Simaudio MOON 371 – 體積小巧，極具權威感

 

作者：Hurba Brothers  時間：2026年2月16日 翻譯、校稿：巨禮小編

原文網址：https://soundnews.net/reviews/moon-371-by-simaudio-compact-form-large-authority/

全文閱讀時間：35分鐘

點我了解產品詳細資訊

 

As always, whenever we begin a new review, we start by looking closely at the company behind the product. For us, understanding the history, philosophy, and long-term vision of a manufacturer is essential because it frames everything that follows. It tells us why a product exists, what problems it is trying to solve, and what values guided its development. This context shapes our expectations and, more importantly, helps us interpret what we hear.

一如往常，每當我們開始一篇新的評論，我們都會從仔細檢視產品背後的公司開始。對我們而言，了解一家製造商的歷史、理念與長期願景是至關重要的，因為這構建了後續所有的基礎。它告訴我們一項產品為何存在、試圖解決什麼問題，以及什麼樣的價值觀引導了它的開發。這樣的背景塑造了我們的期望，更重要的是，它幫助我們詮釋我們所聽到的聲音。

 

Simaudio is a Canadian manufacturer with roots that go back to the early 80s. Founded in 1980 by Victor Sima, the company established itself from the very beginning as an engineering-driven brand, focused on building electronics that combine reliability, longevity, and serious sonic performance. While many companies of that era chased trends or flashy specifications, Simaudio followed a more disciplined and methodical path, investing heavily in circuit design, power supply development, and meticulous assembly.

Simaudio 是一家加拿大製造商，其根源可追溯至 80 年代初期。該公司由 Victor Sima 於 1980 年創立，從一開始便將自己定位為以工程為導向的品牌，專注於打造結合可靠性、長使用壽命與嚴肅聲音表現的電子產品。當同時代的許多公司在追逐潮流或浮誇的規格時，Simaudio 卻遵循著更為嚴謹且有條理的路徑，在電路設計、電源供應開發以及一絲不苟的組裝上投入了大量資源。

 

Compass 系列與產品定位 Compass Collection and Product Positioning

 

The MOON 371 is the first model introduced within a new product range called the Compass Collection. The idea for this collection emerged during the development of the North Collection, a project that started several years before its official launch. During that period, Simaudio decided to redesign its entire top-tier lineup from the ground up. Amplification technologies, volume control architectures, and system integration were all rethought, and every circuit used in the North Collection was new, marking a fundamental shift in product philosophy.

MOON 371 是在名為 Compass 系列的全新產品線中推出的首款型號。該系列的想法源自 North 系列的開發過程中，這是一項在正式發表前幾年就已經啟動的專案。在那段期間，Simaudio 決定從零開始重新設計其整個頂級產品線。放大技術、音量控制架構以及系統整合都被重新思考，而 North 系列中使用的每一個電路都是全新的，標誌著產品理念的根本轉變。

 

After the North Collection was launched, Simaudio identified a growing demand for a more accessible platform that could integrate key technologies from the flagship range into a single chassis. The previous entry-level Neo range was nearing the end of its lifecycle, and customers repeatedly asked for a product that would deliver North Collection design principles at a more attainable price point. The Compass Collection was developed as the response to that demand.

在 North 系列推出之後，Simaudio 發現市場對於能夠將旗艦系列關鍵技術整合至單一機箱中的親民平台的需求日益增長。先前的入門級 Neo 系列已接近其生命週期的尾聲，顧客一再要求能有一款產品，可以在更容易負擔的價位上提供 North 系列的設計原則。Compass 系列正是為了回應這項需求而開發的。

 

The MOON 371 became the first product realized within this new range and serves as its reference point. It is not a revised ACE, and it is not a bolt-on evolution of earlier models. It is a complete redesign, sharing nothing with previous generations except the MiND streaming platform. With its introduction, Simaudio discontinued several products at once, including the ACE, the 340i, and the 280D, consolidating their functionality into a single integrated platform.

MOON 371 成為該全新系列中首款實現的產品，並作為其參考基準。它不是 ACE 的改版，也不是早期型號的拼湊進化版。這是一次徹底的重新設計，除了 MiND 串流平台之外，與前幾代產品沒有任何共通之處。隨著它的推出，Simaudio 一口氣停產了數款產品，包括 ACE、340i 和 280D，將它們的功能整合到一個單一的綜合平台中。

 

The MOON 371 is designed around full system integration. Network streaming, digital conversion, phono stage, and power amplification coexist in one single enclosure. This level of integration became possible due to advances in circuit miniaturization, power supply architecture, and internal isolation techniques that were developed during the North Collection project. These advances allow multiple high-performance subsystems to operate within the same chassis without electrical or mechanical interference.

MOON 371 的設計圍繞著完整的系統整合。網路串流、數位轉換、唱放以及功率放大共存於一個單一機箱中。這種程度的整合之所以能夠實現，歸功於在 North 系列專案期間所開發的電路微型化、電源架構與內部隔離技術的進步。這些進步允許多個高效能子系統在同一個機箱內運作，而不會產生電氣或機械上的干擾。

 

Given Simaudio’s complex naming conventions, we felt it was worth clarifying what the model numbers actually represent. These designations are not arbitrary, and each number reflects a specific position and function within the product lineup. In this case, for the 371 model, the leading 3 identifies the unit as the entry-level model of the Compass range. The 7 indicates the level of functional integration. Basically, a higher number means more functions combined, in this case, a network player, modular DAC, phono stage, and power amplification into a single chassis, and the last one, 1, represents the platform generation or model sequence.

有鑑於 Simaudio 複雜的命名慣例，我們認為值得澄清這些型號數字實際代表的意義。這些命名並非隨機的，每個數字都反映了該產品在系列中的特定位置與功能。以本例的 371 型號來說，開頭的 3 標識該器材為 Compass 系列的入門級型號。7 代表功能整合的程度，基本上數字越大代表結合的功能越多，在此例中，是將網路播放器、模組化 DAC、唱放與功率放大器整合到單一機箱中；而最後一個數字 1，則代表平台世代或型號順序。

 

The MOON 371 has the same 10-year warranty applied to the North Collection products. Manufacturing remains in Boucherville, Canada. Both the DAC board and the streaming board are modular, allowing future upgrades over the product’s lifespan. This approach reflects Simaudio’s long-term design philosophy focused on durability, serviceability, and value retention.

MOON 371 享有與 North 系列產品相同的 10 年保固。製造基地同樣保留在加拿大的 Boucherville。DAC 板卡與串流板卡皆為模組化設計，允許在產品使用壽命期間進行未來的升級。這種做法反映了 Simaudio 專注於耐用性、可維修性與價值保留的長期設計理念。

 

The MOON 371 represents the distilled outcome of technologies, integration strategies, and manufacturing practices developed for the North Collection, implemented in a compact integrated platform designed to deliver high performance without the complexity of multi-box systems.

MOON 371 代表了為 North 系列所開發的技術、整合策略與製造實務的精華成果，並將其落實於一個緊湊的綜合平台中，旨在提供高效能，而免去多機箱系統的複雜性。

 

連接性、網路與 DAC 架構 Connectivity, networking, and DAC Architecture

 

The rear panel of the MOON 371 reflects its role as a true system hub, offering a broad and carefully organized set of connections that covers both modern digital use cases and traditional analog sources.

MOON 371 的背板反映了其作為真正系統中樞的角色，提供了一組廣泛且經過精心安排的連接介面，涵蓋了現代數位應用與傳統類比訊源。

On the analog side, the 371 provides both single-ended RCA and balanced XLR inputs, allowing straightforward integration with external sources such as standalone DACs or preamplifiers. A dedicated phono input is present, complete with a grounding terminal, and supports both MM and MC cartridges configurable through the internal menu system. A pair of RCA analog outputs is also included, enabling the 371 to function as a source component or preamplifier if the system configuration calls for it.

在類比方面，371 提供了單端 RCA 與平衡 XLR 輸入，能直接與外部訊源（如獨立 DAC 或前級擴大機）整合。背板配備了一組專用的唱放輸入，並帶有接地端子，且支援 MM 和 MC 唱頭，可透過內部選單系統進行設定。此外還包含一對 RCA 類比輸出，若系統配置有需求，這能讓 371 作為訊源器材或前級擴大機使用。

 

Digital connectivity is equally comprehensive. The MOON 371 offers HDMI ARC, allowing direct connection to a television and seamless integration into a living room environment. Optical and coaxial S/PDIF inputs accommodate traditional digital sources, while a USB host input supports local storage playback. Network connectivity is handled via dual Ethernet ports, providing stable wired streaming through the MiND platform, and a dedicated USB service port is included for updates and maintenance.

數位連接性同樣全面。MOON 371 提供了 HDMI ARC，允許直接連接電視，無縫整合至客廳環境中。光纖與同軸 S/PDIF 輸入可對應傳統數位訊源，而一組 USB Host 輸入則支援本地儲存裝置播放。網路連接透過雙乙太網路連接埠處理，透過 MiND 平台提供穩定的有線串流，並具備一個專用的 USB 維修連接埠以供更新與維護之用。

 

Loudspeaker connections are handled by a pair of robust, high-quality binding posts, clearly labeled and spaced to accommodate a wide range of cable terminations. These terminals feel mechanically solid and inspire confidence when used with heavier speaker cables.

喇叭的連接交由一對堅固、高品質的端子處理，標示清晰且間距適中，可容納各種線材端子。這些端子在機械結構上感覺非常紮實，在使用較重的喇叭線時能帶來十足的信心。

 

The AC power inlet, main power switch, and fuse holder are positioned on the side of the unit, keeping high voltage sections well separated from signal connections. Overall, the rear layout is logical and uncluttered, with clear labeling and sensible grouping that makes system integration straightforward even in more complex setups.

交流電源輸入、主電源開關與保險絲座配置於器材的一側，使高壓部分與訊號連接端保持良好的距離。整體而言，背板的佈局合乎邏輯且井然有序，標示清晰且分組合理，即使在較複雜的配置中，也能讓系統整合變得直接明瞭。

 

On the network side, playback is handled via the MiND2 platform, offering Qobuz, Tidal, Spotify, and Roon connectivity.

在網路方面，播放由 MiND2 平台處理，提供 Qobuz、Tidal、Spotify 以及 Roon 的連接。

 

In addition to internet services, the platform can play back content from local network servers and attached storage using UPnP protocols, and can handle high-resolution files. Control and navigation are provided via the dedicated Moon MiND Controller app for iOS and Android, which allows track selection, queue management, and service login without needing to rely on external control apps.

除了網際網路服務外，該平台還能使用 UPnP 協定播放來自本地網路伺服器與連接儲存裝置的內容，並可處理高解析檔案。控制與導覽透過專為 iOS 和 Android 設計的 Moon MiND Controller 應用程式提供，可進行曲目選擇、佇列管理以及服務登入，無須仰賴外部控制應用程式。

 

 

The screenshots above illustrate several core sections of the app. On the left, we see the Library view, where streaming services such as Deezer, HighResAudio, Qobuz, Spotify, and TIDAL are directly accessible. Web radios, podcasts, and UPnP media servers are also listed, highlighting the platform’s flexibility in handling both internet-based and locally stored content. The layout is clean and logically structured, with quick navigation between services and saved playlists.

上方的螢幕截圖說明了該應用程式的幾個核心部分。在左側，我們看到了資料庫（Library）視圖，可直接存取 Deezer、HighResAudio、Qobuz、Spotify 和 TIDAL 等串流服務。網路廣播、Podcast 與 UPnP 媒體伺服器也列在其中，凸顯了該平台在處理網際網路與本地儲存內容時的靈活性。版面配置乾淨且邏輯結構清晰，能在各項服務與已儲存的播放清單之間快速導覽。

 

The second screen shows the Inputs menu. Here, all physical and digital inputs of the MOON 371 are clearly displayed: SPDIF 1 and 2, Optical, HDMI, MiND streaming, Analog, Balanced, and Phono. This unified control approach allows the user to switch sources directly from the app without touching the front panel or remote. It reinforces the idea that the 371 is designed to function as a true system hub.

第二個畫面顯示了輸入（Inputs）選單。在這裡，MOON 371 的所有實體和數位輸入都清晰地顯示出來：SPDIF 1 和 2、光纖、HDMI、MiND 串流、類比、平衡，以及唱放。這種統一的控制方式允許使用者直接從應用程式切換訊源，而無須碰觸前面板或遙控器。這進一步強化了 371 被設計為真正系統中樞的理念。

 

The third image demonstrates TIDAL Connect in operation, where the MOON 371 appears as a selectable playback device. This confirms native integration with streaming platforms, allowing music to be pushed directly to the unit while maintaining high-resolution signal paths.

第三張圖片展示了運作中的 TIDAL Connect，其中 MOON 371 顯示為可選的播放裝置。這證實了與串流平台的原生整合，允許音樂直接推播至設備，同時保持高解析的訊號路徑。

 

The fourth screenshot shows the Now Playing screen. Album artwork is displayed prominently, along with track metadata, playback position, file format (in this case FLAC 44.1 kHz), and queue management. Transport controls are clearly arranged, and volume can also be adjusted directly within the app.

第四張截圖顯示了現正播放（Now Playing）畫面。專輯封面醒目地顯示，連同曲目中繼資料、播放進度、檔案格式（本例為 FLAC 44.1 kHz）以及佇列管理。播放控制鍵排列清晰，音量也可以直接在應用程式內進行調整。

 

The interface was stable and responsive, and during our testing, it showed reliability across extended listening sessions. Even after leaving the house and disconnecting from the local network, the application reconnected within seconds upon returning. The reconnection process was automatic and seamless, without requiring manual intervention or reconfiguration. In the same manner, standby control was equally responsive. The unit can be turned on or off directly from the app, with execution occurring within seconds, mirroring the quick reconnection behavior. This level of responsiveness reinforced the impression of a well-implemented and stable network ecosystem rather than a feature later added for convenience alone.

介面穩定且反應迅速，在我們測試期間，它在長時間的試聽環節中展現出可靠性。即使在離開家中並斷開本地網路連接後，返回時應用程式也在幾秒鐘內重新連接。重新連接的過程是自動且無縫的，不需要手動介入或重新設定。同樣地，待機控制也一樣反應迅速。可以直接從應用程式開啟或關閉設備，並在幾秒鐘內執行完畢，這反映了其快速重新連接的行為。這種等級的反應速度強化了一個印象：這是一個實作良好且穩定的網路生態系統，而不僅僅是為了方便而後來附加的功能。

 

For the digital side of things, the conversion inside the MOON 371 is handled by a DAC stage based on an ESS Sabre chip, integrated within Simaudio’s modular digital platform. Further down the review, we will include a short Q&A sesion with the product director talking about the specific DAC chip model used and why Simaudio chooses to work with this specific company.

在數位方面，MOON 371 內部的轉換由基於 ESS Sabre 晶片的 DAC 級處理，整合在 Simaudio 的模組化數位平台內。在評論的後段，我們將包含一段與產品總監的簡短 Q&A，談論所使用的特定 DAC 晶片型號，以及 Simaudio 為何選擇與這家特定公司合作。

 

The DAC section was designed as a separate, modular subsystem, physically and electrically isolated from the amplification stages. This modular approach aligns with Simaudio’s long-term design philosophy, allowing future updates while minimizing interaction between digital and analog domains. Power for the DAC is supplied by dedicated, independently regulated rails derived from the MHP power supply, ensuring a stable and low-noise operating environment. Supported formats include high-resolution PCM up to 32-bit / 384 kHz and DSD up to DSD256, covering all commonly used high-resolution material.

DAC 部分被設計為一個獨立的、模組化的子系統，在物理與電氣上與放大級隔離。這種模組化的方法符合 Simaudio 的長期設計理念，允許未來進行升級，同時將數位與類比域之間的相互影響降至最低。DAC 的電源由源自 MHP 電源供應的專用、獨立穩壓供電軌提供，確保穩定且低底噪的運作環境。支援的格式包括最高 32-bit / 384 kHz 的高解析 PCM，以及最高 DSD256 的 DSD，涵蓋了所有常用的高解析素材。

 

Returning our attention to the DAC section, we reached out to Simaudio, notably to Dominique Poupart, the company’s Product Director, in order to clarify several technical aspects regarding the MOON 371. He generously shared a wealth of detailed information that was not available through public sources, allowing us to gain a deeper and more accurate understanding of the design choices behind this product. This is what he had to say about the DAC chip and implementation techniques used: 「We understand that the MOON 371 uses an ESS Sabre-based DAC implementation, but the exact chip variant and surrounding architecture are not publicly specified. If possible, could you share any details regarding the DAC design philosophy, filtering approach, output stage topology, or the reasons behind the specific ESS implementation chosen for the Compass platform?」

將注意力轉回 DAC 部分，我們聯繫了 Simaudio，特別是該公司的產品總監 Dominique Poupart，以釐清關於 MOON 371 的幾個技術層面。他慷慨地分享了大量無法透過公開來源獲得的詳細資訊，使我們能夠更深入、更準確地了解該產品背後的設計選擇。以下是他對所使用的 DAC 晶片與實作技術的說法：「我們了解到 MOON 371 使用了基於 ESS Sabre 的 DAC 實作，但確切的晶片型號和周邊架構並未公開說明。如果可能的話，您能否分享任何關於 DAC 設計理念、濾波方式、輸出級拓撲，或是 Compass 平台選擇特定 ESS 實作背後原因的細節？」

 

At MOON, we have been designing DACs around ESS chipsets for well over a decade, and during that time we have followed their evolution closely. Our engineering team knows these chips extremely well, and we’ve built a strong working relationship with ESS over the years. Although ESS is an American company, its DAC development team is actually based in Canada, and over the years, we’ve built a strong and friendly working relationship that allows us to collaborate efficiently and gain deep insight into their technologies. For the MOON 371, we selected the ES9039Q2M, which we consider to be the best two‑channel ESS DAC currently available. The DAC implementation in the 371 is intentionally compact, ensuring short signal paths and optimized proximity between the conversion stage, the high‑quality clock system, and the dedicated voltage regulators. Our digital filtering approach uses a minimum‑phase filter with no pre‑ringing, ensuring a natural sonic presentation.

在 MOON，我們圍繞 ESS 晶片組設計 DAC 已有十多年的歷史，在這段期間，我們密切關注著它們的演進。我們的工程團隊非常了解這些晶片，且多年來我們與 ESS 建立了穩固的合作關係。雖然 ESS 是一家美國公司，但其 DAC 開發團隊實際上位於加拿大，多年下來，我們建立了堅固且友好的合作關係，使我們能夠有效率地合作，並深入了解他們的技術。對於 MOON 371，我們選擇了 ES9039Q2M，我們認為這是目前市面上最好的雙聲道 ESS DAC。371 中的 DAC 實作刻意保持緊湊，確保極短的訊號路徑，並優化了轉換級、高品質時鐘系統與專用電壓穩壓器之間的距離。我們的數位濾波方式採用無前置振鈴（pre-ringing）的最小相位濾波器，確保自然的聲音呈現。

 

On the analog side, the output stage is deliberately kept very simple, with carefully optimized impedance and operating parameters. Because the DAC directly feeds the internal preamplifier stage, the integration within a single chassis gives us performance advantages as we avoid many of the interface and buffer requirements that would otherwise be necessary in a separate-component system. Without these added layers of circuitry and complexity, we can reach a higher level of performance at a given price point. The end result is a level of refinement and musical transparency that we are genuinely proud of.

在類比方面，輸出級刻意保持得非常簡單，具備仔細優化過的阻抗與運作參數。因為 DAC 直接將訊號傳送至內部前級放大階段，單一機箱內的整合賦予了我們性能上的優勢，因為我們避免了許多在分離式器材系統中必須具備的介面與緩衝需求。沒有了這些額外的電路層級與複雜性，我們能在特定的價位下達到更高水準的性能。最終的結果是達到了讓我們由衷感到自豪的精緻度與音樂透明度。

 

Finally, the DAC resides on a modular card, which means that the platform offers a degree of future‑proofing and could potentially accommodate an upgrade path later on.

最後，DAC 位於模組化板卡上，這意味著該平台提供了一定程度的未來保障，並可能在日後容納升級路徑。

 

Based on our listening sessions and direct comparisons, the DAC presented a clean, tight, neutral character. Microdetail retrieval was strong, low-level information was clearly preserved, and spatial cues were rendered with precision and accuracy. Importantly, the presentation avoided the sharpness or glare sometimes associated with poorly implemented Sabre designs. The sound remained composed, controlled, and free of subtle digital artifacts, suggesting careful attention to output stage design, filtering, and clock management.

根據我們的試聽和直接比較，該 DAC 呈現出純淨、緊實且中性的特質。微細節的重現能力很強，低電平資訊被清晰地保留下來，空間線索也精準準確地呈現。重要的是，這份呈現避免了時常與實作不良的 Sabre 設計相關聯的尖銳感或刺耳感。聲音保持著沉穩、受控，且沒有細微的數位假音，這暗示了設計團隊在輸出級設計、濾波以及時鐘管理上給予了謹慎的關注。

 

Timing accuracy and transient definition were particularly noteworthy. Percussive attacks were rendered with speed and clarity, while sustained tones retained body and stability. Across extended listening sessions, the DAC section integrated coherently with the amplifier’s overall voicing and contributed to a well-organized and controlled presentation. During very long sessions, and depending on the material used, we did notice that the tightly controlled and neutral character could become more apparent, and at times fatiguing, particularly for listeners accustomed to a warmer or more relaxed presentation. In this context, pairing the MOON 371 with warmer-sounding cables was appreciated, allowing the system balance to be shaped gently while preserving the unit’s cohesive and integrated character.

時間準確性和暫態解析度特別值得注意。打擊樂器的起音呈現出速度感與清晰度，而持續音則保留了形體感與穩定性。在長時間的試聽環節中，DAC 部分與擴大機整體的聲音走向連貫地整合在一起，並為井然有序且受控的表現做出了貢獻。在非常漫長的聆聽過程中，且取決於所使用的素材，我們確實注意到這種緊實受控且中性的特質可能會變得更加明顯，並且有時會令人感到疲勞，特別是對於習慣於更溫暖或更寬鬆聽感的聽眾而言。在這種情況下，將 MOON 371 搭配聲音較溫暖的線材會是很受用的，這允許系統平衡被溫和地塑造，同時保留器材連貫且整合的特質。

 

Strictly for comparison purposes, we also evaluated the MOON 371 using external digital sources connected via balanced XLR, the Eversolo A10, and the discrete R-2R Gustard R30. The Eversolo A10 was chosen as a comparison point because it represents a popular and well-regarded streaming DAC that is often used in similar scenarios, offering an integrated digital platform, balanced outputs, and broad format support. It is also worth mentioning that it represents Eversolo’s flagship device. As such, it provided a meaningful reference for evaluating how the MOON 371’s internal DAC performed against a refined all-in-one digital source. This allowed us to better contextualize the performance of the 371’s DAC within a realistic system configuration and price expectations. The Gustard R30 is, in our view, a very strong choice for listeners who prioritize a natural, organic musical flow and emotional involvement. Its R2R architecture delivers a sense of ease, harmonic continuity, and musical density that we find highly engaging. Within its segment, it offers a level of musicality that is difficult to surpass, which made it a relevant and meaningful comparison point. It also represents a realistic scenario, as the R30 can be integrated into a system alongside an integrated amplifier, but at a higher overall investment.

純粹為了比較，我們也評估了 MOON 371，並使用透過平衡 XLR 連接的外部數位訊源：Eversolo A10 與全分立 R-2R 的 Gustard R30。選擇 Eversolo A10 作為比較基準，是因為它代表了一款受歡迎且備受好評的串流 DAC，經常使用於類似情境，並提供整合的數位平台、平衡輸出及廣泛的格式支援。值得一提的是，它也代表了 Eversolo 的旗艦器材。因此，它為評估 MOON 371 內部 DAC 與精緻的 All-in-One 數位訊源相比的表現，提供了有意義的參考。這讓我們能更好地在現實的系統配置與價格預期中，脈絡化 371 DAC 的表現。在我們看來，Gustard R30 對於將自然、有機的音樂流暢度與情感投入置於首位的聆聽者來說，是一個非常強而有力的選擇。它的 R-2R 架構提供了一種寬鬆感、和聲連貫性與音樂密度，我們覺得非常迷人。在其同級距中，它提供了難以超越的音樂性，這使其成為一個相關且有意義的比較基準。這也代表了一種現實的應用場景，因為 R30 可以與綜合擴大機一起整合至系統中，但整體投資金額會更高。

 

This comparison proved especially revealing. Finding an amplifier capable of matching the control, coherence, dynamic authority, harmonic prowess, and overall composure of the MOON 371 requires stepping into considerably higher cost tiers of amplification.

這項比較結果非常具有啟發性。要找到一台在控制力、連貫性、動態權威感、和聲實力以及整體從容度上能與 MOON 371 匹敵的擴大機，需要踏入成本高出許多的擴大機層級。

 

Looking more closely, compared to the A10’s more immediate delivery, the internal DAC of the MOON 371 presented a slightly refined and natural character, with a smoother tonal balance and a more relaxed sense of coherence. It was not a night-and-day difference, but we found it a bit more pleasant during listening sessions. Compared to the Gustard R30, a quad mono R-2R ladder DAC with a fully discrete analog output stage, the MOON 371’s internal DAC preserved excellent resolution and control, while the R30 emphasized a denser harmonic presence and a more organic musical flow, transforming the experience into a more engaging one.

進一步仔細觀察，與 A10 更直接的傳遞相比，MOON 371 內部的 DAC 呈現出稍微更精緻且自然的特質，具有更平順的音色平衡與更寬鬆的連貫感。這並非天壤之別，但我們發現在試聽時稍微更悅耳一些。與 Gustard R30（一款具有全分立類比輸出級的四單聲道 R-2R 階梯式 DAC）相比，MOON 371 內部 DAC 保留了極佳的解析力與控制力，而 R30 則強調了更濃郁的和聲存在感與更具有機感的音樂流動，將聆聽體驗轉化為更具吸引力的感受。

 

Ultimately, these differences became obvious only when presented side by side. It is often through direct comparison that we become aware of these finer nuances that add life and long-term enjoyment to music. When such qualities are entirely absent, the presentation can quickly become tiring and uninvolving. In the case of the MOON 371, its internal DAC sat on a very fine line between strict neutrality and musical pleasantness, delivering a controlled and accurate sound while retaining just enough ease to remain engaging during listening sessions.

最終，這些差異只有在並排比較時才變得明顯。通常是透過直接比較，我們才會察覺到這些為音樂增添生命力與長期享受的細微差異。當這些特質完全缺失時，音樂的呈現很快就會變得令人疲勞且缺乏參與感。就 MOON 371 而言，其內部 DAC 游走在嚴格的中性與音樂悅耳度之間非常微妙的界線上，傳遞出受控且精準的聲音，同時又保留了恰到好處的寬鬆感，使其在聆聽過程中保持著吸引力。

 

That said, the 371 delivered a coherent and well-integrated DAC performance that fit seamlessly into the larger system, making it easy for us to clearly identify the performance tier in which its implementation belongs. Based on direct comparison with both integrated digital sources and dedicated external DACs, its level of resolution, control, and overall musical balance placed it comfortably well above entry-level DAC solutions and firmly within a more serious hi-fi bracket.

話雖如此，371 提供了連貫且整合良好的 DAC 表現，無縫地融入了整個大系統中，讓我們能輕易且清楚地識別出其技術實作所屬的性能層級。根據與整合型數位訊源及專用外部 DAC 的直接比較，它的解析力、控制力與整體音樂平衡的程度，使其游刃有餘地超越了入門級 DAC 解決方案，並穩固地位於更嚴肅的 Hi-Fi 級距中。

 

While high-end external DACs can still bring their own distinct character, achieving a clearly superior result required moving into significantly more expensive territory. In the context of an all-in-one device, this quickly becomes difficult to justify. The DAC integrated into the MOON 371 proved to be very strong for its price class, delivering a level of refinement, coherence, and musical satisfaction that felt fully appropriate for the overall system concept and removed any immediate need for a better external digital conversion.

雖然高階外部 DAC 仍然可以帶來自己獨特的性格，但要獲得明顯優越的結果，需要進入昂貴許多的領域。在 All-in-One 設備的背景下，這很快就會變得難以合理化。整合至 MOON 371 中的 DAC 證明了在它的價位帶中非常強悍，提供了精緻度、連貫性與音樂滿足感，感覺完全符合整體系統概念，並消除了對更好外部數位轉換的任何立即需求。

 

The DAC implementation also felt fully in line with the MOON 371’s broader design goals: technical precision, low noise, and neutrality, without sacrificing musical engagement or long-term listenability.

該 DAC 的實作也感覺完全符合 MOON 371 更廣泛的設計目標：技術上的精準度、低底噪與中性，同時沒有犧牲掉音樂的吸引力或長期聆聽的舒適度。

 

擴大機架構 Amplifier Architecture

 

The MOON 371 is built around a class AB power amplifier rated at 100 watts per channel into 8 ohms and 200 watts per channel into 4 ohms. While these figures describe nominal output capability, the amplifier’s behavior is primarily shaped by two proprietary circuit-level technologies developed by Simaudio: MDCA, responsible for distortion management at the amplification stage, and MHP, which defines the power delivery architecture of the entire unit.

MOON 371 以 AB 類功率擴大機為核心構建，額定輸出功率為每聲道 100 瓦（8 歐姆負載），以及每聲道 200 瓦（4 歐姆負載）。雖然這些數字描述了標稱的輸出能力，但擴大機的行為主要由 Simaudio 開發的兩項專利電路級技術所塑造：MDCA 負責放大級的失真管理，而 MHP 則定義了整台機器的電源供應架構。

 

Dominique Poupart also shared further technical insight and explanation regarding the transistor selection and implementation used in the class AB amplification stage. Below is the Q&A part detailing this very important aspect of the amplification stage.

Dominique Poupart 也分享了進一步的技術見解，並解釋了 AB 類放大級中所使用的電晶體選擇與實作。以下是詳細說明放大級這個非常重要層面的 Q&A 部分。

 

You mentioned in interviews that Simaudio uses custom transistors manufactured specifically for you, supplied in large batches and manually matched in-house. We would love to better understand what differentiates these devices from standard off-the-shelf components. If you are able to share, we would be particularly interested in:

• Why are standard commercially available devices not sufficient for your design goals?

• There are “good enough” devices out there, but why not trying to make even better?

• Which parameters were most critical in the selection process (linearity, switching speed, thermal stability, noise behavior, matching tolerance, etc.)

您在採訪中提到，Simaudio 使用專門為你們製造的客製化電晶體，大批量供應並在廠內以手工進行配對。我們很想進一步了解這些元件與標準市售元件的區別。如果您能分享，我們對以下幾點特別感興趣：

• 為什麼標準的市售元件不足以滿足你們的設計目標？

• 市面上確實有「夠好」的元件，但為什麼不試著做得更好呢？

• 在選擇過程中，哪些參數最為關鍵（線性度、開關速度、熱穩定性、噪訊行為、匹配容差等）？

 

Linearity and matching tolerance. In the end we still have to match them at the factory anyway, but since they are already closer together in their parameters than off-the-shelf transistors, it gets easier and faster to match the parts, and we manage to get globally better match altogether.

線性度與匹配容差。最後我們無論如何都必須在工廠進行匹配，但既然它們在參數上已經比市售電晶體更接近彼此，這使得元件的配對變得更容易、更快速，我們也因此成功獲得了整體上更出色的匹配度。

 

How these transistor choices ultimately influence the electrical behavior and sonic performance of your amplifiers

這些電晶體的選擇最終如何影響貴公司擴大機的電氣行為與聲音表現？

 

We began collaborating with OnSemi on these custom transistors long before the creation of the MDCA circuit. At that time, our amplifier designs were zero‑global‑feedback architectures, which meant we could not use global feedback loop to compensate for non‑linearities. As a result, the core circuit had to be extremely linear right from the start, and this made the choice of the transistors absolutely critical. With MDCA now intrinsically cancelling distortion outside the signal path, one could argue that the requirements for transistor linearity might be less stringent. But in practice, there is no reason to relax our standards now that we have access to such excellent devices. The better the building blocks, the better the end result—even with MDCA doing its work.

我們在創造 MDCA 電路之前很久，就開始與 OnSemi 合作開發這些客製化電晶體。當時，我們的擴大機設計採用無總負回授架構，這意味著我們無法使用總負回授迴路來補償非線性問題。因此，核心電路從一開始就必須極度線性，這使得電晶體的選擇變得至關重要。現在有了 MDCA 本質上在訊號路徑外抵消失真，有人可能會認為對電晶體線性度的要求可以不那麼嚴苛。但在實務上，既然我們已經能取得如此優異的元件，就沒有理由放寬我們的標準。建構的基石越好，最終的結果就越好——即使 MDCA 正在發揮其作用也是如此。

 

Together, these two technologies form the electrical foundation of the MOON 371 and determine how it behaves under real-world operating conditions.

這兩項技術共同構成了 MOON 371 的電氣基礎，並決定了它在真實運作條件下的行為。

 

MOON 失真消除擴大技術 (MDCA) MOON Distortion Cancelling Amplifier (MDCA)

 

MDCA is Simaudio’s proprietary distortion correction architecture. Instead of relying on traditional global negative feedback loops that route the output signal back through the input stage, MDCA introduces a separate correction path that operates entirely outside the main audio signal path.

MDCA 是 Simaudio 專利的失真校正架構。與依賴將輸出訊號導回輸入級的傳統總負回授迴路不同，MDCA 引入了一條獨立的校正路徑，該路徑完全運作在主音訊訊號路徑之外。

 

The system uses a dedicated comparator circuit that continuously compares the original input signal with the amplifier’s output signal, which contains any distortion introduced during amplification. The comparator subtracts the output from the input, leaving only the distortion component. This residual error signal is then inverted and injected directly into the output stage in opposite phase, where it actively cancels the distortion generated within the amplification process.

該系統使用專用的比較器電路，持續將原始輸入訊號與擴大機的輸出訊號（其中包含了在放大過程中引入的任何失真）進行比較。比較器將輸入減去輸出，只留下失真成分。接著，將這個殘餘的誤差訊號反相，並以反相狀態直接注入輸出級，在那裡主動抵消放大過程中所產生的失真。

 

Because this correction path operates outside the high-power signal domain, it functions in a low-stress environment. This allows the correction process to be applied with higher precision and timing accuracy. Correction is generated only when required and only in the amount necessary, avoiding excessive intervention in the signal.

因為這條校正路徑在運作於高功率訊號域之外，所以它在低壓力的環境中發揮作用。這使得校正過程能以更高的精準度與時間準確性進行應用。只有在需要時，並只以必要的量產生校正，避免對訊號過度干預。

 

According to Simaudio, this approach reduces both distortion and noise while maintaining stable linearity across varying output levels and load conditions. MDCA also contributes to lower output impedance and improved damping factor, directly affecting loudspeaker control and bass articulation without altering the fundamental character of the input signal.

根據 Simaudio 的說法，這種方法降低了失真和底噪，同時在不同的輸出電平與負載條件下維持穩定的線性度。MDCA 也促成了更低的輸出阻抗與更高的阻尼因數，直接影響了喇叭控制力與低頻解析力，同時不會改變輸入訊號的基本特質。

 

Dominique Poupart was kind to elaborate on the implementation of MDCA within the Compass Collection, specifically how this technology was adapted and integrated into the MOON 371.

Dominique Poupart 很熱心地詳細說明了 MDCA 在 Compass 系列中的實作，特別是這項技術是如何調整並整合到 MOON 371 中的。

 

It is clear that MDCA originates from the North Collection and was adapted for the Compass products. Are there any meaningful structural or implementation differences in how MDCA operates in the 371 compared to the North Collection amplifiers, or is the underlying principle preserved entirely with only scaling or integration changes?

很明顯，MDCA 源自 North 系列，並為 Compass 產品進行了調整。與 North 系列擴大機相比，MDCA 在 371 中的運作方式，在結構或實作上是否有任何實質上的差異？還是說基本原理完全保留，僅在規模或整合上進行了改變？

 

The underlying MDCA principle in the MOON 371 is identical to the one used in our North Collection amplifiers. We did not alter the core architecture or the way the technology behaves. What changes in the Compass implementation is simply the level of refinement and the component count required to reach a more accessible price point. In practical terms, MDCA in the 371 preserves the exact same operating philosophy and signal‑control behavior as in the North models. The differences are strictly related to scaling, using a simplified, more affordable set of parts while maintaining the essence of the topology. The goal was to retain the MDCA benefits and musical character, while adapting the implementation so it fits the Compass Collection without compromising the fundamental performance principles.

MOON 371 中 MDCA 的基本原理與我們 North 系列擴大機中使用的完全相同。我們沒有改變核心架構或技術運作的方式。Compass 系列在實作上的改變，單純是精緻程度與為了達到更親民的價位所需的元件數量。在實際意義上，371 中的 MDCA 保留了與 North 型號完全相同的運作理念與訊號控制行為。差異嚴格來說僅與規模縮放有關，使用了簡化、更容易負擔的零件組，同時維持了該拓撲的精髓。目標是保留 MDCA 的優勢與音樂特質，同時調整其實作方式以契合 Compass 系列，且不妥協基本的性能原則。

 

MOON 混合電源 (MHP) MOON Hybrid Power (MHP)

 

MHP is Simaudio’s proprietary multi-stage power supply architecture, developed to combine the advantages of switch-mode and linear power supplies while avoiding their respective drawbacks. In the Compass Collection, the MOON 371 represents the first implementation of MHP capable of supplying a full power amplifier stage, a significantly more demanding task than powering source or preamplifier circuits.

MHP 是 Simaudio 專利的多級電源供應架構，其開發旨在結合交換式電源與線性電源的優點，同時避免它們各自的缺點。在 Compass 系列中，MOON 371 代表了首款能夠供電給完整後級放大階段的 MHP 實作，這是一項比供電給訊源或前級電路要嚴苛許多的任務。

 

The first stage of the MHP is a power factor correction circuit directly connected to the AC mains. This stage ensures that current and voltage remain in phase and prevents harmonic pollution from being injected back into the electrical grid. It converts the incoming AC voltage to a stabilized 400 volt DC rail and remains mostly unaffected by fluctuations in mains voltage.

MHP 的第一級是直接連接到交流主電源的功率因數校正電路。此階段確保電流和電壓保持同相，並防止諧波污染被注回電網中。它將輸入的交流電壓轉換為穩定的 400 伏特直流供電軌，並在很大程度上不受市電電壓波動的影響。

 

The second stage provides galvanic isolation and power transfer using an LLC resonant topology. This resonant approach stabilizes the voltage delivered to the amplification stage and avoids hard switching behavior commonly associated with conventional switch-mode power supplies. By eliminating hard switching, this stage prevents the generation of switching noise and harmonics that could otherwise enter sensitive audio circuits.

第二級使用 LLC 諧振拓撲提供電流隔離與功率傳輸。這種諧振方法穩定了傳遞至放大級的電壓，並避免了通常與傳統交換式電源相關的硬切換行為。透過消除硬切換，此階段防止了切換噪訊與諧波的產生，否則這些噪訊和諧波可能會進入敏感的音訊電路中。

 

The third stage of the MHP operates as a linear voltage regulation section. This stage delivers clean, regulated DC voltage and provides independent regulation for each functional subsection of the MOON 371, including the power amplifier, analog stages, digital processing, streaming module, and phono stage. This separation minimizes cross-contamination between sections and maintains a low noise operating environment throughout the unit.

MHP 的第三級作為線性電壓穩壓部分運作。此階段提供純淨、穩壓的直流電壓，並為 MOON 371 的每個功能子系統（包含功率放大器、類比級、數位處理、串流模組與唱放）提供獨立的穩壓。這種分離式設計將各部分之間的交叉污染降至最低，並在整台器材中維持低底噪的運作環境。

 

By eliminating the need for a large traditional power transformer, the MHP architecture avoids magnetic and electric fields that typically generate noise at 60 Hz, 120 Hz, and their associated harmonics. Any residual noise produced by the MHP system exists at very high frequencies well outside the audible band, making it particularly suitable for sensitive analog circuits such as the phono stage.

透過消除對大型傳統電源變壓器的需求，MHP 架構避免了通常會在 60 Hz、120 Hz 及其相關諧波下產生噪訊的磁場與電場。MHP 系統產生的任何殘餘噪訊都存在於遠超出人耳可聽頻段的極高頻段中，使其特別適合敏感的類比電路，例如唱放。

 

And finally, Dominique was very kind to explain the reasoning behind the development of the proprietary MHP power supply, outlining the technical motivations and performance goals that led to its adoption in the MOON 371.

最後，Dominique 非常熱心地解釋了開發專利 MHP 電源供應背後的考量，概述了導致 MOON 371 採用該技術的技術動機與性能目標。

 

Was this architecture chosen purely for electrical performance reasons such as current delivery, noise suppression, and efficiency, or did you also expect it to have a perceptible influence on sound quality? For example, aspects such as dynamics, transient behavior, perceived speed, and overall musical engagement. If possible, we would very much appreciate any additional technical information you could share regarding this design.

選擇這種架構純粹是出於電氣性能的考量（如電流傳輸、噪訊抑制和效率），還是您也期望它對音質有可察覺的影響？例如動態、暫態行為、感知速度，以及整體的音樂參與感等層面。如果可能的話，我們將非常感激您能分享關於此設計的任何額外技術資訊。

 

Your question puzzles me slightly, because the way it is phrased seems to imply that factors like noise performance or current delivery would not have a perceptible impact on sound quality. In reality, they absolutely do.

你的問題讓我有點困惑，因為這個提問方式似乎暗示了諸如噪訊表現或電流傳輸等因素，不會對音質產生可察覺的影響。但實際上，它們絕對會。

 

Regardless of the wording, the hybrid MHP power supply was developed with multiple objectives in mind, including the sonic attributes this architecture makes possible. One key example is noise performance: the MHP supply operates at frequencies far beyond the audio band, which means it does not pollute sensitive circuits such as the phono stage. This allows the phono section to operate with extremely low noise. In contrast, a traditional supply with a large power transformer working at 60Hz mains inevitably introduces some low‑frequency noise components into the audio.

撇開用詞不談，混合 MHP 電源的開發將多個目標納入考量，其中包含了這種架構所能實現的聲音屬性。一個關鍵的例子是底噪表現：MHP 電源在遠超出音訊頻段的頻率下運作，這意味著它不會污染敏感電路，如唱放。這允許唱放部分以極低的底噪運作。相比之下，一個配備大型電源變壓器並在 60Hz 市電下運作的傳統電源，無可避免地會將一些低頻噪訊成分引入音訊中。

 

There are additional benefits as well. The MHP offers improved voltage regulation which translates into sonic gains, greater dynamic expression, better transient, and an overall sense of speed and musical engagement.

此外還有其他的優點。MHP 提供了改進的電壓調節，這轉化為聲音上的提升：更優異的動態表現、更好的暫態，以及整體的速度感與音樂參與感。

 

In short, the MHP architecture was developed both for its measurable electrical advantages and for the clear, audible improvements it enables in real‑world listening. If anything, its technical performance and sonic impact are inseparable.

簡而言之，開發 MHP 架構既是為了其可測量的電氣優勢，也是為了它在實際聆聽中帶來的清晰且可聽見的改善。要說的話，它的技術性能與對聲音的影響是密不可分的。

 

參考系統與相關設備 Reference System and Associated Equipment

 

All listening sessions were carried out with the MOON 371 integrated as the sole source, preamplifier, and power amplifier in the system. To evaluate system matching and load handling, the unit was tested with three different loudspeakers, each presenting a distinct electrical and sonic profile.

所有的試聽環節都在以 MOON 371 作為系統中唯一的訊源、前級擴大機和後級擴大機的狀態下進行。為評估系統搭配與負載處理能力，該設備使用三對不同的喇叭進行測試，每一對喇叭都呈現出獨特的電氣與聲音特質。

 

Loudspeakers used

使用的喇叭

KEF R11 Meta

Dynaudio Contour 60i

Monitor Audio Platinum 300 3G

 

Cabling used

使用的線材

喇叭線：Charlin HP8000

XLR 訊號線：Charlin XLR2100

電源線：Charlin Power 5200

 

All cables remained unchanged throughout the listening sessions to maintain consistency across loudspeaker swaps and comparisons.

所有線材在試聽期間保持不變，以維持更換喇叭與比較時的一致性。

This selection allowed us to evaluate the MOON 371 across varying sensitivities and electrical demands, while also exposing it to different voicing philosophies.

這樣的選擇讓我們能夠評估 MOON 371 在不同靈敏度和電氣需求下的表現，同時也讓它接觸不同的調音理念。

 

試聽印象 Listening Impressions

 

We started within the classical music territory, because in many ways, this is the foundation of everything that followed. Some would even argue that classical music is the only true music and everything else is a derivative form. Whether one agrees with that statement or not, we believe classical recordings remain one of the most demanding tests for any amplifier and source chain. They expose timing errors, tonal imbalance, dynamic compression, and spatial inaccuracies with ease.

我們從古典音樂領域開始，因為在許多方面，這是一切後續事物的基礎。有些人甚至會主張古典音樂是唯一真正的音樂，而其他一切都是衍生形式。無論是否同意這個說法，我們都相信古典錄音對任何擴大機與訊源系統來說，依然是最嚴苛的測試之一。它們能輕易暴露出時間誤差、音色不平衡、動態壓縮以及空間感的不準確。

 

The Stravinsky – The Firebird Suite (Reference Recordings / Minnesota Orchestra) is a piece we like to play for its explosive dynamic contrasts and complex orchestration.

史特拉汶斯基的《火鳥組曲》（Reference Recordings / 搭配明尼蘇達管弦樂團）是我們喜歡播放的曲目，因為它有著爆發性的動態對比與複雜的管弦樂編制。

 

Starting on the Platinum 300s, from the very first orchestral blooms, the MOON 371 demonstrated excellent control over macro-dynamics. Crescendos maintained composure and structural clarity, especially during dense passages. The low-frequency content, particularly timpani and double bass sections, was reproduced with articulate weight and speed, and with good physicality, something we always pay attention to. The bass was well defined and provided a firm and stable foundation for the rest of the orchestra to rely on, and it did not smear the midrange.

從 Platinum 300 喇叭開始，從最初的管弦樂齊奏綻放，MOON 371 便展現了對大動態的極佳控制力。漸強段落保持了從容與結構上的清晰，特別是在音符密集的段落。低頻內容，尤其是定音鼓與低音提琴聲部，以具備解析力的重量感與速度感重現，並帶有良好的實體感，這是我們始終關注的焦點。低頻輪廓分明，為管弦樂團的其餘部分提供了堅實且穩定的依靠基礎，而且並沒有掩蓋中頻。

 

Decay and texture were very satisfying. String sections displayed good harmonic layering, and reverb tails extended well into the soundstage. The 371 handled micro-dynamics with good precision, allowing subtle variations in bow pressure and orchestral articulation to remain coherent and easily audible.

衰減與紋理非常令人滿意。弦樂聲部展現了良好的和聲層次，殘響的尾音在音場中延伸得很好。371 以良好的精準度處理微動態，讓弓壓的微妙變化與管弦樂的運音保持連貫，並且清晰可聞。

 

Switching to the KEF R11 Meta, the soundstage focused noticeably. It became a bit more holographic, and the feeling of depth was a bit more pronounced. Bass articulation was well controlled, although the KEF’s inherent low-end character felt slightly less physically grounded compared to the Monitor Audio Platinum 300 3G.

切換到 KEF R11 Meta 喇叭後，音場明顯聚焦。它變得稍微更有立體感，深度的感覺也更加明顯。低頻的解析力控制得很好，不過與 Monitor Audio Platinum 300 3G 相比，KEF 固有的低頻特質在物理基礎感上稍微弱了一些。

 

With the Dynaudio Contour 60i, we paid closer attention to current delivery and dynamic behaviour. We noticed that the impedance swings and more demanding load did not disturb coherence whatsoever. Large climaxes were rendered correctly. Even so, the amplifier managed to maintain rhythmic control throughout.

搭配 Dynaudio Contour 60i 喇叭時，我們更加關注電流傳輸與動態行為。我們注意到，阻抗擺盪與更嚴苛的負載絲毫沒有擾亂連貫性。盛大的高潮段落被正確地呈現出來。即使如此，擴大機仍然設法在整個過程中維持了節奏的控制力。

 

A selection of classical tracks that we thoroughly enjoyed:

我們徹底享受的一系列古典曲目：

Mahler – Symphony No. 2 (Ivan Fischer, Budapest Festival Orchestra)

Rachmaninoff – Symphonic Dances (Dallas Symphony / Reference Recordings)

Beethoven – Symphony No. 7, II Allegretto (Carlos Kleiber / Vienna Philharmonic)

 

Across these recordings, similar traits emerged. The MOON 371 preserved dynamic scaling from the quietest passages to full orchestral impact, which we liked very much. Instrument separation remained well defined. The articulation of low strings and timpani was consistently tight and textured. Soundstage-wise, the 3D was very well rendered with all 3 tested loudspeakers.

在這些錄音中，出現了相似的特徵。MOON 371 保留了從最安靜的段落到完整管弦樂衝擊力的動態比例，這讓我們非常喜歡。樂器分離度保持得很明確。低音弦樂與定音鼓的解析力始終緊實且富有紋理。在音場方面，3D 空間感在所有三對測試的喇叭上都呈現得非常好。

 

What stood out repeatedly was control, bass tightness, and articulation. Even during highly complex climaxes, the amplifier did not change or smear the soundstage, did not compress dynamic transitions, and was very consistent.

屢屢引人注目的特質是控制力、低頻緊實度與解析力。即使在極度複雜的高潮段落，擴大機也沒有改變或模糊音場，沒有壓縮動態轉換，並且表現得非常一致。

 

Classical music revealed that the MOON 371 thrives on control, articulation, cleanliness, and dynamic prowess. It may not romanticize the presentation, but it respects the structure of the recording and delivers it with coherence and transparency.

古典音樂揭示了 MOON 371 在控制力、清晰度、純淨度與動態實力上如魚得水。它可能不會對呈現方式進行浪漫化，但它尊重錄音的結構，並以連貫和透明的方式將其傳遞出來。

 

Loreena McKennitt – The Gates of Istanbul

 

We started our listening sessions with a track from Loreena McKennitt, The Gates of Istanbul, a recording chosen specifically for its drum work, which has a distinctly lifelike character when reproduced with proper control and timing. This track exposes amplifiers that lack bass discipline, as the drum can easily lose realism and impact when low-frequency grip is not fully maintained. It immediately highlighted the marvelous low-frequency behavior of the MOON 371. With the Monitor Audio Platinum 300 G3 in the system, the drum work came across with exceptional tightness and control. The bass was powerful and delivered a very physical chest-thumping impact while also remaining extremely well defined. The low-end moved air surprisingly well and retained a level of grip and speed we very rarely encounter at any price range, and this is a hard statement to make because we tested these speakers with many amplifiers!

我們以 Loreena McKennitt 的一首曲目《The Gates of Istanbul》開始試聽環節，這是一首專為其鼓聲表現而挑選的錄音，如果在適當的控制力與時間感下重播，鼓聲會具有明顯栩栩如生的特質。這首曲目能暴露出缺乏低頻紀律的擴大機，因為當無法完全維持低頻抓地力時，鼓聲很容易失去真實感與衝擊力。它立刻突顯了 MOON 371 絕妙的低頻行為。系統中搭配 Monitor Audio Platinum 300 3G 喇叭時，鼓聲呈現出極佳的緊實度與控制力。低頻強而有力，傳遞了極具實體感、搥胸般的衝擊力，同時又保持著極其明確的輪廓。低頻帶動空氣的能力出奇地好，並保留了一定水準的抓地力與速度感，這是我們在任何價位帶都非常罕見的，這是一個很難下的斷語，因為我們已經用許多擴大機測試過這些喇叭了！

 

Loreena’s voice was reproduced with good harmonic detail and articulation. The presentation remained clean and neutral, with no artificial bloom or added class A/tube-like warmth. Vocal textures were so finely resolved that we felt they gave a good impression of a lifelike performance.

Loreena 的聲音以良好的和聲細節和解析力重現。呈現方式保持純淨且中性，沒有不自然的人工暈染或額外添加的 A 類/管機般的溫暖感。人聲的紋理被解析得非常細膩，我們覺得這給人留下了猶如現場表演般栩栩如生的好印象。

 

Switching to the Dynaudio Contour 60i, the same sense of bass control and tightness was preserved. This, we believe, was particularly notable given the Contour 60i’s demanding electrical behavior, with impedance dropping to around 2.5 ohms at 100 Hz. Even under these conditions, the MOON 371 maintained coherence, presence, and a notably impressive dynamic behavior throughout. Power draw reached close to 500 watts from the wall at times, yet the amplifier continued to operate without strain and with complete control. With the Dynaudio, dynamics remained fully intact, and timing stayed precise despite the increased load difficulty, a performance we genuinely appreciated and feel deserves clear praise, especially when considering the modestly rated specifications.

切換到 Dynaudio Contour 60i 喇叭，同樣的低頻控制力與緊實感依然保留。我們認為這點特別值得注意，因為 Contour 60i 的電氣行為非常嚴苛，阻抗在 100 Hz 時會降至約 2.5 歐姆。即使在這些條件下，MOON 371 仍維持著連貫性、實體感，以及從頭到尾皆令人印象深刻的動態行為。從牆上插座汲取的功率有時接近 500 瓦，然而擴大機依然運作得毫不費力且具備完全的控制力。搭配 Dynaudio 時，動態保持得十分完整，且儘管負載難度增加，時間感依然精準，這份表現我們由衷欣賞並認為值得給予明確的讚賞，尤其是考量到它那謙虛的額定規格。

 

Moving to a cheaper, more afordable speakers, the KEF R11 Meta, the presentation became more immersive, with a precise and sharply focused, pinpoint soundstage. This is an area the KEF’s excel at, and the 371 clearly showed us what the speakers are capable of. Imaging was very accurate, and spatial cues were rendered with very good positioning within the soundstage. The MOON 371 allowed the R11 Meta to fully express its strengths, showing us that matching is not really an issue for it.

換到較便宜、更容易負擔的喇叭 KEF R11 Meta，呈現方式變得更具沉浸感，具有精準且高度聚焦、點音源般的音場。這是 KEF 擅長的領域，而 371 清楚地向我們展示了這對喇叭的能耐。結像非常準確，空間線索在音場中的定位呈現得非常好。MOON 371 讓 R11 Meta 充分發揮了它的優勢，向我們表明器材匹配對它來說並不是真正的問題。

 

Across all three loudspeakers, coherence and dynamic behavior exceeded what the specifications alone suggested. The MOON 371 consistently delivered a level of control, drive, and composure that impressed, especially considering the compact form factor and modest 9 kg weight of this class AB integrated platform.

在所有三對喇叭中，連貫性與動態行為皆超越了光看規格所能暗示的程度。MOON 371 始終如一地提供了令人印象深刻的控制力、驅動力與從容度，特別是考量到這款 AB 類綜合平台緊湊的體積與僅有 9 公斤的適中重量。

 

Djelimady Tounkara – Mansa

 

Our long listening sessions also included Djelimady Tounkara by Mansa, a track that quickly shifted the focus toward rhythmic layering, string articulation, and microdynamic behavior. With the Monitor Audio Platinum 300 G3 connected, the amplifier delivered an engaging engaging presentation, where rhythmic drive and transient precision stood out. The bass foundation was solid and well-controlled, never becoming bloated or congested.

我們漫長的試聽環節還包括 Mansa 演出的 Djelimady Tounkara，這首曲目迅速將焦點轉移到節奏層次、弦樂的解析力與微動態行為上。連接 Monitor Audio Platinum 300 3G 喇叭時，擴大機帶來了迷人的呈現，其中節奏的驅動力與暫態精準度脫穎而出。低頻基礎堅實且控制良好，從未變得臃腫或壅塞。

 

The guitar work was reproduced with excellent detail and articulation. Individual plucks were clearly separated, with fast attack and clean decay, allowing the rhythmic interplay to remain easy to follow even during denser passages. Harmonic structure was rendered with accuracy, giving the strings a natural timbre and a convincing sense of body.

吉他的演奏以極佳的細節和解析力重現。每一次撥弦都能清晰地分離，具有快速的起音與乾淨的衰減，讓節奏的交互作用即使在更密集的段落中也易於追隨。和聲結構呈現精準，賦予了弦樂自然的音色與令人信服的形體感。

 

Switching to the Dynaudio Contour 60i, the rhythmic coherence also remained intact, and this is something we tried to pay close attention to. The MOON 371 continued to show strong control over timing and pacing. The demanding impedance behavior of the Contour 60i did not disrupt the flow or articulation of the low end. Dynamic contrasts were well preserved, and the amplifier maintained a stable and confident presentation throughout the track, reinforcing the impression of solid current delivery under load.

切換到 Dynaudio Contour 60i 喇叭，節奏的連貫性同樣保持完好，這也是我們試圖密切關注的一點。MOON 371 繼續展現出對時間感與步調的強大控制力。Contour 60i 嚴苛的阻抗行為並沒有破壞低頻的流暢度或解析力。動態對比保留得很好，擴大機在整首曲目中保持了穩定且充滿自信的表現，進一步強化了在負載下具備堅實電流傳輸能力的印象。

 

With the KEF R11 Meta in place, we felt spatial definition became a bit more apparent. Instrument placement within the soundstage was precise, with clear separation between percussive elements and string lines. The presentation felt immersive and well-organized, allowing the track’s rhythmic complexity to remain engaging without congestion. The MOON 371 once again demonstrated its ability to adapt easily to different loudspeaker designs, maintaining consistency in timing and coherence.

換上 KEF R11 Meta 喇叭後，我們覺得空間的輪廓變得更明顯了一些。樂器在音場中的位置精準，打擊樂元素與弦樂旋律線之間有著清晰的分離。呈現方式讓人感到沉浸且井然有序，使曲目複雜的節奏保持迷人而不擁擠。MOON 371 再一次展現了它輕鬆適應不同喇叭設計的能力，在時間感與連貫性上保持了一致性。

 

Across all three loudspeakers, the track highlighted the MOON 371’s strengths in rhythmic stability, articulation, and control. The combination of speed, grip, and dynamic confidence contributed to a performance that felt both energetic and controlled, reinforcing the amplifier’s ability to handle complex material with ease.

在所有三對喇叭中，這首曲目突顯了 MOON 371 在節奏穩定性、解析力與控制力上的優勢。速度感、抓地力與動態自信的結合，成就了充滿活力又受控的表現，強化了這台擴大機輕鬆處理複雜素材的能力。

 

During extended listening sessions, we also paid attention to the behavior at reduced playback levels. At low listening levels, roughly below 70 to 60 dB, we noticed a reduction in perceived dynamic contrast and a slight hardening of overall coherence. Transient impact was less pronounced, and articulation felt restrained compared to listening at normal or higher levels. While tonal balance remained stable, the sense of drive and engagement diminished as volume decreased. This behavior was consistent across all three loudspeakers and is something we felt should be mentioned.

在長時間的試聽環節中，我們也關注了在降低播放音量時的行為。在低聆聽音量下（大約低於 70 到 60 dB），我們注意到感知到的動態對比有所下降，且整體連貫性稍微變硬。暫態衝擊較不明顯，與在正常或更高音量下聆聽相比，解析力感覺受到了限制。雖然音色平衡保持穩定，但驅動力與參與感隨著音量的降低而減弱。這種行為在所有三對喇叭上都一致，我們認為這點應該被提出來。

 

Death Row – Chris Stapleton

 

Another exceptional piece, Death Row by Chris Stapleton, a track that placed a strong emphasis on macro dynamics, vocal presence, and overall system control during higher energy passages. Starting with the Dynaudio Contour 60i, the MOON 371 delivered a powerful and controlled presentation that remained coherent throughout all playback levels. Dynamic swings were well reproduced, and the amplifier maintained composure into demanding passages, reinforcing the impression that real-world performance extended beyond what the published specifications alone might suggest.

另一首出色的作品，Chris Stapleton 的《Death Row》，這首曲目強烈強調了大動態、人聲實體感，以及在更高能量段落中整體的系統控制力。從 Dynaudio Contour 60i 喇叭開始，MOON 371 傳遞了強而有力且受控的表現，在所有播放音量下都保持連貫。動態擺幅重現得很好，擴大機在進入嚴苛段落時仍保持從容，強化了它在現實世界中的表現超越了僅看公佈規格所能暗示的印象。

 

Stapleton’s voice came across as physical, present, and highly engaging. Vocal delivery had a lively and springy character, with strong articulation and a convincing sense of body. Fine detail remained intact during louder passages, and the performance retained clarity and structure throughout the test.

Stapleton 的聲音聽起來充滿實體感、存在感，且極具吸引力。人聲的傳遞具有生動且富有彈性的特質，解析力強，並帶有令人信服的形體感。在較大聲的段落中，微小細節依然完好無損，在整個測試過程中，表現始終保持著清晰度與結構感。

 

Switching to the KEF R11 Meta, the presentation gained additional spatial definition. The amplifier showed no signs of compression or loss of control, even when pushed toward its upper operating range.

切換到 KEF R11 Meta 喇叭，呈現方式獲得了額外的空間輪廓。擴大機即使被推向其較高的運作範圍，也沒有表現出壓縮或失控的跡象。

 

With the Monitor Audio connected, the sense of scale and physicality increased further. The MOON 371 drove the Platinum 300 G3 with very good control, delivering strong impact and very good dynamic energy. The presentation remained cohesive and stable, with timing and articulation fully preserved across the entire track. Once again, the amplifier demonstrated that its dynamic capabilities in practice exceeded expectations based on specifications alone.

連接 Monitor Audio 喇叭後，規模感與實體感進一步增加。MOON 371 以極好的控制力驅動 Platinum 300 3G 喇叭，帶來強大的衝擊力與極佳的動態能量。呈現方式保持凝聚且穩定，在整首曲目中完全保留了時間感與解析力。擴大機再一次證明，它在實務上的動態能力超乎了單看規格的預期。

 

As with previous tracks, listening at very low playback levels (volume under the level setting of 20) revealed a reduction in perceived dynamic contrast and overall coherence. The presentation lost some of its liveliness and dimensionality.

與之前的曲目一樣，在非常低的播放音量下聆聽（音量設定在 20 以下），顯示出感知到的動態對比與整體連貫性有所降低。呈現方式失去了一些生動感與立體感。

 

AURORA – A Different Kind of Human

 

An album we often listen to because we enjoy her voice so much, A Different Kind of Human by AURORA. Talking about the track with the same name, it made us keep our attention focused on low-frequency control, sustained bass pressure, and the ability of the amplifier to manage complex bass behavior. Particular attention was given to the passage starting at 1:38, where deep sub bass rumble is layered with repetitive percussive elements that demand both sustained output and precise transient control.

我們經常聆聽的一張專輯，因為我們非常喜歡她的聲音，那是 AURORA 的《A Different Kind of Human》。談到同名曲目，它讓我們將注意力集中在低頻控制力、持續的低頻音壓，以及擴大機管理複雜低頻行為的能力。特別值得注意的是從 1:38 開始的段落，深沉的極低頻隆隆聲與重複的打擊樂元素交疊，這需要持續的輸出以及精準的暫態控制力。

 

With the system set at reference listening levels, the MOON 371 delivered a clearly felt physical response. The sub bass remained continuously pressurized, while the rhythmic percussive elements created a distinct chest thumping sensation similar to a machine gun firing. The bass foundation was excellently controlled throughout this section, giving a convincing impression of weight and excellent articulation.

在系統設定為參考聆聽音量時，MOON 371 帶來了清晰可辨的物理反應。極低頻保持著持續的加壓，而充滿節奏感的打擊樂元素則創造出明顯的搥胸感，猶如機關槍開火一般。在這個段落中，低頻基礎控制得非常出色，給人留下了令人信服的重量感印象與極佳的解析力。

 

This passage highlighted a challenge that many amplifiers struggle with, maintaining constant sub bass pressure while also delivering fast, physical impact on top of it. The MOON 371 managed to sustain the low-frequency energy while maintaining the correct timing and immediate force required to convey the rhythmic pulse. The result was a tactile and immersive experience, with the low end behaving as a coherent and controlled whole.

這個段落突顯了許多擴大機難以應對的挑戰：在維持持續極低頻音壓的同時，還要疊加上快速且具實體感的衝擊力。MOON 371 設法維持了低頻能量，同時保持了傳達節奏脈動所需的正確時間感與即時力道。結果帶來了一種具有觸感且沉浸式的體驗，低頻表現出連貫且受控的整體感。

 

Across the listening sessions and across all 3 speakers, this track reinforced the impression that the MOON 371 handled demanding low-frequency material with very good control and precision. Articulation, pressure, and physical engagement were consistent, contributing to a powerful and convincing reproduction of this wonderful song.

在整個試聽過程中，且橫跨所有 3 對喇叭，這首曲目強化了一個印象：MOON 371 以極佳的控制力與精準度處理嚴苛的低頻素材。解析力、音壓與物理參與感始終如一，為這首美妙歌曲強而有力且令人信服的重播做出了貢獻。

 

Lost – Phaxe and Morten Granau

 

We moved next into the realm of electronica and more precisely psy trance with Lost by Phaxe and Morten Granau. This type of material places strict demands on speed, timing accuracy, and spatial presentation. Correct reproduction, we believe, relies on precise transient control, good low frequency behavior, and a three-dimensional soundstage that remains well defined as complexity and energy keep increasing.

接下來我們進入電子樂，更確切地說是迷幻出神（psy trance）領域，聆聽由 Phaxe 與 Morten Granau 演出的《Lost》。這種類型的素材對速度、時間準確性與空間呈現有著嚴格的要求。我們認為，正確的重播仰賴精準的暫態控制、良好的低頻行為，以及隨著複雜度與能量不斷增加時，仍能保持清晰輪廓的 3D 立體音場。

 

The MOON 371 handled this material very well. Bass lines showed very high precision and control, starting and stopping exactly where intended. The kick carried a strong chest thumping character while the lower subbass parts remained fully preserved and present. Timing stayed sharp and consistent, allowing rhythmic patterns to lock into place without any smearing or blooming.

MOON 371 非常出色地處理了這些素材。低音旋律線展現出非常高的精準度與控制力，啟動與停止都精確落在預期的位置。大鼓帶來了強烈的搥胸特質，而更低沉的極低頻部分仍被完整保留與呈現。時間感保持銳利且一致，讓節奏模式牢牢鎖定到位，沒有任何模糊或膨脹。

 

As playback levels were raised beyond normal listening, the sense of immersion increased noticeably. Low-frequency energy became physically tangible, with pressure that could be felt through the body, adding to the experience of movement and drive that defines this track. The presentation remained stable and composed even as power levels increased, turning the track into a clearly engaging journey.

隨著播放音量提高到正常聆聽水平之上，沉浸感明顯增加。低頻能量變得在物理上具有觸感，那股壓力可以穿透身體被感受到，增添了這首曲目特有的運動感與驅動力體驗。即使在輸出功率增加的情況下，呈現方式依然保持穩定與從容，將這首曲目變成一趟絕對迷人的旅程。

 

All three loudspeakers behaved very well with this material. Each model expressed its own character clearly, and the amplifier allowed these differences to emerge easily. The MOON 371 acted as a consistent and transparent driving force, something we appreciated deeply, especially with material as demanding and rhythm-focused as this.

所有三對喇叭在播放這類素材時表現得非常出色。每款型號都清楚地表達了各自的特質，而擴大機讓這些差異輕鬆地顯現出來。MOON 371 扮演了始終如一且透明的驅動力，我們對此深表讚賞，尤其是對於這種要求嚴苛且專注於節奏的素材。

 

Divine Moments of Truth – Shpongle

 

On this perilous journey, we continued with Divine Moments of Truth by Shpongle, a track that we would say places a strong emphasis on spatial complexity, phase manipulation, and layered three-dimensional presentation. The MOON 371 handled the constant phase shifts and spatial movement with precision, maintaining a clearly organized soundstage throughout. Imaging was well defined and allowed the track’s intricate structure to unfold perfectly. The overall presentation came across as clean, properly weighted, and free of excess, giving the track a sense of balance that felt exactly right.

在這趟充滿挑戰的旅程中，我們繼續播放 Shpongle 的《Divine Moments of Truth》，這首曲目可以說強烈強調了空間的複雜性、相位的操作，以及分層的 3D 立體呈現。MOON 371 精準地處理了持續的相位偏移與空間移動，從頭到尾保持著組織清晰的音場。結像輪廓鮮明，讓曲目錯綜複雜的結構完美展開。整體的呈現顯得乾淨、重量感恰當，且沒有多餘的累贅，賦予了這首曲目一種感覺剛好到位的平衡感。

 

Using the KEF R11 Meta, the three-dimensional aspect of the track became especially spectacular. Spatial layering and depth were rendered with excellent focus and immersion. Bass articulation, however, reflected a less defined low-end reproduction of the R11 Meta, compared to what we experienced with the Monitor Audio Platinum 300 G3.

使用 KEF R11 Meta 喇叭，這首曲目的 3D 立體感變得特別壯觀。空間層次與深度的呈現具有極佳的聚焦感與沉浸感。然而，與我們在 Monitor Audio Platinum 300 3G 上的體驗相比，低頻解析力反映出 R11 Meta 在低頻重播上的輪廓較不明確。

 

Switching to the Dynaudio Contour 60i brought a different balance. While scale and presence were convincing, bass tightness did not reach the same level we had become accustomed to with the Monitor Audio. These differences, we believe highlighted the individual voicing and behavior of each loudspeaker rather than limitations of the amplifier itself.

切換到 Dynaudio Contour 60i 喇叭帶來了不同的平衡。雖然規模感與存在感令人信服，但低頻緊實度並沒有達到我們在搭配 Monitor Audio 喇叭時已經習慣的水準。我們認為，這些差異突顯了每對喇叭各自的調音與行為，而不是擴大機本身的侷限。

 

This track made it clear that the MOON 371 scaled effectively with more capable and more revealing loudspeakers. Its ability to expose differences in bass articulation, spatial rendering, and overall presentation reinforced the impression that it should not be overlooked when considering a high-end system built around demanding material and ambitious loudspeaker choices.

這首曲目清楚地表明，MOON 371 能夠有效地隨著能力更強、更具解析力的喇叭展現出升級潛力。它暴露出低頻解析力、空間呈現與整體表現差異的能力，強化了一種印象：當考慮圍繞嚴苛素材與野心勃勃的喇叭選擇來建構 High-End 系統時，它絕對不應被忽視。

 

Hotel California – Eagles

 

Hotel California is a track that proved to be an absolute pleasure to listen to on the MOON 371. The presentation was immediately inviting, with a sense of ease and refinement that we enjoyed. Tonal balance felt spot on across the entire spectrum, giving instruments and vocals a convincing sense of weight and realism.

《Hotel California》這首曲目證明了在 MOON 371 上聆聽是一種絕對的享受。其呈現方式立刻吸引人，帶有我們所喜愛的寬鬆感與精緻度。跨越整個頻譜的音色平衡感覺恰到好處，賦予了樂器和人聲令人信服的重量感與真實感。

 

Bass reproduction stood out through its physical presence and control. Low frequencies carried a chest-thumping impact that remained tightly integrated with the rest of the spectrum. The sense of scale and authority added to the enjoyment of the track, reinforcing its familiar drive and groove.

低頻的重現因其物理存在感與控制力而脫穎而出。低頻帶有搥胸般的衝擊力，同時仍與頻譜的其餘部分緊密整合。規模感與權威感增添了聆聽這首曲目的樂趣，強化了它熟悉的驅動力與律動感。

 

Vocals were rendered with good cleanliness and articulation with a somewhat natural sense of body and physicality. Instrumental separation was good, allowing guitars, percussion, and various ambient cues to occupy their own distinct space within the soundstage. The presentation felt coherent and complete.

人聲的呈現具有良好的純淨度與解析力，帶有幾分自然的形體感與實體感。樂器分離度良好，讓吉他、打擊樂器與各種環境音線索在音場中佔據各自獨立的空間。呈現方式感覺連貫且完整。

 

This track highlighted the MOON 371’s ability to deliver an engaging and balanced performance with material that relies as much on musicality as on technical precision. It was simply enjoyable to sit back and listen, with nothing calling attention to itself and everything working together as intended.

這首曲目突顯了 MOON 371 的能力，能以同樣仰賴音樂性與技術精準度的素材，傳遞出迷人且平衡的表現。它讓人單純享受坐下來聆聽，沒有任何刻意引人注目的元素，一切都如預期般和諧運作。

 

When listening with the Monitor Audio Platinum 300 G3 and the Dynaudio Contour 60i, we found ourselves wishing there was additional power available. The physicality and chest-thumping character of the bass were so engaging that it encouraged higher and higher listening levels. The amplifier remained composed and controlled, and the sense of impact was deeply satisfying, which only amplified the desire for even more headroom. This reaction was driven purely by enjoyment, and we think this speaks a lot for the Moon 371.

當使用 Monitor Audio Platinum 300 3G 與 Dynaudio Contour 60i 喇叭聆聽時，我們發現自己期望有額外的功率可用。低頻的實體感與搥胸特質太過迷人，以至於它鼓勵我們將音量開得越來越大。擴大機保持著沉穩與受控，衝擊感令人深感滿足，這反而放大了對更多餘裕空間的渴望。這種反應純粹是出於享受，而我們認為這很大程度地說明了 MOON 371 的優異之處。

 

Sultans of Swing – Dire Straits

 

Sultans of Swing is a familiar recording that allowed us to focus on timing, midrange articulation, and overall musical flow. The MOON 371 presented the track with a strong sense of coherence, keeping the rhythmic interplay between bass, drums, and guitars well organized.

《Sultans of Swing》是一首熟悉的錄音，讓我們能專注於時間感、中頻解析力以及整體的音樂流動。MOON 371 以強烈的連貫感呈現這首曲目，將貝斯、鼓與吉他之間的節奏交互作用維持得井然有序。

 

Guitar lines were rendered with excellent clarity and articulation. Pick attack and string texture were clearly defined, allowing Mark Knopfler’s playing style to come through with awesome realism. Microdynamic shifts were well preserved, giving the performance a lively and engaging character without exaggeration.

吉他旋律線呈現出極佳的清晰度與解析力。撥片起音與琴弦紋理清晰分明，讓 Mark Knopfler 的演奏風格以驚人的真實感展現出來。微動態的變化保留得很好，賦予了演出生動且迷人的特質，毫無誇張之感。

 

Vocals sat naturally within the mix, with clear diction and a good sense of presence. The midrange was open and expressive. Soundstage was well defined, with 3D imaging and clear separation between instruments.

人聲在混音中自然地座落，具有清晰的咬字與良好的存在感。中頻開闊且富表現力。音場輪廓鮮明，具有 3D 立體結像與樂器之間清晰的分離度。

 

Across all three loudspeakers, the MOON 371 maintained consistency in timing and tonal balance, letting each speaker express its own character. This track reinforced the amplifier’s strengths in musical coherence, articulation, and long-term listenability, making it another highly enjoyable part of the session.

在所有三對喇叭中，MOON 371 在時間感與音色平衡上保持一致，讓每對喇叭表達其自身的性格。這首曲目強化了擴大機在音樂連貫性、解析力與長期聆聽舒適度上的優勢，使其成為這次試聽中另一個極具樂趣的部分。

 

Shine On You Crazy Diamond Parts 1 to 5 – Pink Floyd

 

Shine On You Crazy Diamond Parts 1 to 5, a recording that is great for testing the atmosphere, layering, and long-term coherence and overall emotional feeling across extended musical passages. From the opening synth textures, the MOON 371 presented a wide and clearly defined soundstage, with layers unfolding gradually and naturally. Spatial cues were rendered with precision, giving the track a sense of depth and scale that we expect when listening to it.

《Shine On You Crazy Diamond Parts 1 to 5》，這是一首非常適合用來測試氛圍感、層次感，以及在漫長音樂段落中的長期連貫性與整體情感氛圍的錄音。從開場的合成器紋理開始，MOON 371 呈現了一個寬廣且輪廓清晰的音場，層次逐漸且自然地展開。空間線索精準重現，賦予了曲目我們在聆聽時所期待的深度與規模感。

 

As the composition built momentum, we started to pay attention to how low-frequency foundations behaved, and again, as with the other tracks, we felt a solid and well-controlled, well-articulated bass line that carried weight and physicality while staying coherent with the rest of the frequency spectrum. The overall tonal balance leaned toward control and accuracy, presenting the recording in a more neutral, composed, and disciplined manner.

隨著樂曲積聚動能，我們開始關注低頻基礎的行為，再次地，如同其他曲目一樣，我們感受到一條堅實、受控且解析良好的貝斯旋律線，帶有重量感與實體感，同時與頻譜的其餘部分保持連貫。整體的音色平衡偏向控制力與準確性，以一種更中性、沉穩且自律的方式呈現這份錄音。

 

Guitar textures were reproduced with clarity and nuance and good texture, preserving sustain and harmonic richness.

吉他的紋理以清晰和細微的差異及良好的質地重現，保留了延音與和聲的豐富性。

 

It is worth mentioning that while the emotional weight of the performance came through convincingly, the presentation favored precision and cleanliness with an enhanced dynamic range, over added warmth or romanticism. Thus, listeners accustomed to a more harmonically enriched or warmer amplification chain might perceive a slightly more restrained emotional bloom even though the sense of coherence and control remained consistently strong throughout the track’s dynamic development.

值得一提的是，雖然演出中的情感重量令人信服地傳達出來，但呈現方式更傾向於精準度與純淨度，伴隨著強化的動態範圍，而非額外增添的溫暖或浪漫感。因此，習慣於和聲更豐富或溫暖擴大機系統的聽眾，可能會感覺到情感的綻放稍微受到一些抑制，儘管在曲目動態發展的整個過程中，連貫感與控制感始終保持著強勢表現。

 

Across the different loudspeakers, the MOON 371 maintained coherence and balance, letting each system express its own special character while also preserving the essence of the recording.

在不同的喇叭之間，MOON 371 維持著連貫性與平衡感，讓每個系統表達出自己獨特的性格，同時也保留了錄音的精髓。

 

Summer’s Ending Soon – The Midnight

 

We have a particular appreciation for retrowave, a genre that draws heavily from 80s analog synthesizers, neon-lit nostalgia, and the aesthetics of vintage arcade culture. It is a sound deeply rooted in an era defined by glowing cathode ray tube screens, pixelated graphics, and synthesizer-driven soundtracks that shaped an entire generation.

我們對復古合成波（retrowave）有著特別的偏好，這種類型大量汲取了 80 年代類比合成器、霓虹閃爍的懷舊風情，以及復古街機文化的復古美學。這種聲音深深扎根於一個由發光的陰極射線管（CRT）螢幕、點陣圖形，以及塑造了整整一代人的合成器驅動配樂所定義的時代。

 

We grew up with that culture. The sound of retrowave brings back memories of long afternoons spent in arcade halls, the echo of electronic sound effects blending with music, moments of carefree rebellion, skipping school just to squeeze in one more game, one more level, one more coin. There is something undeniably emotional about this genre for us. It recreates a feeling, a time, a mindset, it is like a real emotional time machine.

我們在這種文化中長大。復古合成波的聲音喚起了在電子遊樂場度過漫長午後的回憶，電子音效的迴音與音樂交融，無憂無慮叛逆的時刻，翹課只為了多擠出一點時間再玩一局、再過一關、再投一枚硬幣。對我們來說，這種類型有著無可否認的情感因素。它重現了一種感覺、一個時代、一種心態，這就像是一台真正的情感時光機。

 

That personal connection perhaps makes us even more attentive when listening to it. Summer’s Ending Soon, from The Midnight is a track that is particularly revealing when it comes to low-frequency behavior, tonal balance, and long-term listening comfort. From the opening passages, the MOON 371 delivered a bass response that was chesty and punchy, while also extending deep enough to be felt. Low frequencies carried a strong physical presence, with a sustained, almost earthquake-like foundation that remained well controlled and clearly articulated.

這種個人連結或許讓我們在聆聽時更加專注。The Midnight 的《Summer’s Ending Soon》是一首在低頻行為、音色平衡與長期聆聽舒適度上特別能反映器材能力的曲目。從開場段落開始，MOON 371 帶來了具備胸腔共鳴感且拳拳到肉的低頻反應，同時下潛深到足以被身體感受到。低頻帶有強烈的物理存在感，具有持續的、幾乎像地震般的基礎，並保持著良好的控制力與清晰的解析力。

 

The bass provided a solid structural foundation for the entire song. We believe that, in this case, the way the amplifier maintained sub bass pressure while keeping the kick defined, chesty, and tactile played an important role in sustaining engagement and gradually increased the overall sense of enjoyment as the track unfolded.

低頻為整首歌曲提供了堅實的結構基礎。我們認為，在這個例子中，擴大機維持極低頻音壓，同時保持大鼓聲輪廓分明、具備胸腔共鳴感與觸感的方式，在維持聆聽參與感上發揮了重要作用，並隨著曲目的展開逐漸增加了整體的享受感。

 

Retro synth recordings often place high demands on tonal balance, as they can easily drift towards an icier, sibilant, and more fatiguing presentation if warmth or excess sibilance are not handled properly. In this case, the MOON 371 maintained a presentation that felt smooth. Listening fatigue did not become an issue here, and the sound remained inviting throughout.

復古合成器錄音通常對音色平衡有很高的要求，因為如果溫暖度或過多的齒音沒有妥善處理，它們很容易偏向一種更冰冷、充滿齒音且更容易令人疲勞的呈現。在這個例子中，MOON 371 維持了一種感覺平順的呈現。聆聽疲勞在這裡不成問題，聲音始終保持著吸引力。

 

High frequencies were reproduced with an airy and open character, showing good extension and detail without ever becoming harsh or sibilant. The top end stayed relaxed and well integrated. Midrange came across as present and physical, with good articulation and good 3D placement within the soundstage.

高頻以通透開闊的特質重現，展現出良好的延伸與細節，且從未變得刺耳或產生齒音。高頻端保持著寬鬆與良好的整合。中頻聽起來具備存在感與實體感，在音場中具有良好的解析力與出色的 3D 定位。

 

Overall, this track highlighted the MOON 371’s ability to handle poorly recorded electronica material with pleasure and balance. Bass performance, tonal balance, and correctness, together with spatial coherence, worked together to deliver a performance that was engaging and highly enjoyable, making this track one that simply invited us to keep listening longer and louder.

整體而言，這首曲目突顯了 MOON 371 處理錄音不佳的電子樂素材的能力，既充滿樂趣又保持平衡。低頻表現、音色平衡與正確性，結合空間連貫性，共同帶來了迷人且高度愉悅的演出，讓這首曲目純粹地邀請我們以更大音量聆聽更長的時間。

 

These Bones – The Fairfield Four

 

Diving into some gospel, trying to find the sweetness in voices, among others, we listened to These Bones by The Fairfield Four. The MOON 371 delivered a wide and convincingly 3D soundstage, which became the defining highlight of this recording. Spatial cues were very well rendered, and stereophony extended beyond the physical boundaries of the loudspeakers, creating a strong sense of immersion.

深入探討一些福音音樂，試圖在人聲中尋找甜美感，除了其他曲目外，我們聆聽了 The Fairfield Four 的《These Bones》。MOON 371 帶來了寬廣且令人信服的 3D 立體音場，這成為了這份錄音最決定性的亮點。空間線索呈現得非常好，立體聲像延伸超越了喇叭的物理邊界，創造出強烈的沉浸感。

 

Vocal placement was well placed within the soundstage. Individual voices were clearly separated, which we believed allowed harmonies to unfold naturally and convincingly realistic. Articulation was rendered with ease, giving the performance a relaxed and engaging character that felt true to the recording.

人聲在音場中的位置安排得很好。各個聲部被清晰地分離，我們相信這讓和聲得以自然展開，並令人信服地寫實。解析力以輕鬆的姿態呈現，賦予了演出一種寬鬆且迷人的特質，感覺忠於錄音原貌。

 

Overall, this track showcased the MOON 371’s ability to reproduce space and vocal texture with precision. The combination of width, depth, and vocal clarity resulted in a presentation that was highly enjoyable and particularly effective in conveying the atmosphere and presence of the performance.

整體而言，這首曲目展現了 MOON 371 精準重現空間感與人聲紋理的能力。寬度、深度與人聲清晰度的結合，造就了高度愉悅的呈現，並特別有效地傳達了演出的氛圍與臨場感。

 

結論 Conclusions

 

After extended listening across a wide range of material and loudspeaker pairings, this is the summary of the MOON 371 delivered sonic performance:

在跨越廣泛素材和喇叭配對進行長時間試聽後，以下是 MOON 371 所傳遞聲音表現的總結：

 

Bass performance is the first thing that stood out and is one of the unit’s defining strengths. Low frequencies were reproduced with exceptional tightness, precision, and control, delivering a physical and engaging presentation that remained well articulated and properly weighted. The ability to generate chest-thumping impact while maintaining weight and definition was repeatedly obvious across all 3 tested loudspeakers and became one of the most memorable aspects of the experience.

低頻表現是首先脫穎而出的重點，也是該設備的決定性優勢之一。低頻以極佳的緊實度、精準度與控制力重現，傳遞了具實體感且迷人的表現，同時保持了優異的解析力與適當的重量感。產生搥胸般衝擊力的同時維持重量感與清晰輪廓的能力，在所有 3 對測試的喇叭上都屢次顯而易見，成為體驗中最令人難忘的環節之一。

 

The overall presentation remained clean and well-organized from the top of the frequency range, all the way to the bottom. Articulation was very good across the entire spectrum. Timing and rhythmic structure were consistently preserved, contributing to a sound that felt controlled, confident, and easy to follow, even during complex passages.

整體的音樂呈現從頻率範圍的頂端一直到底部，都保持乾淨且有條理。整個頻譜的解析力都非常出色。時間感與節奏結構始終被保留下來，促成了感覺受控、自信且易於追隨的聲音，即使在複雜的段落中也是如此。

 

Power delivery exceeded expectations. In practice, the MOON 371 behaved as a far more capable amplifier than its specifications alone would suggest. Dynamic headroom, current delivery, and composure under load were unexpectedly high for such a compact and very lightweight, 9kg, class AB integrated design. The amplifier scaled very well with demanding loudspeakers, reinforcing the impression, at least on our part, that it can find its way even in systems well beyond what its all-in-one status, size, or price might imply.

功率輸出超乎預期。在實務上，MOON 371 的表現遠比其帳面規格所能暗示的擴大機能力還要強大。對於這樣一台緊湊且重量極輕（9 公斤）的 AB 類綜合設計，其動態餘裕、電流傳輸與負載下的從容度高得出乎意料。這台擴大機搭配難推的喇叭時，升級潛力表現得非常好，至少對我們而言，這強化了一種印象：即使在超越其 All-in-One 身分、體積或價格所暗示的系統中，它也能找到自己的一席之地。

 

Soundstage reproduction and spatial behavior also proved to be notable strengths of the MOON 371. Width, depth, and 3D placement were very convincing, with stereophony extending beyond the physical boundaries of the loudspeakers when the recording allowed it. Across multiple tracks, the sense of space felt natural and immersive, reaching a level that we honestly did not expect from an all-in-one unit at this price range.

音場重現和空間表現也證明是 MOON 371 的顯著優勢。寬度、深度與 3D 定位非常令人信服，當錄音允許時，立體聲像延伸超越了喇叭的物理邊界。跨越眾多曲目，空間感感覺自然且具沉浸感，達到了一個老實說我們沒料到能從這個價位帶的 All-in-One 器材上獲得的水準。

 

Taken as a whole, the MOON 371 delivered a level of control, cleanliness, articulation, and power that placed it well above expectations for an all-in-one solution of its size. It proved capable of anchoring a serious high-end system while offering modern integration and long-term usability, making it a compelling and technically accomplished product.

總體而言，MOON 371 提供了出色的控制力、純淨度、解析力與力道，使其遠遠超越了對其體積大小的 All-in-One 解決方案的期待。它證明了自己有能力作為一套嚴肅 High-End 系統的中樞，同時提供現代的整合功能與長期實用性，使其成為一款引人注目且技術純熟的產品。

 

If there is one aspect that we felt deserves mention, it would be the behavior at very low listening levels. Below roughly 65 dB, perceived dynamics and overall coherence were slightly reduced, and the presentation became a bit flat in its sense of energy and drive.

如果有一個方面我們認為值得一提，那就是在極低聆聽音量下的行為。在大約低於 65 dB 時，感知到的動態與整體連貫性會稍微降低，且呈現方式在能量感與驅動力上變得稍微平淡一些。

 

We would also like to note that the overall tonal balance of the amplifier leaned toward a neutral and controlled, clean character, something that listeners accustomed to the warmth and harmonic richness of tube amplification might perceive as somewhat sterile.

我們還想指出，該擴大機整體的音色平衡傾向中性、受控且乾淨的特質，習慣於真空管擴大機的溫暖與豐富和聲的聽眾，可能會覺得稍微偏乾冷。

 

To conclude, a feature that we missed, especially considering its status as a newly launched product (October 2025), would be a parametric equalization or a room correction function, even though we never once felt the need to adjust something. This is an area where other competing products have offered solutions for quite some time. That said, this omission is clearly aligned with Simaudio’s design philosophy. The company remains firmly rooted in a purist approach, prioritizing signal integrity and simplicity over digital intervention. Given the high level of sound quality the MOON 371 delivers out of the box, we felt this choice was understandable, and in this context, Simaudio deserves a pass.

最後，我們缺少的一個功能，特別是考量到其作為新發表產品（2025 年 10 月）的身分，會是參數等化器或空間聲學空間校正功能，即便我們一次也沒有感覺到需要調整什麼。這是一個其他競爭產品已經提供解決方案好一段時間的領域。話雖如此，這項遺漏顯然與 Simaudio 的設計理念一致。該公司依然堅守純粹主義的態度，將訊號的完整性與簡潔性置於數位干預之上。鑑於 MOON 371 開箱即能提供如此高水準的音質，我們覺得這個選擇是可以理解的，在此情況下，Simaudio 值得被諒解。

 

Looking ahead, we would be interested to see these features implemented in a future iteration, provided they are executed with the same level of care and sound quality that defines the rest of the product.

展望未來，我們有興趣看到這些功能在未來的迭代中實作，前提是它們在執行上能具備與定義該產品其餘部分相同水準的用心與音質。

 

We would like to thank AVstore for the opportunity to spend extended time with the MOON 371. Having the chance to evaluate such a well-executed and technically ambitious component in our own reference system is always appreciated, and it allowed us to explore its capabilities thoroughly across multiple loudspeaker pairings and listening scenarios.

我們要感謝 AVstore 提供機會，讓我們能與 MOON 371 共度漫長時光。能有機會在我們自己的參考系統中，評估這樣一台實作優異且在技術上充滿野心的器材，我們始終心懷感激，這也讓我們得以跨越多種喇叭配對與聆聽場景，徹底探索其能力。

 

優點  Pros

 

• Exceptional bass tightness, speed, and physical impact, combined with strong control and articulation

• Clean, coherent, and highly detailed presentation across the entire frequency range

• Real-world power delivery and current capability that significantly exceed specs and expectations for its size

• Stable and confident behavior with demanding loudspeaker loads, scaling well with high-end speakers

• Well executed all-in-one architecture combining streaming, DAC, phono stage, and amplification with long-term upgrade potential and a 10-year warranty

 

• 極佳的低頻緊實度、速度感與物理衝擊力，結合了強大的控制力與解析力

• 跨越整個頻率範圍，提供純淨、連貫且高度細緻的呈現

• 在現實環境中的功率輸出與電流能力，顯著超越規格與對其體積的預期

• 在嚴苛的喇叭負載下表現穩定且充滿自信，搭配 High-End 喇叭時展現出良好的升級潛力

• 執行良好的 All-in-One 架構，結合了串流、DAC、唱放與功率放大，並具備長期的升級潛力與 10 年保固

 

缺點 Cons

 

• Reduced perceived dynamics and coherence at lower listening levels below normal playback volumes

• Neutral and controlled tonal balance that may be perceived as slightly dry or sterile by listeners accustomed to tube or warmer amplification

• No integrated parametric EQ or room correction options

 

• 在低於正常播放音量的較低聆聽音量下，感知到的動態與連貫性會降低

• 中性且受控的音色平衡，習慣於真空管或較溫暖擴大機聽感的聽眾可能會覺得稍微偏乾或冷調

• 未內建參數等化器（EQ）或空間聲學校正選項