Music, Art, Hobbies, Entertainment & TV


2022-04-02 09:45:03 simyang 21




of how Monoprice parlayed its success as a humble purveyor of computer peripherals into its current status as a direct-toconsumer A/V gear powerhouse will have to wait for another day, mostly because I don’t know it. But I do know this much: the torrent of ultra-high-value speakers and electronics, desktop audio, and even pro audio designs that have bubbled up from the Monoprice spring over the past few years is all but unprecedented in my decades in the audio/video world.

The latest gush this flow has brought forth is the Monolith by Monoprice Encore T6 speaker system seen here. This suite consisting of towers, center, and two-way surrounds checks in at just over $1,400— hundreds, or even thousands, less than many established, well-regarded speakermakers charge for arrays of similar size and type. How do they do it? I don’t know that, exactly, either, but presume the answer lies in bare-bones cosmetics, factory design efficiencies, and the scaled economies of direct-to-consumer sales and hyper-efficient overseas manufacturing. And, as Crazy

Eddie said long, long ago, “Volume! Volume! Volume!”

Since each member of this Encore quintet deserves a closer examination, I’m going to work backwards, beginning with the B6, a medium-size two-way bookshelf design relegated in this setup to surround-channel chores. The

B6 is visually dominated by the huge waveguide surrounding its one-inch dome tweeter. What is a waveguide? In this instance, it’s effectively a horn that controls and shapes the tweeter’s uppermids-to-high-frequency output to better match that of the woofer at the upper end of its operating range. Done right, this makes a speaker’s directivity—its spread of sound over all frequencies of interest in all directions— considerably more even, which translates to “better” (more accurate, or uncolored) sound in real-world rooms. And the “why” here is that reflected sound, which anywhere other than outdoors or in an anechoic chamber inevitably makes up a good proportion of what reaches our ears, will have the same tonal balance as the direct sound coming from the speaker.

Wide-range waveguide design and integration is tricky, but the advent of affordable, computerpowered 3-D acoustical modeling and measurement has driven a recent flush of such designs, almost entirely in Europe. Not to put too fine a point on things, but the Encore B6 is a ringer for the Burchardt S400, a well-regarded design from a small Danish maker, though the Danish speaker costs about six times as much and employs a rear passive radiator where the Monolith deploys a simple port.

The Encore C6 center-channel follows a familiar pattern, doubling up the woofers in a horizontal layout, with the same big waveguidetweeter dominating the middle. However, where the other Encore speakers are vented, the C6’s cabinet is sealed. The T6 towers triple the bet, stacking three of the same “6.5inch” woofers below the waveguidetweeter. (That’s the screw-to-screw mounting dimension, which is what the industry seems to use these days. In my book, this is a 5.25-inch woofer, the actual diameter at the surround apex.)

All three models are simply constructed, using plain black woodgrain vinyl wrap MDF cabinets. The cabinets are internally braced, with single, inexpensive plastic ports used on the T6 and C6, though the tower’s port has a much larger diameter. The T6 also gets a somewhat fancier input hookup, with double linked terminals in the usual bi-wire configuration.

All three arrive with simple black fabric grilles affixed via plastic push-posts—no magic magnetic floating grilles at this price. There’s nothing fancy, here, obviously, but the Encores struck me as carefully made within their strictly budgeted manufacturing parameters, and rather attractive in a very understated high-tech mode. I also found them to be much better-looking with the grilles off, which is how I did all of my listening during this evaluation.


The Encore T6 towers arrive with nicely machined, height-and-angleadjusting solid metal outrigger feet affixed by machine screws. Other than adjusting those, setup of the suite required nothing more than shifting my existing speakers around and connecting the speaker cables. I began my listening “backwards,” first auditioning the Encore B6 bookshelf speakers as the main left/right pair, run full-range.


Over a couple of days of music listening, both casual and close, I was consistently struck by the B6’s clear, transparent presentation and honest tonality. Having uncovered no obvious sonic warts, I moved on to comparing them against my

ancient-but-excellent Energy Veritas 2.2 standmount three-way speakers. (Were these still available, they would cost at least five or six times the Monolith’s modest price in today’s money.) There were differences: the Monoliths sounded obviously—well, not brighter, exactly, but more sharply etched and a bit “quicker” over the top three or so octaves. They also projected images in a more forward manner than the Veritas 2.2s, which tend to image at and behind the plane of the speakers. But otherwise, I was amazed at how closely the two speakers tracked on cut after cut. Voices as disparate as Diana Krall,

Johnny Cash, and Tracy Chapman’s sounded tonally matched; bass extension and weight were virtually identical; and cymbaland-brushes sparkle, while clearly livelier with the B6 pair, was about equal in prominence. In short, what I was hearing was either two loudspeakers with the same exact colorations and shortcomings— highly unlikely even merely statistically, and well known by me from countless other Energy comparisons to be untrue— or two with equal tonal accuracy and freedom from strong resonances, plus a very similar octave-tooctave balance.

The Ginger Baker Trio’s

Going Back Home— a superb recording—sounded powerfully lifelike, with icicle-like snare cracks, atmospheric cymbals, and solidly woody bass on tracks like the Thelonious Monk standard “Straight No Chaser.” This album combines Bill Frisell’s refracted, cubist guitar playing and Charlie Haden’s understated but inventive bass with the impossible-tocharacterize whatever-it-was that the late Mr. Baker did: “drumming” hardly seems to cover it. In this setting Baker was somehow able to swing his cymbals-and-snare timekeeping in a classically jazz, “late” way, while still pouring out the hard-driving, push-the-beat toms and double-kickdrum frenzy we remember so well from Cream, at one and the very same time! It’s not poly-rhythmic, it’s poly- feel- ic, and quite wonderful once you get your toe-tapping around it.

My next listening step was to replace the Encore B6 bookshelf speakers with the Encore T6 towers. You’d think two speakers so similar, with identical driver elements, would sound the same, and for the most part they did. But there were definite differences. First and most obviously the tower speakers delivered a lot more bass, particularly over the roommode-exacerbated third octave. But they also had a very slightly different midrange cast: marginally warmer, or perhaps more relaxed. (On a carefully level-matched listen to mono pink noise, the T6 sounded faintly more “hoo” to the B6’s “hee.”)

Either way, the T6 equaled the tonal naturalism that had so impressed me with the B6, and it offered just a little greater dynamics. An excellent recording like the swing blues “Hot or What” from Mark Knopfler’s Privateering album showed impressively detailed sound, enough to delineate both the “hair” on Fabulous Thunderbirds harpist Kim Wilson’s stompingly Butterfield-esque guitar-amped harmonica, as well as the full-bodied direct-signal element in its mix, while still highlighting satisfyingly clean, present, and dynamically nuanced drum sound.

However, no speaker is without blemishes, and these are the ones I uncovered with the Encore T6. First, in my room at least, the towers had a bit too much output over their bottom two useful octaves (about 35-140Hz), resulting in excessively warm, though not really boomy, bottom end until I pulled them some six feet-plus out from the front wall. (For the record, a simple shelving filter, implemented via Roon’s DSP feature, of about -2 db at 135 Hz in concert with my usual 85Hz room-mode notch, mitigated this almost perfectly.) Second, at levels cresting the highest loudness I would generally use in “civilian” listening— crossing the 90 DBSPL/A line on my SPL meter— the Monolith towers displayed an emphasis on sibilants that became increasingly pronounced as volume and dynamics were pushed; this also manifested as a faint rasp on spoken-voice announcers when played at unnaturally loud (for speech) levels. Presumably, either the Encore tweeter was exciting a resonance, or the woofer was going non-linear at the crossover point, or a bit of both. But I don’t consider this even close to crippling. Both effects were subtle, and in the first case room placement or room/speaker correction can easily address it, while the second only appeared beyond what I would consider the Encore towers' intended dynamic range.

Moving on to multichannel, I discovered that the Encore C6 center produced an unusually tight tonal match with the towers. On my initial test— male TV announcers—the stereo/mono tonal differences were about as small as I’ve encountered, boiling down mostly to the room-effects differences of two speakers versus a single speaker (two tweeters put more high-frequency energy into the room than one, hence a slight increase in treble from mono-front-pair versus monocenter reproduction). The match was close enough to inspire me to compare the two setups with my mono pink-noise signal. Aside from the aforementioned slight treble difference, the all-important midrange balances were nearly identical. Even better, this remained substantially the case even when I turned the C6 center about 30 degrees to one side, showing its off-axis balance to be very close to its straight-ahead sound. I don’t know exactly how Monolith managed this from a dual-woofer, horizontal design, but I found it impressive.

Next up was multichannel music. With the B6 pair placed for discrete-multichannel listening, that is, about 35 degrees behind the listener line and angled toward the sweet spot, a tour of my SACD and Dvd-audio collection yielded outstanding results. One, the seldom-heard Copland Organ Symphony on an Sfsmedia SACD (the San Fransisco Symphony’s proprietary label), was particularly striking, drawing me into the enveloping atmosphere of the ruminative first movement. (The same disc contains Ives’ Concord piano sonata, marvelously arranged for full orchestra by my late composition teacher Henry Brant; it’s a must-hear.) The Encore system’s ideal timbral matching combined with the tight-sweet-spot setup to make elements like isolated harp plucks, enriched by hall reverberations, thrillingly real. In that first movement the organ bottoms out on a low G or possibly F-sharp at around 44 Hz or so. The T6 towers had no trouble reproducing this passage with convincing weight and purity, though later on in the finale, where the organ goes still lower and rather louder, the lack of lowest-octave prowess was evident. Nevertheless, with real output in my room to well below 50Hz, the Encore T6 went lower, and also more solidly, than several similar-sized towers of my recent experience.

I did observe that at fully concert-hall levels the biggest tutti slams in the climax of this occasionally slightly ponderous movement (Copland was only 23 when he wrote it) sounded a bit coarse, though backing off the volume a couple of db subtly sweetened things back up. At 22 x 16 feet, mine’s a big room; most will be smaller, and thus less likely to plumb the dynamic limits of any loudspeaker. Or the amplifier: it’s not entirely impossible that my 150 watts-per-channel power amp was up against it on these demanding transients. Monolith specs the T6’s sensitivity as 87.8db SPL@1W/M, which felt about right. This is just on the low side of average, and the B6 bookshelf speakers are almost 3db lower; in either case, betterthan-decent amplification will pay dividends. I must also note that, per Monolith’s on-line published specs and graphs, all three Encore designs report minimum impedances below 4 ohms. But that’s not unusual today, and it’s unlikely to be a problem for most modern amps or receivers.

I streamed a wide variety of 5.1-channel content while the Monolith system was in residence, among it the hypnotic entire seven-plus hours of The Beatles: Get Back, as well as last December’s New England Patriots vs. Buffalo Bills “wind game” and results were consistently satisfying. The T6 towers- C6 center trio forms a highly cohesive front stage, so lateral pans and wide soundscapes like busy street scenes (or a football crowd) worked unusually well. But I don’t entirely trust streamed content, and so always fall back on Blu-ray discs for confirmation. One old standby, the remastered The Fugitive made a strong example. At my sweet-spot listening chair, surround ambience and effects were wonderfully enveloping in the waterfall-jumping scene, and powerful rear-side pans remained smooth and intact. Of course, in this setup moving out of the sweet spot tended to make ambience and effects “pull” to the nearer speaker, but this is the weakness of any direct-radiating-surrounds layout, and why I still prefer my “outdated” dipole surrounds for allpurpose, non-atmos 5.1 playback.

Despite the lack of a sub in this setup, the bus/train crash in the film’s opening act had sufficiently satisfying impact to get the idea well across. Now, do the Encore T6 towers deliver enough deep bass for real cinematic impact?

Of course not, though I suspect they’ll come close enough to keep a significant segment of listeners happy. Monoprice/monolith offers a huge range of subwoofers, from ultra-value 8-inchers (way too little) to a new, small-fusion-reactorsized 16-inch Thx-ultra jobbie and its only slightly smaller 13-inch cousin (full review upcoming). There are lots of choices in between, so you’re bound to find one that’s just right.


The Monolith by Monoprice Encore 6 series loudspeakers are nothing short of exemplary performers, and their value quotient is off the charts. (If there’s a better $180 speaker out there than the B6, send me a pair, because I’d like to hear it.) And while direct, online buying is not for everyone, Monoprice does offer a 30-day money-back guarantee. (At the time of writing they were also offering free shipping.) I have no hesitation in recommending this Encore suite, enthusiastically, to any budgetconscious, performance-minded audio shopper.

单片由单价安可 T6 环绕声扬声器系统



Monoprice如何将其作为计算机外围设备供应商的成功转化为其作为直接消费者A / V设备强国的当前地位,将不得不等待另一天,主要是因为我不知道它。但我确实知道这一点:过去几年从Monoprice春天冒出来的超高价值扬声器和电子产品,桌面音频甚至专业音频设计的洪流,在我几十年的音频/视频世界中几乎是前所未有的。

这种流动带来的最新涌动是Monoprice Encore T6扬声器系统的Monolith,如下所示。该套件由塔式、中心式和双向环绕式设备组成,入住费用略高于 1,400 美元,比许多成熟的、备受推崇的扬声器制造商收取的类似大小和类型的阵列的费用要低数百甚至数千美元。他们是怎么做到的?我也不知道,确切地说,但假设答案在于基本的化妆品,工厂设计效率以及直接面向消费者的销售和超高效的海外制造的规模经济。而且,像疯子一样艾迪很久以前就说过,"音量!卷!音量!

由于这个Encore五重奏的每个成员都值得仔细检查,我将向后工作,从B6开始,这是一种中等尺寸的双向书架设计,在这种设置中被降级为环绕声道杂务。这B6 在视觉上由其一英寸圆顶高音扬声器周围的巨导主导。什么是波导?在这种情况下,它实际上是一个喇叭,控制和塑造高音扬声器的上半到高频输出,以更好地匹配其工作范围上限的低音扬声器的输出。如果做得好,这使得演讲者的方向性——声音在各个方向的所有感兴趣频率上的传播——更加均匀,这转化为现实世界房间中"更好"(更准确或无色)的声音。这里的"为什么"是反射声音,在户外或消声室以外的任何地方,都不可避免地占我们耳朵的很大一部分,将具有与扬声器直接声音相同的音调平衡。

宽范围波导设计和集成是棘手的,但经济实惠的计算机驱动的3D声学建模和测量的出现推动了最近这种设计的激增,几乎完全在欧洲。不要把事情说得太细,但Encore B6是Burchardt S400的铃声,Burchardt S400是一家小型丹麦制造商的备受推崇的设计,尽管丹麦扬声器的成本约为六倍,并且采用了后无源辐射器,Monolith部署了一个简单的端口。

Encore C6 中声道遵循熟悉的模式,在水平布局中将低音扬声器加倍,相同的导梯在中间占主导地位。但是,在其他Encore扬声器通风的地方,C6的机柜是密封的。T6塔是赌注的三倍,在波导梯下方堆叠了三个相同的"6.5英寸"低音扬声器。(这是螺钉到螺钉的安装尺寸,这是该行业最近似乎在使用的尺寸。在我的书中,这是一个5.25英寸的低音扬声器,环绕声顶点的实际直径。


这三款产品均采用简单的黑色织物格栅,通过塑料推杆固定 - 这个价格没有神奇的磁性浮动格栅。显然,这里没有什么花哨的东西,但Encores让我印象深刻,因为它们在严格的预算制造参数内精心制作,并且在非常低调的高科技模式下相当有吸引力。我还发现它们在关闭格栅时看起来更好看,这就是我在这次评估中所做的所有聆听方式。


Encore T6 塔式塔式塔架采用精心加工、高度和角度调整的实心金属支腿支腿,并由机械螺钉固定。除了调整这些之外,套件的设置只需要移动我现有的扬声器并连接扬声器电缆即可。我开始"向后听",首先试听Encore B6书架扬声器作为主要的左/右对,全音域运行。


在几天的音乐聆听中,无论是随意还是近距离,我一直被B6清晰,透明的呈现和诚实的音调所震撼。在没有发现明显的声波疣之后,我继续将它们与我的古老但出色的能量 Veritas 2.2 立式三分频扬声器。(如果这些仍然可用,它们的价格至少是Monolith今天价格的五到六倍。两者之间存在差异:Monoliths听起来很明显 - 嗯,不是更亮,确切地说,而是更尖锐的蚀刻,并且比前三个左右的八度音阶更"更快"。他们还以比Veritas 2.2s更前向的方式投射图像,Veritas 2.2s倾向于在扬声器平面上和后面成像。但除此之外,我对两个扬声器在切割后跟踪的紧密程度感到惊讶。像戴安娜·克拉尔(Diana Krall)这样截然不同的声音,约翰尼·卡什(Johnny Cash)和特雷西·查普曼(Tracy Chapman)的声音听起来很匹配;低音延伸和重量几乎相同;钹形刷闪闪发光,虽然与B6对明显更活泼,但在突出度上大致相当。简而言之,我听到的要么是两个具有相同颜色和缺点的扬声器 - 即使只是统计上也极不可能,并且我从无数其他能量比较中都知道是不真实的 - 或者两个具有相同音调精度且没有强烈共振的扬声器,再加上非常相似的八度 - 波高音阶平衡。


《Going Back Home》是一张极好的录音,听起来非常逼真,有冰柱状的圈套裂缝,大气的钹,以及像Thelonious Monk标准"Straight No Chaser"这样的坚实的木质低音。这张专辑结合了比尔·弗里塞尔(Bill Frisell)的折射,立体主义的吉他演奏和查理·哈登(Charlie Haden)低调但富有创造力的贝斯,以及已故贝克先生所做的不可能的特征:"鼓声"似乎很难掩盖它。在这种设置中,贝克能够以某种方式以经典的爵士乐,"迟到"的方式摆动他的钹和圈套计时,同时仍然倾倒出我们在同一时间从Cream中记得如此之好的硬驾驶,推动节拍的汤姆和双踢鼓狂热!它不是多节奏的,它是多重的,一旦你用脚趾敲击它,它就会非常美妙。

我的下一个聆听步骤是用Encore T6塔取代Encore B6书架扬声器。你可能会认为两个扬声器如此相似,具有相同的驱动元素,听起来会是一样的,而且在大多数情况下,它们确实如此。但存在明显的差异。首先,也是最明显的是,塔式扬声器提供了更多的低音,特别是在房间模式加剧的第三个八度音阶上。但他们也有一个非常略有不同的中音演员阵容:稍微暖和一点,或者可能更放松。(在精心匹配的单声道粉红噪音中,T6听起来比B6的"嘻"听起来更"嘻"。

无论哪种方式,T6都与B6给我留下深刻印象的色调自然主义相媲美,并且它提供了更大的动力。像Mark Knopfler的Privateering专辑中的摇摆蓝调"Hot or What"这样的出色录音显示出令人印象深刻的细节声音,足以描绘神话般的雷鸟竖琴家Kim Wilson的踩踏巴特菲尔德式吉他放大器口琴的"头发",以及其混音中浓郁的直接信号元素,同时仍然突出了令人满意的干净,呈现和动态细微的鼓声。

但是,没有扬声器没有瑕疵,这些是我用Encore T6发现的。首先,至少在我的房间里,塔楼的底部两个有用的八度音阶(约35-140Hz)的输出有点太多,导致底端过热,尽管不是很热,直到我从前墙上拉出大约六英尺以上。(为了记录,一个简单的货架过滤器,通过Roon的实现DSP功能,在135 Hz时约为-2 db,与我通常的85Hz房间模式缺口配合使用,几乎完美地缓解了这种情况。其次,在达到我通常用于"民用"聆听的最高响度的级别上 - 穿过我的SPL仪表上的90 DBSPL / A线 - Monolith塔显示出对嘶嘶声的强调,随着音量和动态的推动,嘶嘶声变得越来越明显;这也表现为当以不自然的响亮(用于语音)水平播放时,语音播音员发出微弱的刺耳声。据推测,要么是Encore高音扬声器引起了共鸣,要么是低音扬声器在分频点处呈非线性,或者两者兼而有之。但我不认为这甚至接近瘫痪。这两种效果都很微妙,在第一种情况下,房间放置或房间/扬声器校正可以很容易地解决这个问题,而第二种效果只出现在我认为Encore塔的预期动态范围之外。

转到多声道,我发现Encore C6中心与塔的音调异常紧密。在我最初的测试中 - 男性电视播音员 - 立体声/单声道音调差异与我遇到的一样小,主要归结为两个扬声器与单个扬声器的房间效果差异(两个高音扬声器将更多的高频能量放入房间而不是一个,因此单声道前置对与单心再现的高音略有增加)。这场比赛非常接近,足以激励我将这两种设置与我的单声道粉红噪声信号进行比较。除了上述轻微的高音差异外,最重要的中档摆轮几乎完全相同。更好的是,即使我将C6中心向一侧转动约30度,显示其离轴平衡非常接近其直行声音,情况仍然基本如此。我不知道Monolith是如何从双低音扬声器水平设计中做到这一点的,但我发现它令人印象深刻。

接下来是多声道音乐。B6对用于离散多声道聆听,即在听众线后方约35度并朝向最佳位置倾斜,我的SACD和DVD音频收藏之旅产生了出色的效果。其中一首是Sfsmedia SACD(旧金山交响乐团的专有标签)上很少听到的科普兰管风琴交响曲,特别受欢迎。

震撼人心,将我带入反刍第一乐章的包围氛围中。(同一张唱片还收录了艾夫斯的康科德钢琴奏鸣曲,由我已故的作曲老师亨利·布兰特(Henry Brant)精心安排为完整的管弦乐队;这是一首必听的曲目。Encore系统的理想音色匹配与紧密的甜蜜点设置相结合,使诸如隔离的竖琴弹拨等元素(由大厅混响丰富)变得惊心动魄的真实。在第一个乐章中,管风琴在大约44 Hz左右的低G或可能的F-sharp上触底。T6塔以令人信服的重量和纯度毫不费力地再现了这段话,尽管在大结局的后期,管风琴更低,更响亮,缺乏最低八度音阶的实力是显而易见的。尽管如此,当我的房间的实际输出远低于50Hz时,Encore T6比我最近经历的几个类似尺寸的塔更低,也更坚固。

我确实观察到,在完全的音乐厅级别上,在这个偶尔有点笨拙的乐章的高潮中,最大的tutti大满贯(科普兰在写它时只有23岁)听起来有点粗糙,尽管从音量上退后了几分贝,巧妙地甜化了事情。在22 x 16英尺,我的是一个大房间;大多数会更小,因此不太可能探测任何扬声器的动态极限。或者放大器:我的每通道150瓦功率放大器在这些苛刻的瞬变上与之抗衡并非完全不可能。Monolith将T6的灵敏度定为87.8db SPL@1W / M,这感觉差不多。这只是平均水平的低端,B6书架扬声器几乎低3db;无论哪种情况,比体面的放大更好都会带来回报。我还必须指出,根据Monolith在线发布的规格和图表,所有三种Encore设计都报告最小阻抗低于4欧姆。但这在今天并不罕见,对于大多数现代放大器或接收器来说,这不太可能成为问题。

在Monolith系统部署期间,我流式传输了各种各样的5.1频道内容,其中包括催眠的整七个多小时的披头士乐队:回来,以及去年12月的新英格兰爱国者队对阵布法罗比尔斯的"风之游戏",结果一直令人满意。T6塔楼- C6中心三重奏形成了一个高度凝聚力的前舞台,因此横向平底锅和宽阔的音景,如繁忙的街景(或足球人群)效果异常出色。但我并不完全信任流媒体内容,因此始终回退到蓝光光盘上进行确认。一个旧的备用,重新制作的逃犯做了一个很好的例子。在我最甜蜜的聆听椅上,环绕声的氛围和效果奇妙地包裹在瀑布跳跃的场景中,强大的后侧平底锅保持平稳和完整。当然,在这种设置中,移出最佳位置往往会使氛围和效果"拉"到更近的扬声器,但这是任何直接辐射环绕声布局的弱点,也是为什么我仍然更喜欢我的"过时"偶极子环绕声用于全用途,非大气压5.1播放。

尽管在这个设置中缺少一个子,但电影开场的公共汽车/火车相撞事件产生了足够令人满意的影响,使这个想法得以充分传播。现在,Encore T6 塔是否提供了足够深沉的低音,从而带来真正的电影效果?

当然不是,尽管我怀疑它们会足够接近,让相当一部分听众满意。Monoprice/monolith提供了各种各样的低音炮,从超值的8英寸(太少)到新的小型聚变反应堆大小的16英寸Thx-ultra jobbie及其唯一略小的13英寸表亲(即将进行全面审查)。两者之间有很多选择,所以你一定会找到一个恰到好处的选择。


Monoprice Encore 6系列扬声器的Monolith简直就是模范表演者,其价值商数不在图表中。(如果有比B6更好的180美元扬声器,请给我一对,因为我想听。虽然直接在线购买并不适合所有人,但Monoprice确实提供30天退款保证。(在撰写本文时,他们还提供免费送货服务。我毫不犹豫热情地向任何精打细算,注重性能的音频购物者推荐这款Encore套件。