貓窩工坊有顧客來問，Rythmik超低音，但，他的喇叭和擴大機都只有⋯一萬多⋯呃，Rythmik最便宜的L12就差不多他的喇叭＋擴大機價格，這，還加超低音？
為何他會想加？十之八九有人鼓吹吧⋯否則喇叭和擴大機便宜到那程度，誰會想到還搞啥超低音啊⋯人家上百萬的都沒多少人加超低音勒⋯
那，我就來facebook問問，
https://www.facebook.com/share/p/1HZC51uLB4/
題目一萬多的喇叭 + 一萬多的擴大機，該再加上超低音嗎？
Yes 28，No 41，出乎意料啊⋯竟然有那麼高比例說要加超低音，
https://www.facebook.com/share/p/1DByZSYwRR/
再換個題目，前提：總價都約六萬，都是物有所值，那套好？
A 喇叭＋擴大機
B 喇叭＋擴大機＋超低音
A 12，B 8，回答數陡降，但比例沒變，
https://www.facebook.com/share/p/1BgaNSoS38/
再換個題目，昨天這問題，如果你的二聲道喇叭與擴大機總價超過十二萬，請投票，否則請勿投票；
A 51，B 17，票數陡增，差距拉大⋯
當你的音響超過十二萬，你根本就不會認為三萬以內的有啥值得提的，第一題你根本就不想回應⋯說實話，三萬與六萬差距很有限啊⋯這價格帶超入門級，錙銖必較，只能拼命壓成本，多半都在比功能、規格、外觀而已，根本談不上啥表現如何啊⋯第二題就是在催動回應者的理性思考，於是就有人遲疑了，回答數因此陡降，
第三題召喚過來人回答，眾人這才好心的讓菜鳥認清現實。
再說一次，超低音只負責60Hz以下，而音樂幾乎都由主喇叭唱，合計六萬的主喇叭+擴大機唱很多音樂都超級吃力，例如隨便一曲伍佰就完蛋，你還搞啥合計三萬的主喇叭＋擴大機加超低音？別鬧了⋯
再說一次，我在賣Rythmik超低音，我不贊同、不鼓勵這招，做事首要抓輕重緩急，別見樹不見林，8/2法則別忘了，先搞定八成的重點，剩下的二成你得耗費如同那八成的成本才能達成，很不划算。行有餘力再說。
不客氣的說，你可能根本不知道超低音會有啥效果，甚至根本不知道60Hz以下的聲音長啥樣，那些樂器會有60Hz以下。
顧客來貓窩，我常搞一招，關掉主擴大機，只聽超低音，那根本就不能稱為音樂啊⋯只會覺得偶爾微微的一點低音而已，人耳對60Hz以下超不敏感。
最後，以過去的經驗，會搞這招的人還是會搞啦～說道理也沒用啦～我只希望別傳出風聲說是貓窩拐騙菜鳥買超低音而已⋯
https://www.facebook.com/share/p/1BcHSkRYkL/
第一輪的華爾滋舞曲是為了觀察選手的想像力
第二輪的前奏曲是為了觀察選手的特質
第三輪的奏鳴曲是為了觀察選手的智識
3.10 Clock Domains
A Clock Domain is defined as a zone within which all sampling clocks are derived from the same master
clock. Therefore, within the same Clock Domain, all sampling clocks are synchronous and their timing
relationship is constant. However, the sampling clocks can be at different sampling frequencies. The master
clock can be generated in many different ways. An internal crystal could be the master clock, the USB start
of frame (SOF) could be used or even an externally supplied clock could serve as a master clock.
In general, multiple different Clock Domains can exist within the same audio function.
3.11 Audio Synchronization Types
Each isochronous audio endpoint used in an AudioStreaming interface belongs to a synchronization type as
defined in Section 5 of the USB Specification. The following sections briefly describe the possible
synchronization types.
3.11.1 Asynchronous
Asynchronous isochronous audio endpoints produce or consume data at a rate that is locked either to a
clock external to the USB or to a free-running internal clock. These endpoints cannot be synchronized to a
start of frame (SOF) or to any other clock in the USB domain.
3.11.2 Synchronous
The clock system of synchronous isochronous audio endpoints can be controlled externally through SOF
synchronization. Such an endpoint must lock its sample clock to the 1ms SOF tick. Optionally, a high-
speed endpoint could lock its clock to the 125 µs SOF that occurs at the beginning of every microframe to
improve accuracy.
3.11.3 Adaptive
Adaptive isochronous audio endpoints are able to source or sink data at any rate within their operating
range. This implies that these endpoints must run an internal process that allows them to match their natural
data rate to the data rate that is imposed at their interface.
