偶像派变身——轻改现代酷派2.7
Fitbit Versa 4手冊说明书
使用手冊1.4 版目錄開始 (7)包裝盒內物品 (7)為手錶充電 (8)設定 Versa 4 (8)在 Fitbit 應用程式中查看您的資料 (9)解鎖 Fitbit Premium (10)佩戴 Versa 4 (11)整日佩戴和運動時的佩戴方式 (11)緊固錶帶 (12)慣用手 (13)佩戴與保養技巧 (14)更換錶帶 (14)移除錶帶 (14)安裝錶帶 (15)基本資訊 (16)導覽 Versa 4 (16)基本導覽 (16)按鈕快捷鍵 (17)快速設定 (19)動態磚 (20)調整設定 (20)顯示幕 (20)振動和音訊 (20)通知 (20)目標提醒 (20)靜音模式 (21)快速鍵 (21)語音助理 (21)關於 Versa 4 (21)查看電池電量 (22)設定裝置鎖定 (22)2關閉螢幕 (24)錶面、動態磚與應用程式 (25)變更錶面 (25)重新排列動態磚 (26)管理應用程式 (26)開啟應用程式 (26)移除應用程式 (26)重新安裝應用程式 (27)更新應用程式 (27)調整應用程式設定和權限 (27)語音助理 (28)設定內建 Amazon Alexa (28)與語音助理互動 (28)檢查您的 Alexa 鬧鐘、提醒與計時器 (29)日常生活 (30)天氣 (30)尋找手機 (31)Google 地圖 (31)手機通知 (32)設定通知 (32)查看傳入通知 (32)管理通知 (33)關閉通知 (33)接聽或拒接來電 (34)在腕上接聽手機通話 (35)回覆訊息 (Android 手機) (36)計時 (37)設定鬧鐘 (37)解除或休眠鬧鐘 (37)使用計時器和碼錶 (38)使用碼錶計時 (38)使用倒數計時器追蹤經過的時間 (38)3查看統計資料 (39)追蹤每日活動目標 (40)選擇目標 (40)追蹤每小時的活動 (40)追蹤您的睡眠 (41)設定睡眠目標 (41)深入瞭解長期睡眠行為 (41)瞭解您的睡眠習慣 (41)追蹤您的經期 (41)練習引導式呼吸 (42)查看壓力管理分數 (42)進階的健康指標 (43)運動和心臟健康 (44)自動追蹤您的運動 (44)使用運動應用程式追蹤與分析運動 (45)自訂運動設定 (46)查看您的運動摘要 (46)查看您的心率 (47)自訂心率區間 (48)賺取活動區間分鐘數 (48)接收心率過高通知 (48)檢視您的日常準備分數 (49)檢視心肺健康分數 (50)分享您的活動 (50)感應式付款 (51)使用信用卡和轉帳卡 (51)設定感應式付款 (51)購物 (52)變更預設卡片 (53)支付交通費用 (53)更新、重新啟動和清除 (54)更新 Versa 4 (54)重啟 Versa 4 (54)4清除 Versa 4 (55)疑難排解 (56)找不到心率訊號 (56)沒有 GPS 訊號 (56)其他問題 (57)一般資訊和規格 (58)感應器與元件 (58)材質 (58)無線技術 (58)觸覺反饋 (58)電池 (58)記憶體 (59)顯示幕 (59)錶帶大小 (59)環境條件 (59)瞭解詳情 (60)退貨政策和保固 (60)Regulatory and Safety Notices (61)USA: Federal Communications Commission (FCC) statement (61)Canada: Industry Canada (IC) statement (62)European Union (EU) (63)Argentina (65)Australia and New Zealand (65)Ghana (65)Indonesia (65)Israel (65)Japan (66)Kingdom of Saudi Arabia (66)Malaysia (66)Mexico (66)Morocco (67)Nigeria (67)Oman (67)Paraguay (67)Philippines (68)5Serbia (68)Singapore (68)South Korea (68)Taiwan (68)Thailand (72)United Arab Emirates (72)United Kingdom (73)Vietnam (73)About the Battery (74)IP Rating (74)Safety Statement (74)Regulatory Markings (74)67開始使用 Google 旗下的 Fitbit Versa 4，保持健康狀態並透過例行運動取得更好成果。
酷派 7260操作手册
设为主卡可注册到 GSM 网（上）；在紧急情况下可拨打运营商网络支持的紧 急电话,如 110、119、120 等几个特殊的服务号码，具体支持的号码请向网络 运营商咨询。 注意：请注意保管手机卡，不要弯曲或划伤，也不要接触静电或浸水。 网络费用提示：尊敬的酷派用户：7260 是安卓系统的无线互联网手机，为更 经济合理及便捷上网，建议您致电运营商申请流量包月套餐。如需关闭数据 连接，请从托盘处下拉，点击“关闭网络”，至出现“网络已断开”。
置的正确，不会受到损坏或压力。为避免电击的危险，请在清洁此装置前， 将其从电源处拔下。充电器禁止在室外或潮湿环境中使用。切勿更换充电 器的电线和插头。 ·电池：在第一次使用前，建议您应对新电池（或长期放置不用的电池）进 行至少12小时的充电，但不要超过24小时。电池充电只能在-5℃和+45℃之 间的温度下进行。充电完成后请及时拔除充电器或充电数据线。新电池或 长期放置不用的电池需要经过几次完全充电和放电后才能达到其最佳效 能。只允许使用本公司原配的充电器给电池充电。不要将电池短路。不要 将电池扔到火里，以免发生爆炸。 国家标准 GB21288-2007 规范中规定的比吸收率限值是任意 10 g 生物组织、 任意连续 6 min 平均比吸收率(SAR)值不得超过 2.0 W/kg，本产品电磁辐射比 吸收率(SAR)值小于最大值 2.0 W/kg，符合国家标准 GB21288-2007 的要求。 鉴于真实环境中比吸收率会随许多因素而变化，故实际使用中会因许多因素 影响而小于最大值。本产品进网检验测试数据 SAR 值不超过 0.261W/kg。 版次：2012年1月 您的手机
可攜式投影機 V300X V260X V230X V260 V230 使用手冊说明书
型號
V300X/V260X/V230X/V260/V230
使用手冊
2011 年 1 月第一版
DLP 和 BrilliantColor 是 Texas Instruments (德州儀器有限公司)的商標。 IBM 爲 International Business Machines Corporation (國際商業機器公司)的商標或註冊商標。 Macintosh, Mac OS X 和 PowerBook 爲 Apple Inc. (蘋果公司)在美國和其他國家註冊的商標。 Microsoft、Windows、Windows Vista、Internet Explorer、 .NET Framework 和 PowerPoint 爲 Microsoft Corporation (微軟公司)在美國和/或其他國家的註冊商標或商標。 MicroSaver 爲 ACCO 品牌的一個分公司 Kensington Computer Products Group 的註冊商標。 Virtual Remote Tool (虛擬遙控工具)使用 WinI2C/DDC library, © Nicomsoft Ltd。 HDMI、HDMI 標誌和 High-Definition Multimedia Interface 爲 HDMI Licensing LLC.的商標或註冊商標。
切勿讓紙夾和紙屑等異物掉入投影機內。切勿試圖找回可能掉入投影機內的任何物品。切勿將鐵絲或者螺絲起子 等金屬物體插入投影機內。若發現有物體掉入投影機內部，須立即斷開電源，然後委託有維修資格的維修服務人 員取出物體。 切勿在投影機上面放置任何物體。 雷雨天不要觸摸電源插頭。此舉可能引起電擊或者火災。 投影機規定操作電源爲 200-240 伏特 50/60 赫茲交流電。在使用投影機之前，須確認所用電源是否符合本投影機 要求。 切勿在投影機啓動狀態下窺視鏡頭。此舉會導致眼睛嚴重受傷。
Raritan Paragon II 使用指南 Release 4.1 版
電子郵件：support.taiwan@ 星期日到星期五，台北時間上午八時到下午八時
如需力登在全球其他區域的技術支援服務， 請參閱本指南最後一頁的連絡資訊。
安全注意事項 為了防止觸電危險，並且避免可能對力登設備造成損害，請注意以下原則： • 對於任何產品配置，請勿使用兩條導線的電源線。 • 請測試電腦與監視器的 AC 插座，確定有適當的電極與接地。 • 電腦與監視器都只應使用有接地的插座。使用備援不斷電系統 (UPS) 時，請取下電
腦、監視器及設備的電源供應。
機架安裝安全注意事項 對於需要機架安裝的力登產品，請採取下列預防措施： • 密閉機架環境中的操作溫度可能高於室溫。請勿超過設備的規定周圍溫度上限 (請參閱
〈附錄 A：規格〉)。 • 確保機架環境有足夠的空氣流通。 • 在機架上安裝設備務必小心謹慎，避免機構負載不平均。 • 連接設備電源務必小心謹慎，避免電路過載。 • 所有設備務必正確接地，尤其要注意分支電路的電源供應連接，例如電源控制裝置 (若
使用者設定檔參數及設定值變更方式 .................................................................................34 說明 (Help) 選單.......................................................................................................................35 鍵盤控制的 OSUI 功能 .............................................................................................................36 資訊選單 (Information Menu) .................................................................................................37
成都华涛科帕奇改装升级土豪金欧迪臣功放VRX2
科帕奇改装升级土豪金欧迪臣功放VRX2.400和丹拿System_362外形高大硬朗，阳刚威猛，力量感强，这就是科帕奇给我的第一感觉，也是因为如此我对大科一直情有独钟，并非本人贪图外表，大科的内功心法也练到位了，操控性能不错，方向盘较轻，指向性可以，但有时略有模糊；专业SUV车身底盘扎实沉稳，高速行驶及过弯较稳定；离地间隙可自动调节，通过性好，承载力强；轮胎宽大，抓地力强，适时四驱系统可应对复杂路况，越野能力不错。
内饰简洁朴实，风格阳刚大气；豪华配置丰富，在同级车中有较大的优势；中控台布局简单，空调效果不错，整车乘坐舒适性较好；但音响效果一般。
感觉一体格健硕，风度翩翩的帅气小伙却是个哑巴一样，再说本人对音乐那是绝对的发烧友，一次偶然的机会听到了朋友车上的丹拿音响效果彻底打动了我，于是决定对大科的音响系统进行升级改装。
后声场和低音炮之前已经改装升级过了，这次主要升级改装前声场和功放。
改装方案：前声场：丹麦丹拿System_362三分频6.5寸套装喇叭功放：意大利欧迪臣黄金版VRX2.4001升级改装的土豪金欧迪臣功放VRX2.400和丹拿System_362来个特写，都是原包装2因为前声场本来是2分频的，要升级成三分频的，根据车身实际，我们选择在车门上面开孔，放置中音。
34确定了开孔位置以后就开孔作业567开孔完成以后89喇叭垫周围都用超纤皮革进行包裹，看起来会更加美观，但是颜色有差异，没能找到一样的颜色高音是放置在A柱上面，需要倒模，101112高音头安装1314前声场中音，将开孔做好的车门版还原到车门上，然后安装中音1516低音安装在原车前门的门上，安装前后对比图1718车门还原后的低音19功放的放置，功放是用的欧迪臣黄金版的，金光灿灿的土豪金，上面有非常城市总公司总裁的签名哦，20功放放置在尾箱里面21低音炮也是在尾箱里22花了足足2天时间，整个大科的音响升级完成，调音完毕就OK了。
GPD_SE_Access_Control_v1.0
Secure Element Access Control
Version 1.0
Public Release
May 2012 Document Reference: GPD_SPE_013
Copyright 2012 GlobalPlatform Inc. All Rights Reserved. Recipients of this document are invited to submit, with their comments, notification of any relevant patent rights or other intellectual property rights of which they may be aware which might be necessarily infringed by the implementation of the specification set forth in this document, and to provide supporting documentation. The technology provided or described herein is subject to updates, revisions, and extensions by GlobalPlatform. Use of this information is governed by the GlobalPlatform license agreement and any use inconsistent with that agreement is strictly prohibited.
惠普 LaserJet Pro MFP M25-M27 用户指南说明书
F4的广告价值
F4的广告价值2001年，台湾青春偶像剧《流星花园》的热播，在台湾及东南亚都刮起了一股飓风。
F4在青青年心中留下了深深的烙印，专门12-25岁的青青年。
能够如此说，在中学生乃至大学生中不明白《流星花园》的人简直确实是“落伍”。
《流星花园》播后“留”下了四颗“星”：言成旭、周渝民、吴建豪和朱孝天，他们的四人组合确实是本文所讨论的F4。
在此背景下，F4的商业价值浮出水面，同时其身价一路飚升，成为广告代言人市场的新宠。
德国西门子手机以近千万元的酬劳请F4拍广告。
不仅仅是电视广告，F4还显现在西门子手机专卖店（专柜）的宣传折页和立地POP 上。
近千万元的酬劳，令专门多扬名已久的大腕明星“大跌眼镜”。
起初米卢“火”的时候为金六福酒拍广告以及米卢姓名使用权累计也只是200万，而最终只有60万彻完全底地揣进米卢的腰包。
（依照协议，五粮液集团先支付95万，内含30万个人所得税，另105万要依照国足在世界杯的表现，由于国足在世界杯未达到预期目标，剩余的105万搁浅）。
再来看一看其他明星拍广告的身价：张柏芝拍“东洋之花”250万港币，赵薇拍“Red Earth”300万港币，章子怡拍“Tagheuer”300万港币，周星迟拍“娃哈哈”茶饮料1000万港币，金喜善代言TCL手机1000万……要明白，这些明星大腕的广告身价差不多多年沉积，而F4还只是“初生的牛犊”。
哪门又哪派采取品牌形象代言人的广告行销策略对企业来说并不生疏，以叶茂中为首的众多策划人都认为代言人策略是广告行销的利器，采取代言人策略能够使营销事半功倍，用叶茂中的话来说确实是“用1000万能够干2000万的事”。
利用代言人在目标群体中心的良好形象，来烘托、诠释品牌的个性形象，使品牌更加深入人心，更值得信任。
品牌代言人往往充当消费领导或意见领导，引导消费者跟随消费。
目前代言人市场混杂一片，是“星”就差不多有人请，同时流派专门多，为不同类型的企业“效力”。
国内以演艺明星为主流的代言人团队，细分起来有以下几个流派：肉搏派（要紧表达在VCD行业，以成龙、李连杰等明星为代表）、色艺派（要紧代言时尚消费品，以刘德华、巩俐、章子怡等明星为代表）、儒雅派（典型的电子商务类产品代言人，如濮存昕）、冷酷派（以代言饮料为长，如谢霆锋）、黄花派（以张曼玉、王菲等为代表，以气质和内涵代言历史悠久的产品）、奥运派（代言健康产品或信息产品，以伏明霞、刘璇等优秀运动员为代表）、主持派（以李湘、王小丫等为代表）、乡土派（要紧代言与农业相关产品，以赵本山、高秀敏为代表）、夕阳派（以老戏剧演员为代表，代言医药、保健品等）、客串派（如王石客串MOTO手机）、专家派（以专业领域内知名专家学者代言产品，在医药及保健品行业尤为常见）。
Native Instruments MASCHINE MIKRO MK3用户手册说明书
The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MIKRO MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (23)1.1MASCHINE Documentation (24)1.2Document Conventions (25)1.3New Features in MASCHINE 2.8 (26)1.4New Features in MASCHINE 2.7.10 (28)1.5New Features in MASCHINE 2.7.8 (29)1.6New Features in MASCHINE 2.7.7 (29)1.7New Features in MASCHINE 2.7.4 (31)1.8New Features in MASCHINE 2.7.3 (33)2Quick Reference (35)2.1MASCHINE Project Overview (35)2.1.1Sound Content (35)2.1.2Arrangement (37)2.2MASCHINE Hardware Overview (40)2.2.1MASCHINE MIKRO Hardware Overview (40)2.2.1.1Browser Section (41)2.2.1.2Edit Section (42)2.2.1.3Performance Section (43)2.2.1.4Transport Section (45)2.2.1.5Pad Section (46)2.2.1.6Rear Panel (50)2.3MASCHINE Software Overview (51)2.3.1Header (52)2.3.2Browser (54)2.3.3Arranger (56)2.3.4Control Area (59)2.3.5Pattern Editor (60)3Basic Concepts (62)3.1Important Names and Concepts (62)3.2Adjusting the MASCHINE User Interface (65)3.2.1Adjusting the Size of the Interface (65)3.2.2Switching between Ideas View and Song View (66)3.2.3Showing/Hiding the Browser (67)3.2.4Showing/Hiding the Control Lane (67)3.3Common Operations (68)3.3.1Adjusting Volume, Swing, and Tempo (68)3.3.2Undo/Redo (71)3.3.3Focusing on a Group or a Sound (73)3.3.4Switching Between the Master, Group, and Sound Level (77)3.3.5Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.773.3.6Navigating the Software Using the Controller (82)3.3.7Using Two or More Hardware Controllers (82)3.3.8Loading a Recent Project from the Controller (84)3.4Native Kontrol Standard (85)3.5Stand-Alone and Plug-in Mode (86)3.5.1Differences between Stand-Alone and Plug-in Mode (86)3.5.2Switching Instances (88)3.6Preferences (88)3.6.1Preferences – General Page (89)3.6.2Preferences – Audio Page (93)3.6.3Preferences – MIDI Page (95)3.6.4Preferences – Default Page (97)3.6.5Preferences – Library Page (101)3.6.6Preferences – Plug-ins Page (109)3.6.7Preferences – Hardware Page (114)3.6.8Preferences – Colors Page (114)3.7Integrating MASCHINE into a MIDI Setup (117)3.7.1Connecting External MIDI Equipment (117)3.7.2Sync to External MIDI Clock (117)3.7.3Send MIDI Clock (118)3.7.4Using MIDI Mode (119)3.8Syncing MASCHINE using Ableton Link (120)3.8.1Connecting to a Network (121)3.8.2Joining and Leaving a Link Session (121)4Browser (123)4.1Browser Basics (123)4.1.1The MASCHINE Library (123)4.1.2Browsing the Library vs. Browsing Your Hard Disks (124)4.2Searching and Loading Files from the Library (125)4.2.1Overview of the Library Pane (125)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (128)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (133)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (137)4.2.4Selecting a File Type (137)4.2.5Choosing Between Factory and User Content (138)4.2.6Selecting Type and Character Tags (138)4.2.7Performing a Text Search (142)4.2.8Loading a File from the Result List (143)4.3Additional Browsing Tools (148)4.3.1Loading the Selected Files Automatically (148)4.3.2Auditioning Instrument Presets (149)4.3.3Auditioning Samples (150)4.3.4Loading Groups with Patterns (150)4.3.5Loading Groups with Routing (151)4.3.6Displaying File Information (151)4.4Using Favorites in the Browser (152)4.5Editing the Files’ Tags and Properties (155)4.5.1Attribute Editor Basics (155)4.5.2The Bank Page (157)4.5.3The Types and Characters Pages (157)4.5.4The Properties Page (160)4.6Loading and Importing Files from Your File System (161)4.6.1Overview of the FILES Pane (161)4.6.2Using Favorites (163)4.6.3Using the Location Bar (164)4.6.4Navigating to Recent Locations (165)4.6.5Using the Result List (166)4.6.6Importing Files to the MASCHINE Library (169)4.7Locating Missing Samples (171)4.8Using Quick Browse (173)5Managing Sounds, Groups, and Your Project (175)5.1Overview of the Sounds, Groups, and Master (175)5.1.1The Sound, Group, and Master Channels (176)5.1.2Similarities and Differences in Handling Sounds and Groups (177)5.1.3Selecting Multiple Sounds or Groups (178)5.2Managing Sounds (181)5.2.1Loading Sounds (183)5.2.2Pre-listening to Sounds (184)5.2.3Renaming Sound Slots (185)5.2.4Changing the Sound’s Color (186)5.2.5Saving Sounds (187)5.2.6Copying and Pasting Sounds (189)5.2.7Moving Sounds (192)5.2.8Resetting Sound Slots (193)5.3Managing Groups (194)5.3.1Creating Groups (196)5.3.2Loading Groups (197)5.3.3Renaming Groups (198)5.3.4Changing the Group’s Color (199)5.3.5Saving Groups (200)5.3.6Copying and Pasting Groups (202)5.3.7Reordering Groups (206)5.3.8Deleting Groups (207)5.4Exporting MASCHINE Objects and Audio (208)5.4.1Saving a Group with its Samples (208)5.4.2Saving a Project with its Samples (210)5.4.3Exporting Audio (212)5.5Importing Third-Party File Formats (218)5.5.1Loading REX Files into Sound Slots (218)5.5.2Importing MPC Programs to Groups (219)6Playing on the Controller (223)6.1Adjusting the Pads (223)6.1.1The Pad View in the Software (223)6.1.2Choosing a Pad Input Mode (225)6.1.3Adjusting the Base Key (226)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (227)6.3Playing Tools (229)6.3.1Mute and Solo (229)6.3.2Choke All Notes (233)6.3.3Groove (233)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (235)6.3.5Tap Tempo (235)6.4Performance Features (236)6.4.1Overview of the Perform Features (236)6.4.2Selecting a Scale and Creating Chords (239)6.4.3Scale and Chord Parameters (240)6.4.4Creating Arpeggios and Repeated Notes (253)6.4.5Swing on Note Repeat / Arp Output (257)6.5Using Lock Snapshots (257)6.5.1Creating a Lock Snapshot (257)7Working with Plug-ins (259)7.1Plug-in Overview (259)7.1.1Plug-in Basics (259)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (263)7.1.3Loading, Removing, and Replacing a Plug-in (264)7.1.4Adjusting the Plug-in Parameters (270)7.1.5Bypassing Plug-in Slots (270)7.1.6Using Side-Chain (272)7.1.7Moving Plug-ins (272)7.1.8Alternative: the Plug-in Strip (273)7.1.9Saving and Recalling Plug-in Presets (273)7.1.9.1Saving Plug-in Presets (274)7.1.9.2Recalling Plug-in Presets (275)7.1.9.3Removing a Default Plug-in Preset (276)7.2The Sampler Plug-in (277)7.2.1Page 1: Voice Settings / Engine (279)7.2.2Page 2: Pitch / Envelope (281)7.2.3Page 3: FX / Filter (283)7.2.4Page 4: Modulation (285)7.2.5Page 5: LFO (286)7.2.6Page 6: Velocity / Modwheel (288)7.3Using Native Instruments and External Plug-ins (289)7.3.1Opening/Closing Plug-in Windows (289)7.3.2Using the VST/AU Plug-in Parameters (292)7.3.3Setting Up Your Own Parameter Pages (293)7.3.4Using VST/AU Plug-in Presets (298)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (300)8Using the Audio Plug-in (302)8.1Loading a Loop into the Audio Plug-in (306)8.2Editing Audio in the Audio Plug-in (307)8.3Using Loop Mode (308)8.4Using Gate Mode (310)9Using the Drumsynths (312)9.1Drumsynths – General Handling (313)9.1.1Engines: Many Different Drums per Drumsynth (313)9.1.2Common Parameter Organization (313)9.1.3Shared Parameters (316)9.1.4Various Velocity Responses (316)9.1.5Pitch Range, Tuning, and MIDI Notes (316)9.2The Kicks (317)9.2.1Kick – Sub (319)9.2.2Kick – Tronic (321)9.2.3Kick – Dusty (324)9.2.4Kick – Grit (325)9.2.5Kick – Rasper (328)9.2.6Kick – Snappy (329)9.2.7Kick – Bold (331)9.2.8Kick – Maple (333)9.2.9Kick – Push (334)9.3The Snares (336)9.3.1Snare – Volt (338)9.3.2Snare – Bit (340)9.3.3Snare – Pow (342)9.3.4Snare – Sharp (343)9.3.5Snare – Airy (345)9.3.6Snare – Vintage (347)9.3.7Snare – Chrome (349)9.3.8Snare – Iron (351)9.3.9Snare – Clap (353)9.3.10Snare – Breaker (355)9.4The Hi-hats (357)9.4.1Hi-hat – Silver (358)9.4.2Hi-hat – Circuit (360)9.4.3Hi-hat – Memory (362)9.4.4Hi-hat – Hybrid (364)9.4.5Creating a Pattern with Closed and Open Hi-hats (366)9.5The Toms (367)9.5.1Tom – Tronic (369)9.5.2Tom – Fractal (371)9.5.3Tom – Floor (375)9.5.4Tom – High (377)9.6The Percussions (378)9.6.1Percussion – Fractal (380)9.6.2Percussion – Kettle (383)9.6.3Percussion – Shaker (385)9.7The Cymbals (389)9.7.1Cymbal – Crash (391)9.7.2Cymbal – Ride (393)10Using the Bass Synth (396)10.1Bass Synth – General Handling (397)10.1.1Parameter Organization (397)10.1.2Bass Synth Parameters (399)11Working with Patterns (401)11.1Pattern Basics (401)11.1.1Pattern Editor Overview (402)11.1.2Navigating the Event Area (404)11.1.3Following the Playback Position in the Pattern (406)11.1.4Jumping to Another Playback Position in the Pattern (407)11.1.5Group View and Keyboard View (408)11.1.6Adjusting the Arrange Grid and the Pattern Length (410)11.1.7Adjusting the Step Grid and the Nudge Grid (413)11.2Recording Patterns in Real Time (416)11.2.1Recording Your Patterns Live (417)11.2.2Using the Metronome (419)11.2.3Recording with Count-in (420)11.3Recording Patterns with the Step Sequencer (422)11.3.1Step Mode Basics (422)11.3.2Editing Events in Step Mode (424)11.4Editing Events (425)11.4.1Editing Events with the Mouse: an Overview (425)11.4.2Creating Events/Notes (428)11.4.3Selecting Events/Notes (429)11.4.4Editing Selected Events/Notes (431)11.4.5Deleting Events/Notes (434)11.4.6Cut, Copy, and Paste Events/Notes (436)11.4.7Quantizing Events/Notes (439)11.4.8Quantization While Playing (441)11.4.9Doubling a Pattern (442)11.4.10Adding Variation to Patterns (442)11.5Recording and Editing Modulation (443)11.5.1Which Parameters Are Modulatable? (444)11.5.2Recording Modulation (446)11.5.3Creating and Editing Modulation in the Control Lane (447)11.6Creating MIDI Tracks from Scratch in MASCHINE (452)11.7Managing Patterns (454)11.7.1The Pattern Manager and Pattern Mode (455)11.7.2Selecting Patterns and Pattern Banks (456)11.7.3Creating Patterns (459)11.7.4Deleting Patterns (460)11.7.5Creating and Deleting Pattern Banks (461)11.7.6Naming Patterns (463)11.7.7Changing the Pattern’s Color (465)11.7.8Duplicating, Copying, and Pasting Patterns (466)11.7.9Moving Patterns (469)11.8Importing/Exporting Audio and MIDI to/from Patterns (470)11.8.1Exporting Audio from Patterns (470)11.8.2Exporting MIDI from Patterns (472)11.8.3Importing MIDI to Patterns (474)12Audio Routing, Remote Control, and Macro Controls (483)12.1Audio Routing in MASCHINE (484)12.1.1Sending External Audio to Sounds (485)12.1.2Configuring the Main Output of Sounds and Groups (489)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (494)12.1.4Configuring the Master and Cue Outputs of MASCHINE (497)12.1.5Mono Audio Inputs (502)12.1.5.1Configuring External Inputs for Sounds in Mix View (503)12.2Using MIDI Control and Host Automation (506)12.2.1Triggering Sounds via MIDI Notes (507)12.2.2Triggering Scenes via MIDI (513)12.2.3Controlling Parameters via MIDI and Host Automation (514)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (522)12.2.5Sending MIDI from Sounds (523)12.3Creating Custom Sets of Parameters with the Macro Controls (527)12.3.1Macro Control Overview (527)12.3.2Assigning Macro Controls Using the Software (528)13Controlling Your Mix (535)13.1Mix View Basics (535)13.1.1Switching between Arrange View and Mix View (535)13.1.2Mix View Elements (536)13.2The Mixer (537)13.2.1Displaying Groups vs. Displaying Sounds (539)13.2.2Adjusting the Mixer Layout (541)13.2.3Selecting Channel Strips (542)13.2.4Managing Your Channels in the Mixer (543)13.2.5Adjusting Settings in the Channel Strips (545)13.2.6Using the Cue Bus (549)13.3The Plug-in Chain (551)13.4The Plug-in Strip (552)13.4.1The Plug-in Header (554)13.4.2Panels for Drumsynths and Internal Effects (556)13.4.3Panel for the Sampler (557)13.4.4Custom Panels for Native Instruments Plug-ins (560)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (564)14Using Effects (567)14.1Applying Effects to a Sound, a Group or the Master (567)14.1.1Adding an Effect (567)14.1.2Other Operations on Effects (574)14.1.3Using the Side-Chain Input (575)14.2Applying Effects to External Audio (578)14.2.1Step 1: Configure MASCHINE Audio Inputs (578)14.2.2Step 2: Set up a Sound to Receive the External Input (579)14.2.3Step 3: Load an Effect to Process an Input (579)14.3Creating a Send Effect (580)14.3.1Step 1: Set Up a Sound or Group as Send Effect (581)14.3.2Step 2: Route Audio to the Send Effect (583)14.3.3 A Few Notes on Send Effects (583)14.4Creating Multi-Effects (584)15Effect Reference (587)15.1Dynamics (588)15.1.1Compressor (588)15.1.2Gate (591)15.1.3Transient Master (594)15.1.4Limiter (596)15.1.5Maximizer (600)15.2Filtering Effects (603)15.2.1EQ (603)15.2.2Filter (605)15.2.3Cabinet (609)15.3Modulation Effects (611)15.3.1Chorus (611)15.3.2Flanger (612)15.3.3FM (613)15.3.4Freq Shifter (615)15.3.5Phaser (616)15.4Spatial and Reverb Effects (617)15.4.1Ice (617)15.4.2Metaverb (619)15.4.3Reflex (620)15.4.4Reverb (Legacy) (621)15.4.5Reverb (623)15.4.5.1Reverb Room (623)15.4.5.2Reverb Hall (626)15.4.5.3Plate Reverb (629)15.5Delays (630)15.5.1Beat Delay (630)15.5.2Grain Delay (632)15.5.3Grain Stretch (634)15.5.4Resochord (636)15.6Distortion Effects (638)15.6.1Distortion (638)15.6.2Lofi (640)15.6.3Saturator (641)15.7Perform FX (645)15.7.1Filter (646)15.7.2Flanger (648)15.7.3Burst Echo (650)15.7.4Reso Echo (653)15.7.5Ring (656)15.7.6Stutter (658)15.7.7Tremolo (661)15.7.8Scratcher (664)16Working with the Arranger (667)16.1Arranger Basics (667)16.1.1Navigating Song View (670)16.1.2Following the Playback Position in Your Project (672)16.1.3Performing with Scenes and Sections using the Pads (673)16.2Using Ideas View (677)16.2.1Scene Overview (677)16.2.2Creating Scenes (679)16.2.3Assigning and Removing Patterns (679)16.2.4Selecting Scenes (682)16.2.5Deleting Scenes (684)16.2.6Creating and Deleting Scene Banks (685)16.2.7Clearing Scenes (685)16.2.8Duplicating Scenes (685)16.2.9Reordering Scenes (687)16.2.10Making Scenes Unique (688)16.2.11Appending Scenes to Arrangement (689)16.2.12Naming Scenes (689)16.2.13Changing the Color of a Scene (690)16.3Using Song View (692)16.3.1Section Management Overview (692)16.3.2Creating Sections (694)16.3.3Assigning a Scene to a Section (695)16.3.4Selecting Sections and Section Banks (696)16.3.5Reorganizing Sections (700)16.3.6Adjusting the Length of a Section (702)16.3.6.1Adjusting the Length of a Section Using the Software (703)16.3.6.2Adjusting the Length of a Section Using the Controller (705)16.3.7Clearing a Pattern in Song View (705)16.3.8Duplicating Sections (705)16.3.8.1Making Sections Unique (707)16.3.9Removing Sections (707)16.3.10Renaming Scenes (708)16.3.11Clearing Sections (710)16.3.12Creating and Deleting Section Banks (710)16.3.13Working with Patterns in Song view (710)16.3.13.1Creating a Pattern in Song View (711)16.3.13.2Selecting a Pattern in Song View (711)16.3.13.3Clearing a Pattern in Song View (711)16.3.13.4Renaming a Pattern in Song View (711)16.3.13.5Coloring a Pattern in Song View (712)16.3.13.6Removing a Pattern in Song View (712)16.3.13.7Duplicating a Pattern in Song View (712)16.3.14Enabling Auto Length (713)16.3.15Looping (714)16.3.15.1Setting the Loop Range in the Software (714)16.3.15.2Activating or Deactivating a Loop Using the Controller (715)16.4Playing with Sections (715)16.4.1Jumping to another Playback Position in Your Project (716)16.5Triggering Sections or Scenes via MIDI (717)16.6The Arrange Grid (719)16.7Quick Grid (720)17Sampling and Sample Mapping (722)17.1Opening the Sample Editor (722)17.2Recording Audio (724)17.2.1Opening the Record Page (724)17.2.2Selecting the Source and the Recording Mode (725)17.2.3Arming, Starting, and Stopping the Recording (729)17.2.5Checking Your Recordings (731)17.2.6Location and Name of Your Recorded Samples (734)17.3Editing a Sample (735)17.3.1Using the Edit Page (735)17.3.2Audio Editing Functions (739)17.4Slicing a Sample (743)17.4.1Opening the Slice Page (743)17.4.2Adjusting the Slicing Settings (744)17.4.3Manually Adjusting Your Slices (746)17.4.4Applying the Slicing (750)17.5Mapping Samples to Zones (754)17.5.1Opening the Zone Page (754)17.5.2Zone Page Overview (755)17.5.3Selecting and Managing Zones in the Zone List (756)17.5.4Selecting and Editing Zones in the Map View (761)17.5.5Editing Zones in the Sample View (765)17.5.6Adjusting the Zone Settings (767)17.5.7Adding Samples to the Sample Map (770)18Appendix: Tips for Playing Live (772)18.1Preparations (772)18.1.1Focus on the Hardware (772)18.1.2Customize the Pads of the Hardware (772)18.1.3Check Your CPU Power Before Playing (772)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (773)18.1.5Consider Using a Limiter on Your Master (773)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (773)18.1.7Improvise (773)18.2Basic Techniques (773)18.2.1Use Mute and Solo (773)18.2.2Create Variations of Your Drum Patterns in the Step Sequencer (774)18.2.3Use Note Repeat (774)18.2.4Set Up Your Own Multi-effect Groups and Automate Them (774)18.3Special Tricks (774)18.3.1Changing Pattern Length for Variation (774)18.3.2Using Loops to Cycle Through Samples (775)18.3.3Load Long Audio Files and Play with the Start Point (775)19Troubleshooting (776)19.1Knowledge Base (776)19.2Technical Support (776)19.3Registration Support (777)19.4User Forum (777)20Glossary (778)Index (786)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE MIKRO Quick Start Guide: This animated online guide provides a practical ap-proach to help you learn the basic of MASCHINE MIKRO. The guide is available from theNative Instruments website: https:///maschine-mikro-quick-start/2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:►Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.Document Conventions1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues.The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information canbe expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software andpaths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in thesoftware is printed in blue. Whenever you see this formatting applied, you will find thesame text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you seethis formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you seethis formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.1.3New Features in MASCHINE2.8The following new features have been added to MASCHINE: Integration▪Browse on , create your own collections of loops and one-shots and send them directly to the MASCHINE browser.Improvements to the Browser▪Samples are now cataloged in separate Loops and One-shots tabs in the Browser.▪Previews of loops selected in the Browser will be played in sync with the current project.When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running. If a loop preview starts part-way through the loop, the loop will play once more for its full length to ensure you get to hear the entire loop once in context with your project.▪Filters and product selections will be remembered when switching between content types and Factory/User Libraries in the Browser.▪Browser content synchronization between multiple running instances. When running multi-ple instances of MASCHINE, either as Standalone and/or as a plug-in, updates to the Li-brary will be synced across the instances. For example, if you delete a sample from your User Library in one instance, the sample will no longer be present in the other instances.Similarly, if you save a preset in one instance, that preset will then be available in the oth-er instances, too.▪Edits made to samples in the Factory Libraries will be saved to the Standard User Directo-ry.For more information on these new features, refer to the following chapter ↑4, Browser. Improvements to the MASCHINE MIKRO MK3 Controller▪You can now set sample Start and End points using the controller. For more information refer to ↑17.3.1, Using the Edit Page.Improved Support for A-Series Keyboards▪When Browsing with A-Series keyboards, you can now jump quickly to the results list by holding SHIFT and pushing right on the 4D Encoder.▪When Browsing with A-Series keyboards, you can fast scroll through the Browser results list by holding SHIFT and twisting the 4D Encoder.▪Mute and Solo Sounds and Groups from A-Series keyboards. Sounds are muted in TRACK mode while Groups are muted in IDEAS.。
ＳＶＧ＋ＦＣ装置在交流电弧炉系统中的应用
本文针对安装 ＳＶＧ＋ＦＣ治理装置的某钢厂交流电弧 炉配电系统开展电能质量测试，结合 ＳＶＧ工作原理与运 行特性，对比电弧炉配电系统治理前后的无功功率、闪变、
— ８９—
总第 ２８８期 冶 金 设 备
２０２３年增刊（１）
测试过程中，ＥＡＦ、ＬＦ冶炼过程中无功功率呈现快速大幅
变动，无功功率最大值达到 １２２２７Ｍｖａｒ，使用 ＦＣ的固定
容性无功输出 补 偿 作 为 基 础 补 偿，ＳＶＧ的 快 速 无 功 功 率
连续平滑双向调节能力进行快速跟踪补偿，冶炼过程中的
5SNT
5SNT
5SNT
5SNT
5SNT
5SNT
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图 ２ 闪变改善率与补偿率、响应时间的对应关系 ３ 配电系统
ＳＶＧ有三种运行模式：空载运行模Байду номын сангаас、容性无功运行
模式、感性无功运行模式。图 １ｂ）为 ＳＶＧ的等效电路示意 图，设 电 网 电 压 与 ＳＶＧ输 出 的 交 流 电 压 分 别 为 ＵＳ 和 ＵＳＶＧ。连接电抗器 ／变压器上的电压为 ＵＬ，即为 ＵＳ和 ＵＳＶＧ 的向量差，连接电抗的电流是 ＳＶＧ从电网吸收的电流 ＩＬ。 在容性无功和感性无功运行模式下，如图 １ｃ）所示，ＵＳＶＧ与 ＩＬ相差 ９０°，通过调节 ＵＳＶＧ的幅值和 ＵＳ 与 ＵＳＶＧ的相位差 δ，产生的电流 ＩＬ 的幅值和相位也随之改变，也就控制了 ＳＶＧ的输出模式和大小。在空载运行模式下，ＵＳ ＝ＵＳＶＧ，
目前交流电弧炉电能质量治理多采用 ＴＣＲ＋ＦＣ型静 止无功补偿装置（ＳＶＣ），但由于晶闸管固有特性，装置响
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视 线。后来上市的第二代产品 ，在外 形上抄足 其实未必 。本期为大家带来一辆特 别版本 的酷 实在令人扫兴 ．也 与酷派跑车身份不符。 派 ．来看 看改装后的酷派是番能散发 出另外一 针对这辆 酷派 的动力特点 ．车主首 先用高 流量 的进气冬 菇头代 替了原厂的产品。这样 的 进气装置进气 阻力比较低 ．进气流量更 大．也
机 ．性能上 还是 没有大的突破。直 到这一代的 种迷人 的跑车 味道。
酷派登场 ．现代公 司位于首尔 的 Ｎ Ｍ Ａ Ｇ工 Ａ ＹＮ
作室 。将 Ｅ ＤＧＥ Ｓ ＹＬ ＤＥ ＧＮ （ —Ｔ Ｅ Ｓｌ 边峰设计 ）
动力不足 ，变速箱补救
这辆酷派 可以算得上是酷派 系列里的顶级
许在 引擎低转 速时改善并不明显 ．但 是每当车 主想拉一下高速，让 引擎转速接近红线区域时， 还将 Ｓ Ｎ Ａ Ｔ Ｕ Ｕ Ｏ制造的 Ｈ Ｓ电子整流器请到 Ｖ
引擎转速进入红线区域后，扭矩输 出亦告衰退 ，
起了人们 的一片哗然。“ 这样 的发动机也能算跑 水平而 已。于是乎人 们便认为驾驶酷派车缺乏
车 吗？ ”所以第一代的酷派很快淡 出了人们 的
当时的丰田 ＣＥ Ｉ ＬＣＡ。但新的 １６ ．Ｌ和 ２０ ．Ｌ发动
乐趣、改装潜 力不大 ．只能走 “ 偶像派”路线 ，
的外形和高性价比 ．迅 速成 为能见度最高的进
口跑车。
本的缘故 ．所 以购买 的价格要 比一般型号多十 了引擎室内。 当车辆使 用大量 电器或引擎长 时
万元左右。
间维持 高转数速 电池 电压下降时． 它就可 以释放
酷派 的这款变速箱 ，虽然是 ６ 前速的设计 ．
出预先储 备好 的 电力． 稳定 供电 和保持点火 电 压。把 目光转向车底 ，一套精致 的 “ 四出”排
气管取代了原装产 品。这套产品来 自大家熟悉 的威迅 ．在 中、高转速 区域这套排气系统能让
不太称职的动力系统
这代酷派 除保 留 ２ ０ 排量 ．１ ０ Ｗ 的引 Ｌ ０ｋ
擎外 。还加入 了与 同厂 Ｓ ｔ ｅ上使用过 的 ａｎａ Ｆ
但齿比却不是 比较绵 密的设计 。只是在五挡 变 速箱 的基础上加 了一个更 低传动 比的第六挡 ． 以备巡航 时使 用。试车时，当在 ２ 挡深踏下 、３
维普资讯
■
Ｌａｖｅ ｃａｒ
发动机 排 气更 加顺 畅 。发 出的 声音也 不会 让
极限 ，装备的循迹控制系统便立 即介入 ．这时 而驾驶者 如果在 即将超越极 限一刻懂 得收油 ，
引擎 盖与黑底投射大灯配合 。在宝蓝色的车 身
车主 丢脸 ．那 是一 种很 纯正 的跑 车声 音 。这 车子就像泻了气的皮球一样 。慢慢地滑出弯道。 上 勾画 出一 块深色 的区域 ，使整车 鞘气十足。 套产品也 消除 了酷派 的排气 系统有 时只有一边
的理念融八 了酷派的灵魂 ，将 车身线 条变得笔
Ｏ 直有 力．才令这一代酷派的卖相深得人心 。在 版本。配备 了６速手动 变速箱外加原厂的 Ｌ Ｗ 就能 明显感觉到引擎转速攀升更 为流 畅。车主 国内市场 “ 跑车难求” 的环境 下 ．酷派靠不俗 Ｄ ＷＮ短减震器。据车主介绍 ，因为是顶级版 Ｏ
为 ：转 速 表 、 机 油 压 力 表 、温 度 表 。 它 们
一
派的过弯能力 ．车主给酷派穿上了一双好鞋。４ 打 开它们 ．车门就会缓缓地升起 ．像一 对展开 只 Ｒ Ｓ 的 ３ Ｃ 超轻 量化 轮 圈 ．配上 横滨 ＡＹ ７ 的翅膀 ，这让人不禁想起 了具有传奇色彩 的兰
偶像派的衍变
十 多年 前 ，这 位 偶像 第 一 次 登 上舞 台 。
２ ７ ６引擎 ，最大输 出功率 为 １ ３ Ｗ 。从 油 门时 ， 由于手动 变 速箱 的机械 特性 ．发动 ．Ｌ Ｖ ｋ ２ 目前引擎技术 的发展水平来看 ，２７ 的排气量 ， ＿ Ｌ 机扭矩输 出表现得较 为直接 ．加上车身并不算
ｋ ４ 现代公司推 出了第一代 酷派 ．它配备 了一 台 １ ． 起码应该输 出 １ ７ Ｗ 才算是及格 的表现 ，而酷 重 ，车辆表现 生猛 ，动感极强 ．这一刻跑车的
６ Ｌ发动机 。由于 发动机输 出功率较小 ．当时引
派拥有的 ２ ５ ・ 的最大扭力 ． ４Ｎ ｍ 也只能算普通 气势得 以充分体现 。而高转速区域一直是韩国 车 引擎的弱点 ．在 酷派 身上也 有同样 的问题 。
维普资讯
莪爰我车
偶 派 身 像 变
轻改坝代酷派己１
■ ／文 Ｆ ｏ ｒＭａ 图 ／发发 ｌ ｗｅ ｎ
说 到 公 路上 出 现频 率 最 高 的跑 车 ． 大 家都 会 马上 想 起 现代 酷 派 。 它 以平 易 近人 的价 格 和 偶像 派 般 的外 形 ．让 许 多人 轻 松地 实 现 了 自 己的 “ 跑车 梦 ” 。喜 欢 酷派 的 人会 觉 得它 的外 型 设计 一 代 比一 代漂 亮 ． 另 一方 面却 有 人 抱怨 它 的动 力 性不 好 ．算 不上 真 正 的跑 而 车 。就 是在 这 种 矛盾 中 ．酷派 跑 车 经过 十 多年 发 展 ， 为 了韩 国跑 车的 代 名 词 。 随着 酷 派在 国 内的 保 有 量越 来越 大 ．一 些 车主 开始 成 不 满 足 于 原 装 车 的外 观 与 性 能 ．为 了让 这位 来 自韩 国 的 “ 偶像 派 ” 保 持 吸 引 眼球 的能 力 ，热 爱 改 装 的车 主 们 已 经开 始 行 动 了 。
炮 筒式的尾灯总成 、巨大 的尾 翼、凶悍的排 气
“ 冒烟 ” 的顽 疾 。 回到 车 内 ．首先 进 入 视野 让前 轮重新获得抓地力 ．循迹 系统便立刻停止 筒 ， 让人感觉此车完全是一辆能下赛场的 Ｇ 赛 Ｔ 的是三只 Ｄ ｆ的白底赛车仪 表。从 左到右依次 ｅｉ 干预 ．于是又可尽情加油 出弯 了。为了提升酷 车 。但是最 抢眼之笔是它的一对剪刀 门．每 当