The Italians belong to the passionate and romantic Latin nation. They are artistically fond of luxury, complex, fancy design and decoration, paying attention to the external senses. Therefore, in the furniture of Europe and the United States, Italian-style furniture looks the most luxurious, full of curves, floral ornaments and fine details. Its beauty is directly appealing to the eyes, not implicit. Italian brand-name speakers Sonus Faber, Chario and Opera are not only exquisite workmanship, but also the luxury and exquisite furniture. The sound also fully reflects the Italians' pursuit of melody: enthusiasm, mellow and strong, giving people a sense of beauty. From the purely feverish spirit, I feel that the beautiful speakers made in Italy are obviously landscaping and unreal, but this reflects the Italian people's unremitting pursuit of Bel Canto and sensual beauty.
Like the Italians and the Spanish, the French belong to the same Latin family. However, due to the influence of different historical cultures, the French people also appreciate the sense of beauty and the subtlety and subtlety. They are not as luxurious and stylish as the Italians. Therefore, French audio equipment, such as JM Lab, Micromega and YBA, also have obvious sound modification, in general, a little less luxury than Italian audio equipment, a little more light and elegant Gaul temperament.
In Germany, which advocates rationality, strength and majesty, cultural aesthetics is a change, and the Latin Americans differ greatly from Italy, France and Spain. The character of German equipment is just like the Germans, rigorous, precise, simple, rational, and sometimes even on the edge of "thin and hard". Everyone can notice that I use several descriptive words: Germany's "strictness" corresponds to the "freedom" advocated by the Latin nation; Germany's "precision" corresponds to the "modification" of the Latin nation; Germany's "simple" corresponds to Latin The "luxury" of the nation; and the famous "rationality" of Germany, of course, is also relative to the "sensibility" peculiar to the Latin nation.
The appearance and sound of German equipment generally do not pursue "sensory beauty", and do not pursue direct enjoyment of the senses, but the general production process and accurate and calm voice of precision instruments have their own supporters. Of course, it is not that German equipment is only precise and not aesthetic. In fact, the sound of German equipment is also beautiful, but it is a more profound beauty, more intrinsic and simple beauty, different from Italy's external, luxurious and beautiful. From the workmanship of advanced German equipment, meticulous, every detail, every screw, every seam is fine and perfect, it is impeccable, but this work is plain, and Italian equipment. The kind of work that pursues floral decoration and appearance is completely different.
The same is true for Swiss-produced high-end watches, which are famous for precision machinery. The design and manufacture are as refined as precision instruments. Even the smallest details are spared. The sound is exquisite and delicate, and the inner beauty is beautiful. There are only a few brands, only Goldmund and Revox. , Ensemble, Ergo, etc., but the pieces are all fine, and each is self-contained, very tasteful.
Friends who like furniture must know that the style of Danish furniture is a very representative faction, known for its simplicity (sometimes simple and almost cold). If German furniture is already unpretentious compared to Italian and French furniture, then Danish furniture is simply a typical artistic â€œMinimalismâ€. Due to the vast forests and developed wood industry, Denmark is not only famous for its furniture production, but also famous for producing high-end speakers. From Dynaudio, Avance to SEK, it is basically the same: exquisite, calm, wide, fast and dynamic. Generally speaking, they do not have the "feel" of the Italian or British speakers, but are closer to the German equipment. I think this should be related to the cold climate, clear air and open geographical environment of this Nordic country.
"British Sound" and "American Sound" are famous in the fever industry and are the most familiar genres of domestic enthusiasts. The characteristics of almost every enthusiast can talk about it, I don't want to repeat it here, but I think the reason for the distinctive voice is hidden behind the character of the people of the two countries, and the character, and Geography, climate, and historical humanities are all closely related. I have been to London, England, and I am more familiar with the United States. I feel that in the UK, which has a heavy and long history, from the old buildings that are slightly old, from the small living space, it is always gloomy. In the weather, it is not difficult to explain why the British equipment is always so small and small, so that the British equipment is always so small and small, so the sound is so warm and heavy, it is a unique style, neither is it a British person who is not affluent but still firmly maintains a gentlemanly manner and his own taste. It is as clear as German and Nordic equipment, but not as romantic and luxurious as Italian equipment. Hiding in a small, old-fashioned hut, with a small LINN phonograph, with a light and thin Rega amplifier, pushing the SPENDOR or ROGERS speakers, it is a unique atmosphere.
As for the United States, because it is a cultural hodgepodge, the source of race and culture can be said to be a gathering of all kinds of countries. It is more complex and free than any country in the world. Basically, any aesthetic style can be found in the United States. Traditionally, American equipment is generally considered to be unrestrained, rough, and low-frequency. It has a large volume and a strong appearance. However, its appearance and sound are not as delicate and delicate as European equipment. In fact, this comparison is also the style contrast between the American Symphony Orchestra and the European Symphony Orchestra. However, as I said earlier, the hodgepodge of American culture determines that it can accommodate a variety of completely different styles and aesthetic tastes, so there are also JBL, AR, KOSS and KRELL, as well as a clear and transparent Thiel speaker.
For Japanese audio, Chinese enthusiasts often have preconceived prejudice. In the comments of various magazines, there are always things such as "radish flavor" that are unintelligible but have a lot of words. I think that the Japanese have given the most technical skills to the audio equipment, and they have invested the most in research and development of new technologies; some new amplifier circuits, digital technology, CD turntable structure, and high-pitched tweeters are all Japanese. Made out. It is precisely because of the technical nature that Japanese equipment is the most "value", the use of components and ICs is the most solid, unlike some European equipment, the price is high, but the stomach is simple and suspicious. However, just like the Japanese symphony orchestra, which is impeccable in skill but has been repeatedly referred to as â€œmechanicalâ€, Japanese equipment lacks understanding of the importance of subjective tuning of the human ear due to excessive reliance on instrument testing and technical indicators. It is not as spiritual and individual as European equipment. From a technical point of view, it is blameless, but if it is used to reproduce the traditional European culture and other things, it is not as good as European equipment.
Of course, the above is only a broad conclusion, specific to the individual, and each has its own characteristics, and some equipment is not in line with the cultural characteristics of its own country. I suggest that you go to the website and forum of HI-FI audio, and learn a lot of knowledge about music and sound culture (such as the HIFI audio house to open a special section to promote this knowledge), only then can we jump out A narrow circle of circles to look at the development of the world's audio industry with an inclusive perspective. What we can see now is that, with the frequent international cultural exchanges, like other cultural fields, the general development trend of audio in various countries in recent years is that individuality and national characteristics tend to be weakened, and generally tend to be fast, broad and light. The so-called "modern sound" of the big dynamic. This is consistent with the trend of advocating efficient, high-speed modern culture represented by â€œfast food cultureâ€. However, in the pure Hi-Fi world, especially in the Hi-End field, various countries and brands still have obvious personality characteristics, although more or less will be affected by some "modern sounds" (such as the traditional British sound) The "new British voice" shift reflects this impact). This is of course a good thing. The so-called flowers are blooming and the schools are arguing. If any brand comes out with similar sounds, what fun is there to have a fever?
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