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DJ賀靜2020說好不哭 終於在醫院做完啦
喜歡的大家麻煩聽聽分享 ❤️
1.周杰倫說好不哭（賀靜獨家）
2.鄧紫棋 差不多姑娘
3.馬杰雪 太陽
4.梁文音那女孩對我說
5.王嘉爾 安靜（賀靜獨家）
6.god is girl too small
7.小豬佩奇水龍彈之術（建綸獨家）
8.愛的魔力紅圈圈（建綸獨家）
9.bounce that the bro
10.bass dawn low
11.low Dj tino ver2
12.李夢尹 雨下的瞬間
13.王貳浪 像魚
14.韓紅 林俊傑 飛雲之下（賀靜獨家）
15.i got my eyes on you 2019
16.In the end 2019 ars remix vet hay mix box
17.jet set 2019 yuo remix
18.于果 側臉
19.tank 非你莫屬
You tube 搜尋賀靜說好不哭就有了！
https://youtu.be/K4E6IeV69Tw
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.
........................................................
Price: $60,000 per pair.
Warranty: Five years parts and labor.
(Source: The Audio Beat)
Important Announcement on Satoyasu Shomura
Thank you for always supporting [ALEXANDROS].
We are sorry to inform you that [ALEXANDROS] drummer Satoyasu Shomura will take a break from live performance.
Due to myofascial low back pain cause by accumulated fatigue, Shomura has been taking some rest for treatment since April 2019. Besides the back pain, he was also experiencing different condition where “he had a trouble playing the bass drums.” While undergoing further examination at the end of May, he was diagnosed with “Focal Dystonia”.
We have judged that he will need some time to focus on treatment and will take a break from live performance for a while.
After extensive discussing with the band members and staffs, Shomura intends to participate in other activities where he can, in consulting with the doctor. We will try our best to come back as a full band as soon as possible.
For upcoming shows, Riad Ibu from BIGAMAMA will support the band as a drummer.
We apologize for any inconvenience caused to our fans and anyone involved.
Thank you for understanding and supporting [ALEXANDROS] continuously.
June 19th, 2019
[ALEXANDROS]
UKPM Inc.
Universal Music LLC
＜Comment from Satoyasu Shomura＞
Dear all,
I’m really sorry to bring this news to you.
On top of the back pain I have been suffering, I started feeling discomfort in my right leg in the middle of the tour and I was having hard time playing the bass drums.
I have done everything I could to get better, but it hasn’t improved as I hoped.
At the end of last month, I went to the hospital for further exam and was diagnosed with “Focal Dystonia”. I was hesitant to reveal my condition, but I wanted to make this clear and take a break from the live performance since the doctor informed me that the treatment might take some time.
Performing at Saitama Super Arena was something I strongly wanted, and I was able to perform with the help of medication and acupuncture. The band members and staffs have supported me as well and most of all thanks to the fans who have been waiting for us.
Unfortunately, I’m not completely healed at this moment. I’m really sorry for those who have been waiting for me to come back but I have to take more time off.
In the meantime, Riad from BIGMAMA will be on the stage with the band as a support drummer. As a friend and a drummer, I fully trust him, and I can’t thank him enough for taking this role for me.
I hope to recover fully and will try my best to come back.
Thank you for understanding.
Satoyasu Shomura
https://alexandros.jp/contents/251425
Japanese fretless bass player Ryoji Orihara.
Tokai JB45 Fretless.
https://www.ryojiorihara.com
#ibanezlowendlegion2020 #ibanez #ibanezbass
前回はビックスクーターで、登場、
今回からXXで、
タイヤ交換のためにタイヤ積んでます、
CBR1100XX SuperBlackbird (Shebearl Dableccssuparbraccbard) is a motorcycle of four strokes and displacements 1,137cc that Honda Motor Co., Ltd. was manufacturing. Both domestic sales and export have ended now though it was treated as a flagship in the CBR series. Outline
Honda Motor Co., Ltd. appears in restyling from CBR1000F in 1996. In that case, a pet name "Super-blackbird" was given in the meaning said that was connected to "Blackbird" that was the pet name of surveillance plane "SR-71" of an American air force that was the aircraft at the velocity of the world, and it exceeded. Therefore, the cooperation of the U.S. Air Force is received in the pop promo of this car, and CBR1100XX and SR-71 accomplish competing in the air base.
As a concept
1. Comfortable livability in super-high-speed region
2. Overwhelming absolute performance
3. The middle class level is handled though it is a large displacement car.
It was a car of mass-producing on the market of the world best performance
where was had both.
Four 1137cc water-cooled series cylinder engine of the new design that adopts two axis balancer achieves the highest 164ps in the world at that time. Maximum speed is one that doesn't come up slightly by actual measurement at 300 km/h though excelled from ZZR1100 of Kawasaki who was the rival at the development this time to a high-speed performance.
It comes to transfer the seat at the velocity of the world from Kawasaki by the appearance of ninja ZX-12R the GSX1300R falcon's appearing from the sea bass in 1999, and continuously while leaving the name of the car of mass-producing on the market at the velocity of the world wanted in 2000 at the sale this time. The self-imposed restraint of which 300 km/h is a maximum speed upper bound of the motorcycle in 2001 has started, a big restyling is not done to the production stoppage in 2007, and the character as Haispedotsarar has become strong. Moreover, it is used as a development vehicle of VCM (Variable Cylinder Management: cylinder stop system) that is next generation's fuel fuel cost improvement technology, and 2 in the magazine medium from which impression is open to the public.
It is a motorcycle that Isao Yamanaka who had invented a lot of great cars as an engineer of HONDA developed at the end, and 3 said, "It is a compilation to invest everything current, and the happiest motorcycle".
The headlight of the top and bottom two step is adopted for the full caul body that thoroughly pursued aerodynamic. The synchronization brake is equipped normally before and after being called D-CBS. For the tone of red to lighten in 1998, and to prevent over cool in the cold district, the by-pass of Rageetar was added. Even the model is a carburetor specification in 1998, and it is a model to whom the chalk is only attached in CBR1100XX. The accelerating force and the response are sharper than the injection model since the second generation though a maximum speed region doesn't change. In the founder blackbird, as a motorcycle of the carburetor specification, on the market, acceleration and maximum speed are the fastest models. Low-speed..gear..Red Zone..blow..at the same time as..accelerating force..further..increase..power..band..use regularly..user..partially..core..acceleration..mania..rocket engine..missile..acceleration..criticize.Not a rapid response like the carburetor specification but the getting on taste has smoothed very much though this characteristic has been succeeded since the second generation made FI.
The direct air intake (ram air) has not taken side with the founder. The inspiratory port where the wire net under the headlight attached sends oil cooler the running style though it often makes a mistake. Because the cold wind doesn't hit oil cooler as it is because oil cooler has adhered behind the radiator, the inflow road of air is installed in this manner. (From the motorcycle technical journal 'Young machine' at the sale this time. )
美人ライダー HONDA CB400FOUR Suzuki SV400 スズキ・ ボルティー Suzuki Volty
日本初のダチョウ料理専門店、
ライダーズカフェMACHⅢ
大阪府堺市美原区北余部４６９－６
ＴＥＬ＆ＦＡＸ０７２－３６１ー３１７１
http://www.h4.dion.ne.jp/~maltuha/index.html
●絶版★改
ハイパフォーマンスマシンと化し、
今なお愛され続ける絶版車両を紹介するこのコーナー。
今週の車両はKAWASAKI 500SS MACH3 "H１"
モンスター２ストロークマシンの代名詞を紹介！！
番組のHPで、
http://www.likeawind.jp/index.html
http://jp.youtube.com/watch?v=xh6SSuO6J_I
The sea bass and SV (Esbi) are motorcycles of the sports type that the sea bass is doing the manufacturing sales. Numerical models are being produced as a series model now.
SV400/S
SV400 was put on the market in 1998. Two V type of water-cooled four stroke 90 degrees cylinder engine is installed, and there are two kinds of SV400 of a naked model to whom it gives priority to SV400S and the town youth who is the half caul model to emphasize sports.
At first, SV400 was changed to a double disk in 2002 in 2000 SV400S though the nose-wheel brake was a single disc. S of the fixed price was 90,000 yen or more higher. It is a catalog fall of both in September, the production end and 2007 in December, 2006.
Bolte (Volty) is a motorcycle to which the sea bass was doing the
manufacturing sales.
Outline
Bolte was put on the market in 1994. It was a naked type of 250cc with the outlook on ..retro-style.. Haz, and a curve part took charge and Every Good Boy Deserves Favour took charge of the body design with a lot of features that were.
It got into the news as "Price busting of the motorcycle" because of pricing that was under 300,000 yen that greatly fell below the market price of 250cc at that time. It is possible to visit production though the minor change is continued from release to 2004 for ten years, and suiting demand enough though it might be called an unpopular car.
This class was popular among the woman in a diminutive body and weight from the thing that the taking turning is easy. Bolte was used instead of Cab in the post office in the region part probably because of ..very good durability and fuel cost in addition... It often sees as a vehicle of delivery service by motorcycles now.
Motorcycle CB400FOUR (Shebe Foix) that Honda Motor Co., Ltd. put on the market in 1997.
Outline of edit
A big body that adopted the spoke wheel before and behind the putting out muffler four that gave the chrome plating appeared as new naked sports that followed the image of not the reprint of dream CB400FOUR that was a great car before but dream CB750FOUR.
The cooling fin is added based on four water-cooled series cylinders of CB400SF and the engine is installed in a vertical feeling. The setting was assumed an inside low-speed valuing on the assumption of the use in daily life while maintaining 53 horsepower of 400cc class upper bound. As for the color, three colors of candy ocean green, Italian red, and a pure black were prepared.
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