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wiackcom · 1 year ago

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The legendary Nissan GT-R has returned for 2024 with styling and hardware improvements. Nissan revealed the updated sports coupe at the recent Tokyo Auto Salon. Now in its 16th year, Godzilla continues its reputation for incredible performance. The 2024 model balances revised aerodynamics and chassis components with heritage design cues. Highlights of the 2024 Nissan GT-R Nissan has carefully updated the GT-R formula rather than completely redesigning the iconic supercar. The 2024 edition brings thoughtful enhancements. Key changes include: Updated front and rear fascias improve cooling and reduce drag Return of the T-Spec model with heritage paint options 10% larger rear wing on Nismo model aids stability at speed Front limited-slip differential added to Nismo for first time Broader lineup gives more choices yet retains core DNA Under the skin, the renowned hand-built 3.8-liter twin-turbo V6 carries over. It still produces 565 hp in base trim and 600 hp in Nismo models. The ATTESA AWD system continues distributing torque masterfully. While not reinvented, the latest GT-R steps forward enough to raise the bar while respecting past generations. New Exterior Styling Balances Elegance and Aggression Subtle refinement best describes the 2024 GT-R's exterior evolutions. The overall shape stays instantly recognizable as Godzilla. But a closer look reveals smoother, more streamlined details. Up front, the bumper and grille openings are redesigned. The grille mesh pattern is now thinner and more concentrated for optimizing airflow. Active grille shutters better manage cooling, reducing drag. New side sills help guide underbody air more efficiently. At the rear, the bumper cutouts are reshaped and diffuser extended to enhance stability. Larger quad exhaust tips maintain the GT-R's commanding presence. Despite larger wheels on certain trims, Nissan achieved a 0.26 drag coefficient - matching the previous GT-R. Increased downforce comes without aerodynamic penalty. From its signature boomerang headlights to wide stance, the 2024 edition adds polish but retains the carved-from-a-block look that defines Godzilla. T-Spec Returns with Heritage Details Among the biggest 2024 GT-R updates is the return of the T-Spec model. It occupies a middle ground between the Premium and hardcore Nismo variants. The T-Spec trim pays homage to past GT-R generations through special touches: Exclusive paint colors - Millenium Jade (R34 Nür) & Midnight Purple (R34 V-Spec) Nismo upgrades - Wide fenders, carbon brakes, performance parts Gold wheels - 20" RAYS forged alloys now in gold Green interior accents - Unique dark green upholstery stitching With a torque-vectoring AWD system, adaptive damping, and 565 hp feeding those rear wheels, the T-Spec promises serious performance. By honoring GT-R heritage through its design, the 2024 T-Spec occupies a compelling niche in the lineup. It amps up nostalgia without going full retro. Track-Tuned Nismo Pushes the Performance Envelope Situating above the T-Spec as the GT-R flagship is the even more capable Nismo edition. With 600 hp and exclusive chassis upgrades, it's made for dominating laps. New for 2024 is a 10% larger rear wing, now mounted on swan-neck supports. This addition increases high-speed stability and cornering power without hitting braking. The Nismo also benefits from redesigned front and rear aerodynamic elements to maximize downforce. Even the hood, side sills, and rear diffuser are optimized for reducing lift. Performance advances also include a new front limited-slip differential - a first for the GT-R Nismo. Combined with the ATTESA AWD system, it puts all that V6 grunt to the ground forcefully yet smoothly. With its purposeful enhancements and motorsports spirit, the 2024 Nismo remains the choice for those seeking the ultimate track-ready GT-R. Improvements Build on Prove

n Mechanical Formula Nissan knows not to mess with success when it comes to the GT-R powertrain. The renowned VR38DETT 3.8-liter twin turbo V6 continues, hand-assembled by Takumi master technicians. In base form, it churns out a prodigious 565 hp and 467 lb-ft of torque. Motivating the Nismo brings the output to 600 hp and 487 lb-ft. Power delivery remains effortlessly smooth. The ATTESA E-TS AWD system vectors torque between front and rear axles for tenacious acceleration. Nissan's engineers have continued refining this technology over years. Shifting duties are handled by the rear-mounted 6-speed dual-clutch automated manual transmission. Its rapid-fire gear changes are optimized for track use. By sticking with the established mechanical formula, Nissan maintains the GT-R's reputation for useable and reliable supercar performance. Driving Experience: Decades of Refinement The GT-R's capabilities have always stemmed from total integration of components into one responsive, controllable machine. The 2024 model upholds this tradition in impressive style. Immediately noticeable is the suspension's superior compliance over bumps and ruts compared to past generations. The GT-R maintains its sharp reflexes without punishing occupants on the street. Adaptive dampers artfully blend control and comfort. Thanks to relentless engineering, the AWD system and differentials work in seamless concert to rocket the GT-R forward on corner exit with minimal drama. This progressive power delivery builds driver confidence. Predictable turn-in, responsive steering, and prodigious brakes allow tapping into the performance on public roads or track. It reveals a dynamic acuity belying the GT-R's grand touring roots. Climbing behind the wheel reveals why the GT-R has earned its reputation through diligent evolution. The connection between human and machine is profound. Standout Features of the 2024 Nissan GT-R V6 power - Custom twin-turbo 3.8L still blows away exotics costing far more All-weather handling - ATTESA AWD masters slick surfaces and delivers incredible drive out of corners Everyday drivability - Comfort and control refinements make GT-R pleasant to live with Nürburgring pedigree - Extensive development at the 'Ring has honed its dynamic abilities Supercar slayer - Embarrasses mid-engine exotics in acceleration and lap times Nismo track focus - Upgraded aero, chassis, and powertrain technologies make it a beast on circuits T-Spec heritage - Exclusive retro colors and styling touches provide links to the past ** Premium interior** - Despite the performance, cabin is feature-rich and comfortably appointed Even after enhancements across generations, Godzilla stays true to its core character - dominating speed fused with everyday drivability. How Does the 2024 GT-R Compare to Mainstream Rivals? The Nissan GT-R occupies a performance sphere dominated by European automakers like Porsche, Audi, and Mercedes-AMG. So how does Godzilla stack up? Against the Porsche 911 Turbo, the GT-R wins on power and straight-line speed while the 911 claims a chassis balance and interior quality edge. The Porsche carries far higher prestige, but the Nissan fights above its weight class. The Audi R8 provides a mid-engine supercar experience, yet can't match the stunning performance per dollar value of the GT-R. Nissan's tuning expertise makes it competitive with more exotic machinery. Facing the AMG GT R, the GT-R strongly beats it for acceleration and grip. But the Mercedes shows greater refinement. The Nissan remains far rarer. For its unique heritage in the high-performance landscape, the 2024 Nissan GT-R holds its own against prestigious European rivals. FAQs Should I wait for a next-generation GT-R instead? Nissan keeps improving the current R35 generation while buyers wait for a full redesign. The 2024 model makes the GT-R compelling en

ough to buy now. Does the interior still feel dated? Yes, the cabin lacks the rich materials and luxury of premium European brands. But controls are driver-focused and it offers the essential tech features. Is the GT-R still fun and engaging with all its tech? Absolutely. The engineering provides accessible performance, not isolation. It remains intimate and exciting to drive hard. How easy is it to live with as a daily driver? Recent refinements like a quieter cabin and smoother ride make the GT-R pleasant for everyday use. Just watch for its wide footprint. Does the styling look too similar year-to-year? The GT-R follows an "evolution not revolution" ethos - updating gradually rather than reinventing. Fans appreciate consistency. #Wiack #Car #CarInsurance #CarRental #CarPrice #AutoLoans

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sportyconnect · 1 year ago

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ukrmedgarant4-blog · 4 years ago

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Little by little standards to Select a Microcurrent Device

Presentation

This conservative article is proposed to help experts who need to pull in with the demonstration of microcurrent treatment, or microcurrent facial redoing, in swimming through the constantly perplexing data experienced while isolating this subject.

By its affirmed nature, electro-treatment will everything considered be hard to appreciate for commonly prospering and smooth theme trained professionals. Few have planning in electronic hypothesis and cutoff centers, material science or the Universal Laws of energy that clinical achievement or bewilderment depends on. Most creators of clinical signal contraptions offer incredibly restricted planning and bearing, contemplating wound and everything pondered lacking strategies of use.

I'm certain that the theories for individuals who make electro-treatment reference booklets is to keep the data as boss as could be viewed as ordinary, by and by far by far most of the norms given contain setting tests or cushion anodes obviously over locally anguishing zones and vitalizing these with streams that are customarily incredibly solid for ideal reaction. Considering facial recuperation arranging projects, considering everything, all that I have seen join kept strategies focused to facial muscles and tissues as they say.

While these are fundamental intends to appreciate, this isn't what will really give the most impeccable and enduring outcomes.

Microcurrent contraptions are those that yield obliging streams empowered in the millionth of an amp, or microcurrent, range. The achievement and breadth of microcurrent electro-drugs depend on an establishment set apart by unavoidable patient reactions, detached and standard milliamp gadgets. This is a fast result of the way that a beast piece of the human body's unavoidable electrical movement happens in the pico (trillionths) and nano (billionths) of an amp range, and for the most part appears at the microamp range. Change of these particularly certified fields is better refined with streams that are basically somewhat higher than the customary streams.

Quality microcurrent gadgets are additionally adored due over the more cautious and focused in on treatment approaches they are significant for continuing rather than the old "slap on the cushions, set the clock and leave the room" style of standard triggers.

MICROAMP AND MILLIAMP CURRENTS

The ridiculous focus milliamp streams yield by most electro-treatment contraptions are really an 'over the top excess' reaction in most clinical cases, yet some sensational conditions introducing muscle fit, net edema and true torment do require this over the top abundance reaction for clinical guide purposes. In any case, when milliamps are gigantic, it is reasonable to quickly follow without barely propelling the humblest undertaking the body down from the reshapings activated by the pulled in energy current intercession. In like manner, a contraption that offers both milli and microcurrents through near yield channels, being developed, will be most clinically strong for bewildering trouble and injury conditions. This would permit you to give a patient brief milliamp treatment followed by a more broadened season of microcurrents, ideally without you returning to the treatment space very far.

MICROCURRENT AND COLOR LIGHT THERAPY

Perhaps the most animating and striking developments in microcurrent movement genuinely is the blend of microcurrent with composed covering light treatment. Microcurrents are consistently applied in the low tedious show up at that satisfactorily targets help with weight and revising of the muscles, scarf, nerves and ligaments of the ensured body. Concealing light joins the best redundant institutions that are OK for loosened up length application to the body. Frequencies of the undeniable light reach (going from violet at 400 nm up to red at 700 nm) have been appeared to begin cell recuperating reactions, improve organ and glandular prospering and help with fixing of red hot uneven characters. Covering light treatment is also seen for its staggering inspiration in pushing redoing and not well arranged to making benefits, with different advantages over microcurrent alone.

While picking a covering treatment contraption, it is ideal to not be two or three tones (frequencies), like the case with lasers and most keen LED gadgets. We have found in our appraisal that both rich and clinical medications phenomenally advantage through the customization of covering to the necessities of individual patients and skin types. Basically having a Red laser, for instance several patients and bother others. It is unmistakably better contrasted with have Red, Blue, Turquoise, Green, Magenta and other fixing tones so the veritable plentiful necessities of every customer are totally tended to!

It is well phenomenal to buy a treatment contraption that offers concurrent microcurrent and disguising light treatment (Microlight treatment), as you will respect by and large more key adaptability and more huge customer results.

Test AND PAD ELECTRODES, MULTIPLE OUTPUT CHANNELS

There are two head mediums to apply microcurrents to the body - through test anodes and cushion cathodes. Test anodes have little contact places, as are ideal for impacting of trigger and acu-focuses. Quality contraptions furthermore award region of acu-focuses through a test structure utilizing an ohmmeter input framework. We have discovered ceaseless the most major outcomes with microcurrent drugs to be with express point starting. It is far better than buy a microcurrent contraption that has a particularly made twofold test structure that licenses two focuses to be secured simultaneously, and contemplates accurate looking and zone of low-block focuses. Mission for a gadget with both a visual and conspicuous evaluation framework. The visual meter is most helpful when you can explore the particular scale from 0 - 100, rather than essentially a sound or line of LED markers.

All around body treatment structure, microcurrent treatment is reliably profitably applied to various body spaces all the while. For instance, take the event of a patient with back torment, neck annihilation and right knee torment after sports wounds or an auto collision. It is ideal to have the choice to apply 4-cushion treatment to the back, extra cushions on the knees other than have the decision to utilize test terminals to help the neck torment, all simultaneously. Better contraptions have four yield channels than consider this versatility of treatment.

Possibly the essential styles of cushion arrangements is called interferential electro-treatment.

This is a four-cushion set-up, with each set of two cushions set to really various frequencies. Interferential streams have the possible addition of additional sweeping and more fundamental way into the objective tissues of the body. It takes two yield channels of your gadget to make one interferential arrangement. A four-channel unit will consider two of these four-cushion set-ups, which is some of the time called upon in clinical practice. Some extra application models would be treatment of the two knees, edges neuropathy, fibromyalgia or synchronous treatment of in any occasion two patients. Mission for a contraption with ensured interferential limits, offering both milliamp and microcurrent yields.

Farthest point CONTROL

Possibly the most real weights to different microcurrent triggers is nonappearance of control over current cutoff. The Law of Polarity is an escalated standard of science and real science that requires mind blowing energy sign to the human body to be accord with its regular polarization. In my showing occupation, I have discovered that the in by a wide edge by far most of times experts have point by control clinical disarrays or aggravations toward me, genuine polarization of treatment anodes was not being applied. Once more, endeavoring to build up the utilization of electro-treatment, different creators have really offered fixed biphasic (exchanging farthest point) streams. Such streams are fitting for neighborhood scattering of excitedly blocked locale, yet are not rational for issues of the cutoff communities, needle treatment meridian treatment and changing, neuropathies and cerebral obliterations. In these cases, fittingly built up treatment streams are vital. I don't propose the getting of any microcurrent contraption that needs adaptable farthest point.

Harmony AND ACCOMMODATION

One of the segments clinicians should oversee in applying such an enrollment to the body is comfort. This is the inclination of the body to rapidly change, and subsequently shut out, any abundance information. This is the thing that occurs in an unruly burger joint - you quickly stop to be as mindful of the foundation disturbance. On the off chance that some irregular and new solid appears at your ears, in any case, you will again center, as it is a takeoff from the robot you have obliged to. This new solid that stands sufficiently separated to be seen is such a harmony, or disturbing impact of accentuation Укрмед.

This standard is essential to comprehend in the show of electro-sedates other than. Most microcurrent contraptions essentially offer dull streams. Right when a rehash and power is picked, that will proceed for the length of the treatment. As clarified, the body is likely going to oblige, as such passing on an epic piece of the treatment lacking. I propose buying a gadget that a couple of kinds of current changes that puzzles comfort. There a couple of enormous change designs, some better for outstanding conditions, and some better for delicate, reliable patients. A contraption that picks authentic changes along these lines will make headway.

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eintsein · 5 years ago

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tuesday, 3 sept

8:30 - 9:00 woke up, showered, changed

9:00 - 9:30 breakfast while reading Agorithms to Live By - The Computer Science of Human Decisions by Brian Christian and Tom Griffiths

9:30 took the bus to central campus. I live on west campus and there’s a slope that’s like 150 - 200 ft in elevation and I am not climbing that every day lmao

10:10 - 11:15 first class - INFO 2450: Communication and Technology. Actually still waitlisted for this class but I really hope I do get in

11:40 - 12:55 second class - GERST 1170: Marx, Nietzsche, Freud. got a pretty cool assignment to blindly analyze Reclining Woman on a Leopard Skin (link)

1:00 - 1:30 had lunch at west campus—read stuff on tumblr abt steven universe the movie

1:30 - 2:00 went to check out this hotel but it turns out it’s out of business

2:00 - 4:00 revised INFO 2450 by combining lecture notes, the lecture slides, and my own notes from the book we’re reading. then started watching the online lecture videos for my intro italian class (ITAL 1201)

4:00 - 5:00 took a break and planned out my semester, i.e. marking down exam dates, deadlines, etc. also watched the great british bake off collection 4.

5:00 - 5:45 watched more italian lecture videos and tried to read the textbook and honestly i cannot remember any of this gendered stuff

5:45 - 8:00 had dinner with a friend and took a walk from west campus to north campus and back to west campus, which is a ~45 minute walk in total

8:00 - 10:00 revised and refined the art essay and then drafted up this post

10:00 - 11:00 practiced bass—found out my dorm has a music room that’s soundproof and has a piano and an amp !! practiced in my room today tho bc it was late

#studyblr #studyspo #studying #study hard #personal #day log #mine #eintsein

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mandyraine · 2 days ago

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Does your novel need a prologue?

Do you ever skip over the prologue when you read a novel?

A prologue is an introductory section of a literary work, typically placed before the main story begins. When deciding if your novel needs a prologue, it’s important to consider its purpose in the story. A prologue can effectively set the stage, offering readers essential background information or a glimpse into events that shape the main narrative. For genres like fantasy or historical fiction,…

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#Creative writing #Edit #Genre #Information Dump #Narrative Writing #Novel Writing #Novel Writing Process #Prologue #Pros and Cons #Reader Expectations #Refine #Revise #Revise & Refine #Step Four of the Novel Writing Process: Revise & Refine #Steps of the Novel Writing Process

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druware · 5 years ago

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This Shouldn't Be a Problem

... Often turns out to be. When a developer writes code long enough, they will run into a development pattern that will lead to the dreaded unintended consequences, and the many lost hours to tracking down the how and why. Unfortunately, this also often leads to the other programmer problem, the complicated problems have complicated solutions, when in fact, the problem was simple, but the lost hours made it feel complicated, and the solution is likewise far simpler than it seemed.

I trapped myself in one of these this week, and I figure I will share in the hopes that someone else can learn from my series of mistakes that led me to a frustrating weekend and a couple of missed bike rides, because I got mired in the hunt for the problem.

There is a program that I maintain for customers that is essentially the heart of their businesses. When it hiccups, they get frustrated, and rightly so. Making changes in that code is usually not a big deal, as the codebase really is not overly complex on the surface. However, there are some things under the surface that are a bit more hairy. Many years ago, it moved from a model where most of the code existed within the user interface to a more modern model view controller design ( this is code that has been evolving since the early 90's and has its roots in 16-bit Windows ).

The business object layer is where most of the brains are, and the user experience is largely a thin veneer over them. I am the core maintainer of the business object layer, and because of the history with them, I am also the one that knows where most of the skeletons are within that code. So when things go wrong, things escalate back to me when others cannot find the problem reasonably quickly.

This was one of those problems.

The Problem

The original support ticket on this issue is now months old. It started like so many do: "The program randomly encounters an error and stops running. The error message was that a list index is out of bounds". Unfortunately, this information is not enough to create a reproduceable bug, so difficult to trace. Slowly, over the ensuing weeks, a few more reports come in. There is definitely a problem, but not much pattern to find it. So the hunt begins. What changed in the last release prior to the first reports? Changelog doesn't show anything that should be of significance. Most everything is enhancements. Nothing that should touch lists. Go back a a few revisions. Still nothing.

Time passes. More error reports come in, but still nothing reliably reproduceable.

Each time the error reports come in. Spend a couple of hours digging at it, but still nothing.

Another report comes in, and this has been escalated. Now it's MY problem. Spend a morning digging, literally randomly clicking between a couple of UX elements that are the most likely candidates. To tab pages with list views on them. An hour of clicking produces a few errors, but the debugger drops into Windows runtime assembler, not user space code. Cookies, M&Ms and Diet Coke acquired, office door closed, music cranked up, phone on Do Not Disturb. It is on. This bug is going down. More clicking and finally a reproduceable pattern is identified.. Select an item in a list view on tab page A. Switch to tab page B. Select an item in the list on that page. Switch back to tab page A and boom the error occurs and dumps into Window runtime land, with no reference in the stack to user space code.

With a pattern in hand, now it is time to figure out the reasons. Back to the changelogs to figure out when a change occurred that impact these user interface elements. 6 months prior, a change was made to improve performance of several list views, including one of these. However, that change had been in deployment for3 months before the first error report came in. It can't be the problem can it?

More digging and refining the test case that triggers the failure. Hours pass. Frustration sets in. Resort to calling a colleague in to just listen while I talk through it. Somewhere in the middle of that conversation, the answer hits like a lightning bolt. It is is a problem with the 6 month old performance change, but was only exposed by a months later tangential change that should have had no effect on the lists, at least on the surface.

Unintended, Unplanned for, and Unexpected Consequences

It turns out that the root of the problem was a premature optimization decision made several years prior. The relevant code comments point to the author ( me ), and a date of 2015. Evolution of code and responding to customer requests often creates these very situations.

The user interface element at the heart of this issue is a list of notes pertaining to the document currently open. As any developer who has worked with customer service type operations can reiterate, notes are the lifeblood of the operation. The constant customer requests mean that they end up expanding, and needing to be displayed like Chicago voting, early, often and everywhere. Because of this, there is a heavy reuse of the same user interface element to display these notes wherever needed.

The performance change months ago was to switch the lists from a traditional listview/listitem model to a listview/virtual list model operating directly against the business object store representing the array of notes. Everything worked fine, until a single, subtle change was made months later. One instance of the reusable notes user interface element had the option to have user filters applied to the list enabled. Since all of these reused display elements shared a common data store in the business logic, filters applied in one space applied across all of them, since they were all sharing a single instance of the business object. This was fine so long as there was never any potential overlap of having two of these instances visible at the same time, or, as it turns out switching directly between two of them.

Results

As I am sure the more experienced developers have already deduced, when one list was being swapped out, with the other, there was a brief period where it was possible (though not always true) that the state of the data store was inconsistent with the expected content of the displayable lists, the result, seemingly random failures to read a memory address that was no longer valid.

How Did We Get Here?

Honestly, it was a failure to communicate the risks. I wrote the code initially many moons ago. I authored the performance improvements, and then I approved the recent change in passing, without taking the time to fully consider the ramifications, which I am reasonably certain I would have caught given the chance to actually think about them, but in the press of a customer request while I was focused on another pressing task, I did not take the time to do so. Then to make matters worse, the situation was one that the unit test test cases would never have trapped as they existed at that point.

The Solution, and Not the Solution, and then the Solution

All of this leads to the other developer problem and disconnect in the how we think. In typical fashion, the immediate conclusion is that a hard to find problem, does not have an easy solution. So, a solution is formulated, planned implemented and enters testing. It works, but it is expensive in terms of resources. It creates separate copies of the data store per reused list view. It is a hammer, when really all that is needed is a gentle nudge.

Sometime after starting testing, the developer, who has at this point left to do something else because decompression is needed, has the "oh shit" moment. Yeah, brute force works, but is fundamentally flawed in the wasted resources, as well as user experience. Worse the business object layer already supports what is needed.

Instead of creating copies of the underlying datastore, all that is needed is to maintain multiple filtered lists that reference the allocated objects in the underlying data store. It is a 5 minute change involving about 3 lines of code ( and 30 lines of documentation to explain what is happening ). Dump it into the testing rig, and add a new test case to handle this unique tests.

Side Note

Unfortunately, there is no test case that can test for developerDidAStupidThing(); so in the interim, these types of things will keep happening. This is one of those problems that will crop up in customer driven solutions with short turn around times. No amount of automation will completely solve the problems so long as users are driving the evolution, and developers are operating in a respond to the customer model.

#code developerstories

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taww · 6 years ago

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Review: Silverline SR17 Supreme loudspeaker

Silverline SR17 Supreme loudspeaker

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5 / 5

Combining the body and scale of a larger speaker with traditional mini-monitor virtues, the SR17 Supreme is an exceptional conveyor of musical color and expression.

PROS: Organic midrange tone; top-to-bottom coherence; ample scale and dynamics; superb imaging; unfussy setup.

CONS: Smidge of lower midrange coloration; favors acoustic over electronic music; awkward recessed terminals.

This review has been a long time coming. Back in 2010, @mgd-taww gave the Silverline SR17 Supreme (USD $7,500) a rave review in Bound for Sound magazine, and heartily recommended them to me as an upgrade to my Merlin TSM speakers. It took me 8 years and a move to the West Coast to finally reach out to Silverline for a review pair; then another 15 months of listening to get around to this review. In the meantime, lots of speakers have come and gone in the market, particularly in the 2-way monitor category saturated with offerings at every conceivable price point. And yet, to my ears, the SR17 Supreme endures as one of the most satisfying speakers of its kind. Read on for my take on how it’s withstood the test of time.

History & Design

Silverline is a small speaker manufacturer based out of Walnut Creek, California, a short drive northeast of San Francisco. The SR17 is one of their first models dating back to a couple years after their incorporation in 1996:

1998: The SR17 debuted at the 1998 Stereophile Show in LA, sporting a Dynaudio D28/2 tweeter and Esotec 17WLQ midwoofer.

1999: Updated with an Esotec D260 tweeter and revised crossover.

2004: The SR17.5 was introduced, with increased internal volume via a deeper cabinet for better bass response.

2009: The SR17 Supreme is introduced with an Esotar T330D tweeter and further refinements.

Proprietor/designer/craftsman Alan Yun has continued tweaking the Supreme over the last decade, and though the Dynaudio drivers he prefers are out of production he’s stockpiled enough units for years of production and repairs. The enclosure, recognizable by its trapezoidal shape and depth, is manufactured in China by a shop that does cabinet work for a number of high-end marques, with final assembly performed by Alan’s own hand. He shared a bit more about their production:

California has strict environmental regulations. The paints on cabinets are governed by strict rules, and is why there are fewer and fewer cabinet makers in California. Many manufacturers now find their production overseas.

Actually our cabinets were rawly made in China, painted, and the final detailing is done by me, also putting sonic materials inside the cabinets. This job is pretty tricky for tweaking the sound. The crossovers were handmade by me, matching components, soldering, etc. The drivers were fitted carefully and precisely by my hands with European-made T-15A screws. Final testing and listening are all done by me in my workshop. 😅 Therefore, the SR 17 is rather unique. I am also the original designer of this shape/type of speaker cabinet since 1996. I did research and to the best of my knowledge there were no similar designs then.

Large, but not ungainly, atop Dynaudio Stand 6′s

The depth of the cabinet - 15 inches, to be exact - gives it a rather top-heavy look on a typical stand, but it’s mitigated by the elegant tapered profile. My pair was impeccably finished on all sides in rosewood veneer. Rapping down the sides revealed it to be very solid, but not as fanatically braced and damped as my old Merlin TSM monitors or the Audiovector SR 1. Each speaker weighs around 26 lbs. The bi-wire terminals are recessed, which made them a bit of a pain, particularly as they have larger rectangular posts that will take 1/4" spades only in certain directions - I recommend banana terminations.

The crossover sports just 4 components, with 1st order high-pass (tweeter) and 2nd order low-pass (woofer) filters. Parts quality - Solen metallized polypropylene capacitors, a generic-looking wirewound resistor and an air-core inductor - is solid but hardly fancy, a deliberate decision by Alan who isn’t much of a believer in expensive boutique parts. Based on the results he’s achieved here, it’s hard to argue.

Cardas jumpers sounded better than the stock bridges to my ears. Stick with bananas for the cable termination - spades are awkward.

Setup

The SR17 is fairly efficient (nominally 90.5 dB/watt @ 8 ohms), but more importantly it's easy to drive - my Ayre AX7e, known for being rather limited in the power delivery department, sounded open and effortless. Alan Yun said the Dynaudio drivers love current and will benefit from powerful amplifiers, yet will sing with low-powered tube amps. I can confirm it loved the grunt of the 300wpc Bryston 4B Cubed, yet I never felt lower-power amps like the Ayre or Bryston B60 integrateds were lacking for dynamics. And my favorite pairing by far was with the 55-watt Valvet A4 Mk.II class A monoblocks sporting a single pair of bipolar output devices. (Incidentally, Alan’s favorite amp paring with the SR17 is the 30-watt Pass Labs XA30.5, which @mgd-taww can attest to being a magical combo.)

Similarly, I found the SR17 easy-going when it came to cables. My preferred cable had more to do with the amp used, but I got good results from a single run of Audience Au24 SX [review], Cardas Clear Light and DH Labs Q10 Signature cables. With the Audience, I felt the speaker was the sweetest and most dimensional; the DH Labs brought out more bass power and treble brilliance; while the Cardas brought out more upper midrange presence. With the Bryston 4B3 amp, I settled on the Cardas; with the Ayre and Valvet, the Audience was the clear winner. Unlike with the Audiovector SR 1 Avantgarde Arreté (review forthcoming), I didn't find bi-wiring to lend a noticeable improvement, but I did prefer replacing the stock metal jumpers with nicer Cardas ones from my Merlin TSM's for a little more refinement.

As with any high-quality monitor, stands are important. Something around 24-25” height seems right, though I wouldn’t be afraid to sit them an inch or two lower as the speakers are capable of projecting good image height. A trend these days is to decouple speakers from the stands/floor, but the SR17’s are “old school” in that they prefer tight coupling, meaning heavy suckers with spikes and a judicious amount of BluTack on the top plate. My old Osiris stands, heavy dual-column steel beauties loaded with sand, were a perfect match, but sadly I sold them with my Merlin TSM’s; they were replaced by higher-WAF but inferior-sounding Dynaudio Stand 6’s, which in stock form are quite light and choked the sound of the Silverlines. Fortunately I was able to get them to a better place with some tweaks; not as good as the Osiris, but close. A better choice sonically might be something like the Target Audio MR stand with the four pillars mass-loaded.

Pulling them out further improves imaging, but they still work well relatively close to the back wall.

Placement was pretty standard for a monitor speaker - keep it at least a couple feet from the back wall, with a 2:3 width-to-listener distance ratio and toed in about halfway. In my room, which has a number of living constraints, I had the back of the speaker about 21” from the wall, tweeters 76” apart and the plane of the speaker 8 ft. from my ears. While many small-box monitors rely (often excessively) on rear ports for low-end boost, the bass tuning on the SR17 is far more subtle and sophisticated - putting my ear to the port, I heard a fairly modest amount of output. I remarked this to Alan, and he described the port as more a method of pressure equalization than bass volume. This means in a pinch I could push the speakers as close as 12" from the wall without fear of low notes booming out of control. All in all, for being such a high-performing design, the SR17 is remarkably easy to live with.

The Sound

The first thing my wife, a professional oboist, noticed about music through the SR17 is how dynamically alive it was. I had just wrapped up my review of the Silverline Minuet Grand, a superb $2k speaker that is no dynamic slouch itself. And even though the SR17 was fresh out of the box and Alan warned me it would take some time to run in, the very first notes from the SR17 sung with expressiveness and vibrance. I think it took all of 15 minutes of listening to Royal Concertgebouw Orchestra streaming radio for her to remark, “I like this speaker.” She’s normally nonchalant about hi-fi, and yet has ears that can pick apart sonic deficiencies in about 90 seconds, so that amounts to a rave! And what made it so immediately engaging wasn't some artificial emphasis or hype; it was a feeling of unimpeded dynamic flow that makes most other speakers sound a bit drab. The SR17 lets music breath freely, carrying you with the ebb and flow of a tune and conveying every turn of a phrase with a sense of ease and conviction.

The next thing we noticed is how natural and palpable everything sounds through the SR17. Tonally, the SR17 is on the very slightly warm side of neutral; it combines reassuring solidity and density from the mid-bass through the midrange with an open, extended top end and fine harmonic resolution. Its ability to paint with a wide palette of tonal colors brings out the distinctive character of instruments and voices, making orchestral music a delight - just put on a Living Stereo recording such as Debussy’s Iberia [Tidal, Qobuz, Spotify] and the front of your room will explode with the virtuosity of the Chicago Symphony Orchestra’s playing. Scale it down to smaller stuff like a Beethoven string quartet, and you’ll savor the finer gradations of timbre between the cello, viola and violin.

What you won’t notice is any discontinuity between the woofer and tweeter. These Dynaudio drivers were made to work together, and the minimal crossover mating them is superbly executed. The upper midrange around the crossover point is seamless, and I can’t remember a single moment over the course of hundreds of hours of listening when I noticed the tweeter sticking out on the face of the speaker, something that ails even the finest, most expensive dynamic speakers from time to time. In this respect the SR17 is up there with the very best and is utterly free of listening fatiguing.

As a violinist, I feel obliged to point out the Silverline’s superb reproduction of the violin G string. If you ever want to test out a speaker’s tonal truthfulness in the lower midrange (right around middle C, 262Hz), put on the 2nd movement of the Glazunov violin concerto performed by Jascha Heifetz [Tidal, Qobuz, Spotify], or the 2nd movement of the Sibelius concerto performed by Lisa Batiashvili [Tidal, Spotify]. This is oh-so-tricky to get right; as the lowest string on the instrument, it’s the richest and deepest; and yet the violin is not a viola or cello - it’s a more subtle and delicate richness. Speakers that lack body will sound thin and washed out and minimize the difference in timbre vs. the D string above; woolly or bloated speakers will thicken it or blow the instrument out of proportion. The SR17 performs this balancing act better than anything I’ve heard in my living room, or in most any system for that matter. It rides the line between warmth and clarity in that register, lending tangible realism to piano, male vocals and low brass instruments as well.

Going down the frequency range, the SR17’s extra cabinet volume vs. a typical mini monitor gives it power and scale more akin to a floorstander. My room is a 17 x 19 x 8.5 ft. open layout living/kitchen area with floor-to-ceiling windows and an offset listening point along the long wall, so while not huge, it presents a bit of an acoustic challenge that smaller speakers have struggled to fill. The SR17 had no trouble projecting a big, bold sonic image, and can cleanly play as loud as you’d reasonably want in such a space. It has sufficient body and power down to 60Hz or so to give music real foundation, with meaningful output down to 40Hz. I think Silverline’s quoted 32Hz bottom limit is a bit optimistic (or perhaps you just need the right room), and I preferred the speaker with my REL T-9 subwoofer providing a little extra oomph. But for a great many listeners in moderately-sized spaces, this will be all the speaker you ever need. Listening to “The Elephant” from Saint-Saëns Carnival of the Animals [Tidal, Qobuz, Spotify], a track I’ve heard on some very full-range speakers (e.g. Focal Grande Utopia EM Evo), the double bass is big and present, lacking a bit of rumble that was easily provided by flipping on the REL sub. Piano left hand similarly has nice weight, never sounding diminished in scale as typically happens on small monitors. Debussy’s Ariettes oubliées song cycle from the album Paysages by soprano Susanna Phillips and pianist Myra Huang [Tidal, Spotify] is a lovely test of colors, with ethereal vocals floating above dark undertones from the piano’s lower register. The Silverline possesses suficient extension and body to bring out these contrasts with depth and balance.

At the opposite end, the old-school Esotar tweeter is still one of the most musical high frequency transducers around. It balances detail with smoothness, extends low enough to mate perfectly with the woofer, and never sounds strained - a substantial upgrade in resolution and realism over the typical metal or silk domes in lesser speakers. In top-end extension and speed it might be bettered by some of the newfangled devices like Focal’s beryllium or B&W’s diamond domes, Scanspeak’s latest Revelator or the fantastic AMT in the Audiovector SR 1, but it’s a relatively small sin of omission and a worthwhile trade off to avoid any hint of unnatural edge or ringing. And it still has plenty of sharpness and sparkle, lending nice bite to trumpets and sheen to triangles and cymbals.

Last but not least, there’s that soundstage - present and tactile, but never in-your-face. Particularly when coupled with gear with sufficient resolution to relay subtle ambient information, e.g. the Pass XP10 preamp, there’s a real sense of the layout and layers of a symphony orchestra. The hi-res LSO Live recording of Mendelssohn’s "Reformation" Symphony with the London Symphony/Gardiner [Tidal, Qobuz, Spotify] paints a vivid picture of the stage of the Barbican, with brass fanfares anchored closer to the back wall of the fan-shaped stage, and the smaller string section sounding up front and intimate. An interesting twist in this performance is Sir Gardiner had the violinists standing to emphasize the virtuosity of Mendelssohn’s writing, and while I can’t say I would have been able to tell this from listening alone, the Silverline does convey a subtle sense of freedom and space to the violin section that I’ve missed when listening to the recording on other systems. And it has no trouble imaging well outside the bounds of the speaker, with percussion and harp on the extreme left of the stage floating eerily behind and beyond the left speaker.

I think my wife put it best when I asked her one day how the system sounded with the Silverlines: “this is what I imagine it sounded like in the concert hall.” While I’ve broken down a bunch of its strengths in audiophile terms above, it’s the way it puts everything together into a musically vivid whole that makes it special. There’s an evenness of tone, a naturalness of perspective, an ease of dynamic expression, a consistency of refinement from top to bottom that gives music a sense of rightness that allows one to forget the hi-fi aspects and focus on the musical performance. In this respect, Alan Yun has crafted something truly masterful in the SR17 Supreme.

Caveats & Comparisons

I’ll nitpick a few things that were relatively minor deficiencies to my ears, but may weigh more heavily for people with different tastes. These were highlighted in my own home by direct comparison with another very fine monitor speaker, the Audiovector SR 1 Avantgarde Arreté ($6,200 in premium finish). I also have my long-term reference, the Merlin TSM-MXe (around $6k several years ago) as a baseline.

First off, I suspect the Silverline’s hint of lower midrange warmth, while sounding natural and consonant with much of my favored acoustic music, may come from a bit of otherwise well-controlled cabinet resonance. It gently highlights the woody quality of acoustic instruments, but with electronic music it comes across as a slight coloration - a bit like wearing orange-tinted sunglasses that make everything look a little less cool. It’s very subtle, and not enough to sound overtly “boxy” or throw voices off, but it’s not transcendentally-clean like the Audiovector or, say, a Magico. My sense is Alan wisely tuned the SR17 cabinet for this response, as additional bracing would just make the resonance peakier and higher in frequency where the ear is more sensitive; as it is, it’s a gentle and diffuse coloration. Part of this may also be the sonic signature of the Esotec woofer’s magnesium silicate polymer cone, which I’ve heard in a number of speakers and to my ears trades better damping for a hair less crispness vs. some of the fancier treated paper or composite cones out there. On the plus side, it never sounds dry as some of those drivers can, but with Erlend Øye’s Unrest [Tidal, Qobuz, Spotify] or Carley Rae Jepsen’s Emotion [Tidal, Qobuz, Spotify] I found the Audiovector conveyed more of hard-wired immediacy and edge suitable for those albums.

Taking turns with the Audiovector SR 1 Avantgarde Arreté

Another area where the Audiovector came out slightly ahead of the Silverlines was in resolution during loud dynamic peaks. The Audiovector is truly special in this regard, being designed for minimal signal compression and sounding incredibly collected the louder you play them. The Silverline also plays loudly with ease, but vs. the über-clean Audiovector it’s very slightly thicker and more congested. Case in point are the fortissimo climaxes and interruptions in Rossini’s L’italiana in Algeri overture [Tidal, Spotify] - when the orchestra comes crashing in after the pianissimo pizzicato opening, both speakers are clean and explosive, but the Audiovector sorts out the different instruments playing in unison for that brief moment a hair better, while the Silverline has more low-end oomph.

As mentioned prior, the Silverline’s superb Esotar tweeter isn’t the state-of-the-art in extension. It has plenty of resolution, but if you favor extremely extended and airy highs, e.g. the 52kHz-rated AMT tweeter in the Audiovector will give you more of that. I don’t think that ultimately matters so much for musical enjoyment (and many people can’t hear very well above 10kHz anyway), but it does make a subtle difference in realism. It also makes the Silverline’s treble a bit more forgiving of poor recordings and upstream components (silver cables could work) - it’ll never, ever burn your ears off.

The $7,500 price tag of the Silverline puts it squarely above the very crowded $5k-and-under monitor crowd, but short of the $10k+ “super monitor” category. Comparisons with other speakers are more conjecture on my part as I haven’t heard them in my own room... but I’ll mention a few things I’ve gotten a good listen to at shows, dealers, and other people’s systems.

Paradigm’s Persona series seems to be mentioned quite frequently in audio forums these days, and I heard the Persona B monitor ($7,000) briefly at RMAF. I’ve also listened to the floorstanding Persona 3F a bit, and there’s definitely a common house sound - fast, crisp, detailed and dynamic. I’ve never warmed up to either of them - they’ve struck me as rather strident, with instrumental interplays like oboes and clarinets playing in harmony tending to sound compressed. The Silverline by comparison may sound a bit thicker, but it has far more natural instrumental timbre to my ears, is less bright and thus easier to match to more systems, throws a more dimensional and properly-placed soundstage, and is very nearly as “fast” without sounding edgy. I’m honestly at a loss as to why the Personas are garnering so much praise, so maybe it’s just me? A similar argument could be made for the B&W 805 S3 ($6,000) - while I haven’t auditioned them specifically, I’m pretty familiar with the 800-series sound and again, it’s not my cup of tea. The Silverline’s balance and openness just strike me as much more natural than anything I’ve heard from B&W. So if the likes of B&W and Paradigm leave you a bit cold, the SR17 Supreme might be a step in the right direction.

An obvious comparison is to Dynaudio’s own bookshelves, specifically the Contour 20 ($5,000) and Special Forty ($2,995). You can read about them in my quick review from a dealer audition, and while I haven’t heard them head-to-head, I posit that the Silverline a worthwhile step up in coherence and musicality. If you can’t stretch the budget for the Silverline I think the Special Forty would be a good alternative, but it does not have the near-reference level neutrality of the Silverline. In the past Dynaudio had a bit of a reputation for not being as good at implementing their own drivers in complete loudspeakers as other companies were, and while I think their latest efforts are much improved, Alan Yun still seems to be squeezing more out of the old Esotar/Esotec drivers in the SR17... methinks this is a reflection of Alan’s sharp ear and painstaking hand-tuning.

A few more offhandish observations based on extremely limited auditions, so take with a block of salt: I heard the Wilson Audio TuneTot ($9,800) at a dealer shortly after its release. With the caveats that it’s designed for a totally different use case, it was in an unfamiliar setup and this pair wasn’t fully run in, I didn’t find it nearly as compelling or expressive. I got a good listen to the TAD Micro Evolution One ($12,495) with a couple different amps and found its midrange rather dry, upper midrange a bit peaky and its bass lacking fullness and extension vs. the Silverline. The Artist Cloner Rebel Reference ($16k w/stands) wowed me at RMAF - it seemed to have more speed and resolution than the Silverline, though the upper midrange was a hair pronounced. It would be an interesting comparison, even at twice the price. Another interesting monitor at RMAF was the Stenheim Alumine Two ($13k) which was super clean and detailed, but perhaps not as liquid. A more logical competitor/upgrade could be the Sonus faber Electa Amator III ($10k) that I also heard at RMAF. That speaker absolutely blew me away with its expressiveness, natural richness, insane dynamics and huge presentation in the show setup. It’s the speaker that I’m most dying to compare to the Silverline.

And to wrap up the comparison to my Merlins and the Audiovectors - I sold my beloved Merlins shortly after receiving the Silverlines, and wound up purchasing both the Silverlines and the Audiovectors as I just couldn’t decide between the two. That should give you an idea of just how much I like them both; I’ll have more to say about the Audiovector in a forthcoming review.

Verdict

It's been said speakers mirror the personality of their designers, and if you've met the talented and affable Alan Yun no doubt you’ll feel his influence. Much like the man behind it, the SR17 Supreme is sharp, earnest and engaging, yet easy-going, with an unforced warmth and great attention to detail. There’s something grounded and unfussy about the way it allows music to flow forth, feeling like it's taken an expressive limiter off of a recording without hyping it in any way. It checks off many of the audiophile boxes too - imaging, tonal balance, bass power and extension, etc. etc. - but focusing on those mechanical aspects, as excellent as they are, would be selling Alan’s accomplishment short. The SR17 Supreme is first and foremost a faithful and thoroughly enjoyable reproducer of music, one capable of strongly evoking the beauty of the original musical event. There are countless 2-way monitors superficially like this one, but few that I know that are so meticulously and lovingly tuned to such great effect.

I've spent a lot of words espousing this speaker, but I think it's deserving of it, not just because of the obvious quality of the product, but because Silverline is a small manufacturer flying under the radar without a big dealer network or advertising budget. While Alan continues to develop his entry-level Minuet and Prelude lines at a more rapid pace to keep up with market demands, he doesn’t pen up new versions of his reference models every couple years to generate hype. He’s instead chosen his design fundamentals wisely and focused on perfecting their execution through years of painstaking refinement, much as the late Bobby Palkovic @ Merlin Music did. Like Bobby, he has a great ear for music, does a lot of the production work himself, and gains most of his sales through word of mouth. This does make it trickier to find than the big brands at a typical shop, but I strongly encourage seeking out an opportunity to hear it. The SR17 Supreme is a special speaker, and it won't be leaving my living room any time soon.

Silverline Audio P.O. Box 30574 Walnut Creek, CA 94598 USA

#audiophile #audio #hifi #loudspeaker #speaker #review

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highendaudiosystems · 2 years ago

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alfie-etherington-fmp-year-1 · 3 years ago

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apologies for the inconsistency with uploading I really should be more consistent with these this is an update on the logo of my thing which while not done yet deserves an update, I really need to be doubling down now on all this now and get lots done, this will simply be an update on how the logo is going so far

for the top half I wanted this really exaggeration and goofy looking top title and the bottom to look more straight and worn out, so as you can see with the top one I exaggerated certain curves and features to make it look cartoony

i started off with this look for the bottom text but it kinda lacked any threat level with how big the lines were with it which gave it more of a movie company logo look rather than an apocalypse type thing, so I scrapped it and looked for some inspiration online

this was the main font I based mine on upon discovering it it was simple but worn looking as well as it looked bold and eye catching as well

when I started making my own variant of this I wanted to amp up the idea of of it being more worn which you can see in the shots below

and here’s a shot of the secondary sketch while revisions were made here and there to sizing especially for the top one this is still the basic idea for the whole thing, more zany half on the top and a more gritty and worn logo on the bottom

next I wanted to have the thing be surrounded by a tv In the same look of the character Steve as his role of being jess’s main illusion that she talks to gives him some solid importance and the idea of the title being shown on a broken down tv was a clever Idea that I think kyrstie actually recommended to me as you can see here I mad a very rough sketch on the layer below the second one before making a more refined look on the second layer as well as adjusting the logo size to better fit the whole thing

I’ve gotten started on the line art for the imager however I want to save that for when all the line art is done for the update blog of this which will hopefully come out tomorrow

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mandyraine · 5 days ago

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How to ensure the first chapter of your novel sets expectations for the rest of your story

How long will you continue to read a novel if the first chapter hasn't grabbed you?

The first chapter of a novel is crucial in establishing the groundwork for the entire story, as it introduces readers to the world they’re entering and signals what they can expect in terms of tone, genre, and pacing. A strong opening chapter does more than just hook the reader—it serves as a promise, subtly hinting at the main themes, character journeys, and conflicts that will shape the…

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howtowriteacivicliteracy345 · 4 years ago

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calltoactionpersuasiveessay666 · 4 years ago

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perksofwifi · 4 years ago

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2021 Ford F-150 First Look: Best-Selling Truck Gets a Stealth Redesign

Believe it or not, the 2021 Ford F-150 XLT you see here is 92 percent new or revised, including every exterior panel. This is some Porsche 911-grade ‘design evolution’ right here. Clearly, the unbroken stuff goes unfixed, as engineers instead concentrate on continuing the F-150’s unrelenting march upward in payload and towing capability. Also improved are the ride quality, stability, and interior refinement, all in the name of enabling the truck to better assist its owner in getting various jobs done.

Here’s what doesn’t change in 2021: Most dimensions, the size and configuration of the three available cabs and boxes, and the powertrains (except for the axed six-speed automatic).

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Chassis improvements include frame reinforcements to support widening the track by just under 1 inch, increasing the tow ratings, and accommodating the PowerBoost’s longer transmission and battery mounting. Increased rigidity improves ride, as do better bushings where the cab mounts to the frame, and a switch to monotube shocks on higher-end trim levels. The front stabilizer bar now attaches to the steering knuckle instead of the control arm for improved mechanical advantage, and composite leaf springs replace steel in certain lower-payload applications. The vacuum brake booster is ditched in favor of electric assist; the rotors and calipers are upgraded to handle the higher tow ratings; and the F-150 gets the Adaptive Steering system from the Super Duty, Edge, and others. This places a motor and gears between the steering wheel and column to reduce the amount of steering input needed during low-speed maneuvers, while also removing the “nervousness” that quick-ratio steering might otherwise cause at highway speeds.

Other new features aimed at getting jobs done easier include a stowable shifter that, when in Park, can fold down into the console allowing the center armrest to flip over forward and form a continuous flat work surface. Need a flat surface you can saw on? With the tailgate step option, you now get a tough SMC composite tailgate surface that incorporates imperial and metric ruler markings, a place to stand your handheld device while watching that YouTube how-to video, and two recesses for C-clamps to secure your workpiece to the tailgate. Best of all, two new tie-down loops on the tailgate double as bottle openers. Power opening and closing of this gate is also now available. Joining Pro Trailer Backup Assist is a new Trailer Reverse Guidance system borrowed from Super Duty that uses cameras and a trailer-mounted yaw-sensor to coach a driver while maneuvering manually.

“The most aerodynamic F-150 ever” gets a new active front air dam that retracts at low off-road speed and drops 3.1 or 3.5 inches (2WD or 4WD models) at speeds above 40–45 mph. The top surface of the closed tailgate features an improved spoiler shape; there are air deflectors ahead of the rear wheels; the side-view mirrors are resized and shaped for optimal flow; and the C-pillar shape is optimized.

Screens are larger in all F-150s, with base trucks getting the 8-inch unit that was optional, while a 12-inch screen becomes the upgrade, still augmented by hard buttons for audio and climate controls. Two B&O Play audio upgrades are offered, boasting eight or 18 speakers. Sync 4 is standard, as are wireless Apple CarPlay and Android Auto. A built-in 4G modem comes standard and permits over-the-air upgrades of most onboard systems. At its launch, Ford will take a page from Tesla’s book by selling a hardware upgrade (higher-quality exterior cameras and new driver-monitoring sensors) for later activation of Active Drive Assist, Ford’s answer to Cadillac Super Cruise and Tesla Autopilot, which will come to market within 12 months and will then require just a software upgrade.

Interior materials are upgraded at all levels, and check out this new concept: Max Recline Seating. Put the truck in Park, fold up the rear seat cushions, then the front-seat backrests fold down flat while the front seat bottom cushions adjust up to become flush with them and form a lie-flat bed. In-vehicle napping is available on trim levels from King Ranch up.

The subtly redesigned sheet-metal might not launch a dealership stampede on its own, but the thoughtful new features and onboard electrical power might. Stay tuned for pricing, performance, payload, and towing stats as we approach the truck’s Q4 launch date.

2021 Ford F-150 PRICE $31,000-$75,000 (est) LAYOUT Front-engine, RWD/4WD, 3-6-pass, 2-, 2+2, or 4-door truck ENGINE 3.3L/290-hp/265-lb-ft* DOHC 24-valve V-6; 2.7L/325-hp/400-lb-ft* twin-turbo DOHC 24-valve V-6; 5.0L/395-hp/400-lb-ft* DOHC 32-valve V-8; 3.5L/375-hp/470-lb-ft* twin-turbo DOHC 24-valve V-6; 3.0L/250-hp/440-lb-ft* turbodiesel DOHC 24-valve V-6; 3.5L/375-hp/470-lb-ft* twin-turbo DOHC 24-valve V-6 plus 47-hp* elec, NA comb TRANSMISSION 10-speed auto CURB WEIGHT 4,550-5,700 lb (mfr) WHEELBASE 122.4-163.7 in L x W x H 209.1-243.5 x 79.9 x 75.1-77.3 in 0-60 MPH 5.0-8.0 sec (MT est) EPA FUEL ECON Not yet rated ON SALE Fourth quarter 2020 *All power/torque figures estimated

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