「长篇译文」“小”身、“大”声——Headfi LP6白金版测评（下篇）

乐彼客服1

上接LP6白金版研发背景、品牌介绍与外观做工介绍：http://www.erji.net/forum.php?mo ... 7516&extra=page%3D1

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Internal Hardware and Electronics
Product model: LP6 (gold version)
Display: 3.5 inches, IPS screen, OGS structure
Resolution: 480*320
Body material: brass gold plated
Master: 1812C
DAC: 2 ultra-high linear industrial grade R2R DACs
Crystal: Ultra low phase noise -160dB active crystal
Operational Amplifier: EXCELS V-O
Amp : EXCELS EP-A
Auxiliary processor: Intel large-scale FPGA
Power Management Wafer: AXP216

内部硬件和电路
产品型号：LP6（黄金版）
显示屏：3.5英寸，IPS屏幕，OGS结构
分辨率：480*320
机身材质：黄铜镀金
主控：1812C
DAC：2颗超高线性度工业级R2R DAC
晶振：超低相位噪声-160dB有源晶振
运放：EXCELS V-O
耳放：EXCELS EP-A
辅助处理器：Intel大型FPGA
电源管理芯片：AXP216



As covered earlier, this DAP utilizes two R2R silicon wafer DAC chips to achieve a natural sound. There is little information on the R2R chips used in this player, upon asking Mr. Wan directly he answered, “it is secret ”. I pressed further and he mentioned “We have the ability to design our own chip. However, the amount is too small, the investment is high, and given the chip shortage situation it is economically inappropriate to manufacture and design fully custom chips”. LP6’s marketing material indicates R2R chips are off the shelf R2R chips which are then customized by L&P to their specifications (via laser and PVD), instead of fully custom chips.
However, the R2R wafer chip is just one part of the LP6 system architecture. Most curiously, the package of LP6 comes with an Intel sticker. When was the last time your DAP came with the same CPU sticker as your gaming PC? It turns out L&P worked with Intel to design a FPGA specific for the LP6 family to serve several key functions:

1.        R2R DAC performance multiplier
2.        Digital Filter
3.        Advanced custom EQ
4.        Lossless DSD PCM conversion
5.        Low jitter SPDIF OUT
6.        Large bandwidth bridge chip
7.        Precision clock source

The custom nature of the LP6 exclusive Intel FPGA highlight L&P’s design intent with the LP6 line. Every decision and specification are in service to attain the best audio experience possible. For example, the FPGA is designed to operate within a specified power range, so the CPU does not interfere with other electronic systems. Furthermore, L&P have separated the power supplies to both the digital block and analog block to improve noise isolation. The power supply system for each block have been further discretized to each of their subsystems. For instance, the analog circuit power supply is separated into three separate servo power supply subsystems, designed to mimic a desktop DAC decoder, desktop preamplifiers and power amplifiers respectively. This extensive approach to power supply design highlights thoughtful circuit design to deliver the best audio quality possible. For instance, L&P have installed the analog power supply on the reverse side of the circuit board to improve noise isolation.
Moving to the built-in memory, we can observe more evidence L&P’s approach to no expense spared design. Built in memory is expected, however the onboard 64GB is quite low considering competing devices such as Astell&Kern’s S2000 is offering 256GB. What caught my eye was the type of memory used, error correcting code memory (ECC). This memory spec is generally found in workstations, mission critical servers and other professional equipment. As I’ve never seen the inclusion of such a high-grade component in a DAP before, I asked Mr. Wan about this and included his direct response below.

如前所述，这个DAP利用两颗R2R DAC芯片来实现自然顺滑的声音。关于这款播放器中使用的R2R芯片的信息很少，在直接询问万先生时，他回答说："这是秘密"。我进一步追问，他提到 "我们有能力设计自己的芯片。但是，数量太少，投资很高，而且考虑到芯片短缺的情况，制造和设计完全定制的芯片在经济上是不合适的"。LP6的宣传资料显示，这颗DAC芯片是现成的R2R芯片，然后由乐彼按照他们的规格（通过激光和PVD）定制，而不是完全定制的芯片。
然而，R2R晶圆芯片只是LP6系统架构的一个部分。最奇怪的是，LP6的包装上有一张Intel的贴纸。你的DAP何时与你的游戏PC一样带有CPU贴纸？事实证明，乐彼与英特尔合作，为LP6系列设计了专用的FPGA，以实现几个关键功能。

1.        R2R DAC性能倍增器
2.        数字滤波器
3.        高级定制均衡器
4.        无损的DSD PCM转换
5.        低抖动SPDIF输出
6.        大带宽桥接芯片
7.        精密时钟源

LP6独有的英特尔FPGA的定制性质突出了乐彼对LP6系列的设计意图。每一个决定和规格都是为了达到最佳的音频体验。例如，FPGA被设计成在指定的功率范围内工作，因此CPU不会干扰其他电子系统。此外，乐彼还将数字部分和模拟部分的电源分开，以提高噪音隔离度。每个模块的电源系统都被进一步分离到其每个子系统。例如，模拟电路的电源被分离成三个独立的伺服电源子系统，分别设计成模拟桌面DAC解码器、桌面前置放大器和功率放大器。这种广泛的电源设计方法突出了周到的电路设计，以提供尽可能好的音频质量。例如，乐彼将模拟电源安装在PCB电路板的反面，以提高噪音隔离度。
再看内置存储器，我们可以观察到更多乐彼不惜代价的设计方法。内置内存是意料之中的，但是考虑到竞争对手的设备，如Astell&Kern的SP2000提供256GB存储空间，LP6板载64GB是相当低的。引起我注意的是所使用的内存类型，纠错代码内存（ECC）。这种内存规格通常出现在工作站、关键任务服务器和其他专业设备中。由于我以前从未见过DAP中包含如此高等级的组件，我向万先生询问了这个问题，并将他的答复直接在下文呈现。

Question: Why use ECC memory in LP6 and only provide smaller capacity such as 64GB, whereas A&K S2000 include 256GB built in?
Answer: Generally, NAND flash has ECC mechanism. The newer process flash requires the higher the number of ECC bits, otherwise it may not be able to be read. Contrary to most people’s intuition, the smaller number of ECC bits translates to better stability and quality of the flash memory. For instance, 24-bit ECC flash is better than 40-bit ECC flash. You mentioned A&K, well this is generally implemented as EMMC. This can be understood as flash with an additional card reader chip, instead of using the ECC mechanism of the machine's main control SOC. This additional card reader chip compatibility and larger capacity flash support will be better, but it will increase more power consumption and electromagnetic interference. The general design philosophy of our products is to maximize sound quality for our customer. The pursuit of this necessitates us to minimize the interference and power consumption caused by additional chips, so we prefer to support small memory capacity to ensure best sound quality possible.

Such well thought out design excites me and reflects thoughtful engineering one would find in this price class. When looking at the power supply diagrams, Intel derived custom FPGA and high-quality components such as ELNA SILMIC II Caps, one can see where the R&D has been spent.
Moving to the amplification stage, LP6 utilizes EXCELS-VO op amps with the EXCELS EP-A amplifier to provide the most aggressive power delivery I’ve ever experienced from a DAP. This introduces the first drawback to the ‘over the top’ approach to electronics. For instance, when I use Moondrop’s Illumination via 4.4mm (Low Gain) I only need 4-5 millimeters of volume movement to get to my listening level. I’ve noticed some IEMs require an inch of volume pot turn, others require just 10 millimeters. In the Illumination’s case, it can be tricky to achieve a comfortable listening volume without encountering channel imbalance due to how little the volume pot needs to be adjusted. My MDR Z1R headphones require slightly over an inch of volume wheel turn to reach loud listening levels. While the LP6 is a powerhouse, I have found the power delivery curve too aggressive, especially for iems that use 4.4mm connection. Using the unbalanced port does help things, however my cables are hardwired to 4.4mm, and I would prefer not to use adapters (as this introduces a conversion step in the signal chain). One should note, the Titanium LP6 introduces an extra gain level, akin to Turbo mode found on the Shanling M8 or Hiby R8. This extra gain level allows LP6 Titanium to drive headphones such as HD800 with ease, which the LP6 Titanium was designed for. As a temporary measure, I use Cayin C9 with LP6 to create a usable volume range with more efficient gear. This arrangement works quite well due to LP6’s low distortion at high volumes, the THD is less than .0005% at full power. I did not detect any audible distortion when running LP6 via 4.4mm to C9 during my many hours of listening.

In summary, the electronics and system architecture of LP6 demonstrate L&P are not leaving any stone unturned with their implementation of discrete power systems, customized ultra linear R2R chips, Intel derived FPGA, and an amplification system that allows maximum volume PO with minimal distortion. It is impressive to see what lengths Mr. Wan have gone to create a truly flagship device, its quirks not withstanding. This LP6 is clearly a passion project, drawing on L&P’s years of expertise to create the most sophisticated portable audio platform I’ve encountered (save for perhaps DMP Z1).

问：为什么在LP6中使用ECC存储器，而且只提供较小的容量，如64GB，而A&K SP2000却内置了256GB存储？
答: 一般来说，NAND闪存有ECC机制。越是新工艺的闪存要求ECC位数越高，否则可能无法被读取。与大多数人的直觉相反，ECC位数越少，说明闪存的稳定性和质量越好。例如，24位ECC闪存要比40位ECC闪存好。你提到了A&K，那么这通常是作为EMMC实现的。这可以理解为带有额外读卡器芯片的闪存，而不是使用机器的主控SOC的ECC机制。这种额外的读卡器芯片的兼容性和更大容量的闪存支持会更好，但会增加更多的功耗和电磁干扰。我们产品的总体设计理念是为客户提供最好的声音质量。为了追求这一点，我们必须尽量减少额外芯片造成的干扰和功耗，所以我们更愿意支持小容量的存储器，以确保尽可能的最佳音质。

这种深思熟虑的设计让我感到兴奋，反映了在该价位上可循的周到的工程。当看到电源设计图，Intel衍生的定制FPGA和高质量的组件，如ELNA SILMIC II Caps，人们可以看到如此高的研发成本到底花在哪儿了。
在模拟放大部分，LP6采用了EXCELS-VO运放和EXCELS EP-A耳放，提供了我所经历过的DAP中最澎湃的功率输出。这涉及到电子设备 "破峰"输出的第一个缺点。例如，当我通过4.4mm（低增益）推水月雨光时，我只需要4-5mm的音量位移量就能达到我的聆听声压。我注意到有些入耳需要转动1英寸的音量钮，其他的只需要10毫米。在驱动光的情况下，由于音量钮需要调整的幅度太小，要达到舒适的聆听音量而不遇到左右声道音量不平衡的情况是很困难的。我的MDR Z1R耳机需要转动略高于一英寸的音量钮才能达到响亮的聆听水平。虽然LP6是一个动力充沛的前端，但我发现它的功率输出增益曲线过于激进，特别是对于4.4mm平衡口连接的耳机而言。使用单端口确实还行，但是我的耳机线是固定连到4.4mm平衡插头的，我宁愿不使用转接适配器（因为这在信号链中引入了一个转换步骤）。应该注意的是，LP6白金版加入了一个额外的增益选项，类似于山灵M8或海贝R8上的Turbo模式。这个额外的增益电平使LP6白金能够轻松地驱动HD800等耳机，而LP6白金就是为这些耳机设计的。作为一套临时搭配，我将凯音C9与LP6一起捆绑用，以便用更有效的装备创造一个可用的音量范围。由于LP6在大音量下的低失真，这种搭配效果相当好，全功率下的THD小于0.0005%。在我多小时的聆听过程中，通过LP6 4.4mm输出到C9时，我没有发现任何可闻的失真。

总之，LP6的电路设计和系统架构表明，乐彼不遗余力地采用了分立电源系统、定制的超线性R2R芯片、Intel衍生的FPGA，以及允许最大音量PO和最小失真的放大系统。令人印象深刻的是，万先生为创造出一台真正的旗舰设备所做的努力，其惊异之处不在话下。这款LP6显然是一个充满激情的项目，利用乐彼多年的专业知识创造了我所遇到的最复杂的便携式音频平台（也许除了DMP Z1之外）。

GUI And Operating System
图形用户界面和操作系统




L&P eschews Android for their own OS. Some may prefer Android, but for a device as specialized as this, I prefer a non-Android option. Without the ‘bloat’ of Android, the CPU can be tuned directly for the OS to allow for a software experience which will not degrade over time. Those of us who use Android DAPs grow nervous with each successive Android OS release, waiting for the inevitable moment when the apps are rendered obsolete or slows down to becoming unusable. Such problems do not exist with LP6, as these products can be used for as long as the hardware remains viable. Instead of needing to upgrade constantly, users can hold on to devices for longer. This contributes to less e-waste which helps the environment and our wallets. I sincerely hope more manufactures consider the environmental impact of their products and factor product longevity into the device lifecycle.

Boot time takes only a few seconds and takes us to the main screen. At first, one may be dismayed to see the screen is bordered within the glass portion. However, this is a clever UI feature. Ordinarily, swiping from the top edge of a screen can be tricky especially if the screen reaches the borders of the device with a case framing the edges. For example, if a leather case is used with Hiby R8 or Shanling M8, swiping the Android drawer from the top becomes a delicate dance of the fingers with inconsistent results. With L&P’s bordered screen implementation, achieving full swipe down gestures occurs with better consistency than on my iPhone or Android DAP. I appreciate LP6’s bordered screen implementation, this is subtle and very useful.
The main menu offers standard options to access your music and clicking in and out of menus are quick and responsive. However, this is where I ran into a snag with L&P’s OS. Out of the box, the file system does not sort music correctly, even if tracks are numbered. For instance, if your music has numbered prefixes (1 – xxx, 2-xxx etc), the OS will not sort it according to numerical order. To ensure music is sorted in the correct order, one will need to download and run a script (Mac or PC) which tags every song on the SD card so the player can sort the files correctly. All music must be numerically labelled for the script to work, others music cannot be sorted. For a player not to have such a basic feature in the box is a significant oversight and running the script will need to be repeated whenever new music is added to the SD card. In addition, 1TB cards are not officially supported but have been reported to work by users.
At the home menu, one can access the pull-down menu which contains useful shortcuts to key features of the player. Due to the CPU being partitioned, with most of the CPU reserved for audio playback and EQ, OS GUI animations such as bootup logo and swipe down control panel will stutter in a slideshow like fashion. The control panel offers most functions are user would want to quickly access including NOS toggle, USB DAC toggle and Gain function among others. When accessing the file system and playing music, the OS is responsive. During music playback, swiping right on the album art reveals detailed song information. The advanced settings menu (from main menu) allows system level customizations such as sleep timer and media key map flipping. I do wish the panels on the main menu were customizable with function and placement, however like the players physical design, the software is utilitarian and just about gets the job done.

Disclaimer, LP owners have had issues pertaining to metadata, track sorting, with features such as track search or even gapless playback not yet available. The current state of the OS is the latest in a string of releases taking the LP6 from extremely limited functionality at launch to almost having basic functions we take for granted. Adding to this, CPU bottleneck becomes more apparent on lower tier devices such as P6 Pro, which many owners prefer to use in USB DAC mode due to poor software performance.

In conclusion, it seems clear from that L&P still has work to do with their OS. While the player can play music with some added steps, the end user software experience does not match the level of quality and attention L&P has given their hardware. While LP6 family of devices offer the ‘best’ L&P software experience due to the Intel FPGA, there are still some kinks that need to be worked out. I’ve observed several owners of P6 Pro and LP6 use them in USB DAC mode to bypass outstanding software issues. At this class of device, end users shouldn’t be subject to performing additional work (running scripts for instance) to accommodate poor software. There is some good news on the horizon. I inquired with Mr Wan about L&P’s priority with software and OS performance. Mr. Wan has noted software is the first aspect they approached to revise with the next generation of players, which are due early next year. The OS and CPU will be redesigned from the ground up to deliver a premium software experience befitting of a flagship.

As I was examining the design, electronics and software up to this point and taking tally of the number of the pros and cons of the LP6 there was a nagging thought in the back of my mind. What exactly does this DAP do that makes owners keep coming back to it, and even use it in dongle mode most of the time? In eager anticipation, I took out my gear and began my sonic adventure with LP6.

乐彼摒弃了安卓系统而采用自己的操作系统。有些人可能更喜欢安卓系统，但对于像这样的专业设备，我更喜欢非安卓系统的选择。没有安卓系统的 "臃肿"，CPU可以直接针对操作系统进行调整，使软件体验不会随着时间的推移而降低。我们这些使用安卓DAP的人，随着安卓操作系统的连续发布更新而感到紧张，等待着应用程序被淘汰或速度卡顿到无法使用的不可避免的时刻。LP6就不存在这样的问题，因为只要硬件仍然可行，这些产品就可以一直用下去。与其需要不断升级，用户可以更长时间地持续使用设备。这有助于减少电子垃圾，有助于环保和我们的钱包。我真诚地希望更多的制造商考虑其产品对环境的影响，并将产品的寿命纳入设备的生命周期。

开机时间只需几秒，就可以进入主屏幕。一开始，人们可能会对看到屏幕在玻璃部分之外还有边框感到失望。然而，这是一个聪明的UI设计。通常情况下，从屏幕的顶部边缘滑动可能会很麻烦，特别是当屏幕到达机器的边缘时，会有一个套子框住边缘。例如，如果用了戴上皮套海贝 R8或山灵M8，那么从顶部滑出安卓下拉菜单就成了手指的一种微妙的舞蹈，结果往往会不一致。有了乐彼的带实体边框的屏幕设计，实现完整的向下滑动的手势比在我的iPhone或Android DAP上操作时的一致性更好。我很欣赏LP6带边框的屏幕设计，这很巧妙，而且非常实用。
主菜单提供了访问音乐的标准选项，点击进入和退出菜单都很迅速，而且反应灵敏。然而，这就是我在乐彼自研操作系统上遇到的障碍。开机后，文件系统不能正确地对音乐进行分类，即使音轨是有编号的。例如，如果你的歌曲有编号的前缀（1-xxx，2-xxx等），操作系统就不会按照数字顺序进行排序。为了确保音乐以正确的顺序排序，人们需要下载并运行一个脚本（Mac或PC），对SD卡上的每首歌曲进行标记，以便播放器能够正确地对文件进行排序。所有的音乐都必须有数字标签，脚本才能工作，其他无标签的音乐不能被分类。对于一个播放器来说，这样的基本功能缺失是一个重大的疏忽，每当有新的音乐被添加到SD卡上时，就需要重复运行这个脚本。此外，官方不支持1TB卡，但也有用户提到可以兼容。
在主菜单上，人们可以进入下拉菜单，其中包含播放器关键功能的实用快捷方式。由于CPU被分区，大部分CPU资源被留给了音频播放和EQ部分，所以操作系统的GUI动画，如开机标志和向下滑动的控制面板会以幻灯片的方式停顿。控制面板提供了大多数用户想要快速访问的功能，包括NOS切换、USB DAC切换和增益功能等等。在访问文件系统和播放音乐时，操作系统的反应很灵敏。在音乐播放过程中，在专辑封面上向右滑动可以看到详细的歌曲信息。高级设置菜单（来自主菜单）允许系统级别的定制，如睡眠定时器和媒体键快速翻页设置。我确实希望主菜单上的面板可以自定义功能和位置，然而就像播放器的物理按键设计一样，软件只是本着实用原则，刚好完成本职工作罢了。

免责声明，乐彼用家在元数据、音轨排序方面遇到了问题，诸如音轨搜索甚至无缝播放等功能还无法使用。操作系统的当前状态是一系列发布中的最新版本，使LP6从发布时功能极其有限到几乎拥有我们认为理所当然的基本功能。除此之外，CPU性能瓶颈在下级型号上体现得更加明显，如P6 Pro，由于软件性能差，许多用户喜欢在USB DAC模式下使用。

总之，从乐彼看来，他们的操作系统仍有工作要做。虽然播放器可以通过一些额外的方法播放音乐，但最终用户的软件体验并不匹配乐彼对其硬件的质量和关注程度。虽然LP6系列由于采用了英特尔FPGA而提供了 "最好的"软件层面的体验，但仍有一些问题需要解决。我观察到一些P6 Pro和LP6的用户在USB DAC模式下使用它们，以绕过尚未解决的软件问题。在这种级别的设备上，最终用户不应该为了适应糟糕的软件而进行额外的工作（例如，运行脚本）。不过有一些好消息也被提前放风了。我向万先生询问了乐彼对软件和操作系统性能的优先考虑。万先生指出，软件是他们接触到的第一个方面，将在明年年初推出的下一代播放器中进行修改。操作系统和CPU将从头开始重新设计，以提供与旗舰产品相称的优质软件体验。

当我测评完设计、电路和软件，并对LP6的优点和缺点进行归纳时，我的脑海中有一个唠叨的想法。这款DAP到底有什么作用，能让用户不断回到它身边，甚至大部分时间都在使用它的加密狗模式？在热切的期待中，我拿出了我的装备，开始了我对LP6的“音质探险”。

Sound Impressions
Demo Music

•        Fall on Me by Andrea Bocelli
•        Paganini 24 Caprices: Sueye Park
•        We Are One by Yao Si Ting
•        Sonorite by Tatsuro Yamashita Sonorite, Track 4 (忘れないで)
•        Sugar by System of a Down
•        Mozart Piano Concertos by Murray Perahia
•        Essential Yo-Yo Ma by Yo-Yo Ma

General Signature

Thunderous.

The first thing to notice is the full, meaty and sheer power of the sound. This characteristic may be due to the amplification stage LP6 is using. At first listen, this thunderous and musical sound signature dominates everything. The sheer energy LP6 offers is somewhat similar to HiBy R8 in Turbo mode. However, R8’s Turbo mode increases treble energy and makes the music sound a tad ‘brighter’. This results in a presentation (relative to non-turbo mode) that swings closer to brighter side of ‘analytical’. The LP6 however manages to take the bass, midrange and treble, turn them each up to 11 and retain absolute control, a masterclass in density. This is a lively rendition and will give the listener a highly energetic and musical presentation. The sub bass in particular will impress, some may say it’s too sub bass emphasized, however LP6 balances this energy to other frequency bands to create a smooth yet highly engaging listening experience that makes other gear feel lacking. When evaluating the mids, I turn to a favorite song of mine, Fall on Me by Andrea Bocelli, a father-son duet. This song demonstrates how LP6 keeps the mids smooth and rich while presenting a level of energy that sounds natural and lifelike. Treble doesn’t stand out unpleasantly, details are effortlessly presented but without the edge of sharpness I get from this song with other gear at higher listening volumes. With string decay on Paganini Caprices, there is a sense of airiness but still retains overall highly energetic signature while LP6 works to extract every last detail from the music. LP6 is in service of natural sound decay, not just raw resolution. The key takeaway from LP6 is how dense yet natural and well balanced the sound is without fatiguing treble.

音质印象
试音曲

• 安德烈-波切利《落在我身上》。
• Sueye Park《帕格尼尼24首随想曲》
• 姚斯婷《中国风》
• 山下达郎《Sonorite》曲目四（忘れないで）。
• System of a Down《Sugar》
  
• 默里-佩拉希亚《莫扎特钢琴协奏曲》
  
• 马友友《马友友作品集》
  

总体印象

雷霆万钧。

首先要注意的是声音的饱满、肉感和纯粹的力量。这一特点可能是由于LP6所使用的模拟放大电路造成的。乍听之下，这种雷鸣般的音质特征主导着一切。LP6提供的纯粹能量感有点类似于海贝R8的Turbo模式。然而，R8的Turbo模式增加了高频量感，使音乐听起来更 "明亮"一些。这导致表现（相对于非Turbo模式）更接近于 "解析般"的明亮风格。然而，LP6设法将低频、中频和高频都调到11，并保持绝对的控制力，这是密度层面的大师级表现。声音表现出足够活生感，给听众带来相当强的活力和音乐感染力。尤其是低频，会给人留下深刻印象，有些人可能会说它太强调低频了，然而LP6将这种能量平衡到其他频段，创造出一种平滑而又高度吸引人的听觉体验，使其他前端感到乏味。在评估中频时，我切换到最喜欢的一首歌，即安德烈-波切利的《Fall on Me》，这是一首父子对唱。此曲展示了LP6如何保持中频的顺滑和丰富的音色，同时呈现出一种听起来特别的能量感，相当自然且逼真。LP6的高频不会令人不快地凸起，细节毫不费力地呈现出来，但没有我在其他前端上听这首歌时在较高音量下听到的尖锐毛刺感。在帕格尼尼随想曲的弦乐泛音中，有一种空气感，但仍保留了整体的高能量特征，同时LP6努力从音乐中提取每一个细节。LP6是为自然的声音衰减而服务的，不仅仅是原始细节的还原。LP6的主要特点是，它的声音密度很大，但又很自然，而且很平衡，没有令人疲劳的高频。

Pair Ups and Comparisons
耳机搭配和前端比较



Unique Melody Mason Fabled Sound
The Fabled Sound uses a Bone Conduction driver, which is dependent on the source gear. On 4.4mm, I can say Mason FS is the best match I’ve heard with LP6. LP6’s richness and musicality add just the right touch the Mason’s neutral tuning and complements it perfectly. What stood out immediately was the power to the sub bass and more engaging mids. While the treble on FS is still natural and restrained yet highly resolving with R2R air. The bass slams the out of the LP6, with added sub-bass even when comparing to Cayin C9. The midrange is where the FS varies in presentation according to the source gear, and LP6 injects enough energy into the midrange that squeezes every last drop out of the BC driver. The BC driver seems to be participating more in the music, this can be appreciated when listening to violin solos such as Paganini Caprices by Sueye Park.
Mason FS and LP6 is the most popular pairing amongst audiophiles in China with many purchasing LP6 specifically for Mason FS. This may seem excessive at the outset (it probably is haha), but after hearing this pairing I do understand why folks are doing this. It seems these two gears have a synergy that can only be compared to the MDR Z1R + DMP Z1.

Moon Drop Illumination
This is an efficient IEM and unfortunately is subject to one of LP6’s weaknesses. The volume pot only needs to be turned a few millimeters to achieve enjoyable listening levels, any further actuation may cause hearing damage to some. If the volume pot isn’t actuated enough however, there will be channel imbalance, so achieving the right positioning can be tricky. When dialed in, I cannot sense any tangible benefit of using LP6 with Illumination versus more affordable DAPs such as Shanling M8. While the Illumination is dead silent with zero hiss, the technicalities LP6 offers does not seems to translate effectively as the Mason FS. Given the issues of volume control and lack of synergy this is a combo that I cannot recommend.

MDR Z1R
This is an excellent pairing (requiring only 1/4 of volume pot turn), only beat out by the DMP Z1. The LP6 builds upon the Z1R’s characteristic bass boost, giving it excellent sub bass rumble while imparting the high energy on the signature. The result is a headphone listen that is even more fun than before, Track 4 on Sonorite by Tatsuro Yamashita showcases the LP6 giving the Z1R an edge in aggression with high density midrange and more rumble in the bass. DMP Z1 does almost the opposite, focusing on refinement instead of turning all the sonic characteristics to 11. LP6 is a showcase in in brute force and turns Z1R into a headphone I can headbang to rather than melt in my chair. These differences are quite subtle but are enough to push a song like Sugar by System of a Down, over the edge. The attributes LP6 brings to Z1R may be a negative for some, but if you wanted to know what ‘sixth gear’ of Z1R is, LP6 will squeeze every drop out of it. DMP Z1 on the other hand, gently guides Z1R into a sonic profile preferred by the engineers at Sony. This is a difference of philosophy, and I happen to prefer the DMP Z1 with the MDR Z1R. However, there is a strong case to be made for LP6 pairing as well.

Cayin A02+C9
Switching to other source reference gear such Cayin A02+C9 illustrate LP6’s unique sonic characteristics. Cayin A02 is neutral but doesn’t come off sounding linear either. This combination is a careful balance of Cayin house sound and neutrality. Music has a very slight emphasis in the bass with forward midrange and non-fatiguing treble. Compared to LP6 however, music sounds almost one-dimensional due to the lack of musicality and emphasis on detail retrieval. The A02+C9 is similar to the DMP Z1 in technicalities but without the smooth Sony house sound or the refined effortless airy treble. These are flavor differences, however when compared to players like LP6 or DMP Z1, A02+C9 seems robbed of engagement, instead offering a straightforward, no nonsense presentation. After listening to LP6 for a few hours A02+C9 in comparison sounds laid back, flatter with a ‘digital etch’ present throughout the music.

DMP Z1
Comparing to LP6 to the arguably the best DAP on the market, Sony’s DMP Z1 proved to be an interesting comparison. The DMP Z1 in comparison offers a very similar tonal character to the LP6 yet is restrained in delivery. DMP Z1’s superior volume control allows it to present the best dynamics I’ve heard across the spectrum of lower volume ranges. After close comparison, there is still a slight ‘digital’ character with DMP Z1 when compared to LP6. LP6 has a denser presentation, in contrast to DMP Z1 which seems to produce a wider, diffuse sound field. Note there is a difference between dense and intimate. Like DMP Z1, LP6 is not intimate. It will grow effortlessly with the music, but due to the high energy of LP6 (particularly in the mids), the music will appear to be closer. However, playing Murray Perahia’s Mozart Concerto’s will reassure the listener the technical staging of the LP6 is not to be put into question. Rather, due to the high energy nature of LP6, it will take a little while to get used to the staging if you’re coming from reference DS gear.

I do prefer the DMP Z1 technicality if only for the top-of-the-line dynamics for low volume listening. If the next generation L&P players addressed the LP6 limited volume range and aggressive power delivery, I would have a challenge picking one over the other. L&P did a tremendous job with LP6 tuning. The resolving nature and presentation of thunderous bass, energetic midrange and resolving yet natural treble trades blows with DMP Z1. I would call this a tie in the tonality department, but DMPZ1 gets the win with technicalities due to its superior dynamics across a lower volume range.

搭配UM Mason FS
FS用的是骨传导单元，这对前端依赖性很强。在4.4mm口上，我可以说Mason FS是我听到的与LP6最匹配的耳塞。LP6的丰富音色和浓郁乐感为Mason的中性调音增加了恰到好处的感染力，并与之完美互补。最引人注目的是低频的力道和更有吸引力的中频。虽然FS的高音仍然是自然和克制的，但具有R2R空气感的高分析力。砰砰的低频从LP6中迸发出来，即使与凯音C9相比，也有额外的低频还原。中频是FS根据前端不同而表现不同的地方，LP6向FS的中频注入了足够的能量，把骨传导单元的每一滴能量都挤了出来。这颗骨传导单元似乎更多地参与到了音乐中，这点在听小提琴独奏时可以体会到，比如Sueye Park的帕格尼尼随想曲。
Mason FS和LP6是中国发烧友中最受欢迎的搭配，许多人专门为Mason FS购买LP6。这在一开始可能看起来很过分（可能是这样的，哈哈），但在听过这套搭配后，我确实理解人们为什么要这样做，看上去这套组合之间有一种协同作用，是唯一能和MDR Z1R + DMP Z1比拟的组合。

搭配水月雨光
光是一款高灵敏度的入耳，不幸的是，它受制于LP6的一个弱点。音量钮只需要转动几毫米就可以达到令人愉快的听觉水平，任何进一步的调整都可能对一些人的听力造成损害。然而，如果音量钮的转动不够多，就会出现左右声道不平衡的情况，所以实现正确的声道定位是很棘手的。当拨动音量滚轮时，相比更实惠的DAP（如山灵M8）推光，我感觉不到LP6有什么明显的好处。虽然推光时声底十分干净一片死寂，没有任何底噪，但LP6带来的技术优势似乎并没有像推Mason FS那样有效地转化为素质优势。鉴于音量控制和缺乏协同作用的问题，这是一个我不能推荐的组合。

搭配MDR Z1R
这是一个优秀的组合（只需要转动1/4周音量钮），只被DMP Z1击败。LP6建立在Z1R特有的低频较凸的基础上，在传递高能量的特色声音时赋予它出色的低频隆起。结果是耳机听起来比以前更有趣了，山下达郎的《Sonorite》曲目4展示了LP6给Z1R带来的更富侵略性的声音优势——更高的中频密度、更足的低频残响。而DMP Z1几乎做了相反的事情，专注于细化细节，而不是把所有的声学特性变成11。LP6是一个展示蛮力的地方，把Z1R变成了一个我可以用头撞的耳机，而不是融化在我的椅子上。这些差异是相当微妙的，但足以将System of a Down的《Sugar》这样的歌曲推向高潮。LP6给Z1R带来的声音特性对一些人来说可能是负面的，但如果你想知道Z1R的 "第六档"是什么水平，LP6会榨出它的每一滴。另一方面，DMP Z1温柔地把Z1R带入了索尼工程师所喜欢的听感世界中。这是一种调音理念上的差异，而我碰巧更喜欢DMP Z1与MDR Z1R的搭配。然而，拿LP6来推也有一个强有力的理由。

对比凯音A02+C9
下面进入与其他前端的对比环节，如凯音A02+C9套，以说明LP6独特的音质特征。凯音A02音色是中性的，但也不会出现线性的声音。这个组合是一种精心的平衡，带着凯音家族式的调音和中性音色。试音曲在低频方面有一个非常轻微的强调，中频靠前，高频不发腻。然而，与LP6相比，由于缺乏音乐性和细节还原的强调，音乐听起来几乎是一维的。A02+C9在技术上与DMP Z1相似，但没有丝滑的索尼家族调音或是那种精致的、毫不费力的空气感高频。这些都是味道层面的差异，然而与LP6或DMP Z1这样的播放器相比，A02+C9似乎被剥夺了参与感，取而代之的是一种直接的、无废话的表现。在听了LP6几个小时后，A02+C9的声音听起来很悠闲、更平坦，整个音乐都有一种 "数字蚀刻"的感觉。

对比DMP Z1
将LP6与可以说是市面最好的DAP——索尼DMP Z1相比，结果证明是一个相当有趣的比较。相比之下，DMP Z1呈现出与LP6非常相似的音色特征，但在表达方式上却很克制。DMP Z1卓越的音量控制使它在低音量范围内呈现出我所听到的最佳动态效果。经过仔细比较，与LP6相比，DMP Z1仍有轻微的 "数码味"特征。LP6有一个浓密的声音表现，与DMP Z1相比，它似乎产生了一个更宽广的、更外扩的声场。请注意，浓密和亲密之间是有区别的。就像和DMP Z1比起来，LP6的声音就并不亲密。它将毫不费力地与音乐一起成长，但由于LP6的高能量感（特别是在中频部分），音乐会显得更近。然而，播放默里-佩拉希亚的《莫扎特钢琴协奏曲》时，则会让听众更放松，LP6的声场表现是不需要被质疑的。相反，由于LP6的高能量感特性，如果你是从参考级DS架构前端转过来的，需要一点时间来适应其声场效果。

我确实更喜欢DMP Z1的素质感，如果只是为了低音量聆听顶级动态。倘若下一代乐彼播放器解决了LP6有限的音量范围和侵略性十足的动力输出，我就很难在其中选一个。乐彼在LP6调音方面付出了巨大的努力。雷鸣般的低频，充满活力的中频，以及清晰而自然的高频，其解析力和表现力与DMP Z1不相上下。在音质方面，我认为这是一个平局，但DMP Z1由于在较低的音量范围内具有优越的动态性能，因此在素质上获得了胜利。

Conclusion
If I had to summarize LP6 in one word, it would be ‘potential’.

From the the Platinum exclusive Echizen lacquerware treated wood, to the advanced hardware, it is clear LP6 is designed for enthusiasts with a penchant for luxury. A portable player that can power full size headphones with absolute confidence, providing a desktop quality reference R2R DAC for external amplifiers and a world class USB DAC, a feature proving more useful than I surmised. LP6 provides a summit class audio experience, but the path to get there will require some work. What many DAP companies (not just L&P) need to realize is that software represents half of the product, as software is a major factor determining the quality of the user experience. I hope DAP companies learn that patching software to address basic issues after a customer takes delivery of a product is not acceptable (looking at you, Shanling M30). To this day LP6 doesn’t perform gapless playback and requires computer scripts for tracks to be sorted correctly.

There is a lot of potential in LP6, there is nothing else in the portable player market approaching this level of performance or level of hardware present in LP6. LP6 even trades blows with DMP Z1. LP6 can even be considered a better value proposition when compared to a DMP Z1 (which isn’t pocketable). The question you need to ask yourself, is it worth paying $4000 USD for ‘potential’? For those who desire the best portable audio quality and can look past the shortcomings, it is. For me however, I don’t mind waiting for L&P to get it right with the LP7 generation (early 2022). Until then, competition is coming with firms like Cayin looking to debut R2R players on the market soon. One can only speculate how these offerings will stack up to L&P’s new generation of devices. At long last, we’ll be able to witness the R2Renaissance in the headfi space and I’d like to extend my deepest thanks to our Asia-based headfi brothers in particular for driving the market to this point.

结论
如果我必须用一个词来概括LP6，那就是 "潜力"。

从白金版独有的越前漆工艺处理的木材，到先进的硬件，很明显LP6是为对奢侈品有兴趣的爱好者设计的。这款便携式播放器可以为全尺寸耳机提供绝对的信心，为外置耳放提供一个桌面参考级品质的R2R DAC，以及一个世界级的USB DAC，这个功能证明比我猜测的更有用。LP6提供了一个巅峰级的音质体验，但要达到这个目的，还需要做一些工作。许多DAP公司（不仅仅是乐彼）需要认识到的是，软件代表产品的一半，因为软件是决定用户体验的主要因素。我希望DAP公司了解到，在客户交付产品后，为解决基本问题而对软件打补丁是不可接受的（看着你，山灵M30）。时至今日，LP6仍无法支持无缝播放，而且需要电脑脚本来对音轨进行正确排序。

LP6有很大的潜力，在便携式播放器市场上，没有任何东西能接近LP6的这种性能或硬件水平。LP6甚至能和DMP Z1一较高下。与DMP Z1相比，LP6甚至可以被认为是一个更好的价值主张（DMP Z1并不便携）。你需要问自己的问题是，为 "潜力"支付4000美元是否值得？对于那些渴望最好的便携式音频质量并能认清其缺点的人来说，它是值得的。然而，对我来说，我不介意等待乐彼的LP7（2022年初）能将软件这块做好。在那之前，竞争即将到来，像凯音这样的公司期望尽快在市场上推出R2R播放器。人们只能猜测这些产品将如何与乐彼的新一代机型相提并论。最后，我们将能够见证R2R在头戴耳机玩家圈的复兴，我也想对我们在亚洲的头戴耳机玩家兄弟们表示最深切的感谢，特别是他们推动了市场发展到这一步。

aiguozhe5

这中文字体看着太难受了