กรณีศึกษา จุดตายของธุรกิจที่มี “ต้นทุนคงที่สูง” /โดย ลงทุนแมน
สายการบิน โรงแรม โรงพยาบาล
รูปแบบการให้บริการของธุรกิจเหล่านี้แตกต่างกันอย่างสิ้นเชิง
แต่มีสิ่งหนึ่งที่ทั้ง 3 ธุรกิจมีเหมือนๆ กัน
ก็คือการมี “ต้นทุนคงที่สูง”
...Continue ReadingA case study of death point of business with ′′ high cost ′′ / by Investing Man.
Airlines, hotels, hospitals
These business models are completely different.
But there is one thing that all 3 businesses have in common.
It's about having ′′ high cost ′′
How about having a high cost of death?
Investing man will tell you about it.
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If you want to know the possibility of the world economy, you must understand the
World economy 1,000 years. 6th typing.
Order at (get 10 % discount from the cover price of 350 baht)
Lazada: https://www.lazada.co.th/products/1000-i714570154-s1368712682.html
Shopee: https://shopee.co.th/product/116732911/6716121161
╚═══════════╝
If you split the cost by size or quantity, the service will be divided into two parts.
1. fixed cost (fixed cost)
2. variable cost (Variable Cost)
At a fixed cost (Fixed Cost)
It's the cost that doesn't change to size or quantity of service.
Whether serving more or less
Business has to pay the same cost in this section.
In the accounting.
Fixed costs are based on depreciation of permanent assets we bought.
For example.
Airlines have permanent assets such as planes.
The hotel has permanent assets such as buildings, hotel accommodation, furniture, and interior equipment.
Hospitals have permanent assets such as building treatment of patients, tools and medical equipment.
Whether these businesses have service users or not, depreciation will occur in each accounting draw.
If income is less than depreciation, those businesses have a chance to lose in account that is called profit budget.
But if we look in the cash flow corner
These depreciation won't actually be the cash we pay.
Thus, these businesses may continue despite accounting losses.
However, each business has a stable cost to operate a business.
Measure whether business will still make profit in operation.
In Finance, use EBITDA or profit before depreciation, tax and interest.
For example.
Airlines cost gas, pilot wages and employees every time they fly.
Whether it's a full or half passenger
Therefore, if not enough passengers could cause a loss at EBITDA level.
Hotels cost employee wages, care fees per month.
Whether someone stays in every room or no one stays.
Therefore, if not enough guests can cause a loss at EBITDA level.
HOSPITAL COSTED DOCTORS AND NURSES
Whether there are more or less patients travelling to the service.
Therefore, if patients don't have enough services, it's also a loss at EBITDA level.
It's considered a challenging problem for these high-cost businesses and keep following how well each business will adapt to this dysfunction.
If these businesses have a loss at EBITDA level, it means ′′ difficult ′′ to continue the business. Because every minute that passes, we have to keep paying as if blood flow won't stop.
Our body has limited blood and all companies have limited funds too..
╔═══════════╗
If you want to know the possibility of the world economy, you must understand the
World economy 1,000 years. 6th typing.
Order at (get 10 % discount from the cover price of 350 baht)
Lazada: https://www.lazada.co.th/products/1000-i714570154-s1368712682.html
Shopee: https://shopee.co.th/product/116732911/6716121161
╚═══════════╝
Follow to invest in man at
Website - longtunman.com
Blockdit-blockdit.com/longtunman
Facebook-@[113397052526245:274: lngthun mæn]
Twitter - twitter.com/longtunman
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Line - page.line.me/longtunman
YouTube - youtube.com/longtunmanTranslated
同時也有11部Youtube影片,追蹤數超過11萬的網紅Wes Davies 衛斯理,也在其Youtube影片中提到,First we saw John's organic farm. Now we take a trip up the road to his brother's amazing residence, where he works as a champion welder. So much good...
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split into two parts 在 Lee388 Hi Fi 發燒專頁 Facebook 的最佳貼文
Alumine Five of Stenheim
Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.
I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.
Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.
The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.
The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.
So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.
The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.
The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.
Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).
Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
........................................................
Price: $60,000 per pair.
Warranty: Five years parts and labor.
(Source: The Audio Beat)
split into two parts 在 Tony Capatch 柯龍 Facebook 的最佳解答
Heya everyone... I'm making a (How to) guide for foreigners who need to register for non exempt free visa in HK from Taiwan. Should it be a mini series and split into two parts?
1) Fastest and easiest route to get from Taiwan to Hong Kong and the embassy?
2) How the application process and what you need to prepare for the visa and how to do it.
Or should I just combine it into one video? I'm worried it'll be upwards of 8-10min if it's one video so let me know. Thanks
split into two parts 在 Wes Davies 衛斯理 Youtube 的最讚貼文
First we saw John's organic farm. Now we take a trip up the road to his brother's amazing residence, where he works as a champion welder. So much good stuff in this weekend I had to split it into two parts. Enjoy!
split into two parts 在 toysrevil Youtube 的最佳貼文
This edition of #DEBOX (26.1.2017) is all about 1/6th-scaled shoes! It was too long to upload, so I had to split them into two parts haha
This video is PART 1/2 :)
Over a decade back, I was deep into the 1/6th scale hobby, and had an intense obssession with scaled SHOES! Primarily casual styled / street shoes and sneakers (and less army combat boots etc). This is just one of "a few" boxes I own of shoes (*cough*) with tons of missing pairs, no doubt!
For daily toy news (both NEW and OLD), do check in with TOYSREVIL @ http://toysrevil.blogspot.com :)
split into two parts 在 MosoGourmet 妄想グルメ Youtube 的最佳貼文
POMPOMPURIN's Official Site http://www.sanrio.co.jp/character/pompompurin/
We made Pompompurin Daifuku. Of course there's pudding inside! It also tastes good as frozen pudding daifuku. Eat it when it's half melting!
*Recipe* (Pompompurin face and back 1 each)
1. Make the parts for Pompompurin. We used a chocolate transfer sheet, but you could also draw it on oven paper. (It is easier if you prepare a design. Pompompurin face: 6x10cm, width of hat: 5cm. Draw the eyes small and think of the face as a rounded triangle. If you draw the outline in the shape of a horizontally long clam, the face will be easy to recreate even with daifuku.)
2. Color 80g water with two drops of yellow food coloring.
3. Put 50g shiratamako and 50g sugar in a heat-resistant container, add 2 and mix.
4. Microwave at 600W for 1 minute and 30 seconds.
5. Mix well.
6. Microwave at 600W for 30 seconds.
7. Mix well.
8. Microwave again at 600W for 30 seconds.
9. Mix well. If it gains transparency, it is done.
10. Lightly spread it out on katakuriko and divide in the ratio 9:7. (Split into 90g and 70g parts.)
11. Wrap the pudding. Baked pudding is denser and easier to wrap than gelatin pudding. Use less pudding if it's difficult to wrap at first.
12. Paste on 1.
13. Cover with plastic wrap and let the daifuku parts sit together. Chill in fridge or freezer.
14. Its cuteness makes it very difficult to eat. We'll eat it after we take lots of pictures.
おしりの穴にも果敢に挑戦、ポムポムプリンの大福 作りました。中には、もちろんプリン、入ってます!凍らせてプリンアイス大福にしてもおいしいです。ちょっと溶けかけをぜひどうぞ!
*レシピ*(ポムポムプリン 顔とお尻 各1個)
1.ポムポムプリンのパーツを作る。今回はチョコレートのシートを使いましたが、チョコペンでオーブンシートなどに描いて作るのもよいと思います。(下絵を描いておくと作りやすい。ポムポムプリンの顔:6✕10センチ、帽子の横幅:5センチ。目は以外と小さく、顔は三角形を丸っこくした形を意識して描くとよい。横に長いハマグリのような輪郭にすると大福でも再現しやすい顔になると思います。)
2.水 80gに黄色の食用色素 2滴入れ、着色しておく。
3.耐熱容器に白玉粉 50gと砂糖 50gを入れ、2も入れ混ぜる。
4.600wの電子レンジで1分30秒、加熱する。
5.よく混ぜる。
6.600wの電子レンジで30秒、加熱する。
7.よく混ぜる。
8.再度、600wの電子レンジで30秒、加熱する。
9.よく混ぜる。透明感が出たらOK。
10.片栗粉の上に取り出し、少し広げてから9:7の割合に切る。(およそ90gと70gに分ける)
11.プリンを包む。ゼラチンプリンよりも焼きプリンの方が堅めなので包みやすいです。なれないうちはプリンを少なめにして包むと失敗が少ない。
12.1を付ける。
13.ラップに包み、パーツを大福に落ち着かせる。冷蔵庫や冷凍庫で冷やす。
14.カワイイので非常に食べづらい。写真、たくさん撮ってから食べよっと。
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