關於 crystal field theory ，我們在網路上蒐集到這些相關的討論、資訊與評價

鲍一凡老师（创始人）简介
国际风水名师鲍一凡老师，原名鲍珊吏（Paw Sandy），祖籍中国福建永春，出生于马来西亚柔佛皇城——麻坡，是马来西亚这片国土上赫赫有名的风水师。她出生于农历九月初七，恰逢阴年阴月阴日阴时，属于八字罕见的纯阴命格，加上女儿身属阴体，故为“纯阴之人”。这一个特征仿佛是上天赐予鲍一凡老师的天赋，风水师就是她此生的天职，她的天命。同时，她也可以说是全马玄学界里唯一一位拥有“真纯阴八字”的风水师。
在接触风水学之后，鲍一凡老师深信命运掌握在每个人自己的手中，即便是先天之命也可以通过后天的努力改进和补助。而风水学作为天文、地理、命理的综合，就是改变命运的其中一把钥匙。于是，鲍一凡老师精研风水命理，潜心学术和玄学研究，经过多年的实践，累积和掌握了丰富的堪舆风水经验。
鲍一凡老师坚信：“风水是中华古老的生活哲学，是老祖宗智慧的传承，是易经思想最具体的实践。风水虽是古老的行业，却是永不老的行业。”为此，她致力于弘扬正统风水文化以及灌输正确的风水观念，绝不鼓吹迷信。她更是在一众风水师中，率先发起“华夏寻根” 祭祖之旅，积极参与华人传统习俗和祭祀活动，同时她也为发扬佛教和道教而作出不少的努力与贡献，是大马风水界里少有的杰出女性风水师。
鲍一凡老师立志要指引人们运用华夏老祖宗的智慧改变命运，为了这个风水事业理念，多年以来她马不停蹄地拓展业务，将风水企业化，以让更多炎黄子孙受惠。终于，经过鲍一凡老师的努力，于2019年创办了“福海集团”，同时，鲍一凡老师早前在马来西亚、新加坡以及中国所设的多家公司也一并纳入到了“福海集团”，成为旗下子公司。
以鲍一凡老师为首的“福海集团”，秉持着“团结奋进，风水共享；创造价值，和谐共荣”的使命，为众人提供雄厚、专业及精研的服务，涵盖了生活的各方各面，如：风水、取名、命理、择日等，务求提升客户的生活品质，达致至善至美的人生。
对风水学颇有研究的鲍一凡老师，更是将风水事业延伸到了号称“风水石”的水晶上。天然水晶凝聚了千亿万年的天地灵气，拥有灵性和神奇的功效。身为一位风水师，鲍一凡老师深知借由水晶能够改变并提升住宅以及各人身上的磁场和运势，为此，她于2017年创立了个人水晶品牌——“御品能量水晶”。为了带给大众品质上佳的水晶，鲍一凡老师都会亲自飞往外国，严格筛选每一颗水晶，更是亲自进行净化与加持处理，确保“御品能量水晶”的所有产品都充满正能量，为人带来好运。
除了一个好的品牌，鲍一凡老师也想方设法地利用水晶的天然能量，让更多人能够认识并通过水晶改善运势。于是，一向独具慧眼的她花费了不少的心思、金钱与时间，构思出了一个绝佳的转运方法。于2018年，鲍一凡老师创设了全球第一家由天然水晶打造的水晶能量场，并命名为“御品水晶能量场”。同时，为了回馈大家长久以来的支持，“御品水晶能量场”一直免费供人参观和使用，众人可盘坐在不同的水晶上，籍此消除身上的负能量，提升自身运势。
鲍一凡老师的雄心万志也并不局限于国内，拥有大格局观的她放眼中国，决心开辟海外市场，并将目标锁定在了全中国最大的水晶市场。于2019年，鲍一凡老师在素有“中国水晶之都” 美誉的东海，设立了属于自己的水晶工厂——“睿凡水晶珠宝有限公司”。“睿凡水晶珠宝”所出品的水晶产品，基本都以质地纯正的东海天然水晶作为原料，每一个水晶都聚集了满满的天然纯净能量。
不仅如此，鲍一凡老师作为风水师也一直不断的钻研中华文化，从中构思出帮助人们改善运势的方法。鲍一凡老师以24节气的原理为基础，自2010起便与大众分享了“立春开运法”。因为立春作为24节气之首，是天地宇宙能量再次觉醒的重要时刻，磁场最为强劲，是天降好运的大好时机。经过多年的积极推广，立春开运法也得到了积极的反馈。鲍一凡老师所发起的“立春开运活动”更是聚集数千炎黄子孙一起运用立春开运法，承接天地之气，吸收宇宙能量，以改变与催旺运势，可谓是全马人气最旺的开运活动之一。
一向力求创新与进步的鲍一凡老师，更是设法纳入老祖宗的祝福与加持，强化立春开运法。她所推出的“立春开运服”盖有华夏两位始祖——轩辕黄帝与神农炎帝的印玺，借助老祖宗的力量，强化立春开运法，注入源源不断的力量。
与此同时，鲍一凡老师凭着坚实的基本功及对风水独特的见解，经常受邀到全国各地及邻国进行风水讲座，成为许多国际大型机构和居家风水讲座的嘉宾兼讲师。不仅如此，鲍一凡老师平日里也热心于公益慈善及宗教活动，因此她不但是多家发展商的御用风水顾问，更也获多间寺庙委任为风水顾问，同时也是中华文化的传承大使。
鲍一凡老师的种种成就与经历，使她在风水界中颇负盛名，是当之无愧的全马最具影响力风水师之一。

Master Paw Yi Fan (‎鲍一凡‬), whose real name is Paw Sandy (鲍珊吏), is a well-known international Feng Shui master in Malaysia. She was born in Muar, Johor, Malaysia, while her ancestral home is Yong Chun in Fujian, China. Master Paw’s birthday is on 7th day of the 9th lunar month, which coincides with the Yin year, Yin month, Yin day and Yin hour. In addition to the rare state of pure Yin in Master Paw’s Bazi, the feminine is also characterised as Yin energy, all of this contributed to a pure Yin body for Master Paw. This unique feature is a gift from the heaven, she is destined to be a Feng Shui master in her life. On top of that, Master Paw is the only Feng Shui master who has the ‘Pure Yin Bazi’ in Malaysian metaphysical field.
After exposed to Feng Shui knowledge, Master Paw holds the belief that people can control their own destiny, even the “Innate Destiny” can be improved through efforts. As a theory that integrates astronomy, geography and astrology, Feng Shui is one of the keys to change our destiny and luck. Therefore, Master Paw studies thoroughly on the Feng Shui Astrology and devotes herself in academic and metaphysical, and has accumulated a wealth of experience in Feng Shui through many years of practice.
Master Paw firmly believes that, “Feng Shui is an ancient Chinese philosophy of life, heritage of ancestral wisdom, and the most concrete practice of the ideas of I Ching (易经). Feng Shui may be an ancient industry, yet it never grows old.” For that reason, Master Paw strives for promoting the Feng Shui culture and instilling the correct concept of Feng Shui, and will never endorse any superstitions. Besides, she is also the very first Feng Shui master who initiate the “Journey of Seeking Roots to China” to worship our Chinese ancestors. Master Paw also an active participant in Chinese traditional customs and ritual activities, and contributed heavily to the promotion of Buddhism and Taoism with her relentless efforts. Master Paw is a prominent female Feng Shui master, which is rare, in the Malaysian Feng Shui community.
Master Paw aspires to guide people to use the ancestral wisdom of Chinese to change their own destiny and luck. In order to achieve this business philosophy, she has been continuously expanding and corporatizing her Feng Shui business for the sake of the public. At last, Master Paw has founded My Feng Shui Holdings in 2019 after years of efforts. At the same time, the companies previously established by Master Paw in Malaysia, Singapore and China has been incorporated into My Feng Shui Holdings as subsidiaries.
Under the guidance of Master Paw, My Fengshui Holdings uphold the missions to “unite and forge ahead, share Feng Shui information, create values, and promote harmony and prosperity”. It provides professional and precise services which includes different aspects in life such as Feng Shui, Naming, Chinese Astrology, Date Selection, in order to improve the life quality of customers and achieve a perfect life.
Master Paw, who is well up in Feng Shui knowledge, has extended her career to the crystal which also known as the “Feng Shui Stone”. Since the natural crystals condense the aura of heaven and earth for millions or even billions years, each of them contain spiritual and magical effects. As a Feng Shui master, Master Paw knows that crystals can improve the magnetic field and fortune of the residences and people themselves. Therefore, she established her own crystal brand, Dynasty Power Crystal, in 2017. In order to offer high quality of crystals to the public, Master Paw visits other countries and do a rigorous screening, cleansing and blessing for the crystals by her own to ensure every product of Dynasty Power Crystal is full of positive energy and can bring good luck.
Apart from a good brand, Master Paw tries every means to utilise the natural energy of crystals to improve people’s luck. So, Master Paw who has a discerning eye spent a lot of thought, money, and time on conceiving a great way to improve luck. In 2018, Master Paw established the world’s first crystal energy field with natural crystals, and named it “Dynasty Crystal Energy Field”. On top of that, the Dynasty Crystal Energy Field has been open to the public for free since established. Everyone is welcomed to sit or lie on different crystals to cleanse the negative energy of the body and improve luck.
Paw’s ambitions are not limited to the domestic market. She sets her mind on the international expansion with global vision, and took aim at the largest crystal market in China. In 2019, Master Paw established her own crystal factory in, The Crystal City, Donghai. The crystal products produced by her factory are basically made of Donghai natural crystals, every of them is full of the pure nature energy.
Not only that, as a Feng Shui master, Master Paw steeps herself in Chinese culture and conceptualise ways to boost people’s luck from it. On the basis of the 24 solar terms, Master Paw has shared the “Way of Boosting Luck on Li Chun” since 2010. This is because Li Chun, the first solar eclipse in the 24 solar term, is a significant moment for the awakening of the cosmic energy. Therefore, it’s when magnetic field of universe reaches its peak and a great chance of getting good luck. After actively promoted for several years, the “Way of Boosting Luck on Li Chun” is now getting positive feedback. The “Boosting Luck on Li Chun Activity” initiated by Master Paw, which is one of the most popular events in Malaysia, has gathers thousands of Chinese using the “Way of Boosting Luck on Li Chun” to absorb the heaven and earth aura and cosmic energy, hence changing and improving luck.
Master Paw, who always strive for continuous innovation and improvement, has tried to incorporate the blessings of the ancestors to strengthen the benefits of the “Way of Boosting Luck on Li Chun”. She has produced the “Lucky Li Chun T-Shirt” which has received the blessing of Yellow Emperor and Yan Emperor with their imperial seals stamped on it. With the power of the ancestors, it can strengthen the “Way of Boosting Luck on Li Chun” and provide infinite power.
At the same time, Master Paw is often invited to give talk regarding Feng Shui for many large international institutions and home Feng Shui lecture all over the country and neighbouring countries as she has solid foundation and unique perspectives on Feng Shui. Besides, Master Paw is also enthusiastic about charity and religious activities, hence many temples had appointed her as their Feng Shui consultants, meanwhile, she is also the Chinese Cultural Ambassador.
The various achievements and experiences of Master Paw has won a good reputation in industry and made her one of the most influential Feng Shui masters in Malaysia.

#Masterpaw #鲍一凡老师 #风水师 #马来西亚

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)