slots though the Lotoo is well behind with no onboard memory and an insistence on using full SD sized cards. The two DAPs also use USB-C for charging, data transfer, and USB-DAC functionality though the P6 lacks OTG.
SOFTWARE
These are two very fast and stable OS on each DAP. They never freeze or do something that ends up making our head scratch. Boot up time is fast, perhaps faster on the Lotoo.
The Touch’s touchscreen does open up more possibilities and whilst the P6 is feature-rich for filters, USB control, and LO/PO options, the Lotoo is just a bit ahead with additional EQ and PMEQ controls that go deeper with more customization.
The media library is also more evolved on the Lotoo with better drill down grouping and more ambitious artwork integration throughout. One added bonus is OTA firmware updates from a very limited WiFi service on the Lotoo but both can also be locally updated with small firmware files.
设计
我喜欢这两个设计。它们都很现代，切割处理得非常漂亮，而且不会太花哨。墨菊和P6的表面处理非常精致，而且外形尺寸不大，都可以用单手操作。但最大的区别是重量，乐图的重量为311克，而P6的重量为248克。你马上就会感觉到这种差异。
有一些有利于乐图的差异，其中触屏能力是最大的因素。它确实使乐图看起来更方便用户使用，操作起来也更快。乐图屏幕也更大一些，比P6的小屏更容易浏览。
两者都有外部扩展卡槽，但乐图落后很多，没有板载内存，而且坚持使用全SD尺寸的卡。这两款DAP还都使用USB-C进行充电、数据传输和USB-DAC功能，但P6缺少OTG功能。
软件
这两款DAP上的操作系统都非常快速和稳定。它们从不卡顿或做一些最终让我们挠头的事情。开机时间都很快，也许在乐图上更快一些。
乐图的触屏确实提供了更多的可能性，虽然P6在滤波器、USB控制和LO/PO选项方面功能丰富，但乐图在额外的EQ和PMEQ调节方面略胜一筹，可以更深入地进行定制。
乐图的媒体库也更加完善，有更好的下探分组和更多的专辑封面整合。一个额外的好处是，乐图墨菊有一个非常有限的WiFi服务的OTA固件更新，但两者都可以通过小型固件进行本地更新。
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PERFORMANCE
The differences are a little more nuanced on the Lotoo compared to the Sony and the R2R2000. It’s a great delta-sigma implementation, with a blacker background than any of the DAPs talked about in this review.
However, the tone is not quite as natural sounding as the p6, opting instead for a more neutral tone up the mids and a slight uptick in brightness through the to the upper treble. I said slightly because in most cases it’s not something that creates any harshness but you do notice it compared to the warmer gentle fade in the treble from the P6.
The P6 does sound a bit more weighted and denser on the low-end compared to the Touch. Its warmth is palatable and whilst the Lotoo does not lack anything in terms of punch but certainly not as muscular and dense as the bass from the P6 using our tested IEMs such as the Sultan and the Odin.
VOCALS TIMBRE
The mids pretty much mirror that difference with the warmer more liquid delivery for both instruments and vocal coming from the P6 whereas the Lotoo is more neutral, slightly cleaner, and a vocal that is precise but with a comparatively ethereal quality.
What I mean by that is a slightly airier quality to the Lotoo upper mids, with more separation and air around the vocals but lighter in weight compared to the P6 vocals, particularly soprano singers and falsetto passages. The P6 vocal has a little less separation but a broader note and more rounded in the timbre using both the Odin and Sultan pairings.
You could call the Lotoo more articulate, more energetic but the P6 is more textured and natural in its delivery. Certainly, the power on the low-end from the P6 does make a qualitative difference to the PRaT of most gear I paired it with.
性能
与索尼和R2R2000相比，乐图上的差异更细微一些。这是一个很好的delta-sigma工程实现，比本篇测评中谈到的任何DAP的背景都要黑。
然而，它的音质并不像P6那样自然，而是选择了一种更中性的中频，并在高频部分略微提高了亮度。我说稍微是因为在大多数情况下，这并不产生任何刺耳的声音，但与P6的温暖柔和的高频相比，你确实会注意到这点。
与墨菊相比，P6的低频听起来确实更有份量、更密集。它的温暖声底是可以接受的，虽然L乐图在冲击力方面并不缺乏任何东西，但肯定不如使用我们测试过的IEM（如Sultan和Odin）搭配P6的低频那样有肌肉感和密度感。
人声音色
中频段几乎完全反映了两者音色的差异，P6的乐器和人声都更温暖，更有流动性，而乐图则更中性，略微干净，人声精确，但有一种相对空灵的质感。
我的意思是说，乐图的中高频会有一点空气感，人声周围有更多的分离度和空气感，但与P6的人声相比，重量更轻，特别是女高音歌手和假声段落。使用Odin和Sultan搭配时，P6人声的分离度稍低，但音域更宽广，音色更圆润。
你可以说乐图的人声发音更清晰，更有活力，但P6的人声更有质感、更为自然。当然，P6在低频方面的出色能量感，确实对我所搭配的大多数耳机的速度、节奏和时机产生了质的区别。
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发表于 2022-5-23 09:44
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