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)
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curtain wall installation 在 驚嘆號星球人& 橘橘 / Exclamation Alien & Orange Facebook 的最佳解答
四年前我在西班牙藝術進駐好開心!
這是我做的作品禮物窗❤️
20150425 Open studio in Can serrat 西班牙第二牆-作壁計劃 second wall doodling!
作品簡介
1, 禮物窗
我在Can serrat旁邊找到一個破掉老去的窗戶,看到的第一眼覺得他好像被遺棄了,被丟在外面風吹日曬雨淋,所以我決定把他撿回來修理修理,並給他一個大大的笑臉,把他變成一個世界上最開心的窗戶~而這個窗就像是一個禮物,當你站在他的面前,你可以從鏡子中看見自己,是的! 你就是世界上最好的禮物!
2. 遊戲一
我在Can serrat的四處畫了好多個驚嘆號星球人,總共大概有14個~你能把所有的找到並拍下來給我看,就可以得到禮物唷!!!
3. 驚嘆號星球作壁計畫現場即興創作
是的~你在can serrat一樓通往二樓的樓梯間可以看到橘橘西班牙的第一牆,現在也就是open studio的當天,橘橘將現場即興創作,敬請期待!
4. 驚嘆號色彩進化
當橘橘抵達Can serrat的時候,發現周圍有好多色彩鮮豔的植物佈滿整個花園,所以把這些顏色蒐集起來,把他們放進去用描圖紙做得小盒子,然後每過幾天觀察並拍下不同的樣貌,結果發現有好多的鮮明色彩逐漸老去褪色變皺變乾燥;想透過這樣的作品提醒自己,和想傳達生命是短暫的,都應該要一起珍惜當下生命的美!
5. 遊戲二
桌上有橘橘精心準備的乒乓球兒,只要站在規定的範圍內,將球投入杯子裡,就可以得到橘橘準備的禮物!(看似簡單,但其實難度很高咧~)
6. 簡介橘橘在台灣的工作(西門紅樓),以及介紹台灣的藝術村竹圍工作室。
Works information.
1.) Window Gift
I found an old broken window. I fixed it, painted it beautiful colors, and placed a ribbon on top, transforming it into a present. Then I placed mirrors where the broken glass had been. If you are standing in front of the window, you can see yourself in the mirrors. You are now the best gift in the world!
2.) Game #1
I have a large body of work that centers around a character I call Exclamation Alien. Exclamation Alien can be seen throughout the building of Can Serrat. You will know him when you see him: his nose is an exclamation mark. The first 5 people who can find all 13 exclamation aliens in the house of Can Serrat and take pictures of them on their phones or cameras (and show them to me) will win a prize!
3.) Wall Doodling (live!)
This work is an improvisation; I will draw a new piece during our show. The entire work will be composed of basic geometric shapes. This is part of my ongoing series about Exclamation Alien.
Backstory: Exclamation Alien is from a world that is made only of simple shapes. The colors of his world are so brilliant that the human eye cannot perceive them. Therefore, all my drawings of Exclamation’s planet are black and white. You can imagine all the amazing colors that desire!
4.) Color Evolution
When I arrived at Can Serrat, I collected plants with vibrant colors from the gardens surrounding the house. I arranged them by color in small boxes made of tracing paper. Each day I observed and photographed the changes in their appearance. Their botanical beauty faded. As they aged, they all became wrinkled, dry, and brown. With this project I wanted to show that life is ephemeral, therefore we need to pay attention and cherish the beauty of life immediately.
In contrast to Exclamation Alien’s world, we can see the colors of our own planet. The colors of our world are amazing. We should appreciate them each day.
And we should give thanks for the beauty of each other!
5. Game #2
In this game you must bounce an Exclamation Alien Ping-Pong ball on the table and into the cup. You will receive five chances to get a ball into the cup. You must bounce the ball once. If you get a ball into the cup, you will win a prize.
6. In Taiwan, I worked as a manager in a historic house called the Red House, a century-old market place in Taipei. Several years ago this historic site was transformed into a modern market and cultural center. If you visit Taipei, you should see the Red House!
Taiwan also has many opportunities for artists. Artist interested in travelling to Taiwan should check out the Bamboo Curtain Studio. This residency hosts visual, installation, and performance artists from all over the world. The mission of the residency is to promote an understanding of emerging art trends in Taiwan and cross-cultural exchanges between artists
curtain wall installation 在 驚嘆號星球人& 橘橘 / Exclamation Alien & Orange Facebook 的最佳解答
橘在西班牙畫的第二面牆❤️還有藝術進駐創作的其他作品😘
20150425 Open studio in Can serrat 西班牙第二牆-作壁計劃 second wall doodling!
作品簡介
1, 禮物窗
我在Can serrat旁邊找到一個破掉老去的窗戶,看到的第一眼覺得他好像被遺棄了,被丟在外面風吹日曬雨淋,所以我決定把他撿回來修理修理,並給他一個大大的笑臉,把他變成一個世界上最開心的窗戶~而這個窗就像是一個禮物,當你站在他的面前,你可以從鏡子中看見自己,是的! 你就是世界上最好的禮物!
2. 遊戲一
我在Can serrat的四處畫了好多個驚嘆號星球人,總共大概有14個~你能把所有的找到並拍下來給我看,就可以得到禮物唷!!!
3. 驚嘆號星球作壁計畫現場即興創作
是的~你在can serrat一樓通往二樓的樓梯間可以看到橘橘西班牙的第一牆,現在也就是open studio的當天,橘橘將現場即興創作,敬請期待!
4. 驚嘆號色彩進化
當橘橘抵達Can serrat的時候,發現周圍有好多色彩鮮豔的植物佈滿整個花園,所以把這些顏色蒐集起來,把他們放進去用描圖紙做得小盒子,然後每過幾天觀察並拍下不同的樣貌,結果發現有好多的鮮明色彩逐漸老去褪色變皺變乾燥;想透過這樣的作品提醒自己,和想傳達生命是短暫的,都應該要一起珍惜當下生命的美!
5. 遊戲二
桌上有橘橘精心準備的乒乓球兒,只要站在規定的範圍內,將球投入杯子裡,就可以得到橘橘準備的禮物!(看似簡單,但其實難度很高咧~)
6. 簡介橘橘在台灣的工作(西門紅樓),以及介紹台灣的藝術村竹圍工作室。
Works information.
1.) Window Gift
I found an old broken window. I fixed it, painted it beautiful colors, and placed a ribbon on top, transforming it into a present. Then I placed mirrors where the broken glass had been. If you are standing in front of the window, you can see yourself in the mirrors. You are now the best gift in the world!
2.) Game #1
I have a large body of work that centers around a character I call Exclamation Alien. Exclamation Alien can be seen throughout the building of Can Serrat. You will know him when you see him: his nose is an exclamation mark. The first 5 people who can find all 13 exclamation aliens in the house of Can Serrat and take pictures of them on their phones or cameras (and show them to me) will win a prize!
3.) Wall Doodling (live!)
This work is an improvisation; I will draw a new piece during our show. The entire work will be composed of basic geometric shapes. This is part of my ongoing series about Exclamation Alien.
Backstory: Exclamation Alien is from a world that is made only of simple shapes. The colors of his world are so brilliant that the human eye cannot perceive them. Therefore, all my drawings of Exclamation’s planet are black and white. You can imagine all the amazing colors that desire!
4.) Color Evolution
When I arrived at Can Serrat, I collected plants with vibrant colors from the gardens surrounding the house. I arranged them by color in small boxes made of tracing paper. Each day I observed and photographed the changes in their appearance. Their botanical beauty faded. As they aged, they all became wrinkled, dry, and brown. With this project I wanted to show that life is ephemeral, therefore we need to pay attention and cherish the beauty of life immediately.
In contrast to Exclamation Alien’s world, we can see the colors of our own planet. The colors of our world are amazing. We should appreciate them each day.
And we should give thanks for the beauty of each other!
5. Game #2
In this game you must bounce an Exclamation Alien Ping-Pong ball on the table and into the cup. You will receive five chances to get a ball into the cup. You must bounce the ball once. If you get a ball into the cup, you will win a prize.
6. In Taiwan, I worked as a manager in a historic house called the Red House, a century-old market place in Taipei. Several years ago this historic site was transformed into a modern market and cultural center. If you visit Taipei, you should see the Red House!
Taiwan also has many opportunities for artists. Artist interested in travelling to Taiwan should check out the Bamboo Curtain Studio. This residency hosts visual, installation, and performance artists from all over the world. The mission of the residency is to promote an understanding of emerging art trends in Taiwan and cross-cultural exchanges between artists
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