#B&A Warehouse

[taybatwo2]

G3 Hissfits Review Part 1

Guess what came in today??? My Hissfits three pack!

The box is large, 22”x12” and was 75 bucks…which is a lot (25 for each doll) and Entertainment Earth wanted another 20 for shipping (so I might have preordered a cute little 3.75” Clone Trooper Rex figure to get free shipping).

These dolls had their stock photos dropped a bit over a year ago and I guess were just sitting in a warehouse while Mattel figured out what to do with them????? I dunno why they took so long to come out, but I’m glad they were not all canceled and disposed of.

It has some little Skullettes detailed around the outside of the box.

Here is the corner illustration done by Darko.

The back of the box. That’s a huge illustration and looks really cool. It has some of their accessories hidden about and Amped Up Frankie’s accessories in the far left-hand book shelf. Perhaps they’re all playing for the Monster Ball?

Here is the UPC for anyone who needs it. These are supposed to be available on misc. sellers/shops: like Entertainment Earth and Big Lots and NOT Amazon, Walmart, Target or even Mattel Creations. Which seems like an odd choice (I wonder what their reasoning was behind it?).

Here is a close up of their blurb on the back of the box. I do find it funny that Toralei was known to be REALLY bad at singing in G1 and G3 just RAN the other way with that.

Here are the ghoul’s with the plastic removed. There was A TON of rubber bands holding them all in. They look good in the package, but there is so much plastic waste.

more under the cut

Close-up of G3 Meowlody’s face while still strapped down. Meowlody has white hair (I remember who is who by: turning her name’s first letter “m” upside down and it looks like a “w” for “white hair”).

Mine has her eyes slightly printed up too high, some white paint dropped across her right eye, and her left cheek stripes have some paint missing (you can’t tell from his photo).

She has the biggest grin out of the werecat twins and Toralei. Her heterochromia is opposite of her twin and she has purple leopard print eyeshadow. Her hair feels like saran.

My Toralei looks pretty good, but has a small lip smudge on her upper lip. I love her eyeshadow!!! Even her bright pink lips have grown on me. Her leopard rosettes are a mix of purple (Meowlody) and pink (Purrsephone).

She has almost-neon orange hair (with black, baby pink, and purple streaks). I’m pretty sure it is all saran.

And my FAVORITE, Purrsephone (turn her name’s first letter “p” upside down and it looks like a “b” for “black hair” and that’s how I remember this is Purrsephone). I like her sculpted eyelids, her full upper lips, her hair color blend *mwah!* Mine does have a spot of red paint on the bottom of her cat nose. She has pink leopard spots on the opposite side of her face as her sister.

I’m also certain she has saran hair.

They come with a ton of little accessories “to help them get ready for the show.” Even merch to sell after the show too!!

After spending about 30 minutes freeing everything from their prison and running a metal comb through their hair (they will need to be washed with water, Dawn dish soap, and some conditioner…maybe (carefully) straight iron their hair later).

I forgot to take a full body photo of Toralei before I started removing pieces. Whoops!

Here is her crown piece. It wraps around both ears and should still hold its place fairly well even after I removed the plastic stays and rubberband (it was really wrapped around it) holding it in.

Here she is without her golden crown. I might like it better off.

Her eye make-up is her two cousins’ mixed together. Oh, by the way G3 Purrsephone and Meowlody are G3 Toralei’s cousins, not just her beasties.

The leopard print reminds me of SDCC DC Super Hero Girl’s Cheetah.

Her tail tambourine (I love how clever they were in its paw-like design) also stays on her tail pretty well.

Here are her plastic dress pieces. They have some nice details to them (lots of studs, chains, and the Hissfits cat head logo) and as always, could look even more elevated with some paint. Be warned that the gold chest piece instantly wants to keep detaching itself from the skirt and shoulder pieces after you remove the rubber bands.

I LOVE her gloves (look at the little printed seams and how they make it look like there are seperate holes for her fingers). My Core G3 Toralei will be stealing them. Mine even come off by sliding over the hands (you do not necessarily need to remove the whole hand to get them off).

Here are her MASSIVE boots. They are slit all the way down the back and have some colored in details. I’m not sure if I like purple AND pink AND red being Toralei’s new colors, but these shoes look great.

Here are the bottoms (chains on the ball of the feet and a cat scratching post making the heel).

A better look at her saran hair blend. It’s really growing on me. I was just going to clean her up, steal her stock and resell the base doll. But I am heavily rethinking it.

Here she is in her outfit sans all the plastic bits. It is all attached. The main shirt/shorts have a sparkly foil look to them and her skirt has a lovely gold to magenta foil print.

And the back. Now let’s jump ahead to look at some differences between the werecat’s bodies.

Toralei has the exact same body mold as G3 Clawdeen, and the werecat twins have the same body as G3 Cleo (sans the bandages).

They didn’t give the werecat twins sharp toe claws like Toralei and Clawdeen. :( Booo!

Their ears look a bit different too (Toralei has notches in the bottom of her ears and Purrsephone/Meowlody don’t).

And for funsies. Here are all the G3 werecats’ body types for comparison (I’m still in the middle of micro-braiding my Catty’s hair, so ignore her bad hair day).

In part 2 I’ll delve more into the werecat twins.

[superliftca]

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[jobs-in-south-africa]

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[conveline]

STEEL VS  PLASTIC CONVEYOR ROLLERS

I. Introduction: Conveyor rollers play a vital role in the smooth operation of countless industries. They are the unsung heroes of assembly lines, distribution centers, and airports. In this comprehensive guide, we'll delve into the age-old debate: Steel vs. Plastic Conveyor Rollers.

Since its establishment in 2014, Conveline has always been committed to providing the highest quality conveyors and intralogistics conveyors to a wide range of industries. 

Conveline Conveyors are used in wide range of industries including food distribution, pharmacy, tobacco, post & parcel, Air & Cargo, Food & Agriculture, Logistics & Warehouse, Packaging and General manufacturing & many more industries. Conveline provides a vast range of reliable and innovative conveyor solution. Our dedicated and experienced team of sales, application and production engineers work with our clients to ensure the products are suitable for the application and help users improve efficiency and reduces costs.

II. Steel Conveyor Rollers: When it comes to steel conveyor rollers, durability is the name of the game. These rugged workhorses can withstand extreme conditions and bear heavy loads effortlessly. However, they are not without their downsides.

III. Plastic Conveyor Rollers: Plastic rollers, on the other hand, are making waves in the industry due to their lightweight, corrosion-resistant nature, and quieter operation. But are they always the best choice? Let's find out.

IV. Choosing the Right Conveyor Roller: Selecting the ideal conveyor roller boils down to your specific industry needs, budget considerations, and environmental consciousness.

Short and Sharp Explanation:

Exceptional Durability: Steel rollers are renowned for their long lifespan and robustness, making them perfect for heavy-duty industries.

High Load Capacity: Steel's inherent strength allows it to support heavy loads without compromising performance.

Resistance to Extreme Temperatures: Steel rollers excel in extreme environments, maintaining functionality in both scorching heat and freezing cold.

Corrosion Resistance: Plastic rollers are impervious to rust and corrosion, ideal for damp or corrosive environments.

Lightweight Design: Plastic rollers are significantly lighter than their steel counterparts, reducing strain on conveyor systems.

Reduced Noise Levels: Plastic rollers generate less noise during operation, creating a quieter work environment.

Limited Load Capacity: Plastic rollers are better suited for lighter loads, making them less suitable for heavy manufacturing.

Susceptibility to Wear and Tear: Over time, plastic rollers can wear down faster, necessitating more frequent replacements.

Temperature Limitations: Plastic rollers may deform or become brittle in extreme temperature conditions, affecting performance.

Industry-specific Needs: Your choice should align with the specific demands of your industry, considering factors like load, temperature, and noise.

Cost Analysis: Conduct a thorough cost-benefit analysis, factoring in initial investment and long-term maintenance costs.

Environmental Impact: Consider the environmental implications of your choice, as plastic rollers may be more eco-friendly.

By following these steps and considering these factors, you can confidently choose between steel and plastic conveyor rollers for your business, optimizing efficiency and productivity.

GET IN TOUCH

BLOCK NO.472, Tajpur Road, B/h Unick Fix a Form, Changodar, Ahmedabad-382213, Gujarat, India 

info@conveline.com

sales@conveline.com

[2-fast-2-curious]

NSFW Alphabet for Spider-Man/Peter Parker

AN: Had TASM!Peter Parker in mind for these but y’all know how much I love Tom

A = Aftercare (what they’re like after sex)

The cuddliest boy, gives you smooches while you play with his hair. Carries you to the bathroom and makes you a snack while you do whatever you need to do.

B = Body part (their favorite body part of theirs and also their partner’s)

His favourite part of you is your breasts because it’s where you’re heart is. His spidey-sense does allow him to hear your heartbeat normally but when he’s right up against you it’s incredibly soothing. IDK what to say he just loves them. Loves squeezing, licking, and biting them. They’re so soft and lovely, when he comes home from a cold evening patrol, nothing feels better than warming his face on your chest. Of course, inevitably his mouth starts feeling too empty so it doesn’t take long for your tits to end up in his mouth and he might just fall asleep like that.

His favourite part of himself is his arms because that’s what he uses to hold himself up when he’s on top of you. He sees the hungry way you look at him when he pulls himself up onto a building. He loves how his arms allow you to hold you and keep you safe and close to him. One of his favourite ways to wake up is having you tracing patterns in his arms.

C = Cum (anything to do with cum, basically)

The spider bite didn’t impact the amount, texture, or taste of his cum. We’ll just into this more during stamina but he’s got an almost non-existent refractory period and can fill you up with him cum again as many times as you’ll let him. Peter loves seeing his cum on you, on your back, face or tits and even though it can be messier he doesn’t mind helping you clean it up.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

Okay so Peter thinks it would be hot to rescue you, kill/incapacitate the villain and then take you against the wall while they’re still laying there. Sorry this is very unhinged of me.

But yeah Peter’s adrenaline would be all amped up from fighting the villain and winning, He sees you tied up in the corner of the abandoned warehouse and doesn’t bother taking off the restraints before undressing the necessary parts and having sex with you. He’s rougher than usual but still tells you how happy he is he was able to save you and tells you to moan extra loud so everyone can hear how good he fucks you.

E = Experience (how experienced are they? do they know what they’re doing?)

He’s a studious boy so he knows things and even has had some practical experience but not a ton. Of course, each partner is different so Peter makes sure to learn all the things you like and don’t and some might say his heightened intuition helps with that too.

F = Favorite position (this goes without saying)

Peter’s pretty tame, he likes missionary. He likes how he’s able to kiss you and look into your eyes as he gives you pleasure, loves how much skin to skin contact there is, loves how he can give you a particularly hard thrust he can feel your hard nipples grazing his chest.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

Peter is a comedy of errors but this never kills the mood. He’s goofy and is sure to make you giggle.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

With everything going on in Peter’s life he doesn’t really have time to manscape that much. He does keep everything tamed so it’s comfortable for you when you’re down there.

I = Intimacy (how are they during the moment? the romantic aspect)

Peter is pretty romantic. He makes sure to always let you know how much you mean to him. On special occasions he’ll light candles and buy flowers.

J = Jack off (masturbation headcanon)

Peter is stressed the eff out all the time and nothing eases his mind better than an orgasm. But he needs this so often that he feels bad for bothering you with this.

K = Kink (one or more of their kinks)

Peter loves photos. Nothing brightens his spirits like getting a new one of you. It can something cute like your face or something dirty like photos of you waiting for him with your new lingerie on. When he has time he loves taking out his phone and going through ones that he’s taken of you and yes he has a private folder of ones that are more x-rated.

L = Location (favorite places to do the do)

Outdoors with a killer view of the city. I mean Peter did say his favourite place to think was the Empire State Building so just imagine him taking you up to the observation deck when it’s closed to the public and pressing you against one of those glass panels as he takes you from behind. Whispering all that good stuff in your ear about how hot it is you’re letting the whole city see what a slut you are for Spider-man.

M = Motivation (what turns them on, gets them going)

Honestly, anything you do. You could be sticking your tongue out while your read or licking your fingers after finishing a sandwich and Peter’s ready to take you right there on the couch.

N = No (something they wouldn’t do, turn offs)

I can’t see Peter using a knife to cut you. Like blood when you menstruate, totally A-OK, if you wanna fuck before he’s had a chance to clean up the blood after fighting some bad guys that’s totally fine too. But he would have a hard time deriving pleasure from hurting you with a knife to the point where you bleed.

O = Oral (preference in giving or receiving, skill, etc.)

Peter prefers to give because he knows he puts you through a lot. He enjoys having his face between your thighs more than he wanted to admit plus when he’s super sensitive he can get off by just grinding himself into the mattress while he eats you out. Peter’s very eager and a bit sloppy so his technique could use some work but he’ll be down there as long as it takes you to cum.

P = Pace (are they fast and rough? slow and sensual? etc.)

Peter’s fast and at that speed sometimes he can be a bit more forceful than he means to be.

Q = Quickie (their opinions on quickies, how often, etc.)

Quickies are frequent in your relationship. The morning before you have to go to work, if you come home from work for lunch, then again when you come back from work, and before Peter goes out on patrol. Peter feels bad about how often they happen but he always gets you off pretty quickly that you never have any complaints.

R = Risk (are they game to experiment? do they take risks? etc.)

Peter’s a modern boy and very open-minded. He’ll be down to try anything with you but most of the time he’s the one suggesting new positions or places for the two of you to have sex.

S = Stamina (how many rounds can they go for? how long do they last?)

You’re going to need any help you can get, he lasts a long time like five or more rounds is the norm when non-quickie sex.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

He doesn’t own any but he probably should considering his sex drive. He might have seen some Spider-man themed sex toys and bought them as a joke. But one picture of you using that red and blue dildo on yourself and it’s more than proved its worth.

U = Unfair (how much they like to tease)

When Peter has the time he loves to get you to the point of begging. But running on minimal sleep and being pretty exhausted sometimes he just wants to cut the chase.

V = Volume (how loud they are, what sounds they make, etc.)

Peter’s quiet, he’ll moan and grunt but he loves to make you get loud to the point where your neighbours complain and Peter loves answering these angry knocks on the door post-sex almost like a badge of honour.

W = Wild card (a random headcanon for the character)

Peter loves it when you take charge he thinks it would be hot if you roleplayed as a super villain who lures Spider-man to an undisclosed location seduces him as part of your plan for world domination.

X = X-ray (let’s see what’s going on under those clothes)

He’s average length and width. His cock is leans to the right to hook inside you just right and has a nice amount of prominent veins for you to feel every ridge when he’s inside you. You could get off just by grinding yourself on his hard cock.

Y = Yearning (how high is their sex drive?)

Ridiculously high.

Z = Zzz (how quickly they fall asleep afterwards)

Peter likes to fuck you to the point of exhaustion and at that point, he’ll be out like a light in five minutes or less.

[daggerzine]

R.E. Seraphin molds tiny shapes into big songs.

Though he’s been on the scene for a while now (with different bands) I hadn’t heard the music of Bay Area musician R.E. “Ray” Seraphin until this year via a cassette called Tiny Shapes via Paisley Shirt Records (more on the label below). His first real band was Talkies, which he discusses below (and I have enjoyed), but he seems to have really come into his own this year with that cassette and a new EP, A Room Forever, which came out just a month or so ago. In his music you’ll hear influences of 80’s jangle pop as well as some deeper post-punk stuff (and for more current stuff I hear whispers of Dean Wareham and his bands and Wild Nothing). Reading below he seems very well grounded and seems to have a great attitude about everything (even not being able to play shows during a pandemic or being in a writing slump). I think once this is all over this guy will go on 5-year tour and gain lots and lots of new fans. In the meantime do check out his stuff, you won’t be disappointed.

   Where did you grow up?

Berkeley, CA. The area I grew up in was filled with Victorian homes and dilapidated industrial warehouses. My family home was walking distance from a lagoon and an old, rusty set of train tracks. I felt I lived in an unremarkable college town. There wasn't much activity outside of the school. I discovered Berkeley’s storied political and musical history much later in life. Now, of course, there are many books written about Berkeley, but I thought it was a kinda nondescript city as a kid.

 Do you remember what band made you fall in love with music?

Dating myself hard here, but I remember being floored by The White Stripes’ “Fell in Love With a Girl” video when I was 11. The Top 40 music making the rounds on VH1 and MTV at the time was beyond dreck — a lot of Train, Staind, Matchbox 20. The White Stripes were the first band I was exposed to that made succinct, catchy, no-frills music. I was genuinely enthralled. Plus, the Lego animation in that video still holds up.

 Was guitar your first instrument?

I started on bass. My first instrument was an extremely cheap, pointy BC Rich knockoff monstrosity. I believe I was 13. I had no idea how to play and little interest in learning. For the first year, I putzed around with a Pro Co RAT, a wah pedal, and a tinny-sounding Crate practice amp. I just tried (and succeeded in) being as obnoxious as possible. When I started writing songs, I eventually graduated from playing bass poorly to playing guitar poorly.

 Tell us about your first band.

My first band that played shows was called The Phil Spector Shotgun Experience. That was primarily a cover band I put together with my high school buddies and my mom. We covered Radio Birdman, the Pink Fairies, and the MC5; we also had an unwittingly hilarious original called “Nitroglycerin Man” — the first song I ever wrote (maybe I was subconsciously inspired by Wages of Fear). At some point, we kicked my mom out of the band and started playing as the Impediments. That band kicked ass — we made pridefully dumb American punk music. That was also my only band to sign a record contract, so it’s quite possibly been downhill from there!

 Tell us about The Talkies (unless that was your first band mentioned above).

Talkies (no article!) was a group I started in 2014 as a vehicle for my songs. My previous bands had been more of a shared vision, so Talkies was my first foray into being the lone genius of a group. The sound was mostly drawn from what is disparagingly known as power pop. Basically, I was heavily into the band Shoes for a few years.

We released a few albums and EPs. Did a couple short tours. During that time, the project was dragged from the Bay Area to Austin and back before I finally, mercifully pulled the plug last year. It was time.

 When did you transition from Talkies to the solo stuff you’re doing now? Did it feel comfortable?

Talkies had run its course, but I had a smattering of songs leftover from that project that I wanted to record. Around that time, I learned my good friend Jasper Leach (Burner Herzog) was getting ready to skip town. I had always wanted to work with him and, seizing my final opportunity to do so, we banged out my début, Tiny Shapes, last summer. The whole experience was fairly serendipitous. The stars aligned for that one.

I wouldn't say the process was comfortable. Recording the album felt necessary, urgent — almost compulsory at times. My heart was ready for a new project and I truly wanted to center myself for the first time. I’m glad I did. This is the happiest I’ve been musically in some time.

 “I think therefore I am”

I love the songs on A Room Forever. How did they come together?

So glad to hear that! I got asked to contribute to a compilation back in April. With the deadline approaching and inspiration still eluding me, I took a glance at my bookshelf, noticed a particular Carson McCullers title, and whipped up “Clock Without Hands.” After my trusty collaborator Owen Adair Kelley added his parts, I felt we had stumbled upon a great sound. I tried to harness the creative spirit and pushed myself to finish a few ideas buried deep in the recesses of my Voice Memo app. I got friends Matt Bullimore (The Mantles) and Yea-Ming Chen (Yea-Ming & The Rumors) involved, and that was that. No great origin story — just pure American ingenuity and elbow grease.

 Tell us about Paisley Shirt Records. Who runs it and how did you hook up with them?

Paisley Shirt Records is simply the man, the myth, the legend — Kevin Linn. He is a San Francisco-based musician and artist who records as Sad-Eyed Beatniks.

I met him when I was looking for someone to release my album, Tiny Shapes. He had just put out a tape by Hits — a great local band featuring some friends of mine — and I felt a kinship with his roster. So, I reached out to him. Foolishly, he agreed to put out my album and we’ve been inseparable ever since. Solid dude. High marks.

 Have you done any solo tours? If so where and how did they go?

Ha! No. I had only notched two shows as R.E. Seraphin before the pandemic hit. Likely not doing anything beyond the odd live-stream show for a while. That said, if any tastemaking European touring agencies are reading this — give me a ring!

The latest EP

 What are your top 10 desert island discs?

Ah, jeez. This question. I’ll just say these are 10 (plus one) that I come back to quite often. In no order:

 Marquee Moon by Television

The Everly Brothers’ Best

Forever Changes by Love

Let it Be by The Replacements

Third/Sister Lovers by Big Star

The First Songs by Laura Nyro

16 Lovers Lane by The Go-Betweens

In a Silent Way by Miles Davis

A Different Kind of Tension by Buzzcocks

Something Else by The Kinks

Old No. 1 by Guy Clark

 What are a few Bay Area bands that we should know about.

This is a golden-era for weirdo pop music in the Bay. To name just a few: Galore, Cindy, The Umbrellas, Tony Jay, Flowertown, Healing Potpourri, Latitude, Cocktails, The Reds, Pinks, & Purples, Yea-Ming & The Rumors, Anna Hillburg, the 1981, Toner, Frank Ene, Neutrals, Owen Adair Kelley, April Magazine, Telephone Numbers, Hits, Sad-Eyed Beatniks. Essentially every act associated with Paisley Shirt Records and/or Mt.St.Mtn. My bias is strong.

 Do you feel that the pandemic has helped your songwriting or hindered it (if either)?

A li’l column A, a li’l column B. I’m a natural procrastinator, so I’ve definitely savored the lack of band practice and shows (things that often necessitate new material). That said, I doubt I would have finished A Room Forever had I not been quarantined at home. Without having many obligations and without being able to leave my house, music definitely became my raison d’être for the first time as an adult. I was fortunate to not be deemed an “essential” worker and to be able to focus energy on my passion momentarily. Silver lining.

 What’s next ? A new record by the end of the year possibly?

Hopefully continuing to promote my music and play shows on the ol’ webiverse. A Room Forever will be receiving a small vinyl and tape pressing at the end of September via Mt.St.Mtn. and Paisley Shirt Records. So, looking forward to that.

I was creatively tapped for a few months after A Room Forever. While a new album is possible, it’s not probable. I am plugging away at a few tunes, but I tend to conceptualize albums as a thematic whole and not as a collection of songs. Haven't stumbled onto my next Big Idea yet. Don't count me out, though. I could see myself dashing off a covers album for sure.

 What is one song you wish you’d written?

Too many to name! I’ll reframe that question to mean a great song I could see myself capable of writing in an alternate time, place, or dimension. Maybe one of Peter Holsapple’s songs from The dB’s — “Black & White” or “Neverland.” Also: anything by Wreckless Eric or Martin Newell.

 Final thoughts? Closing comments?

Just finished reading an interview with the great James Purdy, and thought this quote summed up iur current political climate well:

“You go out into the world and no one knows you, you can be ruled because you’re programmed. Everything is stamped, put on the shelf, described, thrown out into the garbage. It’s a political process, and behind that an economic process. But to be nothing, that is the worst of all possible things.”

   www.reseraphin.com

www.paisleyshirtrecords.bandcamp.com

[traumahound]

[INTERVIEW] A CASUAL CHAT WITH JONATHAN JACQUES-BELLETÊTE

The art director for Deus Ex: Human Revolution shares insight on cyberpunk and texturing furniture. Originally published April 1, 2011 on Totalplaystation.com

In early March, PAX East attendees were given a live gameplay demonstration of Deus Ex: Human Revolution by Eidos Montreal personnel, including Game Director Jean-François Dugas, Art Director Jonathan Jacques-Belletête, and Community Manager Kyle Stallock. The demonstration consisted of around 20 minutes of an early level in which the protagonist, Adam Jensen, infiltrated a warehouse using a combination of stealth, computer hacking, sharp implements, and bullets. Following the demonstration, I had the opportunity to sit down with J.J.B. and ask a few questions.

Though footage of the demonstration is not officially available, there is a walkthrough of the same portion of the game floating around on YouTube.

So, Deus Ex: Human Revolution. First of all, tell me what you do.

I’m the art director, so I’m trying to make it look pretty.

All right—

Really hard.

Managing a lot of people?

Yeah, I am managing a lot of people, definitely. I mean, there’s a structure. There are artists; there are leads on everything that have their units and whatnot. Overall, we must have close to 60 artists on this game, not counting outsourcing; we’ve had some people doing concept art and modeling outside, but in the studio, we must have a good 60 artists.

Speaking of outsourcing, the pre-rendered cutscenes are, I assume, done by another—

Yeah, all the trailers—in the game, it’s all in-game cutscenes, but the marketing stuff, all the big CGI, the E3 trailer, the extended trailer that you guys saw, that was all done by Visual Works, which is the cinematics department at Square Enix. You can’t ask for better than this. It’s like, “What!?” It’s so weird: one day, you wake up and suddenly your company is owned by Square Enix, and then two months later, you learn that you’re going to work with them on a trailer.

Is it a little intimidating knowing that now people have that in their minds, the look in those trailers, and now you have to sort of, in real-time, try to meet those expectations in the game?

Totally a legitimate question, and you’re absolutely right, but the way that it happened is that we had already set the style of the game’s visuals before we did those CGI trailers. At the same time, as an art director, I’m highly influenced by—I love anime and Japanese video games; we concede, and I say openly that there’s a strong Metal Gear influence on the game, and stuff like that. When Square Enix took our material to do the trailer, it was like we already spoke the same language. The way that I treat the textures in the game, there is no photographic material, just like the Japanese also almost never do that. Everything is done by hand or procedurally, so everything already seemed well-prepared for them to deal with it. So, yeah, you watch the trailers, and then you watch the in-game, and obviously there’s a huge gap, but it still seems to be a part of the same style; the aesthetic essence is exactly the same. I’m actually quite proud of that, really.

How did you arrive at the game’s particular style? It has a unique look: the color palette, I notice a lot of hexagons—

A lot of triangles.

Did you go through other styles on the way to find what you ended up with?

Yes and no. I knew straight from the get-go that I wanted to have a stylized game, that I wanted to have something that has its own signature. As an art director, I’m not into photorealism; it’s really not something that interests me all that much, because I find that credibility—photorealism and credibility are two different things. You can have a game where they put all their efforts into trying to make it photorealistic, but the game doesn’t feel credible at all. I’m not even talking about the “uncanny valley,” I don’t want to get into that, but the credibility of the game itself is not even there. You can have a Disney Movie, like The Beauty and the Beast, where you have a teapot and a cup talking to one another, and it’s totally credible, right? So there’s something there: why is it that when we strive for photorealism it doesn’t work, and something as low-fi as that works? So, anyway, let’s just say that I knew that I wanted to go stylized; I knew that I wanted a specific signature, and now, the hard thing was to figure out what that recipe would be. I knew that I wanted low—not low intensity, but (what is it, fuck,) often I find that in games, textures are too noisy, there’s just too much shit everywhere.

Right, as we gain the technology to add more and more detail to everything—

Right, it becomes a fest of just “pile some more stuff.”

—bump-mapping and making everything gritty.

[Points to nearby black leather couch four feet away.] If I just look at that couch from here, I don’t see texture in that couch. If I get closer I’ll see it, but not from here. In games, a lot of the Unreal 3 Engine games, from here it would look like it was grated or something, so that’s what I wanted to get away from. It looks maybe slicker, in that sense, but then we have fairly advanced shaders, so when you get close to an object, it’ll have really precise detail still. Yeah, the hard thing was mostly to figure out what the recipe was.

Is it intimidating at all working on this franchise? We’ve already seen what happens when someone makes a sequel to Deus Ex and it doesn’t meet expectations. Fans are going to hold it to a very high standard, maybe unrealistically high. If you go back and play Deus Ex now—

They almost have a distorted memory of it, yes.

It was kind of weird, because we also had to start a studio at the same time. Most of the early people, we all came from Ubisoft Montreal, and there were two things: to do a new Deus Ex, and it was also to put the studio together. We were renting offices, at first; we had nothing, barely any equipment, there was no team, the technology wasn’t chosen yet, there was no art bank. You know, for example, when we were at Ubisoft, we start a new project and for the first six months, just to get your thing going, you’ll be taking stuff from other games.

Like for placeholders?

Right, and we had no such things—I don’t know, maybe somehow because of that, it dampened the fear we should have had from having to make a new Deus Ex, you know what I mean?

Because you had so much stuff to deal with, you just had to get to work.

There we go, I couldn’t have said it better. Obviously, we knew how big it was, and we were all big fans ourselves. We knew about the pedigree, we knew about the fans, but we had to do it; we wanted to do it; it’s kind of like this make or break thing. You know, it’s the studio’s first game... maybe it wasn’t such a good idea! No no no, it was a great idea to attract people, actually. We just jumped in head-first, and put all of our eggs in the same basket. I think it’s looking alright; it’s not up to me to say how good it is.

The original game has some celebrity developers attached to it: Harvey Smith, Warren Spector; have they seen the game that you know of? Did you get any reactions from them?

Yeah, Harvey hasn’t seen it, but Warren has seen it, and he likes what he saw. I don’t want to hype it too much or under-hype it, because I don’t want to get into trouble, but I will say that he liked it.

This is kind of a small thing, but can you talk about the “item glint” system that you’re using? [The walkthrough demonstrated a yellow outlining effect to highlight interactive objects.] It seems like it would be hard to find a balance between making it obvious what you can interact with and avoiding something overly obtrusive.

It’s not so bad. One of my main art direction pillars was clutter. I wanted to have lots of props, lots of shit piled on top of everything. We realized was that, going through playtesting, it was a little confusing. That’s when we decided to go with that outline stuff, and like J.F. was explaining in the questions, I think it’s properly managed. It’s not like you open the door to a big room and everything lights up; you need to get into a proper distance, and there’s a rather small threshold in which it becomes highlighted, and it disappears as soon as you move away. Some people, it might not be their cup of tea, but in today’s market, if you make it too subtle, some people will just get discouraged. It has to be accessible.

Hey, you’re an augmented guy with crazy vision implants, so—

That’s our rationale behind it.

Speaking of which, cyberpunk as a genre has kind of fallen out of fashion, with the Internet becoming a mundane, everyday thing—

My feeling is that cyberpunk is what we live today.

How do you try to make it feel relevant today?

The way that we thought about it starting mostly, for me—we asked ourselves the question as artists: can we reproduce the visuals of Blade Runner on today’s consoles? The answer would probably be yes. But then, what would it say about the studio’s capacity for creativity? So, we wanted to bring something new. As you say, it’s not that fashionable; it’s kind of dormant, so that’s when this whole idea of the cyber-renaissance thing, which is not something that you saw much of in today’s demo, but it’s such a big game with so many areas that sometimes you feel it, sometimes you don’t, sometimes it’s omnipresent. That’s part of the idea to bring back cyberpunk, but with a twist to it.

The other thing is, when we started the first focus group for the game, kind of early on, maybe within the first year, testing out the early ideas and everything, we realized that here in the States, and in Europe, because we tested in both continents: kids nowadays? They don’t even know what cyberpunk is. Really, we could not believe it. You never would have thought, if you take a random chunk of 20 kids who all play games—even the hardcore ones—they’re like “Cyberwhat?” We thought, we cannot use that word! Nobody knows what it is. And, you know, we’re using it, but it really was a huge eye-opener for us.

[Gesturing to J.J.B.’s prominent tattoos] I can see that you’re a fan of Warhammer, you know, tabletop games. Have you played roleplaying games at all?

I played when I was younger.

Ever play Cyberpunk 2020?

The only roleplaying game I really played was Warhammer Fantasy Roleplay.

An awesome game; lots of limbs getting chopped off.

Lots of limbs getting chopped off, yeah, inverting those numbers [a reference to the operation of the critical hit tables]. Yeah, as someone who was creative and wanting to make games, I would buy tons of roleplaying rulebooks, just to read them, and so I had all the Cyberpunk and all those things, and it was the same thing for Warhammer. Warhammer 40,000 is probably my most favorite universe ever, but I own all the rulebooks and all the codices, and I’ve never played the game. Never fucking played the game. I’ve painted the figurines. I haven’t painted in, maybe, six or seven years, because I just don’t have time, but I got to a really high level, where maybe I could start doing those competitions, like the Golden Daemon and shit, but then I just started running out of time. So, I got really into painting the figurines, really into the universe, to the point that—these tattoos are old; I was eighteen when I got them, but still, my passion for that universe hasn’t gone away ever. It’s just kind of weird that I’ve never played the game.

I have a bunch of miniatures, I’ve painted a lot, and I have a ton of the books, and I’ve never played it—

I have all the novels, all the rulebooks, and I love reading them, love the computer games. Alright, cool man, you’re like the first guy I’ve ever met who’s like me. I love to get into that universe, but I don’t really feel like playing the game that much.

Tell me about designing Adam Jensen.

It was tough. It was rough. It took a good two years to nail him down. We kinda knew the overarching design straight from the beginning. We wanted, obviously, not a big brute, there are enough of those in this cycle of consoles. We wanted him to have hair.

You’re crazy. Nobody is going to buy that.

There was this sentence that we coined at the beginning: “He can kick your ass, then he goes home and reads a good book.” We had this idea of, you know the French actor, Vincent Cassel?

No.

Have you seen Black Swan?

No.

He’s French, but he does a lot of movies here. Anyway, he’s a regular build, but there’s just something about his face, about his attitude. You think, “I would never fuck with that guy.” It’s just something that he emanates. And that’s kinda what we wanted. But, because we wanted the mechanical augmentations to be at the forefront of the game and of the visuals—that’s why often you see Adam from third-person, so you can see his arms—J.F. wanted his arms to be visible at all times. And, you know, he’s the creative director, so he’s my boss, but also, we wanted him to look like an agent who could be sent behind enemy lines, and at the same time walk into a high-end restaurant to interrogate someone.

It was a really hard equation to solve: he has to look like Solid Snake, and he has to look like James Bond, and you need to see his mechanical arms all at the same time. So we gave him a vest, and he looked like a douchebag all the time, like a biker or something. Every one of my concept artists had a go at it, where they would pool their energy to try to improve him, and it never quite worked. One day, Jim Murray, one of my concept artists, approached me, and—as simple as it sounds—says, “Let’s just make him two outfits.” One is kind of his battle gear, where you see his arms, and one is kind of his urban gear, because such a big part of the game is being in the city hubs, investigating and talking to people, going into rich places, inserting yourself into an apartment or whatever, and that’s when he’s gonna have his cyberpunky trench coat, and you’re not going to see his arms.

Again, as simple as it sounds, like holy shit. But then, we still had to run it by J.F. and the writer. Often, people don’t realize how a simple choice can be very complex to implement in the game, so we had a few meetings about it, and we decided to go with it. After that, within two months, Jim had nailed them; we had the jacket, which I loved. Also, the challenge was that when he has the jacket, he still has to be able to use the same augmentations. So, he has the claymore, the typhoon, where all those beads eject from his arms, so how do you do this when you have a jacket? Or when your blade extends backward? So we designed those slits in his jacket, and he has ports on it that kind of magnetize to the holes on his arms to let go of the beads and everything, so we kind of worked out how it works.

Yeah, so two months later, Adam was born, and the little pointy beard was kind of the Don Quixote thing, kind of the renaissance/baroque thing.

In the Icarus dream sequence in the trailer, you can see that the facial hair works in both settings. [This sequence features Adam surrounded by men in Renaissance-era garb.]

The Icarus thing was such a great find, in the sense that it was such a great metaphor for augmentations, because that’s what happens, right? Daedalus, his dad, gives him the wings so he can escape the maze, basically having wings is augmenting yourself. The feathers are glued with wax, so he says, “Don’t fly too close to the sun, or the wings will melt,” but he has so much fun with the wings that that’s what he does, and then he dies. That’s a bit like what it is with augmentation; if you overdo it, like with anything in life, you might burn yourself. We though it was such a great analogy for that.

Do you personally have a strong opinion on transhumanism?

Strong? Not necessarily, I wouldn’t say strong. I’m not intensely passionate about the pros and cons, but I think it’s inevitable. I think it’s one of those things that we’ll need to have laws, and we’ll need to have ways to control what will happen. There are going to be big mistakes, like with everything. There are mistakes made all the time in medicine, the military makes mistakes all the time, but I think it’s inevitable. If we try to stop it, there will be underground, illegal shit, and stuff like that. I’m quite convinced that in the next, maybe, 40 years, we’ll be immensely transformed. From all the stuff I’ve read, the specialists we’ve met, I think we’re going to see some crazy shit in the next 30 years.

Globe-trotting was a big component of the first Deus Ex; you cover a lot of mileage. Do you do that a lot in this one?

Yes, there’s definitely a lot of variety, yup.

One thing that the first game kind of failed at was giving the impression that you’re in a larger world. The city areas felt a bit constrained. How did you approach that problem?

It’s funny, as the cycles of consoles and technologies evolve, the constraints somehow always remain the same. OK, Grand Theft Auto, it’s immense or whatever; it never seems to end, but, for example, what you do with the NPCs is very limited compared to Deus Ex. Anyway, you add all this stuff that you can do in Deus Ex, and suddenly you don’t have the power to do a city that big, so we had the same constraints. Don’t get me wrong, the city hubs are quite big; many, many streets; tons of alleyways and buildings to get into, sewers to get into, rooftops... all that shit. At the same time—at some point you can’t go further, and you need to find tricks to convey that there’s a sprawling city around you, and why that path is blocked when it seems like it should be open. It’s a very common game design problem.

I remember on Splinter Cell at Ubisoft, it was the same thing. “This street is blocked, why?” And I would be, like, “Maybe some guy is moving out,” so there’s a big truck, and stuff like that blocking the street. It’s very common. But honestly, I think we manage rather well in Deus Ex. And then, there are compounds that you go into, like office buildings and secret laboratories where those limitations aren’t as important anymore, because you are in a confined area, but for the city hubs, I think we get away with it quite well.

A big feature of the game is having multiple approaches to every situation. Is that frustrating, especially being involved in the art side, because there may be significant chunks of the game that a lot of players won’t see?

Frustrating? No. I wouldn’t say it’s frustrating, because, obviously, we try to make the coolest stuff in the critical path. Now, that being said, it doesn’t mean that side-quests or whatever don’t have their own things, but you can manage; you just try to make everything look cool. I don’t know if we succeeded. I have a really hard time saying, “Oh, this doesn’t need to look as cool,” or whatever; I try to put just as much energy into everything.

I guess your question is more—if some people don’t see some of the cool stuff we’ve made... It is going to happen, but to some degree it’s kind of cool. They’ll be talking to their friends and they will have seen it, even if you haven’t, and I think it’s all part of the trip, really. But it’s cool, because I’ve worked at companies before where they never would have allowed us to do that.

It seems like a waste of resources.

Exactly. Some companies are so into every penny you spend, the player has to see it. Which is very rational when you think about it; it makes total sense, but sometimes making a game that gives you a specific feeling, that gives you that flavor so that once you’ve turned off your computer and when you go to bed you’re still thinking about it, it’s also a game that has all these things that are not just thrown in your face like that. But, that is quite expensive to do.

So, I’m guessing you can’t say anything about Thief 4.

No.

I figured.

That would be the death of me. No, it’s gonna rock your socks off; there we go.

Just how awesome is it?

Super awesome. Super-duper awesome.

No, it’s a great team honestly; tons of my friends are there. The art director is a great friend of mine, and uh... I’m not even sure I’m allowed to say that, so I’ll stop there.

It seems like a similarly ambitious sequel to make. Like with Deus Ex, fan expectations are off the charts.

It’s the same thing, exactly. I think it was really... that’s what we wanted to do with that studio. If we open another goddamn studio in that city? We do it strong or we don’t do it.

**In the first game, J.C. Denton is kind of inept in the beginning. It’s surprising that he’s supposed to be this super-spy, but he can barely fire a gun straight. I assume that Adam Jensen is a bit more capable right off the bat. **

Big time, yeah. Also, the shooting is something that right from the get-go, me and J.F. agreed that the shooting skill of Adam Jensen is going to be the player’s shooting skills. In terms of that, it’s a full-fledged first-person shooter. You know the crosshairs there? That’s where the bullet’s gonna go. You can still augment him in some ways to be a better shooter, like for recoil, or stuff like that. All the weapons are fully upgradeable, so that aspect of RPGness is still there, but where you shoot is where you shoot.

I’ll admit that I cheated to max out my skills in Deus Ex and found it a lot more fun that way.

The skills—that system was quite punitive.

You do have an upgrade system in this, where you earn your Praxis Points and unlock augmentations—are those scarce enough that you can’t get every upgrade by the end of the game?

You can’t max everything in a play-through. You can become the jack of all trades if you want, but you won’t be an expert at everything, or you can really invest in a branch.

If somebody specializes very much in, say, stealth, and therefore tends to use that to get through every encounter, do you think that can become monotonous and discourage people from experimenting with the other techniques?

Hmm, that’s a good question. It’s never been asked to me that way, specifically. I hope not. I don’t think it is—the way we’ve designed the challenges is that they’re never molded for one style of gameplay. It’s not like you get to an environment where it’s like, “Here you have to play stealth.” We’ve shown a quick example of that in the demo: if you wouldn’t have been able to disable the turret, there was that passage on the side. Usually most challenges are set up that way, but not as obvious as that; it’s built quite like the first one in that regard.

Are you absolutely sure there are no blue laser swords in the game? [A reference to a question asked during audience Q&A]

As of right now, this time, today: absolutely sure.

Thank you very much, I really appreciate it.

It was awesome, man. Great questions, thanks.

[superliftca]

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[azulblue9]

17 Days (full title as copyrighted 17 Days (the rain will come down, then U will have 2 choose. If U believe look 2 the dawn and U shall never lose.)) was released as the b-side of the single When Doves Cry, the first single to be released from Purple Rain, released worldwide. In 1993, it was included as the 15th track on The B-Sides compilation (included as the third and final disc on The Hits / The B-Sides). A 1983 piano rehearsal of the track was also included on the 2018 posthumous release Piano & A Microphone 1983, and released two weeks prior to the album as a pre-release download. The same version was released as the A-side of a 7" vinyl 17 Days (Piano Version) single distributed as cover mount with the October 2018 edition of Rolling Stone magazine in Germany in September 2018. While specific recording dates for 17 Days are not known, it was initially recorded at The Warehouse in St. Louis Park, Minnesota in August 1983, likely a couple of days after Let's Go Crazy and Computer Blue, with Brenda Bennett on vocals. By this time Vanity had just left the Prince camp and Apollonia was yet to be cast as her replacement. So it was never really intended for either Vanity 6 or Apollonia 6, but perhaps Prince had a solo project with Brenda Bennett in mind. The song was later re-recorded on 8 January 1984 at Sunset Sound in Hollywood, California (three days after Oliver's House) with Wendy Melvoin and Lisa Coleman providing some background vocals and worked on further in March. While the When Doves Cry single was credited only to Prince, 17 Days was credited to Prince and the Revolution, marking it the earliest release of a track containing this credit.

Prince 4ever! O(+> 💜🎵💜 

[corialicetale]

SCP ████: The Demiurge Machine

Item #: SCP ████

Object Class: Euclid

Special Containment Procedures: SCP ████ is to be kept in an empty room that is 84 feet long and 50 feet wide. A generator must be connected to its containment chamber to keep SCP ████ from connecting to Site █ electricity. Any electrical wires in Site █ should be disconnected to SCP ████ chamber in case it activated. Ever 3 weeks all 4 walls should be laid over with a new wall. Battery Powered Security Camera should set at each corner of the room monitoring both subjects, SCP ████, and entities. Site █ hand pick a member from the ████ family line and teach them about hold computer operator for SCP ████ and two D-Class are to assist ████ to do research on SCP ████ for any anomaly. D-Classes should protect the subject from any harm, add another wall over the doors, follow the instruction given by the researcher and the subject. Both of the D classes and the subject should have a walkie talkie to hear the researcher when carrying out the test. Outside of SCP ████ containment is two guards equip with a Kel-Tec RDB, Semi-Automatic.

Description: SCP ████ appears to be a handmade machine that is made with a large RCA TV with VHS & DVD Player that is hooked to 3 LCD monitor and 3 CRT monitors with many cables next to the RCA TV. There are two Sun Vintage computer Keyboards and one mouse in the drawer underneath the RCA. Both the RCA, LCD, and CRT are attached to a Balt 90107 LX Gray Computer Workstation that is 72W x 24D x 29H. When SCP ████ is off its screen can be seen through revealing a black gel-like substance covering the raw material. On closer inspection, the gel is converted and repairing worn out materials. Any attempt on removing the screen to collecting the substance was unsuccessful.

Thought random periods SCP ████ is manifest a door out of nowhere taken about 30 seconds to fully materialize. The doors know as SCP ████-1 appears to be made of a non-reflective black material with a purple door frame and purple doorknob. Video footages show that SCP ████ is creating a tear in space while using the hydrogen atom taking a form of SCP ████-1. During this event, all power in the room flickers or power out till the door is finished materializing. When the door appears it open on its owns letting out many different entities, most are of the creature are hostile while the other should no hostile tendency. When looking inside the doors it reveals a dark staircase that goes in a straight downward angle. Waiting for O5 to allow us on the exploration of SCP ████-1. Some of the entities had to be contained while others had to be terminated. When killing the entities they later come back remembering what happens to them. Studying the entity bodies reveal their hox genes are independent and possess no faults to decay but only to adapt with hydrogen atoms. A few of the entities keep returning even after being kill. The following entities are that keep returning are the following:

SCP ████ A: Is a tall pale man with black hair and a navy blue sweater that has an inside tag that said, Ruth. SCP ████ A has a drawn happy face similar to those you see on a child drawings. SCP ████ A has not shown to change express or even moving/blinks its eyes. SCP ████ A has little to no cooperation to staff and D Class. SCP ████ A door is founded in different locations near a newborn to adolescence. SCP ████ A doesn't possess vocal combination but use gesture or contorting his body beyond a normal contortionist. SCP ████ A has shown to have a playful behavior when interacting with children. Any violence towards any children will result in SCP ████ A to violently kill its target. After killing it target SCP ████ A will return to its normal state. SCP ████ B: Staff member and D-class said they have seen a little girl with dark brown hair that stops pass her shoulder, some even said that she wore a red wool jacket wondering around Site █ and have been seen in different SCPs containment chamber. Footages have shown no sign of a little girl at any point in time. There was an event where two researcher encounter SCP ████ B but only one could see her facing away from them while the other researcher sees nothing. Later other researcher said they have dreamed of the girl they saw but they never got the chance to see her face. Staff said that they felt like seen the girl from somewhere in their life. SCP ████ C: These entities are copies of staff members and SCPs including SCPs that were terminated by the Foundation with both the same memories as seen in an Auto Log. These creatures behave as if they have been working for the foundation as long as the original and they believe they're the original person. There was an event want SCP ████ created copy of SCP ███-█ which kill 35 members till it was killed by SCP ████ E with its head decapitated. SCP ████ D: A group of armed robotic soldiers with advanced technological design in weapons. SCP ████ D appears to be not hostile toward staffs or D-class. Instead, SCP ████ D came to check for any world ending events. SCP ████ E: Is a muscular Caucasian male who appears to be in his early to mid-twenties. He has blond hair, has heterochromia eyes, right eye yellow and left eye purple with a black color around the sclera of that. SCP ████ E is height is 1.85m / 6.1ft and wear a brown coat as seen from a surveillance camera. Surveillance Footages at SCP ███ and SCP ███ containment chamber show SCP ████ E in their chamber just sitting near them and just watching them before leaving out of the chamber with no footage or guards saying that he was there or even left. Both security footage shows that SCP ████ E was at both containment chamber March 10 on 3:36 A.M. During the copy SCP ███-█ event SCP ████ E can create weapons from out of nowhere similar to SCP ███-█ but Slow-motion video footage reveals that the weapons are materializing through hydrogen atom particles from its surrounding. There still no explanation as to how SCP ████ E got to both SCP ███ SCP ███ location when both Site 17 and Containment Area 25b with no door to be found. SCP ████ F to T: Creature that coming out of the doors have shown hostile behavior towards any nearby victims.Different types of creature that have a close resemblance to our animal such as a creature that a few distinct features toward a bear that produce deadly Miasma from the small hold around it necks and back. Other creatures that come out appear to have to have a familiar appearance toward other SCPs and event function the same way. The Rest of the files for the following SCPs ████ are Classified by O5 command.

Origin: SCP ████ was discovered around ████ when multiple people said they discover multiple black doors found around blizzard area in ████ with no explanation. Later on a Radio Station and ███ News report about an unknown, they haven't seen and people found dead or missing. The Foundation soon heard about this an arrive to ████. They later discover SCP ████ in an abandoned warehouse with it wires sticking through the ground that leads all the way to ████ Voltage Transformers. Foundation soon stops ███ News and confiscate any tape that is connected to SCP ████ later, telling the Radio Station to say that it was ARG for an upcoming show.

Note from Dr. Constance: After many multiple tests on SCP ████ all staff member have come to an agreement on exploring SCP ████-1s to know what is creating all of these entities and if there a way to contain them form the inside of SCP ████-1.

Note from Dr. Constance: I didn't write that to the O5 command, we still didn't come to the agreement on the exploration. Who wrote this?

[thedjmusic]

Defected Selectors | Simon Dunmore 2022-06-22 FLAC or MP3

DOWNLOAD: https://thedjmusic.com/music/defected_selectors_simon_dunmore_2022_06_22_flac_or_mp30

A brand new selection of records from the boss.

DATA CREATED: 2022-06-22 TOTAL: 100 

Adam Port & Alan Dixon - Forms of Love

Afefe Iku - Sista Georgia

Austin Ato - When Love Is Tender

B Beat Girls - For The Same Man (Nic Fanciulli Remix)

Carlo Gambino - Dance For You

Dam Swindle - All I Want (Edit)

Dam Swindle - Hey Mister

Dames Brown - What Would You Do? (feat. Amp Fiddler & Andrés) [Two Soul Fusion Remix]

Dario D'Attis - Tanzstube

Dennis Cruz - Ready for the Blues

Fka Mash & Sió - Bumblebee

Francisco Allendes - What You Do

Fred Everything - Searching (feat. Jinadu) [Deetron Remix]

Gerd - We Bring U Muzik (Warehouse Mix)

GruuvElement's - Boom Room

Honey Dijon - Love Is A State Of Mind (feat. Ramona Renea)

Jamie Jones - My Paradise

Joeski - Rude Boy

Julien Jabre - Voodance

Kerri Chandler - Tenacity (feat. Bluey Robinson) [Main Vocal Edit]

Khan Feat Julee Cruise - Say Goodbye (Losoul She's Homeless Mix)

Lady Blackbird - Lost and Looking (Colleen 'Cosmo' Murphy Cosmodelica Remix) [Edit]

Louie Vega - All My Love (feat. Robyn)

Low Steppa - Closer

Make A Dance - I Need Somebody

Malone - Time to Move

Mike Dunn - When The Dust Clears (feat. LOA.) [MD MixX]

Musta & Venessa Jackson - Loving Me (Hot Toddy Remix)

OVEOUS & Don Kamares - Legacy

Paperclip People - Throw

Paul Kalkbrenner - Bengang

Paulo Maria & HRDY - Connected

Pig&Dan - Rock You All Night

Purple Disco Machine & Bosq - Wake Up! (feat. Kaleta) [Extended]

Ramin Rezaie - Searching

Risk Assessment & KE - Feel That (Franck Roger Remix)

S.A.M. - Spotlight (feat. Sarah Ikumu) [Mousse T. Shizzle Mix]

Saturday Love, Kon & Fiorious - 2 B Free (Oliver Dollar Remix)

Seamus Haji - Better Come Again (feat. Phebe Edwards)

Sophie Lloyd - Angels By My Side (feat. Pauline Taylor) [Floorplan Remix]

Star B, Riva Starr & Mark Broom - Fire (Ron Bacardi Remix)

Steve Bug - Back To '95 (feat. Mr. V) [Cinthie‘S 'just a Vibe' Remix]

Steve Bug & Cle - Let It Go

Tony Lionni - Out of Sight (Special Edit By Jerome Sydenham)

Youandme & Kristina Sheli - Moment

[asian-movers]

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[yierknives]

Should I choose a WiFi or Bluetooth speaker?

Do you doubt between a wifi or Bluetooth speaker? Then it is important that you know the differences between these speakers. You connect a Wi-Fi speaker via wireless internet to your smartphone, while you connect directly to your device with a Bluetooth speaker.

What is Bluetooth and How Do Bluetooth Speakers Compare to Wi-Fi Speakers?

Wireless speakers have been widely used to provide music throughout a house by the touch of a button. These speakers can receive an audio signal utilizing Bluetooth or Wi-Fi. How does this work and how do they compare in audio quality?

The short answer is this: Both Bluetooth speakers and wi-fi speakers compress the data files differently to play music on the speaker. Ultimately, Wi-Fi speakers can be used anywhere within the Wi-Fi signal; stream media using the internet; use multiple speakers with one smart device; and typically sound better than the current Bluetooth speakers on the market.

Bluetooth speakers

Bluetooth speakers are part of a system in which two (or more) pieces of technology “speak” to one another wirelessly. They do not need to be connected to the internet to react to each other, which makes them a favorite among traveling options.

How Do They Work?

According to Jabra, Bluetooth speakers work by having your smartphone, tablet, or other music playing device send out radio waves, which are picked up by the small chip inside a Bluetooth compatible device. Once the radio waves are connected, the devices are considered “paired” and can share data, including soundwave data!

Pros of Using Bluetooth Speakers

When it comes to using home tech gadgets to set up your surround sound system, Bluetooth enabled speakers have quite a few advantages over both Wi-Fi enabled and wired speakers.

According to The DinDin, here are some of those advantages:

No Wires — It should come as no surprise that there are not as many wires involved when it comes to Bluetooth speakers. The only wiring you may have to worry about is for a power source, but that can sometimes be negated with batteries. Versatility — Bluetooth radio can pair with multiple devices, which means you can have multiple Bluetooth speakers enabled on one system. This means you can control all your Bluetooth speakers from one main center, usually an app. Portability — Because Bluetooth speakers do not need to be connected to the Wi-Fi nor any add-on accessories, they are very portable and perfect for beach trips! Multiroom Use — You can connect multiple devices to one control panel, which means you can have an array of Bluetooth speakers throughout multiple rooms. So, you can take your music from the kitchen to the living room with the touch of a button! Easy Setup — To start using a Bluetooth speaker, you only have to turn on the Bluetooth setting. The setup can take as little as three minutes! Cons of Using Bluetooth Speakers Although Bluetooth Speakers can be very useful on a day trip somewhere, there are a few disadvantages to using them for broadcasting your tunes.

From The DinDin, here are some of the disadvantages you may encounter:

No Control — Although you can control most Bluetooth speakers with an app, you cannot control the amplification or conversion. These factors come from external equipment that benefits best from a wired connection.

Lower Quality Amps — Unfortunately, the design of Bluetooth speakers means that the amplifiers must be built into the speakers. This leads to the Bluetooth speakers not having as high quality of amps as a wired speaker would have.

Loudness — The inability to control the amplification or conversion also means Bluetooth speakers cannot be as loud as their wired counterparts. Their volume levels are entirely dependent on the device’s amps, and their built-in speakers.

Limited Range — In most cases, Bluetooth speakers can only connect up to 30 feet away from the sound source. After that, you may hear some interference, along with crackling from the loss of signal.

Single Speaker Use — Although you can connect to multiple Bluetooth speakers with ease, you can only stream the sound to one speaker at a time.

Wi-Fi Speakers

Wi-Fi speakers are another alternative to wired speakers. They connect to your already established internet system and can handle higher amounts of data transfer. This can give you a more stable signal over a broader range!

How Do They Work?

Wi-Fi speakers work by connecting to the source device from the home internet network. Instead of having to link from device to device like Bluetooth speakers, Wi-Fi speakers can be connected through a network and work simultaneously.

Pros of Using Wi-Fi Speakers

These home tech gadgets can take full advantage of your already established network, making them a great alternative to both wired and Bluetooth speakers. Plus, the market for Wi-Fi speakers has expanded in recent years, giving a range of looks and abilities!

From Consumer Reports, here are some of the advantages of using Wi-Fi speakers: Multiple Speaker Use — Since all the speakers are connected to the Wi-Fi system, you can have streaming access to multiple speakers at the same time.

Higher Quality — Audio quality always comes down to how much data can be transmitted across a wireless signal. With the introduction of the internet, higher levels of data can be transmitted, giving a better quality to the audio than its Bluetooth counterparts.

No Wires — Spare the AC power cord; Wi-Fi speakers are mostly wire-free. This opens the freedom for speaker placement.

Smart System — Almost all Wi-Fi speakers come with a “Smart System,” such as Google Home or Alexa. These AIs help you control the speakers with voice control and can usually connect to the systems already in your home.

Larger Signal Range — Unlike their Bluetooth counterparts, Wi-Fi speakers can have a reliable signal range of up to 200 feet! Cons of Using Wi-Fi Speakers

As useful as Wi-Fi speakers can be, there are still some downfalls to their system and design.

Here are some of the disadvantages of using Wi-Fi speakers: AC Power — Because Wi-Fi speakers connect to your home system, most cannot run off batteries alone. This means you will have to plug your Wi-Fi speaker into an outlet, removing the possibility of taking them on the go or somewhere without electricity.

Slower Internet — Since Wi-Fi speakers must work in tandem with your internet, the more devices you have connected to your internet, the slower it will become.

Lower Quality — With a slower internet connection, the amount of data your Wi-Fi speakers can communicate with the source lowers. Thus, you may have lower quality sound coming through.

Expensive — Not only will you have to upgrade your internet speed (if it’s not fast enough to handle the system), but Wi-Fi speakers themselves run on the expensive side.

Quality of Audio and How it Works

When choosing what kind of speakers to use, there is one thing that matters above all else: sound quality. Almost across the board, Wi-Fi speakers have better sound quality than Bluetooth speakers.

Bluetooth compresses the data more than Wi-Fi speakers. Though Bluetooth has a high definition (HD) version, only some devices support this new technology, including B&W PX headphones and wireless speakers, BlueSound products and only certain smartphones and tablets.

Bluetooth or wifi speaker?

WiFi speakers

Do you want to use the speaker at home and possibly install a multiroom system? Then a wifi speaker is suitable for you. A WiFi speaker connects wirelessly via your home network with your smartphone or tablet. This allows you to easily exit the room with your smartphone without stopping the music. You simply connect multiple speakers in different rooms to each other via WiFi and an app on your smartphone. This way you can easily create a multiroom sound setup in your home.

Bluetooth speaker

Do you want to take the speaker to the beach, park, a party or on vacation? Then a Bluetooth speaker is the speaker for you. A Bluetooth speaker has a built-in battery. These speakers are available in different sizes, suitable for every use situation. There are mini speakers that easily fit into your jacket pocket, medium sized speakers that you carry in your bag and large Bluetooth speakers with a handle for parties. Some speakers are waterproof, so you can safely use them on the waterfront.

Why choose DINDINMODERN

● A variety of high-quality Bluetooth speakers are available. ● Delivery from the local warehouse, within 3 days. ● Manufactured in our own factory, cost-effective. ● Excellent pre-sales and after-sales service. ● Free returns ● Excellent materials, safe and durable. ● Pursue innovation and optimize design ● We listen to customer needs and feedback.

[krispyblazetale]

Oracle Logfire is cloud solution of Oracle Warehouse management. LogFire is modern warehouse application that offers flexible configuration and covers the end-to-end operations of the warehouse. Oracle Logfire WMS Cloud Training   offers robust multichannel functionality, which enables complete warehouse and logistics fulfilment from any browser-based device.