上接《听感、蓝牙、搭配篇》：http://www.erji.net/forum.php?mod=viewthread&tid=2231138&extra=
LUXURY & PRECISION P6 PRO REVIEW
乐彼P6 Pro测评
SELECT COMPARISONS
All comparisons were done with two test monitors, the JH Audio Jolene, (custom format) and the Andromeda 2020 with the Leonidas Octa cable).
LOTOO PAW GOLD TOUCH
$3199
We have compared the Touch before to the P6 but with the slightly different presentation and improve interface it is worth a revisit. This is still Lotoo’s flagship player which is testimony its longevity and TOTL performance.
TECHNICAL
The Touch uses a delta-sigma AK4497EQ DAC implementation which seems a little dated compared to recent DAP launches with dual-channel or AK4499EQ flagship chipsets. However, Lotoo future-proofed it quite well with top-tier decoding limits up to DSD512 and PCM 32BIT/768kHz.
They were also quite crafty in the implementation by splitting a lot of the task management into 3 distinct processes for wireless, the digital sub-system, and the audio signal. The touch also has an additional AK4137EQ digital sample rate converter (SRC) chipset for upscaling should you need it.
The P6 Pro takes a very different route with the 1/10000 resistor matched R2R rail so avoiding the use of chipsets altogether. It does use an FPGA for clocking control and BT protocol stack management so not everything is purely electrical. It does have one chipset, the MCU which is fairly lightweight for the OS and environmental controls.
Its decoding ceiling is a little lower than the Touch at DSD256 and PCM 32BIT/386kHZ. However, in terms of SNR, the SE of the P6 Pro has a 2dB advantage and the gap going balanced is very close at 125dB compared to the Touch at 127dB.
Both offer very black backgrounds and a hiss free experience with the P6 Pro able to offer a higher output rating going balanced at up to 700mW into a 32Ω compared to 500mW from the Touch.
The Touch is unique in that it doesn’t differentiate the power level for SE so at 500mW into a 32Ω it can offer more power compared to the P6 Pro’s 330mW rating from the same load.
选择比较
所有的比较都是用两个监听入耳进行的：JH Audio Jolene（定制版）和换了EA利奥纯银线的仙女座 2020。
乐图墨菊
$3199
我们以前曾将墨菊与P6作过比较，但由于Pro版略微不同的外观和改进过的界面，因此值得重新审视。这仍然是Lotoo的旗舰播放器，它的寿命和顶级机种的性能都是佐证。
技术参数
墨菊使用delta-sigma AK4497EQ DAC，与最近推出的双通道或AK4499EQ旗舰芯片组的DAP相比，似乎有点过时。然而，乐图对于未来的准备非常充分，其解码极限最高可达 DSD512和PCM 32BIT/768kHz。
他们在整机设计过程中也相当有想法，将大量的任务管理分成3个不同的进程，分别用于无线、数字子系统和音频信号。墨菊还有一个额外的AK4137EQ数字采样率转换器（SRC）芯片组，如果你需要的话，可以用来升频。
P6 Pro采取了一条非常不同的路线，用精度1/10000的电阻匹配出R2R轨道，因此完全避免了DAC芯片组的使用。它确确实实用了一片FPGA进行时钟控制和蓝牙协议栈管理，所以不是所有东西都是纯电气的。它确实有一块MCU芯片，用于操作系统的实现与控制，这片MCU是非常轻量、功耗极低的。
它的解码上限比墨菊的DSD256和PCM 32BIT/386kHZ低一点。然而，在信噪比方面，P6 Pro的单端口有2dB的优势，与墨菊的127dB相比，平衡口差距非常接近，为125dB。
两者都提供了非常黑的背景和零底噪的体验，P6 Pro能够提供更高的平衡输出功率，在32Ω负载时推力高达700mW，而墨菊则是500mW。
墨菊的独特之处在于它没有区分单端与平衡的推力，所以在32Ω负载时单端推力一样为500mW，相比同负载下P6 Pro 330mW的额定功率，它可以提供更多的推力。
DESIGN
Both DAPs have a boxy but still fairly modern design with clean lines and well-protected dials. Neither have a form factor that is too big to operate with one hand. Still, the major difference between these two is the weight with the Lotoo weighing in at 311g compared to 248g for the P6 Pro.
The touchscreen of the P6 Pro does reduce the useability gap between it and the Touch immensely. I still would rate the bigger screen of the Lotoo a bit more user-friendly for touch useability and also a little easier on the eye with its more stylish OS.
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
The P6 Pro has the same OS as the P6 but with added touch control. That means it’s an equally fast proprietary OS but with a slightly slower boot time compared to the Touch.
Even with touch, however, the P6 Pro OS is relatively linear compared to the Lotoo alternative. Navigation is far less linear or restrictive on the Touch and you do get some features that I would have liked to have seen on the P6 Pro such as customizable EQ and PMEQ.
The P6 Pro is still feature-rich for filters, USB control, and LO/PO options, but they tend to be more background audio controls whereas the EQ is not as impressive or as involving.
The media library is 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.
PERFORMANCE
I did not think it was possible but the P6 Pro actually makes the Touch (All filters off) sound slightly compressed. When I did the previous comparison to the Touch using the P6, it was all about the timbral differences, and granted, there are a fair few here with our tested monitors.
That is not the first thing that you hear though when comparing the P6 Pro with the Touch. It’s the dynamic range this time around and the lift the P6 Pro has from the original that makes a huge difference when comparing with the Touch.
The phrase that keeps popping into my head is just how much more vivid sounding the P6 Pro is, from the stronger bass response from the JH Audio Jolene to the better headroom with the Andromeda 2020. Vocals have better solidity and their own space with an impeccable sense of timing and space that seems to make the Touch performance somewhat tame.
There is also that R2R timbre and we can’t escape the differences here because it shows up all over the P6 Pro’s instrument note texture. The Lotoo sounds perfect, perhaps too perfect by missing a little bit of gritty texture with a pristine neutral sound, especially with higher pitching female vocals.
The P6 Pro goes a shade more euphonic with that bigger low-end, not too much mind you, but enough to broaden that note texture out, tease out a lot more nuanced detail on the note edges, and give you a very life-life tonal quality.
设计
这两款DAP都有一个方正但依然相当现代的设计，线条简洁，表盘保护良好。两者都没有太大的外形尺寸以致于无法单手操作。不过，这两款产品的主要区别在于重量，Lotoo的重量为311克，而P6 Pro为248克。
P6 Pro的触屏确实极大地缩小了它与墨菊之间的使用性差距。我仍然认为乐图的大屏幕在触控使用方面更方便，而且其更时尚的操作系统也更容易吸引人的目光。
两者都有外部内存插槽，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还使用USB-C进行充电、数据传输和USB-DAC功能，但P6系列少了OTG。
软件
P6 Pro的操作系统与P6相同，但增加了触摸控制。这意味着它是一个同样快速的独有操作系统，但与墨菊相比，开机时间稍慢。
然而，即使有触摸功能，P6 Pro的操作系统与乐图相比也是相对线性的。在墨菊上，导航的线性或限制性要小得多，而且你确实得到了一些我希望在P6 Pro上看到的功能，如可定制的EQ和PMEQ。
P6 Pro的滤波器、USB控制和LO/PO选项的功能仍然很丰富，但它们更多倾向于背后的音频控制，而EQ则没有那么令人印象深刻或有更多参与其中的感觉。
Lotoo墨菊的媒体库管理更成熟，有更好的子菜单分组和贯穿始终更加用心的封面插图集。一个额外的好处是，乐图墨菊上有一个基于非常局限的WiFi服务的OTA固件更新，但两者都可以通过小型固件文件进行本地更新。
性能
我并不认为这可能做到，但事实上，P6 Pro的确使墨菊（关闭所有过滤器）的声音听起来略为有压缩感。当我之前用P6与墨菊进行比较时，都是关于音色上的差异，当然，在我们测试的IEM型号里也有相当多的差异。
不过，在比较P6 Pro和墨菊时，这并不是你听到的第一件事。这次的动态范围表现，以及P6 Pro在原版P6基础上的提升，在与墨菊的比较中产生了巨大的差异。
我脑海中不断浮现的一句话是，P6 Pro的声音是多么的生动，从JH Audio Jolene的更强的低频响应到仙女座 2020更好的头上空间。人声更扎实，在人声所处的空间里，有无可挑剔的时间和空间感，这样的表现似乎使墨菊听起来有些温顺。
还有一点就是R2R的独特音色，我们无法逃避这里的差异，因为这点在P6 Pro表现乐器音符质感上都有所显示。Lotoo听起来很完美，也许太完美了，因为它缺少一点带有原始中性声音的颗粒感，特别是在高音调的女声中。
P6 Pro用更足量的低频去做出了更深远的声音，这种低频并不会显得太多，但足以扩大低音音符的质感，在其边缘挑出更多细微的细节，并给你一个非常具有活生感的音质。
IBASSO DX220 MAX
$1888
TECHNICAL
The MAXwalked away with our 2020 Top Gear Award for best DAP and with good reason. It is quite a bit cheaper than the P6 Pro and a limited run but personally, I think it punches well above its weight with its audio performance.
DAC
Inside, the MAX pretty much resembles the original digital implementation from the DX220 DAP with a delta-sigma dual Sabre ES9028PRO configuration. These are still class-leading chipsets in 2021, with PCM 32BIT/384kHz and native DSD decoding up to DSD512 as well as MQA X4 in its locker.
The P6 Pro is hugely different in its 1/10,000 resistor-based R2R rail and underlying FPGA Master implementation. Decoding does drop to DSD256 and PCM 32BIT/386kHZ but does not rely on single-chip computational processing, preferring instead for a bit by bit transformation into analog. MQA is not a thing on the P6 Pro and probably never will be.
AMPLIFICATION
The P6 Pro does use opamps for their amplification stage whereas iBasso went all out with their analog implementation with a separate huge power supply to the digital board, some premium caps, resistors, and a custom 4-wiper potentiometer. LP’s big focus beyond the DAC was that relay-based Lossless Matrix Volume Control System.
The one caveat I do have with the dual MAX power supply system is the constant balancing of the digital and analog battery life. The fact that the MAX uses a DC wall wart for the analog side doesn’t make it any easier compared to the P6 Pro’s USB-C setup.
In terms of output, the MAX does have a bit more PO grunt right down to 300Ω loads with a maximum balanced output of 1758mW into 32Ω which is more than double the 700mW P6 Pro maximum output into the same load.
The P6 Pro does match or better for SNR compared to the MAX with a 122dB rating going SE compared to 125dB on the P6 Pro, both are the same for balanced.
iBasso DX220 MAX
$1888
技术参数
220MAX获得了我们2020年Top Gear最佳DAP奖，这是有原因的。它比P6 Pro要便宜一些，而且是限量发售，但我个人认为它的音频性能远远超过它的重量。
DAC
在内部，MAX非常类似于DX220原版，采用delta-sigma双Sabre ES9028PRO的配置。这些仍然是2021年都算领先的芯片组，支持PCM 32BIT/384kHz和原生DSD解码，最高可达DSD512以及MQA X4。
P6 Pro在基于1/10,000高精度电阻的R2R架构和底层FPGA主控的情况下，整机性能方面有着巨大的不同。P6 Pro的解码性能相比220Max确实下降到DSD256和PCM 32BIT/386kHZ，但不依赖于单芯片的计算处理，而是直接逐位转换为模拟信号。MQA在P6 Pro上完全没有意义，可能永远也不会有意义。
耳放
P6 Pro的模拟放大部分使用了独立运放，而iBasso在模拟部分则全力以赴，为PCB版提供了一个独立的巨大电源，一些优质的电容、电阻和一个定制的4-wiper电位器。除了DAC之外，乐彼最大的设计重点是基于继电器的无损矩阵音量控制系统。
关于220Max 双MAX电源系统的一个注意事项是，数字和模拟部分续航如何实现一个持续的平衡。事实上，与P6 Pro的USB-C口设计相比，220MAX直接在模拟端使用DC直流供电，这并不容易。
在推力方面，MAX在300Ω负载下确实有更大声的PO输出，32Ω负载最大平衡输出为1758mW，是P6 Pro在相同负载下最大输出700mW的两倍以上。
与MAX相比，P6 Pro的信噪比与MAX相当或更好，220MAX单端额定值为122dB，而P6 Pro为125dB，两者平衡口的信噪比相同。
DESIGN
One is a DAP, the other is a brick, a stylish brick with premium materials but a brick nevertheless. The P6 Pro, in case you are wondering, is not the brick, it is the MAX.
The iBasso DX220 MAX is more of a transportable media player with its huge form factor and 700g weight compared to just the P6 Pro at just 246g. It is almost a different class of use on that basis with the MAX more likely glued to the desktop and the P6 Pro in your pocket.
However, the MAX does look beautiful in terms of aesthetics with its 5″ IPS 1080p touch screen and that aged-look CNC stainless steel body complete with gold-plated accents on the knobs and jacks. The P6 Pro black finish and wooden rear are quite a contrast though it also uses gold accents on the dial and jack sockets.
The only big drawback of the DX200 MAX is the lack of physical buttons aside from the dual function power and LCD screen button to the rear. Everything else is touch only. Yes, you can have a touch-only navigation process on the P6 Pro but playback is still allowed via its left panel physical controls and you can switch to a purely physical operation also via the OS menu.
SOFTWARE
Some definite pros and cons here between the expandable and connected Android 8 of the MAX and the simpler but faster proprietary touch-based interface of the P6 Pro. The MAX Android interface feels modern, app expandable, reasonably fast though throttled by a capped and old Rockchip CPU clock to manage battery life.
The MAX can also dual boot into a pure music player via its Mango OS with plenty of good features maintained. This is where it gets a bit closer to the P6 Pro OS experience, albeit with a more lavish layout and some killer features.
You cannot beat the iBasso Mango OS and player for its useable PMEQ feature. This is one of the best in the business and something I would love to see on the P6 Pro OS.
The P6 Pro OS is much faster, less likely to throttle, and also less buggy. It is far better for battery life with less variance due to draining apps. However, it is not expandable and has no WiFi connectivity but does offer BT5.0 and LDAC much like the MAX.
This OS has a nod to modernity with BT but otherwise is designed for pure music playback with more limited EQ features.
PERFORMANCE
On initial impression, you are going to think the DX220 MAX does quite well against the P6 Pro. It has that same excellent vocal emphasis, a very expansive sound with an excellent black background. However, once you start going through the minutes you start picking up some critical differences.
For a start, the dynamic range on both are great though the P6 Pro for me edges it during busy passages with superior low-level layering and a more distinct bass attack and decay.
You hear the same note on the MAX but it doesn’t have the same textural quality or distinctiveness. Yes, the MAX is more neutral on the quantity level for bass but what is there is a bit more one-dimensional.
The neutrally travels up a bit also so the MAX sound comparatively more neutral in both note weight, textural girth, and staging positioning. Contextually more neutral rather than strictly neutral is a better term.
For example, vocal presence and percussion presence are slightly forward on the MAX but further forward on the P6 Pro. Yet, at the same time, the P6 Pro seems to have more space to deliver that vocal, giving the impression that the MAX is less distinct even though it really isn’t.
The weight is similarly biased so with something like the Jolene the vocals have more physicality and a stronger fundamental also from the enhanced low-end of the P6 Pro. There is something about R2R and dynamic driver texture that just gels so well together.
Overall, the MAX is more reference for me, typical of an excellent delta-sigma sound with a slight hint of warmth to keep it as natural as possible. The P6 Pro is the more vivid, the more physical also, teasing out more resolution in instrumental and vocal texture.
设计
一个是台DAP，另一个则是块板砖，一块用了优质材料的时尚板砖，但本质上还是一块砖。如果你想知道结果，那么，P6 Pro不是砖头，220MAX是。
iBasso DX220 MAX更像是一个可携带的多媒体播放器，拥有巨大的外形尺寸和700克的重量，而P6 Pro只有246克。在这个基础上，它俩几乎是完全不同的随身级别，MAX更有可能被钉在桌面上，而P6 Pro则是放在你的口袋里。
然而，就设计美学而言，MAX的5英寸IPS 1080p触摸屏和老式CNC不锈钢机身，以及旋钮和插孔上的镀金装饰，的确看起来很美。P6 Pro的黑色表面和木质背壳形成了相当大的反差，尽管它在表盘和插座上也使用了镀金件。
除了底部的双电源口和LCD屏幕按键之外，DX220 MAX唯一的缺点是缺少物理按键。其他一切都是触摸式的。是的，你可以在P6 Pro上有一个纯触控的导航过程，但播放仍然允许通过其左面板的物理按键来控制，你也可以通过操作系统菜单切换到纯物理按键模式的操作。
软件
在220MAX可扩展、可联网的安卓8系统和P6 Pro更简单但更快的基于触摸的专有界面之间，有着一些明确的优点和缺点。MAX的安卓界面给人的感觉是现代的，可扩展的应用，合理的响应速度，尽管被一个有上限的老式Rockchip CPU时钟扼杀了，这个设计是用来管理电池寿命的。
双系统的MAX也可以通过进入Mango操作系统成为一个纯粹的音乐播放器，并保持大量良好的功能。这就使它有点接近于P6 Pro操作系统的体验，尽管它有一个更豪华的布局和一些杀手锏功能。
因为有了易用的PMEQ功能，iBasso的Mango系统和播放软件就是不可战胜的。这是业界最好的功能之一，我很想在P6 Pro操作系统上看到。
P6 Pro操作系统速度更快，更不容易节流，而且Bug更少。由于枯竭的APP占用资源极低，P6 Pro在电池续航方面要好得多、且变动幅度更低。然而，由于没有WiFi让P6Pro缺乏扩展性，但它和MAX一样配备了蓝牙5.0模块并支持LDAC。
这个操作系统通过蓝牙向现代化听音方式点了个头，但除此之外，它是为纯音乐播放设计的，EQ功能比较有限。
性能
在最初的印象中，你会认为DX220 MAX在与P6 Pro的竞争中表现得相当好。它有同样出色的人声强调，非常宽广的声音和出色的漆黑背景。然而，一旦你开始通过几分钟时间的对比聆听，你就会发现一些关键的差异。
首先，两者的动态范围都很好，但对我来说，P6 Pro在复杂乐章中以更出色的低频层次感和更明显的低频打击与残响而领先。
你在MAX上听到的是同样的音符，但它没有P6 Pro那样的质感或鲜明的特点。是的，MAX在低频量感上更加中性，但这一频段听起来却有点更单一。
这般中性处理同样存在在MAX的声音重量感、纹理感以及声场定位上。与其说是严格意义上的中性，不如说是语境上的更中性。
例如，人声和打击乐的形体感在MAX上略微靠前，而在P6 Pro上则更靠前。然而，与此同时，P6 Pro似乎有更多的空间来传递人声，给人的印象是MAX没有那么明显，尽管它真的没那么明显。
重量感也有类似的偏向，由于P6 Pro强化了低频段，像Jolene这样的人声会有更多的形体感和更强的基底。这里肯定有些东西是让R2R和动圈单元完美融合到一起的。
总的来说，MAX对我来说更有参考性，是典型的优质delta-sigma的声音，有一丝温暖，以保持它尽可能的自然。而P6 Pro则是更生动的，也是更有形体感的，在乐器和人声的质感上能呈现出更足的细节。
HIFIMAN R2R2000 BLACK
$2500
TECHNICAL
I want to be clear from the outset, though the R2R2000 has R2R in its name it is not the same implementation as the classic resistor-based rail implementation inside the P6 Pro. Instead, the R2R2000 uses a dual multibit 24-BIT Texas Instruments PCM1704K DAC chipset.
In fact, the LP has been very keen to point out their improved discreet R2R implementation inside the P6 Pro is equivalent to 16 PCM1704k chipsets so that is quite a difference between the two players. I think those claims do seem substantiated when you compare those SNR numbers with the R2R2000 a full 10dB lower at 115dB @ +/-3dB compared to the 125dB from the P6 Pro.
Also, there is a significant gap in the decoding capability of the two players with the P6Pro capable of up to 32BIT/384kHz PCM and DSD256 compared to the R2R2000’s lower 24bit/384kHz PCM and DSD64.
The P6 Pro also does better in terms of output power 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 rated load.
Mind you, the R2R2000 noise floor is just so much higher, especially for sensitive IEMs whereas the P6 Pro has a beautiful black background for similar monitors such as the Andromeda.
Bluetooth is available on both, in fact, that is the main thrust of the R2R2000 so both offer LDAC receiving though the R2R2000 can only offer BT4.2 compared to BT5.0 on the P6 Pro.
HiFiMan 黑太子
$2500
技术参数
我想从一开始就说清楚，虽然R2R2000的名字里有R2R，但它与P6 Pro里面经典的基于电阻阵列解码的实现方式不一样。相反，R2R2000使用的是双多比特24位的德仪PCM1704K DAC芯片组。
事实上，乐彼一直非常热衷于指出，他们在P6 Pro内改进的分立R2R性能相当于16颗PCM1704k芯片组并联，这是这两个播放器之间很大的区别。我认为这说法似乎是有根据的，当您比较R2R2000的信噪比数据时，它比P6 Pro的125dB低了整整10个dB，为115dB（+/-3dB）。
此外，这两款播放器的解码能力有很大差距，P6Pro能够达到32BIT/384kHz的PCM和DSD256硬解，而R2R2000的24bit/384kHz PCM和DSD64解码能力则较低。
P6 Pro在输出功率方面也做得更好，在32Ω的负载中输出700mW，而R2R2000在相同的负载中输出500mW。然而，R2R2000的单端输出功率更高，为320mW，而P6 Pro在相同的额定负载下为180mW。
请注意，R2R2000的底噪底线要高得多，特别是对于高灵敏度的IEM来说，而P6 Pro对于类似的IEM（如仙女座）会有一个优美的漆黑背景。
两者都有蓝牙，事实上，这是R2R2000的核心玩法，所以两者都提供LDAC接收。尽管R2R2000只能提供蓝牙4.2，而P6 Pro则是蓝牙5.0。
DESIGN
The R2R2000 is tiny, very pocketable with a very ergonomic shape, certainly much smaller than the P6 Pro. The P6 Pro is a more traditional box shape, thicker but beautifully designed. The P6 Pro’s aesthetics are more useful though 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 Pro 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 Pro does not do.
Both have memory limits, however, though the P6 is double at 12k and the R2R2000 at around 6k tracks.
The P6 Pro battery life is just so much better at close to 15 hours consistently. The R2R2000’s does really well with the eco mode offering well above 20 hours on a normal cycle but you lose a lot of functionality and it drops to just a few hours of use in HiFi Mode and all functions turned on.
SOFTWARE
The R2R2000 offers a capacitive section below the display part of its tiny LCD screen which gives it a sort of faux touch capability to allow you to navigate. The navigation speed felt competitive against the P6 non-touch controls but compared to the P6 Pro’s capacitive touch panel it feels like a pretty turgid affair.
The Pr Pro’s larger screen and snappy OS response are much easier to use than the tinier R2R2000 black and white jittery screen. You could be scrolling for a lot longer on the R2R2000, see no artwork, click back and forth to find the required features. It feels incomplete as an OS with a UI that is confusing.
The P6 Pro 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.
PERFORMANCE
Whilst much of what I said about the P6 versus the R2R2000 Black timbral differences remain true for the P6 Pro, it’s not the first thing that really stood out for me this time around.
This time around was all about the midrange and this taps into how I described the R2R2000 Black as teasing out a slightly v-shaped tuning. That is definitely the case here, especially with the Jolene which is a little more relaxed in the mids than the Andromeda.
With the P6 Pro, the mids are much clearer, more forward, and vivid sounding whereas the R2R2000 Black drops that a little in favor of more bass bloom. A lot of that is down to the dynamic range as well and you can hear a palatable difference between the two presentations, more so given the R2R2000’s little dip in the Jolene mids.
I can’t say this time either that the R2R2000 has the more extended treble either. The P6 Pro treble is much better resolution and presence though by no means bright but rather it just sounds very balanced with the Jolene. The R2R2000 has excellent extension but it is not as vibrant and doesn’t quite balance out the bloom on the low-end.
All of this impacts staging which feels more complete with the P6 Pro’s stronger instrumental separation through the mids. You get excellent depth and extension on the R2R2000 Black but its dynamic range does not tease out as much 3-dimensional space in comparison.
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 Pro小得多。P6 Pro是一个更传统的盒子形状，更厚但设计精美。虽然P6 Pro的美学设计更有用，有更大更清晰的彩色屏幕，但不可否认的是，R2R2000外形非常轻（142克），操作舒适。
两者都提供microSD外置存储器，但P6 Pro更进一步，有64GB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，只能通过其USB-C接口提供OTG数字音频，而P6 Pro不提供OTG功能。
然而，两者都有曲库限制，尽管P6是双倍数量的12000首，而R2R2000是大约6000首。
P6 Pro的续航要好得多，持续播放接近15小时。R2R2000在省电模式下的续航做得非常好，在一个正常周期内可提供超过20小时的使用时间，但你会失去很多功能。而在高保真模式以及所有功能都打开的情况下，它的使用时间会下降到只有几小时。
软件
R2R2000在其微小的LCD屏幕下方提供了一个电容触控区域，使其具有一种假的触摸能力，使您能够通过它进行导航。与P6的非触摸控制相比，导航速度感觉很有竞争力，但与P6 Pro的电容式触控面板相比，操作它就会感到是个相当累赘的事情。
P6 Pro的大屏幕和迅捷的操作系统反应比R2R2000的黑白屏幕更容易使用。你可以在R2R2000上滚动更长的时间，却发现不了任何专辑曲目，来回点击才能找到所需的功能。作为一个操作系统，感觉并不完整，其用户界面令人困惑。
P6 Pro也有更多的选项可以从操作系统中控制，如DSD和PCM过滤器、EQ和USB连接模式。它还有一个带有专辑曲目和播放列表管理的元标签媒体库，而R2R2000则是纯粹的文件夹导航。
性能
虽然我所说的P6与黑太子的音色差异对P6 Pro来说仍然真实存在，但这并不是这次真正让我眼前一亮的事。
这次是关于中频的，这也是我对黑太子的描述，它是一种略带V型的调音。这里绝对是这样，尤其是接Jolene听时，它的中频比接仙女座更宽松。
P6 Pro的中频则更清晰、更前卫，听起来更生动，而黑太子的中频则略微凹陷，更偏重于低频的爆发。这在很大程度上也归功于P6 Pro的动态范围，你可以在两台播放器里听出可接受的差异，这点更多体现在R2R2000接Jolene时在中频段的小凹陷。
这次我也不能说R2R2000的高频更有延伸性。P6 Pro的高频有更好的解析力和存在感，虽然不亮，但它与Jolene搭配时听起来非常平衡。R2R2000有很好的高频延展性，但它不那么有活力，也没有平衡好低频段的下潜。
所有这一切都影响到声场，通过中频段的出色表现，P6 Pro在器乐分离度方面表现更完整。在黑太子上，您可以听到很好的声场纵深和宽度，但相比之下，它的动态范围相比之下就无法呈现出足够的三维空间感。
OUR VERDICT
As a pure music player or for quality audio in a compact portable form factor, nothing can come close to the performance of the P6 Pro. It takes everything magical and wonderful about the R2R sound of the P6 and injects greater urgency, a slightly more accurate harmonic balance, and a big upgrade in dynamics.
Unless you are a complete treble head or prefer that mellower laid-back ambiance of the original P6 I cannot fail to see how the P6 Pro sound quality could not seriously impress even the most hardened or thrifty of audiophiles.
Caveats? The OS is still very simple and whilst the BT stack is improved and the touchscreen makes a huge difference in its UI the connectivity is much the same. This is not a DAP for the smartphone generation who want audio players to come with expandability and virtual interaction. You still will have to use the BT to stream which is never ideal.
Otherwise, Luxury and Precision have a beautifully constructed portable platform to play some truly world-class sounding audio.
P6 PRO SPECIFICATIONS
• Discrete R-2R Array DAC.
• Equivalent to using 16 PCM 1704 chips.
• Ultimate audio experience with a high signal-to-noise ratio of 125dB.
• Refined amplification circuit for distortion-free output.
• Further optimized Luxury & Precision Lossless Matrix Volume Control System(LLMVS).
• Accurate FPGA clock.
• High-quality Bluetooth audio algorithm.
我们的评价
作为一台纯粹的音乐播放器，或者说在一个紧凑的便携式外形下的优质音频解决方案，没有什么可以接近P6 Pro的性能。它延续了P6的R2R所呈现的一切神奇和美妙，并注入了更紧致的质感，更精确的谐波平衡，并在动态表现上作了大升级。
除非你是一个完完全全的高频控，或喜欢原版P6那种较温和的悠闲氛围，否则我看不出P6 Pro的音质如何不能真诚地打动哪怕是最顽固或节俭的发烧友。
要注意的地方？P6 Pro的操作系统仍然非常简单，虽然协议栈蓝牙得到了改进，触屏用户界面也有了很大的不同，但扩展性还是一样。这不是一款适合于智能手机时代的DAP，那些用户希望音频播放器具有可扩展性和虚拟互动。但你仍然必须得用蓝牙来实现P6 Pro的流媒体播放，这绝不是他们所理想的交互形态。
如果能解决这个问题，乐彼将搭建出一个构造精美的便携式平台，去播放一些真正具备世界级音质的好声音。
P6 Pro规格
• 离散的R-2R阵列DAC；
• 相当于使用16颗PCM 1704芯片；
• 具有125dB的高信噪比的终极音频体验；
• 完善的放大电路，无失真输出；
• 进一步优化的乐彼精密无损矩阵音量控制系统（LLMVS）；
• 精确的基于FPGA的数字时钟；
• 高质量的蓝牙音频算法。
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发表于 2021-6-22 14:55
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