關於 upper structure construction ，我們在網路上蒐集到這些相關的討論、資訊與評價

GRANDIOSO K1X

"Two revolutions integrated. Two revolutions connecting people to music... The VRDS-ATLAS and Master Sound Discrete DAC - now come to fruition in an integrated player that carries the name… Grandioso ( Grandioso (music): Grand or noble)."

An unprecedented transport mechanism that invites you to the furthest reaches of sound.

VRDS (Vibration-Free Rigid Disc-Clamping System) is Esoteric's unique CD/Super Audio CD transport technology, which has been specially designed to clamp the disc to a same-diameter turntable in order to eliminate the disc's rotational vibration, as well as any extraneous vibration emanating from the mechanism itself. It also corrects any warpage of the disc, dramatically improving the accuracy of both the optical pickup and the disc pit layer's corresponding optical axis, while also minimizing servo current. This all adds up to dramatically reduced disc read error for exceptional audio quality.

The new VRDS-ATLAS platform boasts unprecedented mechanical perfection and superlative audio quality, with heavyweight construction that is fully 127% heavier than previous iterations (6.6kg for the mechanism alone, and 13.5kg including its base). This highest rigidity and weight in the history of VRDS mechanisms has the effect of greatly reducing any and all vibration that could adversely affect audio quality. The transport's larger new side panels and bridge are all formed of SS400 steel, and its turntable is made from duralumin, which is renowned for its excellent sound quality. Also, its spindle features a newly designed thrust bearing system, for a friction-free one-point spindle support system that ensures smooth, noiseless turntable rotation.

Esoteric's impressive VRDS-ATLAS is the quietest and most elegant transport in the history of VRDS. The key to achieving this was a resolute focus on mechanical grounding technology that more effectively reduces vibration.

Adopting a wide & low-profile design for the entire mechanism helped achieve a lower center-of-gravity, and relocating the turntable motor to below the turntable from its previous position above the bridge dramatically shortened the route for grounding vibration and reducing mechanical noise. Tray hollowing has also been minimized for increased rigidity, and special stoppers made from vibration-absorbing elastomer cancel out resonance when the tray is stored.

The Grandioso K1's mighty power supply was the key to its powerful and profound three-dimensional sound. With the introduction of its new X version, this power supply has been dramatically enhanced to add further depth to its exceptional audio tone. Its built-in D/A converter features independent power transformers for left and right channels, and the K1X includes a total of four independent toroidal power supply transformers. Furthermore, technologies cultivated in the development of the Grandioso P1X/D1X have also been adopted, including a new low-feedback DC power supply regulator featuring a discrete circuit configuration which contributes to its powerful open sound. The K1X also contains a total of 76 EDLC* supercapacitors (with a total capacity of 2,050,000µF or 2.05F). This greatly increased power supply capacity provides a tremendously improved sound quality for exceptional resolution in the lower frequency ranges.

*EDLC (Electric Double-Layer Capacitor):A special type of capacitor boasting an astoundingly high capacity compared to the electrolytic capacitors used in conventional audio equipment.

The VRDS-ATLAS transport mechanism is centrally located within the chassis, where it is fixed to a 5mm-thick steel bottom plate and supported by four proprietary pinpoint feet (patent no. 4075477 and 3778108). This effectively isolates the rotational mechanism from vibration. The internal structure of the chassis features a double deck design, with the audio boards on the upper level and power supply circuits and transformers on the lower level to minimize magnetic flux leakage and vibration, while also shortening the power supply wiring.

Semi-Floating Top Panel

The enclosure's top panel utilizes a screwless semi-floating structure that further contributes to an open and expansive sound.

Master Sound Discrete DAC

Bringing out all the dynamics and energy of the original master recordings.

Master Sound Discrete DAC Bringing out all the dynamics and energy of music.

Unattainable by integrated chips, our goal was to assemble carefully selected and tested discrete components into a complete circuit that could perfectly reproduce all the dynamics and energy of music. Our top engineering teams put their pride on the line to design and produce a quality of sound that can only be found in the Master Sound Discrete DAC discrete D/A converter.

The K1X's Master Sound Discrete DAC is the most revolutionary two-channel stereo DAC circuit in Esoteric's history, and is based on the original circuit developed for the Grandioso D1X monaural D/A converter.

As an extension of the D1X's design philosophy, a luxurious volume of materials have been invested in the construction of K1X's Master Sound Discrete DAC. For example, it features 32 separate elements for each channel. Key components such as a clock driver, logic circuit, and capacitors and resistors, are kept independent for each of these 32 elements to ensure the purest output without no loss of musical energy.

The K1X's independently developed Δ∑ modulator supports 64-bit/512Fs and the latest high-end digital formats, including of 22.5MHz DSD and 768kHz PCM signals. The FPGA's* dedicated digital processing algorithm was developed exclusively for the Master Sound Discrete DAC, and has been fully optimized for outstanding playback of both DSD and PCM digital audio data.

Advanced Quality Control

With a discrete DAC, where component tolerances are directly linked to arithmetic precision, highly advanced quality control is also required for the manufacture of electronic circuit boards. Esoteric's own in-house factory boasts some of the world's leading board mounting technologies, such as soldering performed in an oxygen-free furnace, which is located in a clean room featuring the same level of cleanliness found in a hospital operating room. Technologies cultivated in the production of electronic circuit boards for audio, medical, aerospace, and defense industries support the high production quality of the Master Sound Discrete DAC.

The ESOTERIC-HCLD output buffer amplifier boasts an amazingly high-speed slew rate (response speed) of 2,000V/µs. Current transmission and speed—the most important factors for an analog output circuit—have been pushed to the limits to reproduce the reality of music with a dynamic range that is truly breathtaking.

In addition to its XLR and RCA amplifier line connections, the K1X also features the ES-LINK Analog method of current transmission. Taking full advantage of the HCLD buffer circuit's powerful current supply makes the K1X less susceptible to the detrimental effects of impedance on the signal route. It also enables a more powerful signal transmission, fully driving connected compatible devices.

A high-accuracy clock circuit is the key to achieving superlative sound quality in digital audio playback. A top-quality clock circuit is truly the heart of any high-end digital player. The K1X now features the superb Grandioso Custom VCXO II clock originally developed for the Grandioso P1X/D1X. This clock was developed with carefully considered modifications made to the earlier model's internal circuitry and components to more vividly emphasize the K1X's ultimate audio quality while further boasting remarkably low phase noise and excellent center precision (±0.5ppm).

The K1X can also be connected to the Grandioso G1 Master Clock Generator for playback, with internal circuits synchronized to a 10MHz clock that features the same high precision as an atomic clock, enabling further pursuit of high sound quality.

D/A Converter Functions for External Input, D/D Conversion, MQA Support & USB Input

In addition to its coaxial and optical inputs, the K1X also features a USB type-B port that is compatible with both 22.5MHz DSD and 768kHz/32-bit PCM asynchronous signal transmission, thus enabling it to also be used as a stand-alone D/A converter. Functions are provided for upsampling a PCM digital signal to 2/4/8/16× (max. 768kHz) and converting PCM to DSD. The K1X is also compatible with MQA-CD decode playback and full MQA decoding for playback of various digital inputs including USB.*

*MQA certification is pending as of August, 2019, and support is scheduled to be added via a software update as soon as certification is complete.

(Source: Esoteric Japan)

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)

) is ..Tsutenkaku (.. belvedere that builts in the center part in the vicinity of the new world in Osaka Prefecture Osaka City Naniwa Ward. Registering material cultural asset in country. It is familiar as one of the symbols of Osaka, and famous as the tourist spot.
Design and structure

* Main body: Iron frame make (a part of iron frame ferroconcrete make)
o ..tower.. height: 100m on the ground
o Width: 24m
o Between legs: 24m.
* Observatory: Iron frame reinforced concrete Concut make (two surrounding
glass -lined stories)
o Height: Even 84m and the second floor floor are 87.5m even in the
first floor floor.
* Supplementary building: Iron frame ferroconcrete make
* The performance: The earthquake of the Great Kanto Earthquake class and
the strong wind of 70 meters in the velocity of the wind can be stood.

Outline

Present Tsutenkaku was completed by the second generation in 1956(1956). Sightseeing..Ltd...Ltd.. It is managed. Height including the lightning rod is 103m(The height of the tower is 100m). The designer is Naito multi relations that handle the Nagoya television tower and Tokyo Tower, etc. almost made a simultaneous period. It is Okumura Construction that constructed construction.

It is a Confucianism person, and Fujisawa south Gaku that named, "Tsutenkaku" in the meaning "High
building that runs to the heaven" at the beginning of the Meiji era.

Hitachi Ltd. of the total electric machine enterprise has published an ad to the side in the tower since 1957 a finished year of Yoc (1957). It is assumed that it is a start that the speculation of sightseeing in Tsutenkaku to look for the major company that can publish an ad by extending over a long period of time for Hitachi and the funding to have tried to advance to Osaka in rivalry with the major electric machine enterprise (Matsushita Electric Industrial Co., Ltd., SANYO Electric, and Sharp, etc.) in local at that time agreed with coming put on the advertisement by Hitachi. Detaching (Refer to the Cda article) and the citizens who felt the sense of incompatibility for the signboard without the mark at that time were not few in 2001 when Hitachi had discontinued it before though "Child mark of the turtle" that was the company pin of Hitachi had been put on the upper part of the advertisement either.

It interrupted, the environmental pollution etc. such as the urban ozones became factors, too and one million people were decreased sharply to about 200,000 people in 1975 in 1965 in 1956 when Ta was gotten in the second generation Tsutenkaku though the visitor had been exceeding 1.55 million people during year. The recovery tendency was gradually shown afterwards, there were a television program that made Tsutenkaku a stage and a rise among which the spit cutlet was popular, too and it recovered by one million people or more in 900,000 people and fiscal year 2007 in 2006. As for attendance figures increase in Tsutenkaku, sightseeing in Tsutenkaku is one to comment, "A young person might be requesting the emotion that seems to be Osaka from the new world".
It shines when 0 minutes per hour have passed in addition since the entire tower was colored because of the light of the neon based on the golden color and white at nighttime by the gradation with a vivid face of a large clock on the tower east side side. Neon is remodeled every about five years, and the present one is the 12th generation. Moreover, the neon light that shows next day's weather forecast by combining four colors lights to the tower top (fine = white and cloudy weather = bitter orange and rain = blue and snow = pink). The device of this neon light is connected with Osaka District Meteorological Observatories by the lease line, and is the one that the mechanism that forecast is displayed based on information from there it, was produced by Hitachi Ltd. in 1979(1979), and set up.

It was removed when the neon of this age was renewed, and the belt in three main lines in side was installed afterwards though it hung under the view room out the chapter of the monogram company of Hitachi Ltd. in 2001.

It was updated made in Hitachi in 2001 though an elevator at that time at the time of completed the second generation was made of the Orient Ortis elevator (present and Japanese Ortis elevator).

When the 50th rebuilding anniversary came in 2006, repair work was done. The color of neon was changed besides the shape of a large clock was changed to the octagon by Maru, and it came to stand out more.