#Built-in digital sound processor

[caraudioexpertaustralia0]

Headunit With Carplay For HONDA 2002 FIT/CITY/JAZZ | 9INCH, RHD

[rawmeknockout]

Can I request a breeding kink for Vos and a human s/o? I'm thirsty for that man 👁️👁️

Vos doesn’t like Tarn’s new pet. It blubbers and whines in its high-pitched mammalian sounds, crying like a dying mechanimal during every klik of the orbital cycle. It requires far too much attention, or else it’s likely to be crushed in one of its pathetic escape attempts. Too many times Vos has been tasked with crawling through the vents to pluck up the skittering thing. Every time, it bawls its little organic optics out and kicks at him. Were it not for Tarn’s fondness of the thing, Vos would have squished the little insect by now.

There’s truly no use having it around, and yet Tarn has affection for it all the same.

Occasionally, Vos, with his audials set to maximum, will hear its distant whining and it’s… Softer. Drawn out and mournful. Everyone knows why Tarn keeps it alive, but Vos has no taste for it. Laying with the thing, even if he were desperate enough, would be like laying with the Pet. Primal and repulsive; an act of a mech who is truly without dignity. He tries not to juxtapose this judgement with the idea of his leader.

And yet, the creature is soft in his servos. It trembles but Vos keeps a sure grip on it. Easily. He’s unused to being so large next to another. He’s known of humans for a while, but has never had the misfortune of meeting one before Tarn’s pet.

It… You squish and yield beneath his claws. The next time Vos has to pull you from the vents, he looks at his digits for a long time. A creature like you shouldn’t even survive. No outer shell to protect you, inner structure like the flimsiest steel, mesh that is not mesh. It bends and flexes and gives way readily when punctured. Vos can… imagine what Tarn sees in you. If he truly were to give you a grace you don’t deserve.

You are small, yes, but your body gives way. It bends and adapts readily. Part of what makes carrying so unviable is the rigidity of Cybertronian frames. A species meant to, built to, colonize and conquer. Frames made to withstand and last. Frames that don’t produce life as easily, because reproduction is not the first method by which they survive. But for organics, mating like petrorabbits is the only way to thrive. The idea was disgusting to him at first, novel in a way that looking at a scraplet’s innards might be, but the idea sits in his processor for too long. Festers like an open wound. Vos has always been seen as more primitive, treated as such by his peers. It’s not something that bothers him anymore, but it has certainly shaped him.

He can’t rationalize why he does it. Perhaps he is truly sick. His job makes that obvious to any other, but Vos knows he has limits. Assumed he did, at least. You are snug around his spike, warm and wet. Your insides writhe in a way that is unnatural to him, unlike the grind of cable and gear. You do not coil like metal. It’s not unpleasant in the slightest. Part of him is still repulsed by the slip of your body against his, the way your organic flesh presses oil and sweat to his armor, but Vos revels in the disgusting. He would gladly coat himself in another mech’s viscera, and pushing his spike into you feels like the same sort of satisfaction.

You would look endearing filled to the brim with sparklings, your body molded around what he had given you. His coding hard at work in a body that is designed to bend and morph. Just as your body yields, you make room to fit him. You bend your desires out of the way to curl into Vos’ arms, to wrap your small human legs around his hips and pull him close. Your animal sounds are light and lovely, no longer a grating keen for mercy or freedom. Tarn could never pull such sounds from your fleshling vocalizer, too large and too rough no matter how he tries. His frame made to bully through others with little regard. And yet, compared to you, Vos is the same. It pulls a raspy chuckle from his intake, a moan like rusty metal grinding.

Vos will make sure it takes. You are eager for his touch, your body more than able to carry, and he has all the time in the world to see it will.

[mochimelt]

Half-Built

Shockwave & Gn!Reader (could be romantic or platonic)(oneshot)

Your audials activated first. The whirr of your machinery and the low hum of the lab filled your senses, slowly dulled out as the rest of your body began to wake. Your digits twitched against the table, curling into a fist and flattening again, the cold seeping into your metal servos. A sense of familiarity washed over your spark.

“Test. Test.” A close voice spoke out, bits of static slipping into your audio sensors as they recalibrated. “One, two. Do you hear me?”

Your voicebox creaked to life. “Yes, sir.” Far too much static for your liking.

“Staticy and unstable.” A scribbling sound followed, pen on paper, instead of the typical digital clicks and clacks of typing. “Visuals?”

“Not on yet.” Smoother than before. You pushed down the tiny sense of pride that grew in your chassis.

A short ‘hm’ sounded from beside you. “Slow. … Continue.”

Anxious disappointment took over the tidbit of pride like a weed. Unwanted thoughts crawled through your processor, leaving as quickly as they came. Did you break? Had you done something wrong? Corrupted your own body? Was he disappointed with you? You hadn’t failed him, had you?

Your optics flickered online after far too long, the glow of your eyes filling your vision as the rest of the room came into focus. Your vision traced the metal paneling of the ceiling above you, the tubes and wires running into the wall beside you, the flickering light and shadow from the bulb just out of sight.

Oh. That light didn’t typically flicker that way.

“Optics are online, sir.”

“Good. Can you sit up?”

Your helm nodded and scraped lightly against the metal table. Cables pulled against the movement, resting uncomfortably behind your helm. Your arms braced against the table as your servos pushed against it, body slowly raising, optics flicking across the space as you did. The room was in disarray. Wires pulled from their sockets, sparks of electricity from broken tubing, cracks spread across the tile floor. The computer display was missing, the comforting blue glow absent for the very first time.

“Sir, may I ask a question?” You spoke softly, your vision finally focusing on the mech before you.

He had a purple frame, his servo resting on the table beside you, his other arm limp by his side. His digits tapped rhythmically against the clipboard resting on the table. Paper clipped tightly in place, a pen set just beside it, neat handwriting filling half the page. A singular, yellow optic watched you as you moved. Two gray ‘audials’ (though you hesitated to call them that, unsure if those were his audials or not,) sat on each side of his helm. Like little antennae, they flicked up at the sight of your movement. His helm nodded slowly to your request.

“Why is the lab in such disorganization?”

He turned to the rest of the room, looking over the broken wiring and cracked floor, and turned back to face you. “There was a disturbance that resulted in damage to the local area. Power has been cut and is being fixed at the moment.”

“Oh. I’m sorry.”

“Sympathies are useless.” His hand picked up the pen once more, holding it just above the paper. “Remain focused on the task at hand. Status?”

“Right.” Your digits held to the edge of the table you sat on. “Status update; all systems online. Audials green. Optics green. Touch green. Vents green.”

Your body moved to demonstrate each system as you read them off. Your optics flickered on and off, your servo tapped against the table, your chassis venting out the slowly heating air within. Energon flowed freely through your body, your spark thrumming rhythmically within your chassis, safety tucked away from open air. You’d need to refill soon. Shockwave responded to each check with a sharp nod and a scribble on the page.

“Left arm online. Right arm online. Servos online.” You flexed each arm and digit before letting them fall limp once more. “Left leg offline. Right leg offline.”

Two stumps sat at the bottom of your torso, where your legs would someday connect. This was expected. Shockwave wasn’t finished building your legs yet, and there was no point in connecting them when they still didn’t work. Not that you minded. His work was difficult, and you would wait as long as he needed to finish building you. You had him to thank for your life, after all.

“Damage report?” His voice rung out, snapping you out of your thoughts. His optic watched you curiously, head tilted only a couple degrees to the side, one digit tapping against the side of the pen he held.

You twisted your helm, one hand pushing into the wiring of your neck. You could barely see the metal of your open back, your internal wiring visible and unfinished, temporarily patched together until Shockwave could find the pieces for your wings. Small wires pulled from your back into the machinery beside you. “No damage to helm. No damage to chassis.”

He hummed. You twisted each arm and bent each digit, stretching and tensing, then let your arms fall. Wires tugged and loosened from each limb as they moved. “No damage to arms or servos.”

“Very good.” His scribbling came to a stop and he stood straight. His helm looked down at you just a bit, optic unchanging as he observed you, as always.

You weren’t sure if his optic was unsettling or comforting. Shockwave was the only mech you knew, and something within your spark cried of fear at the sight of his single optic, his mangled arm turned into a weapon, the cold tone in his voice and the uncaring words he spoke. At the same time, you couldn’t help but feel a warm comfort at the sight of him. More than once you were left in the lab alone, unable to rest and shut down, staring up at the empty ceiling. It wasn’t often, but on these occasions he would stay in the room with you. Off to the side doing his own work. He would tell you about things he encountered that day, other mechs he ran into and possibly ran over, and theories he had regarding you and your form. He would ramble about the modifications and adjustments you needed, the pieces he planned to give you to complete your body. You were his perfect experiment, he said. A mech to traverse all areas. Land, air, and sea of any kind, you would travel them all.

Your form was all thanks to him. All the metal of your body had been repurposed from dead bots, melded and shaped to fit you. A menagerie of colors lay on your plating, cracked and peeling at the ends, not that you cared. Once you were finished you would worry about getting a fresh coat of paint. Maybe you’d go with purple, to match Shockwave. Would he like that?

There was a deep warmth in your spark. A feeling of comfort and familiarity, of care and admiration. Your spark. You didn’t know if he had taken your spark from another mech, or if he had somehow created one of his own, or taken a piece of the Allspark. At the same time, you couldn’t bring yourself to care. There were no memories within this spark. Nothing to connect you to anyone or anything, nothing to taint your memories. A blank slate in the purest sense.

“May I ask a question sir?”

Shockwave stared down at you for a moment before nodding, waving his servo toward you.

“Why wake me up?” A cable pulled at the back of your helm as you leaned forward, twisting to look behind you, at the group of wires and cables that connected to your helm and back. Sparks of electricity emanated from tiny cracks in the wiring insulation, bits of tape wrapping together the more broken pieces. “Am I not a waste of limited power? You could have waited until the power had returned to wake me.”

He watched you as you spoke. His helm sat still, his optic revealing no emotion beneath, none of his thoughts or feelings. But the way he tilted his head just a bit, the way his digits tapped against your frame as he watched you, subtly checking for any external damage, it revealed more than he knew.

“I wanted to check on you. Ensure no damage was done to you during the power outage.” His voice was smooth and monotone as ever, his digits tracing the scrapes on your arm. “Yes, you use some of my limited power, but it was optimal to do so. Tracking your state and fixing any errors is of most importance at the moment. Trying to fix any problems when they have settled and corrupted would be far too troublesome a task.”

You couldn’t help the twinge of satisfaction that came to mind when he spoke. He cared about you, your safety and your status, enough to use his limited power to boot you up and check on your state. His touch drifted away from your arm, leaving behind the insignificant scrapes and peeling paint, and you leaned in to try and keep him there.

“Now, allow me to fix the errors within you.” His servo found purchase on your chassis, a gentle push moving you to lay back down.

“I have problems?”

“Yes. Your slow activation shows you cannot run optimally on low amounts of energon. I will fix this error and optimize your frame to run smoothly on limited quantities of energon.”

“Right.” You didn’t resist as he pushed you back on the metal table, shuffling slightly to get yourself as comfortable as possible for the process to come. It was a familiar routine. “You’ll be careful, right?”

“Of course.” His helm nodded above you, servo fiddling with the machine hooked up to your form. “Disabling pain sensors.”

[thekingofgear]

Sam Petts-Davies's Setup for Thom's 'Everything' Tour

A photo of the setup, shared by Sam on his instagram account with the caption "tour begins tonight. i’ll be parked at front of house with this box of esoterics for the duration. it’s going to be something really special."

Thom's solo tour has just begun with a show in Christchurch, New Zealand, and Sam Petts-Davies is along for the ride!

Since Radiohead's earliest shows, there's always been at least a few effects added by an engineer at the FOH (front of house) mixing desk to keep the band's sound clear and coherent. With Radiohead, that role was filed by Jim Warren. Even after Thom started bringing pedalboard full of vocal effects on tour, Jim continued to apply additional effects including plugins such as the Waves C4 multiband compressor for vocals. You can find more info on Jim's work in these posts.

For The Smile, even fewer hardware effects were needed at the FOH desk, in part due to Thom's expanded vocal pedalboard. In 2022, the Smile's mix engineer mainly relied on plugins from an Avid VENUE S6L-32D digital desk, supplemented only by a TUBE-TECH CL 1B Tube Optical compressor (presumably for Thom's vocals).

It's clear that when Thom is performing totally solo, a different approach is needed. But it's hard to imagine that any past FOH setup has been so full of hardware effects! And not just effects, but also modulators and an usual mixer, as we'll see....

For those who don't know, Sam initially served as a engineer under Nigel during the recording of Junun in 2015. He subsequently did engineering work on Spectre, A Moon Shaped Pool, and on the strings for the OKNOTOK singles. In 2018, he co-produced the soundtrack to Suspiria with Thom, and apparently Thom was a fan because Sam received a full production credit for Thom's soundtrack to Confidenza. He also produced both of the Smile albums released this year: Wall of Eyes and Cutouts.

For comprehensibility, we've divided the setup into four sections: the core, the modular, the pedals, and the rack. We'll start with the core setup.

Core Setup

This section is the nexus: receiving input from Thom's stage setup, sending it through various effects, and mixing it all together. The Matrix Mixer is using to both mix together and feedback the various effects in Thom's eurorack setup. The Yamaha DM3-D appears to be the central mixing console for the entire setup. Despite its small size, the Yamaha boasts 22 channels and a huge range of built-in effects, and on top of that it can also run VST plugins.

Death By Audio Echo Master delay

?

Roland RE-201 Space Echo tape delay

?

Erica Synths Matrix Mixer

Yamaha DM3-D Digital Mixing Console

Modular Setup

In the decade since Thom first used a Make Noise Shared System Plus to process his voice and piano, his eurorack effects setup has expanded quite a bit! The Shared System is designed to be both a sound generator and an effects processor, and since then Thom has created dedicated setups for each of those applications. This setup is the effects processor, with lots of delays, filters, and reverbs, plus some LFOs and CV sources to modulate those effects. The additional Doepfer case that Thom has on stage, might have some of his sound generators, but knowing Thom it could just as easily be even more Make Noise Echophon delays.

Row 1 (left to right):

Make Noise Maths (unused)

Intellijel Planar² joystick

Xaoc Devices Belgrad dual filter (unused)

4ms Dual Looping Delay

4ms SISM: Shifting Inverting Signal Mingler

blank panel (4hp)

Row 2 (left to right):

4ms QCD: Quad Clock Distributor (unused)

Soma Lyra8-FX (unused)

Make Noise Echophon delay

Make Noise Erbe-Verbe reverb

Vermona TAI-4 transformer-isolated I/O

Row 3 (left to right):

Intellijel µMIDI interface

Make Noise Richter Wogglebug random generator

Make Noise QPAS dual filter

Rossum Electro-Music Panharmonium spectral resynthesizer

?

Vermona TAI-4 transformer-isolated I/O

It appears that these are Thom's Rows 1 and 2 are kept in a Doepfer A-100P6 Suitcase 6U case. Rows 3 and 4 are kept in a Doepfer A-100PB Suitcase Base case. The modules on row 4 are impossible to identify at this angle, but Make Noise style knobs are clearly visible on the left-most module.

Pedal Setup

Furman M-8Lx power supply

?

Eventide Pitchfactor

?

Empress Effects Reverb

Rack Setup

We'll double back on this one once we have a better photo...

[poorvikasmartgadgets]

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[eitherlyingorstupid]

G1 Red Alert/Beachcomber, mind-altering substances (magnets), hypnosis (to a degree).

Red Alert relaxed into the cushions, letting his cables go slack. The piece of furniture he was laying on (Spike had called it a chaise lounge) was scaled up to comfortably fit Red Alert. It conformed nicely to the slight curve of his back, letting him recline in a comfortable position. Beachcomber had said the first step was all about getting comfortable.

Apparently, human electronics sometimes had problems with interference from magnets. They had to periodically be “degaussed” with magnets.

Beachcomber had noticed there were many similarities between human tech and Autobot anatomy, and had thus started experimenting with magnets.

The minibot was standing at the end of the lounge, his smaller servos resting on Red Alert's head. “Relax, man. Just empty your mind. Don't think about anything.”

Red tried. His processor was exceptionally quick and nimble, able to make dozens of tactical decisions in a second. It was tough to turn off that part of it, but he managed to tamp his thoughts down.

Beachcomber ran his digits over Red's sensor horns, flooding them with tactile feedback.

"Just feel that," he said softly. "Let your sensors take it all in."

Beachcomber's touches became more focused, more deliberate. They were still soft and gentle, but there was an intentionality to them now. He caressed the sides of Red Alert's sensor horns, drawing slow circles with his digits. Then he traced a line down the center, following the ridges. The sensation was electrifying, sending shivers through Red Alert's processors.

A pulse of ecstacy shot through his valve, the nodes inside flaring with charge. Red Alert bit his lip, trying to keep from making a sound as the sensation built, becoming more and more intense. He arched his back, pressing further into the chaise lounge as the waves of pleasure coursed through him.

It felt like his processor had become liquid mercury, turning into a puddle beneath his sensor horns. Every touch from Beachcomber sent another pulse coursing through him, making him writhe in ecstasy. He could feel his servos tightening, his joints flexing involuntarily, his entire body responding to the sensual onslaught.

He whined softly when Beachcomber took his hands away.

"Hush, Red. I'm just getting the magnets."

Red Alert opened his eyes in time to see Beachcomber approach him with a small metal box. The minibot stretched up to reach him, opening the box and revealing several small, shiny magnets. He placed one on each of Red's sensor horns, gently sliding them into place.

A strut-deep pleasure coursed up through Red's frame as brilliant bands of red, blue, and green swirled in his optics.

His head felt fuzzy, filled with static like one of those human CRT TVs. His usually busy mind quieted, fear and doubt sinking below the waves of sensation. Arousal swelled up from beneath the sea of static, and he whined softly.

“Hush…” Beachcomber rested his fingertips on Red's jaw, rubbing in slow, gentle circles. “I'll take care of you.” He stepped away from the lounge's end, walking down towards Red's feet. He trailed his hand along the larger bot's body as he went, drawing a purr from his motor. Beachcomber's servo slid over Red Alert's modesty panels, and they opened readily.

“Yes, yes… please…” The feather-light touches on his spike made Red's sensornet flare wildly, surging with pleasure. He squirmed, trying to buck his hips upward, into Beachcomber's gentle grasp.

A tide of static seemed to fizz in his frame, racing up and down his circuits as he heard colors burst in his abdomen. Or was he seeing sound? The world melted into one big soup of sensation. His whirring fans and low groans blended with the feel of Beachcomber's hand, the smell of transfluid spilling from his body, and the taste of his own lip as he bit down.

He didn't know how much longer he laid there, entranced by the mesmerizing patterns still rippling before his optics. At some point, he felt the magnets come off, and normal sensation returned to his frame.

“How do you feel?”

“Wonderful. So… relaxed.” Red Alert closed his optics, enjoying the silence in his processor. His glitch wasn't gone, he was sure of that, but it had quieted. It felt as if his entire processor had been reset to a blank state, fresh and ready to run at optimal capacity.

“Good.” Beachcomber caressed Red's cheek, leaning on the lounge to get closer. “Try to note what you feel like going forward.”

Red hummed, already halfway to recharge. “Sounds good.”

[audio-luddite]

Nothing is real or correct.

I am making headway on the ARC amp, but it made me think.

Decades ago a rather pompous man created an audio magazine because only he knew best. Actually come to think of it that has happened several times. I am currently talking about "The Absolute Sound" from just outside of New York City in the 70s.

His concept was two fold. The sound of any component should be judged only in comparison to live performances in Jazz clubs and concert halls or some similar site. It sounds like a good idea but is it even a little realistic? The second fold was to not take advertising from manufacturers as that is a conflict of interest. That fell away after a few years as it takes money to produce a real printed magazine. A friend and I were early subscribers and devoured each new issue. I know better now.

In a symphony concert every seat in the place is slightly different. I have sat in several concert halls and listened to lots of music from different seats. It is not the same at home on the system. I find my home system sounds better than live performance in general. I guess I cannot afford the best seats, but recording engineers tend to place mikes in the best places. Yes that big drum in the back is impressive live, but the rest....

In a Jazz club all the sound you get comes through a PA system of not necessarily high end quality. And be real, you are there for the performance not the audio or should be.

In a Stadium Rock event I need ear plugs as it is always so FN loud.

So comparing a system to live is not truly valid. Whatever you get is a matter of taste and luck

Consider the rather long chain of custody the sound endures from musician to your ears.

Start with the venue. Most recordings are done in purpose built studios with usually extensive sound treatments. Likely totally unlike your listening cave. How the musicians are set up and what equipment they use is very dependent too. How many times have you seen singers and instrumentalists in isolated boxes or behind barriers in a studio so the mike they use does not conflict with the ones around them. How natural is that?

Or how about recording a Piano. You always see several mikes around pianos for Jazz or solo or small group performances. I only have two ears solidly fixed to either side of my head.

Next microphones and mixing consoles all have characteristics and a voice. The type and brand and technology of the microphone all are adjusted and tuned. The sound in the mix is adjusted to get just the right effect. Accuracy, what's that?

One of my favorite audiophile albums is Cowboy Junkies "Trinity Sessions" Nice big room with natural sound, the band set up around a single 3D microphone using the gear they use on tour and basically no mix. WYSIWYG. But if you were there it would have sounded different than the recording as you would not be where the mike was. Still likely as accurate a recording as you can get.

Another is Steely Dan's Aja. Every track is fiddled and massaged and made to sound just so coming out of the studio speaker. Very clean and totally unreal.

A very good album is Diana Krall live from Paris. Listen to the group and "see" where the mix has placed each musician. Then look at the photo of the group on stage. Not the same is it?

Then the fun really starts. Is it analogue tape and which brand of machine Ampex or Studer and which vintage? Is it DSD digital or lowly PCM? Which processor! All those have a voice.

And now jump into your media. How is the product distributed? Vinyl rules! Well that's my thing. Which master remixed the master, what plant pressed it?

Both streaming and hard copy digital are valid and can claim lower noise and distortion usually. But those are just numbers.

Each electronic device has a voice some more subtle than others. The higher you go the clearer and cleaner it gets or should at least.

Thinking of phono pickups there are so many methods and products. It is really impressive how linear and consistent those things are in spite of all that. Many writers go on and on about velocity versus displacement and when that happens I know they are full of it. It turns out that blind tests show that what some call clarity and detail is just a slightly different frequency response. Or even a resonance in a convenient place. A few db here a few db there makes all the difference.

Still I find it remarkable that I can extract as much information off of a flat disk as I do with my modest three figure phono pickup. At the very base of the issue is like choosing a microphone. People have favorites.

In the digital domain you are depending on microchips. A DAC may have exotic this or that attached to them, but all the chips come from one factory or another made by people in bunny suits. Discrete components cannot keep up to digital speeds so the chips rule.

And we have not even got to preamplifiers and amplifiers. Tube verus solid state you have to choose a tribe. Both are best and neither is. Frankly it is the place you choose the type of distortion you like. The flaw with every tube amplifier is the output transformer. They all need them and they have a major hit on the sound. The flaw with every solid state amplifier are the gain devices and the feedback used to tame them. Tubes use feedback too!

Designs that avoid or just minimize feedback just force you to accept an acceptable distortion.

As I am bouncing between the tribes now recall that tube amplifiers are rated at 1% distortion. Transistor amplifiers at about ten times less. (Sometimes tens times ten times ten less.) Much better, but not better. It is the sound of the distortion that makes the difference and the preference. Some people like different stuff.

Oh time for the worst offender, the speakers. The frequency response is pathetic compared the quality of the signal going in. Why fret about an amplifier being plus or minus 0.2 db when the speaker is plus or minus 6 db. And the room has modes and reflections and well unless you are rich enough to build very special room you just have to hope your brain gets fooled.

And that is it really. Your brain wants to be fooled. If you listen to any system long enough you get used to it and adapt. If you only listen to single ended triodes into horn speaker you come to think that is the way things should sound. And you will find a tribe to support you like a cult.

It is a flawed process from beginning to end. But it lets you experience brilliant music and performances when you want to. With care and attention to detail you can solve the puzzle in many different ways.

And no it is never like a live performance, its maybe better.

There is no best.

[hifilounge]

Chord Electronics Summer Promo - Mojo2 and Poly!

Hi Everyone,

Just a quick blog to say that Chord Electronics will be running a Sunshine promotion from June 12th to August 31st 2023 on both Mojo2 and Poly! For only £395 each you can own a multi award winning British designed and made Chord Electronics Mojo2 headphone/Hifi Dac or a Poly streamer that can be used both in the home or on the move - or both for £790!

MOJO 2 Portable DAC/headphone amplifier

The British designed, engineered and built Mojo 2 is the most advanced portable DAC and headphone amplifier in the world. Distinctly different from all other devices, the What Hi-Fi? Product of the Year-winning Mojo 2 uses proprietary British digital audio technology perfected over more than two decades, coupled to a powerful ‘FPGA’ processor. The result is class-leading sound quality both on the move or at home, with the power to effortlessly drive any headphones. For music just as the artist intended, Mojo 2 brings you closer to the music than any other portable.

UNIQUE FPGA TECHNOLOGY

For more than 25 years, Chord Electronics has exclusively used powerful programmable (FPGA) circuits with custom coding to provide the most advanced digital-to-analogue conversion performance in the world. With digital audio technologies perfected over two decades, Mojo 2 contains more digital audio know-how than any other small DAC, resulting in unrivalled sound quality, all backed by peerless technical measurements from the lab.

COMPATIBLE WITH POLY FOR STREAMING

Completely compatible with our wireless streamer/player module Poly, for wireless streaming, control and playback

POLY Music streamer/player for Mojo 2/Mojo

Poly is a revolutionary music streamer, the first of its kind in the world. When partnered with Mojo 2/Mojo, it enables music streamed from a range of wirelessly connected devices to be enjoyed in the best possible sound quality, whether at home or on the go. Poly is also a music player: its unlimited-capacity Micro SD card slot can house huge libraries and liberate storage on smart devices. Full smartphone control using everyday apps enables effortless music playback whether streaming or playing music from the Micro SD.

Poly directly connects to Mojo 2/Mojo’s award-winning audio processing (DAC) technology dramatically improving the audio quality of streamed music.  Its advanced design enables everyday devices, including Android and Apple smartphones/tablets, to become portable ‘hi-fi-quality’ digital audio players: the smartphone becomes the controller, with Poly and Mojo 2/Mojo doing the high-level audio processing.

Poly can also be used with computers and laptops, plus it can access networked audio stored on NAS drives using popular DLNA apps. Playback is via Mojo 2/Mojo’s twin headphone outputs, plus home and in-car audio systems with auxiliary (AUX) inputs can also benefit from the improved sound quality.

Poly connects to Wi-Fi networks, including mobile hotspots when on the go, and remembers multiple networks with its auto-connect functionality. It also benefits from Bluetooth® wireless technology, AirPlay and DLNA connectivity, offering uninterrupted music streaming when transitioning from indoors to outdoors. Poly also features its own hotspot mode, enabling a connection where devices, networks or countries do not facilitate tethering. Its rechargeable LiPo batteries offer up to nine hours of playback from a four-hour charge using the device’s fast-charging USB circuit; both Poly and Mojo 2/Mojo can be charged simultaneously.

Poly is high-resolution audio-compatible, with support for the latest studio-quality files; PCM data up to 768kHz resolution and DSD64 to DSD256 (Quad-DSD). Supported file types include ACC, WAV, FLAC, AIFF, OGG VORBIS, ALAC, WMA and MP3.

Please don’t hesitate to contact HFL if you have any questions or require anything else 👍

https://hifilounge.co.uk/product-category/brands/chord-electronics/mojo-2/

All the best,

Billy

[exrconsultancy]

Get the greatest deal on an Asus X543M laptop running Windows 11 Home (Grey) at Menakart

Introduction

Asus laptops are designed with practicality, high performance, and elegance in mind. Whether you're a business professional looking for an affordable laptop to use at conferences, a student who needs a fast machine to take notes on, an avid gamer with serious graphics-related requirements, or a content creator who needs a powerful machine for editing video files, there's an Asus laptop that fits your needs.

Available at Menakart!

The Asus X543M features a compact, ultrathin, and light design with all-day battery life for dependable mobile computing on the go. The stylish laptop comes in black and white, weighs just over 2 kg, and is only 15.95 mm thick, making it perfect for use at work, at home, or while traveling.

The Asus X543M is the best choice for everyday users looking for a laptop with productivity features and performance. Its compact, ultrathin, and light design features a good screen, premium laptop technology, powerful performance, and innovations. It’s ideal to use at work, at home, or create content.

The X543M is a laptop that’s well-suited for everyday use. It has a large touchpad, so you can quickly get around the screen and use apps with ease. The stylish design also helps it blend in at home or the office.

The X543M features a 15.6-inch display, powered by a 7th-generation Intel Core i7 processor, 12GB DDR4 memory, and 256GB SSD storage. It features dual front-firing speakers for immersive audio, and 802.11ac Wi-Fi speeds up to 867Mbps for seamless streaming of 4K UHD video content or other high-bandwidth applications. The X543M has an HDMI port that supports multiple monitors simultaneously and an ergonomic keyboard that is comfortable to use through long work days.

ASUS X543M, with ASUS SonicMaster and ASUS Audio Wizard, is designed to give you the very best audio experience. The digital amplifier and powerful speakers use a professional-grade codec to ensure precise audio encoding and decoding. They pair perfectly with amplifiers, large speakers, and resonance chambers to cover an extensive frequency range from 20Hz to 20KHz

The X series incorporates an uncompromising balance of hardware, software and audio tuning to produce a level of clarity that has to be heard to be believed. This Windows 10 laptop also features up to NVIDIA® GeForce® MX110 discrete graphics, making it an ideal daily computing platform. It has a touch of elegance thanks to a brushed silver or grey finish that turns heads and makes sure you stand out from the crowd.

ASUS SonicMaster sound technology has been applied to the loudspeakers, so you get crisp, clear audio with deep bass tones. It also has a large touchpad with intuitive gesture support — simple taps and drags allow you to pause and play music without even touching the keyboard.

The ASUS X543 is the laptop that's always prepared for whatever happens next. The compact design, spill-resistant keyboard, and built-in fingerprint sensor give you peace of mind on the go. And with a choice of Intel® processors and NVIDIA® GeForce® MX110 discrete graphics, it handles all your tasks effortlessly — whether you're playing games or working.

The device is held together by a metallic body frame that’s painted in proper gold, while the keyboard deck is covered with plastic. This gives it a strong build and allows it to survive accidental drops, but bends pretty easily despite being quite rigid. Moreover, the palm rest area isn’t as thick as we would like, which can make typing for long periods uncomfortable. By the way, we shouldn’t skip telling you that the keyboard deck is pretty bendable, even to the lightest of touches. Generally, this won’t be a problem but it can be annoying sometimes.

The ASUS X543M also carries a pretty standard design. The X543M houses a 15.6-inch Full HD display which comes with an anti-glare layer, has an IPS panel supporting full HD resolution, and uses LED backlighting technology. It also has support for 100% sRGB colour coverage and can reproduce 12 million colours. For its price range, the display offers excellent viewing angles and great brightness levels too, but washout may occur in some cases if you observe it at certain angles under bright light.

The configuration of ASUS X543 was equipped with a TN panel that has a fast response time and a Full HD resolution. Unfortunately, it lacks comfortable viewing angles, it has a low contrast ratio and modest colour coverage due to its TN panel. Nevertheless, it uses PWM at all levels except for the maximum, which reduces the negative effect of the flickerings produced by this display.

If you're looking for a laptop that is in a good range, Asus X543 has the price that will make it a great bargain. The processor and operating memory installed on this machine offer enough power to run multiple applications simultaneously or do some demanding tasks such as editing photos or videos.There’s also an opening at the bottom part of the notebook that allows you to connect some portable external speakers or a subwoofer through it. It helps deliver an overall better sound experience, even if it's not completely immersive.

ASUS X543M 4GB 256 SSD 15.6 INCH WIN11 HOME is available at the best price in Menakart in grey colour. Buy now at

Asus X543M Laptop, 15.6 Inch, 4GB , 256GB SSD, Windows 11 Home, Grey (menakart.com)

Source: www.menakart.com 

[forastic]

COZYSPACE

Patrick and I made COZYSPACE.

It’s my first year of grad school and I was confused about what I was supposed to be working on, how I was supposed to be working on it...

The digital arts and new media mfa that I’m in is like an understaffed makerspace inside a university.

I had an idea for a much edgier, weirder thing to make for school. I realized after working through it and talking about it that I was making it for the program, for the university, for other people. Undergrad basically ruined me psychologically and what I really needed was to chill out. I came up with an art project about me chilling out: a 4 channel ambient music with 3D shapes bouncing around, and a Super Nintendo controller that can affect them. I started building it in Unity as a proof of concept.

There’s a church in Santa Cruz at the center of a series of roads in concentric circles.

In the center of those circles is a church, and that church is getting torn down (to make space for housing). The owner of the church gave access to the building to a local arts collective until it gets destroyed. That collective, Liminal Space, put a call out to artists for art, installations, and murals, for a one-night party called Northern Lights that doubles as a send-off for the church. Patrick and I heard about it and decided to bring COZYSPACE to life there, first.

I was planning on building a final version in Unreal 5, but learning the software was too much of a learning curve for me in the time constraints, so I continued to build it in Unity.

My first build I used a package of ‘low poly clouds’ as the shapes. Here’s a video of the first build of COZYSPACE.

The shapes weren’t cozy though. I actually really liked the flat surfaces and hard edges, but it didn’t fit the theme. I asked Patrick to design the shapes, so he built them in VR using a sculpting program.

I changed the motion slightly and mapped the controls to a Super Nintendo controller. After adding controls and a ridiculous amount of bloom in the high definition render pipeline, it looked like this.

It was projected onto the ceiling with 2 projectors playing the same visuals, slightly overlapping. The vignette removed the hard edge of the projectors, giving the installation a more organic feeling. The person interacting is able to change the speed of the objects and the rate of rotation. They are also able to add and remove objects, both large and small. When removing large objects there is a particle effect that appears as either slow motion fireworks or a weird fuzzy phasing jittery thing, which just happens when you change some settings in the trails. The lights are also changeable. There are 3 lights at different points in the scene. While holding a button they all rotate around the center of the scene. Another button shifts the hues of all 3 lights.

My desire was to give the user control over both elements of sound and game at the same time, but it turns out getting quadrophonic sound to work in Unity is a nightmare on Windows. Unity defaults to the Windows audio driver, which didn’t work great with the Focusrite Scarlett 8i6 audio interface that I was using. In other software I was able to process the audio through ASIO, and that worked great with the audio interface. There were plugins to get Unity working with ASIO, but they were old and kind of confusing and expensive.

I ended up running the audio through Ableton Live for the first installation, mixing the tracks down to wav files to make it easier on my processor. They were about a 2 minute loop, but they were simple and background-y enough that they didn’t get old being in the space. Here’s a link to the ones that I used for the first installation. A nearby installation had ambient music that was ‘all black keys’ so I retuned my ambient stuff to g flat major. I actually have a much better more seamless method for looping, but I didn’t implement it this time because I ran out of time and kinda forgot about it. This means that the beginning of each loop gave a little bit of unintended punctuation.

Patrick built projector stands so that they would shoot out at angles that worked best with the space and projectors.

We worked together on painting the space, using Patrick’s designs from BEARPAD. He freehanded a couple of bubs on the walls and I added some blobby colors around them. 

We also projected the classic HANG 10 design onto one end of the room, painting the lines where they fell to give it an optical illusion that only looked right from one spot. Otherwise the lines were skewed.

We bought some rugs from my favorite thrift store, Grey Bears, and cut out fun blobby shapes. The remnants of the rugs were nailed down to the edges of the room. We took one of the doors outside and Patrick spray painted on them, experimenting with freehand lines with spray paint for the first time. There was a couch and a chair in one room downstairs that we hauled up to the room. We also sourced a couple of oversized bean bags from a friend up in San Francisco. They’re honestly enormous and almost didn’t fit in my car.

The event went really well! Here’s some pictures and a video compilation.

The projectors provided almost all of the light for the space, so the person controlling the game environment also ended up controlling the lighting in the room as well. I have a list of notes and potential changes from that night that I hope to get to someday. Since I’m considering doing this for my thesis I’ll have a lot to work with.

[charlesmwa]

Why Do You Need a Backup for Your Sound System?

In the audio world, things don’t always go as planned. Power surges, equipment malfunctions, or even user errors can disrupt your setup. A backup solution acts as your safety net, ensuring smooth transitions and uninterrupted sound delivery. Whether you’re a DJ, sound engineer, musician, or event organizer, backups help maintain your professionalism and keep your audience engaged.

Here’s the thing: downtime isn’t just awkward—it can be costly, both in reputation and money. Investing in a backup solution is like getting insurance for your sound system. It’s peace of mind, knowing you can handle the unexpected.

Key Components of a Sound System Backup

A robust backup solution for a professional sound system isn’t just about having extra gear lying around. It’s about building redundancy into every critical aspect of your setup. Here are the main components you should consider:

Power Backup Power failures are one of the most common reasons for system crashes. A simple yet effective solution is an Uninterruptible Power Supply (UPS). A UPS provides temporary power during outages, giving you enough time to either restore power or shut down equipment safely. For larger setups, consider a generator as a secondary power source.

Redundant Audio SourcesImagine your laptop freezing mid-set or your playback device failing. Always have a secondary audio source ready to go. For DJs, this could mean a second laptop, a USB drive, or even a smartphone pre-loaded with essential tracks. For live bands, backup instruments or pre-recorded tracks can save the day.

Spare Cables and ConnectorsYou’d be surprised how often cables are the culprits behind audio issues. Keep an assortment of backup cables, connectors, and adapters in your toolkit. A well-organized cable bag with labeled compartments can save precious time during troubleshooting.

Backup Speakers and Amplifiers If your main speakers or amplifiers fail, having backups on standby ensures the show goes on. Portable active speakers are a great choice as they’re easy to set up and often have built-in amplification.

Digital Mixers and Signal ProcessorsFor professionals using digital mixers or signal processors, redundancy is crucial. Some high-end systems come with failover modes, but if yours doesn’t, having a secondary mixer can be a lifesaver. Ensure that both mixers are pre-configured to minimize downtime.

Wireless System AlternativesIf you’re using wireless microphones or in-ear monitors, interference or signal loss can be a headache. Always have wired alternatives ready. While they may limit mobility, they guarantee reliability when wireless systems falter.

Backup Planning: A Step-by-Step Guide

Creating a backup plan may sound overwhelming, but breaking it into steps makes it manageable. Here’s a simple framework:

Identify Critical Points Start by analyzing your sound system and identifying components that are most likely to fail. This could be your power source, mixer, or even software.

Prioritize Backup Needs Not everything needs a backup. Focus on the most critical parts first, such as power and audio sources. Expand as your budget allows.

Create a Backup Workflow Plan how backups will be implemented during a failure. For example, if your primary mixer fails, does your team know how to switch to the secondary one seamlessly? Practice this workflow to ensure everyone is confident during a real-life situation.

Test Regularly Backups are only useful if they work when needed. Schedule regular testing of your entire setup, including switching between primary and backup systems.

Invest in Quality Equipment Your backups should be just as reliable as your main setup. Professional audio shops are great places to find durable and high-quality equipment that can handle the rigors of live performances and events.

Portable vs. Permanent Backup Solutions

When choosing backup solutions, consider whether you need portability or a permanent setup:

Portable Solutions Ideal for on-the-go professionals, such as DJs or traveling bands. These include portable active speakers, compact mixers, and lightweight UPS units. Portability allows you to adapt to different venues and setups.

Permanent Solutions Perfect for fixed installations, like conference rooms or music studios. These setups may include rack-mounted power conditioners, built-in redundant amplifiers, and pre-wired backup sources for quick access.

Common Mistakes to Avoid

Relying Solely on Software While software-based failovers are convenient, they can be unreliable if the hardware itself crashes. Always have physical backups, like a second laptop or external hard drive.

Skipping Maintenance Regular maintenance is essential to ensure both your primary and backup systems are in good working order. Dust, wear and tear, or outdated firmware can compromise reliability.

Ignoring ScalabilityAs your needs grow, so should your backup plan. What works for a small gig might not suffice for a large-scale event.

Final Thoughts

A professional sound system is only as reliable as its weakest link. By planning and investing in a solid backup solution, you can ensure your performances and events run smoothly, no matter what challenges arise. It’s not just about having spare equipment; it’s about building a system that’s prepared for anything.

When assembling your backup setup, don’t cut corners. There are many reputable shops like VIP PRO AUDIO which can be an invaluable resource for finding equipment that meets your specific needs. The staff can guide you toward gear that’s dependable, durable, and tailored to your setup.

As someone who has already faced the heart-stopping moment of a system failure, I can tell you this: it’s always better to be over-prepared than underprepared. Your audience won’t notice your backups—they’ll only see a flawless performance. And that’s the goal, isn’t it?

[atplblog]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Product Description 3.5mm AUX Jack Easily connects to most devices that have an AUX input, making it compatible with car stereos, home audio systems, and wired headphones. Hands-Free Car Kit Built-in microphone allows for hands-free phone calls while driving, enhancing safety and convenience. Bluetooth Connectivity Enables wireless music streaming, allowing you to play music from your phone, tablet, or other Bluetooth devices without needing a physical connection. Enjoy Wireless Music Streaming: This car Bluetooth adapter easily connects to non-Bluetooth car audio systems, home stereos, speakers, and wired headphones using the 3.5mm AUX adapter. Equipped with a Bluetooth 4.2 chip, it ensures a stable connection, fast transmission, and a wide signal range. Simply pair it with your phone to start enjoying your favorite music wirelessly Intelligent Noise Reduction Technology: Our Bluetooth audio receiver features advanced CVC8.0 Noise Cancellation and Digital Signal Processor (DSP) technologies. These innovations eliminate echoes and block out intrusive background noise, such as wind, traffic, or crowds, ensuring crystal-clear sound quality for your calls. Universal Compatibility: Wide Device Compatibility: Bluetooth receivers typically work with a variety of devices, such as smartphones, tablets, laptops, and more, regardless of the brand or operating system. Adaptability: Convert non-Bluetooth devices like older car stereos, home audio systems, and wired headphones into Bluetooth-enabled devices. Enhanced Audio Experience: Stream Music Wirelessly: Enjoy your favorite playlists, podcasts, or audiobooks wirelessly from your phone or other Bluetooth devices. Maintain Audio Quality: Many high-quality Bluetooth receivers support aptX or other advanced codecs that preserve audio fidelity. Ease of Use: Simple Setup: Most Bluetooth receivers are plug-and-play, requiring minimal setup and no technical expertise. Automatic Pairing: Many receivers automatically reconnect to the last paired device, making it easy to use on a daily basis. Versatility: Multiple Applications: Use the receiver in a variety of settings, including in the car, at home, or on the go with headphones and speakers. Multi-Device Pairing: Some models allow you to pair with multiple devices, switching between them effortlessly.

Portability: Compact Design: These receivers are usually small and lightweight, making them easy to carry and use in multiple locations. On-the-Go Use: Ideal for travel, you can use them in different cars or with different audio systems as needed. Wireless Convenience: Eliminates Cables: You can connect your devices without the hassle of tangled wires, offering a cleaner setup and more freedom of movement. Hands-Free Calling: If used in a car, it allows you to make and receive calls hands-free, improving safety while driving. Make non-Bluetooth devices become wireless. Latest Bluetooth 3. technology ensures a stable connection between your phone and the non-Bluetooth audio player (with 3. 5 mm AUX port) like home/car stereo, wired headphones [ad_2]

[alaminpro33]

Ample Bass Y (MAC) Download

For music producers and bass enthusiasts, Ample Bass A (MAC) delivers a versatile and professional-grade virtual bass guitar that redefines creativity in digital audio production. With its cutting-edge features and seamless compatibility, this software ensures that every note resonates with depth and precision. Get ready to explore unmatched realism and performance with Ample Bass A on your Mac system.

Why Choose Ample Bass A (MAC)?

Ample Bass A (MAC) stands out as a premium solution for producers looking to achieve authentic bass tones with a wide range of articulations and effects. Here are the standout features:

1. Advanced Sampling Technology

A 5.1 GB sampling size ensures rich sound textures, powered by DFD (Direct from Disk) for efficient performance.

Includes 12 articulations: Sustain, Palm Mute, Natural Harmonic, Legato Slide, Hammer On & Pull Off, Slap, Pop, Tap, and more.

Rich fingering noise and random legato length & pitch for organic sound.

2. Seamless System Integration

Compatible with Mac OS 10.9 or newer.

Supports VST2, VST3, AU, AAX, and Standalone host formats.

Requires only 10 GB of hard disk space and Intel i5 or higher for optimal functionality.

3. Revolutionary Technology

Poly Legato and Slide Smoother for natural transitions.

CPC (Customized Parameters Control) allows MIDI CC or Automation for total control.

Alternate tuner with a range down to B0 and versatile Capo Logic for varied performance styles.

4. Built-In AMP System

Features three classic AMP models: Vintage-15, Bass-500, Bass-Pro.

Four cabinet options (1×15, 2×10, 4×10, 8×10) with four mic options per cabinet (U87, C414, MD421, SM57).

Room mic integration for spatial effects.

5. Riffer Functionality

String Roll Editor for complete customization of fingering, articulation, and playing expression.

Dice - Random Riff Generator for creative inspiration with intelligent algorithms.

Multiple MIDI tools including velocity, legato adjustments, and more.

System Requirements

To unleash the full potential of Ample Bass A, ensure your setup meets the following requirements:

Mac OS: 10.9 or newer.

Processor: Intel i5 or higher.

Disk Space: 10 GB.

Download Ample Bass A (MAC) Now

Don’t miss out on the chance to elevate your music production with the unparalleled capabilities of Ample Bass A. Whether you’re creating soulful grooves or high-energy tracks, this software is your ultimate bass companion.

Download Now

[news365timesindia]

[ad_1] Sony India today announced the launch of its latest addition to the innovative LinkBuds series, the WF-L910 (LinkBuds Open) wireless earbuds. These earbuds bring together cutting-edge technology and ergonomic design to offer an immersive yet natural audio experience, perfect for users who value comfort, connectivity, and superior sound quality. The WF-L910 (LinkBuds Open) earbuds are designed to seamlessly integrate high-quality audio with everyday life, providing users with a one-of-a-kind listening experience while staying connected to their surroundings. With the introduction of a unique open ring design and smart features, these wireless earbuds redefine convenience and audio clarity.  New WF-L910 (LinkBuds Open) wireless earbuds from Sony India   Soft, ergonomic design for all-day comfort The WF-L910 (LinkBuds Open) wireless earbuds feature a soft, ergonomic shape designed for all-day comfort. The lightweight and compact design, paired with newly developed Air Fitting Supporters, ensures a secure and stable fit, accommodating a variety of ear sizes. Plus, LinkBuds Open are built with an evolved geometric form that fits comfortably in the ear. Also, it supports IPX4 water resistant rating.   11mm ring-shaped driver unit for rich, high-quality sound The WF-L910 (LinkBuds Open) earbuds are equipped with an innovative 11mm ring-shaped driver unit, delivering exceptional high-quality audio. This unique 11 mm ring shaped driver had to overcome significant design challenges to deliver such high-quality sound. A high-compliance diaphragm and powerful neodymium magnet were specially selected to reproduce clear mid-high frequency sounds.   Open-ring design keeps you aware of your surroundings The WF-L910 (LinkBuds Open) lets you experience a new kind of earbud with a newly developed open-ring design that keep you connected to your surroundings. This model comes in a range of colours to suit any style with different colour cases and supporters to tailor your look. The open ring driver at the center of the diaphragm maintains audio transparency, ensuring you can hear external sounds such as conversations or important alerts. This design is perfect for those who need to remain aware of their environment while listening to music or taking calls, offering a seamless blend of entertainment and real-world connectivity.   Balanced sound with DSEE capability powered by the advanced Integrated Processor V2 WF-L910 (LinkBuds Open) offers well-balanced, high-quality audio with clear mid to high ranges, powered by Sony’s Integrated Processor V2 and a specially designed 11mm ring-shaped driver unit. A high-compliance diaphragm and powerful neodymium magnet were specifically selected to reproduce clear mid and high frequency sound. LinkBuds Open also support DSEE™ (Digital Sound Enhancement Engine) and features precise voice pick up technology for ultra-clear, noise-free calls.   Adaptive Volume Control adjusts based on your environment The WF-L910 (LinkBuds Open) features an Adaptive Volume Control, a smart feature that automatically optimises the volume based on where you are. You can enjoy lower volumes in quiet places and higher volumes in nosier places. Adaptive Volume Control is an intelligent feature that automatically adjusts the volume of your earbuds based on your surroundings. Whether you're in a quiet room or a bustling outdoor environment, the technology seamlessly optimizes the audio levels to ensure the perfect listening experience. In quieter spaces, the volume lowers for more comfortable listening, while in noisier environments, it increases to ensure clarity. This smart function allows users to enjoy uninterrupted audio without the need for manual volume adjustments.   Advanced audio processing ensures ultra-clear, noise-free calls Advanced audio signal processing utilizes cutting-edge algorithms to deliver ultra-clear, noise-free calls by minimizing background noise and enhancing voice clarity.

This technology, often powered by AI and machine learning, analyzes and suppresses ambient sounds in real-time, ensuring that only the user's voice is captured clearly. By optimizing microphone input and using precise voice pickup technology, advanced audio processing creates a seamless communication experience, making conversations crystal clear, even in noisy or busy environments.   Up to 22-hour battery life with quick 3-minute fast charging The WF-L910 (LinkBuds Open) offers an impressive battery life of up to 22 hours, ensuring all-day entertainment without interruption. A quick charge feature provides added convenience—just a 3-minute charge delivers up to 60 minutes of playback, making it perfect for users on the go. This extended battery life, combined with rapid charging, ensures that users can enjoy high-quality audio, calls, and entertainment throughout the day without worrying about frequent recharging.   Smart features for seamless access to entertainment The WF-L910 (LinkBuds Open) are packed with intuitive features and controls such as Auto Switch, Auto Play, Quick Access, voice control, Wide Area Tap and Multipoint Connection.   Compatibility with the new Sound Connect app LinkBuds Open is compatible with the renewed Sound Connect app. By using this app, you can personalise the earbuds by adjusting various settings such as the equalizer. The simple interface lets you dial in your ideal sound and shortcut settings and can even keep track of your recent listening history in line with World Health Organisation (WHO) healthy listening habits. When activated, Background Music Effect uses DSP to make audio sound as though it’s playing in your space, rather than feeling like it’s localised in your head – perfect for when you’re doing other tasks or want something a little less intense.   Pricing and Availability The Sony WF-L910 (LinkBuds Open) is available across all Sony Centers, Sony authorized dealers, ecommerce websites (Amazon and Flipkart) and major electronic stores across India.     !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '311356416665414'); fbq('track', 'PageView'); [ad_2] Source link

[news365times]

[ad_1] Sony India today announced the launch of its latest addition to the innovative LinkBuds series, the WF-L910 (LinkBuds Open) wireless earbuds. These earbuds bring together cutting-edge technology and ergonomic design to offer an immersive yet natural audio experience, perfect for users who value comfort, connectivity, and superior sound quality. The WF-L910 (LinkBuds Open) earbuds are designed to seamlessly integrate high-quality audio with everyday life, providing users with a one-of-a-kind listening experience while staying connected to their surroundings. With the introduction of a unique open ring design and smart features, these wireless earbuds redefine convenience and audio clarity.  New WF-L910 (LinkBuds Open) wireless earbuds from Sony India   Soft, ergonomic design for all-day comfort The WF-L910 (LinkBuds Open) wireless earbuds feature a soft, ergonomic shape designed for all-day comfort. The lightweight and compact design, paired with newly developed Air Fitting Supporters, ensures a secure and stable fit, accommodating a variety of ear sizes. Plus, LinkBuds Open are built with an evolved geometric form that fits comfortably in the ear. Also, it supports IPX4 water resistant rating.   11mm ring-shaped driver unit for rich, high-quality sound The WF-L910 (LinkBuds Open) earbuds are equipped with an innovative 11mm ring-shaped driver unit, delivering exceptional high-quality audio. This unique 11 mm ring shaped driver had to overcome significant design challenges to deliver such high-quality sound. A high-compliance diaphragm and powerful neodymium magnet were specially selected to reproduce clear mid-high frequency sounds.   Open-ring design keeps you aware of your surroundings The WF-L910 (LinkBuds Open) lets you experience a new kind of earbud with a newly developed open-ring design that keep you connected to your surroundings. This model comes in a range of colours to suit any style with different colour cases and supporters to tailor your look. The open ring driver at the center of the diaphragm maintains audio transparency, ensuring you can hear external sounds such as conversations or important alerts. This design is perfect for those who need to remain aware of their environment while listening to music or taking calls, offering a seamless blend of entertainment and real-world connectivity.   Balanced sound with DSEE capability powered by the advanced Integrated Processor V2 WF-L910 (LinkBuds Open) offers well-balanced, high-quality audio with clear mid to high ranges, powered by Sony’s Integrated Processor V2 and a specially designed 11mm ring-shaped driver unit. A high-compliance diaphragm and powerful neodymium magnet were specifically selected to reproduce clear mid and high frequency sound. LinkBuds Open also support DSEE™ (Digital Sound Enhancement Engine) and features precise voice pick up technology for ultra-clear, noise-free calls.   Adaptive Volume Control adjusts based on your environment The WF-L910 (LinkBuds Open) features an Adaptive Volume Control, a smart feature that automatically optimises the volume based on where you are. You can enjoy lower volumes in quiet places and higher volumes in nosier places. Adaptive Volume Control is an intelligent feature that automatically adjusts the volume of your earbuds based on your surroundings. Whether you're in a quiet room or a bustling outdoor environment, the technology seamlessly optimizes the audio levels to ensure the perfect listening experience. In quieter spaces, the volume lowers for more comfortable listening, while in noisier environments, it increases to ensure clarity. This smart function allows users to enjoy uninterrupted audio without the need for manual volume adjustments.   Advanced audio processing ensures ultra-clear, noise-free calls Advanced audio signal processing utilizes cutting-edge algorithms to deliver ultra-clear, noise-free calls by minimizing background noise and enhancing voice clarity.

This technology, often powered by AI and machine learning, analyzes and suppresses ambient sounds in real-time, ensuring that only the user's voice is captured clearly. By optimizing microphone input and using precise voice pickup technology, advanced audio processing creates a seamless communication experience, making conversations crystal clear, even in noisy or busy environments.   Up to 22-hour battery life with quick 3-minute fast charging The WF-L910 (LinkBuds Open) offers an impressive battery life of up to 22 hours, ensuring all-day entertainment without interruption. A quick charge feature provides added convenience—just a 3-minute charge delivers up to 60 minutes of playback, making it perfect for users on the go. This extended battery life, combined with rapid charging, ensures that users can enjoy high-quality audio, calls, and entertainment throughout the day without worrying about frequent recharging.   Smart features for seamless access to entertainment The WF-L910 (LinkBuds Open) are packed with intuitive features and controls such as Auto Switch, Auto Play, Quick Access, voice control, Wide Area Tap and Multipoint Connection.   Compatibility with the new Sound Connect app LinkBuds Open is compatible with the renewed Sound Connect app. By using this app, you can personalise the earbuds by adjusting various settings such as the equalizer. The simple interface lets you dial in your ideal sound and shortcut settings and can even keep track of your recent listening history in line with World Health Organisation (WHO) healthy listening habits. When activated, Background Music Effect uses DSP to make audio sound as though it’s playing in your space, rather than feeling like it’s localised in your head – perfect for when you’re doing other tasks or want something a little less intense.   Pricing and Availability The Sony WF-L910 (LinkBuds Open) is available across all Sony Centers, Sony authorized dealers, ecommerce websites (Amazon and Flipkart) and major electronic stores across India.     !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '311356416665414'); fbq('track', 'PageView'); [ad_2] Source link

[aaryan-mwa-blogs]

How to Maximize Your Budget When Shopping for DJ Gear

Buying DJ gear can be an exciting but overwhelming experience, especially when you’re trying to stay within a budget. The right equipment can transform your DJing game, but it’s important to make smart decisions that maximize your spending without compromising on quality. Whether you’re just starting or upgrading your setup, here’s how to make the most of your budget when shopping for DJ gear.

1. Know What You Need, Not Just What You Want

When you step into a store or start browsing online, it’s easy to get distracted by all the flashy features and gear that may not be essential for your style. The first step to maximizing your budget is figuring out exactly what you need based on your current and future gigs.

Ask yourself:

How large is the venue I’m performing at? If you mostly play at small venues, you don’t need top-of-the-line sound systems that are built for massive stages.

What genre do I DJ? Different genres may require specific setups, especially when it comes to controllers or sound processors.

What am I comfortable with? Stick to gear that suits your experience level. If you’re just starting, there’s no need to go for pro-grade mixers and controllers unless you’re planning to learn on them.

2. Prioritize Core Equipment

There are some DJ gear items that are absolutely essential for any DJ setup, and others that are more of a luxury. Focus your spending on the equipment that will have the most direct impact on your performance. These essentials typically include:

DJ Controller: If you’re using digital DJing software, a solid controller will serve as your command center. Look for controllers that offer all the basic features you need without unnecessary extras.

Headphones: Quality headphones are crucial for cueing and monitoring your tracks before playing them to the audience.

Speakers: Make sure your speakers are suited to your performance space. Avoid buying huge speakers for small venues, as that could be an unnecessary expense.

Mixer: While some controllers come with built-in mixers, investing in a standalone mixer may provide more control and flexibility during your sets.

3. Consider Bundles and Packages

Buying individual pieces of equipment can be costly. Many audio shops offer bundles or packages that include all the essentials for a DJ setup at a discounted price. For example, you can find packages that include a controller, headphones, and speakers, all at a price lower than purchasing each item separately. Look for reputable stores that offer these deals, and don’t hesitate to ask for package discounts.

4. Buy Used Gear (Carefully)

If you're on a tight budget, buying used equipment can save you a significant amount of money. However, this option requires caution. Here are some tips for buying used DJ gear:

Check the condition: Ask the seller about the item’s history and make sure to test the gear if possible.

Know the model: Do research to make sure you're buying a reliable model. Avoid buying outdated or discontinued gear unless you know it’s in good working condition.

Price comparison: Compare the used price to a new version of the same product. If the difference isn’t much, it might be worth buying new for the peace of mind.

5. Look for Sales and Discounts

Sales events like Black Friday, Cyber Monday, and end-of-season clearance can offer huge savings on DJ gear. Many stores also have discounts for first-time customers or loyalty rewards for frequent shoppers. It’s also worth signing up for newsletters from DJ gear shops or checking out online marketplaces like Amazon or eBay for deals on new and used gear.

6. Don’t Overpay for Features You Don’t Need

While it’s tempting to buy the latest, most advanced equipment with all the bells and whistles, it’s important to only pay for features that you’ll actually use. For example:

Extra effects: If you’re not going to use all the built-in effects on a mixer or controller, why pay for them?

Connectivity: Ensure that the equipment’s connectivity options (USB, Bluetooth, etc.) are compatible with your existing gear. Don’t buy a controller with features that you don’t need just because it’s on sale.

7. Invest in Quality Over Quantity

Sometimes spending a little more on one high-quality piece of gear can be better than buying several cheaper, lower-quality items. While it’s tempting to buy a whole bunch of gear at once, investing in a top-tier controller, speakers, or mixer can ensure longevity, better performance, and overall satisfaction in the long run. A higher-quality piece of equipment will often outperform multiple cheaper items, saving you money in the long term because you’ll likely need to replace the low-end gear sooner.

8. Plan for Future Expansion

When you’re buying DJ gear, it’s easy to think only about the present. But it’s important to consider how your setup will grow with your career. For instance, if you plan on performing at larger venues in the future, you might want to invest in a sound system that’s scalable, so you won’t need to upgrade as soon as your gigs get bigger.

Additionally, consider buying equipment that works well with other gear you might add later. Modular systems or devices that are compatible with multiple types of setups can help you save on future purchases.

Conclusion

Maximizing your DJ gear budget doesn’t mean cutting corners or settling for low-quality equipment. By focusing on the essentials, carefully choosing where to spend and saving in the right areas, you can create an awesome DJ setup without breaking the bank. Remember, it’s about making smart decisions—whether that’s through bundles, used gear, or finding discounts—and investing in pieces that help you perform at your best.

To get started, visit some professional audio stores like VIP PRO AUDIO, where experts can guide you in making the right decisions that fit both your style and your budget. With the right gear, you’ll be ready to rock any gig, big or small, without sacrificing quality or overspending.