「长篇译文」“小”身、“大”声——Headfi LP6白金版测评（上篇）

乐彼客服1

原文链接：https://www.head-fi.org/showcase ... eviews#review-26396
由于译者水平有限，文中有错漏之处请多多包涵。

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Big things come in small packages
Pros: The best sound quality, evenly matched with DMP Z1
Outstanding build quality, best in class hardware (runs cool)
Portable and pocketable
Non-Android, Custom OS (Great battery life)
Cons: High price of admission
Custom OS can be challenging to use
Requires extra steps from end user to assume basic functionality (can require computer scripts)
Volume Control/Buttons not easy to use

「小」身，「大」声
优点：最好的音质，与DMP Z1势均力敌
出色的做工，同类中最好的硬件（运行起来很酷）。
携带方便，可放在口袋里
非安卓系统，自定义操作系统（电池寿命长）
缺点：售价高
定制的操作系统在使用上有一定的难度
需要终端用户的额外操作步骤来实现基本功能（可能需要电脑脚本）。
音量控制/按钮不易使用

Preface and Disclosure
I would like to thank @bluestorm1992 who very generously loaned me his personal LP6 Platinum and made this review possible. I would also like to extend my appreciation to @ActuallySparky who was patient enough to guide me in the scary world of photo editing software. This review is framed around my personal preferences, these are subject to change over time. If you have any questions about this review or my preferences, please drop a comment below or send a PM. Disclosure, I have been on an ‘advanced interest’ list for the LP7 Ti pre-orders (via Musicteck) since April 2021. After experiencing LP6 Platinum, I put plans to acquire a DCS Bartok on hold (which I have demo’d). This is probably an indicator for what’s to come…

Review Equipment:
Headphones: MDR Z1R, HarmonicDyne Zeus, Verite Closed (Stabilized Edition), Hifiman HE560
IEMs: Moondrop Illumination, Unique Melody Mason Fabled Sound, BLON B03
Comparison Systems: Cayin A02+Cayin C9, Shanling M8, Sony DMP Z1

前言和背景
我要感谢@bluestorm1992，他非常慷慨地把他个人的LP6白金版借给我，使这次测评成为可能。我还想感谢@ActuallySparky，他很有耐心地在照片编辑软件这个可怕的世界里指导我。这篇评测是以我个人喜好为框架的，这些喜好可能会随着时间的推移而改变。如果你对这篇评测或我的喜好有任何疑问，请在下面留言或发邮件给我。透露一下，自2021年4月以来，我一直在LP7 Ti预购的 "浓厚兴趣 "名单上（通过Musicteck）。在体验了LP6白金版之后，我搁置了购买DCS巴托克的计划（我已经试听了）。这可能是未来新品的一个信号......

评测设备：
耳机：MDR Z1R, HarmonicDyne宙斯, Verite Closed (Stabilized Edition), Hifiman HE560
入耳：水月雨光, Unique Melody Mason Fabled Sound, BLON B03
对比前端：凯音A02+凯音C9，山灵M8，索尼DMP Z1

Setting the Stage
Throughout the years, we’ve noticed the rise of audiophile class digital audio players (DAPs). While Sony may have pioneered audio players, with the first release of the Walkman in 1979, most audiophile DAP offerings we find on the market today are supplied by Chinese firms, mostly powered by Google’s Android. While there are exceptions, particularly at the higher end segment such as Sony or Astell & Kern, most of us likely own a DAP from brands such as iBasso, FiiO, Shanling or Hiby. I am grateful such companies have pushed relentlessly forward, outcompeting each other, seemingly with a new product reveal every few months. The result of this competitive landscape has left the end user with excellent options at nearly every price segment. Over the past few years there has been an expansion of products in the summit tier space. Personal audio companies such as Astell&Kern have kickstarted the summit-tier DAP market several years ago with the AK240. Fast forward to now, with the release of Sony’s DMP Z1, personal audio companies are beginning to address the emerging need of space efficient cost-no-object personal audio systems. Some have raised the question why such products are needed in the market. For those unfamiliar, property prices in cities such as Jakarta, Hong Kong and Seoul are quite high. So much so, that modest speaker systems or even large tube amplifier headphone systems are essentially unfeasible even to those with high earning power due to living space constraints. It is no coincidence population dense areas such as China and Singapore represent the main growth centers of the personal audio industry. To that end, competition in the burgeoning summit-tier DAP space has taken shape in Shanling’s M30 platform, FiiO’s M17, iBasso’s DX300 MAX and Luxury & Precision’s LP6.

Within this lens, perhaps it becomes easier to understand why products such as DMP Z1 or LP6 have a place in the audio world, particularly in Asia. Such summit-fi DAPs are made for those who can afford speakers systems that may cost double or triple that of a flagship DAP but ‘settle’ with gear such as Unique Melody Mason Fabled Sound + LP6 due to its convenience and portability. Other headfier’s may prefer DAPs as it serves an appeasement to the wife, a subtle alternative to flashy speakers in the living room serving as a constant reminder to our SO and/or progeny of how far down the rabbit hole we have gone. Or just maybe it’s easier to ‘sneak’ a DAP in a drawer and lead a double life as a headfi hobbyist. Regardless of the use case, there is a growing demand for this segment, and one should expect this market to expand over time.

搭好舞台
这些年来，我们注意到发烧级数字音频播放器（DAPs）的崛起。虽然索尼可能是音频播放器的先驱，在1979年首次发布了Walkman，但我们今天在市场上发现的大多数发烧级DAP产品都是由中国公司提供的，大多由谷歌的Android系统驱动。虽然也有例外，但安卓在DAP圈特别是在高端领域是广泛被使用的，如索尼或Astell & Kern，我们大多数人可能拥有iBasso、飞傲、山灵或海贝等品牌的DAP。我很感激这些公司坚持不懈地向前推进、相互竞争，似乎每隔几个月就会有新产品问世。这种竞争格局的结果是在几乎每一个价格段都为终端用户留下了优秀的选择。在过去的几年里，顶级产品一直在增加。几年前，Astell&Kern等个人音频公司以AK240开拓了顶级DAP市场。快进到现在，随着索尼DMP Z1的发布，个人音频公司开始解决空间利用率高、成本低的个人音频系统这一新兴需求。有些人提出了为什么市场需要这种产品的问题。对于那些不熟悉的人来说，雅加达、香港和首尔等城市的房地产价格相当高。以至于不太大的扬声器系统，甚至是大型胆机系统，由于居住空间的限制，即使是那些有高收入人群，也基本上无法实用。像中国和新加坡这样的人口密集地区代表了个人音响行业的主要增长中心，这并不是巧合。为此，山灵的M30平台、飞傲的M17、iBasso的DX300 MAX和乐彼的LP6在新兴的顶级DAP领域的竞争已经形成。

从这个角度来看，也许更容易理解为什么DMP Z1或LP6等产品在音频世界中占有一席之地，特别是在亚洲。这样的顶级DAP是为那些能够负担得起可能比旗舰DAP贵两倍或三倍的扬声器系统、但由于其便利性和便携性而 "安"于UM Mason + LP6等装备的人而制造的。其他头戴式耳机玩家可能更喜欢DAP，因为它是对妻子的一种安抚，是对客厅里华丽的扬声器的一种微妙的替代，不断提醒我们的后代，我们已经在“兔子洞”里走了多远。或者，也许在抽屉里 "偷偷 "放一个DAP，过着双重生活，成为一个耳机爱好者。无论使用情况如何，对这一领域的需求越来越大，人们应该期待这一市场随着时间的推移而扩大。

Luxury and Precision
乐彼



L&P has its beginnings in 2014, when it was cofounded by Peng Wan (aka Mr. Wan) a former GPU Product Manager of AMD China. Prior to cofounding L&P, Mr. Wan served as a Lead for Colorfly’s audio/hifi department and had a hand in developing the Colorfly C4. One can observe Mr. Wan’s aesthetic influence already in the Colorfly C4 and would serve as a design blueprint for future DAPs under his direction. While L&P is known for its R2R range of DAPs, it has an extensive product range listed on the website (L5, L5 Pro L6 etc), most of which employ AKM DAC chips. However, at the very pinnacle of the L&P product family stands the LP6 line (at the time of writing this review). The LP6 family of products represents the best of L&P, a result of no expense spared engineering and craftsmanship to achieve the very best high-end audio experience Mr. Wan can envision. The LP6 family consists of a few variants of LP6 devices. This includes the ‘base’ model LP6 Gold, the limited edition LP6 Platinum (which I am covering today) and the LP6 Titanium. LP6 Gold is the standard LP6 model, whereas the LP6 Platinum is a Japan only release with 40 units made. The LP6 Gold and LP6 Platinum share the same electronics and differ only in aesthetics. The LP6 Titanium (also a limited edition) however doubles the amount of R2R chips from two to four and has a more powerful headphone amplification stage which was explicitly optimized around the Sennheiser HD800. The LP6 Titanium is designed to replace desktop gear for those who either do not want or cannot accommodate larger amplifier units. Whether LP6 Titanium delivers on this premise is something I’ve yet to verify. Only 199 units of LP6 Titanium were ever made and retail price was $5980 USD. For LP6 flagship series of DAPs, Mr Wan has chosen to implement R2R. To appreciate this choice, I will briefly cover this technology.

乐彼成立于2014年，由前AMD中国GPU产品经理万鹏（又名Mr.Wan）共同创立。在共同创立乐彼之前，万先生曾担任Colorfly音频/高保真部门的负责人，并参与了Colorfly C4的开发。人们可以在Colorfly C4中看到万先生的美学印记，并在他的指导下成为未来DAP的设计蓝图。虽然乐彼以其R2R系列的DAP而闻名，但它在官网上还有一系列广泛的产品线（L5、L5 Pro、L6等），其中大部分采用AKM DAC芯片。然而，在乐彼产品线里，顶级旗舰是LP6系列（在撰写本文时）。LP6系列产品代表了乐彼的精华，是不遗余力的工程和工艺的结果呈现，以实现万先生所能设想的最佳、最高端的音频体验。LP6系列由LP6的几个变体组成，包括 "基础"型号的LP6黄金版，限量版的LP6白金版（我今天要介绍的）和LP6Ti。LP6黄金版是标准款的LP6，而LP6白金版仅在日本发行40台。LP6黄金版和LP6白金版共享相同的电路配置，仅在美学设计上有区别。然而，LP6Ti（也是限量版）将R2R芯片的数量从2片增加到4片，并有更强大的耳机放大部分，它是明确围绕森海塞尔HD800进行优化的。LP6Ti的设计是为了取代那些不想或不能容纳较大耳放的人的桌面设备。LP6Ti是否能实现这一前提，我还有待验证。LP6Ti只生产了199台，零售价为5980美元。对于LP6旗舰系列的DAP，万先生选择了R2R架构。为了理解这一选择，我将简要介绍一下这项技术。

Climbing the ladder
To enjoy digital music, DAC systems are necessary to convert the source file from the digital domain (music file) to the analogue domain (sound waves for our ears). On the DAC market today, you will find two types of DAC technologies, delta sigma (DS) or resistor ladder (R2R). DS DACs today contain chips from either ESS Sabre or AKM AK series chips. These chips are ‘off the shelf’ and are readily available to manufacturers due to the modern miracle of large-scale chip manufacturing. Since these DS DAC chips are premade, manufactures such as SMSL or Topping simply design a circuit around whichever DAC chip they choose and manufacture these boards at a larger scale. This allows for DAC manufactures to provide high performant DAC systems at nearly every price segment imaginable. However, there are some compromises with using DS architectures. Even if well measuring, DS systems share a common ‘flaw’ due to digital filtering processes native to the DS signal path, such as oversampling, demodulation and noise shaping. There is a great article which goes into more detail about how these processes can alter sound (https://sw1xad.co.uk/delta-sigma-vs-nos-r2r-dac-designs/). In short, the real-world effects of digital signal manipulation can negatively impact musicality by introducing oversampling artefacts such as ‘ringing’. Such digital processes are integral to a signal being processed in a DS DAC; a user is forced to listen to music with these extra steps in the signal path which can detract from the listening experience. In the DAP world, much like smart phones, economies of scale are crucial to be able to cater to lower price points. Therefore, nearly all DAPs on the market employ DS chips. This is not to say nearly all DS DAPs are of poor audio quality, in-fact one of my favorite DAPs of all time is the Shanling M8. However, from a technical point of view, there is room for improvement with an opportunity to eliminate the excessive digital filtering processes found in DS devices. To achieve the ‘purest’ audio playback (sans digital filtering), one needs to look to a non-oversampling (NOS) architecture.

This is where R2R steps in.

攀登阶梯
为了享受数字音乐，DAC系统有必要将源文件从数字域（音乐文件）转换到模拟域（我们的耳朵听到的声波）。在今天的DAC市场上，你会发现两种类型的DAC技术，delta sigma（DS）或梯型电阻（R2R）。今天的DS DAC包含ESS Sabre或AKM AK系列的芯片。这些芯片是"现成的"，由于现代大规模芯片制造的奇迹，制造商很容易得到这些芯片。由于这些DS DAC芯片是预制的，像双木三林或拓品这样的制造商只需围绕他们选择的任何DAC芯片设计一个电路，并大规模地制造这些电路板。这使得DAC制造商能够在几乎所有可以想象的价格段提供高性能的DAC系统。然而，使用DS架构也有一些妥协。即使测量值表现得很好，DS系统也有一个共同的 "缺陷"，那就是DS信号路径中的数字滤波过程，如超采样、解调和噪声整形。有一篇很好的文章，更详细地介绍了这些过程如何改变声音（https://sw1xad.co.uk/delta-sigma-vs-nos-r2r-dac-designs/）。简而言之，数字信号处理的实际效果可以通过引入超采样伪像（如 "振铃"）对音乐性产生负面影响。这种数字处理是DS DAC中处理信号的组成部分；用户被迫在信号路径中的这些额外步骤中聆听音乐，这可能会劣化聆听体验。在DAP领域，与智能手机一样，规模经济对于满足低价位的需求至关重要。因此，市场上几乎所有的DAP都采用DS芯片。这并不是说几乎所有的DS芯片DAP的音频质量都很差，事实上，我最喜欢的DAP之一是山灵M8。然而，从技术角度来看，还有改进的余地，有机会消除DS设备中的过度数字滤波过程。为了实现 "最纯净 "的音频播放（无数字过滤），我们需要寻找一个非超采样（NOS）架构。

这就是R2R的作用。




R2R (R/2R) refers to a resistor ladder configuration of two values, R and 2R. A ladder of resistors consisting of R and 2R is constructed, either as discrete surface mounted resistors or within a silicon wafer chip. It works by the principle of superposition, where switching on binary (digital) inputs adds more voltage (analogue) at the output. A key feature of R2R is the audio signal going through a R2R pathway isn’t subject to the mandatory digital filtering processes used by DS DACs. In this way, R2R in NOS mode can be considered ‘better’ than DS DAC architecture. While modern favorite R2R DACs employ discrete surface mounted resistors such as Kitsune’s Holo May or Denafrip’s Terminator, there are some of us who are familiar with classic R2R wafer chips such as Philips TDA1543 or Texas Instruments PCM1704K series found in older hi-fi gear such as Magnavox or Krell KAV CD Players respectively. L&P offers both types of R2R implementations. The P6Pro is L&P’s implementation of the surface mounted discrete ladder DAC, while the LP6 series employs a silicon wafer R2R architecture.

R2R（R/2R）指的是由两个数值为R和2R的电阻组成的梯形结构。由R和2R组成的电阻梯形结构，可以是分立式的表面安装的电阻，也可以是在硅晶圆芯片内。它的工作原理是叠加，在二进制（数字）输入上的开关在输出上增加更多的电压（模拟）。R2R的一个关键特征是，通过R2R途径的音频信号不受DS DAC使用的强制性数字滤波过程的影响。这样，在NOS模式下的R2R可以被认为比DS DAC架构 "更好"。虽然现代最受欢迎的R2R DAC采用了分立式的表面安装的电阻，如Kitsune的Holo May或Denafrip的Terminator，但我们中也有一些人熟悉经典的R2R晶圆芯片，如飞利浦TDA1543或德州仪器PCM1704K系列，分别应用在老式高保真设备如Magnavox或Krell KAV CD机中。乐彼提供两种类型的R2R方案。P6Pro是乐彼在分立式R2R DAC上的工程实现，而LP6系列采用了硅片R2R架构。

Industrial Design
The LP6 Platinum is defined by hard edges, liberal use of wood and exposed screws. Picking LP6 up, this device is as dense as it looks, seemingly packed to the gills with advanced hardware. It seems no expense was spared in this design, as expected for a product which occupies the flagship slot in L&P’s lineup. In the hand, the LP6 feels similar to the Hiby R8, one of the heaviest DAPs I have used recently. The LP6 is not a device you would want to run around with. One will appreciate the LP6’s tight tolerances as there are no panel gaps between the wood and metal to be seen. Upon closer examination however, this narrative of careful design intent begins to unravel, revealing some user interface oversights.
If we look at the side buttons (right side of the device), we can see chunky sized media control buttons. These actuate with shallow satisfying clicks due to the high-quality ALPS switches. However, these media buttons are labeled quite poorly. Even when photographed in optimal studio lighting conditions, it’s quite difficult to make out the engravings on these side buttons. A user will likely need to memorize these functions as these buttons aren’t concave or convex to allow a user to ‘feel’ these functions.

工业设计
LP6白金版采用了硬边设计，大量使用木材和暴露的螺丝。拿起LP6，这个设备和它的外观一样厚重，似乎被先进的硬件装得满满的。在这个设计中似乎不遗余力，对于一个在乐彼产品线中占据旗舰地位的产品来说，这是意料之中的事。拿在手里，LP6的感觉类似于海贝R8，是我最近使用的最重的DAP之一。LP6不是一个你想带着它到处跑的设备。人们会欣赏LP6的严格公差，因为在木材和金属之间没有看到任何面板缝隙。然而，经过更仔细的检查，这种精心设计意图的表象开始慢慢被揭开，显露了一些用户界面上的疏忽。
如果我们看一下侧面的按键（机身右侧），我们可以看到大尺寸的媒体控制键。由于采用了高质量ALPS开关，这些按键以令人满意的浅浅的点击声启动。然而，这些媒体键的标识很差。即使在最佳的工作室照明条件下拍摄，也很难看出这些侧面按钮上的雕刻。用户可能需要记住这些功能，因为这些按钮不是凹形或凸形的，无法让用户 "感觉"到这些功能。




Moving to the top of the device, we notice an array of headphone ports consisting of ¼ inch jack (PO), 4.4mm jack (PO) and a 3.5mm jack (LO). It’s quite unusual to see a full size ¼ inch jack on a portable player, the last time I saw this was on the Colorfly C4, another of Mr. Wan’s designs. The 3.5mm jack does serve as true LO, an interesting choice for a modern flagship DAP. I suspect the next generation will move the LO function to the 4.4mm. For those who prefer to use 4.4mm as the LO, one can use the 4.4mm PO as a pseudo LO for devices like the Cayin C9. Mr. Wan states the LP6 generates such a low distortion at maximum volume on 4.4mm, double amping in this fashion can be used without noticeable distortion. Having used this combination across many of my gears, I can testify there was no noticeable distortion in any music I tested. Adjacent to the trio of sockets, you’ll find a volume control. This volume wheel turns as smooth as butter as L&P implemented a high-quality ALPS volume pot. Furthermore, this volume control is unique as it’s entirely analog. However, there are some quirks with this, notably it is impossible to determine your volume level via the software as the volume control mechanism functions entirely in the analog domain. This may not have been an issue if it were not for the lack of adequate labeling on the volume controls. First, there is no visual aid to tell the user in which direction volume is increased or decreased. Second, there is no indication on the wheel itself to communicate to the user how loud one is listening. If you perform frequent volume adjustments, this can become a tricky exercise. This becomes even more pressing as LP6 uses one of the most aggressive amplification systems I’ve encountered in a DAP, any erroneous turn of the wheel may cause intense discomfort or worse. I have accidentally blasted my ears on more than one occasion.

把视线移到机器顶部，我们注意到一系列的耳机接口，包括6.35mm耳机口（PO）、4.4mm耳机口（PO）和3.5mm模拟口（LO）。在便携播放器上看到全尺寸的6.35mm耳机口是很不寻常的，我最后一次看到这个是在Colorfly C4上，这是万先生的另一个作品。3.5mm模拟口确实可以作为真正的LO，对于现代旗舰DAP来说是一个有趣的选择。我怀疑下一代产品将把LO功能移到4.4mm口上。对于那些喜欢用4.4mm口作为LO的人来说，可以用4.4mm的PO作为Cayin C9等设备的伪LO。万先生说，LP6在4.4mm口的最大音量下能产生相当低的失真，以这种方式进行双倍放大可以不产生明显的失真。在我的许多设备上使用这种组合后，我可以证明，在我测试的任何音乐中都没有明显的失真。在三个接口的旁边，你会发现一个音量控制钮。由于乐彼采用了高质量的ALPS电位器，这个音量轮转动起来像黄油一样顺畅。此外，这个音量控制是独特的，因为它是完全模拟的。然而，这也有一些奇葩之处，特别是不可通过软件来确定你的音量大小，因为音量控制机制完全在模拟领域运作。如果不是因为音量控制上缺乏足够的标识，这可能不会成为一个问题。首先，没有视觉上的辅助来告诉用户音量是朝哪个方向增加或减少的。其次，拨轮上没有任何提示来告诉用户正在听多大音量。如果你经常调整音量，这可能成为一项棘手的工作。由于LP6使用了我在DAP中遇到的最激进的放大系统之一，这一点变得更加紧迫，任何错误地转动转盘都可能造成强烈的不适或更糟的情况。我曾不止一次不小心炸伤了自己的耳朵。



My comments so far can be applied to LP6 Gold and LP6 Titanium. However, there are a few aesthetic differences with the LP6 Platinum that sets it apart from other members in the LP6 family. First, the LP6 Platinum is coated in Platinum instead of Gold. This lends itself as a more subtle looking DAP rather than the Rolex-inspired Uber Yellow 24k Gold which a few of my Persian friends would be proud to own . Moving to the rear of the device is where one can appreciate the main distinctive feature of the Platinum model, the Echizen lacquerware treated wood. Echizen lacquerware is a traditional Japanese craft and has its origins in approximately 1500 AD from Sabae City (Kawada area). This technique is adored for the luster and rich color schemes it produces. As with much of Japanese artisanship, one must be trained for many years to specialize in one step after which the artisan will receive a title corresponding to what technique they trained in. Such titles include kiji-shi (woodworking specialist), nuri-shi (lacquer application specialist), and chinkin-shi (inlaid gold decoration specialist). One can imagine the kiji-shi who spent time meticulously coating the wood to create a rich and highly polished appearance one can observe on the LP6 Platinum. It’s a shame only 40 of these were made, and only for sale within Japan. From what I’m told there is very strong demand for the LP6 Platinum in the Chinese secondhand market, so perhaps L&P would consider a wider release for future special editions.

In summary, we have observed a few points. L&P has crafted a device which clearly communicates a no expense spared approach to DAP design. From case materials and artisan craftsmanship to physical components such as ALPS switches and the volume pot, one can appreciate the ToTL vision L&P’s design team has. However, there are some design oversights which detract from the user experience such as lack of adequate button labeling and confusing volume controls. Such shortcomings are not something I would find in a DAP in the $1000 range let alone one that commands approximately $4000.

我到目前为止的评价可以适用于LP6黄金版和LP6钛版。然而，LP6白金版在美学上有一些不同之处，使它与LP6家族的其他成员不同。首先，LP6白金的涂层是铂金而不是金。这使它成为一个看起来更绝妙的DAP，而不是受劳力士启发的Uber黄24K金，我的一些波斯朋友会以拥有它为荣。在机器背面，我们可以欣赏到白金版的主要特征，即越前漆工艺处理的木材。越前漆器是日本的一项传统工艺，起源于公元1500年左右的佐伯市（河田地区）。这种技术因其产生的光泽和丰富的色彩而受到崇拜。与日本的许多工艺一样，一个匠人必须经过多年的培训，才能专攻一个步骤，然后工匠将获得与他们所培训的技术相应的头衔。这些头衔包括kiji-shi（木工专家）、nuri-shi（涂漆专家）和 chinkin-shi（嵌金装饰专家）。一方面，可以想象出来那些木工专家花时间在木材上精心涂抹以创造丰富和高度抛光的外观，另一方面，我们能在LP6白金版上看到这些。令人遗憾的是，这些一共只生产了40台，而且只在日本国内销售。据我所知，中国的二手市场对LP6白金版的需求非常强烈，所以也许乐彼会考虑在未来的特别版中更广泛地发行。

综上所述，我们观察到几点。乐彼制作了一台高端设备，清楚地传达了不惜工本的DAP设计方法。从外壳材料、工匠工艺到ALPS开关和音量钮等物理组件，人们可以欣赏到乐彼设计团队的“做到最佳”的愿景。然而，也有一些设计上的疏忽影响了用户体验，如缺乏足够的按键标识和混乱的音量控制。这样的缺点我不会在1000美元范围内的DAP中发现，更不用说是一台大约4000美元的DAP了。

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听说声音很吊
想试试