#Transistor Sound Studio

[thejoyofviolentmovement]

New Audio: Monophonics' Kelly Finnigan Shares a Crafted Soul Ballad

New Audio: Monophonics' Kelly Finnigan Shares a Crafted Soul Ballad @monophonicsfunk @misterfinnigan @ColemineRecords @pavementpr

Kelly Finnigan is an acclaimed singer/songwriter, keyboardist, producer and owner of  San Rafael, CA-based Transistor Sound Studio. While Finnigan is perhaps best known as the frontman of the equally acclaimed West Coast-based soul outfit and JOVM mainstays Monophonics, he is also a highly-regarded solo artist, who has released two albums — 2019’s full-length debut The Tales People Tell and…

[fuzzkaizer]

Systech - overdrive

"Have you ever played a pedal that stuck with you forever, even though you knew in your heart it was totally weird, and nobody famous ever used it? For me, yeah, tons of them. But if I had to pick one that best fit these criteria, this one would be it. This is the Systech Overdrive. Before we dive in, let’s talk a little about where it was made.

There was a time when, of all places, Kalamazoo Michigan was an epicenter for musically related things. Apart from being a city referenced by Looney Tunes and the hometown of Glen Miller’s gal, Kalamazoo had the Sound Factory, which was a collective of sorts that featured guitar luthiery, a recording studio and electronic gear manufacturing. The facility sat front and center on Kalamazoo Avenue, smack dab in the middle of the city, and attracted visitors from all over.

Of course, if it was some random outpost of nobodies, the name wouldn’t carry any weight. However, the Sound Factory was shored up by three relatively heavy hitters of the early ‘70s. One such was Greg Hochman, Keith Emerson’s Moog technician. He was joined by Bryce Roberson, otherwise known as Uncle Dirty of Chess Records fame and a relatively unknown person named Charlie Wicks. If you’ve been reading this column for a while, you’ll recognize him as the man behind ProCo—the Ratfather.

Together, these three developed Systech, which itself was short for “Systems & Technology in Music, Inc.” That mouthful of a company was responsible for the Harmonic Energizer, a little-known yet highly influential effect that provided a deep filtered sound in addition to some crunchy drive and sharp resonant peaks. You might know it as one of Frank Zappa’s signature pieces. And while this Overdrive effect wasn’t that, it was derived from the Harmonic Energizer and shares a handful of characteristics.

Basically, if dialed in just the right way, the Harmonic Energizer will make short work of an entire speaker cabinet and anyone in the audience. This is because it was designed to provide a staggering gain of 55dB, enough to cause serious damage to your gear or hearing. The Overdrive was created to get some of those tones at non speaker-shredding levels.

If you’re thinking this unit is some kind of proto-Tube Screamer, think again. Because this was the early ‘70s, nobody had really decided exactly what “overdrive” meant. And though Maestro (coincidentally, also in Kalamazoo) had created one of almost every effect under the sun, pedal fever wasn’t quite here just yet, so Systech was essentially “winging it.” With that said, the Overdrive is actually a pretty aggressive fuzz sound. And to that end, the fuzz circuit is pretty unique. The entire affair contains two transistors—one a JFET input buffer—and one dual op-amp with a handful of other components. Even the topology is relatively simple, but the simplicity ends with the schematic.

The EQ control works unlike pretty much any EQ control you’ve ever fiddled with; as much an EQ as the whole unit is an overdrive. Instead of a simple tonal adjustment, the EQ control is actually an active bandpass filter, in the same family as a wah circuit. With a simple twist of a knob, you can adjust this filter from 122Hz to 900Hz. As you might imagine, the EQ control sounds relatively cocked-wah-esque, but the sound is much more aggressive than any wah on the market before or since. The reason has to do with the Q factor, essentially a bandwidth control. A wah’s Q is set by its 33K resistor and is much wider than that of the Overdrive, so the tone is a little more rounded. While a wah’s filter is a rubber mallet, the Systech Overdrive’s is a tack hammer. While the sound is curious, the thing really comes to life when you crank the EQ control, as it gives you a nice punch in the mids. You lose a little definition when you get to the bottom third, but man is it fun to play with.

“Distortion” is just what it sounds like, but curiously enough, “Gain” is about as close to a volume knob as you’re going to get. Much like Distortion, if you turn it all the way down it kills the entire signal, but it sits behind a final gain stage. If you have the guts to crank both Distortion and Gain, you’re richly rewarded with gobs of gooey sustain, but the flipside is that your amp is likely screaming “uncle.” Worth it? Your call. I say go for it.

Many people say Zappa used a Systech Overdrive, but alas, he did not. However, when you play it, you can definitely see the similarities between this unit and the fabled Harmonic Energizer. But as far as I’m concerned, it’s close enough for rock and roll."

cred: catalinbread.com/blogs/kulas-cabinet/systech-overdrive

[audio-luddite]

And then there is the other side.

My previous post mentioned Doug Sax a few times. He is one of the old dead masters. If you search for stuff you will find lists and interviews and very much stuff. One thing that will come up is his absolute preference for vacuum tube electronics. His brother was an engineer and built all the gear for his mastering studio and it was all tube based.

His tape machines, and his mixers and his lathe cutting head amplifiers all tube. Even his digital stuff had tubes apparently and his brother even built the A/D and D/A converters they used for their CD work. (Like KODO).

In one interview I found he stated that all transistor stuff is not very good. Hey that is his preference. He slags the quality of the hearing of anyone who preferred solid state. Not polite there. NO doubt which side of the line he was on. Of course this was in the 60s so yes the Vacuum was at it's apogee while people were still figuring out solid state.

He was a musician, a trumpeter, and played in orchestras. His search for sound quality was based on professionally calibrated ears. His mastering work was first rate (but there is more).

One list I found was all the major albums he mastered. It is an impressive list. One album on that list is Carly Simon's "No secrets". I have that one and think it is not great. Great cover photo though.

It is a classic and was her big hit album. To be fair I will pull it out and play it again. My impression so far was it was massively over compressed and did not sound that good. I do not play it much for that reason. There are good and bad pressings in LP manufacturing, and knowing Doug Sax was involved makes me wonder. But is it compression or a bad pressing? Every other LP I have mastered by DS is very good indeed. I suppose the album could have been made somewhere else and someone else remastered it I will see if I can find out.

Another thing is I bought and listened to this album when the ARC amp was in the line. Will it sound better with the Franken-Amp? That would be ironic.

[torley]

Analogue Ordnance is a massive construction kit for science fiction weapon sounds, made entirely with hardware synthesizers, mastered entirely in the analogue domain, and with more variations per sound than any library of its kind. Absolutely no software plug-ins of any kind were used in its creation, except for its collection of ready-to-use designed sounds to show what can be done with the library’s constituent parts. Masterminded by sound designer Nathan Moody, this library’s unique sonic language delivers about five hours of material, pushed hard through op amps, transistors, tubes, and transformers. Boutique and unique, customized synthesizer modules were used in conjunction with mastering-grade studio hardware to create sounds that range from retro and cute to modern and devastating. Sounds are organized into mechanical, thump, body, tail, and charge-up groups for truly modular weapon construction. Each group has six to eight “banks” of related sounds, many with intensity (light, heavy) and duration (short, medium, and long) options. Nearly all sounds include 16 variations. In addition to the construction kit elements, some fully-designed weapon sounds are provided (using only the sounds from the construction kit), designed by Nathan Moody, Chase Steele, Axel Steichen, and Sergio Ronchetti.  But the flexibility doesn’t stop there. Reversing the sounds suddenly turns charge-ups into body elements, and vice versa. Each group has some frequency overlap with the others, so they can be mixed interchangeably outside of their labeled or intended uses with filtering and time/pitch manipulation. While the sounds are designed to be layered with themselves, this library plays very well with others, providing thousands of sweeteners to “tech up” any near-future gun or projectile-based firearm, magical attacks, superhuman abilities, or even user interface elements. Add some hardware to your warfare. From concealable stun pistols to orbital artillery, Analogue Ordnance provides a fresh injection of new source material for your sci-fi weapon designs.

[33bowls]

MQA DIY

This is about MQA DIY for all of you cultural creatives.

Posting here, as 33 has not participated much in online audio forums since the early ‘00s, as the atmosphere, even before the advent of MQA haters, trolls, and sock puppets, was a toxic stew of mis-information, to put it lightly. They are just the latest incarnation of that.

First off, except for observational knowledge or entertainment value, it is assumed that any DIY endeavors are predicated with a certain level of tech smarts, starting with which end of the soldering iron to grab.

https://a.aliexpress.com/_oCAjAXR

This USB card “only” does MQA unfolding, with appropriate green and blue LED indicators to authenticate, as in verify and indicate MQA and MQA Studio data streams. Unlike Golden Showers “this is not a review” Oatmeal, 33 does not have a terabyte of pirated files, so was not able to verify unfolding beyond the first, but with 33’s own master files, have verified first unfold does indeed unfold. Do you believe in radical honesty and transparency on a first data?

Two other important features of this USB card: it also reclocks the bits at the output, for minimal correlated jitter, and has the option of internal cleaner 5volt power independent of the USB buss.

The vast majority of MQA music files only need first unfold, as the masters of them were likely 88.2 kHz or 96 kHz, in part since the plethora of A/D equipment supports those sample rates, and, thanks to the grift that keeps on giving from Gates, Allen, and Ballmer, windows does not support driverless USB faster than that data rate. Wideband plug and play is mac territory, that windoze has yet to catch up with.

As to where to send these lovely bits, an obvious choice is the ESS 9039M, with internal MQA rendering. Be aware that ESS chips, being a unique H bridge output topology, are very sensitive to power supply issues. Any perturbations, including thermal tails in the power supply regulators will contaminate the audio signal. I suggest adding a PNP current boost to any regulator, which lowers output impedance and buffers the regulator from signal variations, which do not fully cancel out in the ESS chip’s balanced mode. There is still intermodulation induced by power supply variations. If you are not an OCD left brain measurement only kind of dude, I suggest that running the ESS chip in voltage out mode, and buffering that voltage signal with whatever buffer you prefer, even tubes, which will sound better than the usual monolithic opamp virtual ground current to voltage stage, but won’t measure, at lest in steady state conditions, as well. But, you know, sonics.

Other dac chip options are R2Rs from BB and AD, and even Philps. There are more than a few PCM 58, PCM63, TDA1541 still available. I mention these because, they have have a pure unipolar current output available, which lends itself to a passive I/V scheme, with a cascode buffer or just bipolar transistor holding the output close to ground, and the passive scheme of your choice. Fets, tubes, whatever you prefer. You know, sonics.

With these or other R2R chips, you can go for the ever popular NOS non oversampled mode. All other factors being equal which they rarely are, NOS tends to sound solid, but a bit flat dimensionally. If you prefer filtered, I suggest the BB DF1706 in slow rolloff 4x mode. This is a minimum phase filter with very little time dispersion, and in 4x mode, allows for first and second unfolded MQA, which results in 8fs and 16fs respectively. The BB 58 and 63 chips can handle that, the Philips 1541 should be NOS only, can only handle 4fs. Also, with these R2R dac chips, re-clocking the LE signal right at the chip with a separately regulated D flip flop, if setup/hold timing is good, will result in lower jitter and cleaner sonics.

This phenomena of flavoring to taste with different reconstruction filters on playback illustrates the importance of conjugate filters to exactly retrace the waveform that full path unfolded and rendered MQA uniquely does. The MQA unfolding done by this USB card feeding an ESS 9039M dac chip will do that. An irony is that with the advent of digital audio, one of the claims made was no more subjective futzing to adjust the playback sonics, as is done with analog, finely adjusting the VTA of different cartridges, record clamps, turntable isolation schemes, the works. Joke's on you, Mr. Digital.

What R2R playback schemes are missing is the final MQA rendering with exact conjugate filtering, but the loss is minimal to many ears, as most of the heavy lifting is already done in the MQA encoding process. You still get the de-blurred encoding with gently shaped dither that mimics the analog world in keeping information below the noise floor intact, and minimal noise modulation, along with source verification, aka authentication.

As alluded, thermal tails in either power supply regulators, or in the signal path are a bugaboo that is often overlooked. 33’s listening tests have indicated that a *LOT* of the perceptually significant sonic action is going on below -80 dB. Nuances and subtle textures do matter to the gestalt of the listening experience.

Also it should be pointed out that low cost chi-fi components such as this expose the misnomer about high licensing costs as just that, a misnomer. There is a whole world of opportunity out there besides Uncle Sam’s Playground, who do not have access to unlimited bandwidth; and recognize and enjoy the cleaner sonics that MQA provides.

Addendum:

This MQA USB card, the Nonwa, is compatible with TI//BB DF1706 filter, and NOS 28 pin plug in modules, when the mclk is set to 512 Fs, 22/24 MHz. Not all filters are happy with that, some want 256 Fs 11/12 Mhz. Now, what is cool is the mclk can be set to 1024 Fs, 44/49 MHz, and with an ESS dac chip mentioned above, you can operate the ESS in synchronous mode, without needing a 100 MHz clock. Just feed the mclk to it and enjoy even better sonics.

[charlesmwa]

Top 5 Guitar Amplifiers for Home and Studio Use in 2024

If you're a guitarist looking for the perfect amplifier for your home or studio setup, you've come to the right place. Choosing the right amplifier can make a significant difference in your sound, whether you're recording, practicing, or jamming. In this blog, we’ll explore the top 5 types of guitar amplifiers that are ideal for both home and studio use in 2024.

1. Tube Amplifiers

Tube amplifiers, also known as valve amps, are beloved by many guitarists for their warm, rich tones. They use vacuum tubes to amplify sound, giving a classic, vintage feel that's perfect for genres like blues, rock, and jazz. While tube amps can be heavier and require more maintenance, their sound quality is often worth the extra effort. They're great for studio recordings where you want a full, authentic sound.

2. Solid-State Amplifiers

Solid-state amplifiers are known for their durability and reliability. Instead of tubes, they use transistors to amplify sound, making them lighter and easier to maintain. They offer a clean, consistent tone that's ideal for home practice and recording sessions. Solid-state amps are also more affordable, making them a great choice for beginners or those on a budget.

3. Modeling Amplifiers

Modeling amplifiers are a modern choice that’s becoming increasingly popular. These amps use digital technology to replicate the sounds of various classic amplifiers. This gives you a wide range of tones in one unit, making them incredibly versatile. If you like experimenting with different sounds or need an all-in-one solution for home and studio, a modeling amp is an excellent choice.

4. Hybrid Amplifiers

Hybrid amplifiers combine the best of both worlds by using both tubes and solid-state technology. Typically, the preamp section (where the initial tone shaping happens) uses tubes, while the power amp section (which drives the speakers) is solid-state. This combination provides the warmth of tube amps with the reliability of solid-state amps. Hybrids are great for guitarists who want that classic tube sound without the maintenance hassle.

5. Portable Amplifiers

For those who need something compact and easy to move around, portable amplifiers are perfect. These small amps are designed for home use and are also great for traveling musicians. Despite their size, many portable amps offer impressive sound quality and can even be used for recording. They’re ideal if you have limited space or if you like to take your music on the go.

Conclusion

When choosing a guitar amplifier for home and studio use, it’s important to consider your needs and preferences. Whether you prefer the warm tones of a tube amp, the reliability of a solid-state amp, the versatility of a modelling amp, the blend of a hybrid amp, or the convenience of a portable amp, there’s something out there for every guitarist. Consider visiting local audio shops like VIP PRO AUDIO in Brooklyn to check out these amplifiers in person. In 2024, these five types of amplifiers are leading the way, helping musicians create great music, no matter where they are.

[rametarin]

Computers are really just the beginning, honestly.

We are fast approaching the point where it just won't be too very practical to keep reinventing the wheel every year for even better, more tightly packed transistors every year. Eventually we will get to the point of a minimum number of atoms for a minimum number of photoelectronic circuits and transistors that can fit into a cubic space.

After that, it's about whether we add a third dimension and how we arrange them on a board. But a standard will be reached that would let an individual person effectively have a supercomputer run on light (not electrons!) that can compute virtually anything you'd need in chemistry, medicine or physics.

The sort of power that previously required hundreds of millions of taxpayers to devote raw capital and resources to for institutions to handle and assign paid professionals to operate. The same sort of power that yesterday would've put the professing power of an entire news studio's hardware to shame, in the palm of your hands.

And not just accessible to the layman, but accessible to the layman on a minimum wage savings budget (we'll... ignore the current housing pricing crisis, for the moment.)

Really. Think about it. Just to make a stupid youtube video where you combine a bunch of fart sounds and audio and visuals used to require tens of thousands, maybe millions of dollars of specialized equipment, special ordered. Today, it's all yours for the cost of a few hundred hamburgers. You can literally make a video every bit as quality as anything Tim and Eric have ever made, even though you may not have anywhere near 1/100,000,000 the nepotism and cronyism involved in them getting their jobs and fame to be seen.

Once desktop computers and things like the Raspberry Pi and similar are more mainstream, you're going to see more hobbyist electronics and machine builders. The hobbyist focus will go back to making machines and tinkerer level electronics.

With that and cheap monitors of all sizes, you're going to just see so much neat shit get created in garages. Whole customized vehicles and shit.

[where-i-bitch-about-nashville]

so ive built mic pre’s with just about every Nashville related sound that is near to me, and there’s one for every decade!

50’s/early 60’s: RCA style tube pre (I really got Daven pots/attenuators, and RCA/Western Electric/Audio Dev Corp transformers — a small fortune in vintage parts to cobble together this fall!)

late 60’s: Melcor AML-27’s (sometimes sold branded RCA; Ge DOAs and MEC iron transformers)

70’s: API 2098 console pre’s as line booster cage cards (this is what Sal modded that is in operation at RCA studio B since it became the museum; Si DOAs and Jensen Ni-Steel transformers)

80’s: Valley People MP-1000 mic pres (these were made in Nashville but no close connection to me or my Nashville recording roots, but they were designed by Paul C. Buff, they’re transformerless, IC-based ‘hybrid’ op amps called the TransAmp #LZ, short for transimpedance amplifier and also

🏳️‍⚧️)… ooh i also got the 1980’s TOA RX-216 console from The Bennet House Studio when it became a BnB, it wasnt their main console, it probably mixed cue sends or was just used for its analog effects section but it has Japanese made transformers an NE5332 ICs all over it and sounds so lo-fi! It’s a fixer upper ;) maybe with ICs swapped for faster ones it will sound like a cheeseburger in paradise

90’s: if there’s a Nashville sound of the 90’s then it is probably something i dont want like a soundcraft plugged to a Digi888 interface

00’s: kinda the same as the 90’s, but all the really good sounds were the 70’s stuff in studios here anyway if they were buying/keeping/trashing gear based on what it actually sounds like and not marketing hype so… idk it’s probably an OctoPre into a Digi IO102 interface? nothing i have

2010’s: Miktek MPA-201, another made in Nashville special to me that I use for everything, it’s really a revisitation of the Neve 1073 preamp section. more 70’s stuff! (Si single class A big footprint can transistor, and AMI transformers with some awesome Ni-Steel and secret sauce alloys)

[gadgetsboy]

WWDC 2023: Apple's new Chip and Macs take Performance to Impressive new Levels

It's that time of the year again - WWDC 2023 has finally happened, and Apple wasted no time in giving Apple and tech fans a showcase of new and shiny tech. With that said, the Cupertino-based company finally revealed several new hardware, focused on giving users their computing needs - let's take a look! The MacBook Air goes Big First up is the latest iteration of the MacBook Air, which now comes in a 15-inch version. The highlight of the new laptop however is the M2 chip and 24GB of unified memory, which should be enough to power users' gaming and productivity needs. It also comes with the "standard" fanless design of the Air series. In addition to these hardware higlights, the 15-inch MacBook Air features a Liquid Retina display, alongside a new six-speaker sound system making it ideal for media and content consumption. The laptop also comes with spatial audio onboard, as well as a 1080p FaceTime camera, MagSafe Charging, and will ship with macOS Ventura. Apple says that the built-in battery will be able to last up to 18 hours of use on average. The 15-inch MacBook Air with M2 is available for pre-order today, starting at at £1,399 and £1,289 for education, and will ship out to customers on Tuesday, June 13. The M2 Ultra Makes its Entrance Apple also announced the latest chip, the M2 Ultra - this will power its more high-end computer models moving forward, including the new Mac Studio and the Mac Pro. Apple says that the M2 Ultra is built using a second-generation 5-nanometer process with Apple's UltraFusion technology to connect the die of two M2 Max chips for double the performance. The company boasts that this new chip brings improved performance for machine learning, video production, and overall power and speed. The M2 Ultra consists of 134 billion transistors, and will be able to support up to a whopping 192GB of memory capacity, in addition to 800GB/s of memory bandwidth. The M2 Ultra features a more powerful CPU that’s 20 percent faster than M1 Ultra, a larger GPU that’s up to 30 percent faster, and a Neural Engine that’s up to 40 percent faster. Apple states 24-core CPU of M2 Ultra consists of 16 high-performance cores and eight high-efficiency cores, which should prove to be more than enough for most productivity tasks. For example, the company says that DaVinci Resolve users will experience up to 50 percent faster video processing compared to Mac Studio with M1 Ultra. The GPU can also be configured with 60 or 76 next-generation cores, allowing for faster rendering of 3D effects using Octane on Mac Studio, for example. New Mac Powerhouses Revealed Apple also unveiled the new Mac Studio and Mac Pro, its two most powerful computers to date. The Mac Studio literally doubles its hardware capabilities for power users, packing the M2 Max and the new M2 Ultra chip inside. Apple says that the new Mac Studio is up to six times as powerful as competing Intel-powered Macs, and up to three times as powerful as the previous-gen Mac Studio. Beating inside is a 12-core CPU, up to a 38-core GPU, and up to 96GB of unified memory with 400GB/s of memory bandwidth. The Mac Studio is also equipped with Wifi 6E, and this hardware setup is rounded out by several connectivity ports including a four Thunderbolt 4 ports, a 10Gb Ethernet port, an enhanced HDMI port, and two USB-A ports. It also packs two USB-C ports and an SD card slot on the front to easily import photos and video. It's rather ideal for productivity thanks to six Pro Display XDRs, allowing for more screen real estate during resource-heavy editing sessions. Meanwhile, the new Mac Pro also comes with the M2 Ultra chip, in addition to PCIe expansion, up to 192GB of unified memory with 800GB/s of unified memory bandwidth, as well as a media engine that allows it to play up to 22 streams of 8K ProRes video. PCle expansion allows users to configure their workstation with digital signal processing (DSP) cards, and even serial digital interface (SDI) I/O cards for example. Apple adds that the M2 Ultra chip inside will allow the Mac Pro to run 3D simulations and video transcoding projects to up to three times faster. The Mac Pro also comes with support for up to six Pro Display XDRs, along with Wi-Fi 6E and Bluetooth 5.3, which come to the new Mac Pro for fast wireless connectivity. Additionally, the Mac Pro includes three USB-A ports, two higher-bandwidth HDMI ports that support up to 8K resolution and up to 240Hz frame rates, two 10Gb Ethernet ports, and a headphone jack for wired audio. The new Mac Studio and Mac Pro are available for pre-order today, and will start shipping on Tuesday, June 13. The Mac Studio starts at £2,099, and £1,889 for education., while the Mac Pro (tower enclosure) starts at £7,199 and £6,789 for education, while a version with a Rack Enclosure starts at £7,699 and £7,189 for education. Read the full article

[glitterypirateblaze]

D750 crossover network board High frequency 2.1 channel

A crossover network is an essential component in high-quality audio systems that use multiple speaker drivers. It helps to divide the audio signal into different frequency bands, ensuring that each driver only receives frequencies that it can reliably reproduce. The crossover network operates by employing filters that permit only specific frequencies to pass through to the proper driver. A low-pass filter, for example, allows only low frequencies to pass to a woofer while a high-pass filter directs only high frequencies to a tweeter. This aids in the optimisation of each driver's performance and guarantees that the sound generated is clean, balanced, and distortion-free. A well-designed crossover network is essential for producing high-quality sound in any audio system, from high-end home theatre systems to professional recording studios.

Buy Now - https://electronicspices.com/product/d750-crossover-network-board-high-frequency-2-1-channel

Try More Products - https://electronicspices.com/product/3-usb-5v-1a-mobile-power-bank-charger-controller-module-pack-of-1pcs

If You Need More Component like Transistor, Ic, Led, and other electronic component you can buy from our website -

You Can Also follow Us On : -

Facebook - https://www.facebook.com/ElectronicSpices/ Instagram- https://www.instagram.com/electronicspices/ WhatsApp- https://web.whatsapp.com/send?phone=+918929992403 LinkedIn- https://www.linkedin.com/company/electronic-spices Pinterest- https://in.pinterest.com/electronicspices/

[stepphase]

MacBook Pro 16 - Most powerful and best for the Brightest.

The MacBook Pro 16 for those who defy limits and change the world, a most powerful laptop Apple has ever made. The ultimate pro laptop.

Price 512GB : $2399 / £ 1,807.54 / € 2,025.94 / RS 1,76,220.10

Price 1TB: $2799 / £ 2,109.65 / € 2,363.63 / RS 2,05,602.36

The MacBook Pro with an immersive 16-inch Retina display, Incredibly fast processors, and a next-generation graphics with a largest battery capacity ever. A massive storage, and a new Magic Keyboard.

8 TB SSD storage - highest capacity in a laptop.

AMD Radeon Pro 5000M series graphics - Seamless playback and a super fast rendering.

64GB memory - smooth multitasking and a large files editor.

8 Core processor - power through intensive workloads.

16 inch Retina display - Awesome viewing experience.

6 Speaker sound systems with a studio quality mics - Super clean recording and a amazing sounds.

macbook pro

Retina Display - A beautiful and a big workspace for doing big work.

The MacBook Pro 16 inch, the largest Retina display ever in a notebook. It has 500 nits of brightness for bright whites and spectular highlights, delivering deep to precise photo alignment of liquid crystal molecules. Also has a P3 wide color gamut enables brilliant videos and image. Definitely, you will see your work in the best possible light no matter where you are.

Narrow-band-LED-powered back-light allow to represent the P3 wide color gamut for a brilliant color in videos and photos.

Oxide thin film transistor features 9 or 10 times faster pixel charging than traditional amorphous silicon TFT, also holds pixel voltage steady while in a low-frequency power savings mode, also enabling pin-sharp resolution and a longer life of battery.

Apple-patented metal layer in the TFT maximizes the transmittance of the pixels, also enhancing its color and brightness uniformity with reducing pixel cross-talk, that cause visual artifacts.

Mirror-like enhanced reflector sheet into back-light reflects over 97% or 98% incident light, that is allow MacBook Pro to 500 nits of brightness efficiently.

Processor and memory speed is amazingly a game changer.

MacBook Pro brings a new class of performance to the notebook. As well as Intel Core i9 processor that has a 8 cores and a 16 threads of processing power sustain higher performance and deliver 2.1 times fast performance of a quad-core. Also you are layering dozens of effects and tracks, rendering 3D models, testing code and compiling. So you will be doing it in no time flat.

Core i9 & Core i7

16GB DDR4

32GB DDR4

64GB DDR4

28% increased airflow and a 35% larger heat sink

Thermal architecture enable fast processing: Thermal architecture has been completely redesigned and also featuring larger impellers with improved fan blades for optimal airflow and a more heat-dispersing fins for effective cooling. It's resulting gain in cooling capacity allows deliver 12 watts more maximum sustained power.

Adobe Light-room Classic60% faster raw image import with an Smart Preview.Adobe Photoshop70% faster processing of well threaded filtersAdobe Premiere Pro55% faster 4K H.264 exportAuto-desk Maya2.1x faster arnold renderBlack-magic Fusion Studio95% faster render scene to diskFinal Cut Pro X11 simultaneous 4K multicam streamsLogic Pro X2.1x more Amp Designer plug-insMATLAB2.1x faster simulation of dynamical systemsNASA65% faster TetrUSS computational fluid dynamics performancePixelmator Pro70% faster ML-based image repairWeb-Kit Compile80% faster build time using XcodeWolfram Mathematica85% faster CPU benchmark performance

Processor speed

64GB of DDR4 memory efficient multitasking: fast 2666MHz DDR4 memory up to 64GB for fast and smooth performance whether you are loading hundreds of audio samples or editing billions of pixel images or even running multiple virtual machines.

Graphics - Bending reality with an amazing amount of power to carry around.

AMD Radeon Pro 5000M seires delivers the most graphic horsepower ever. It is a 2x faster then the previous-generation model, for faster rendering and seamless playback of ultra-high-definition video.

New: While working on graphics-intensive projects like high-end game or 3D rendering development, Also supercharge with the optional Radeon Pro 5600M. It's 40 compute units and a 8GB of High Bandwidth Memory, that runs powerhouse GPU to a new level of desktop.

Radeon Pro 5600M and 8GB HBM2Radeon Pro 5500M and 4GB GDDR6Blackmagic DaVinci Resolve Studio3.4x faster effects render90%Final Cut Pro X3.4x faster timeline render performance2.8xFortnite2.6 faster game peerformance2.0xMaxon Cinema 4D3.5x faster render with ProRender2.5xTotal War: THREE KINGDOMS3.1x faster game performance2.3xUnity Editor3.2x faster demo fly-through2.1x

Graphic speed

3.5x faster than a Radeon Pro 560x

394GB/s memory bandwidth

8GB HBM2 memory

40 compute units

Keyboard

The new magic keyboard features refined scissor mechanism with 1 mm travel for a responsive, quiet and a comfortable typing experience. And it's Touch Bar has apowerful shortcuts in front and center. Also Touch ID provides fast authentication. It's Escape key will allows quick switching between views and modes. And its inverted-T arrow keys enable fluid navigation, even if you are navigating spreadsheets, or flying through lines of code or gaming.

1) Touch Bar on Top-Left side: Saving time and keystrokes.

2) Touch ID on Top-Right corner: that helps for secure logins and purchases.

3) Touch Pad on Bottom-Center: with a Multi-Touch gestures.

Audio - Mic and Bigger bass

The Six-speaker sound system has room filling wide stereo sound you have never ever heard from a notebook / laptop. That has a dual force-cancelling woofers that reduces system vibration for a clearer and a natural sound with a half-octave lower range to the bass. It's studio-quality has three-mic array rivals professional third-party microphones that creating super-clean music or podcasts recording.

Storage

8TB of SSD storage with 3.2GB per second sequential read speed. No matter where you are, that is just enough to take your video and photo libraries with you. Additionally, massive files load and also with a super-fast speeds, which is enough for apps launch in a blink.

512GB

1TB

2TB

4TB

8TB

Battery

100-Wh lithium-polymer battery that powers the larger display and also delivers a higher maximum sustained power which provide a longer battery life 11 of hours. which is enough for video playback and a wireless web browsing. It is just like work more and less charge.

Apple MacBook Pro T2 Security Chip

That is includes a secure enclave coprocessor's powers touch ID and also provides the foundation for encrypted storage and a secure boot capabilities. As well as consolidates many discrete controllers, audio controller, the system management controller and SSD controller.

Thunderbolt 3 - versatile and powerful port

The Thunderbolt 3 combines ultra-versatility with a ultra-high bandwidth of the USB-C industry standard to create one revved-up universal port. That integrates charging, data transfer and video output in a single connector 40GB per second of throughput for twice the bandwidth of Thunderbolt 2. Additionally, equipped for ports, as well as you can do all of them from either side. Also Existing devices easily connected with a adapter or cable. And the Thunderbolt 3 is reversible, so you can plug in however you want because its always on right side.

Size and Weight

Height: 0.64 inch / 1.62 cm

Width: 14.09 inches / 35.79 cm

Depth: 9.68 inches / 24.59 cm

Weight: 4.3 pounds / 2.0 kg

In the box?

16‑inch MacBook Pro

96W USB‑C Power Adapter

USB-C Charge Cable

Configure to order on Apple.com

2.4GHz 8-core Intel Core i9, Turbo Boost up to 5.0GHz, with 16MB shared L3 cache

32GB or 64GB of 2666MHz DDR4 memory

first AMD Radeon Pro 5500M with 4GB of GDDR6 memory

second AMD Radeon Pro 5500M with 8GB of GDDR6 memory

third AMD Radeon Pro 5600M with 8GB of HBM2 memory

1TB, 2TB, 4TB, or 8TB SSD

Contact us to let us know if we are missing something in our page and thank you for your visiting. I hope you will visit again.

#Stepphase #technologies #technology #tech #technews #techworld #techtrends #smartphone #apple #techupdates #futuretechnology #newtech #techgeek #technologynews #technologythesedays #smarttechnology #technologylover #technologytrends #technologyblog #gadgets #smartphone #gadget #marketing #digital #india #technologyisawesome #amazing #repost

[thejoyofviolentmovement]

Live Footage: The Sextones Perform Soulful "Without You"

Live Footage: The Sextones Perform Soulful "Without You" @TheSextones @nickrecordkicks @RecordKicks @monophonicsfunk

Reno-based soul outfit The Sextones — Mark Sexton (vocals, guitar), Christopher Sexton (piano), Alexander Korostinsky (bass), and Daniel Weiss are childhood friends, and as a result their musical chemistry is effortless and forms the foundation of the band’s longevity and creative process.  Over the years, the band’s members have also been able to channel their creativity into other acclaimed…

[fuzzkaizer]

Parasit Studio - The Phase Locked Fuzz

"this is another new DIY project that I will be releasing very soon. It's based on my own "discrete" PLL design, meaning that it has all the building blocks of a PLL but made with op amps and transistors (no CD4046). It's a novelty idea I got years ago (but didn't finish until now) that helped me understand phase locked loops better. It resulted in this pedal. It has a saw tooth VCO with vibrato that can be blended with a square wave fuzz or a phase comparator that puts out the difference between the input and the VCO output. It can create some really chaotic sounds, especially with the vibrato on and the tracking turned up."

cred: facebook.com/Parasit Studio

[audio-luddite]

True or False.....Yes.

There is an effect where you see a news item, or blog or some source of information and you believe it, and maybe you shouldn't. In Hi-Fi / audiophilia these are equipment reviews. This or that new product is better than what came before or "is worthy of consideration. "

The author Michael Crichton coined a term Gell-Mann Amnesia.

Wiki-doodle says it very well:

Gell-Mann amnesia effect to describe the phenomenon of experts reading articles within their fields of expertise and finding them to be error-ridden and full of misunderstanding, but seemingly forgetting those experiences when reading articles in the same publications written on topics outside of their fields of expertise, which they believe to be credible. He explained that he had chosen the name ironically, because he had once discussed the effect with physicist Murray Gell-Mann, "and by dropping a famous name I imply greater importance to myself, and to the effect, than it would otherwise have."

It is a lovely irony that you see something and think this is total rubbish, then believe something on the next page. The idea is people who write or speak with some authority are often wrong.

When I was new to this whole thing I read "The Absolute Sound Magazine." Up till then I knew almost nothing about equipment, but did have preferences for music, often loud. The main benefit of that magazine was to show me there was a world out there of better stuff.

TAS claimed to be better as it was more pure and free from conflict of interest compare to all the "other" mags that had to accept advertisements to survive. Advertisements from the companies they reviewed. Oh evil, oh corrupt!

They rapidly went down a rabbit hole of unobtainable things and black magic voodoo accessories. Oh and had to abandon the purity and accept ads from companies as you gotta pay the bills.

Later I came to realize the basis of their editorial position was total bullshit. Their reference was real live performance in front of you the audience. That being a concert hall, or jazz club, or recital hall or whatever. Bullshit because jazz clubs use PA systems of vastly varying quality, concert hall sound different from every seat, and even a violin sounds different depending on how it is facing relative to your ears. Several major venues had really bad acoustics back then.

Recordings sound different by the place they are done, the microphones used, the skill of the engineer. Then claiming you could make a recording studio sound like a concert hall depending on the equipment you use in your home is really silly. There are precious few recordings made in concert halls and if there is no audience the sound is very different. You are trying to nail ice cream to a wall.

As I got more experienced I found issues with almost every theory and approach to playing music from recordings. Everything was wrong in some way. I honed in on the idea of simple quality. Oh and simplicity. I liked Audio Research equipment, for example, as it is very well made and uses premium parts. The interiors were pretty.

Look under the cover of a Harmon Kardon Citation II some time.

I also learned from personal experience how something works and actually sounds. I heard the voice of a device. I heard sounds in my system that some reviewer could only hear with a particular type of wire in his system and mine did not have wires like that. Doubts became permanent.

But I still read reviews to see what the new things are out there. I am amazed that people can spend so much money on things that are not actually better, just different.

My opinion is basic equipment from the 80s and 90s is really as good as it ever was to be. The 50s and 60s were climbing a hill. New components like better transistors were being invented and used. Electric cars were not made practical by certain batteries, but by high power semi-conductors that make big motors easy to control. That happened in the 90s and trickled into cars from industrial power controls. Those things are actually huge low frequency amplifiers.

Now the hi-fi world is divided into tribes that adhere to one or more dogmas. It is good if it has a vacuum tube. It is good if it is pure analog. It is good if it is pure digital. It is good if it sounds the way I like it.

I just like good stuff.

[natromanxoff]

My phone call interview with ‘Queen’ bass player John Deacon in July 1998:

John was a very nice fellow to talk to and gave his account about finding the Deacy Amp circuit board and then what happened with putting the amp together and using it as a practice amp, and then taking the amp to band practice with Freddie, Brian and Roger.

By the way, John Deacon did not tell me that he changed the Deacy Amp’s front end – this came from something that Brian had told me during 1998 at Allerton Hill when we began pulling apart and examining the Deacy Amp. Brian said that he thought they had changed something in the amp to help it cope better with the signal coming in from the treble booster. We do not know whether this happened or not, and when I asked Brian again about this in 2007 he laughed and told me that he couldn’t remember. In the piece I wrote for Brian’s website www.brianmay.com about the Deacy Amp, I included this information based on what Brian had previously said, but I suspect now that nothing may have been  changed in the front end input stage.

In the phone call with John I asked him if he had ever made Brian a treble booster in those early days of Queen, because for many years it has been reported that he had. John told me that he had not made a treble booster for Brian.

From my notes on the phone call with John Deacon 22nd July 1998:

John said that he found the amplifier section in the back of a skip which was sitting on the side of the street in London, and that he noticed the wires dangling over the edge of the skip and picked it up before it was thrown out. John said that he was studying for a degree in Electronics at the time and was always tinkering with electronic bits and pieces, and that the circuit board looked interesting to him when he first saw it. He thought that the transistor amplifier might have come from a cassette player or a radio. John thought at the time that he might possibly use it as a small practice amplifier – he played guitar as well as bass. John thought that this had happened in about 1972 and that he was already playing with Brian at this time.

John said he already owned the hi-fi bookshelf speaker box which he then modified so that it housed the amplifier circuit board inside with no controls at all on the outside of the box. John liked the simplicity of only having a jack socket to plug into with the amp’s volume set internally at full, although he said that initially he probably had a volume control hanging on the outside somewhere. The amp had a warm and pleasant sound although John said that it was always partly distorted and would never sound clean.

John told me that through some chance he showed the amp one day to Brian when he  brought the amp along to band practice, and said Brian was immediately interested in the amp’s possibilities especially when he used his Red Special guitar and treble booster with it. John said that with the Red Special and treble booster, the little amp offered a pleasant pretty type of saturated distortion which was utterly unique and very different to the ‘cutting harder sawtooth transistor distortion’ found in many effect pedals and amps of the time.

John remembered that the sound engineers who they worked with liked the way the little  amp behaved in the recording studio where it would produce a ‘consistent response’ as he termed it, whereas the engineers found it more difficult to capture on tape the excitement and dynamic live sound of Brian’s Vox AC30 amps. However John quickly mentioned that all the work and discussions with sound engineers was never his area of interest, and therefore he was never privy to detailed information in this area.

When I asked John about whether he had made a treble booster for Brian at this time in the early/mid 1970s, he told me that he had not.

- Greg Fryer

[thekingofgear]

Jonny Greenwood’s ondes Martenot Tone

Jonny losing himself in a performance of Messiaen’s Vocalise Etude at RHK Dublin in 2015. Photo by Isabel Thomas for The Thin Air.

Written in response to the following anonymous question:

Hi TKOG! When Jonny uses his Ondes Martenot/Ondomo/French Connection etc. does he usually use the Sine Wave function or to produce a basic sine wave sound? I am trying to build my own similar instrument so was wondering what sound I should try and aim to produce. Thank you!

Despite how often the sound of the Martenot is described as a “sine tone”, you will only very rarely hear just a sine tone from the instrument. Jonny’s ondes sound on If You Say The Word for example (more on that later) is far richer than a sine wave. Most versions and offshoots of the Martenot do offer a sine wave, but players (ondists) generally combine it with other waveforms. A very common combination is the sine-wave (onde) added to a lowpass-filtered square-wave (petite gambe). This is similar to but richer than a sine wave, and often blends better with other instruments compared to the pure sine.

One reason for these combinations is that the speakers (diffuseurs) of the original Martenot added lowpass and highpass filtering. The currently-produced ondes Musicales Dierstein at one point used a guitar-oriented Celestian Vintage 30 speaker for its primary (principal) loudspeaker, which rolls off the highs at around ~5kHz and the lows at ~200Hz (full graph here). So even a rich waveform will start to sound like a sine when played at a higher pitch, because the speaker will roll off most of the harmonics of a high-pitched note. With a speaker like that, the combination of sine and filtered square will sound like a slightly richer sine wave at higher pitches. And at lower pitches where the fundamental sine sound is filtered out, the gentle square harmonics will still give definition to the note. The speaker really balances out the sound of the instrument.

Jonny’s Analog Tones

Jonny rehearsing There Will Be Blood with the Wordless Music Orchestra in 2014. His French Connection and its cabinet sit unused as he plays his original digital ondes Martenot. The amp is a rental Vox AC30CC2.

When it comes to Jonny specifically, his choice of waveform depends on both the instrument and the piece of music. For live performances of How To Disappear Completely from 2001 to 2012, Jonny used his French Connection and its Apprentice modular case (the French Connection is just a controller, and produces no sound on its own). At those shows, the instrument is connected directly to the PA, there’s no filtering from a guitar-type speaker. Perhaps that’s why he used a richer saw wave for low notes, and a purer sine-like wave for the high notes. You can hear this clearly in recordings of the band’s Saitama show. But the analog RS-95 oscillators that Jonny uses with his French Connection can’t actually produce a pure sine wave, no-matter the setting of its “shape” knob. So the RS-95′s sine wave sounds more like a triangle wave with some added even-order harmonics (the result of creating the sine wave from the saw/triangle wave). In addition, some other Analogue Systems modules like the RS-100 filter will gently overdrive when connected to a full-volume oscillator, which can add extra harmonics too. When Jonny performed There Will Be Blood with the Wordless Music Orchestra in 2014, he set the volume knob on his RS-110 filter to max, adding some overdrive to fatten sound of the RS-95′s sine output. And Jonny isn’t afraid to use the RS-95′s harmonically rich sounds too: the synthy sliding notes during the last section of the 2+2=5 recording are a great examples.

Unlike the original digital ondes Martenot he obtained in 1999, Jonny’s ondes Musicales Dierstein from 2011 uses analog transistors to generate its sounds (for more info on Jonny’s various Martenot offshoots, see this article). The Dierstein’s sine is also a slightly impure analog waveform, but it is much purer than the RS-95’s sine. It’s interesting to note that, for a performance of There Will Be Blood in 2014, Jonny did use the sine tone (Onde setting) when playing parts originally recorded with his original digital ondes Martenot. However, when playing new compositions with the London Contemporary Orchestra in 2015, Jonny instead used the clipped triangle wave, and even mentioned it sounded good in the concert hall (the Victoria Hall in Geneve). For that show, Jonny did use the Celestian speakers, which gave a warmer sound to the clipped triangle. It’s also interesting that Jonny seems to prefer using just one waveform at a time, rather than combining waveforms by turning on multiple switches.

A photo of the control drawer (tiroir) of Jonny’s Dierstein, posted on his twitter acount in 2015. Only C and D2 are active. C is a peak-limited triangle wave – imagine a triangle with the top chopped off to form a trapezoid. D1, D2, and D3 are switches for different speakers, and D2 is the reverberant speaker. On the Dierstein, D2 is a guitar-type speaker with a warm-soundng reverb emulation. This is pretty different from earlier versions of D2, which had a speaker connected mechanically to a set of large brass springs.

Stimulating Harmonics

So you may be thinking it’s best to start with a rich waveform and add some filtering. But some of the Martenot’s speakers can also add harmonics. The Palme and Metallique speakers both replace the cone of a normal speaker with a more resonant material. In the case of the Palme, the voice coil is coupled directly to the bridge of the custom-build string instrument. When the voice coil is sent into excitation by an input sound, it directly vibrates the strings. So the Palme does not simply add some stringy reverb. The strings of the Palme are actually “played” directly by the input sound, adding harmonics that were never present in the original sound (if you’re curious for more info on the Palme, see our article on building one).

Why should we care? Well, even when Jonny does use a pure sine setting, the final output we hear still might not be a sine wave. When a sine is used with the Palme speaker, the natural harmonics of the vibrating strings are added to the sound, and shaped by the resonance of the Palme’s body.

A photo of Jonny with his digital ondes Martenot and Palme speaker at the Koko in London for the Big Ask in 2006.

The studio recording of The National Anthem is a good example of a pure waveform used with the Palme. For that recording (which we transcribed in detail), Jonny used his original digital ondes Martenot. The digital instrument is able to produce a much purer sine wave than the analog offshoots of the ondes Martenot like the French Connection and Dierstein. But even so, we hear extra harmonics from the strings of the Palme, giving an ethereal haze to the notes.

Jonny also likes to use Vox AC30 amplifiers with his digital ondes Martenot, as he did perhaps most notably for the performance of Cymbal Rush on the Henry Rollins show in 2006. Overdriving the input of the AC30 adds extra harmonics to the sound, which are tamed by the lowpass filtering of the tone cut control and speaker – the same principle as overdriving an Analogue Systems lowpass filter. Jonny only had his digital ondes Martenot when he recorded his parts on If You Say The Word (2:38-3:05, 3:48-4:16). His tone on the song is much less hazy and reverberate compared to The National Anthem, doesn’t seem to have been used (unless it’s blended very softly underneath). But his tone is still fairly rich in overtones, so perhaps they were recorded through a tube amp like the AC30 for some gentle overdrive.

That said, it’s also worth noting that the digital Martenot can produce many additional sounds that his Ondomo, French Connection, and Dierstein are incapable of. Jonny’s interview with ondist Suzanne Binet-Audet for Caroline Martel documentary Wavemakers reveals some of the digital instrument’s more organ-like tones.

A long-exposure photograph of Jonny playing his digital ondes Martenot in the Round Room at Tottenham house, during the recording of In Rainbows.

Really, anything will do!

Simply put, there is no single waveform or timbre that can be attributed to an ondes Martenot. Each version and offshoot of the Martenot has its own waveforms, and they only sometimes overlap. But whether he’s playing his Ondomo or his French Connection, Jonny has nonetheless found a way to get his own sound from them. Ultimately, what matters most is the control interface. As long as one plays using the ring and intensity key (touche d’intensité), any periodic waveform will sound like an ondes Martenot – you might just need to adjust the filtering and reverb. That’s the reason VST replicas of the Martenot, such as Soniccouture's Ondes, sound so different from the real thing, despite using samples of the Martenot’s waveforms and impulse responses of the speakers. Unsurprisingly, the control interface is what matters most. Still, it might be worth playing around with the waveforms in a VST like that, just to hear what you like. You can also listen to the timbre samples on Josh Seman’s website, though you can’t use that to test blends of waveforms.

You seem interested in Jonny’s timbre specifically, but things are equally muddy when creating a historically-correct instrument. Most modern derivatives of the Martenot are based on the MK7 instrument, which used transistors. But many of the most famous pieces for the Martenot were written for earlier version of the instrument that used tubes. Those versions had a much fatter sound due to the tubes overdriving, and had a different range of waveforms and timbres. But this doesn’t stop modern ondists from performing Turangalîla beautifully with a MK7. As long as the instrument has enough timbres to cover a good range of moods, the specific waveforms are ultimately fairly unimportant.