關於 high stability meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

【年度代表字✖️ #台灣頸枕 得獎名單】

謝謝各位捧油支持2021年送21個頸枕的活動
大家對今年的祝福
小編都聽到了
經過大數據的量化分析 📈

將 ‧ 將 ‧ 將 ‧ 獎🎉🎉🎉
今年的年度代表字就是 #穩
另外
#安 #順 則是緊接在後

小編與大家分享網友集思的好兆頭 🏮
希望今年一整年
大家又安又穩、順~順~順~🎊

(跳)

住海邊的小ben 要公布得獎者啦
原本是20個留言參加獎 ➕ 1位年度代表字優選得主
但是小編眼見外粉私訊轟炸而於心不忍
想說歡慶新年希望大家都開薰
決定讓優選的朋友 加碼❗️加碼❗️再加碼❗️
祝福大家66大順 🧧

現在就來看獲獎名單吧

👉獲得讚數互動最多
1. 李文
2. 廖必煙
3. 廖李小程

👉網友提到次數最多 (最早留言)
1. 劉冠廷
2. 黃榆婷
3. 林祐萱

👉參加獎
郭盈杏、Bobo Wang、Jinjay Wang、劉孟孟、賴婷、Sc Randolph、Luffett Lu Luffett Lu、吳雯琦、陳妙萍、Tom Lee、Irisa Chen、Joyce Lin、洪小綾、林亞米、陳怡妏、Lilian Lee、許婉茹、郭春華、姜惠蘋、Astrid Chuang

麻煩獲獎的朋友務必記得
⛔️1/31(日) 晚上23:59前私訊小ben⛔️

同時提供
1️⃣真實姓名
2️⃣郵寄地址(含6碼郵遞區號)
3️⃣連絡電話

安捏獎品就會自動送上門來
讓你高枕 or 低枕都無憂
也不再坐立難安

💢超過截止時間
頸枕就會跟你 say goodbye (得獎失格)囉

什麼❓你沒有抽到❗️
這次沒有抽到的朋友別擔心
請持續追蹤 ➕ 關注魔法粉絲頁
不定期會有抽♥️好♥️禮♥️的驚喜喔

#頸枕還有哪些特殊用法請告訴小ben
#這次沒有抽中代表下次有機會

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Given the overwhelming response to our prize draw, the higher ups have added five more travel pillows to the prize pool and an extra mystery prize!

The winning character for this year was 「穩」(wěn) meaning "stability" and regional peace and stability is definitely high on our wishlist for 2021!

The 20 prizewinners selected at random are as follows:
郭盈杏, Bobo Wang, Jinjay Wang, 劉孟孟, 賴婷, Sc Randolph, Luffett Lu Luffett Lu, 吳雯琦, 陳妙萍, Tom Lee, Irisa Chen, Joyce Lin, 洪小綾, 林亞米, 陳怡妏, Lilian Lee, 許婉茹, 郭春華, 姜惠蘋, Astrid Chuang
.
.
Three early birds were selected for choosing the most popular character/word before the rest of the flock and will receive a travel pillow and a mystery prize each:
1. 劉冠廷
2. 黃榆婷
3. 林祐萱

The top three with the most likes on their comment will receive travel pillows and a mystery prize:
1. 李文
2. 廖必煙
3. 廖李小程

Please send us a private message with your real name, delivery address (with 6 digit zipcode) and a contact telephone number before January 31 to claim your prize.

If we don't receive a message from you within the deadline above, you will forfeit your prize.

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)