SKU: 39640550098

Luxman D 500X's

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Description

Luxman D 500X'sRare lecteur CD Luxman D 500X's en parfait tat esthtique et de fonctionnement. Cet appareil a t intgralement rvis par notre quipe de techniciens spcialiss. Ce lecteur trs haut de gamme bnficie d'une fabrication de haut vol. Mont dans un chssis recouvert de cuivre, cet appareil au format XXL dispose d'une faade en aluminium anodis champagne lgrement ros, d'un display trs lgant et de touches de commande en aluminium assorties. Ce lecteur dispose d'un

Rare lecteur CD Luxman D 500X's en parfait état esthétique et de fonctionnement. Cet appareil a été intégralement révisé par notre équipe de techniciens spécialisés.

Ce lecteur très haut de gamme bénéficie d'une fabrication de haut vol. Monté dans un châssis recouvert de cuivre, cet appareil au format XXL dispose d'une façade en aluminium anodisé champagne légèrement rosé, d'un display très élégant et de touches de commande en aluminium assorties.

Ce lecteur dispose d'un chargement avec une porte sur le dessus qui n'est pas sans rappeler un certain Studer D730. Toute la partie lectrice possède une structure flottante fixée à une base solide pour fournir un mécanisme extrêmement résistant aux vibrations externes.

Le Luxman D 500X's est équipé du mécanisme Philips CDM-3, il utilise un DAC de très haute précision pour la conversion numérique analogique.

L'alimentation est équipée d'un transformateur de puissance puissant de classe 100 VA, et les enroulements de ligne 5 des sections amplificateur analogique DAC, décodeur, fonctionnement, affichage et accessoires sont séparés pour fournir une alimentation complètement indépendante avec des régulateurs indépendants pour chaque section.

En particulier, l'alimentation de la section analogique est soigneusement nettoyée en appliquant un blindage électrostatique sur l'enroulement à l'intérieur du transformateur.

Le châssis est conçu pour être totalement non résonant et sans vibrations.

Tout d’abord, la structure globale est en forme de coin pour éliminer les vibrations et les torsions naturelles, garantissant ainsi une stabilité extrêmement élevée contre divers modes de vibrations externes.

De plus, la section du mécanisme principal présente une excellente rigidité et résistance aux vibrations, grâce au plastique renforcé de fibres de verre, au panneau supérieur en aluminium épais, et le bois latéral. La résonance et les vibrations sont supprimées grâce à l'utilisation de matériaux avec différents modes de vibration.

De plus, la structure interne est conçue pour atteindre une rigidité élevée en combinant une conception de plaque à double fond dans laquelle la partie mécanisme, la partie alimentation, et le système de signal sont divisés, et un panneau supérieur épais.

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La livraison de cet appareil est possible sur demande. Veuillez nous contacter directement par e-mail.

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SKU: 39640550098

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4.4 ★★★★★
Based on 24 reviews
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pepe
Chelsea, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
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Reviewed in the United States on February 5, 2013
C
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Charles H. Hooker Jr.
San Leandro, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
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Reviewed in the United States on July 4, 2023
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Donald Walker
Port Orchard, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
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Judith R. Hert
Carnegie, US
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
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Reviewed in the United States on February 22, 2015
C
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Common Arts Farm
Dallas, US
★★★★★ 4
Creativity which has the power to change the world
A few caveats to those who are generally interested in creativity studies: Csikszentmihalyi's analysis and discussion of creativity does not directly relate to those who are personally creative. People who enjoy engaging in creative activities are not demoted, in his terms, but are simply not a part of the study. It is unfortunate that his language makes it seem this way; he distinguishes between the two by saying that Creativity has the power to shape a domain or the world, while creativity applies to those who enjoy coming up with new recipes, who are engaged in research that may not change a domain, but may "tweak" it, etc. What he is trying to discover are the underlying principles and traits of creativity in those whose work has made a significant change. Think Albert Einstein, Eleanor Roosevelt, Mark Strand: people who are either widely known for their influence, or who have been influential within their area or domain. This book provides an interesting view into the minds and work habits of Creative individuals, and concludes by offering general advice to those who wish to make their own lives and work more creative. It is a useful book, but one which requires a great deal of supplemental reading, in order to truly engage in creativity studies.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 29, 2003

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