Fisika 2
费特-2型相机收藏谈
经 典 美 观 ， 使 用 方 便 易操 作 ，功 能 简单 实 用 ， 并 且 故
障率 非 常 低 ， 被誉 为 是 费 特 系列 相 机 中 最 可 靠 的 机 型
之 一 。该 机 型 生产周 期 接 近 ２ 年 ， 总 产 量超 过 了１３ ０ 万 ６
台 ， 这 也 从 一 个 侧 面 反 映 了该机 型 受 欢 迎 的 程 度 。 责
就 预 示 着 一 个 新 的 型 号 诞 生 了 ，费特 一 型 相 机 由此 开 端 。 这个 ２ 原 型 相 机 照 片 也 被 印 到 了首 批 说 明书 的封 面 上 （ ５）。原 型 图
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的 。 在 法 国 收藏 家编 写 的 《 ＵＳ Ｉ Ｄ Ｓ ＩＴ ＣＡ Ｒ 》一 书 Ｒ ＳＡＮ ＡＮ ＯＶＥ ＭＥ ＡＳ 中 ，介 绍 了 一款 最 早 期 的 费 特 一 型 相 机 的 启 蒙 产 品 的 图 片 （ ２），书 ２ 图
相 机 的 回 片 钮 一 侧 ，其 他 的 装 置 几 乎 跟 费 特 一 型 一 致 。 由 于 图 片 分 辨 １
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率 非 常 低 ，无 法 看清 相 机 的顶 部 是 否 有 刻 字 或 新 名 称 。 但从 照 片可 以看 出 ，这 是 一 台相 机 实物 图 片 ， 因此 可 以基 本 断 定 确 有 此 机器 的存 在 。这 个 版 本 是 费 特 一 型 相 机 的 最 早 实 验 版 本 ，或 者 说 工 厂 在 酝 酿试 探 设 计 ２
poker face《亚瑟和他的迷你王国2》主题曲
poker face《亚瑟和他的迷你王国2》主题曲Mum mum mum mahMum mum mum mahI wanna hold them like they do in Texas pleaseFold them let them hit me raise it baby stay with me(I love it)Luck and intuition play the cards with spades to startAnd after he's been hooked I'll play the one that's on his heartOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-ohI'll get him hot, show him what I've gotOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,I'll get him hot, show him what I've gotCan't read myCan't read myNo he can't read my poker face(She's got me like nobody)Can't read myCan't read myNo he can't read my poker face(She's got me like nobody)P-P-P-POKER FACE, P-P-POKER FACE,(Mum mum mum mah)P-P-P-POKER FACE, P-P-POKER FACE,(Mum mum mum mah)(Mum mum mum mah)(Mum mum mum mah)I wanna roll with him a hard pair we will beA little gambling is fun when you're with me(I love it)Russian Roulette is not the same without a gunAnd baby when it's love if it's not rough it isn't fun, funOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-ohI'll get him hot, show him what I've gotOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,I'll get him hot, show him what I've gotCan't read myCan't read myNo he can't read my poker face(She's got me like nobody)I won't tell you that I love youKiss or hug youCause I'm bluffing with my muffinI'm not lying I'm just stunning with my love-glue-gunning Just like a chick in the cas*inoTake your bank before I pay you outI promise this, promise thisCheck this hand cause I'm marvelous我想要牵制他们就像他们在德克萨斯赌场那样让他们注意到我加注吧宝贝和我呆在一起吧(我喜欢)要有好运气还得凭直觉出牌先出黑桃引他上钩之后我就要亮出我的底牌赢得他我要让他兴奋起来让他好好瞧瞧我的本事我要让他兴奋起来让他好好领教一下我的本事猜不透…我总是一副毫无表情的面孔他根本无法读懂我(没有人像她那样如此地吸引我)猜不透…我总是一副毫无表情的面孔他没法猜透我(没有人像她那样如此地吸引我)我想要和他在一起我们会是所向披靡的一对你和我在一起时哪怕是玩一场小小的赌博都会很有趣我喜欢俄罗斯轮盘要是少了枪那就完全不一样了宝贝爱情这玩意不刺激就不好玩了我要让他兴奋起来让他好好瞧瞧我的本事我要让他兴奋起来让他好好领教一下我的本事猜不透…我总是一副毫无表情的面孔他根本无法读懂我(没有人像她那样如此地吸引我)我不会告诉你我爱你亲吻你或是拥抱你因为我虚张声势想吓吓你我没有说谎我只是对那如胶似漆的爱情感到吃惊就像赌场里的小妞在你赢钱之前就已经将你洗劫一空了我保证我手上有王牌因为我可是很不可思议的喔I wanna hold them like they do in Texas我想要牵制他们就像他们在德克萨斯赌场那样Hold持有，拥有，控制，约束He has been trying hard to hold on to his temper.他努力控制自己的情绪Luck and intuition play the cards with spades to start要有好运气还得凭直觉出牌先出黑桃Intuition 直觉She sensed what was wrong by intuition .她凭直觉意识到什么地方出毛病了。
饥饿派画家2中文版(Passpartout 2)
饥饿派画家2中文版(Passpartout 2)饥饿派画家2中文版(Passpartout 2)是一款玩起来非常休闲的模拟类手游，在游戏中玩家将会扮演一名画家的身份，你将前往各个国家寻找自己的绘画灵感，你需要在一张白纸上完成你的作品，游戏提供了多种绘画关卡，你需要根据关卡的特点来制作出一幅画，通过将画卖掉换取金币来购买所需要的画笔、颜料等工具，喜欢的玩家赶紧下载试一试吧！饥饿派画家2中文版(Passpartout 2)怎么玩?1、运行游戏后，在标题界面找到并点击“游玩”功能选项，选择好一个存档后就可以进入正式游戏了2、在这里玩家可以和房间内的物体互动，可以互动的有画架(进入主线)、床、电视等3、在玩家点击和床互动后，主角会告诉你他的想法，点击确认4、接着，在这里点击画架，在这块画板上画出自己的满意作品，点击确认键5、突然敲门声响起来了，房东来了，点击门，与之互动6、在这里点击鲍比房东，与之对话7、接下来，在这里交出自己物品栏中的物品抵付租金8、现在玩家需要操作主角离开家，坐船离开9、玩家坐船来到了一座新城市-凤凰镇，在这里找到并点击码头上的画友，和他互动10、接着在画板上画出你的大作11、画好之后就可以找到并点击红色方框内的选项进行确定了饥饿派画家2中文版(Passpartout 2)怎么设置中文?1、首先打开游戏，进入游戏后，点击settings;2、然后点击声音下面的图标;3、进入后找到language，点击箭头切换语言至Chinese(Simplified);4、最后点击下方√即可把游戏语言改成中文。
饥饿派画家2中文版(Passpartout 2)全成就展示1、初级画家：完成10张画作2、中级画家：完成30张画作3、高级画家：完成50张画作4、绘图新手：使用铅笔画3张画作5、色彩大师：使用彩色画笔画15张画作6、画作收藏家：收集所有30张画作7、画作大师：获得所有评价为“非常好”的画作8、完美主义者：完成10次无失误的画作9、艺术留念：分享1张画作到社交媒体上10、做的漂亮：获得50次评价为“优秀”的画作游戏优势1.可以尽情的发挥天赋的，能够在游戏里创造出不同的绘画。
惠斯勒 2 型号商品说明书
Serie 2, Forno da incasso, 60 x 60 cm, Acciaio inoxHBF010ER0CAccessori integrati1 x Griglia combinata, 1 x Leccarda universale smaltata Accessori specialiHEZ438201 :HEZ317000 Teglia per pizzaHEZ327000 Pietra per pane e pizzaHEZ333001 Coperchio per leccarda extra profonda HEZ438301 :HEZ625071 Teglia per grigliare adatta a pirolisiHEZ915003 Pirofila in vetro con coperchio 5,4 l. HEZ431002 Accessorio forno Un forno da incasso con funzione ventilata 3D: così ottenete cotture perfette cucinando su tre livelli diversi in contemporanea.Dati tecniciDa incasso / a libera installazione: .....................................Da incasso Sistema di pulizia: ..........................................................................No Dimensioni del vano per l'installazione: 575-597 x 560-568 x 550 mm Dimensioni del prodotto: ....................................595 x 594 x 548 mm Dimensioni del prodotto imballato: ....................670 x 680 x 660 mm Materiale del cruscotto: ...................................................acciaio inox Materiale porta: ..........................................................................vetro Peso netto: ..............................................................................32.5 kg Volume utile: .................................................................................66 l Metodo di cottura: ...........Aria calda dolce, aria calda, riscaldamento superiore/infer., aria calda intensiva, riscaldamento inferiore, grill ventilato, Grill a superficie grande var.Regolazione della temperatura: ..........................................Meccanico Numero di luci interne: (1)Codice EAN: (4242005046874)Number of cavities (2010/30/EC): (1)Classe di efficienza energetica: .........................................................A Energy consumption per cycle conventional (2010/30/EC): ........0.98 kWh/cycleEnergy consumption per cycle forced air convection (2010/30/EC):0.79 kWh/cycleIndice di efficienza energetica (2010/30/CE): ..........................95.2 % Potenza: ..................................................................................3300 W Corrente: .....................................................................................16 A Tensione: ...................................................................................400 V Frequenza: ...........................................................................50; 60 Hz Tipo di spina: ....................................................................senza spina Accessori inclusi: .......1 x Griglia combinata, 1 x Leccarda universale smaltataSerie 2, Forno da incasso, 60 x 60cm, Acciaio inoxHBF010ER0CUn forno da incasso con funzione ventilata 3D: così ottenete cotture perfette cucinando su tre livelli diversi in contemporanea.Tipo di forno e modi di riscaldamento- Volume interno: 66 l- Riscaldamento rapido- Impostazione della temperatura 50 °C - 275 °CSupporto per accessori / Sistema d`estrazione:- Guide telescopiche1-livelliDesign- Illuminazione interna alogenaPuliziaAccessorio:Ambiente e SicurezzaInformazioni tecniche- Dimensioni nicchia (AxLxP): 575 mm - 597 mm x 560 mm - 568 mm x 550 mm- Dimensioni apparecchi (AxLxP): 595 mm x 594 mm x 548 mm- Potenza max. assorb. (elettr.): 3.3 kWSerie 2, Forno da incasso, 60 x 60cm, Acciaio inox HBF010ER0C。
DIN_EN_10296-1_2004-02
DIN EN 10296-1:2004-02
Nationaler Anhang NA (informativ) Literaturhinweise
DIN EN 10208-1, Stahlrohre für Rohrleitungen für brennbare Medien – Technische Lieferbedingungen — Teil 1: Rohre der Anforderungsklasse A; Deutsche Fassung EN 10208-1:1997. DIN EN 10217-1, Nahtlose Stahlrohre für Druckbehälter — Technische Lieferbedingungen — Teil 1: Rohre aus unlegierten Stählen mit festgelegten Eigenschaften bei Raumtemperatur; Deutsche Fassung EN 10216-1:2002. DIN EN 10224, Rohre und Fittings aus unlegierten Stählen für den Transport wässriger Flüssigkeiten einschließlich Trinkwasser — Technische Lieferbedingungen; Deutsche Fassung EN 10224:2002. DIN V 17006-10, Bezeichnungssysteme für Stähle — Zusatzsymbole für Kurznamen; Deutsche Fassung CR 10260:1998.
Gesamtumfang 36 Seiten
bustafellows2 limbo感想
bustafellows2 limbo感想标题：《BUSTAFELLOWS 2：Limbo》游戏体验与感想【背景介绍】BUSTAFELLOWS 2：Limbo是一款由Japan Studio开发的冒险解谜类游戏，于20XX年X月X日上市。
本作是继BUSTAFELLOWS之后的正统续作，延续了前作的故事背景和游戏特色。
【游戏简介】BUSTAFELLOWS 2：Limbo是一款带有多个线索和多个角色的交互式故事游戏。
玩家将扮演主角在一个名为Limbo的城市中展开一系列的探索和解谜，通过与其他角色的对话和互动，逐步解开Limbo城市的秘密。
【故事剧情】本作的故事背景设定在一个被废弃的城市，Limbo。
主角因为某个目的而来到这个城市，并在遇到各种各样奇特的角色之后，逐渐探明城市背后的阴谋和真相。
游戏通过多条线索和多个角色之间的交互解谜，展现了丰富的剧情发展和不同的结局。
【游戏体验】作为一款冒险解谜类游戏，《BUSTAFELLOWS 2：Limbo》给我带来了非常棒的游戏体验。
以下是我在游戏中的感受和体验:首先，游戏的画面和音效给人留下了深刻的印象。
游戏采用了精美的2D 画面风格，色彩鲜艳，场景构图精巧，给人一种置身于游戏世界的感觉。
音效方面，游戏的背景音乐恰到好处，不仅能够增加游戏的氛围，还能够很好地与剧情发展相结合。
其次，游戏的故事情节非常吸引人。
每个角色都有自己独特的背景和性格，通过与他们的对话和互动，不仅可以更好地理解游戏的背景故事，还能够解锁一些隐藏事件和线索。
剧情发展紧凑而有趣，给玩家留下了很多悬念和挑战。
游戏的解谜部分也是游戏的一大亮点。
在Limbo城市中，玩家需要通过观察环境，与其他角色的对话，寻找线索来解开城市的谜团。
解谜的难度逐渐增加，需要玩家灵活运用思维和逻辑进行推理，这给游戏增加了很多挑战性和可玩性。
与此同时，游戏也提供了多个结局的选择，这让游戏的回放价值大大提高。
每个选择都会影响故事的发展和结局，玩家可以通过多次尝试和不同的选择来体验不同的剧情走向，增加了游戏的耐玩性和乐趣。
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.。
Triple-Lok and Triple-Lok Flare Tube Fitting
Visual Index Triple-Lok® andTriple-Lok® 237° FlareTube FittingsThe Fitting AuthorityTriple-Lok® 2 Soft Seal Flare Tube FittingsFlange Adapters (Shown in Section M)Conversion Adapters (Shown in Sections K and L)Diagnostic and Orifice Fittings (Shown in Section N)O-Rings and Seals (Shown in Section O)Gauge Fittings (Shown in Section N)Screen Fittings (Shown in Section N)Triple-Lok IntroductionParker pioneered the flare fitting concept early in the 20th century. The design has since gained worldwide acceptance due to it’s many inherent features and customer benefits. T oday, the 37° flare fitting it is the most widely used fitting in the world. Its appeal is in its simplicity, compact design, ease of assembly, reliability (single seal), material availability, adaptability to inch or metric tube, worldwide availability and acceptance. Further helping its acceptance is its widespread use as a hose adapter. As a tube fitting, it is especially suited for thin and medium wall thickness tube. Even though 37° flare fittings are generally considered to be 3000 psi fittings, T riple-Lok’s capabilities range from 9000psi for 1/4” size to 2000 psi for 2” size. Currently, it is used in virtually every application that uses fluid power for motion control. Parker’s T riple-Lok fittings meet the strict requirements of SAE J514 and ISO 8434-2 industry standards. Additionally, they meet many customer and industry-recognized conformance standards and type approvals.Design and ConstructionThe T riple-Lok (37° flare fitting) design is simple. It uses an easily produced flare at the tube end to seal and hold fluid under high pressure. T he fitting consists of three pieces: the body, sleeve and nut. The tube end is flared at a 37° angle (74° included angle) and held between the fitting nose (seat) and the sleeve (sup-port) with the nut as shown in Fig. C2, providing a very effective (single) seal between the fitting nose and the tube flare.The design of T riple-Lok fittings is very efficient. The fitting incor-porates the smallest seal area of all fitting types. This seal area, as seen in Fig. C2, is only slightly larger than the fluid flow area. The small seal area results in a compact design, low assembly torque, and a relatively high-pressure capability.The primary difference between a two-piece flare fitting and the three-piece design is the flare support sleeve. The support sleeve provides several key functions:1. It provides a clamping surface for the tube flare.2. It provides a bearing surface for the tube nut. The sleeveisolates the tube from the nut, minimizing the tube twist during assembly, a common problem of 2-piece flare fitting designs.3. It provides support to the tube flare. The tapered fitting nosetends to “wedge open” the tube flare during assembly. The sleeve helps to resist this expansion, thus eliminating the possibility of tube flare and sleeve jamming inside the nut.This eliminates any waste of applied torque and allows for easy disassembly.4. It makes the fitting adaptable to metric tube merely bychanging its inside diameter (see T able C2).Due to the popularity and simplicity of the 37° flare fitting, many manufacturers offer the product. Even though most manufac-turers conform to the same dimensional standards, there are significant performance advantages with Parker’s Triple-Lok fittings due to Parker’s optimized manufacturing methods andcommitment to quality.Fig. C1 – Triple-Lok Fitting Body, Sleeve and NutSleeveClamping and Seal-ing Surface of tubeflare against bodynoseFlare Supportresisting “opening”of flareBearingSurfaceSmall seal area allows foradequate clamping loadapplied with relativelylow assembly torquesFig. C2 – Triple-Lok Design and FeaturesFlaredT ubeSealMaterials and ManufactureTriple-Lok fitting components are manufactured using state-of-the-art equipment and manufacturing technologies to assure con-struction integrity, optimum strength and toughness, long service life and the highest quality. At the heart of the Triple-Lok product line are the finest raw materials and manufacturing technologies as outlined in Table C1 and discussed below.The Triple-Lok Body: T riple-Lok fittings are manufactured in over 65 configurations. Straight bodies are either cold formed or machined from cold drawn bar stock. The cold forming process ensures consistent dimensional tolerances, improved mechanical properties and better surface finishes. Shaped T riple-Lok fittings are manufactured from a one-piece forged construction. This forged construction eliminates the potential leak path associated with multi-component brazed fittings. T riple-Lok steel forged shapes also feature an optimum combination of hardness and toughness for high-pressure capability, minimal nose collapse (typical of sizes -10 and under) during repeated assembly and long service life, even under severe operating conditions. The Triple-Lok Sleeves: Most steel T riple-Lok flare support sleeves are cold formed and heat treated for an optimum combi-nation of strength and ductility. The largest size sleeves, -20, -24, and -32, are machined from high strength steel. Stainless steel and brass sleeves are machined from cold drawn barstock.The Triple-Lok Tube Nuts: T riple-Lok steel tube nuts are cold formed, except in sizes –20, -24, and -32, which are machined from cold drawn barstock. Cold forming increases the material strength and its fatigue properties, imparting high strength and longer service life to the nuts. Smaller stainless steel nuts are also cold formed while all brass tube nuts are manufactured from cold drawn brass barstock. Most crimp swivel nuts are also cold formed.Robust Port Stud: The adjustable port stud is manufactured with a longer locknut designed to cover the uppermost threads completely. Since the backup washer is never exposed to the upper threads, it cannot be damaged during assembly. Dur-ing assembly, exposed upper threads, as common with fittings from other fitting manufacturers, can lead to a deformed backup washer that can pinch the o-ring and create an o-ring extrusion gap that has the potential to leak. The longer locknut also pro-vides a greater grip area for the wrench.Dual Angle Female Seat: The seat of the female swivel is manufactured with a dual angle that accepts both the 37° flare and 45° flare fitting (only sizes 4, 5, 8 and 10 45° flare fittings). The dual angle seat also repositions the seal location away from the tip of the male flare nose, preventing the nose from biting into the seat and making it more tolerant to minor nose tip damage.Table C1 – Standard Material Specifications for Triple-Lok FittingsNote: On request, T riple-Lok fittings can be furnished in materials other than those shown above.Finish: Zinc with yellow chromate (being changed to zinc chromium 6 free) is used on all standard steel products.How Triple-Lok Fittings WorkTightening of the nut clamps the tube flare between the body nose (seat) producing a leak tight connection. This clamping on the 37° taper provides a measure of elasticity to the joint helping it to resist loosening under vibration. The clamping force results in a small radial load that tends to deform the fitting nose radially. The resistance of the nose to elastic deformation provides a constant preload (similar to a lockwasher) keeping it tight.The clamping force provided by the nut resists the opposing force of the fluid under pressure. The joint remains leak tight as long as the clamping force is higher than the opposing pressure load. Properly assembled T riple-Lok fittings with appropriate tube will seal consistently under pressure until tube bursts.Sealing in T riple-Lok fittings takes place between two smooth metal surfaces, the fitting nose and inside of the tube flare. Therefore, the sealing surfaces have to be smooth, free of any nicks, scratches, spiral tool marks, splits or weld beads. Seamless or welded and drawn fully annealed tube is recommended for Triple-Lok fittings for ease in flaring and bending. Certain types of harder tubes that are not fully annealed may not be suitable for flaring due to the potential for immediate or long-term crack-ing of the tube flare. For specific tube type and wall thickness recommendations, please see T able C3.Dimensions and pressures for reference only, subject to change.Assembly and InstallationPlease refer to Section T forthe assembly and installation instructions for T riple-Lok fittings.International AcceptanceThe T riple-Lok male flare end is attachable to either inch tube, metric tube or a hose assembly. Parker offers many different port thread options for the various international hydraulic ports available. This is one of the primary reasons for its worldwide acceptance. Parker has traditionally offered a “Metric Triple-Lok” product line directed at the Metric, ISO-6149 and BSPP port us-ers. Rather than carrying a separate catalog section, this range of international fittings has been integrated into the traditional “T riple-Lok” section.To illustrate the versatility of T riple-Lok, refer to Fig. C3. A single 37° fitting body will accept both inch and metric tube sizes by simply changing the sleeve. Thus, a dedicated line of sleeves is offered for inch and metric tube. The universal tube nut and fitting body is used with either inch or metric tube, thus saving on component costs and making the T riple-Lok fitting more versatile. Also, the 37° body without the nut and sleeve is very popular as a hose adapter.Study the following example illustrating the options with an SAE –8 (1/2”) T riple-Lok fitting:1. Fitting with a –8 (1/2”) sleeve and –8 (1/2”) tube nut canconnect to a 1/2” o.d. flared tube.2. Fitting with a 12 mm sleeve and –8 (1/2”) tube nut canconnect to 12 mm o.d. flared tube3. Fitting without a nut and sleeve can be used as a 1/2” hoseadapter when connected to a hose swivel.Table C2 illustrates an even clearer picture of the flexibility of the T riple-Lok 37° system. It shows every “convertible sleeve” connection for the 37° flare design. For example, if 25 mm tube is being used, a –16 (1”) 37° flare fitting together with a 25 mm (TXS25) sleeve and a standard –16 (1”) flare fitting nut would be all the necessary components to connect and seal a 25 mm flared tube assembly.Tube Wall Thickness – Inch and MetricMinimum/Maximum tube wall thickness is based on the pres-sure holding capacity of the fittings and subject to maximum wall thickness limitations.Inch TubeMetric TubeHose AssemblyFig. C3 – Triple-Lok’s Adaptability to Inch Tube, Metric Tube, or Hose AssembliesTable C2 – Triple-Lok Convertible Sleeve Connections Table C3 – Wall Thickness Chart for Inch and Metric TubingInchSleeveMetricSleeveUniversalTube NutUniversalTriple-Lok BodyFeatures, Advantages & BenefitsTriple-Lok 2 IntroductionParker’s T riple-Lok 2 combines the versatility of stainless steel T riple-Lok with the added advantage of an elastomeric seal. T riple-Lok 2 incorporates a replaceable seal in the nose of the flare, which is positioned so that leak-free connections are made without compromising the strength of the fitting. Triple-Lok 2 shape fittings with SAE straight thread adjustable studs also feature Parker’s new patent-pending design, providing easier assembly and improved reliability. T riple-Lok 2 can be used in any industrial application where corrosion resistance and leak-free connections are essential. T riple-Lok 2 is a direct interchange for any industrial 37° flare fitting, allowing current 37° flare fitting users to take advantage of T riple-Lok 2 without changing hoses or tubes.Design and ConstructionThe T riple-Lok 2 design incorporates an elastomeric seal in the nose of the 37° flare. The O-ring is positioned so that elastomeric sealing occurs with the mating tube regardless of tube wall thick-ness. It uses an easily produced flare at the tube end to seal and hold fluid under high pressure. The fitting consists of three pieces: the body (with O-ring), sleeve and nut (Fig. C4). The tube end is flared at a 37° angle (74° included angle) and held between the fitting nose (seat) and the sleeve (support) with the nut as shown in Fig. C5, providing a very effective elastomeric seal between the fitting nose and the tube flare.Materials and ManufactureT riple-Lok 2 fitting components are manufactured using state-of-the-art equipment and manufacturing technologies to assure construction integrity, optimum strength and toughness, long service life and the highest quality. At the heart of the Triple-Lok 2 product line are the finest raw materials and manufacturing technologies as outlined in T able C5 and discussed below.The Triple-Lok 2 Body: T riple-Lok 2 fittings are manufactured in the most popular stainless steel sizes and configurations. Straight bodies are machined from cold drawn bar stock. Shaped T riple-Lok 2 fittings are manufactured from a one-piece forged construction. This forged construction eliminates the potential leak path associated with multi-component brazed fittings. The Triple-Lok Sleeves: Stainless steel sleeves are machined from cold drawn barstock.The T riple-Lok T ube Nuts: The tube nuts are either cold formed or machined from cold drawn barstock. T he cold forming process increases the material strength and its fatigue properties, impart-ing high strength and longer service life to the nuts.How Triple-Lok 2 Fittings WorkTightening of the nut clamps the tube flare between the body nose and O-ring, producing a leak tight connection. ThisFig. C4 – Triple-Lok 2 Fitting Body, Sleeve and NutSleeveFig. C5 – Triple-Lok 2 Design and FeaturesT ubeElastomeric SealTable C5 – Standard MaterialSpecifications for Triple-Lok 2 FittingsFinish:Stainless steel fittings are passivated.clamping on the 37° taper provides a measure of elasticity to the joint helping it to resist loosening under vibration. The clamping force results in a small radial load that tends to deform the fittingnose radially. The resistance of the nose to elastic deformation provides a constant preload (similar to a lockwasher) keeping it tight.The clamping force provided by the nut resists the opposing force of the fluid under pressure. The joint remains leak tight as long as the clamping force is higher than the opposing pressure load. Properly assembled T riple-Lok 2 fittings with appropriate tube will seal consistently under pressure until tube bursts. Sealing in T riple-Lok 2 fittings takes place as the o-ring is com-pressed between the fitting body and the inside of the tube flare. The O-ring should be inspected at each disassembly and replaced when necessary. Seamless or welded and drawn fully annealed tube is recommended for T riple-Lok 2 fittings for ease in flaring and bending. Certain types of harder tubes that are not fully annealed may not be suitable for flaring due to the potential for immediate or long-term cracking of the tube flare. For specific tube type and wall thickness recommendations, please see T able C7.Assembly and InstallationAssembly and installation instructions are the same as T riple-Lok 2 and located in Section T.International AcceptanceT o illustrate the versatility of T riple-Lok 2, refer to Fig. C6. A single 37° fitting body will accept both inch and metric tube sizes by simply changing the sleeve. Thus, a dedicated line of sleeves is offered for inch and metric tube. The universal tube nut and fitting body is used with either inch or metric tube, thus saving on component costs and making the T riple-Lok 2 fitting more versatile. Also, the fitting body without the nut and sleeve is very popular as a hose adapter.T able C6 illustrates an even clearer picture of the flexibility of the T riple-Lok 2 Soft Seal 37° system. It shows every “convertible sleeve” connection for the 37° flare design. For example, if 25mm tube is being used, a –16 (1”) T riple-Lok 2 37° Soft Seal flare fitting together with a 25mm (TXSS25) sleeve and a standard –16 (1”) flare fitting nut would be all the necessary components to connect and seal a 25mm flared tube assembly.Tube Wall Thickness – Inch and MetricMinimum/Maximum tube wall thickness is based on the pres-sure holding capacity of the fittings and subject to maximum wall thickness limitations.Inch TubeMetric T ubeHose AssemblyFig. C6 – Triple-Lok 2’s Adaptability to Inch Tube, Metric Tube, or Hose AssembliesTable C6 – Triple-Lok 2 Convertible Sleeve ConnectionsInchSleeveMetricSleeveUniversalTube NutUniversalTriple-Lok 2BodyTable C7 – Wall Thickness Chart for Inch and Metric TubingFeatures, Advantages & BenefitsTriple-Lok 37° Flared Tube EndsTriple-Lok StraightBulkheadTriple-Lok ShapeBulkheadTube EndTriple-Lok SwivelTriple-Lok Tube EndAssembly1) Recommended clearance hole = W + 0.015.2) Not a standard SAE J514 size.Triple-Lok 2 Male FlareTube EndReturn T o CatalogBTXNut37° FlareSAE 070110HPD Base # 06BTX (inch)Sleeve 37° FlareSAE 070115HPD Base # 06STX (metric)Sleeve 37° FlareSAE 0701151. Inch sleeve for use with metric tubing.2. Use with 20-12 BTX.3. The part numbers above are for steel. Use “SS” in place of“S” for ordering stainless steel. Example: TXSS12How T oOrderReference SectionSpecsAssembly /Installation3-D CADModelWLNBulkhead LocknutSAE 080118 and 070118HPD Base # 53-XNSBRBraze RingHTXUnion37° Flare / 37° FlareSAE 070101HPD Base # 0303LHTXLarge Hex Union 37° Flare / 37° FlareSAE 070119HPD Base # 03L3How T o OrderReference SectionSpecsAssembly /Installation3-D CAD ModelWF5OXORB Bulkhead Connector 37° Flare / ORBHPD Base # 0355WF5OX-WLN – Body with locknut (See page C15 for WLN)WFTXMale Bulkhead Connector 37° Flare / NPTFHPD Base # 0153WFTX-WLN – Body with locknut (See page C15 for WLN)WTXBulkhead Union 37° Flare / 37° FlareSAE 070601HPD Base # 0353WTX-WLN – Body with locknut (See page C14for WLN)W* – Bulkhead pilot dia.recommended clearance hole +.015 over W dia.How T o OrderReference SectionSpecsAssembly /Installation3-D CADModelXHX6Extender and Expander 37° Flare / 37° Flare SwivelWGTXFemale Bulkhead Connector 37° Flare / NPTFHPD Base # 0253WGTX-WLN – Body with locknut (See page C15for WLN)W* – Bulkhead pilot dia.recommended clearance hole +.015 over W dia.How T o OrderReference SectionSpecsAssembly /Installation3-D CAD ModelTRTX / TRTXN Reducer37° FlareSAE 070123 / SAE 070123A HPD Base # 0603 (TRTXN only)TRTXN2-piece(Nut andInsert)TRTXN1-piece(Non-swivel)(Insertonly)How T oOrderReferenceSectionSpecsAssembly /Installation3-DCADModelF5OXStraight Thread Connector 37° Flare / SAE-ORBSAE 070120HPD Base # 0503FF5OXLong Straight Thread Connector 37° Flare / SAE-ORBSAE 071720HPD Base # 053EXHB3Braze Socket37° Flare / Inch Tube BrazeNote: Braze rings are onpage C15.How T o OrderReference SectionSpecsAssembly /Installation3-DCAD ModelFFTXLong Male Connector 37° Flare / NPTFSAE 071802HPD Base # 013EGTXFemale Connector 37° Flare / NPTFSAE 070103HPD Base # 0203FTXMale Connector 37° Flare / NPTFSAE 070102HPD Base # 0103How T o OrderReference SectionSpecsAssembly /Installation3-D CADModelF87OMXMale Connector – ISO 6149 37° Flare / ISO 6149F82EDMX Male Connector – Metric37° Flare / Metric-EDF8OMXMale Connector – Metric37° Flare / Metric-ORRNote:If F8OMX is not available, use F82EDMX.F42EDMXMale Connector – BSPP37° Flare / BSPP-EDHow T oOrderReferenceSectionSpecsAssembly /Installation3-DCADModelF4OMXMale Connector – BSPP 37° Flare / BSPP-ORRG4MXFemale Connector – BSPP 37° Flare / BSPPF3MXMale Connector – BSPT 37° Flare / BSPTHX6Swivel Nut Union37° Swivel / 37° SwivelHPD Base # 0606Note: If F4OMX is not available, use F42EDMX.How T o OrderReference SectionSpecsAssembly /Installation3-D CAD ModelF65OXSwivel Straight Thread Connector 37° Swivel / SAE-ORBHPD Base # 0506F6XSwivel Connector 37° Swivel / NPTFHPD Base # 0106G6XSwivel Nut Female Connector37° Swivel / NPTFHPD Base # 0206F687OMXSwivel – ISO 6149 Connector37° Swivel / ISO 6149How T oOrderReferenceSectionSpecsAssembly /Installation3-DCADModelF642EDMX Swivel – BSPP Connector 37° Swivel / BSPP-ED F682EDMX Metric-ED / 37° SwivelF63MXSwivel – BSPT Connector37° Swivel / BSPTF68OMXSwivel Metric ORR ConnectorMetric-ORR / 37° SwivelHow T o OrderReference Section Specs Assembly / Installation3-DCADModelWNTX45° Blulkhead Union Elbow 37° Flare / 37° FlareSAE 070801HPD Base # 3353WNTX-WLN – Body with locknut (See page C15for WLN)V6X45° Swivel Nut Elbow 37° Flare / 37° SwivelSAE 070321HPD Base # 3703Y* – Across wrench flatsV5OX45° Straight Thread Elbow 37° Flare / SAE-ORBSAE 070320HPD Base # 3503V87OMXMale 45° Elbow – ISO 614937° Flare / ISO 6149Y* – Across wrench flatsY* – Across wrench flats.W** – Bulkhead pilot dia.recommended clearance hole +.015 over W dia.How T o OrderReference SectionSpecsAssembly /Installation3-DCADModelV4OMXMale 45° Elbow – BSPP 37° Flare / BSPP-ORRV3MXMale 45° Elbow – BSPT 37° Flare / BSPTETXUnion Elbow37° Flare / 37° FlareSAE 070201HPD Base # 2303VTX45° Male Elbow 37° Flare / NPTFSAE 070302HPD Base # 3103Y* – Across wrench flatsY* – Across wrench flatsY* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-D CADModelWETXBulkhead Union Elbow37° Flare / 37° FlareSAE 070701HPD Base # 2353WETX-WLN – Body with locknut(See page C15 for WLN)Y* – Across wrench flats.W** – Bulkhead pilot dia.recommended clearance hole+.015 over W dia.C6XSwivel Nut Elbow 37° Flare / 37° Swivel SAE 070221HPD Base # 3903AOEX6Swivel Elbow Straight Thread Connector SAE-ORB / 37° Swivel HPD Base # 2506Y* – Across wrench flatsHow T oOrderReferenceSectionSpecsAssembly /Installation3-DCADModelX6EFSwivel Elbow Connector 37° Swivel / NPTFHPD Base # 2106CC5OXLong Straight Thread Elbow 37° Flare / SAE-ORBSAE 071520HPD Base # 5503Y* – Across wrench flatsY* – Across wrench flatsC5OXStraight Thread Elbow 37° Flare / SAE-ORB SAE 070220HPD Base # 2503How T o OrderReference Section Specs Assembly / Installation3-DCAD ModelCTXMale Elbow37° Flare / NPTFSAE 070202HPD Base # 2103Y* – Across wrench flatsCCTXLong Male Elbow 37° Flare / NPTFSAE 071502HPD Base # 5603Y* – Across wrench flatsCCCTXExtra Long Male Elbow 37° Flare / NPTFSAE 071602HPD Base # 5703Y* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-D CADModelDTXFemle Elbow 37° Flare / NPTF SAE 070203HPD Base # 2203C87OMXMale Elbow – ISO 614937° Flare / ISO 6149Y* – Across wrench flatsY* – Across wrench flatsC8OMXMale Elbow – Metric-ORR37° Flare / Metric-ORRY* – Across wrench flatsHow T oOrderReferenceSectionSpecsAssembly /Installation3-DCADModelC4OMXMale Elbow – BSPP 37° Flare / BSPP-ORRY* – Across wrench flatsC3MXMale Elbow – BSPT 37° Flare / BSPTY* – Across wrench flatsJTXUnion T ee37° Flare (all three ends)SAE 070401HPD Base # 033TY* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-D CAD ModelWJTXBulkhead Branch Tee 37° Flare (all three ends)SAE 070959HPD Base # 543TWJTX-WLN – Body with locknut(See page C15 for WLN)Y* – Across wrench flats.W** – Bulkhead pilot dia.recommended clearance hole+.015 over W dia.***Machined from one-piece milled bar stock.WJJTXBulkhead Run Tee37° Flare (all three ends)SAE 070958HPD Base # 533TWJJTX-WLN – Body with locknut(See page C15 for WLN)Y* – Across wrench flats.W** – Bulkhead pilot dia.recommended clearance hole+.015 over W dia.***Machined from one-piece milled bar stock.How T o OrderReference Section Specs Assembly / Installation3-DCADModelJX6Swivel Nut Union T ee37° Swivel (all three ends)HPD Base # 069TY* – Across wrench flatsS6XSwivel Nut Branch Tee 37° Flare / 37° Flare / 37° SwivelSAE 070433HPD Base # 393TY* – Across wrench flatsR6XSwivel Nut Run Tee37° Flare / 37° Swivel / 37° FlareSAE 070432HPD Base # 063TY* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-DCAD ModelS5OXStraight Thread Branch Tee 37° Flare / 37° Flare / SAE-ORBSAE 070429HPD Base # 253TR5OXStraight Thread Run Tee 37° Flare / SAE-ORB / 37° FlareSAE 070428HPD Base # 053T Y* – Across wrench flatsY* – Across wrench flatsHow T o OrderReference Section Specs Assembly / Installation3-DCADModelSTXMale Branch T ee37° Flare / 37° Flare / NPTFSAE 070425HPD Base # 213TRTXMale Run Tee37° Flare / NPTF / 37° FlareSAE 070424HPD Base # 013TY* – Across wrench flatsY* – Across wrench flatsOTXFemale Branch T ee37° Flare / 37° Flare / NPTFSAE 070427HPD Base # 223TMTXFemale Run Tee37° Flare / NPTF / 37° FlareSAE 070426HPD Base # 023TY* – Across wrench flatsY* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-DCADModelS87OMXISO 6149 Branch T ee37° Flare / 37° Flare / ISO 6149R87OMXISO 6149 Run Tee37° Flare / ISO 6149 / 37° FlareY* – Across wrench flatsY* – Across wrench flatsS4OMXMale Branch T ee – BSPP 37° Flare / 37° Flare / BSPP-ORRR4OMXMale Run Tee – BSPP 37° Flare / BSPP-ORR / 37° FlareY* – Across wrench flatsY* – Across wrench flatsHow T o OrderReference SectionSpecsAssembly /Installation3-D CADModelKTXUnion Cross37° Flare (all four ends)SAE 070501HPD Base # 033XPNTXPlug37° FlareSAE 070109HPD Base # 03CPY* – Across wrench flatsFNTXCap37° FlareSAE 070112HPD Base # 06CPT22XMountie CapHow T o OrderReference SectionSpecsAssembly /Installation3-DCADModel。
鄱阳湖翘嘴鳜(Siniperca chuatsi)的生物学参数及资源量的估算
的生 物学 、养殖 、繁殖 、发育 、育 种和遗 传多样 性 等 均 有 最新 报 道（ 卢 薛等 ，２ ０ １ ３ ；张 进等 ，２ ０ １ ３ ；杨 凯 等 ，２ ０ １ ３ ；王乾 等 ，２ ０ １ ４ ；方刘 等 ，２ ０ １ ４ ） ，但 鄱 阳
湖 翘 嘴鳜 的生物 学参 数和 资源量 估算 尚未见报 道 。 近
翘 嘴鳜 （ Ｓ ｉ ｎ ｉ ｐ ｅ ｒ ｃ ａ ｃ ｈ ｕ ａ ￣ ｉ ） 属鲈形 目、 售 斛 、 鳜属 ， 是 一种 名贵 的经 济鱼类 ， 分 布于青 藏高原 外 的全 国各 地 ，如 江苏 、上海 、浙江 、江西 、湖北 、湖南 、广东 、 安 徽 等是其 主要 的产地 （ 李 思忠 ，１ ９ ８ １ ） 。关 于翘嘴鳜
极措 施来 保 护这 一珍 贵 的渔业 资源 。 关 键 词 翘嘴 鳜 ；Ｆ ｉ Ｓ Ａ ＴＩ Ｉ ；生物 学参数 ；资 源量 ；鄱 阳湖
Ａ 文章编号 ２ ０ ９ ５ ． ９ ８ ６ ９ （ ２ ０ １ ５ ） ０ ４ ． ０ ０ ２ １ ． ０ ６ 中图分 类号 Ｑ１ ７ ８ 文献标识码
步推算 了其资源量 。 近年来 ， Ｆ Ａ Ｏ 开发的 Ｆ ｉ Ｓ Ａ Ｔ１ １ 软
件 在 国 内鱼类 研 究 中得 到 了较 为广 泛运 用 （ Ｌ ａ ｗ ｒ ｅ ｎ ｃ ｅ ｅ ｔ ａ ｌ ， ２ ０ ０ ２ ； Ｇｅ ｒ ｏ ｎ ｉ ｍｏ ｅ ｔ ａ ｌ ， ２ ０ ０ ４ ；杨少 荣等 ，２ ０ １ ０ ；
．
Hale Waihona Puke 生长 系数 Ｋ＝０ ． ２ １ ０ ， 理论 生长起 点年 龄 ｔ ｏ ＝一 ０ ． ６ ０ １ 。总死 亡 系数 Ｚ ＝ Ｉ ． ０ ６ ／ ａ ，自然 死亡 系数 Ｍ＝ ０ ． ４ ４ ／ ａ ，
濑户麻沙美配音过的角色
暗影庭园最初的成员，“七影”的第一席。金发碧眼的精灵，完美的 超人。实际上统管着暗影庭园。
北条美代子，日本漫画《食戟之灵》中的角色，是远月学园高等部1 年级学生、横滨中华料理餐厅主厨的女儿。
漫画画面
远月学园，擅长各式中华料理，身体强壮，腕力惊人，随便踩一脚就 能在地板上留下很深的鞋印，单手就能轻松的翻炒金属制的中国炒锅。
濑户麻沙美配音过的角色
绫濑千早，日本漫画《花牌情缘》及其衍生作品中的角色。隶属府中 白波会的A级选手，歌牌痴。
小六时认识了绵谷新，初次接触歌牌，被新流水般的玩牌姿态及成功 抢牌的兴奋吸引，从此踏入歌牌的世界。后在瑞沢高中与青梅竹马的真岛 太一组建了歌牌社并担任队长。曾说：“在团体赛取得第一名绝对比在个 人赛取得第一名更困难。”每一场比赛中都鼓励自己和激励团员，是瑞泽 歌牌社的最大精神支柱。
漫画第246话女王战挑战成功成为现任女王。
绫濑千早麦黄色头发，小时候的打扮及行为比较像男孩子，后来升上 高中后渐渐成长为美人，让初见的人都会觉得惊艳。但是说话和行为举止 与长相落差太大，因此有“空壳美女”的称号，甚至连部员西田优征和驹 野勉也觉得是这样（在单行本附录中提到，比起千早，两人更想和小奏约 会）。在恋爱方面，相比同期的女性更迟钝。
“不容许随意的模仿”
折神家当主，警视厅刀剑类管理局局长。黑色长发，表情严肃。可谓 是立于全部刀使顶点的存在。在二十年前的相模湾岸大灾厄中被任命为特 务队队长，讨伐了造成巨大损害的大荒魂，成为救国英雄。其力量仍未见 衰退，岿然不动地保有最强刀使的宝座。
御刀：大包平
手柄附近极度弯曲的长太刀。其美丽的程度被誉为与东之童子切安纲 并称的“日本刀的西之横纲”，日本刀的最高杰作。
片桐高中三年一班的学生。基于弟弟创太的缘故，与从未有过接触的 宫村伊澄产生交流，进而被对方吸引，后来成为了对方的女朋友。
赛车狂人2演员表大全
赛车狂人2演员表大全（实用版）目录1.引言：介绍《赛车狂人 2》的演员表大全2.主要角色演员3.配角演员4.影片信息5.结语：总结《赛车狂人 2》的演员表大全正文【引言】《赛车狂人 2》是一部充满激情和速度的赛车电影。
在这部电影中，观众们不仅可以看到精彩的赛车比赛，还能欣赏到演员们的出色表演。
本文将为大家介绍《赛车狂人 2》的演员表大全，让我们一起看看这部电影中都有哪些演员。
【主要角色演员】1.男主角：汤姆（由汤姆·克鲁斯饰演）汤姆是一位充满激情的赛车手，他在赛场上屡创佳绩，为了梦想不断挑战极限。
2.女主角：凯特（由凯特·布兰切特饰演）凯特是一位聪明、果断的女性，她在片中担任车队经理，与汤姆共同追求赛车梦想。
3.反派角色：蒙特（由杰森·斯坦森饰演）蒙特是一位心狠手辣的赛车手，为了胜利不择手段，是汤姆在赛场上的强劲对手。
【配角演员】1.泰勒（由泰勒·斯威夫特饰演）泰勒在片中饰演汤姆的徒弟，一位年轻有为的女赛车手，她在汤姆的教导下逐渐崭露头角。
2.贝克（由贝克汉姆饰演）贝克是一位足球明星，在片中客串出演，与汤姆共同为赛车梦想而奋斗。
【影片信息】《赛车狂人 2》是一部 2013 年上映的美国动作片，由詹姆斯·卡梅隆执导，汤姆·克鲁斯、凯特·布兰切特、杰森·斯坦森等出演。
影片讲述了赛车手汤姆为梦想而战的故事。
【结语】通过上述介绍，我们可以看到，《赛车狂人 2》的演员表大全中，不仅有汤姆·克鲁斯、凯特·布兰切特、杰森·斯坦森等实力派演员的精彩表演，还有泰勒·斯威夫特、贝克汉姆等跨界出演，使得这部电影更加值得期待。
发夹2直播脚本范文
发夹2直播脚本范文大家好，欢迎收看发夹2直播节目。
今天我们为大家带来了一场精彩纷呈的直播表演，以下是本期节目的详细内容：一、开场嘉宾表演请大家热烈欢迎今天的开场嘉宾——舞蹈天团。
他们将为我们带来一支充满活力和激情的舞蹈表演。
让我们一起为他们鼓掌。
二、趣味游戏环节为了增加与观众互动的乐趣，我们特别准备了一场趣味游戏。
我们邀请了三名幸运观众上台参与“寻找宝藏”的挑战。
他们需要在规定时间内找到藏在舞台上的宝藏，并获得丰厚的奖品。
让我们共同期待他们的表演。
三、特别表演接下来，我们邀请来了一位特别表演嘉宾——魔术师。
他将为大家展示他惊人的魔术技巧，让我们屏住呼吸，全神贯注地观看他的表演。
四、唱歌比赛此刻，让我们为即将上台的参赛选手们鼓掌欢迎。
他们将进行一场激烈的唱歌比赛，角逐发夹2直播节目的唱歌冠军。
每位选手都将带来一首热门歌曲，让我们静心聆听并投票支持自己喜欢的选手。
五、幽默小品表演为了给大家带来欢笑与轻松的氛围，我们邀请了一支喜剧演员团队，为观众带来一场精彩的幽默小品表演。
让我们放松心情，一起享受这段笑料。
六、颁奖典礼经过最后一轮激烈的角逐，我们终于迎来了主要奖项的颁奖环节。
让我们一起为所有参与的选手鼓掌，并祝贺他们在发夹2直播节目中的出色表现。
七、节目结束时间过得真快，我们的直播节目也要结束了。
感谢大家的收看与支持。
我们下期节目再见！以上是本期发夹2直播节目的内容安排，谢谢大家的观看。
请继续留在我们的频道，更多精彩节目将继续带给大家。
谢谢！。
汉萨福莱柯思卡套式管接头卡套式管接头Catalogue2说明书
2eugolataC汉萨福莱柯思头接管式套卡卡套式管接头HANSA-FLEX 简介德国总部中国总部HANSA-FLEX AG was founded in 1962 in Bremen, after over 50 years’ development, Hansa-Flex has become an European leading company for all areas of hydraulics.HANSA-FLEX AG is one of the most important suppliers for hydraulic connection components in the construction machinery industry, our high quality products include hose lines, fittings, flange, couplings, hydraulic units&systems, etc.As a system partner Hansa-Flex is an expert in the overall complex system of fluid technology and offers a full range of integrated services:from the supply of fastening elements and assemblies to commissioning and training of operators.HANSA-FLEX Hydraulic Shanghai Co.,Ltd is a wholly-owned subsidiary of HANSA-FLEX AG, and started its operation in China since 2004.A large central warehouse and several production workshops are built in Shanghai Ling gang, as the base of China and Asia-Pacific area. Besides Hansa-Flex Shanghai, 5 branches have been set u p i n B e i j i n g , G u a n g z h o u , W u h a n a n d Changzhou, Qingdao and Chengdu,which provide convenient hydraulic products and services for customers around.HANSA-FLEX 于1962年成立于德国北部城市不莱梅，经过50多年的发展，已经逐步在欧洲液压产品供应商之中占据了重要地位。
黎之轨迹2mc评分
黎之轨迹2mc评分《黎之轨迹2》是由日本Falcom公司制作并发行的角色扮演游戏，是《轨迹系列》的第二部作品。
游戏于2006年12月21日在日本发售，之后也陆续发行了英文版本。
作为《轨迹系列》中的重要篇章，《黎之轨迹2》在故事情节、游戏系统、角色塑造等方面都有着出色的表现。
游戏的故事情节令人难忘。
《黎之轨迹2》延续了第一部游戏的剧情，讲述了主角爱丽丝和皮约斯乘坐飞船离开大陆，前往灯塔市。
然而，飞船却被神秘势力击落，爱丽丝和皮约斯被迫分离。
游戏的剧情围绕着他们的冒险展开，玩家需要解开关于神秘势力和失踪的父亲的谜题。
游戏的故事情节非常精彩，充满了扭转和反转。
主角们的遭遇以及他们探索世界的过程中所发生的事件都让人愈发投入。
人物之间的关系也得到了充分的发展，玩家可以通过和不同角色的互动来了解他们的过去和内心世界。
这种深入的角色塑造使得游戏的剧情更加引人入胜。
游戏的游戏系统也非常出色。
《黎之轨迹2》沿袭了《轨迹系列》的战斗系统，玩家可以组建队伍进行战斗。
战斗中，玩家可以通过使用不同技能和战术来击败敌人。
游戏还引入了新的机制，比如连击系统和联合必杀技，使得战斗更加有趣和多样化。
《黎之轨迹2》还有丰富的副本和任务。
玩家可以在游戏世界中自由探索，发现隐藏的宝物和任务。
这些任务涵盖了各种各样的内容，从寻找物品到解决谜题，给玩家提供了不少挑战和乐趣。
同时，游戏还提供了丰富的装备和角色成长系统，玩家可以根据自己的喜好和策略来培养角色和装备。
游戏的音乐和画面也是其优势之一。
《黎之轨迹2》的音乐精美动人，给人一种恢弘壮丽的感觉。
游戏的画面也非常精美，角色和场景的设计都充满了细节和精致感。
这种高品质的音乐和画面设计为游戏增添了更多的魅力。
综上所述，《黎之轨迹2》凭借其出色的故事情节、游戏系统、角色塑造以及音乐和画面设计，在玩家中赢得了广泛的赞誉。
这款游戏具有高度的可玩性和吸引力，使人们沉浸其中。
如果你喜欢角色扮演游戏，并且对于精彩的故事和丰富的游戏系统感兴趣，《黎之轨迹2》绝对是你不容错过的好游戏。
FFTA2汉化版全武器装备合成方法
小刀类（盗·曲·游·陆·猎·优·舞）小刀：初期商品折叠小刀：吉盖伊德铅+ 魔兽之皮+ 小蘑菇（盗：偷窃金钱曲：投掷钱）波斯小刀：吉盖伊德铅+ 动物的骨+ 仙人掌果实（盗：偷窃道具游：沉默瓦斯）萨克逊匕首：扎吉斯锡+ 尖角+ 苔球（盗：偷窃材料LV1 曲：投掷球）圆柄短剑：扎吉斯锡+ 虫之甲壳+ 魔界花酒（盗：偷窃材料LV2 游：吸血虫）克利斯小刀：吉盖伊德铅+ 结实的骨+ 番茄蒂（曲：猛力投掷）弯曲匕首：大马士格钢+ 炸弹怪外壳+ 恶臭的液体（曲：投掷火瓶游：隐身）佐霖小刀：库雷克奥亚铅+ 修罗之骨+ 海迪基姆的花粉（游：针刺）破剑小刀：金刚合金+ 结实的骨+ 盖柯的木材（盗：偷窃材料LV3 曲：投掷小刀）奥利哈康小刀：奥利哈克+ 妖草钻头+ 苦的粘液（盗：偷窃注目度曲：微笑）五指短剑：大马士格钢+ 大牙+ 卡罗斯之花（盗：偷窃材料LV4 曲：投掷圈）【双刃短刀】：克鲁塞德合金+ 大牙+ 四叶幸运草（盗：偷窃饰品游：濒死潜伏）【冬贝利小刀】：绯绯色金+ 飞龙之牙+ 极臭的液体（游：媚药）迪普塔特短剑：无（优：薇欧拉）剑类（兵·战·龙·法·陆·空·优）短剑：初期商品阔剑：吉盖伊德铅+ 法兰的花粉（兵：紧急处理战：紧急处理法：油剑）破坏剑：土之石+ 扎吉斯锡+ 弯曲之牙（兵：精神破坏战：精神破坏法：HP消费魔法）盗贼剑：土之石+ 扎吉斯锡+ 龙骨（兵：看破法：固定剑龙：驯龙）银剑：冰之刻印+ 白金+ 虫之甲壳（兵：速度破坏战：速度破坏法：缓速剑）疾风剑：风之刻印+ 大马士格钢+ 蝙蝠之翼（战：疾风迅雷法：催眠剑）血剑：暗之石+ 诅咒的硬币+ 大牙（兵：挑拨龙：屠龙法：毒剑）洋葱剑：玉钢+ 洋葱+ 圣战之药（法：混乱剑）【回复剑】：圣之石+ 奥利哈克+ 龙之壳（战：夺魂术龙：龙剑法：封印剑）【生命之星】：圣之石+ 克鲁塞德合金+ 透明的粘液（法：告死剑龙：龙之魂）封印剑：无（优：海罗乌）宽剑类（斗·魔·莫·陆·空·优）铁制宽剑：初期商品突击宽剑：风之石+ 吉盖伊德铅+ 动物的骨（斗：冲击魔：冲击）暗影宽剑：蝙蝠尾巴+ 壳+ 大羽毛（斗：爆裂击魔：爆裂击莫：锁定）太阳宽剑：心之水晶+ 克鲁泽尔黄铜+ 炸弹怪外壳（斗：闪电击魔：闪电击）雷光宽剑：心之水晶+ 吉盖伊德铅+ 法兰的花粉（斗：空破斩莫：射击）维纳斯宽剑：心之水晶+ 扎吉斯锡+ 炸弹怪外壳（斗：双手持魔：双手持）珍珠宽剑：水之石+ 克鲁泽尔黄铜+ 珍珠贝的壳（莫：抵抗）奥贡宽剑：水之石+ 扎吉斯锡+ 陀螺钻头（斗：回旋击魔：回旋击）火炎宽剑：火之石+ 克鲁泽尔黄铜+ 珍珠（斗：烈炎击魔：炎之魂莫：攻击）气流宽剑：风之石+ 迪普雷乌青铜+ 大鸟的羽毛（斗：风暴击魔：雷袭）寒冰宽剑：冰之石+ 金刚合金+ 壳（斗：暴雪击莫：回复）气功宽剑：白金+ 帕奇树+ 古老亚麻丝（斗：波动击莫：防御）碧玺宽剑：雷之石+ 佐迪阿克矿石+ 拉米亚的鳞片（莫：装备破坏）暗夜降临：暗王晶+ 克鲁塞德合金+ 吸血牙（空：空贼之证）【金刚宽剑】：力量水晶+ 金刚石+ 蛇鸡兽的皮（空：遁走）【究极宽剑】：秘银+ 英雄之药+ 恶魔的羽毛（魔：阿鲁迪玛斩莫：阿鲁迪玛蓄力）【红色艾比阿】：火鸟晶+ 奥利哈克+ 蜘蛛丝蓝色艾比阿：无（优：拉迪利斯）军刀类（青·陆·空·优）轻军刀：初期商品（青：学习）蓝色军刀：水之石+ 爱之锅+ 真水半月弯刀：土之石+ 迪普雷乌青铜+ 海迪基姆之花水之军刀：水之石+ 迪普雷乌青铜+ 治愈之水镰剑：水之刻印+ 玉钢+ 可疑的蘑菇（空：迅速猎取）锰军刀：冰之刻印+ 玉钢+ 四叶幸运草（空：抢钱）【镔铁军刀】：地之刻印+ 金刚石+ 奥雷亚的花粉【太阳神军刀】：火鸟晶+ 圆月轮+ 吸血牙骑士剑类（圣·守·神·陆·优）长剑：初期商品防御者：风之石+ 拉德亚铅+ 斗气的碎片（圣：护理守：冬眠）默示录：暗之石+ 拉德亚铅+ 头盖骨（神：破魔击）狮子心：塔尔科夫的水晶+ 拉德亚铅+ 龙骨（圣：防守守：防守）诸神黄昏：力量水晶+ 白金+ 珍珠（神：沉默）罗恩格林：心之水晶+ 白金+ 鳕鱼的鳞片（守：斗气神：加速术）女王守护：圣之石+ 敏迪亚合金+ 湿地苔（圣：庇护守：绝对防御神：异常防护）方舟之剑：塔尔科夫的水晶+ 白金+ 鳕鱼的鳞片（圣：神圣十字神：灵魂之球）胜利之剑：大圣灵石+ 敏迪亚合金+ 圣战之药（圣：圣光斩）王者之剑：无【胜利之剑2】：圣翼晶+ 秘银+ 英雄之药诸神黄昏2：无（优：阿姆奈西亚）刺突剑类（击·赤·精·陆）战斗刺剑：初期商品蜂刺剑：药针+ 拉米亚的鳞片+ 真水（击：毒蜂赤：雷电术）刺突剑：土之石+ 药针+ 帕奇树（击：羽刺精：重力之尘）花剑：药针+ 壳+ 真水（精：大地之光赤：回复术）深红：心之水晶+ 药针+ 炸弹怪外壳（精：火炎之鞭赤：火炎术）焰刃剑：冰之石+ 药针+ 盖柯的木材（击：贯穿击精：纯白之炎赤：冰冻术）银刺剑：圣之石+ 爱之锅+ 光亮的鳞片（击：暗影之刺精：滑雨赤：沉默）风神刺：风之石+ 诅咒的硬币+ 恶神羽（击：燕尾击精：光明之风赤：防护罩）欢喜之剑：爱之锅+ 珍珠+ 伽尔克斯之水（击：夜鹰击精：罪恶凝视）猎魔刺剑：药针+ 结实的骨+ 伽尔克斯之水（击：蓝色激情精：沉默之雷赤：魔法盾）克利修迈德：智慧水晶+ 大马士格钢+ 地龙皮革（赤：魔法威力UP）古辟提·艾伽：力量水晶+ 浮游矿石+ 肯帕斯树（击：致命之刺）【杀意剑】：冰虎晶+ 圆月轮+ 玛贝尼树（赤：连续魔法）【棱镜剑】：雷之刻印+ 库雷克奥亚铅+ 妖精之羽【最后的文字】：冰虎晶+ 飞龙之牙+ 飞龙之翼【恶魔刺剑】：暗王晶+ 金之器+ 吸血牙【命运少女】：火鸟晶+ 千根针+ 克拉吉库木材【风穿】：风神晶+ 敏迪亚合金+ 飞龙之翼大剑类（兵·圣·剑·野·陆·优）大刀：克鲁泽尔黄铜+ 动物的骨+ 沃尔特的木材（兵：力量破坏圣：降伏劝告）逆十字剑：扎吉斯锡+ 虫之甲壳+ 帕奇树（野：反击姿势剑：暗黑）达古利奥姆之剑：吉盖伊德铅+ 铁壳+ 梅普的木材（野：突袭剑：梦魇兵：单手持）古代之剑：药针+ 尖角+ 斯普鲁斯木材（兵：魔力破坏野：气合剑：暗之剑）钻石之剑：拉德亚铅+ 尖角+ 苦的粘液（兵：夺取金钱野：大回转剑：防御！）责成剑：迪普雷乌青铜+ 柯登夫鲁木材+ 上等的绢丝（圣：战吼剑：单手持）硬刃大剑：佐迪阿克矿石+ 大蛇之牙+ 丹布卡的木材（野：反骨精神剑：突击！）欧奇斯剑：佐迪阿克矿石+ 珍珠+ 安玖的木材（圣：净化野：全力一击剑：光之剑）双手大剑：佐迪阿克矿石+ 头盖骨+ 优质的木材（野：冲击波）鲁阿之剑：玉钢+ 光亮的鳞片+ 红基普斯树（剑：突进！）【义警剑】：奥利哈克+ 皇帝的鳞片+ 克拉吉库木材（野：终极冲击剑：炫目游戏）【特尔奴索尔】：大圣灵石+ 绯绯色金+ 皇帝的鳞片（剑：龙之魂）【剑圣剑】：绯绯色金+ 兽王之角+ 神木宽刃剑类（战·守·鹰·陆·优）萨姆森之剑：克鲁泽尔黄铜+ 陆行鸟皮+ 忘忧草（战：力量破坏鹰：力量冲击）圆月大刀：风之石+ 拉德亚铅+ 老鼠皮（战：魔力破坏鹰：精神冲击）掠夺者之剑：土之石+ 吉盖伊德铅+ 狼的毛皮（鹰：速度冲击战：单手持）风神剑：风之石+ 佐迪阿克矿石+ 皮革（战：碎岩击守：横扫鹰：单手持）艾鲁希德之剑：水之石+ 佐迪阿克矿石+ 豹子的毛皮（守：弹飞鹰：龙卷风）岩兽剑：地之刻印+ 佐迪阿克矿石+ 巨人皮革（鹰：盾击）巨剑：塔尔科夫的水晶+ 金刚石+ 地龙皮革（守：武器破坏鹰：旋风）雷帝之剑：雷之刻印+ 佐迪阿克矿石+ 海迪基姆之花（守：能量爆发鹰：绝对防御）【异族之剑】：大圣灵石+ 金刚石+ 魔兽皮革（鹰：灵魂冲击）【星之剑】：水蛇晶+ 绯绯色金+ 高级毛皮刀类（忍·保·刺·陆·优）忍者刀：土之石+ 扎吉斯锡+ 普利玛的花瓣（忍：投掷）村雨：水之石+ 扎吉斯锡+ 治愈之水（保：镰鼬忍：水遁刺：失声）阿修罗：火之石+ 扎吉斯锡+ 可疑的蘑菇（保：刀背击忍：火遁）备前长船：水之刻印+ 库雷克奥亚铅+ 琉科吉乌姆之花（保：居合斩忍：土遁）【虎铁】：力量水晶+ 圆月轮+ 黄金菇（保：奥义·天雷忍：木遁刺：封印）菊一文字：地之刻印+ 浮游矿石+ 海迪基姆的花粉（忍：金遁刺：恶梦）【天之丛云】：圣翼晶+ 玉钢+ 神秘的液体（保：奥义·冻灭忍：解咒）【和泉守兼定】：风之刻印+ 金刚石+ 螺旋状根（保：奥义·阳炎）【徒樱】：地之刻印+ 圆月轮+ 卡罗斯之花（保：奥义·割杀刺：呼吸根止）【罗月传武】：小圣灵石+ 枪身齿轮+ 尖叫的根（忍：二刀流）【正宗】：圆月轮+ 透明的粘液+ 蜘蛛丝（忍：忘却刺：忘却）【斩魔刀】：圣翼晶+ 千根针+ 伽尔克斯之水（刺：阿鲁迪玛暗杀）【墨炎】：炎之刻印+ 克鲁塞德合金+ 黄金菇（保：魂放）百式正宗：无（优：艾克利普斯）枪类（龙·神·陆）短枪：初期商品投枪：扎吉斯锡+ 动物的骨+ 羊毛（龙：跳跃神：雄叫）熔岩之枪：火之石+ 克鲁泽尔黄铜+ 动物的骨（龙：火炎吐息）大地魔枪：雷之石+ 克鲁泽尔黄铜+ 提拉库奥之花（龙：雷电吐息）寒冰之枪：冰之石+ 药针+ 斗气的碎片（龙：寒冰吐息）戟枪：迪普雷乌青铜+ 龙之壳+ 绢（神：聚气）凯因之枪：克鲁塞德合金+ 吸血牙+ 黑色丝（神：生命破坏）【三叉戟】：圆月轮+ 鳕鱼的鳞片+ 飞龙之翼（神：武器攻击UP）【龙髭】：浮游矿石+ 飞龙之牙+ 飞龙之翼（龙：邦伽吐息）斧类（维·陆）阔斧：吉盖伊德铅+ 老鼠皮+ 光亮的鳞片（维：雷电术）砍斧：金刚合金+ 老虎皮+ 攻龙之壳（维：大雷电术）锤头斧：金刚合金+ 豹子的毛皮+ 大蛇之牙（维：海啸）维京战斧：时律石+ 兔子的毛皮+ 大牙（维：战吼）巨斧：玉钢+ 蛇鸡兽的皮+ 陀螺钻头（维：双手持）黄金斧：玉钢+ 高级皮革+ 黄金菇（维：超雷电术）魔杖类（黑·时·里·幻·陆·舞·优）魔杖：初期商品（黑：火炎术/冰冻术/雷电术）火轮魔杖：火之石+ 拉德亚铅+ 铁壳（黑：大火炎术幻：灼热日珥时：加速术）雷鸣魔杖：雷之石+ 拉德亚铅+ 结实的根（黑：大雷电术幻：雷云风暴时：反射术）冻雪魔杖：冰之石+ 拉德亚铅+ 脏羊毛（黑：大冰冻术幻：寒冰闪耀里：生命吸取）地龙魔杖：土之石+ 阿伽其斯树+ 蜘蛛丝（幻：大地之罚时：缓速术里：精神吸取）力量魔杖：力量水晶+ 时律石+ 玛利奥姆之花（里：重力术舞：不诚之舞）烈炎魔杖：炎之刻印+ 时律石+ 龙之壳（黑：超火炎术时：超加速术里：等级3暗黑术）雷神魔杖：雷之刻印+ 时律石+ 卡罗斯之花（黑：超雷电术幻：黑暗龙卷时：再动术）寒冰魔杖：冰之刻印+ 时律石+ 优质的羊毛（黑：超冰冻术幻：帝王幻影时：停止术）星之魔杖：塔尔科夫的水晶+ 金刚石+ 星星的碎片（幻：群星之尘时：延时术里：超重力术）【莉莉丝魔杖】：智慧水晶+ 敏迪亚合金+ 魔力果实（里：等级5加速术）【炸弹怪之手】：炎之刻印+ 圆月轮+ 魔力果实（里：等级？S核融术）【异端魔杖】：暗王晶+ 秘银+ 吸血牙（里：死神舞：无名之舞）【公主守护杖】：力量水晶+ 大马士格钢+ 兽王之角（幻：南十字星时：返还术）杖类（白·召·主·陆·舞·优）白魔杖：初期商品（白：回复术）守护之杖：水之石+ 克鲁泽尔黄铜+ 珊瑚的碎片（召：伊夫利特）裁决之杖：雷之石+ 回忆草+ 沃尔特的木材（主：气流术召：拉穆）治愈之杖：圣之石+ 沃尔特的木材+ 治愈之水（白：大回复术主：大回复术召：麒麟）净化之杖：圣之石+ 沃尔特的木材+ 圣战之药（白：净化术召：独角兽）祝福之杖：心之水晶+ 白金+ 迪帕利树（白：复活术主：驱散术）蛇之杖：智慧水晶+ 迪帕利树+ 神秘的液体（主：石化术召：希瓦）宫水之杖：水之刻印+ 圆月轮+ 治愈之水（白：超回复术主：水球术）石榴之杖：炎之刻印+ 安玖的木材+ 邪心的生血（主：护壁召：卡邦克尔）激励之杖：四叶幸运草+ 库尔纳特木材+ 英雄之药（白：自动复活主：敲落召：玛丁）【贤者之杖】：大圣灵石+ 金之器+ 神木（白：驱邪术舞：吉特吧舞）【涅盘之杖】：圣翼晶+ 玛贝尼树+ 圣战之药（白：大复活术主：神圣术召：不死鸟）棒类（风·宗·陆·舞·优）拐棍：克鲁泽尔黄铜+ 阿伽其斯树+ 恶神之羽（宗：净体）柏树棍：心之水晶+ 时律石+ 斯普鲁斯木材（宗：装甲破坏）战棍：塔尔科夫的水晶+ 诅咒的硬币+ 优质的毛皮（宗：暗杀拳）双截棍：雷之石+ 时律石+ 安玖的木材（宗：圣拳击）风棍：风之刻印+ 库雷克奥亚铅+ 梅普的木材（风：雷暴）铁棒：地之刻印+ 时律石+ 沃尔特的木材（风：生物之力）艾斯塔姆棍：智慧水晶+ 时律石+ 迪帕利树（宗：乱命拳舞：波尔卡舞）定海神针：力量水晶+ 时律石+ 优质的木材（风：工艺之力宗：残精打）狂信者：大马士格钢+ 升龙的木片+ 斩风的羽毛（风：魔雾风暴宗：交叉反击）象牙棒：冰之刻印+ 秘银+ 阿伽其斯树（风：无机之力）飞天南星：雷之刻印+ 金之器+ 红基普斯树（风：雪崩宗：连续拳）鲸髭：无（优：贝尔摩德）拳套类（狂·武·陆·机）皮拳套：初期商品（狂：武器攻击UP）金属爪：土之石+ 拉德亚铅+ 狼的毛皮（武：回旋拳机：银色圆盘狂：集中）旭日东升：火之石+ 金刚合金+ 炸弹怪外壳（武：破邪机：红色弹簧）毒爪：暗之石+ 扎吉斯锡+ 蝙蝠尾巴（机：绿色齿轮狂：大叫）睡眠之爪：库雷克奥亚铅+ 巨人皮革+ 浑浊的粘液（机：虹色磁石）凯撒之爪：雷之石+ 金刚合金+ 巨人皮革（武：空破斩狂：大挥舞）猫之爪：秘银+ 优质的皮+ 香甜的粘液（武：恢复机：金色电池狂：愤怒的一击）幸存者：千根针+ 高级毛皮+ 番茄蒂（武：苏生机：黄色机械狂：武器磨快）白牙：冰之石+ 秘银+ 修罗之骨（武：圣印机：蓝色螺钉）神之手：圣之石+ 金刚石+ 以太水（武：波动击狂：铁头功）虎牙：金刚石+ 魔兽皮革+ 卡罗斯之花（武：地裂斩狂：打碎）死亡之爪：暗王晶+ 金刚石+ 吸血牙（机：漆黑之块狂：大地震动）【爆裂之爪】：水蛇晶+ 金之器+ 魔兽皮革【魔法拳套】：雷鬼晶+ 千根针+ 蛇鸡兽的皮乐器类（诗·动·兽·陆）拉米亚的竖琴：初期商品（兽：梦兔/番茄怪）小鬼之铃：吉盖伊德铅+ 头盖骨+ 丹布卡的木材（兽：矮人/布丁）玻璃钟：克鲁泽尔黄铜+ 头盖骨+ 盖柯的木材（兽：拉米亚动：纯羊毛）冲锋号角：爱之锅+ 千年龟的甲壳+ 梅普的木材（兽：狼动：木天蓼）海螺贝：库雷克奥亚铅+ 柯登夫鲁木材+ 柔软的棉花（兽：岩兽）手风琴：无（兽：魔龙动：百羊诗：天使之诗）黑之笛：暗之石+ 库雷克奥亚铅+ 头盖骨（兽：僵尸/幽灵/恶魔）森林神之笛：大马士格钢+ 罗兹菲登树+ 蝙蝠之翼（兽：无头巨人动：陆行鸟暴走）妖精的竖琴：妖草钻头+ 玛贝尼树+ 妖精之羽（兽：小妖精/蚁狮）青叶之笛：水之刻印+ 敏迪亚合金+ 以太水（兽：魔界花/炸弹怪动：青蛙之歌）回复之铃：圣之石+ 金之器+ 香甜的粘液（兽：蛇鸡兽动：制作料理）流冰的六弦琴：浮游矿石+ 星星的碎片+ 肯帕斯树（兽：狼人动：摇尾巴诗：无名之诗）【光之鲁特琴】：音笛草+ 斯特拉树（兽：贝希摩斯动：朋友介绍诗：魔法之歌）【天阳的鲁特琴】：螺旋状根+ 斯特拉树（兽：恶神/眼球怪诗：魂之曲）锤类（维·绿·陆）连枷：扎吉斯锡+ 斯普鲁斯木材+ 真水（维：扒窃绿：防护罩）战锤：克鲁泽尔黄铜+ 柯登夫鲁木材+ 浑浊的粘液（维：抢夺道具绿：魔法盾）巨锤：诅咒的硬币+ 库尔纳特木材+ 黄色的液体（维：抢夺防具绿：油）【雷神之锤】：绯绯色金+ 卡林的木材+ 以太水锡杖类（绿·炼·贤·陆）战斗锡杖：初期商品（贤：水球术绿：催眠术）力量锡杖：暗之石+ 拉德亚铅+ 香甜的果实（炼：破魔击贤：气流术绿：沉默）德鲁伊锡杖：火之石+ 拉德亚铅+ 传音草（炼：毒气术贤：黑暗术绿：黑暗术）贤者的锡杖：圣之石+ 时律石+ 罗兹菲登树（炼：异常防护绿：集中术）生命锡杖：水蛇晶+ 罗兹菲登树+ 以太水（贤：超净化术炼：魔法威力UP）【晨星】：风神晶+ 敏迪亚合金+ 卡罗斯之花（贤：魔力爆破）【曼陀罗的根】：敏迪亚合金+ 尖叫的根+ 透明的粘液（炼：青蛙术贤：生化术绿：疾行术）【红莲的锡杖】：炎之刻印+ 敏迪亚合金+ 万年龟的甲壳（炼：核融术贤：究极核融术）【蝎尾锡杖】：风之刻印+ 克鲁塞德合金+ 奥雷亚的花粉（炼：陨石术）【宙斯锡杖】：圣翼晶+ 神木+ 英雄之药（炼：炼金术贤：阿鲁迪玛爆炸）书物类（导·陆·学）战斗字典：罗传之花+ 柯登夫鲁木材+ 恶臭的液体（学:调查导：大回复术）魔道指南书：香甜的果实+ 沃尔特的木材+ 恶臭的液体（学：大地与龙脉之书导：大火炎术）沃丹阿诺兹史：卷卷草+ 优质的木材+ 恶臭的液体（学：冰雪与冷气之书导：净化术）阿纳斯圣书：玛利奥姆之花+ 优质的木材+ 魔界花酒（学：雷鸣与烈光之书导：大冰冻术）艾纳比亚记：小蘑菇+ 肯帕斯树+ 神秘的液体（学：生态之书导：大雷电术）维尤瓦尔之书：海迪基姆的花粉+ 肯帕斯树+ 黄色的液体（学：漆黑与冥府之书导：复活术）邪解禁书：卡罗斯之花+ 卡林的木材+ 神秘的液体（学：免疫之力导：MP积蓄）【艾达罗亚圣典】：尖叫的根+ 斯特拉迪帕利木+ 极臭的液体（学：疯狂科学导：魔法爆击）弓类（游·弓）短弓：初期商品长弓：壳+ 结实的根+ 梅普的木材（弓：蓄力）碳弓：动物的骨+ 结实的根+ 红基普斯树（弓：狙目）银弓：风之石+ 库雷克奥亚铅+ 龙之壳（弓：不死升天）长钉弓：结实的骨+ 螺旋状根+ 肯帕斯树（弓：狙足游：生命转换）钉弓：大牙+ 魔界花触手+ 库尔纳特木材（弓：狙腕游：效果逆转）月神弓：智慧水晶+ 玉钢+ 月武之花（弓：射心）与一之弓：千年龟的甲壳+ 螺旋状根+ 卡林的木材（弓：狙击）【狙击弓】：大蛇之牙+ 可疑的蘑菇+ 克拉吉库木材（游：探测隐形弓：精神统一）珀尔修斯之弓：玉钢+ 卡林的木材+ 蜘蛛丝（弓：疾风突击）【新月之意】：兽王之角+ 奥雷亚的花粉+ 玛贝尼树【魔界花弓】：魔界花触手+ 神木+ 魔界花酒刚弓类（刺·猎·狙）混合弓：初期商品斩风之弓：风之石+ 克鲁泽尔黄铜+ 小羽毛（猎：追击狙：潜伏）猎人之弓：土之石+ 斯普鲁斯木材+ 古老亚麻丝（刺：恶寒）重型弓：风之石+ 丹布卡的木材+ 恶神之羽（猎：音速波狙：毒吻）连射弓：大马士格钢+ 结实的骨+ 丹布卡的木材（猎：助言狙：连射）狩猎之弓：水之刻印+ 阿伽其斯树+ 普通的绢丝（猎：狩猎狙：钱袋狙击）精灵之弓：风之刻印+ 克拉吉库木材+ 妖精之羽（猎：要害狙击刺：影缝狙：装甲狙击）冥王之弓：暗之石+ 大时钟齿轮+ 修罗之骨（猎：响尾蛇狙：死亡镰刀）胜利女神之弓：雷之石+ 螺旋状根+ 迪帕利树（猎：武器攻击UP）大师之弓：佐迪阿克矿石+ 陀螺钻头+ 克拉吉库木材（猎：反作用力狙：武器狙击）【神王之弓】：风之刻印+ 安玖的木材+ 蝙蝠之翼【阿巴雷斯特大弓】：地之刻印+ 库尔纳特木材+ 飞龙之翼【加斯特拉之弓】：库雷克奥亚铅+ 妖草钻头+ 优质的木材【极限魔弓】：敏迪亚合金+ 修罗之骨+ 升龙的木片（狙：魔弹射手）【第七天堂】：圣翼晶+ 克拉吉库木材+ 斩风的羽毛（猎：阿鲁迪玛射击）铳类（枪·密）柯克29式：初期商品白铁铳：风之石+ 药针+ 浑浊的粘液（枪：火炎弹）银玉铁炮：暗之石+ 大时钟齿轮+ 珍珠贝的壳（枪：致盲弹密：补给）爆弹铳：雷之石+ 大时钟齿轮+ 绿色的液体（枪：雷电弹）混沌来复：土之石+ 枪身齿轮+ 银色的液体（枪：混乱弹密：感触）失落之铳：风之石+ 枪身齿轮+ 黄色的液体（枪：沉默弹）盖亚特铳：冰之刻印+ 枪身齿轮+ 恶臭的液体（枪：冰冻弹）加长步枪：炎之刻印+ 圆月轮+ 神秘的液体（密：危机！枪：精神统一）边缘者：冰之刻印+ 圆月轮+ 透明的粘液（枪：停止弹密：欢迎）调停者：地之刻印+ 圆月轮+ 银色的液体（枪：魅惑弹密：手段）大炮类（炮·火）（“火”表示魔炮士）手炮：初期商品（炮：回复弹火：魔炮蓄力）速射炮：大时钟齿轮+ 铁壳+ 浑浊的粘液（炮：鹿弹射击火：回复魔炮）礼仪炮：大时钟齿轮+ 龙骨+ 苦的粘液（炮：重新装弹火：防护罩魔炮）魔导炮：大时钟齿轮+ 结实的骨+ 恶臭的液体（炮：配件装备火：MP消费攻击）莫古利小炮：大时钟齿轮+ 攻龙之壳+ 黄色的液体（炮：狙击器装备火：魔法盾魔炮）勇者炮：大时钟齿轮+ 千年龟的甲壳+ 邪心的生血（炮：魔力弹火：魔力弹魔炮）轻装火箭炮：大时钟齿轮+ 珊瑚的碎片+ 香甜的粘液（炮：固定炮台火：魔力爆击）刚果炮：大时钟齿轮+ 大蛇之牙+ 邪心的生血（火：传送魔炮）驰龙炮：大时钟齿轮+ 头盖骨+ 极臭的液体（炮：锁定目标火：全能量轰击）【火箭炮】：千根针+ 万年龟的甲壳+ 神秘的液体扑克牌类（术）黑桃4：老鼠尾巴+ 回忆草+ 黄色的液体（术：假药）红心8：巨人皮革+ 洋葱+ 银色的液体（术：窃笑）梅花Q：高级毛皮+ 海迪基姆之花+ 银色的液体（术：怨念）方块J：蛇鸡兽的皮+ 魔力果实+ 黄色的液体（术：疑心暗鬼）红心K：高级皮革+ 魔界花瓣+ 透明的粘液（术：外伤）黑桃A：粉红的尾巴+ 洋葱+ 以太水（术：抢夺）梅花2：蛇鸡兽的皮+ 尖叫的根+ 神秘的液体（术：魅力）方块6：魔兽皮革+ 魔界花瓣+ 极臭的液体（术：暗示）【王牌】：蛇鸡兽的皮+ 奥雷亚的花粉+ 邪心的生血头盔类（兵·战·圣·龙·守·神·莫·剑·维·鹰·野）青铜头盔：初期商品铁制头盔：爱之锅+ 龟的甲壳圆头盔：金刚合金+ 弯曲之牙+ 绿色的液体全头盔：金刚合金+ 碎骨片+ 魔界花酒白金头盔：白金+ 锯齿状的叶+ 绿色的液体钻石头盔：金刚合金+ 珍珠+ 苦的粘液【恶鬼的假面】：克鲁塞德合金+ 修罗之骨+ 神秘的液体【巨人头盔】：克鲁塞德合金+ 兽王之角+ 恶臭的液体【源氏头盔】：魔兽皮革+ 珊瑚的碎片+ 神木缎带类（女性）【头箍】：珊瑚的碎片+ 四叶幸运草+ 安玖的木材（法：濒死回避UP 风：濒死回避UP）【发夹】：妖草钻头+ 卡罗斯之花+ 库尔纳特木材缎带：无帽子类（除圣·龙·守·武外的全职业）羽毛帽子：初期商品绿贝雷帽：诅咒的硬币+ 老虎皮+ 魔界花触手（弓：矢避动：矢避）头冠：火之石+ 兔子的毛皮+ 羊毛力量头巾：爱之锅+ 兔子尾巴+ 体力果实（狂：反击鹰：反击）三角帽子：心之水晶+ 皮革+ 绢（炼：药的知识游：药的知识）黄金的发饰：塔尔科夫的水晶+ 克鲁塞德合金+ 湿地苔盗贼的帽子：暗之石+ 地龙皮革+ 斩风的羽毛（术：伤害吸收维：伤害吸收）【白帽子】：圣翼晶+ 星星的碎片+ 白色丝【黑帽子】：暗王晶+ 高级皮革+ 黑色丝【黄金之冠】：雷之刻印+ 优质的毛皮+ 虹色的丝（学：状态延长绿：状态延长）【黄金之帽】：智慧水晶+ 圆月轮+ 黄金菇铠甲类（兵·战·圣·龙·守·神·莫·剑·维·鹰·野）亚麻铠甲：初期商品青铜铠甲：吉盖伊德铅+ 仙人掌果实铁制铠甲：爱之锅+ 珍珠贝的壳（维：装备保护鹰：装备保护）板甲：迪普雷乌青铜+ 绿色的液体+ 普通的绢丝黄金铠甲：迪普雷乌青铜+ 地龙之皮+ 番茄蒂（莫：濒死加速）钻石铠甲：迪普雷乌青铜+ 攻龙之壳+ 香甜的粘液（圣：武器防御UP 守：武器防御UP 野：武器防御UP）白金铠甲：白金+ 海迪基姆之花+ 黄色的液体（守：重装备可能剑：重装备可能野：重装备可能）轻型铠甲：金刚合金+ 魔界花酒+ 上等的绢丝反射铠甲：雷之刻印+ 白金+ 斩风的羽毛龙铠：金刚石+ 银色的液体+ 白色丝（神：肉斩骨断野：肉斩骨断）马克西米利安之铠：小圣灵石+ 迪普雷乌青铜+ 龙之壳【源氏之铠】：高级皮革+ 兽王之角+ 克拉吉库木材（圣：见切鹰：见切）【金刚铠甲】：土龙晶+ 金刚石+ 粉红的尾巴【究极铠甲】：敏迪亚合金+ 圣战之药+ 斩风的羽毛陆行鸟铠甲：无服类（除圣·龙·守·神·莫外的全职业）皮革服：初期商品锁子甲：大时钟齿轮+ 皮革+ 卷卷草（盗：反击武：反击）金刚背心：土之石+ 金刚合金+ 老鼠尾巴（盗：装备保护炼：装备保护）生存背心：枪身齿轮+ 老虎皮+ 体力果实（青：免疫兽：免疫）镶钉甲：吉盖伊德铅+ 高级皮革+ 月武之花（赤：抓住曲：抓住）柔道服：大马士格钢+ 高级毛皮+ 湿地苔力量之服：敏迪亚合金+ 巨人皮革+ 洋葱（刺：矢返曲：矢返）大地之衣：地之刻印+ 罗兹菲登树+ 优质的羊毛（猎：自动回复狙：自动回复机：自动回复）智慧女神之衣（女性专用）：大圣灵石+ 迪普雷乌青铜+ 螺旋状根忍者服：兔子尾巴+ 皇帝的鳞片+ 妖精之羽（忍：濒死加速兽：濒死加速）黑装束：优质的皮+ 皇帝的鳞片+ 大鸟的羽毛（贤：武器防御UP）维加之服：奥利哈克+ 粉红的尾巴+ 琉科吉乌姆之花（斗：肉斩骨断）幻影背心：智慧水晶+ 玉钢+ 虹色的丝（青：MP代替里：MP代替机：MP代替）橡胶背心（女性专用）：敏迪亚合金+ 高级皮革+ 魔力果实骨铠：暗之石+ 克鲁塞德合金+ 修罗之骨（保：伺反魔：伺反野：伺反）【裁判之衣】：雷鬼晶+ 白金+ 高级毛皮（宗：满HP强化野：满HP强化）【圣殿骑士装】：浮游矿石+ 粉红的尾巴+ 奥雷亚的花粉【布林特之服】：高级皮革+ 皇帝的鳞片+ 极臭的液体【卡鲁米亚之服】：高级毛皮+ 皇帝的鳞片+ 极臭的液体【最后之服】：圣翼晶+ 高级皮革+ 飞龙之翼（武：见切贤：见切击：见切）长袍类（圣·守·神·白·黑·绿·时·青·赤·里·幻·召·导·主·贤·风·优）麻布长袍：初期商品丝制长袍：塔尔科夫的水晶+ 兔子的毛皮+ 普通的绢丝魔道士长袍：塔尔科夫的水晶+ 小蘑菇+ 柔软的棉花（时：濒死再动风：魔法防御UP）槲寄生长袍：土之石+ 豹子的毛皮+ 柔软的棉花火群之衣：火之石+ 库雷克奥亚铅+ 炸弹怪外壳神鸣之衣：雷之石+ 时律石+ 罗传之花风花之衣：冰之石+ 库雷克奥亚铅+ 古老亚麻丝白色长袍：智慧水晶+ 珍珠+ 白色丝（白：双倍MP）黑色长袍：智慧水晶+ 优质的毛皮+ 黑色丝（导：伤害MP回复）。
无暇的优雅德国JIB 2RCA信号线
无暇的优雅德国JIB 2RCA信号线
张丹;张嘉龙（摄影）
【期刊名称】《中国电子商情：视听前线》
【年(卷),期】2011(000)009
【摘要】如果认为德国JIB2RCA高级Hi—Fi信号线仅仅是在原有的材料基础上换个炫目的外壳而已，那就大错特错了，这是JIB针对目前音响市场提供的一款较为高素质的发烧讯号线。
要说这条讯号线最帅气的有哪些方面，我印象最深的细节有两点，一是线面很精彩，用线网直接取代由其它材料填充的做法，除了具有现代感的同时又不会看上去单调无味外，
【总页数】3页(P26-28)
【作者】张丹;张嘉龙（摄影）
【作者单位】不详
【正文语种】中文
【中图分类】TN912.2
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1.平衡线的好选择JIB HF-008XLR平衡信号线 [J], 家棋;小路（图）;
2.重现丰富、自然的细节JIB德国蟒蛇HF-002信号线 [J], 亚森
3.凝聚的低频，干净的声底——德国蟒蛇JIB HF-009-2M电源线 HF-001C-2M 信号线 [J], 亚森;张嘉龙（摄影）
4.洁白纯净清新怡人 JIB HF-001CRCA信号线 [J], 家祺
5.强调活生感和音乐质感：JIB HF-008高级XLR平衡信号线 [J], 亚森;小路
因版权原因，仅展示原文概要，查看原文内容请购买。
花滑女王2：爸爸我爱你观后感
花滑女王2：爸爸我爱你观后感《花滑女王2：爸爸我爱你》是一部关于父女关系和冰上竞技的电影。
影片通过讲述一位父亲为了支持女儿实现她的冰上梦想而付出的艰辛和牺牲，展现了家庭和体育之间的紧张关系。
故事的主人公是名叫凯西的女孩，她从小喜欢冰上运动，梦想成为一名花样滑冰选手。
她的父亲是个汽车维修工，工作十分辛苦，但凯西的梦想却一直是他的心愿。
凯西的母亲过世了，留下了父女两人相依为命。
为了支持凯西的训练和比赛，父亲不惜放弃了自己的梦想和工作，甚至将自己的房屋转让给了一名教练，为凯西提供更好的训练环境。
在凯西参加比赛的过程中，父亲始终是她的支持者和精神依靠。
影片中的凯西和她的父亲让我想起了我自己的家庭和亲人。
每个人都有自己的梦想和追求，但在追求梦想的过程中往往需要家庭的支持和帮助。
这让我思考到了亲人之间的关系和互相支持的重要性。
另外，影片还展现了花滑运动的美丽和艰辛。
花样滑冰是一项需要十分高超技巧和表现力的运动项目，选手需要面对众多挑战和压力。
影片中凯西在锦标赛上面对着众多的对手和压力，并且依靠着自己的坚定信念和对父亲的感激，最终获得了胜利。
总的来说，《花滑女王2：爸爸我爱你》是一部温情感人的电影，通过讲述家庭和体育之间的关系，引发了我对家庭和亲人的思考和思考。
同时，影片中展现出花样滑冰的美丽和艰辛，让我更加热爱和尊敬这个运动项目。
除了剧情和主题之外，《花滑女王2：爸爸我爱你》的视觉效果也非常出色。
影片中的舞台、选手的服装和曲目都非常精美，展现了这个运动项目的优美和高雅。
特别是片中凯西在舞台上的表演令人流连忘返，她的优美身姿和表情让观众心驰神往。
影片的摄影与音乐也十分精彩，整个电影让人如痴如醉。
影片最令人感动的部分是凯西与父亲之间的关系。
在凯西冰上累积的荣誉和胜利背后，父亲的坚定支持功不可没。
他几乎放弃了自己的生活，甚至牺牲自己的梦想，为了支持女儿的冰壶之路。
看到女儿一步步走向成功，父亲的幸福感相信会是这部电影之后留下来的最深刻的感触。
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Q a
.
b Q
Kapasitor dan Dielektrik
Contoh 1.
C 53,33 pF 53,33 10 -12 F
0 8,854 10 -12 F/m
b a 0,04 C 4 0 r ab (b a ) a (a 0,04 ) 0,04
Q D A A D Q E
M Q r
N
0 r
V 0 r A d
.
A Q C 0 r F , untuk media tertentu V d A C 0 F , untuk udara d
E A d
Kapasitor dan Dielektrik
Contoh 1. Suatu kapasitor bola terdiri dari bola dalam dengan jari-jari a dan bola luar dengan jari-jari b. Jika jarak antara bola dalam dan bola luar adalah 4cm dan kapasitansinya adalah 53,33 pF, tentukan besar jari-jari dalam dan luarnya!
r
Q
.
Q 4 0 r V Q C V C 4 0 r F C 4 0 r r F
, jika terletak di udara , jika terletak di suatu media
Kapasitor dan Dielektrik
Kapasitor Bola. Suatu kapasitor bola terdiri dari bola dalam dengan jari-jari a dan bola luar dengan jari-jari b. Media antara keduanya memiliki permisivitas relatif r sehib/Volt disebut farad (F)
1 farad berarti kapasitansi dari suatu kapasitor yang membutuhkan muatan 1 coulomb untuk menghasilkan beda potensial 1 volt antara kedua platnya.
Kapasitor dan Dielektrik
Kapasitansi Bola terisolir. Jika suatu bola logam bermuatan Q dengan jari-jari r meter terletak di udara, maka berlaku :
V Q 4 0 r
53,33 10 -12 4 (8,854 10 -12 )
.
Q a b Q
a 2 0,04 a 0,0192 a 0,12 m b 0,16 m
Kapasitor dan Dielektrik
Kapasitor Plat Sejajar. Suatu kapasitor yang terdiri dari dua plat sejajar M dan N dengan luas A2 yang terpisah dengan jarak d oleh suatu bahan dengan permisivitas relatif r, berlaku :
V Q 4 0 r a Q Q 4 0 r b ba ab
Q a b Q
Q 1 1 V 4 0 r a b 4 0 r Q 4 0 r ab (b a) . V ab C 4 0 r F (b a )
Arus pengisian
Kapasitor dan Dielektrik
Kapasitansi. Definisi kapasitansi adalah jumlah muatan yang dibutuhkan untuk menghasilkan beda potensial antara plat-plat kapasitor. Jadi jika kita memberikan muatan sebesar Q Coulomb pada salah satu plat kapasitor yang menghasilkan beda potensial V volt antara kedua platnya, maka kapaistansinya adalah : C = Q/V Coulomb/Volt
Kegunaan kapasitor adalah sebagai media penyimpanan energi listrik dalam bentuk elektrostatis dalam bahan dielektrik.
Kapasitor dan Dielektrik
Kapasitor plat sejajar. A B Plat A terhubung dengan kutub positif batere yang menyerap elektronnya sehingga menjadi positif. I Plat B terhubung dengan kutub negatif batere yang kelebihan elektron sehingga menjadi negatif. Beda Potensial kedua plat menyebabkan tekanan elektrostatis pada bahan dielektrik antara keduanya sehingga terjadi penyimpanan listrik elektrostatis diantara kedua plat.
Fisika 2
Kapasitor dan Dielektrik
Kapasitor dan Dielektrik
Kapasitor. Kapasitor terdiri dari dua permukaan konduktor yang dipisahkan oleh suatu bahan isolator yang disebut sebagai dielektrik. Permukaan konduktor tersebut dapat berupa plat berbentuk bulat atau persegi atau berupa silinder atau bola.
Kapasitor dan Dielektrik
Analogi kapasitor dengan tangki air.
R V
T
h
Jika katup dibuka, air akan mengalir deras dari tangki R ke tangki T melalui pipa dan terus melambat sampai akhirnya berhenti ketika ketinggian air pada kedua tangki telah sama.