南非 Vivid Audio Club 俱樂部

Here we have the first prototype GIYA G2 pair. The left one has a flat top attached, the right one has the LF absorber tube attached. This allowed us to measure the effect of the horn, and spend time listening in either configuration. Dic would never incorporate a technology that doesn't work, so the prototype must confirm that the technology improves both the measurements and the listening experience.

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And just a sample of the many, many, many development drivers that we have made... The row up the right is an abandoned 15" driver which went through many iterations before Dic decided that the 12" could be engineered to provide the LF he was looking for in GIYA G1. Prototype 12" chassis to the left, then a brace of C125 driver prototypes and some D50 covers.

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An almost complete colour spectrum - B1's in Arctic, Sahara, Borollo, G1 is Shahara, B1's again in Oyster, Aragonite and Piano. Pearl and Monarch are missing...
Pearl and Piano are our standard colours, the others are optional but not custom. We can paint any colour you like, in fact, we're working on a very special colour project right now...

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Alex of Concerto Audio in the Netherlands took this fantastic photograph looking ot of his shop window.
Thanks to Alex and Ewald for all the hard work, you really know how to make us look good!

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I thought I better haul out our abandoned dual 15 prototype and show you an image of the pair installed in the prototype cabinet. Quite impressive,
even if I do say so myself!

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I'm sure some eyebrows are raised at our wooden chassis? Well, it is a fast and effective way of producing a prototype.
The parts ore simple 2D profiles that lock together to create the 3D whole. We can make really fundamental design changes
in minutes rather than days, by utilising this rapid prototyping method.

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And the business end. You can see the basic structure that we use today was already developing in Dic's mind.

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So, here is one iteration of the 15" LF drive

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Soundstage Hi Fi have delivered their final verdict on the five best sounding systems at the Munich High End show. Amongst some stiff competition our GIYA G3 was placed...
Read it and see for yourself!

http://www.soundstagehifi.com/index....olumn&Itemid=3

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Thermal power handling tests continue for our D50 midrange driver. Here are images from our thermal imaging camera of a D50 being tested.

中音單體D50的熱能消耗功率處理測試

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Again, pink noise is the source, filtered through 4th order slope high and low-pass filters between 900 and 3500Hz. The system has around 500W RMS through it (we're maxing the amp...) Full thermal equilibrium is achieved within an hour with the steelwork, coil, magnets and dome all operating at 115 degrees Celcius (or 239 degrees Farenheit), which is pretty hot. This driver continued at that temperature for four hours before the amplifier called it a day...

來源為粉紅噪音，透過四階的溢高通與低通濾波(900-3,500Hz)，系統約 500W RMS(透過放大最大化)。
完整的熱平衡於115度C下一個小時內到達工具鋼、音圈、磁鐵會圓錐。單體在這樣的溫度下持續了四個小時直到擴大機告一個段落。

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Was sent a link this morning to an Audiogon user's system, and I liked the look so I thought I'd share. Check it out at:

http://forum.audiogon.com/cgi-bin/fr...openflup&3&4#3

將Audiogon用家系統的連接分享給大家看

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A Vivid fan sent me this tiny screenshot of a television game show from Hong Kong. Vivid Audio K1's anyone?

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GIYA G1's finished in Sahara. I am not sure but I believe this particular system is in Peru. Very tasteful decor, and Sahara works very well in such a setting.

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The main auditioning room at AC2 in Japan. If ever there was no need to post a comment, now is that time... Amazing!

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Just by chance, four Giya G3 flanked by 2 Giya G2 and of course, the original and flagship Giya G1, all finished in Piano!

4對Giya G3與兩對Giya G2當然還有旗艦級Giya G1, 黑色鋼烤版本。

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D50 and D26 driver diaphragms during assembly. They queue up on this table to have their UHM carbon fibre reinforcing hoop installed.
This takes the first break up frequency to above 44kHz for D26, and to above 20kHz for D50...

組裝中的D50與D26單體振膜。D26的截止頻率在44kHz以上；D50在20kHz以上

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And here, G3 filter networks are being populated and hard wired point-to-point. We have recently upgraded the quality of our boards by utilising our CNC mill to cut the boards for us, neater and quicker.

G3的濾波網路，最近升級使用CNC mill來裁切電路板，更乾淨也更快唷!

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This is a picture of the very first production G1 Giyas, shipped in 2008 to Audio Gallery in Korea. Pretty wild colour!

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A collection of Giya G3 shells stacked next to our CNC milling machine, waiting to have their reflex vent apertures and baffle apertures cut.

使用CNC銑床製成的Giya G3箱體，正在等待其他組件成型。
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More scenes from the factory: Here we have one of our mixing banks populated with every colour toner you can imagine, each in solid, metallic and pearlescent variants. Our computerised mixing station has literally tens of thousands of colour mix recipes - at the moment we are painting a C1 in Bugatti Sprint Blue for Stella Inc in Japan.

更多的工廠場景之一:這些都是顏色基料，利用電腦精準的混合達到所需的效果-此時正在準備為Bugatti Sprint Blue的C1做準備。
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And another view of the amazing showroom at AC2 in Japan, with Dic in attendance.

I was recently sent this moody image from the Alkmaar Hi Fi show earlier this year.


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And a great image of the line that defines the transition from convex to concave on GIYA G2

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Searching for the Extreme: Laurence Dickie of Vivid Audio -- Part Two


Written by Peter Roth
Sunday, 01 July 2012 00:00
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In Part One of this feature interview with Laurence Dickie, loudspeaker designer for Vivid Audio, we explored his foundational experiences and the gestation of his philosophy of sound reproduction by high-performance audio products. In Part Two we turn to Vivid Audio specifically, and to Dickie’s challenges and achievements in the past decade. Philip Guttentag (cofounder of Vivid Audio) and Philip O’Hanlon (US distributor), also present, each occasionally joined in.
Peter Roth: Let’s turn to the present, and Vivid Audio’s Giya line of loudspeakers. I’m interested in the differences between the C125 bass driver used in the Oval series and the C125S midbass driver used in the Giyas.
Laurence Dickie: They are distinct, different drivers. Giya-series loudspeakers are true four-ways. That means that the C125S, which some would call a 6.5" driver, has to operate only from 220 to 880Hz. Accordingly, the excursion requirements are far smaller than for the standard C125, which functions deep into the bass with a diaphragm travel of +/-10mm. In the C125S application, only a couple of millimeters of driver travel are needed to give us 120dB at crossover. This means we can concentrate the magnetic flux into a smaller zone -- a smaller gap length -- and so we’ve also taken the opportunity to reduce the gap clearances. With tighter tolerances, the driver assembly is little bit fussier, and of course is more susceptible to contamination, but that is just a little reality of manufacturing -- which is fine, and in fact we have had no difficulty with it. We gain 3dB efficiency in the main passband. You wouldn’t be able to use the S driver in a full-range system because it wouldn’t plumb the depths. The excursion limit, the X-max (the length of the magnetic gap), is too small for a reasonable amount of sound output in the bass.
PR: When Doug Schneider measured the review pair of Giya G2s at Canada’s National Research Council, it was only the second speaker they’d measured to test with 0% distortion throughout the 200Hz-1kHz band, which is such an important range.
LD: Yeah, that was nice to see, actually. It was right off the top of the scale.

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The C125S driver in the Giya G2

全文在這裡囉!!

http://www.ultraaudio.com/index.php?...eral&Itemid=46

Vivid Audio Germany recently installed this pair of Piano K1's. Interesting rack! Thank you for the photograph!

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We're flat out at Vivid Audio at the moment, both with production and a host of R&D projects for Laurence Dickie and his team. In the meantime, here is one of our technicians, Nondu, constructing a carbon fibre sandwich panel base for a GIYA G2. This process requires skill and patience as we do not use prepreg carbon fibre fabric. All the core material is CNC machined on site.

她叫Nondu，是負責組裝碳纖維夾心板的技術人員，所在位置為GIYA G2的組裝基地。

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Our polishing process is extremely precise, and very time consuming. Zakele is our specialist technician for this job. Every Vivid Audio cabinet passes through his hands. In some ways he has one of the toughest jobs, since it is his work that takes the most visual scrutiny. He is performing the penultimate polish on a Sahara GIYA G3. The final polish is done just before packaging.

他是 Zakeie，正在做拋光的工作，這是一項最棘手和耗時的工作，而當最後一道拋光程序完成就可以封箱了，過程中都只能用肉眼來判斷，所以這是需要由專業技術人員才能夠勝任。

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Here's a shot of quite an Oval series based home theater system in the USA. K1's and a C1, with V1w wall mounted units doing duty for the rear.

這是在美國以Oval系列為基礎的家庭劇院系統.有K1 C1 而後方則是安裝V1w牆.

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Continuing the theme of Vivid Audio K1 based systems, here is a home theater system from Pretoria, oom was custom faSouth Africa. The rbricated from double skinned walls and acoustically optimised. Impressive. Thanks for the photo Madhat!

接著是在南非Pretoria以Vivid Audio K1 為主的家庭劇院系統.

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And the system in action! Nice!

播放中!!浩克很High...

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One of the projects we've been working on is a matt effect finish. Here are a pair of GIYA G3 in the fruits of our labour, matt black.

馬特黑效果是我們已經完成的一項工作。這裡是一對我們努力成果的GIYA G3。

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Here are the Matt GIYA G3 adjacent to a pair finished in Monarch. Purely by chance, they contrast eachother most effectively.

成對的GIYA G3完成品，剛好有機會，它們可以互相對比出效果。

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Arctic GIYA G1's, with Krell equipment...

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A new pair of GIYA G3 loudspeakers arrive at AC2 in Japan

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The Nakamichi amplification system

The Audio Gallery showroom in Cheongdam, Seoul, Korea. Borollo GIYA G1's and Pearl GIYA G2's powered by Devialet D-Premier

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The grand entrance to the Audio Gallery showroom, taken with a fish-eye lens. Check out www.audiogallery.co.kr for more!

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A pair of GIYA G1's finished in Arctic, powered by some monster CAT tube amps...

一對由怪物CAT真空擴大推動的 GIYA G1.

上面阿榮哥貼的圖很有趣。去年去一個發燒線廠商的家裡就看到一模一樣的配置，G1加全套CAT的前後級。可惜沒聽到出來的聲音。

沒聽到就可惜了!!因為我也沒聽過!! 冏........

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Audio Gallery in Cheongsam have installed the GIYA G3 (finished in Pearl). Still powered by Devialet and in the same venue as the images posted last week.

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And here we have an Arctic GIYA G1 in a Japanese garden.

Hmmm, bright and beautiful Borollo on a rainy day, sound as great as they look during our listening test session!— 在 Vivid Audio Factory


漂亮的Borollo,聽起來就像是她的外表一樣讚!!

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The Vivid Audio V1.5 two way and the B&W Emphasis two way having a chat— 在 Vivid Factory

Vivid和B&W 兩音路喇叭的邂逅