#Surface Mount Low Noise Amplifier

[lyl2kvinn]

Ultra low noise amplifier, rf amplifier, Microwave low noise amplifiers, op amps

Dual Channel 30 V 6 mV Surface Mount Low Noise Amplifier - SOP-8

[audio-luddite]

Speakers?!

Every so often I start to write something about speakers. Then I get into a loop or trap myself in a corner then delete it. Here is another try. I will see if I can keep it general, and still helpful.

In the entire audio chain they are the weakest link. Linear frequency response, hah, dream on! Low distortion, give me a break. Why should we worry about an amplifier with 0.02% distortion when a good speaker is 20%? Nothing is right, but the damn things still kinda work.

Well obviously we need them or nothing comes out. I build my own as it is relatively easy. I get an idea or see something that inspires an idea. Then I buy or make some bits and bobs and fire it up. Sound always comes out. Usually pretty good actually.

Generally the problem is to translate an electrical signal to mechanical motion that is linked to the air.

At least one attempt was directly from electrical power to air motion using plasma which is technically cool, but medically dangerous. Ozone is an unstable form of oxygen that will damage your lungs and blood and brain if you get too much of it. Plasma out in the room makes gobs of Ozone. Oh and it is lethal voltage. No touchy!

A close, but relatively safe device uses electrostatics. Charges of voltage on plates attract and repel a conductive membrane in a frame. Someone always tries this type. They have interesting advantages and very serious flaws.

Everything else uses some kind of motor. By that I mean coils of wire in magnetic fields. The coils may be attached to cones or slabs of plastic, or membranes. The coils move and so does the thing pushing air around. Mass and size and mechanical compliance determine response for a given set of parameters.

Almost all the products on the market are a reasonable attempt and sound will come out. Some are crap but even those will make noise.

Think about it. You push a few or a lot of Watts of power into any speaker and it has to go somewhere. It is either sound or heat. Usually it is sound.

Large diameter cones or a large area of membrane moves slower than a small thing. Low frequencies need big drivers. High frequencies prefer small ones. That is just the basic motion part.

As frequencies go up the angle over which they spread out goes down. A big flat panel that can move fast will beam treble out straight like a laser beam. A small (or narrow) device will disperse sound proportionally to its width or diameter. A small tweeter will work better for dispersion as it does not beam. That is the wavelength working there.

Two factors drive the idea of big woofers for bass and small tweeters for treble. Both factors work the same way.

Another thing is that low frequency sound takes more power than high frequency sound. The vast majority of your Watts are consumed in the production of the Bass. That woofer has to work hard.

So what is wrong?

Mechanically ALL speaker motors or drivers are non-linear. Truly linear devices would create sound linearly proportional to the signal that goes in. For a given electrical push it moves a consistent and proportional amount to make a given unit of sound.

Being non-linear means distortion happens. Not avoidable.

A big woofer for example pushes against a suspension that resists more the farther it moves. The ideal would be a constant restoring force. The suspension may be part of the driver mounting or the air in the box or the air in the room, usually all of those.

A membrane driver is the same. It is attached to a frame around the edges. It moves a little bit easily, but as the motion increases the resistance to motion increases exponentially from the tension in the membrane surface.

Affecting both is the mass doing the moving. The more mass the harder to get moving and to change direction. Everything has mass.

Designers use tricks to minimize this problem, but it does not ever go away.

Every so often a company will build a feedback system into a speaker driver to force the driver to go where it is supposed to be. That makes other problems, but it does help in this one.

Speakers need filters to divide the signal between the drivers assigned to each frequency range. Those use resistors, capacitors and inductors. Resistors dissipate power. Capacitors will not pass low frequencies. Inductors will not pass high frequencies. Those last two introduce phase issues which will affect the way the amplifier has to work. They create problems trying to solve the frequency dividing problem.

The next big issue is the room you use to listen in. It will have a floor and a ceiling and walls. Each surface affects the sound you get. The dimensions of the room will as well. A carpet will absorb some sound, as will plush furniture and things on the walls. The distance from each surface to the speaker driver relative to where you sit or stand or dance will alter the sound you get.

One of the dumbest things testing people do is to measure the anechoic response of a speaker. An anechoic room is a very special laboratory that has no reflections, and absorbs all the sound in the room. Some misguided speaker designers even try to make their products to work best in this condition. As almost nobody would live in such a room why bother?

The type of speaker as in di-pole, sealed box, ported, membrane, or whatever will react to the room uniquely. They can be moved about and aimed at your sweet spot, but the very best you can get is a compromise. Though it does give people something to fiddle with if they are afraid of solder.

There are products available that will measure your speakers in your room and create a correction profile and correct the total frequency response. Kinda cool technically, but that does not help distortion, oh and will only work for one spot in the room. But if you have few friends that is OK right?

Yes but with all the types of speakers out there you can still find something that works fine for you. You accept the flaws and enjoy the results.

I guess this is just another hit at my idea that there is no best. Find what you like and enjoy it. Other things are only different not necessarily better.

[alx2psson]

https://www.futureelectronics.com/p/semiconductors--analog--amplifiers--low-noise-amplifier/ba4560f-e2-rohm-3414471

Low noise amplifier, Ultra low noise op amp, Microwave low noise amplifiers,

Dual Channel 30 V 6 mV Surface Mount Low Noise Amplifier - SOP-8

[nck2liftn]

https://www.futureelectronics.com/p/semiconductors--analog--amplifiers--low-noise-amplifier/ba4560f-e2-rohm-9106267

Operational amplifier, high-gain electronic voltage amplifier, low noise op amps

Dual Channel 30 V 6 mV Surface Mount Low Noise Amplifier - SOP-8

[mavdrones]

How Can Drones Be Incorporated Into Live Industrial Techno Performances?

In the realm of industrial techno performances, the integration of drones introduces a dynamic and visually captivating element that amplifies the immersive experience for the audience. Let's delve deeper into how these suggestions can be realized:

Synchronized Formations: Utilizing software like Drone Show, you can choreograph drones to move in intricate patterns or formations that complement the rhythm and intensity of the music. These formations could range from geometric shapes to more organic and fluid movements, enhancing the visual spectacle of the performance.

Aerial Projections: Equipping drones with projectors opens up a world of possibilities for transforming the venue into a canvas for dynamic visual art. The drones can project light onto surfaces, creating mesmerizing visuals that evolve in real-time with the music, immersing the audience in a visually stunning experience.

Object Manipulation: Drones can serve as mobile platforms for holding and maneuvering props such as glowing orbs, lasers, or smoke machines. By incorporating these props into the performance, you add kinetic elements and dynamic light effects that further enhance the overall atmosphere and intensity of the show.

Interactive Displays: Introducing interactivity into the drone performance adds an extra layer of engagement for the audience. Drones can be programmed to respond to sound cues or audience interaction, creating a dynamic and immersive visual experience that evolves in real-time based on the energy of the crowd.

First-Person POV: Mounting cameras on drones provides the audience with breathtaking aerial views of the venue, performers, and crowd, offering a unique perspective that adds depth and dimension to the performance. This first-person POV footage can be displayed on screens or integrated into live visual projections, providing a captivating visual narrative to accompany the music.

Spatialized Audio: By equipping drones with speakers, you can create a multi-dimensional soundscape that moves across the venue, enveloping the audience in an immersive audio experience that complements the visual spectacle of the drone performance.

Interactive Games: Integrate drones into interactive games where audience members can control their movements or trigger sound effects, fostering engagement and participation while adding an element of unpredictability to the performance.

Safety and Regulations: Prioritizing safety by adhering to local regulations and employing certified drone pilots is paramount to ensuring a smooth and incident-free performance.

Sound Considerations: Choosing drones with low noise profiles and being mindful of noise restrictions in the venue helps maintain the balance between the audiovisual elements of the performance.

Integration with Other Elements: Combining drones with other performance elements such as lasers, pyrotechnics, or stage design creates a synergistic sensory experience that pushes the boundaries of what's possible in live industrial techno performances.

By creatively incorporating drones into your industrial techno performances, you have the opportunity to create truly unforgettable experiences that push the boundaries of visual spectacle and audience immersion.

[rewirelessify]

Is Floor Placement Right for Bookshelf Speakers?

Having a great sound system is essential for any music lover. A key component of many audio systems are bookshelf speakers. But the question is "Is Floor Placement Right for Bookshelf Speakers?". Yes, bookshelf speakers can be placed on the floor. However, there are certain factors to consider such as the size and power of the speakers, room size and layout, and flooring type.  Proper placement techniques such as distance from walls and other surfaces, angle and direction of speaker output, and height and tilt of the speakers are also important for optimizing sound quality. This article will explore this issue in detail, looking at both the potential benefits and drawbacks of placing bookshelf speakers on the floor. The main focus here is to determine if this is a viable option or if there are other alternatives that should be considered instead.

Advantages of Placing Bookshelf Speakers on the Floor

As a fan of music and home theater, I've had the chance to try out different ways to set up speakers, like putting bookshelf speakers on the floor. From what I've seen, this set-up has a lot of good points. Improved Sound Quality First of all, I've noticed that the sound quality is better when I put my bookshelf speakers on the floor. The floor acts as an extra surface that reflects and amplifies the sound from the speakers, making it louder and more powerful.  This has made watching movies and listening to music more immersive, especially when it comes to sound. Increased Flexibility in Room Placement Another benefit is that it is easier to move rooms around. When bookshelf speakers are on stands or shelves, they can only take up as much space as there is in the room. But when the speakers are on the floor, they can be put anywhere that gives the best sound, even if there are no shelves or stands available. Cost-Effectiveness Last but not least, putting bookshelf speakers on the floor can be a cheap way to improve your audio setup. Bookshelf speaker stands and wall mounts can be expensive, but you don't need these extra parts if you just put the speakers on the floor.

Disadvantages of Placing Bookshelf Speakers on the Floor

I've tried bookshelf speakers on shelves and on the floor, and each has merits and downsides. Although its cost-effectiveness and better sound quality, putting bookshelf speakers on the floor has some drawbacks. Vulnerability to Physical Damage Putting bookshelf speakers on the floor makes them susceptible to physical harm, in my experience. Speakers have been pushed over or banged, causing lasting damage and affecting sound quality. Pets and children may make this difficult. Acoustic Interference from Floor Surfaces I also disliked the floor's acoustic disturbance. Concrete and tile may distort sound waves. As my speakers were close to the floor, floor reflections accentuated low-frequency noises. Difficulty in Achieving Optimal Sound Dispersion Thirdly, bookshelf speakers on the floor made sound dispersion difficult. Avoid sound hotspots and poor sound quality by properly positioning the speakers. I had to experiment and setup properly.

Factors to Consider When Placing Bookshelf Speakers on the Floor

I've tried several speakers as a music and home theater fan. I switched my home theater's front speakers to bookshelf speakers. I soon discovered that bookshelf speakers as front speakers require various considerations. Room Size and Layout Bookshelf speaker performance depends on room size and arrangement. My room needed acoustic treatment to reduce reflections and echoes. An immersive experience required optimizing speaker location and distance from the listening position. Second, listening habits matter. I want neutral sound, thus I had to find bookshelf speakers with a balanced frequency response. Ultimately, amplifier compatibility and power output matter. I needed an amplifier that could drive bookshelf speakers, which have poorer power handling than floor-standing speakers. To function well, bookshelf speakers as front speakers must be carefully considered. Bookshelf speakers may deliver a high-quality listening experience in a small, cost-effective package. Speaker Size and Power First, it's important to match the size and power of the bookshelf speakers to the size of the room and the main speakers. This will make sure the sound is balanced and doesn't make the room too loud.  Also, the bookshelf speakers should be able to handle a wide range of frequencies, including low frequencies that are often found in surround sound. Flooring Type and Construction The type of flooring in the room is another thing to think about. Sound quality can be affected by hard surfaces like concrete or tile that block sound waves.  Speaker Placement and Orientation Placement and orientation of the speakers are also very important because their position in the room has a big effect on the sound they make. For the best sound spread, the speakers should be about the same distance away from the listener and slightly angled toward the listener.

Proper Placement Techniques for Floor-Standing Bookshelf Speakers

I've tried several speaker placement methods, including floor-standing bookshelf speakers, as a home audio enthusiast. In this blog, I'll offer my knowledge and expertise on speaker positioning. Distance from Walls and Other Surfaces With my arrangement, speaker distance from walls and other surfaces affected sound quality. My bookshelf speakers had a boomy bass when I put them too near to the walls. I got a more natural sound by shifting them a few inches. Angle and Direction of Speaker Output Speaker output angle and direction were also crucial. I found that angling the speakers toward my listening position and optimizing sound dispersion dramatically enhanced music quality. Height and Tilt of the Speakers Finally, speaker height and tilt have a big influence on sound quality. I got a more wide, dynamic soundscape by positioning the tweeters at ear level and tilting the speakers slightly higher.

Frequently Asked Questions (FAQ) About “Can Bookshelf Speakers be Placed on the Floor?”

Here are some questions that are often asked about “Can bookshelf speakers be placed on the floor?” : What are the Benefits of Placing Bookshelf Speakers on the Floor? Improved sound quality, increased flexibility in room placement, and cost-effectiveness are some of the benefits of placing bookshelf speakers on the floor. Can Bookshelf Speakers be Damaged if Placed on the Floor? Yes, bookshelf speakers can be more vulnerable to physical damage when placed on the floor, especially if they are not properly protected. How does the Floor Surface Affect the Sound Quality of Bookshelf Speakers? The floor surface can have an impact on the sound quality of bookshelf speakers by causing acoustic interference. Hard flooring surfaces can cause sound reflections and soft surfaces can absorb sound. What are the Proper Placement Techniques for Floor-Standing Bookshelf Speakers? Proper placement techniques for floor-standing bookshelf speakers include considering the distance from walls and other surfaces, angle and direction of speaker output, and height and tilt of the speakers. Can Bookshelf Speakers Provide High-Quality Sound when Placed on the Floor? Yes, bookshelf speakers can provide high-quality sound when placed on the floor if proper placement techniques are followed and the speakers match the size and power requirements of the room. Is It Necessary to Invest in Speaker Stands for Floor-Standing Bookshelf Speakers? No, it is not necessary to invest in speaker stands for floor-standing bookshelf speakers. However, speaker stands can improve the stability and protect the speakers from physical damage.

Conclusion

Bookshelf speakers sound great when positioned on the floor, in my experience. Optimizing sound quality requires optimal location. I got a good sound from my floor-standing bookshelf speakers by considering distance from walls and other surfaces, angle and direction of speaker output, and speaker height and tilt. Floor-standing bookshelf speakers are more susceptible to physical damage and floor surfaces. Nevertheless, good speaker placement and protection can solve these difficulties. For home audio lovers, floor-standing bookshelf speakers may be cost-effective and adaptable. Proper placement allows you to enjoy high-quality music without pricey speaker stands or other equipment. I hope you all found the article useful. For more articles please visit : Rewirelessify Read the full article

[fukurokoma]

I said I was going to start working on the tendo x reader x semi shit I’ve got kicking around in my head.. but I’m a fucking liar lol so have a 2.8k preview of bokuto x reader x akaashi smut that I ended up working on instead. warnings: contains mxm oral sex, references to drinking, use of a blindfold, and I think that’s all for now

It’s sticky and warm, sweet liquor lacing your tongue and two light eyed boys peering at you in mirrored cunning. The haze of warmth that dusts across your cheeks stains moonlight and sun in kind, fingers caressing glass rims and condensation coating fingertips. Outside you are sure you departed glumly oncoming rain and grey skies but you feel the warmth of mid-June saturate your skin with a light sheen of sweat at the nape of your neck despite the late December day.

Beneath your fingertips, slick with water that has too quickly grown warm, your skin feels heated, warm blood burning beneath the surface. You lick your lips absently, throat parched no matter how many sips you seem to take of the whiskey lemonade mix that Bokuto continues to pour.

He appraises you with a jovial smile, a gesture so natural on him though it would seem obscene, amplified on anyone else. To his side Akaashi is considerably more restrained, the expression he wears tempered docile yet deceitfully sweet. Affection burns in his eyes, but unsurprisingly there is something more behind it, a low simmering foreshadowing.

Akaashi wears a great many of his intentions on his face like a warning.

You regard them with caution shadowing your expression, a wry and curious smile twisting your lips.

“What are you two planning?” you ask and though you aim for lofty and offhand you miss the mark by some ways, landing within anticipatory and eager. Shame threatens to burn your cheeks hotter still and teeth bite into the plush measure of your mouth to restrain a broad smile.

Akaashi’s lips twitch into an almost shade of his own and he lifts one deft brow, glancing to Bokuto. Fans and flutters of tousled silver sway with the playful tilt of Bokuto’s head and the deep neckline of his shirt slips along his shoulder, exposing more of his sunshine skin. The loose cotton rests temptingly along the slope of his collar, the shadowed line quietly begging for lips and teeth and tongues to adore it.

Your eyes are not the only ones to appraise the artistic sweep of skin pulled taut all the way up his elegant neck. But Akaashi is closer, the orchestrater in most proceedings. As Bokuto sweetly murmurs, “It’s a surprise,” his skin is touched by Akaashi’s mouth of galaxies, his tease of teeth that leave constellations in their wake. When minutes have passed and Bokuto’s fingers are twisted in silken strands of midnight sky the rosy bloom of Akaashi’s mouth will reveal a milky way in lilac and gold, brilliant and branded.

But before such artistry is applied to Bokuto’s throat Akaashi spares a moment to infer low and roguish, “Don’t look away, don’t touch.”

You swallow the last of your drink thickly, a loud gulp that’s distinct and clear in the tense silence of the room.

The hiss of a sharp breath being drawn through gritted teeth cushions the clatter of your glass meeting the cluttered bedside drawer and Bokuto’s eyelashes flutter, resting in soft feathers upon his cheeks, closed. You can see the pearly white point of Akaashi’s teeth dragging across Bokuto’s skin, the wet pink of his tongue soothing red streaks and points. His talented fingers slip beneath striped cotton and map designs of undiscovered universes in the spaces between Bokuto’s ribs, low between his hips.

Bokuto croons hums of content in quiet, dulcet tones.

He is subdued under Akaashi’s careful ministrations, an orchestration that slowly builds, lost in whatever plays behind the shadows of his eyes. He’s all sensation and music, his pulse thrumming in a steady tempo his body already knows the steps to. But Bokuto is pliant, almost entirely still and unequivocally patient but for the hand he slips into Akaashi’s hair. The thread of midnight locks between his golden fingers is tentative, fingertips pressing tight when stardust fingers slip past his button and zipper to delve inside.

You cannot discern Akaashi’s precise actions through the stretch of denim that conceals his hand but Bokuto’s whimpers and groans do little to leave you wondering. His initial gasp, filtering from previously bitten lips at first touch sounds sharp in the silence, piercing through the thickening haze of mounting tension in the atmosphere only to lend itself as accelerando, the first of many small notes and vocal nuances, not all his own.

The softest whimper slips past your teeth and where you had initially not considered the gravity of Akaashi’s instruction earlier the itch you feel in your fingers now to touch has you slipping your hands beneath your thighs to prevent yourself from unintentionally doing so, hoping, hoping, hoping, that the telling sound managed to slip past unnoticed. From where he was once tucked into the crook of Bokuto’s neck Akaashi’s eyes are dark mischief when he smiles saccharine sweet at your reposition.

He does not say a word on the matter, though the angle of his mouth speaks loudly enough in lieu. It is Bokuto who remarks upon your delicate sensibilities, pleasantly singing in a way almost mocking, “You’re in for a long night, baby.” And he does as much with a lopsided smile dripping across his lips, his eyes already heavy. “We’ve barely even started.”

The soft pant of his breaths is a delightful distraction from the increasing thrum of your pulse and you drown in it, focusing on all the little noises that Bokuto makes and suppressing the groan his warning had thus prompted. Each sound Bokuto makes is familiar and evocative, reminding you of times before, enticing you until you realize you are already perching so far forward that it comes as no surprise when Akaashi’s smug chuckle bleeds into the room.

Though with him the small gesture alone says enough the distinct twist of his wrist that has Bokuto whimpering into Akaashi’s hair is a warning. You do not misunderstand the implications of his timing in the slightest though you do not straighten your spine either. Akaashi meets your defiance with an angled frame to his mouth and catches his teeth against the lobe of Bokuto’s ear.

After his tongue has soothed the initial sting Akaashi plays idle with the hair at the nape of his neck, continues to stroke him languidly as he comments, “You like listening to our ace, don’t you?” He keeps his eyes on Bokuto as he speaks, a low simmering affection searing across his features while he grazes his nose along the side of Bokuto’s neck

But then as if to prove his point Akaashi lures a weak moan from Bokuto’s throat, has his hips twitching in their seat with a sly smile. The lazy arch of his brow when he finally does cast his gaze back to you is damning, charmingly so. The blush you had so narrowly avoided earlier takes cue, illustrating your cheeks with a sting of heat, and the warmth adorns Bokuto, too, crawling up his neck in a pretty, pretty pink.

Words momentarily escape you and Akaashi does not wait long for a response before he deems it too late, chuckling darkly to himself. Bokuto joins him with a vaguely looming smile, inadvertently admitting that he is in on the plan and you are not all that surprised when he gathers the presence of mind to untangle his fingers from Akaashi’s hair and retrieve the silk tie in his pocket.

He hands it over with a small smile, the curve of his lips implicit amusement, mirrored in kind in the lazy half stretch of Akaashi’s own. Satisfaction in double doses is tucked away in the solitary quirked corner of his mouth, Akaashi’s hands abandoning Bokuto who pouts in brief dismay, and you nervously pressing teeth into already bruised flesh, waiting for the silk to be drawn over your eyes.

Presumption proven true, once Akaashi approaches he gathers the blind over your eyes, tying a neat and efficient knot in the back. There is a kiss lain atop the crown of your head and then his presence is gone once again, the room little more than peeks of setting sun streaking beneath the smallest gaps of silk and skin.

But then Bokuto’s broken voice fills the room once more and you can see as clearly as if your eyes were open.

You cannot ascertain whether the illustrious plays that come to mind as you tune specifically into each and every nuance of sound are true, but the potential of them does wonders. Every airy little noise Bokuto makes spurs fanciful possibilities behind your eyes and you imagine just how Akaashi might be touching him in order to lure such sounds from his mouth.

It becomes only somewhat easier to discern their actions by the rustle of clothing and the hushing that Akaashi infers after what feels like much, much later. Bokuto does not fall silent, and you acknowledge somewhere in the back of your mind that silence is not what Akaashi would have wanted anyway, but he restrains any pleas or sugar coated requests where he might otherwise not have.

What breaks him is a noise distinctly wet and you realize it to be Akaashi’s mouth as Bokuto’s voice breaks on the most satisfied moan you’ve likely ever heard. It’s not hard to imagine the relief etched into his features, eyes shut and his face blissful while Akaashi works pink lips down his cock in that slow, fluid, manner that he likes to start off with.

This you know for certain, particularly when you hear the pleased rumble that sounds in Akaashi’s chest. You are sure then that Bokuto’s fingers have taken solace in his night sky once more, the sun adoring the stars and the stars doing the same in kind, the push and pull of gravity at its finest in play.

Although your world is limited to darkness as you listen to the ascension of Bokuto’s breathing, from shallow barely audible breaths to short, fast pants and low whines as you hear Akaashi’s execution grow sloppier, wetter, slick, and surely so well paced his jaw must be absolutely aching; the darkness that enshrouds you burns red.

You feel along with it your skin beginning to burn, so gradually at first it’s barely noticeable but fastly becoming a heat you long to cool that scorches along your cheeks, chest, the back of your neck. Beneath your thighs your fingers twitch, teeth worrying your bottom lip as you feel the restlessness crawl into your limbs and unfurl.

Your teeth bite down unashamedly, hard, blunt enamel that is sure to bruise and leave you a reminder of your devil may care boys, but you don’t care for the pain that’s bound to come; you could listen to Bokuto for days.

There’s a stutter in Bokuto’s breath, a low whistle as he exhales and you hear the distinct pop of Akaashi’s lips, the ragged inhale he greedily takes. Even if you can’t see it all unfolding, the sweet torture of it all is damning enough that you can’t quite stop the curse that befalls you, the way it lends itself to further speech, a sweet lilting inquiry of, “Is he taking good care of you, Bo?” escaping before you think better of it.

Bokuto releases an affirming groan and you can just imagine the way Akaashi’s mouth is sliding back down his length as he does so, as he shakily replies, “the best,” in a voice that’s entirely wrecked and breathless. You picture the haze of arousal that Bokuto must have in his eyes, the liquid honey that would be visible only in glimpses between his thick lashes, his eyelids oh so heavy the more Akaashi set to work, coaxing each luxuriant sound from his swollen, needing lips. Bokuto just loves to be kissed, loves making out like he’s still a horny teenager, with his hands grasping everywhere and his god forsaken hips rolling in sinful, tempting teases.

And Akaashi, Akaashi, your sweet, selfless lover, lavishing affection on your shared boyfriend, his lips just must be the richest shade of red, stark contrast to his pretty, golden moonlight skin. Just the thought of his swollen, pouty mouth makes you want to kiss him, lick into his mouth and taste Bokuto on his tongue. But you are under no false illusions here, aren’t about to push your own luck.

Instead you venture a push for Bokuto’s, softly inferring, “I bet you wish you could kiss him right now, hm?” You swallow thickly, envisioning it for yourself, narrating it for the both of them to picture what you’re picturing. “You’d just love to taste yourself on his lips, in his mouth.”

“I can imagine it so clearly, Bo: the way you’d trace our moody boy’s lips with your tongue, the way your fingers would curl into his hair… the way you’d tug it ever so softly so you could get your mouth on his neck. And he’s so sensitive there, isn’t he? He would just melt underneath you, you and your eager hands, stroking, pulling at clothes, drawing him against you, drawing him against your hips. Those hips of yours Bo...”

The quietest of moans escapes you at the thought, you know what sins his hips are capable of and you can hear them, him, getting restless now. You can hear his breathing scatter, the tempo uneven, staccato. Everything sounds frantic now, low whines and rustling fabric, and the wet, wet, sound of Akaashi’s mouth slipping, the muffled sound of him groaning. You realize Bokuto must have tugged on his hair.

A little gleefully your back arches forward even more, longing to be closer to the both of them as you entreat, “You’re close aren’t you, Bo?” You wonder if he’s watching you when you lick your lips, teeth pulling the lower momentarily into your mouth. It doesn’t matter if he is or not ultimately. Even from your place on the sidelines you don’t mind being an inactive player. You just want, want, want. You want so much that you don’t hesitate to ask for it. “Go on Bo, please, I wanna hear you cum. I want to listen to you fall apart.”

Perhaps they’re feeling merciful, or perhaps Bokuto couldn’t hold off any longer. It takes only a handful of moments more for you to hear Bokuto’s downright offensive vocal assault crescendo, the guttural pitch of his voice teetering your flimsy acquiescence. It would be only too easy to work yourself to orgasm after listening to Bokuto moan and groan, and swear, swear so filthily your only regret is not being able to have seen just how Akaashi got him so good that he expels an emphatic ‘fuck.’

He sounds so good, sounds so absolutely ruined that for just a moment going against your orders crosses your mind. But Akaashi catches you just in time, a shift on the mattress alerting you to the approach of one of them, though it's not apparent which of them until there are coarse fingertips along your jaw, Akaashi’s velvet tone instructing, “Open your mouth, kitten.”

Before a smile can fully shape your lips they part acquiescently, your deference subdued effectively, and rewarded with the feeling of Akaashi’s mouth shaping to yours succinctly. His tongue touches your own, the taste salty, inherently Bokuto, and his fingers glide along your jaw, the nape of your neck, to sweep into your hair.

He kisses you breathless, absolutely stupid, tearing his mouth from your greedy own far too soon. He’s gracious enough to expend, “What a good girl you’re being, still sitting pretty on those naughty little hands of yours.”

Bokuto is quick to point out, “Her mouth is worse.” His voice has a playful edge to it, but lacks no audacity.

You smile saccharine sweet, counter, ‘Mine?’ with all the trappings of innocence, spare the contrary arch of your brow, only just visible above the silk blindfold.

Bokuto scoffs, as if he takes offense to your claims. Yet not a moment later do you feel Akaashi’s fingers depart your hair to traverse down your body.

Though he attempts to take his time there is no preamble in the way he traverses the length of your torso, skipping pointed detours he would normally favor to slip his fingers past your waistband.There is no hesitation in the way that Akaashi spreads you open, running his fingers against your dripping cunt while he infers lowly, “Our wee kitten may have a point Bokuto-san.”

[happymetalgirl]

Oranssi Pazuzu - Mestarin Kynsi

Along with the entirety of fellow metal experimentalists Dark Buddha Rising, Oranssi Pazuzu in their entirety as well contributed to one of my favorite records of last year under the shared moniker of Waste of Space Orchestra. Their album, Syntheosis, was a hypnotic, surreal levitation through synth-heavy metallic psychedelia that Oranssi Pazuzu had been working more and more into their sound, which was at a height on their 2016 effort, Värähtelijä. After the release of its successor here though, not only the synthesizer boldness on Värähtelijä, but the band’s entire sound and artistic advancement as well pale in comparison to what they’ve done with Mestarin Kynsi.

Oranssi Pazuzu have been about this very sound their entire career, from their already rather impressive 2009 debut, Muukalainen puhuu, to this year’s effort. Even though they started strong, the band have been pushing themselves as best as they can to reinforce their sound, making little improvements from one album to the next throughout the past decade, in what has seemed like painstakingly slow, mild progress along a relatively high plateau, until now.

Mestarin Kynsi goes all in on the synths even more than two band’s worth of synthesizers did on last year’s Syntheosis did, but it’s not about simply upping a single element of Oranssi Pazuzu’s sound, but rather how the band uses that to truly evolve their sound beyond just being more synthy. The band’s fifth full-length is all about taking their captivatingly psychedelic black metal’s tangible, yet other-worldly horror to a whole new level for them and for black metal. The band manages to find this sweet spot of ideal balance between integrating so many synthetic elements and mutating traditional black metal elements while never losing that vital metallic realness and intensity in their music. No matter how many special effects the band brings in, the undivided focus is on the substantive mastery with which the band wields their massive sonic arsenal.

While most of the spook and psychedelia comes from the incredible creativity with which the synths are weaved into the dynamic metallic backdrop, the foundation that the band’s brilliance with manipulating those traditional metallic elements into a monstrous vehicle for the synths to amplify the various cerebral aspects of their music should not be left unpraised. While the instrumental pieces are rarely ever super flashy in isolation, the way they all work together in such harmony in a way that feels as though they arent even coming from a band with individual members but rather a superconsciousness where all the artists share and channel their creative energy through a single mind truly transcends the tightness of the vast majority of bands, who are often just incapable of entirely preventing everyone’s ego from leaking out just a little. With Oranssi Pazuzu in this album, it’s, again, like it’s all one mind and the only ego is the music itself. Before I get further into the kind of subjective abstraction this album seems to love encouraging me to dive headfirst into, I’ll get into the general technical aspects of it all.

First of all, the mixing of all the ingredients going into this album, for all sheer size of the sound being captured here, is a freaking feat of excellence and whoever mixed this thing deserves to take a bow. It’s not all crisp and clear the whole way through like some polished up techdeath record, but every phase in and out of the forefront and background of the mix is timely and constructive to the continuously sprawling movements of the compositions across the album. The drums really act as the album’s heartbeat in a way that few album’s drum sections can truly be described, pumping faster through the panic-inducing moments and maintaining a steady hypercardia through the calmer, yet still unsafe moments in the album. The guitars and bass provide the foundational aspects of the reasoning behind whatever is raising the album’s blood pressure, tastefully distorted and even maxed the hell out when the moment calls for it, and deceptively entrancing in their dark serenity of their hypnotically soothing dissonance when the tension needs to be built, never flashy or distracting, always committed to the greater good of the music of the album as a whole rather than any one instrumentalist’s turn for some time in the spotlight. And speaking of the spotlight, the part of the music that is usually prone to hogging it is as selfless and complimentary on this album as the rest of the band. The demonically liturgical, gravelly snarled vocals aren’t really flashy by any means either, but that’s not to say that the haunting hypnosis of the vocals is without character. Indeed, the vocals may be not be shooting for technical pizazz, but vocalist Jun-His really is playing a voice on the album and not just vocals behind a microphone. The vocal performances across the album (including all the effects used to enhance and accent then) really work beyond just the musical and extend into the theatrical, the voice of the album really coming from an otherworldly being all its own when the album is on.

Like I said, Oranssi Pazuzu has been melting and remolding black metal to do their bidding for over a decade, and the band continues to reform the genre much in ways that bands like Neurosis so vividly warps sludge and post-metal into something all their own and how Swans’ most recent incarnations have stretched out and apocalyptified the basic elements of rock music to a possibly maximal extreme. I mention that because I really am reminded so heavily of the genius of Swans and Neurosis with the way Oranssi Pazuzu approaches black metal in such an unrecognizable, yet unmistakable way on Mestarin Kynsi.

The creepy synth motif that traces through the eerie psychedelic guitars of the opening track, “Ilmestys” are brilliant and immediately mood-setting alone, but the freakish accents that also run through the song just heighten the tension even more, making the burst into the warped, but awe-inspiring metallic crescendo near the song’s end such a fulfilling payoff. It’s a tactfully tempered, brilliantly accented, and expertly strategically arranged, cinematic opening to an album that subsequently continues to build on that cinematic grandiosity set up by its opening track in a further display of specialty mastery by its progenating artists.

Taking a slightly more patient approach in the aftermath of the opener, the second track, “Tyhjyyden sakramentti” is a bit more of a gradual build through several sections of gradually thickening metallic psychedelia that takes all sorts of twists and turns through spooky and trippy swirls of forcefully mesmerizing guitar noise. The band integrates all sorts of effects on the guitars with great intuition on how to . The song eventually reaches a simple, straightforward guitar riff for a few seconds, which is very soon sucked into a synthy reverberation that sounds like it takes a quick breath of fresh, sober reality and immediately plunges it back into the synesthetic nightmare of shimmering, yet discomforting ambiance the song has so expertly conjured up.

The longest song on the album, “Uusi teknokratia”, winds its way through these fuzzed and hazed out Sabbathian riffs and super creepy hyperventilating (yet uncannily calm) vocal hums and haunting echoes of black metal screams. Similarly hypertension-inducing, dark-night, full-moon ritualistic guitar atmospherics of a wide variety of speeds, timbres join in in cementing the frightful visions that the song is conjuring. The plinky synths and anxiety-inducing uncanny calmness of the soft vocals really give this song such an immersive sense of under-the-surface panic and uneasiness during the buildup to the thicker body portions of the composition, which make great use of the tension that’s built up, both giving the release of that tension a fitting of the type of horror that the tension foreshadows and bringing the energy back down in a manner that allows the tension to build up again for another gratifying payoff rather than being completely expended, including the dark ambient drone that rounds out the track to set up the unease for the next one.

It’s a foreboding string motif, eventually treated with some warped/slowed-record pitch distortion, that opens the album’s fourth track, “Oikiamielisten sali”. After this arguably over-extended intro, the song then bursts through with these bright synth lines and electronically fuzzy guitar lines that eventually ramp up to yet another level of entrancing, distorted guitar ether that manage to encapsulate a feeling of out-of-body dread amid some disorienting other-worldly storm, which is even more terrifyingly transcendent in its lengthy, multi-phased climactic finish that more than makes up for the length of the intro it took to get there. The ethereal first half of the climax and the pulsing pounding of the drums underneath the instruments’ power-down/fade-out on the second half are just so godly, and they lead seamlessly into the darkest moment of the album.

“Kuulen ääniä maan alta” kicks off with a low-register electronic drone over a driving mid-paced beat and some twisted horn samples that immediately turn the fearfully heavenly mood from the preceding track sour (in a great way). Far more fierce and menacing than anything else on the track list, “Kuulen ääniä maan alta” takes an entirely unique approach to the concept of heaviness, guitar distortion and crashing drums being merely a portion of the grand orchestra of haunting sounds on display.

The album ends with a real boom with the song “Taivan Portii”, which instantly kicks off with a flurry of distorted guitars, warped and spirit-summoning synths, and driving blasts of drumming that all mount into this huge, gargantuan wave of sound that just swirls around and back and forth in a final expulsion of unhidden, unrestrained psychedelic black metal power, like a coercive malevolent deity that has finally revealed its true form and power and whose breath-stealing display prompts only simple terrified admiration in helpless, accepted anticipation of its exercise.

This album is so immersive in the disfigured world it brings to life, so accomplished in the style the band have been honing from the beginning of their career, and so impressively composed and well-directed, it’s honestly hard to stop talking about and hard to avoid in exchange for listening to something else, it’s like I’ve been hypnotized into repeatedly returning to its best inhuman seance. Or maybe I’m just addicted to a fucking great album. It is a truly singular display of a band creating something so much bigger than themselves on a sonic level. I don’t understand a word on it, but I can’t get over this album, and I can’t imagine how much more I would have to pour into this review if I were to try to find and translate the lyrics. But either way, this thing is an artistic monolith and a real declaration of the band’s importance. I’ve been listening to it over and over again, thinking admittedly way more than I really should about how to score this thing, and every time I listen to it and analyze for flaws I just end up loving it more for new reasons as it unfolds and unfolds over and over. You could argue that the length of the intro to “Oikiamielisten sali” is an imperfection, but I’m not going to fixate on a lengthy spacy intro on a psychedelic album as a flaw like a slightly long nose hair on a beautiful woman. To me, I can justify calling this thing imperfect, barely, but it’s not worth it. I believe in love. To me, Mestarin Kynsi is a...

10/10

[bcdrawsandwrites]

The Godless Realm

Fandom: Undertale / Siralim 2 [but readable if you’re only familiar with one or the other] Rating: K+ Genre: Gen? Friendship? [this one’s hard to place] Characters: Papyrus, and some others... Warnings: Papyrus gets shot with a rifle. No, seriously. Description: While patrolling the deeper parts of the Snowdin Forest, Papyrus encounters a very strange monster, and learns that people from the surface have very, very different worldviews from his own... Notes: I wrote this fic like mid-2017 and never got around to posting it because I never got around to drawing the cover. %| But maybe I’ll draw the cover one of these days and actually properly post it on FFN and AO3... Until then, though, I guess I’ll post it here.

---~~~---

A long line of deep footprints weaved purposefully around the trees, far away from the usual paths. Their creator marched onward, confident with the knowledge of exactly where in this dense forest he was.

Maintaining puzzles and maybe-once-in-a-blue-moon standing at his expertly-crafted sentry station were both highly important duties, to be sure, but sometimes Papyrus preferred exploring the vast Snowdin forest while on-duty. Not many of the other sentries or guards did it (not counting Sans, who did it on occasion as an excuse to slack off), and Papyrus deemed it just as important as any of his other duties—after all, a human could have sneaked somewhere out here. And if it had, he would be the first to find it!

Of course, he hadn’t found one yet, but that didn’t mean he never would. He was quite certain that one day, these treks would turn out to be fruitful. He would find a human out here, skillfully capture it, and haul it off to Undyne, who would finally promote him to—

Crunch.

The sheer quiet of the forest amplified the sound, and Papyrus spun around, soul leaping. “Who’s there?” he called. “Show yourself!”

Nothing responded, and Papyrus wondered briefly if he’d been hearing things. But he narrowed his eye sockets, scouring the forest around him.

It was hard to concentrate over the pulsing of his soul, making him giddy with excitement, but he managed. Roughly a hundred feet away was a snow poff, with something long and shiny poking out from around it. It wasn’t a branch—it appeared to be made of metal, but otherwise he couldn’t place just what it was.

“Hello?” he called again. “I can see you out there! Or part of you, anyway. Show yours—”

BANG.

He fell backward from the shock of the impact. His skull was ringing—from the deafening sound or force he’d been hit with, he wasn’t sure—and he shakily brought his hand to his chest. The projectile had gone straight through his battle body, between the gaps in his ribs, and out the other side.

Frowning, he sat up. “Excuse me!” he cried. “That was very rude!” His legs shook as he got to his feet, and he rubbed his head. “If you wanted to spar, you only need to ask!”

The metal object was still poking out from behind the snow poff, but slowly it pulled back. At first Papyrus wondered if the thing was trying to sneak away, but then he saw it rise from behind its hiding place. He could see a dark gray hat, a shadowed face beneath, and then the rest of it as it stood—

Papyrus gave a start.

It was a skeleton!

Any indignance he held within him melted away as he took in the sight. Yes, it was absolutely another skeleton—but rather than bleached white, like every other skeleton he’d known, its bones were yellowed. It wore a wide-brimmed hat and a brown mantle, and its boots, shorts, tattered cape were all dark gray. Nothing covered its rib cage, though. In one arm it carried the large weapon it had attacked him with—Papyrus belatedly recognized it as a gun of some sort—and with its other hand, it tipped the brim of its hat up. It had a longer face, like Papyrus did, but wider sockets, like Sans’s. Unlike Sans, however, this skeleton had no eye lights.

It did, however, have an unmistakable look of confusion on its face.

“‘S this a joke?” Its—his—voice was low and gravelly, the hinge of his jaw creaking as he spoke.

Papyrus blinked. “...No? I mean, I am technically on-duty, but I would be perfectly fine with sparring once I am—”

“‘M not here to spar,” the skeleton said, hefting up his gun again.

That was even more confusing. “Then what are you doing with that gun?”

The skeleton shrugged. “Gon’ shoot ‘cha with it.”

“Yes, I gathered that.” Wincing, Papyrus brushed at the hole in his battle body. He hoped he could fix that. “Is there any particular reason why?”

“Need to. Gotta keep the queen safe.”

“...Oh.” Papyrus relaxed a little. The situation was still confusing, but at least that made slightly more sense as to why a random monster was shooting at him. “Well, rest assured, the Great Papyrus is not here to attack any royalty.” He brought a gloved hand to his chin, rubbing it in thought. “I wasn’t aware the king remarried.”

Before the other skeleton could respond, Papyrus clapped both of his hands to his face in shock, gasping. “Wait, when was the wedding?! Did I miss it? Undyne needs to tell me these things! She’ll be so mad at me when I—”

“What king?”

Papyrus looked back at the skeleton, who now had his gun pointed at him again, eyes narrowed. Was… was this skeleton mad at him for missing the wedding, too? “Um. King Asgore? Or King Fluffybuns, as some call him! Seems a strange name, though.”

The other skeleton relaxed, lowering his weapon. “No, my queen got nothin’ to do with him.” He paused, looking around the forest before turning his gaze back to Papyrus. “Could ya tell me where I am, kid?”

The word sent a bolt of anger down Papyrus’s spine. “The Great Papyrus is not a kid!” he cried, stomping his foot. “He is a very mature adult!”

The other skeleton’s jaw creaked as it went askew in an expression Papyrus didn’t recognize. “You sure about that? You don’t seem much out of the shell.”

“Out of what shell?”

“...Egg shell?”

“The Great Papyrus did not hatch from an egg.” He tossed his scarf back, eye sockets narrowing. “He sprouted from an echo flower, just like every other monster!”

At that, the other skeleton ducked down, making a choked noise. Papyrus wondered at first what the skeleton might be choking on (and how a skeleton would choke in the first place) before he realized that the other monster was laughing.

“Stop that!” he cried, stomping his foot again, face flushing red in indignance. “I sprouted from the most beautiful of echo flowers!”

“Sure ya did, kid, sure,” the other skeleton croaked, finally standing upright again. “And get used t’ that moniker. I call everyone kid.”

“Oh?” Papyrus quirked an eyebrow. “And what should I call you?”

“Old man.” The skeleton shrugged. “Everyone else does.”

Papyrus brought his hand to his chin again, rubbing his glove over his teeth in thought. “Very well, that seems fair enough a trade.”

Now the old man was walking closer, eye sockets narrow as he took in Papyrus’s appearance. He stopped a few feet away—he wasn’t small, but he stood a few inches shorter than Papyrus. “Gotta say, only creatures I’ve seen s’ tame as you r’ the ones we find beaten n’ cryin’ in a cage.”

Papyrus’s bones rattled in a shudder, and he took a step back. “P-pardon?”

The old man held up a hand. “Not in this realm, kid, don’t worry about it. Speakin’ of, though.” He shouldered his gun, straightening his back. “You still haven’t told me just where n’ the Great Pandemonium I am.”

“Right!” Papyrus relaxed, and threw his arm out in a grand gesture. “We are in the Snowdin Forest! The northwestern sector, to be exact.”

“Mmmm.” The old man surveyed the forest again, jaw set. “N’ what god rules here?”

Immediately Papyrus deflated. “Um… god?” He wasn’t aware of any deities anywhere in the Underground, let alone Snowdin. Not counting the angel, of course, but no-one was quite sure who that was anyway.

“...Well, that explains it.” With that, the old man turned around, trudged over to a tree, and collapsed into a seated position next to it.

Now growing concerned, Papyrus followed him, taking a seat next to him. “Explains what?” he asked. “What are you doing here, anyway?”

The old man tugged the brim of his hat down, shadowing his face. “Me n’ the rest of my team follow the queen out to different realms to protect her. Usually she follows the voice of a god, but…” He gestured helplessly. “I guess somethin’ went wrong when we teleported, sent us t’ the wrong place.”

“So…” Papyrus’s brow furrowed in confusion. “You teleported yourself into the Underground?”

“‘F that’s where we are, yeah.”

“Oh.” He looked down at his feet, shuffling his boots in the snow, before sitting upright. “Wait!”

The old man glanced at him. “Mm?”

“If you warped here, that means… you warped past the barrier?!”

“...Barrier?”

“The one sealing us here! Under Mount Ebott!” Papyrus cried. “The one that keeps us all trapped down here!”

“Oh.” He cocked his head. “I guess. So?”

“So you are from the surface?” He gazed at the other skeleton in awe. “You live on the surface?!”

“Uh. I guess?” The old man looked at him askance—or as far as Papyrus could judge to be askance, anyway. “Siralim ain’t underground, anyway.”

“You are from the surface!” Papyrus leaned toward the other skeleton, grabbing him by the shoulders. “What’s it like?! Are there many other monsters there? Have you made peace with the humans?! Is there no more war?! What’s it like?!”

It took a moment for him to realize that the other skeleton didn’t look entirely comfortable with this position, and Papyrus let go, slightly embarrassed but no less ecstatic.

“...A’ight, one thing at a time,” the old man said, scooting a bit farther away. “Yeah, there’s other creatures there. Got a few hundred livin’ in the castle, and more outside. Millions, I’d wager.”

“MILLIONS?!” Papyrus cried, eye sockets glimmering in excitement. “WOWWIE! That’s more than monsters in the Underground!”

“As for war, uh, no. There’s always a war goin’ on, kid.”

“...Oh.” All the joy he’d been feeling was quickly sapped—he should have known that was the case. “You’re still fighting the humans, then?”

The old man tipped his head to the side in thought. “Well, we raid other kingdoms sometimes, but even then we mostly just fight other creatures.”

Papyrus nodded solemnly, then started. “Creatures? Y-you mean… you fight other monsters?”

“Creatures, monsters, same diff. Yeah, we fight each other.”

The nonchalance with which he spoke made Papyrus’s bones rattle with unease. “B-but… why? We’re on the same side, aren’t we?”

“Pshaw.” The old man tipped his hat over his face again, leaning up against the tree. “I don’t know anythin’ ‘bout sides, kid. All I know is to protect the queen. Otherwise, you kill other creatures, or they kill you.”

That phrase—or one similar to it—was not one unknown to Papyrus. Unease was now eating at his very marrow, and he found himself wanting to put more distance between himself and this other skeleton. “Y-you mean… you’ve killed before?” he stammered, uncharacteristically quiet.

“Yeah? Some odd-thousand, I’d guess.” He shrugged. “Past level two hundred now, I think.”

The snow around them had nothing to do with the cold that was now gripping Papyrus’s bones. His voice was barely a squeak. “...L-level… two…?”

“Eh, maybe close t’ two fifty now?”

Papyrus retched, scrambling backward.

“Woah, woah, ‘ey, you okay, kid?” The old man lifted his hat again, face showing concern. “I ain’t gon’ kill you, if that’s what you’re worried about.”

Papyrus clapped his hand over the hole in his battle body as realization hit him.

Evidently the old man had come to the same realization. His eye sockets went wide, and he slumped back against the tree. “Vertraag and Vulcanar, I tried to kill you.”

For several moments, the only sounds around them were the quiet gusts of wind, and the rattling and creaking of two different sets of bones.

Papyrus considered himself to be a kind, forgiving monster. He had always thought that there was good in everyone—that even if they’d done something terrible, they could still become a good person. But faced with someone who had reached a higher LOVE than he had even known existed—who had shot at him with the intent to kill, without even a second thought—he felt conflicted.

Two hundred and fifty levels.

He drew in a breath, letting it out shakily. Slowly he brought himself back up into a sitting position, his soul pounding and magic frantic, ready to create a forcefield of bones around himself if need be.

But the skeleton that sat across from him didn’t look like he was about to fire another projectile at him. Instead, he had his head down, looking at the gun in his lap. He appeared… contemplative?

After staring for a few moments, Papyrus drew in another breath, and broke the silence. “Wh… why did you really shoot at me?”

The old man did not look up. “‘S what I do. Killin’ other creatures. Been doin’ it since I hatched.” He tapped a digit against the metal muzzle of the gun.

Papyrus shut his eye sockets. He couldn’t imagine a world where children were expected to kill as soon as they were born. But apparently that’s what the world outside had become.

He opened his eyes, gazing hard at the other skeleton, even though the old man didn’t meet his gaze. “You’ve always been this way.”

“Mmm.”

“Have you ever…” Papyrus tugged at his scarf. “Ever tried… talking to a monster instead?”

Finally the old man looked up, staring up at the cavern ceiling in thought. “...Sometimes th’ creatures in Siralim sneak out. We talk to ‘em, make ‘em come back, give ‘em a good beatin’ if they don’t.”

Okay, that was something he could work with. “So… haven’t you tried that with other monsters? The ones you normally…” He trailed off, feeling sick at the thought of finishing the sentence, and all it implied.

“...Not really, no? Not when they’re usually out t’ kill you.” The old man brought his gaze back down, staring at Papyrus. “You can’t tell me you’d do that, kid.”

Papyrus straightened his back, his gaze firm. “I would!”

The other skeleton’s jaw went askew. “Yer tellin’ me, faced with a creature who’s gonna try t’ put a gaping hole in your ribcage, you’d just try to talk with it?”

Papyrus nodded. “Absolutely!”

The old man stared at him for a few seconds. His shoulders shook, and he began to choke again—laughing.

“...After all,” he continued, gaze unwavering, “I’m doing that now, aren’t I?”

Immediately the other skeleton shut up, jaws snapping together with a click.

“And you’re not trying to kill me anymore… are you.”

The old man lifted his head just enough to stare at Papyrus from under the brim of his hat. “...You’re somethin’, kid.”

Hesitantly, Papyrus crawled back over to the tree, sitting next to the old man again. Part of him still itched to keep away—to run away, even—but he fought the urge. Another part of him wanted to place a hand on the skeleton’s shoulder, but he fought that urge, too. “You can still change,” he said. “It’s… it’s not too late.”

“Pshaw.” The old man looked away. “Yeah, go right up to th’ teammates and tell ‘em we’re all gon’ be softies from now on.”

“Being good is not the same as being soft.” Papyrus frowned at him, then looked down, drawing his knees up to his chest. “Being good is hard.”

“...Mmm.”

The old man made no further arguments, and Papyrus, not understanding the entire situation his fellow skeleton was in, didn’t know what more he could say, so the two sat in silence.

Eventually the silence was broken by a quiet sound that gradually grew louder. Both skeletons looked up, recognizing the sound of hoofbeats against snow.

Papyrus was the first to stand, looking around to determine what was making the noise. As he rounded the tree, he was greeted with the sight of a large, golden quadruped charging at him with a wild whinny.

“Woah! Woah!” The old man scrambled to his feet, holding out his arms. “Easy Holly, easy!”

The creature slowed to a stop, planting its four hooves into the snow, head lowered as it glared at Papyrus. It wasn’t anything Papyrus recognized—the only thing he could even remotely relate it to was a gyftrot, but this thing was significantly larger and had a much longer face, with a horizontal mouth instead of a vertical one. It also had one horn instead of two, and a long, thin tail that ended in a tuft. Its fur and scales were golden, while its mane and horn were a brilliant sapphire. Overall, it looked equal parts graceful and sturdy—and right now, equal parts threatening.

“It’s a’ight, Holly,” the old man said, stroking the creature’s—Holly’s—muzzle gently. “He’s not gon’ fight us. He’s a friend.”

Papyrus, who had been staring at the old man in consternation, realized he was addressing the other monster as something other than “kid,” and gave a jolt of surprise.

Holly gave the old man a confused look, then looked back at Papyrus, softening. Craning her head forward, she sniffed at him, then rumbled something low.

“H-hello, Holly?” he said, reaching out to pet her. Immediately she pressed her muzzle into the palm of Papyrus’s glove, seeming more relaxed, happy. “Are you the old man’s friend?”

She snorted, tossing her mane.

“Yeah, one of my teammates,” the old man said, stroking her mane. “Thought you were stayin’ with th’ queen?”

Holly rumbled something to him that Papyrus couldn’t make out, but the old man nodded in understanding.

“Did he? Good ol’ Vertraag. Figured he’d pull through. Well.” He turned back to Papyrus, nodding. “She says the queen got hold a’ one of the gods. He’ll pull us outta here.”

“Y-you’re leaving?” Papyrus’s bones suddenly felt heavier. “Already?”

“Yeah, gotta get back to Siralim. Our queen talks to the gods—no good in a godless realm, heh.”

Papyrus looked down at the ground, shuffling his feet, then back up at the old man. “Could you… maybe try to do something about the barrier? When the war’s over?”

“Dunno what we can do about it, but we’ll see, huh?” He looked back at Holly, who stared at him inquisitively. “Hey, so…” He leaned toward her, whispering something into her ear.

The quadruped snorted, then took a few steps toward Papyrus, who looked at her in confusion. She bent down until her horn was level with Papyrus’s chest, and tapped the tip of her horn against the hole in his battle body. Immediately it sealed, as did the hole on the other side.

Papyrus stepped back, examining his battle body—it looked like the hole hadn’t even been there in the first place. “Wowwie! Thank you!”

Holly stepped back as well, looking back to the old man and swinging her head, as though indicating something behind her.

The skeleton nodded. “Right. Well, we’re gon’ be off, then.” With that, both the skeleton and the quadruped turned around, walking deeper into the forest.

“Wait—!” Papyrus cried, darting forward, and they stopped. “Y-you won’t forget… what I told you, will you?”

Glancing over his shoulder, the old man’s jaw went askew in that odd expression—one Papyrus was starting to suspect was amusement. “Kid, I don’t think I could forget this if you paid me in two million lumps a’ brimstone.”

Papyrus wasn’t entirely sure what that meant, but he smiled anyway. “Thank you!”

“Mm.”

And the two resumed walking, soon disappearing in the trees, leaving Papyrus alone in the forest once more.

---~~~---

Papyrus had a lot to think about as he made his way back to the main paths. He was headed for Sans’s sentry station, hoping his brother would be there.

Of course, he was, and he was asleep, leaning against the counter of his station and drooling all over it. But hearing his brother’s approach, he blinked awake. “Oh? Heya, Papyrus,” Sans said, wiping his face on his sleeve.

Sans had always been better at reading facial expressions than his brother, and he seemed to catch onto Papyrus’s appearance quickly. Immediately he looked at his brother in concern. “What’s wrong? Sheesh, you look like you got a lot on your mind.” But he grinned, rapping his knuckles against his skull with a hollow clunk. “Which is funny, since, y’know, we shouldn’t have anything in our minds.”

Indeed, Papyrus’s mind was heavy with the thoughts of all the things he’d seen and heard today. But looking at his brother, and the circles under his eyes, Papyrus wasn’t sure he felt like talking about the condition of the surface, the strange relations between humans and monsters, and the ongoing war between monsters and more monsters. That could wait for another day.

Maybe he’d ask about something else that was nagging at him.

“...Sans?” he said, leaning his arm on the sentry station’s counter.

“Yeah?”

“Do monsters really come from echo flowers?”

[pncinc]

Tips for RF PCB Design

With so many things to consider when designing an RF PCB, it can be hard to know where to start. How do you choose the right layout? What tools should you use to get the job done? RF PCB design has its own set of challenges that need to be addressed to get the most out of your circuit. There are some best practices you can use to ensure that your design will function optimally and run smoothly.

The best PCB design solution can be the difference between success and failure for your product, so you want to make sure that you are getting it right the first time around. Our guide will walk you through all of the steps necessary to create an RF design that works and that makes your product even better than you envisioned.

Surface Mount Capacitors

Use surface mount capacitors when space is limited. You can incorporate them into your RF Printed Circuit Board design with no impact on performance. Try to keep track of how much space they’ll take and make sure there’s still enough room for other components on the board, like resistors and coils. The surface mount parts are more fragile than through-hole components and require an extra level of care when handling.

Consider using larger surface mount parts wherever possible, or incorporating test points into any sensitive areas if smaller parts are required. Remember that small surface-mount parts have very thin leads that could break off easily. Make sure you know what size of solder tip will be needed before moving forward with your design. If it’s too small, it could damage the delicate leads on these devices. It may also be difficult to attach them to boards after soldering as their leads are so small that they tend to slide around during assembly. When in doubt, use a slightly larger part.

Differential Pair Transformer Coupling

Choosing proper circuit components is an important part of designing and building circuits. When creating transmitter/receiver pairs, several factors influence how well each device will perform. The goal of any transmitter or receiver circuit is to accurately convert an input voltage into an output voltage with minimal noise and distortion.

These parameters are known as gain, linearity, bandwidth, noise figure, NF, return loss, RL, and intercept point, IP. A low NF results in more power being transferred from input to output. The IP value represents how much power can be handled by the front end of a given device before distorting or saturating it, all while maintaining its linearity characteristics.

In other words, if a device has high gain but poor linearity, then it may still have acceptable levels of IP. But if a device has high gain and poor linearity at lower power levels, then it won’t have good IP numbers. In general, devices with higher gains have lower bandwidths, however, there are exceptions to every rule. For example, some amplifiers have very high gains but also operate over wide frequency ranges.

Microstrip Transmission Lines

These are transmission lines in which all of their circuit elements, including those forming half-space planes, and terminations, such as capacitors and transformers, are fabricated on metal strip circuits. The strip circuit is usually etched onto an epoxy substrate using photo etching or electroplating techniques. The micro-strip designs have become very popular for many PC BOARD applications because they can be packaged in small cases with relative ease due to their thin profile. They also have good impedance matching properties over a wide frequency range.

Reference Planes, Power Planes & Ground Planes

Radio-frequency circuit boards or RF designs are often more sensitive to ground loops and signal integrity issues than regular designs because RF circuits and components are particularly susceptible to noise. One way that experienced designers combat these types of issues is by strategically adding power planes, reference planes, and ground planes to their board layouts.

Reference planes: The reference or signal planes can allow designers to focus on specific sections of a circuit without having to worry about interfering signals from other portions.

They also provide a convenient place for designers to add vias between layers of copper, which helps improve both signal quality and thermal performance. Reference planes can be especially useful when they’re directly connected to a component’s ground pin, which allows them to act as an extension of that component’s ground plane.

Power planes: They should always be connected directly to an external source of power, otherwise, they could cause voltage drops across adjacent traces and components.

Ground planes: They should always be connected directly to an external source of the earth, otherwise, they could cause the voltage rises across adjacent traces and components. It's important to note that many high-speed applications use multiple ground planes at different potentials, so it may not be feasible to have just one global ground plane. However, it's generally best practice to keep each section within a single board connected through at least one shared global ground plane.

By using separate grounds for different sections of a design, designers can avoid parasitic effects and increase the overall reliability by ensuring all parts of their designs have access to low impedance paths back to an external earth point.

In addition, it’s crucial to ensure that any ground or power planes are spaced far enough away from any active circuitry in order to minimize crosstalk. Generally speaking, there should be at least 1/10th of a millimeter between active circuitry and any nearby reference or power planes. The distance requirements become even more stringent with higher frequencies. When operating above 30 GHz, there should ideally be no less than 0.3 mm of separation between any ground or power plane and active circuitry.

Vias – Size, Shape & Placement

Vias are required in order for us to make electrical contact with traces on different layers. There are three types of vias, including plated through, blind, and buried. A plated through via connects one layer’s copper trace directly with another via’s copper trace or traces. A blind via creates electrical contact but no physical connection between two layers and a buried via provides both an electrical and physical connection.

Placement is generally determined by where it will be soldered or how many layers are involved. For example, if there are four or more layers involved then we recommend using plated through vias because they offer better conductivity than a blind via. If there are only two layers involved then we recommend using either type of visa, depending on its location relative to other components.

As far as shape goes, choose from square, round, or rectangular options that match your pcb fabrication layout requirements. Circular vias may also be available upon request, however, these have a higher cost associated with them due to their complexity and are not always necessary. We use wire-bondable vias wherever possible because they provide a faster assembly process. The above diagram illustrates each type of via along with its respective shape and size.  

Isolating an RF trace

It is essential to isolate an RF trace from high-speed signals, including HDMI, USB differential pairs, or crystals’ clock traces. Experts do it through a method known as via stitching where vias are stitched around the RF traces to keep them away from other parts on the circuit board. But, there should be proper isolation as improper isolation can affect PCB function.

RF Circuit Board Insulation

Insulation is one of the most important factors for minimizing the signal loss in an RF transmission. If you want to ensure that your signal reaches its destination without any hiccups or interference, it’s crucial that you use good quality material for your board's insulation, and choose one with at least 5-mil thickness.

One of our favorite options is Taconic TFEP as it offers superior heat resistance and can withstand temperatures as high as 350 degrees Celsius. It also has great mechanical properties and will last for years to come. Another great option is Rogers, which boasts similar properties but has a slightly higher temperature resistance.

You'll also want to make sure that you're using a good adhesive when attaching components to your board. This will ensure that everything stays intact even in tough conditions. If you want to ensure that your signal reaches its destination without any hiccups or interference, it’s crucial that you use a good, quality material for your board's insulation.

You can create a flawless RF circuit board by considering all the above design guidelines.

Final Thoughts

RF PCB design has its own set of challenges that need to be addressed in order to get the most out of your circuit. There are some best practices you can use to ensure that your design will function optimally and run smoothly. You have to consider material, traces, surface mount capacitors, isolation, insulation, reference, ground, and power planes, vias size and shape, coupling, and micro-strip transmission line.

Would like to know more about RF design or pcb assembly services? Email us at sales@pnconline.com

Website: https://pnconline.com/ Facebook: https://www.facebook.com/PNCONLINE Twitter: https://twitter.com/PNCINC Instagram: https://www.instagram.com/pnc_pcb/ Tumblr: https://www.tumblr.com/blog/view/pncinc Myspace :https://myspace.com/pncinc2020 Bresdel: https://bresdel.com/pncinc Call us: (973) 284-1600 Email us: sales@pnconline.com Location: PNC INC, 115 East Centre St.Nutley, NJ, 07110

[fantastic4peace]

HDTV Digital Amplified Antenna

HDTV Digital Amplified Antenna

HDTV and Digital Amplified Indoor TV Antenna supports HDTV 1080p, 1080i, 720p Broadcast; Full Band DTV/VHF/UHF Receiver; State of the art 2-Stage VHF Amplifiers; Low Noise High Gain UHF Amplifier incorporating Surface Mount Technology; Super Efficient Noise Reduction Circuitry; Super FM Reception; Tilt Adjustment; LED Power Indicator; Maximum Reception Range: 40 Miles; Frequency Range 47-860 MHz…

[sophiemiller08]

Guide to Fiber Optics Fence Security: What Everything You Should Know?

The fiber fence security is resistant to EMI/RFI or lighting and considered safe in the presence of an explosive environment. A single-mode, standard communication fiber in a direct buried cable configuration effectively offers a source for identifying surrounding alerts. It accurately detects intrusions along with the fiber in real-time and further natural or man-made noises are filtered automatically with advanced signal processing algorithms, thereby, resulting in a low false alarm rate.

Fiber Optics Fence Security System for Homeland Safety

Homeland security has been a crucial aspect, therefore, the technology used should be more reliable and protective. When creating a design for a homeland security system, taking protect large perimeters and state-of-the-art infrastructure into consideration, combined with ground-breaking technology is vital.

The unmatched capabilities of optical fiber combined with smart sensing technology give the ability to immediately detect and locate interruptions or threats over hundreds of miles. The system is easy to install and the maintenance fee has proven to deliver low false alarm rates while offering complete detection even in the most demanding, high-security applications. Simple yet powerful fiber optic security systems are considered highly effective to secure valued assets and critical infrastructure.

How Fiber Optics Security System Works?

Here, we are going to talk about fiber optic for perimeter security, wherein digital images are transmitted via a camera installed underneath a fiber optic cable. It contains strands of pure glass, which can carry digital information over a distance and send the info to a receiver.

The light is transferred along fiber optic cable, a wireless surveillance camera system is used to function and transmit images. The system consists of the following components:

- A fiber optic transmitter is used to feed data into coded light - The optical fiber conducts light signals over miles - Optical booster is utilized to amplify light when traveling to a long distance - An optical receiver is used to decode the light signal into a structured data format

This technology is proven to be advantageous for many communications. It can be used in many areas, such as transportation, military and government, rail and aviation, petroleum and chemical, energy and utilities, and of course, country borders.

Features:

• Immediate alert/signal and detection of potential threats • An additional layer of protection • Continuous detection of intrusions • Delay intruder access • Timely risk assessment and threat analysis

Two Crucial Elements

• Fence – It helps detect intrusions within 25 miles alongside perimeter fences up to 30 miles. The performance of a secure fence is excellent than any other perimeter security system. It can be mounted either on the fence or buried in the ground.

• Pipe and Wall - It can detect third-party interference that could pose damage to pipes and walls, tampering, and unethical tapping attempts. This will navigate such events within 100 meters along a buried and surface pipeline of up to 50 miles. The length of the pipeline is monitored with complete safety and attention.

Conclusion:

It’s time to protect country borders with a cost-effective and powerful fiber optic security fence system that uses innovative technology to identify multiple threats reliably. It comes with a smart sensing technology that gives timely signals and determines intrusions over hundreds of miles.

[bestmechanicaustin]

Best Car Component Speaker Installation Service and Cost in Austin TX |Mobile Auto Truck Repair Austin more information is at: https://mobileautotruckrepairaustintx.com/car-component-speaker-installation-service-near-me/

Car Component Speaker Installation Service near Austin TX: Are you looking for the Best Car Component Speaker Installation Service near Austin TX ? Mobile Auto Truck Repair Austin, Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process. Cost? Free estimates! Send us a message or call us today. Best Car Component Speaker Installation Service around Austin TX. We serve Austin TX and other areas. Get a Free Quote Now!

BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN AUSTIN TX AUSTIN CAR COMPONENT SPEAKER INSTALLATION

Car Component Speaker Installation Service near Austin TX: At Mobile Auto Truck Repair Austin, we've never settled for ho-hum car sound and speakers firing at your knees leave a lot to be desired. For the best possible sound in your car, we recommend a component speaker system. Separate tweeters and woofers will mean a little more work on installation day, but years of enjoyment thanks to the three big audio advantages of component speakers. Driving responsibly on the road requires that you avoid distractions as much as possible. For example, it’s a good idea to turn off your mobile phone, or put it in silent mode, so that you don’t get distracted by text messages (in fact, it’s illegal to use a hand-held mobile phone while driving on roads). Unfortunately, automakers often install low-quality speakers in their cars (in order to save costs) that don’t sound great at low volumes. One solution is to invest in a quality component speaker system that increases the audio quality.

What are component car speakers? Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement. Component speakers, on the other hand, separate the two drivers and introduce a crossover to define the frequency range that each driver should operate at. Tweeters handle the subtle high range and, since higher frequencies are more directional than lower, they are mounted close to ear level. Woofers are usually mounted in your vehicle’s factory locations, most likely in the doors. Free from any physical interference from the tweeters, the more resonant low frequencies will create a solid foundation for the detailed highs.

Benefits of component speakers 1. Tonal clarity The tweeters and woofers, in a component speaker system, are free to work at an enhanced level. More specifically, they will perform at a higher level for the frequencies assigned to them. An external crossover ensures that frequencies above a fixed point go to the tweeters, and those below go to the woofers. This prevents the different drivers from stretching to play frequencies that they can’t handle, increasing the definition of individual sounds and boosting the overall clarity. 2. Soundstage Soundstage is the perceived wideness and depth that the speakers project. Instead of the music sounding like it’s coming from inside or close to your head, a well-set-up component speaker system will sound more spacious. A perfect example to illustrate this is the difference between a standalone speaker and a complete home theatre setup. When you compare the sound quality in a room, excellent Dolby Atmos soundbars will absolutely outshine a lone loudspeaker in terms of soundstage. 3. Sound imaging Sound imaging refers to the perceived spatial locations of the sound sources in a sound recording, both laterally and in depth. It’s most readily appreciated in classical recordings, where various instruments are seated in different locations. By positioning the various parts of a component speaker system (tweeters, woofers and crossover) strategically, within your car, you can improve the sound imaging and create a three-dimensional reproduction of the music. 4. Customizability Another advantage of component speaker systems over their coaxial counterparts is their higher level of customizability. For example, component speakers have split drivers, which means that you can configure them differently through an equalizer. 5. Modular system A complete component speaker system includes tweeters and woofers among other components. The modular nature of this setup means that you can add additional, or upgrade specific, components incrementally and cost-effectively. Component speakers installation Car Component Speaker Installation Service near Austin TX: Component speaker systems use separate woofers, tweeters, and crossovers to send out detailed, dynamic sound. The crossovers send the low frequencies to the woofers and the highs to the tweeters, freeing up each driver to play with incredible clarity. Component speakers offer the listener greater imaging possibilities than full-range speakers via increased flexibility in placement, aim, and control. Getting the great sound that components have to offer does come with a price. Component speaker installations generally require more time and effort than coaxial speaker installations. Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process.

What this guide provides This installation guide will help you decide on the best location for your new components, as well as help you prepare for and complete the installation. Woofer placement The dash, doors, and kick panels serve as the most common homes for woofers. In many cases, you'll be able to mount the woofers in the factory speaker locations with little to no adjustments to the easy fit option. At most, you'll have to drill extra screw holes, cut a small area of metal or pressboard, or file the door panel. Modifying fit speakers requires a greater degree of cutting and drilling. Before you begin, you must be sure that modifications will not interfere with any car mechanisms, and that the speakers will fit securely. Though you can relocate any speaker, whether it be "easy" or "modify" fit, be aware that the process can be complicated and time-consuming, especially for first-time installers. Tweeter placement Many people choose to install their tweeters on the doors, the sail or kick panels, or the dash. Tweeter installations require some panel modifications, as very few vehicles come with factory tweeter mounts. The degree of modification depends on the mounting method. Just as it sounds, surface-mounting places the tweeter on top of a surface, with little to no modifications necessary. Of course, this method will leave you with a more noticeable installation. A flush-mount, on the other hand, gives a smooth, customized look. It requires cutting a hole into the door panel for the tweeter so it sits level with the interior panel. Whichever method you choose, most manufacturers recommend that you mount your tweeters within 12 of the woofers. Otherwise, the high and low frequencies may reach your ears at different times, resulting in a sonic wave cancellation or phase interference. Crossover placement Though crossovers usually require little in the way of car adaptation, finding the right place to house them can be tricky. The crossovers need to be kept in a place where they won't interfere with any of the car's moving parts, and where they won't get wet or vibrate. While some people choose to permanently mount them under the seats or on display, it's often just as easy to find a convenient spot for them behind the mounting panel near the speakers. The closer the crossover is to the speakers, the better, as the proximity will cut down on noise. The doors and behind the kick panels serve as two good options for housing crossovers. When to use new wiring If you're powering your new speakers with a factory or aftermarket stereo, the factory speaker wire already installed in your vehicle should work just fine. However, if you plan to install an external amplifier that's rated at 50 watts RMS or more per channel, then we recommend you run new speaker wire. 14- to 16-gauge wire should do the trick when running new speaker wire. Add-ons The following installation instructions will also apply if you are adding a set of speakers (midranges, tweeters) to your current aftermarket system. Remember, as with any electronic installation, disconnect the negative cable on your battery before doing anything else. Also, make sure you have the necessary tools on hand (see above for details). Door mounting woofers Most car manufacturers build the factory woofers into the door and, often, your new woofer will easily fit into that factory speaker hole. You may still have to dismantle part of your door to install it, however. Here's how: Removing the grille With a flathead screwdriver, gently pry off the grille of the existing speaker. Car manufacturers usually create a notch in the grille for this very purpose. Grilles secured to the door or attached by friction fittings will require unscrewing or more aggressive prying. Removing the door panel You may need to remove the door panel to access the factory speaker, or to custom install your speakers. In this case, start by removing the window crank (if you have one). A screw at the pivot secures some cranks, but most come anchored by a spring clip. You can use a window-crank removal tool (available from Crutchfield) or a flathead screwdriver to remove this clip. To remove, depress the door panel until you can see behind the crank, turn the lever until you see the prongs of the clip, and gently push the crank off with the screwdriver. The clip will pop off, so be careful. Remove armrest and rest of panel Next, you'll have to remove the armrest by unscrewing a few phillips-head screws and some trim fittings around the handle. Once the armrest is unattached, you can remove the door panel. For most cars, you'll find the panel fastened by a few screws and friction fittings. With the screws removed, begin prying off the door panel at the bottom corner. Use a panel tool (available from Crutchfield) or, if you don't have one on hand, two putty knives can also do the trick. Once you loosen the bottom and sides, the panel should hang from some trim at the window well. Simply lift up on the trim, and the panel should come free. Remove the old speaker Carefully lift out the old speaker and detach it from the wiring harness. Some manufacturers use a sealant foam when mounting the original speakers, so you may need to cut through that with a utility knife. Set the factory wiring harness aside. You'll need to wire the woofer to the crossover before routing it to the head unit. See Page 5 for more wiring instructions. Make adjustments accordingly Usually, you'll be able to fit the new speaker into the hole with no difficulty, but sometimes the hole can be too narrow or shallow to accommodate it. In this case, you may have to file or trim part of your door or speaker opening, or anchor your speaker basket to the mounting location. Surface-mounting You should surface-mount your tweeters if you want to minimize labor time and modifications, or if you don't have the depth to flush-mount. Surface-mounting may also offer greater angle range than flush-mounting. With a surface-mount, a cup secured to a surface with a screw holds the tweeter in place. You will need to drill a small hole in the panel to secure the mounting cup and run the speaker leads to the tweeter (see previous page for instructions on removing the door panel). Flush-mounting The advantage of a flush-mount lies in its sleek, factory-look, since the tweeter does not protrude from the panel. Many manufacturers also include angle-mounts that allow you to aim the tweeters slightly, even when they're mounted within the panel. When flush- or angle-mounting your tweeters, you'll need to drill or cut a hole in the panel to accommodate the entire tweeter. Installing flush-mount tweeters First, trace the tweeter cup on the panel or dash. Use a drill with a serrated circular blade to cut the hole, and then trim it with a sharp knife. Mount the tweeter (your tweeter will come with specific instructions for this step). Protecting the crossover Make sure you house the crossover in a dry place, such as in a hollow space behind the plastic door panel. If you must mount it on the door metal, wrap the crossover in a plastic bag and tape the openings to keep it safe from moisture. The crossover should be secure against vibration. Merely placing the crossover in the door or kick panel leaves it likely to be tossed around. Also, as with the speaker installation, you'll want to make sure the crossover does not interfere with any moving parts. Put the crossovers through the same rigorous tests as you did the speakers, specifically with respect to window and door mobility. Wire networks Since you'll most likely install the components in new, unwired locations, you'll have to spend some extra time wiring them. Component speakers also come with external crossovers, so the wires running from the receiver must first be routed to the crossover, and then to the individual woofers and tweeters. If connecting an amplifier as well, the amp should be wired between the receiver and the crossover. Wiring through existing door boot Once you've found the best location for your component system, you'll need to hook it up. Fortunately, most cars sport a rubber boot that connects between the door and the car body. Using this boot as a conduit, run your speaker wires off the door, underneath the kick panels, and to your receiver or external amplifier. You can easily do this by taping the wire to a straightened coat hanger and fishing everything through the interior panels. Test-driving your system At this point, you'll want to test your system before fully reassembling your doors. Loosely attach the door panel to the door, barring the window crank. If you chose to bottom-mount your speakers, mount your speakers in the door before hanging the panel. Holding the speaker in its new hole, mark the screw holes; then remove the speaker, and drill accordingly. Pull the wires through the door and attach them to the speaker. As long as you're consistent, it does not matter which terminal you use as positive and negative. Next, hang the speaker in the door. You may need to use "speed" clips (often provided) to give the speaker screws extra support. With all speakers in place, you can listen to your stereo to make sure it works to your liking. Once you're satisfied, finish reattaching your door panel. Cutting a wire hole If your car doesn't have a rubber boot, you'll have to drill a 5/8" hole to string the wiring through. Before drilling, make sure the hole will have access to the desired speaker location, as structural steel sometimes blocks the edge of the door. Cover any sharp edges of the hole with a rubber grommet, several layers of electrical tape, or some flexible tubing. Make sure the door will stay open all the way, and that the wire will not get pinched by the hinges or door jamb. Once you finish drilling and cutting, vacuum all metal debris before finally installing the speakers to prevent rattling or shorts. Custom woofer installation Nothing competes with placing your speakers in the location that you determine emits the best possible sound. You may even end up locating your woofers in locations that don't already have speaker holes. In that case, you need to make some. Here's what you need to know. For more information on this, check out the Mobile Auto Truck Repair Austin. TIPS Car Component Speaker Installation Service near Austin TX: Choosing a professional to install speakers ensures the job is done right. Some general steps for car speaker’s installation: ● First of all you should disconnect the battery that supplies the power. ● Disassemble the doors you wish to insert the audio system in ● Eliminate the default speakers ● It also requires expulsion of dash, or back shelf interior boards to get to the speaker mounting place If you're thinking about upgrading your car audio, there are a few things to keep in mind. And it all starts with where the weakest part of the system is. Not enough volume? Lack of solid bass response? Figuring out the weakness helps you formulate a plan of action. New car? Take the turn-it-up test. You just bought a new car or truck – and you love it. It smells good, looks good, drives like a dream… and there’s not a single M&M or runaway french-fry under the seat. (Yet.) Awesome, congratulations. Now, get in the driver’s seat and play the stereo. Loud. As in All The Way Up Loud. Assuming you‘ve already done this, two things: 1) We’re not here to bum you out or tell you anything you don’t already know, like your new car audio is seriously lacking, and 2) You’re not alone. Truth is, every new car and truck comes with less-than-impressive sound systems (even premium sound systems can be improved upon, believe it or not). The good news: upgrading your car's sound system won’t cost a fortune or require ruining your car’s clean original equipment manufacturers (OEM) look. More on that in a moment. Older car? Skip the turn-it-up test. You know your car like the back of your hand. And though you can’t turn back the odometer or make it look showroom clean, it’s a good car in spite of its age. (Note: Eddie Van Halen is 62. Aretha Franklin is 75. Both still bring the house down.) Our point is that no matter how old your car is, you can get that new car buzz back again with a killer sound system in one of two ways: 1) By replacing elements of the sound system – speakers, amps, touch screens, etc. – in a way that doesn’t change your car’s OEM look, or 2) Going all in with a balls-to-the-wall car audio system that’s more about blowing your mind vs. keeping a look. Choose the right speaker size to fit your car. There are tons of car speaker size options to choose from.

If you’re looking to keep your car’s OEM look, then you want to replace your existing speakers with speakers of the same size. (Have 6.5 speakers in the front doors of your Honda Civic? Get 6.5 speakers as replacements.) Stick with your current car speaker style. Before you start looking at new car speakers, you’ll want to know if your current speaker style is component or coaxial. Depending on which one you currently have, you'll want to keep it consistent when you shop for new speakers.

COST How much does it cost to get a new Component Speaker Installation in your car? Shop car electronics professional installation Entertainment Regular Price Advanced In-Dash Navigation or In-Dash Video Installation $99.99 Standard Speaker Installation $64.99 Component Speaker Installation $99.99 Rear-Seat Video Installation $119.99–$199.99 Cost for new speakers In terms of costs, again, the sky’s the limit. A speaker upgrade can cost as little as $100 up to several thousand dollars depending on the scope of work and type of speaker. Cook says the cost of a subwoofer can run as low as $37.Mobile Auto Truck Repair Austin sells a subwoofer package that includes an amplifier and an enclosure for $299. For a pair of car speakers, Mobile Auto Truck Repair Austin start prices at $39, with an average cost of about $70 for installation. Adding an anti-vibrator to a pair of speakers costs another $25. Nevitt, meanwhile, charges as little as $99 for a pair of some decent speakers. The cost of an hour of installation, which is typically how long it takes to install a pair of speakers, is $67.But most customers spend much more. Paying a total of $800 to $1000 is not out of the realm of possibility.

FREQUENTLY ASKED QUESTIONS What are component car speakers? Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement.

What advantages do component speakers have over their counterparts coaxial speakers ? Because component speakers separate all their drivers, they can provide better stereo-imaging as well as much more detailed and rich sound than you could expect from coaxial speakers. What we like the most about component speakers, is that you can mount the tweeters wherever you assume they can perform at their best.  Additionally, the separate crossovers will forward the highs and lows to the proper driver – highs to the tweeters and lows to the woofers.  As a rule, if you want your component speakers to really shine out, you’ll want to drive them by an external amplifier.

My new component speakers aren’t what I’ve been expecting. What’s wrong ? There are a few things you need to do to get your speakers to sound at their best: ● Check your tweeter attenuation switch – Try switching it off to attenuate the highs that overpower the sound output. ● Are your speakers properly powered? If you’ve got some power greedy speakers, don’t expect too much out of them if you’re running them off your receiver.  Remember that by under powering your speakers, you risk voiding your warranty. ● You might want to consider installing foam baffles and dynamat in your doors

Which car speakers will fit my car ? Car speakers are classified by cone size. This size isn’t the only thing you’ll have to take into consideration.  Sometimes speakers are too deep for the locations they’re meant to go in. Different speakers can fit different enclosures by using mounting brackets.  In addition, sometimes minor modifications are necessary to make your speaker fit their mounting location. Almost all online retailers including Amazon carry a huge database of car’s brands, make, year and models and thus they’re able to tell if a given set of speakers will fit your vehicle or not.

Can I install my new car speakers myself ? Yes you can, It’s not that complicated at all, especially if your speakers are of coaxial type.  If that’s the case, then it’s just a matter of removing the old speakers and dropping the new ones in their mounting locations, connecting a few wires and you’re good to go.  However, if you’ve bought component speakers, then be prepared to put in some effort into installing them.

Can I keep my factory speaker’s wires ? Factory speakers wires are just fine.  They can be used with aftermarket speakers if you’re running them off a factory or aftermarket stereo.  However, if this is your first step in upgrading your entire sound system, and you intend to add one or multiple sub(s) and amp(s) down the road, then it’s highly recommended to change these wires.

Do speakers with higher sensitivity rating sound better ? Sensitivity rating doesn’t tell you how good or not so good a speaker sounds.  It only indicates how effectively your speakers convert power applied to them into volume.  However, the higher the better.  Don’t get us wrong, speakers with low sensitivity rating can also sound great, but they require a very powerful external amplifier or a high-powered receiver.

How much power Is enough for my new speakers ? The amount of power your speakers require is nominated by RMS power handling (Root Mean Square), exceeding this power range by a little bit will boost your overall sound quality.  That being said, a speaker with lower RMS power handling is best suited for being powered by a factory or aftermarket stereo, while speakers with higher RMS will work better with an external amp. It’s important to match up your speakers with the right amp.  Make sure the RMS number on your amp matches the RMS rating on your speakers.  If there’s a huge gap between the power handling rating of both your speakers and amp, your speakers could be under-powered, or even overpowered, which could put your speakers at risk.  However, technically speaking, the risk of under-powering your speakers is much greater than overpowering them.

CALL FOR US: ● Car Component Speaker Installation Service Near Austin TX ● Installing Component Speakers With Amp ● Installing Component Speakers Without Crossover ● How To Wire Component Speakers To 4 Channel Amp ● Best Component Speakers ● Installing Component Speakers Without Amp ● Car Audio Crossover Installation Diagram ● Do Component Speakers Need An Amp Near Austin TX ● 6.5'' Component Speakers ● Best Component Speakers For Car ● Car Speakers 6 Inch ● Car Speakers Price ● Car Component Speakers ● Car Speakers Sony ● 4 Inch Car Speakers With Good Bass ● Best Speakers For Car ● Sony 500 Watt Car Speakers Price Near Austin TX

BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN AUSTIN TX MOBILE AUTO TRUCK REPAIR AUSTIN REQUEST MORE INFORMATION. CONTACT US NOW! Contact Details Mobile Auto Truck Repair Austin Best Mobile Mechanic & Mobile Auto Truck Repair in Austin Texas Call US: (512) 649-5322 Location: Texas, Austin

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Zip Codes in Austin, Texas: 76527 (Florence) 76530 (Granger) 76537 (Jarrell) 76573 (Schwertner) 76574 (Taylor) 76578 (Thrall) 78602 (Bastrop) 78610 (Buda) 78612 (Cedar Creek) 78613 (Cedar Park) 78615 (Coupland) 78616 (Dale) 78617 (Del Valle) 78619 (Driftwood) 78620 (Dripping Springs) 78621 (Elgin) 78622 (Fentress) 78626 (Georgetown) 78628 (Georgetown) 78633 (Georgetown) 78634 (Hutto) 78640 (Kyle) 78641 (Leander) 78642 (Liberty Hill) 78644 (Lockhart) 78645 (Lago Vista) 78648 (Luling) 78650 (Mc Dade) 78652 (Manchaca) 78653 (Manor) 78655 (Martindale) 78656 (Maxwell) 78659 (Paige) 78660 (Pflugerville) 78661 (Prairie Lea) 78662 (Red Rock) 78664 (Round Rock) 78665 (Round Rock) 78666 (San Marcos) 78669 (Spicewood) 78676 (Wimberley) 78681 (Round Rock) 78701 | 78702 | 78703 | 78704 | 78705 | 78712 | 78717 | 78719 | 78721 | 78722 | 78723 | 78724 | 78725 (Hornsby Bend) 78726 | 78727 | 78728 (Wells Branch) 78729 (Jollyville) 78730 | 78731 | 78732 | 78733 | 78734 (Lakeway) 78735 | 78736 | 78737 | 78738 (Bee Cave) 78739 | 78741 | 78742 | 78744 | 78745 | 78746 | 78747 | 78748 | 78749 | 78750 | 78751 | 78752 | 78753 | 78754 | 78756 | 78757 | 78758 | 78759 | 78953 (Rosanky) 78957 (Smithville)

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Best Car Component Speaker Installation Service and Cost in Albuquerque NM |Mobile Mechanics of Albuquerque

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http://mobilemechanicalbuquerque.org/car-component-speaker-installation-service-near-me/

Are you looking for the Best Car Component Speaker Installation Service near Albuquerque NM ? Mobile Mechanics of Albuquerque,Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process.Cost? Free estimates! Send us a message or call us today. Best Car Component Speaker Installation Service around Albuquerque NM. We serve Albuquerque NMand other areas. Get a Free Quote Now!

 BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN ALBUQUERQUE NM

ALBUQUERQUECAR COMPONENT SPEAKER INSTALLATION

 Car Component Speaker Installation Service near Albuquerque NM:

At Mobile Mechanics of Albuquerque, we've never settled for ho-hum car sound and speakers firing at your knees leave a lot to be desired. For the best possible sound in your car, we recommend a component speaker system. Separate tweeters and woofers will mean a little more work on installation day, but years of enjoyment thanks to the three big audio advantages of component speakers.

Driving responsibly on the road requires that you avoid distractions as much as possible. For example, it’s a good idea to turn off your mobile phone, or put it in silent mode, so that you don’t get distracted by text messages (in fact, it’s illegal to use a hand-held mobile phone while driving on roads).

Unfortunately, automakers often install low-quality speakers in their cars (in order to save costs) that don’t sound great at low volumes. One solution is to invest in a quality component speaker system that increases the audio quality.

 What are component car speakers?

Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement.

Component speakers, on the other hand, separate the two drivers and introduce a crossover to define the frequency range that each driver should operate at. Tweeters handle the subtle high range and, since higher frequencies are more directional than lower, they are mounted close to ear level. Woofers are usually mounted in your vehicle’s factory locations, most likely in the doors. Free from any physical interference from the tweeters, the more resonant low frequencies will create a solid foundation for the detailed highs.

 Benefits of component speakers

1. Tonal clarity

The tweeters and woofers, in a component speaker system, are free to work at an enhanced level. More specifically, they will perform at a higher level for the frequencies assigned to them. An external crossover ensures that frequencies above a fixed point go to the tweeters, and those below go to the woofers. This prevents the different drivers from stretching to play frequencies that they can’t handle, increasing the definition of individual sounds and boosting the overall clarity.

2. Soundstage

Soundstage is the perceived wideness and depth that the speakers project. Instead of the music sounding like it’s coming from inside or close to your head, a well-set-up component speaker system will sound more spacious. A perfect example to illustrate this is the difference between a standalone speaker and a complete home theatre setup. When you compare the sound quality in a room, excellent Dolby Atmos soundbars will absolutely outshine a lone loudspeaker in terms of soundstage.

3. Sound imaging

Sound imaging refers to the perceived spatial locations of the sound sources in a sound recording, both laterally and in depth. It’s most readily appreciated in classical recordings, where various instruments are seated in different locations. By positioning the various parts of a component speaker system (tweeters, woofers and crossover) strategically, within your car, you can improve the sound imaging and create a three-dimensional reproduction of the music.

4. Customizability

Another advantage of component speaker systems over their coaxial counterparts is their higher level of customizability. For example, component speakers have split drivers, which means that you can configure them differently through an equalizer.

5. Modular system

A complete component speaker system includes tweeters and woofers among other components. The modular nature of this setup means that you can add additional, or upgrade specific, components incrementally and cost-effectively.

Component speakers installation

Car Component Speaker Installation Service near Albuquerque NM: Component speaker systems use separate woofers, tweeters, and crossovers to send out detailed, dynamic sound. The crossovers send the low frequencies to the woofers and the highs to the tweeters, freeing up each driver to play with incredible clarity. Component speakers offer the listener greater imaging possibilities than full-range speakers via increased flexibility in placement, aim, and control. Getting the great sound that components have to offer does come with a price. Component speaker installations generally require more time and effort than coaxial speaker installations. Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process.

 What this guide provides

This installation guide will help you decide on the best location for your new components, as well as help you prepare for and complete the installation.

Woofer placement

The dash, doors, and kick panels serve as the most common homes for woofers. In many cases, you'll be able to mount the woofers in the factory speaker locations with little to no adjustments to the easy fit option. At most, you'll have to drill extra screw holes, cut a small area of metal or pressboard, or file the door panel. Modifying fit speakers requires a greater degree of cutting and drilling. Before you begin, you must be sure that modifications will not interfere with any car mechanisms, and that the speakers will fit securely. Though you can relocate any speaker, whether it be "easy" or "modify" fit, be aware that the process can be complicated and time-consuming, especially for first-time installers.

Tweeter placement

Many people choose to install their tweeters on the doors, the sail or kick panels, or the dash. Tweeter installations require some panel modifications, as very few vehicles come with factory tweeter mounts. The degree of modification depends on the mounting method. Just as it sounds, surface-mounting places the tweeter on top of a surface, with little to no modifications necessary. Of course, this method will leave you with a more noticeable installation. A flush-mount, on the other hand, gives a smooth, customized look. It requires cutting a hole into the door panel for the tweeter so it sits level with the interior panel. Whichever method you choose, most manufacturers recommend that you mount your tweeters within 12 of the woofers. Otherwise, the high and low frequencies may reach your ears at different times, resulting in a sonic wave cancellation or phase interference.

Crossover placement

Though crossovers usually require little in the way of car adaptation, finding the right place to house them can be tricky. The crossovers need to be kept in a place where they won't interfere with any of the car's moving parts, and where they won't get wet or vibrate. While some people choose to permanently mount them under the seats or on display, it's often just as easy to find a convenient spot for them behind the mounting panel near the speakers. The closer the crossover is to the speakers, the better, as the proximity will cut down on noise. The doors and behind the kick panels serve as two good options for housing crossovers.

When to use new wiring

If you're powering your new speakers with a factory or aftermarket stereo, the factory speaker wire already installed in your vehicle should work just fine. However, if you plan to install an external amplifier that's rated at 50 watts RMS or more per channel, then we recommend you run new speaker wire. 14- to 16-gauge wire should do the trick when running new speaker wire.

Add-ons

The following installation instructions will also apply if you are adding a set of speakers (midranges, tweeters) to your current aftermarket system.

Remember, as with any electronic installation, disconnect the negative cable on your battery before doing anything else. Also, make sure you have the necessary tools on hand (see above for details).

Door mounting woofers

Most car manufacturers build the factory woofers into the door and, often, your new woofer will easily fit into that factory speaker hole. You may still have to dismantle part of your door to install it, however. Here's how:

Removing the grille

With a flathead screwdriver, gently pry off the grille of the existing speaker. Car manufacturers usually create a notch in the grille for this very purpose. Grilles secured to the door or attached by friction fittings will require unscrewing or more aggressive prying.

Removing the door panel

You may need to remove the door panel to access the factory speaker, or to custom install your speakers. In this case, start by removing the window crank (if you have one). A screw at the pivot secures some cranks, but most come anchored by a spring clip. You can use a window-crank removal tool (available from Crutchfield) or a flathead screwdriver to remove this clip. To remove, depress the door panel until you can see behind the crank, turn the lever until you see the prongs of the clip, and gently push the crank off with the screwdriver. The clip will pop off, so be careful.

Remove armrest and rest of panel

Next, you'll have to remove the armrest by unscrewing a few phillips-head screws and some trim fittings around the handle. Once the armrest is unattached, you can remove the door panel. For most cars, you'll find the panel fastened by a few screws and friction fittings. With the screws removed, begin prying off the door panel at the bottom corner. Use a panel tool (available from Crutchfield) or, if you don't have one on hand, two putty knives can also do the trick. Once you loosen the bottom and sides, the panel should hang from some trim at the window well. Simply lift up on the trim, and the panel should come free.

Remove the old speaker

Carefully lift out the old speaker and detach it from the wiring harness. Some manufacturers use a sealant foam when mounting the original speakers, so you may need to cut through that with a utility knife. Set the factory wiring harness aside. You'll need to wire the woofer to the crossover before routing it to the head unit. See Page 5 for more wiring instructions.

Make adjustments accordingly

Usually, you'll be able to fit the new speaker into the hole with no difficulty, but sometimes the hole can be too narrow or shallow to accommodate it. In this case, you may have to file or trim part of your door or speaker opening, or anchor your speaker basket to the mounting location.

Surface-mounting

You should surface-mount your tweeters if you want to minimize labor time and modifications, or if you don't have the depth to flush-mount. Surface-mounting may also offer greater angle range than flush-mounting. With a surface-mount, a cup secured to a surface with a screw holds the tweeter in place. You will need to drill a small hole in the panel to secure the mounting cup and run the speaker leads to the tweeter (see previous page for instructions on removing the door panel).

Flush-mounting

The advantage of a flush-mount lies in its sleek, factory-look, since the tweeter does not protrude from the panel. Many manufacturers also include angle-mounts that allow you to aim the tweeters slightly, even when they're mounted within the panel. When flush- or angle-mounting your tweeters, you'll need to drill or cut a hole in the panel to accommodate the entire tweeter.

Installing flush-mount tweeters

First, trace the tweeter cup on the panel or dash. Use a drill with a serrated circular blade to cut the hole, and then trim it with a sharp knife. Mount the tweeter (your tweeter will come with specific instructions for this step).

Protecting the crossover

Make sure you house the crossover in a dry place, such as in a hollow space behind the plastic door panel. If you must mount it on the door metal, wrap the crossover in a plastic bag and tape the openings to keep it safe from moisture.

The crossover should be secure against vibration. Merely placing the crossover in the door or kick panel leaves it likely to be tossed around. Also, as with the speaker installation, you'll want to make sure the crossover does not interfere with any moving parts. Put the crossovers through the same rigorous tests as you did the speakers, specifically with respect to window and door mobility.

Wire networks

Since you'll most likely install the components in new, unwired locations, you'll have to spend some extra time wiring them. Component speakers also come with external crossovers, so the wires running from the receiver must first be routed to the crossover, and then to the individual woofers and tweeters. If connecting an amplifier as well, the amp should be wired between the receiver and the crossover.

Wiring through existing door boot

Once you've found the best location for your component system, you'll need to hook it up. Fortunately, most cars sport a rubber boot that connects between the door and the car body. Using this boot as a conduit, run your speaker wires off the door, underneath the kick panels, and to your receiver or external amplifier. You can easily do this by taping the wire to a straightened coat hanger and fishing everything through the interior panels.

Test-driving your system

At this point, you'll want to test your system before fully reassembling your doors. Loosely attach the door panel to the door, barring the window crank. If you chose to bottom-mount your speakers, mount your speakers in the door before hanging the panel. Holding the speaker in its new hole, mark the screw holes; then remove the speaker, and drill accordingly.

Pull the wires through the door and attach them to the speaker. As long as you're consistent, it does not matter which terminal you use as positive and negative. Next, hang the speaker in the door. You may need to use "speed" clips (often provided) to give the speaker screws extra support. With all speakers in place, you can listen to your stereo to make sure it works to your liking. Once you're satisfied, finish reattaching your door panel.

Cutting a wire hole

If your car doesn't have a rubber boot, you'll have to drill a 5/8" hole to string the wiring through. Before drilling, make sure the hole will have access to the desired speaker location, as structural steel sometimes blocks the edge of the door. Cover any sharp edges of the hole with a rubber grommet, several layers of electrical tape, or some flexible tubing. Make sure the door will stay open all the way, and that the wire will not get pinched by the hinges or door jamb. Once you finish drilling and cutting, vacuum all metal debris before finally installing the speakers to prevent rattling or shorts.

Custom woofer installation

Nothing competes with placing your speakers in the location that you determine emits the best possible sound. You may even end up locating your woofers in locations that don't already have speaker holes. In that case, you need to make some. Here's what you need to know.

For more information on this, check out the Mobile Mechanics of Albuquerque.

TIPS

Car Component Speaker Installation Service near Albuquerque NM: Choosing a professional to install speakers ensures the job is done right.

Some general steps for car speaker’s installation:

●      First of all you should disconnect the battery that supplies the power.

●      Disassemble the doors you wish to insert the audio system in

●      Eliminate the default speakers

●      It also requires expulsion of dash, or back shelf interior boards to get to the speaker mounting place

If you're thinking about upgrading your car audio, there are a few things to keep in mind. And it all starts with where the weakest part of the system is. Not enough volume? Lack of solid bass response? Figuring out the weakness helps you formulate a plan of action.

New car? Take the turn-it-up test.

You just bought a new car or truck – and you love it. It smells good, looks good, drives like a dream… and there’s not a single M&M or runaway french-fry under the seat. (Yet.) Awesome, congratulations. Now, get in the driver’s seat and play the stereo. Loud. As in All The Way Up Loud.

Assuming you‘ve already done this, two things: 1) We’re not here to bum you out or tell you anything you don’t already know, like your new car audio is seriously lacking, and 2) You’re not alone. Truth is, every new car and truck comes with less-than-impressive sound systems (even premium sound systems can be improved upon, believe it or not). The good news: upgrading your car's sound system won’t cost a fortune or require ruining your car’s clean original equipment manufacturers (OEM) look. More on that in a moment.

Older car? Skip the turn-it-up test.

You know your car like the back of your hand. And though you can’t turn back the odometer or make it look showroom clean, it’s a good car in spite of its age. (Note: Eddie Van Halen is 62. Aretha Franklin is 75. Both still bring the house down.) Our point is that no matter how old your car is, you can get that new car buzz back again with a killer sound system in one of two ways: 1) By replacing elements of the sound system – speakers, amps, touch screens, etc. – in a way that doesn’t change your car’s OEM look, or 2) Going all in with a balls-to-the-wall car audio system that’s more about blowing your mind vs. keeping a look.

Choose the right speaker size to fit your car.

There are tons of car speaker size options to choose from.

 If you’re looking to keep your car’s OEM look, then you want to replace your existing speakers with speakers of the same size. (Have 6.5 speakers in the front doors of your Honda Civic? Get 6.5 speakers as replacements.)

Stick with your current car speaker style.

Before you start looking at new car speakers, you’ll want to know if your current speaker style is component or coaxial. Depending on which one you currently have, you'll want to keep it consistent when you shop for new speakers.

 COST

How much does it cost to get a new Component Speaker Installation in your car?

Shop car electronics professional installation

Entertainment                                                                   Regular Price

Advanced In-Dash Navigation or

In-Dash Video Installation                                               $99.99

Standard Speaker Installation                                        $64.99

Component Speaker Installation                                   $99.99

Rear-Seat Video Installation                                            $119.99–$199.99

Cost for new speakers

In terms of costs, again, the sky’s the limit.

A speaker upgrade can cost as little as $100 up to several thousand dollars depending on the scope of work and type of speaker.Cook says the cost of a subwoofer can run as low as $37.Mobile Mechanics of Albuquerque sells a subwoofer package that includes an amplifier and an enclosure for $299.

For a pair of car speakers,Mobile Mechanics of Albuquerque start prices at $39, with an average cost of about $70 for installation. Adding an anti-vibrator to a pair of speakers costs another $25.

Nevitt, meanwhile, charges as little as $99 for a pair of some decent speakers. The cost of an hour of installation, which is typically how long it takes to install a pair of speakers, is $67.But most customers spend much more.

Paying a total of $800 to $1000 is not out of the realm of possibility.

 FREQUENTLY ASKED QUESTIONS

What are component car speakers?

Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement.

 What advantages do component speakers have over their counterparts coaxial speakers ?

Because component speakers separate all their drivers, they can provide better stereo-imaging as well as much more detailed and rich sound than you could expect from coaxial speakers.

What we like the most about component speakers, is that you can mount the tweeters wherever you assume they can perform at their best.  Additionally,the separate crossovers will forward the highs and lows to the proper driver – highs to the tweeters and lows to the woofers. As a rule, if you want your component speakers to really shine out, you’ll want to drive them by an external amplifier.

 My new component speakers aren’t what I’ve been expecting.What’s wrong ?

There are a few things you need to do to get your speakers to sound at their best:

●      Check your tweeter attenuation switch – Try switching it off to attenuate the highs that overpower the sound output.

●      Are your speakers properly powered? If you’ve got some power greedy speakers, don’t expect too much out of them if you’re running them off your receiver.  Remember that by underpowering your speakers, you risk voiding your warranty.

●      You might want to consider installing foam baffles and dynamat in your doors

 Which car speakers will fit my car ?

Car speakers are classified by cone size.This size isn’t the only thing you’ll have to take into consideration.  Sometimes speakers are too deep for the locations they’re meant to go in.Different speakers can fit different enclosures by using mounting brackets.  In addition, sometimes minor modifications are necessary to make your speaker fit their mounting location. Almost all online retailers including Amazon carry a huge database of car’s brands, make, year and models and thus they’re able to tell if a given set of speakers will fit your vehicle or not.

 Can I install my new car speakers myself ?

Yes you can, It’s not that complicated at all, especially if your speakers are of coaxial type.  If that’s the case, then it’s just a matter of removing the old speakers and dropping the new ones in their mounting locations, connecting a few wires and you’re good to go.  However, if you’ve bought component speakers, then be prepared to put in some effort into installing them.

 Can I keep my factory speaker’s wires ?

Factory speakers wires are just fine.  They can be used with aftermarket speakers if you’re running them off a factory or aftermarket stereo.  However, if this is your first step in upgrading your entire sound system, and you intend to add one or multiple sub(s) and amp(s) down the road, then it’s highly recommended to change these wires.

 Do speakers with higher sensitivity rating sound better ?

Sensitivity rating doesn’t tell you how good or not so good a speaker sounds. It only indicates how effectively your speakers convert power applied to them into volume.  However, the higher the better.  Don’t get us wrong, speakers with low sensitivity rating can also sound great, but they require a very powerful external amplifier or a high-powered receiver.

 How much power Is enough for my new speakers ?

The amount of power your speakers require is nominated by RMS power handling (Root Mean Square), exceeding this power range by a little bit will boost your overall sound quality.  That being said, a speaker with lower RMS power handling is best suited for being powered by a factory or aftermarket stereo, while speakers with higher RMS will work better with an external amp.

It’s important to match up your speakers with the right amp.  Make sure the RMS number on your amp matches the RMS rating on your speakers.  If there’s a huge gap between the power handling rating of both your speakers and amp, your speakers could be under-powered, or even overpowered, which could put your speakers at risk.  However, technically speaking, the risk of under-powering your speakers is much greater than overpowering them.

 CALL FOR US:

●      Car Component Speaker Installation Service Near Albuquerque NM

●      Installing Component Speakers With Amp

●      Installing Component Speakers Without Crossover

●      How To Wire Component Speakers To 4 Channel Amp

●      Best Component Speakers

●      Installing Component Speakers Without Amp

●      Car Audio Crossover Installation Diagram

●      Do Component Speakers Need An Amp Near Albuquerque NM

●      6.5'' Component Speakers

●      Best Component Speakers For Car

●      Car Speakers 6 Inch

●      Car Speakers Price

●      Car Component Speakers

●      Car Speakers Sony

●      4 Inch Car Speakers With Good Bass

●      Best Speakers For Car

●      Sony 500 Watt Car Speakers Price Near Albuquerque NM

 BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN ALBUQUERQUE NM

MOBILE MECHANICS OF ALBUQUERQUE

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Best Car Component Speaker Installation Service and Cost in Omaha NE |Mobile Mechanics of Omaha

 More information is at: http://24hourautotruckrepairOmaha.org/car-component-speaker-installation-near-me/

 Car Component Speaker Installation Service near Omaha NE: Are you looking for the Best Car Component Speaker Installation Service near Omaha NE ? Mobile Mechanics of Omaha, Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process. Cost? Free estimates! Send us a message or call us today. Best Car Component Speaker Installation Service around Omaha NE. We serve Omaha NE and other areas. Get a Free Quote Now!

 BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN OMAHA NE

OMAHA CAR COMPONENT SPEAKER INSTALLATION

 Car Component Speaker Installation Service near Omaha NE:

At Mobile Mechanics of Omaha, we've never settled for ho-hum car sound and speakers firing at your knees leave a lot to be desired. For the best possible sound in your car, we recommend a component speaker system. Separate tweeters and woofers will mean a little more work on installation day, but years of enjoyment thanks to the three big audio advantages of component speakers.

Driving responsibly on the road requires that you avoid distractions as much as possible. For example, it’s a good idea to turn off your mobile phone, or put it in silent mode, so that you don’t get distracted by text messages (in fact, it’s illegal to use a hand-held mobile phone while driving on roads).

Unfortunately, automakers often install low-quality speakers in their cars (in order to save costs) that don’t sound great at low volumes. One solution is to invest in a quality component speaker system that increases the audio quality.

 What are component car speakers?

Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement.

Component speakers, on the other hand, separate the two drivers and introduce a crossover to define the frequency range that each driver should operate at. Tweeters handle the subtle high range and, since higher frequencies are more directional than lower, they are mounted close to ear level. Woofers are usually mounted in your vehicle’s factory locations, most likely in the doors. Free from any physical interference from the tweeters, the more resonant low frequencies will create a solid foundation for the detailed highs.

 Benefits of component speakers

1. Tonal clarity

The tweeters and woofers, in a component speaker system, are free to work at an enhanced level. More specifically, they will perform at a higher level for the frequencies assigned to them. An external crossover ensures that frequencies above a fixed point go to the tweeters, and those below go to the woofers. This prevents the different drivers from stretching to play frequencies that they can’t handle, increasing the definition of individual sounds and boosting the overall clarity.

2. Soundstage

Soundstage is the perceived wideness and depth that the speakers project. Instead of the music sounding like it’s coming from inside or close to your head, a well-set-up component speaker system will sound more spacious. A perfect example to illustrate this is the difference between a standalone speaker and a complete home theatre setup. When you compare the sound quality in a room, excellent Dolby Atmos soundbars will absolutely outshine a lone loudspeaker in terms of soundstage.

3. Sound imaging

Sound imaging refers to the perceived spatial locations of the sound sources in a sound recording, both laterally and in depth. It’s most readily appreciated in classical recordings, where various instruments are seated in different locations. By positioning the various parts of a component speaker system (tweeters, woofers and crossover) strategically, within your car, you can improve the sound imaging and create a three-dimensional reproduction of the music.

4. Customizability

Another advantage of component speaker systems over their coaxial counterparts is their higher level of customizability. For example, component speakers have split drivers, which means that you can configure them differently through an equalizer.

5. Modular system

A complete component speaker system includes tweeters and woofers among other components. The modular nature of this setup means that you can add additional, or upgrade specific, components incrementally and cost-effectively.

Component speakers installation

Car Component Speaker Installation Service near Omaha NE: Component speaker systems use separate woofers, tweeters, and crossovers to send out detailed, dynamic sound. The crossovers send the low frequencies to the woofers and the highs to the tweeters, freeing up each driver to play with incredible clarity. Component speakers offer the listener greater imaging possibilities than full-range speakers via increased flexibility in placement, aim, and control. Getting the great sound that components have to offer does come with a price. Component speaker installations generally require more time and effort than coaxial speaker installations. Depending on your vehicle and where you choose to place your components, they may require drilling or cutting. But don't be intimidated; this installation guide can help even first-time installers find their way through the process.

 What this guide provides

This installation guide will help you decide on the best location for your new components, as well as help you prepare for and complete the installation.

Woofer placement

The dash, doors, and kick panels serve as the most common homes for woofers. In many cases, you'll be able to mount the woofers in the factory speaker locations with little to no adjustments to the easy fit option. At most, you'll have to drill extra screw holes, cut a small area of metal or pressboard, or file the door panel. Modifying fit speakers requires a greater degree of cutting and drilling. Before you begin, you must be sure that modifications will not interfere with any car mechanisms, and that the speakers will fit securely. Though you can relocate any speaker, whether it be "easy" or "modify" fit, be aware that the process can be complicated and time-consuming, especially for first-time installers.

Tweeter placement

Many people choose to install their tweeters on the doors, the sail or kick panels, or the dash. Tweeter installations require some panel modifications, as very few vehicles come with factory tweeter mounts. The degree of modification depends on the mounting method. Just as it sounds, surface-mounting places the tweeter on top of a surface, with little to no modifications necessary. Of course, this method will leave you with a more noticeable installation. A flush-mount, on the other hand, gives a smooth, customized look. It requires cutting a hole into the door panel for the tweeter so it sits level with the interior panel. Whichever method you choose, most manufacturers recommend that you mount your tweeters within 12 of the woofers. Otherwise, the high and low frequencies may reach your ears at different times, resulting in a sonic wave cancellation or phase interference.

Crossover placement

Though crossovers usually require little in the way of car adaptation, finding the right place to house them can be tricky. The crossovers need to be kept in a place where they won't interfere with any of the car's moving parts, and where they won't get wet or vibrate. While some people choose to permanently mount them under the seats or on display, it's often just as easy to find a convenient spot for them behind the mounting panel near the speakers. The closer the crossover is to the speakers, the better, as the proximity will cut down on noise. The doors and behind the kick panels serve as two good options for housing crossovers.

When to use new wiring

If you're powering your new speakers with a factory or aftermarket stereo, the factory speaker wire already installed in your vehicle should work just fine. However, if you plan to install an external amplifier that's rated at 50 watts RMS or more per channel, then we recommend you run new speaker wire. 14- to 16-gauge wire should do the trick when running new speaker wire.

Add-ons

The following installation instructions will also apply if you are adding a set of speakers (midranges, tweeters) to your current aftermarket system.

Remember, as with any electronic installation, disconnect the negative cable on your battery before doing anything else. Also, make sure you have the necessary tools on hand (see above for details).

Door mounting woofers

Most car manufacturers build the factory woofers into the door and, often, your new woofer will easily fit into that factory speaker hole. You may still have to dismantle part of your door to install it, however. Here's how:

Removing the grille

With a flathead screwdriver, gently pry off the grille of the existing speaker. Car manufacturers usually create a notch in the grille for this very purpose. Grilles secured to the door or attached by friction fittings will require unscrewing or more aggressive prying.

Removing the door panel

You may need to remove the door panel to access the factory speaker, or to custom install your speakers. In this case, start by removing the window crank (if you have one). A screw at the pivot secures some cranks, but most come anchored by a spring clip. You can use a window-crank removal tool (available from Crutchfield) or a flathead screwdriver to remove this clip. To remove, depress the door panel until you can see behind the crank, turn the lever until you see the prongs of the clip, and gently push the crank off with the screwdriver. The clip will pop off, so be careful.

Remove armrest and rest of panel

Next, you'll have to remove the armrest by unscrewing a few phillips-head screws and some trim fittings around the handle. Once the armrest is unattached, you can remove the door panel. For most cars, you'll find the panel fastened by a few screws and friction fittings. With the screws removed, begin prying off the door panel at the bottom corner. Use a panel tool (available from Crutchfield) or, if you don't have one on hand, two putty knives can also do the trick. Once you loosen the bottom and sides, the panel should hang from some trim at the window well. Simply lift up on the trim, and the panel should come free.

Remove the old speaker

Carefully lift out the old speaker and detach it from the wiring harness. Some manufacturers use a sealant foam when mounting the original speakers, so you may need to cut through that with a utility knife. Set the factory wiring harness aside. You'll need to wire the woofer to the crossover before routing it to the head unit. See Page 5 for more wiring instructions.

Make adjustments accordingly

Usually, you'll be able to fit the new speaker into the hole with no difficulty, but sometimes the hole can be too narrow or shallow to accommodate it. In this case, you may have to file or trim part of your door or speaker opening, or anchor your speaker basket to the mounting location.

Surface-mounting

You should surface-mount your tweeters if you want to minimize labor time and modifications, or if you don't have the depth to flush-mount. Surface-mounting may also offer greater angle range than flush-mounting. With a surface-mount, a cup secured to a surface with a screw holds the tweeter in place. You will need to drill a small hole in the panel to secure the mounting cup and run the speaker leads to the tweeter (see previous page for instructions on removing the door panel).

Flush-mounting

The advantage of a flush-mount lies in its sleek, factory-look, since the tweeter does not protrude from the panel. Many manufacturers also include angle-mounts that allow you to aim the tweeters slightly, even when they're mounted within the panel. When flush- or angle-mounting your tweeters, you'll need to drill or cut a hole in the panel to accommodate the entire tweeter.

Installing flush-mount tweeters

First, trace the tweeter cup on the panel or dash. Use a drill with a serrated circular blade to cut the hole, and then trim it with a sharp knife. Mount the tweeter (your tweeter will come with specific instructions for this step).

Protecting the crossover

Make sure you house the crossover in a dry place, such as in a hollow space behind the plastic door panel. If you must mount it on the door metal, wrap the crossover in a plastic bag and tape the openings to keep it safe from moisture.

The crossover should be secure against vibration. Merely placing the crossover in the door or kick panel leaves it likely to be tossed around. Also, as with the speaker installation, you'll want to make sure the crossover does not interfere with any moving parts. Put the crossovers through the same rigorous tests as you did the speakers, specifically with respect to window and door mobility.

Wire networks

Since you'll most likely install the components in new, unwired locations, you'll have to spend some extra time wiring them. Component speakers also come with external crossovers, so the wires running from the receiver must first be routed to the crossover, and then to the individual woofers and tweeters. If connecting an amplifier as well, the amp should be wired between the receiver and the crossover.

Wiring through existing door boot

Once you've found the best location for your component system, you'll need to hook it up. Fortunately, most cars sport a rubber boot that connects between the door and the car body. Using this boot as a conduit, run your speaker wires off the door, underneath the kick panels, and to your receiver or external amplifier. You can easily do this by taping the wire to a straightened coat hanger and fishing everything through the interior panels.

Test-driving your system

At this point, you'll want to test your system before fully reassembling your doors. Loosely attach the door panel to the door, barring the window crank. If you chose to bottom-mount your speakers, mount your speakers in the door before hanging the panel. Holding the speaker in its new hole, mark the screw holes; then remove the speaker, and drill accordingly.

Pull the wires through the door and attach them to the speaker. As long as you're consistent, it does not matter which terminal you use as positive and negative. Next, hang the speaker in the door. You may need to use "speed" clips (often provided) to give the speaker screws extra support. With all speakers in place, you can listen to your stereo to make sure it works to your liking. Once you're satisfied, finish reattaching your door panel.

Cutting a wire hole

If your car doesn't have a rubber boot, you'll have to drill a 5/8" hole to string the wiring through. Before drilling, make sure the hole will have access to the desired speaker location, as structural steel sometimes blocks the edge of the door. Cover any sharp edges of the hole with a rubber grommet, several layers of electrical tape, or some flexible tubing. Make sure the door will stay open all the way, and that the wire will not get pinched by the hinges or door jamb. Once you finish drilling and cutting, vacuum all metal debris before finally installing the speakers to prevent rattling or shorts.

Custom woofer installation

Nothing competes with placing your speakers in the location that you determine emits the best possible sound. You may even end up locating your woofers in locations that don't already have speaker holes. In that case, you need to make some. Here's what you need to know.

For more information on this, check out the Mobile Mechanics of Omaha.

TIPS

Car Component Speaker Installation Service near Omaha NE: Choosing a professional to install speakers ensures the job is done right.

Some general steps for car speaker’s installation:

●      First of all you should disconnect the battery that supplies the power.

●      Disassemble the doors you wish to insert the audio system in

●      Eliminate the default speakers

●      It also requires expulsion of dash, or back shelf interior boards to get to the speaker mounting place

If you're thinking about upgrading your car audio, there are a few things to keep in mind. And it all starts with where the weakest part of the system is. Not enough volume? Lack of solid bass response? Figuring out the weakness helps you formulate a plan of action.

New car? Take the turn-it-up test.

You just bought a new car or truck – and you love it. It smells good, looks good, drives like a dream… and there’s not a single M&M or runaway french-fry under the seat. (Yet.) Awesome, congratulations. Now, get in the driver’s seat and play the stereo. Loud. As in All The Way Up Loud.

Assuming you‘ve already done this, two things: 1) We’re not here to bum you out or tell you anything you don’t already know, like your new car audio is seriously lacking, and 2) You’re not alone. Truth is, every new car and truck comes with less-than-impressive sound systems (even premium sound systems can be improved upon, believe it or not). The good news: upgrading your car's sound system won’t cost a fortune or require ruining your car’s clean original equipment manufacturers (OEM) look. More on that in a moment.

Older car? Skip the turn-it-up test.

You know your car like the back of your hand. And though you can’t turn back the odometer or make it look showroom clean, it’s a good car in spite of its age. (Note: Eddie Van Halen is 62. Aretha Franklin is 75. Both still bring the house down.) Our point is that no matter how old your car is, you can get that new car buzz back again with a killer sound system in one of two ways: 1) By replacing elements of the sound system – speakers, amps, touch screens, etc. – in a way that doesn’t change your car’s OEM look, or 2) Going all in with a balls-to-the-wall car audio system that’s more about blowing your mind vs. keeping a look.

Choose the right speaker size to fit your car.

There are tons of car speaker size options to choose from.

 If you’re looking to keep your car’s OEM look, then you want to replace your existing speakers with speakers of the same size. (Have 6.5 speakers in the front doors of your Honda Civic? Get 6.5 speakers as replacements.)

Stick with your current car speaker style.

Before you start looking at new car speakers, you’ll want to know if your current speaker style is component or coaxial. Depending on which one you currently have, you'll want to keep it consistent when you shop for new speakers.

 COST

How much does it cost to get a new Component Speaker Installation in your car?

Shop car electronics professional installation

Entertainment                                                    Regular Price

Advanced In-Dash Navigation or

In-Dash Video Installation                                               $99.99

Standard Speaker Installation                                        $64.99

Component Speaker Installation                                   $99.99

Rear-Seat Video Installation                                            $119.99–$199.99

Cost for new speakers

In terms of costs, again, the sky’s the limit.

A speaker upgrade can cost as little as $100 up to several thousand dollars depending on the scope of work and type of speaker. Cook says the cost of a subwoofer can run as low as $37.Mobile Mechanics of Omaha sells a subwoofer package that includes an amplifier and an enclosure for $299.

For a pair of car speakers, Mobile Mechanics of Omaha start prices at $39, with an average cost of about $70 for installation. Adding an anti-vibrator to a pair of speakers costs another $25.

Nevitt, meanwhile, charges as little as $99 for a pair of some decent speakers. The cost of an hour of installation, which is typically how long it takes to install a pair of speakers, is $67.But most customers spend much more.

Paying a total of $800 to $1000 is not out of the realm of possibility.

 FREQUENTLY ASKED QUESTIONS

What are component car speakers?

Normal coaxial speakers, whether factory-installed or aftermarket, combine the woofer and tweeter into one speaker. It’s a convenient way to get decent sound from a single speaker opening, but the design of the woofer and tweeter are both compromised in this arrangement.

 What advantages do component speakers have over their counterparts coaxial speakers ?

Because component speakers separate all their drivers, they can provide better stereo-imaging as well as much more detailed and rich sound than you could expect from coaxial speakers.

What we like the most about component speakers, is that you can mount the tweeters wherever you assume they can perform at their best. Additionally, the separate crossovers will forward the highs and lows to the proper driver – highs to the tweeters and lows to the woofers.  As a rule, if you want your component speakers to really shine out, you’ll want to drive them by an external amplifier.

 My new component speakers aren’t what I’ve been expecting. What’s wrong ?

There are a few things you need to do to get your speakers to sound at their best:

●      Check your tweeter attenuation switch – Try switching it off to attenuate the highs that overpower the sound output.

●      Are your speakers properly powered? If you’ve got some power greedy speakers, don’t expect too much out of them if you’re running them off your receiver. Remember that by under powering your speakers, you risk voiding your warranty.

●      You might want to consider installing foam baffles and dynamat in your doors

 Which car speakers will fit my car ?

Car speakers are classified by cone size. This size isn’t the only thing you’ll have to take into consideration.  Sometimes speakers are too deep for the locations they’re meant to go in. Different speakers can fit different enclosures by using mounting brackets.  In addition, sometimes minor modifications are necessary to make your speaker fit their mounting location. Almost all online retailers including Amazon carry a huge database of car’s brands, make, year and models and thus they’re able to tell if a given set of speakers will fit your vehicle or not.

 Can I install my new car speakers myself ?

Yes you can, It’s not that complicated at all, especially if your speakers are of coaxial type.  If that’s the case, then it’s just a matter of removing the old speakers and dropping the new ones in their mounting locations, connecting a few wires and you’re good to go. However, if you’ve bought component speakers, then be prepared to put in some effort into installing them.

 Can I keep my factory speaker’s wires ?

Factory speakers wires are just fine.  They can be used with aftermarket speakers if you’re running them off a factory or aftermarket stereo.  However, if this is your first step in upgrading your entire sound system, and you intend to add one or multiple sub(s) and amp(s) down the road, then it’s highly recommended to change these wires.

 Do speakers with higher sensitivity rating sound better ?

Sensitivity rating doesn’t tell you how good or not so good a speaker sounds.  It only indicates how effectively your speakers convert power applied to them into volume.  However, the higher the better.  Don’t get us wrong, speakers with low sensitivity rating can also sound great, but they require a very powerful external amplifier or a high-powered receiver.

 How much power Is enough for my new speakers ?

The amount of power your speakers require is nominated by RMS power handling (Root Mean Square), exceeding this power range by a little bit will boost your overall sound quality.  That being said, a speaker with lower RMS power handling is best suited for being powered by a factory or aftermarket stereo, while speakers with higher RMS will work better with an external amp.

It’s important to match up your speakers with the right amp.  Make sure the RMS number on your amp matches the RMS rating on your speakers.  If there’s a huge gap between the power handling rating of both your speakers and amp, your speakers could be under-powered, or even overpowered, which could put your speakers at risk.  However, technically speaking, the risk of under-powering your speakers is much greater than overpowering them.

 CALL FOR US:

●      Car Component Speaker Installation Service Near Omaha NE

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●      Installing Component Speakers Without Crossover

●      How To Wire Component Speakers To 4 Channel Amp

●      Best Component Speakers

●      Installing Component Speakers Without Amp

●      Car Audio Crossover Installation Diagram

●      Do Component Speakers Need An Amp Near Omaha NE

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●      Sony 500 Watt Car Speakers Price Near Omaha NE

 BEST CAR COMPONENT SPEAKER INSTALLATION SERVICE IN OMAHA NE

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[taww]

Review: PS Audio DirectStream Junior DAC

PS Audio DirectStream Junior DAC

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 4.5 / 5

Hugely resolving, relentlessly musical, highly versatile, sanely priced - my new reference.

PROS: Detail and naturalness in perfect harmony; highly upgradeable; versatile input and streaming options; nice looks and solid (American!) build.

CONS: Could be a tad cleaner and richer; some streaming and operational glitches; limited to DSD64/128; better suited to the technlogically-inclined.

If you're looking for a mega-review of this DAC, you've come to the right place. It's been a journey with the DirectStream Junior (DSJ for short). I received the review unit last summer, and first impressions were strong. Then some sonic gremlins reared their heads, and I was advised to hold for a software update, called Redcloud. That landed last December, and it’s been smooth sailing ever since - so much so, that the thought has never crossed my mind to use anything else. After several months of life with the DSJ, I can not only give it my wholehearted recommendation, I can also proclaim it my new reference DAC.

Highlights and Caveats

Some distinguishing features:

FPGA-based architecture (same as in the DirectStream) means it’s infinitely reprogrammable via software updates. This is a pretty big deal - see my Redcloud software notes for proof.

All input signals converted to 20x DSD, final conversion via differential bitstream (PWM)

Digital domain volume control (all input data preserved)

RCA and XLR (true balanced) analog outputs

Phase inversion and -20db attenuator

6 digital inputs (USB, coaxial, optical, AES-EBU, I2S, Ethernet) with automatic switching

Built-in Bridge II network interface (Ethernet)

MQA, Tidal Masters, Spotify, Qobuz, VTuner and Roon ready 

Remote control

Designed and manufactured in Boulder, Colorado USA

Some caveats:

No Airplay support

Network streaming limited to 1x DSD (DSD64) and 24/192 

No 4x DSD (DSD256)

MQA rendering only - requires initial decode (unfolding) in software (e.g. via Roon) Correction! The DSJ does indeed do full MQA unfold and render - no special software required.

Most of those buttons are for other things

Basically, if you want to play VERY high resolution formats (24/352 or 2x DSD), you’ll need to use a player connected via USB or I2S. And if want to natively decode DSD256 (4x), you’re out of luck - you’ll need to downsample it to 2x DSD. Given the relative paucity of such material, I don’t know how big a deal this is. And thankfully, MQA appears to be fully supported, if that's your thing...

DirectStream Junior vs. "Senior"

The DSJ retails for $4k, while the original DirectStream (I'll call it the "DS Sr." though that's not an official name) retails for $6k and the Bridge II network card is another $900. I consider the network interface to be an essential part of the DirectStream's utility and appeal (and it also sounds very, very good), so this basically makes the DSJ nearly $3k cheaper than the DS Sr.

So what are the key differences?

The analog output stage of the DS Sr. is passively-filtered via transformer coupling, while the DSJ uses high speed video op amps.

The DS Sr. has a larger power supply, 4x the circuitry around the output stage to reduce output noise by 6dB vs. the DSJ. The DSJ also uses less expensive parts in some locations.

As previously mentioned, the DSJ has a Bridge 2 network interface built in, a $900 option on the DS Sr.

The DS Sr. has an additional digital input (I2S) and uses an SD card slot (vs. USB port) for software upgrades. This just means you use a SD card on the Sr. and a USB memory stick on the Jr.

The DSJ has simpler casework and no touchscreen, but includes a control knob for volume and menu functions.

Some have said the DSJ has roughly 80% of the sound quality of the DS Sr. at a 42% discount. I haven't auditioned the Sr. in my system, so I can't comment on that... yet. I'm looking into getting one now, so stay tuned for that!

Setup & Tweaks

I used the DSJ 99% of the time via its Bridge II network input streaming a variety of 16/44, hi-res and lossy sources via Roon. The Roon implementation is fantastic - it's a fully certified device, and you get access to the input format capabilities and volume control settings in the Roon software. I also tried the standard S/PDIF inputs (with an Onkyo CD player and a Raspberry Pi with HiFiBerry Digi+ Pro board) and found them less sensitive to source quality than I’m accustomed to from typical DACs. No, it’s not “immune” to jitter - you can still hear the difference between transports and cables. But the differences are smaller than on, say, my Monarchy NM24 ladder DAC.

I only briefly played with the USB input, mostly to try 2x DSD material, and found it to also sound good. I used a MacBook Pro with DH Labs’s excellent Mirage USB cable ($200) and while it was subtly different than the Bridge II input playing the same material via Roon, I didn’t have a strong preference for one or the other. Overall the engineering seems uniformly solid and I didn’t find any obvious weak links with any of the input methods, a huge relief if you dread endless tweaking with digital cables and sources like I do. I’m not saying there isn’t some last degree of refinement to eke out but it’s probably not worth fussing over given that you can just plug and play and enjoy.

No shortage of inputs

One of my favorite features was the automatic input switching, which switches to whichever input has a signal. It worked flawlessly, and made quick A-B comparisons between sources a cinch. For instance, I could compare Roon playback via Bridge II streaming vs. a USB connection by simply alternating playback between the two in the Roon Remote app, and the DSJ took care of the rest. It also made it easy to hook up an AirPlay device and automatically play it whenever you stream to it. Very nifty.

Most listening was done using the balanced XLR outputs feeding my fully-balanced Ayre AX-7e integrated amp. I believe the unbalanced output is also derived from the differential signal (I saw a pair of instrumentation amps in the circuit, ostensibly to sum the balanced signal), and thus benefits from the differential DAC architecture. I detected no sonic compromises with XLR vs. RCA, it sounding just as good into single-ended gear like the Monarchy NM24 tube line stage or Bryston BP17 Cubed preamp. I've seen some very expensive gear that doesn't implement balanced circuits properly at all, but PS Audio gets an A+ for implementation here. I didn’t find the DSJ particularly sensitive to the type interconnect used; I settled on the Audience Au24 SX XLRs (review here), but also had good results with the much more affordable DH Labs Air Matrix.

While the built-in volume control makes forgoing a preamp possible, in practice it doesn't work well feeding an amplifier directly. The digital attenuation doesn't drop any bits - designer Ted Smith says it's computed by multiplying a 30-bit input signal by a 20-bit volume setting, and maintaining all 50 bits internally - but it's still done in the digital domain, which means the signal-to-noise ratio of the conversion process and analog stage degrades at lower volumes. When feeding the Bryston 4B Cubed amp, there was noticeable hiss even on the amp’s low gain (23dB) setting with relatively efficient speakers. This can be mitigated by using the DSJ's switchable 20dB attenuator, but I found it killed the life of the sound. Also the volume control software implementation is very jumpy and not particularly responsive to either fine or rapid adjustment. (PS Audio acknowledged this was due to some less-than-great control programming done by an earlier developer, and they're hoping to improve this in future releases.) In summary, leave the DSJ volume set to 100 with the attenuator disabled, and use a proper preamp or integrated amp for best results.

Somewhat unusual for a DAC, the DSJ runs hot. The chassis is fully sealed (I'm guessing this is likely for EMI/RFI compliance reasons as there's some serious computing going on inside). The top panel is a glossy black acrylic which looks very nice and helps dampen resonance - rapping it gives a dull thud vs. the metallic ding of most component tops - but it's also an insulator. This means anything metal gets pretty toasty, e.g. the RCA jacks. I do worry a bit about how this might affect component life... but Ted Smith says everything runs well within part ratings, and taking a peek under hood reveals lots of computer-grade, surface-mount parts that are designed for such operating conditions. Just give the DSJ plenty of ventilation - sealed cabinets are out.

ERS cloth helps clean things up that nth degree #crazyaudiophilestuff

There were two easy tweaks that I found helped tune the sound of the unit. The first was Cardas Myrtlewood blocks as footers. These gave the DSJ subtly tighter focus, more realistic tone and  greater clarity vs. the stock rubber feet as well as other elastomer (Sorbothane) feet I tried. There was a very slight tradeoff in lower midrange body which may not be to everyone's tastes, but I found the tighter, slightly leaner sound of the Myrtlewood to be less wooly and more accurate, particularly with cello and baritone voice. The other tweak was ERS cloth, which you can buy from places like Music Direct. The late Bobby Palkovic introduced me to the material many moons ago, which allegedly blocks, absorbs and diffuses RFI energy, and I've always had a few pieces lying around my gear. People's reaction to the stuff range from hyperbolic ("it's miraculous!") to outraged ("total horse$%#!"). Call me crazy, but two small pieces (2" x 3", because that just what I have on hand) on top just above the analog circuits (near the RCA/XLR jacks) buffed out a tiny trace of hash and glare. It's subtle but takes the DSJ one step forward in naturalness and clarity. It's cheap enough to try, and I honestly wouldn't go back to using the DSJ without it.

By the way, this thing takes FOREVER to break in. I mean seriously, 500 hours in I still wasn’t sure the sound had settled down. Out of the box, it’ll sound a bit tizzy and lacking depth and focus. That will burn off fairly quickly, but it will take more hours for the tone and dynamics to fully develop and all the wonderful nuances in the music to blossom. I’d say give it a good month of continuous use - I logged nearly 1000 hours of playing time before I stopped worrying about it.

And then there's the choice of power cord...

Power cords galore

I found the DSJ to be fairly sensitive to the choice of power cord. For the vast majority of the audition, I used Audience's excellent powerChord SEi (USD $915/6 ft., review coming soon), and my comments largely reflect the sound with it. Towards the end, I swapped in a few other things:

Generic 14-3 cord: heavier than the usual 18-3 you see on most electronics but otherwise nothing special. (I don't think this is the one supplied by PS Audio, but looks pretty similar.) I was surprised that this cord made the DSJ sound a lot louder than the Audience - at matched levels, it sounded a good 1-2dB louder, no joke. The bass was stronger but muddier, with left hand licks on the piano lacking articulation. The soundstage also collapsed, making some recordings sound almost monaural - I actually checked that something hadn't gone haywire with my setup. The difference was pretty shocking, and while this cord didn't sound bad per se (some might even prefer it for e.g. rock music, which sounded harder hitting), it doesn't unlock the DSJ's full resolution potential. Overall I'd call it livable but non-optimal.

Pangea AC 14SE Mk II (USD $80/2m): I haven't been very fond of the Pangea in prior applications. With the DSJ, it was actually pretty good - like the stock cord, it sounded louder than the Audience, but restored much of the soundstage width missing with the stock cord. It's dynamic but a bit in your face, with some grain in the midrange and glare in the upper frequencies - I found violins a bit hard on the ears. Overall a decent budget option with the DSJ, particularly if you like a brasher, more energetic sound. Though not nearly as polished or harmonically complete as the Audience, electronic music drove a little harder.

Cardas Golden Reference (discontinued, around $500 back in the day): Frankly, I have never had good luck with this cord. In every application I've tried, it's sounded nondescript at best, constricted and veiled at worst. On the DSJ it gave a better showing, but had neither the energy of the less expensive cords nor the resolution and openness of the Audience. Its midrange and upper frequencies were closer to the Audience in smoothness, but it also tended to round the sharpness of transients - piano chords, snare drums and other percussion instruments sounded subtly muffled.

In summary, I think the stock cord is a reasonable place to start, but you can definitely get more out of the DSJ with something better. If you can afford the Audience, it brings out the most refinement of anything I've tried, but there are options with more slam. For under $100 the Pangea is a decent option, and Signal Cable makes a very nice affordable cable that by all accounts is a solid performer. I also have the new Audience Forté ($280) and an affordable model from DH Labs in house, as well as a very interesting DIY cable recommended by Marty DeWulf that is knocking my socks off... more on those in future installments.

Operational Kinks

The DirectStream Junior is a svelte, feature-rich package, and overall a pleasure to use. Over the course of several months use though, a few gremlins did rear their heads.

The software upgrade process can be hit or miss. In theory, all you need to do is download the files from PS Audio, unzip them, copy them to a USB flash drive, plug it into the USB port of the DSJ and start it up. However I have never been able to consistently upgrade the software EXCEPT by force-downgrading to a special older version (Yale with a different bootloader, available here), then repeating the upgrade with the desired newer software. Not all DSJs have this problem, but I've always needed the workaround.

Fully upgradeable software, but not without hiccups

The software can also become corrupted, a problem you won't have with a traditional hardware-based DAC. I have once had the unit become glitchy and not sound so good after losing power to the unit, e.g. by pulling the AC cord. This required me to repeat the software downgrade-upgrade process. Since then it's been more stable, but weird things can happen on power cycles, e.g. attenuator settings being toggled. It's important to follow PS Audio's recommendation of using the power switch on the back to power down the unit before unplugging it.

There are some pops and clicks when switching between PCM and DSD material. They're moderate in volume and Redcloud is much better in this respect than Huron, but it's still audible. More problematic is that DSD streamed via the Bridge II network interface will also suffer from intermittent pops. This is apparently a software issue with the Bridge itself that PS Audio is asking their vendor to fix - fortunately that's also easily upgradable, but there's no ETA yet on a patch. In the meantime, I haven't found the noise so distracting as to make it unplayable - it's almost like hearing a little surface noise on an LP - and the USB interface doesn't suffer from this problem. PCM signals including 24/192, are all fine.

It's important to remember the DSJ is a piece of sophisticated computer equipment running software. It's not hardcoded like a traditional electronics, and its flexibility does require a bit more technological savvy from the user. If you're computer-phobic, there may be a learning curve to maintain and get the best from the DSJ.

Okay, so how does it sound??

In short, if I were stuck on an island with one DAC, I could very happily live out my days with the DirectStream Junior. It's that good and that satisfying. Once it’s running Redcloud, fully broken in and dialed in with them aforementioned tweaks, the DSJ sings like no other DAC I’ve used.

All my notes refer to the DSJ with the latest Redcloud software. You can find my earlier impressions here:

It’s here! The PS Audio DirectStream Junior DAC

PS Audio Redcloud  OS for DirectStream Junior DAC

For comparison, my previous reference is a Monarchy NM24 tube DAC with upgraded output caps and I/V resistors and solid state output stage disconnected. It’s based on the venerable Burr-Brown PCM1704K 24-bit ladder DAC, and while I wouldn’t call it state-of-the-art, it’s still one of the more musical DACs around and has easily outperformed units many times its cost.

Coming from the Monarchy, the first thing I noticed was the striking level of detail. It brings out all kinds of subtleties in a performance - the tap of a pianist’s fingernails on the keys, the bow changes on a violin, the resonance of a cello, the breaths of an oboist in a symphony orchestra, the variations in a soprano's vibrato layered perfectly into the presentation. This resolution is coupled to an ease of delivery that’s uncannily natural - there’s no artificial brightness, no in-your-face forwardness, no technicolor hyping of detail going on here. It's totally unforced, addictive and engrossing. This is what high-end audio is about!

The resolving power of the DSJ extends from top to bottom. In the highest reaches of the treble, percussion like cymbals and triangles sound highly realistic. Just put on Dvorak's Slavonic Dance Op. 46 No. 3 (Szell/Cleveland Orchestra/Sony DSD) and hear how perfectly the triangle shimmers and floats above the orchestra, its ring carrying on and on like you'd hear in the concert hall. In the lower midrange, instruments like cello and piano have layers of tonal color and texture that lend a lifelike presence. With timpani, you can clearly hear the body,  skin and pitch of the instrument, not just a dull thud.

This detail also contributes to insanely palpable imaging. Every instrument on the stage has clear size, shape, and space around it, and you get a real sense of distinct sources of acoustic energy on the stage, each one exciting the surrounding air in its unique way - violin sections glowing across a swath of stage, oboes singing sweetly in center, bassoons honking away behind them, a horn melody blooming in the back. I've never been able to pick out and feel all the instruments in a symphony orchestra so tangibly like this.

Okay, just two more aspects of the resolution before I move on: firstly, it starkly reveals differences in recording techniques, technologies and qualities. Recordings truly sound distinct from one another, much more so than with other DACs, and you can hear all the idiosyncrasies of analog vs. digital, PCM vs. DSD, hall vs. studio, mic placement, etc. Secondly, this resolution is more than sufficient to challenge the capabilities of very high end systems. I found with every tweak to my systems, I uncovered more and more of the DSJ's capabilities, while otherwise excellent gear like the Bryston BP17 + 4B cubed combo masked its full performance envelope slightly.

The other remarkable thing is how consistently excellent sources sound regardless of resolution. Yes, DSD material followed by 24/192 or 24/96 generally sound best - just listen to a stunningly realistic modern album like Julia Fischer and Martin Helmchen performing Schubert works for violin and piano (Pentatone DSD), or a colorful remastered classic like Piatigorsky performing Walton Cello Concerto (RCA Living Stereo DSD) and you’ll be giddy with the sheer vividness of presentation. But things don’t drop off a cliff when you fall back to menial 16/44; on the contrary, this is some of the finest Redbook reproduction I’ve heard, with all the same loveliness of tone and fluidity of presentation as hi-res, just with a hair less resolution and palpability. Case in point, my wife was listening to a recording of Hindemith's Der Schwanendreher (Tidal 16/44) that sounded nearly as smooth and lush as any SACD I've heard - and much to my surprise, it was a DDD recording from 1989, an era I usually find pretty icky. And "sorta hi-res" 24/48 tracks got me pretty excited, e.g. Alisa Weilerstein's performance of the Elgar Cello Concerto (Decca/HDTracks) was rich, gripping and engaging. Heck, even MP3s sound pretty good - I once got sucked into the beauty of Maria Callas singing a Puccini aria, only to realize afterwards that it was a 160kbps MP3 from my iTunes library. The DSJ destroys the notion that higher fidelity has to come at the cost of intolerance to recording quality.

Tonally, I found the DSJ to be very even. The only thing I might watch out for is that the treble is so extended and open that it may strike some as a hair bright, but I found it natural and realistic in my system. The midrange has just a smidge of warmth to it, less so than the tubed Monarchy but with a pleasing roundness and harmonic completeness - you get a sense of body to instruments and voices that’s highly suggestive of the real thing. Where the Monarchy pulls ahead a bit is in the richness of the lower midrange and upper bass - it has more overt weight and boldness that gives everything more juiciness and presence. Going down low, I'd also call the DSJ's bass pretty neutral, with great pitch and appropriate weight to give the music a solid foundation, but perhaps lacking the subterranean thunder of the best I've heard (some of the old MSB multi-bit DACs come to mind). Perhaps this is an area where the beefier power supply of the DS Sr. could yield improvement.

What’s the catch?

The DSJ isn't the quietest and cleanest DAC I’ve ever heard - as noted, the noise floor is a little high, and there's sometimes a tiny trace of fuzz layered over the midrange that diffuses tones slightly. It can't match the eery quiet and purity of the Chord DAVE (granted at a price of $10k), and the multi-bit and tubed Monarchy has a more grainless density to instruments like the violin. While the Redcloud update fixed the most egregious noise problems, I think the upgrade to the full DirectStream, with a substantial 6dB reduction of noise floor, would be worthwhile for very high-resolution systems - I'm talking stuff in Pass/Ayre/Magico territory. The Chord DAVE also strikes me as having a superior analog output stage, as evidenced by its deeper, more tuneful bass, richer dynamics and overall purity - all expected for more than double the money. None of these shortcomings detracted from my enjoyment of the music, but listen closely enough against first-class competition and you'll find some areas for that last 10% of improvement.

I've heard some people say the bitstream conversion of the DSJ gives it softer, rounder transients compared to very resolving multi-bit DACs. I think this is a fair assessment, but I didn't find this to be an issue for me - in fact, I thought dynamics were excellent on the DSJ. It had plenty of bite when called for, presenting clean leading edges without harshness or overshoot. More importantly, subtle dynamic shadings - swells in a voice, variations in bow pressure, interplays between instruments - were wonderfully expressive. The Monarchy DAC sounded a bit flat and lacking color in comparison. 

That said, I do feel that good multi-bit DACs have a suddenness, directness and dynamic linearity to them that differs from the bitstream DSJ’s portrayal. If I had to generalize, I’d say the DSJ is better suited to ears that prefer a more relaxed presentation, and/or a system that leans towards the incisive side to compensate. It won’t give you the larger-than-life boldness of a NOS tube DAC, nor the bracing presence of some of the Sabre-based units. It was a great match for the speed and alacrity of the Ayre integrated; with the darker, more subdued Bryston combo, I could have used more verve. Whether this works for you is probably more a matter of personal preference and system matching than absolute correctness; for me, the virtues of the DSJ’s natural, musically consonant presentation outweighed any tradeoffs.

Verdict

Back when I was in music school, I remember hanging out in our concert hall's recording studio while my friends were performing, and being struck by how much more vivid the live mic feed sounded than the recorded version (either on analog cassette or DAT). The DSJ is still bound by the limitations of recording technology, but it gives me more of that live feed feel than anything I've experienced in my living room. It doesn't have the distinct colorations of an LP, nor can I say it sounds like reel-to-reel tape (I don't have that at my disposal), but it removes so much of the digital glaze and glare we've grown accustomed to that it feels distinctly analog-like in nature. It has soul, it has tone and tunefulness, and you can listen to it for hours on end with myriad recordings and suffer no fatigue whatsoever.

No, I haven't heard a ton of the fashionable DACs out there like the TOTALDAC, Merging, Schiit Yggdrasil, Mytec, etc. etc. However I've spent some quality time with highly-regarded models from Aurender, Ayre, Chord and dcs, and I can't say they've offered me musical satisfaction that the PS Audio can't match or exceed. And the price of the DSJ, while expensive at $4k, is a bargain for the sound quality, feature content and build quality. PS Audio has a very liberal trade-in policy that can knock up to $1k off that price too.

Ultimately it's not all the audiophile mumbo jumbo that makes the DSJ special. It's how fluidly, vividly and convincingly it carries a tune and draws you into the performance, the way it captures the range of tonal colors, the beauty of voices and instruments, the energy and life in the recorded event. It's a cliché, but it took my system and musical enjoyment to new heights. It's my new reference, and not leaving my system anytime soon... at least not until the big brother DirectStream arrives. Enthusiastically recommended.

PS Audio DirectStream Junior DAC USD $3,999

PS Audio 4826 Sterling Drive Boulder, Colorado  80301