Shengya is one of the few domestic manufacturers of HIFI equipment. It has a history of more than 20 years since the establishment of the factory. Because of its warm tone, thick sound bottom and strong driving force, it is widely loved by fever Many years ago, with its excellent sound performance, it was widely sought after by European and American music lovers. The equipment was exported to Europe and the United States in large quantities, which not only earned foreign exchange, but also graced the Chinese people.

This time we listened to the latest dual mono rear stage PSM 500 from Shengya, which is currently the flagship rear stage of Shengya. At 8 ohms, it is in Class A state and has an output power of 50 watts per channel. It is in Class B. In the state, each channel has an output power of 500 watts, which can easily drive most types of speakers on the market, and some audiophiles use acoustic amplifiers to serve their hard-to-drive speakers.

Since the input impedance of the PSM 500 is 47K ohms, it has a wide range of adaptability in the selection and matching of the front stage. This time we matched it with the CYBER1 bile front stage produced by Beijing Ober. The speaker is the latest product of Danna. The Contour 30, dual 7-inch long-stroke woofers, Esotar2 tweeters, has a sensitivity of 87DB at 4 ohms.

First of all, we listened to Jiangyang Zhuoma's "The Voice of China". This record we have been listening to recently, and it is also a record we are more familiar with. After the sound is turned on, the system displays a profound sound field. The accompaniment instrument is about half a meter behind the sound source. The human voice image is in the middle of the sound source, and there is a good sense of space between the instruments. In terms of sound performance, PSM 500 is different from the warmth, richness or richness of the sound in the impression. The tone is lighter, the performance is more neutral and transparent, and the subtle details are richer. In other words, the resolution is higher, while the "taste" of Shengya itself is decreasing, the sound is becoming more and more neutral, more and more accurate, and more and more HI-END equipment style. In the audition, Jiangyang Zhuoma's singing voice was not only full, thick and broad, but also very infectious and affinity, making people lightly and unconsciously attracted by his singing, and then kept listening and couldn't bear to shut down. In the restoration of the system, the subtle details of Jiangyang Zhuoma’s breathing, utterance, and mouth shape changes are so rich that we can describe it as "seeing". During the audition, use this system to listen to her singing. It is a very pleasant auditory feast.

Next, let’s listen to AUDIOFON’s unaccompanied violin by Bach and Teleman played by ROSAND (CD 72012). The replay of this violin has high requirements for the system. The playback is not good, and the sound is thin and harsh, which makes people nervous. The discomfort and the urge to turn off the equipment. In this system, what we hear is a sweet and loose sound. The sound of the piano is not thin at all. It has excellent density and texture. We can easily hear the toughness of the nylon string and the bow when it rubs, and it is rich The overtone of the woody piano cavity makes us as if smelling the aroma of wood in nature. A lot of micro-details and overtones clearly reproduce the spatial reverberation of the studio for us. Who said that only symphony has a sense of space, and a violin also has a sense of space!

We have already listened to the music of the mid-frequency and high-frequency parts. The next step is the dynamics and thrusts that everyone cares about. Of course, to check this part, how can there be no symphony? What we listened to is the "RR" that we often listen to. "HDCD", this record includes not only symphony, cantata, but also piano, saxophone, bass and drum jazz. It has very high requirements for the system's sound field, speed and transient, dynamics, and full frequency continuity. After the sound is turned on, C30 is calm and relaxed under the promotion of Shengya PSM500. There is no feeling of compression and ineffectiveness or dryness and chaos. In the climax of the first symphony, all the instruments are played in unison, and they are not scattered. No chaos, easy control. On the whole, sound reproduction does not emphasize strong impact and stimulation, but it is not slow, but rather neutral.

It is worthy of praise that the depth performance of the stage is very good, and it has the performance that surpasses the performance of the equipment at this price. I personally feel that the depth performance of the sound field is better than the width, although the width of the sound field is also very good, perhaps because of the depth The performance is even better.