K Untitled C1 - Yard (2) - Ep.151 (File, MP3)

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So any prospective purchasers will need an amplifier of at least 60W RMS per channel to get decent levels even in a smallish room. Suitably set up, run close to the back wall and toed-in just a touch, it gives an unforgettable sound. Talk about squeezing a quart into a pint pot - it throws images wide left and right, in an amazingly unselfconscious way. Elements of the mix dash around the room, the speakers throwing out a bewilderingly wide soundstage given their size.

Bass drums thunk with great speed and snares cut through the mix like the proverbial cutting implement through animal fat. The lack of overhang in the cabinet, added to the innate speed of the drivers, means that the music almost seems to be speeded up. The new tweeter is streets ahead of the previous dome fitted to the SAl, offering more insight and atmosphere.

Join us in a relaxed and infonnal atmosphere with our friendly staff on hand for no obligation advice on all matters HiFi! For your nearest dealer call Here fantasiic products from NuNu Distribution Limited www.

This is the best set of speaker cables that I've ever heard. They just allow the music to flow naturally. High frequencies radiate from the centre of the low-frequency unit through a carefully designed exponential horn. The result is a far wider on-axis area that you can listen from, and superior stereo projection. The crossover further time-aligns the two drivers, meaning that the sound appears to come from the same point-source just behind the drive unit.

To the untrained eye, the Precision 6. The inset WideBand tweeter uses a titanium dome for high rigidity and low mass, and is said to be superior to aluminium in terms of where and how the response breaks up.

The rear of the cabinet features a distinctive binding post panel, which has gold-plated binding posts. The company also offers its signature fifth terminal to earth the driver chassis to the amplifier ground, which is said to reduce RF interference.

Sound quality This is a quintessential high-quality Tannoy that gives a wide, expansive and room-filling sound. It picks out vocals, lead piano and guitar lines and throws them into the room with confidence, while at the same time not forcing the listener to take cover behind the sofa. The result is an atmospheric and extended treble. The result is a clean and open speaker that images beautifully and seemingly disappears from your listening room.

Rhythmically, the cabinet stays out of the action to a large extent, with no untoward honking or booming, letting the Dual Concentric driver get its claws into the music.

This it does very well, serving up a musically satisfying sound that bounces from the start of the track all the way to its very end. It gives a really enjoyable sense of there being a musical event, as opposed to just going through the motions. Conclusion Overall, the Precision 6. In the new Astute loudspeaker it has created a relatively dead barrel from a multi-laminated tube capped with solid bamboo ply front and back.

Nothing wants to resonate, and asymmetrically offset dual concentric drivers set within the front baffle ensure that standing waves have little chance of forming. Designed to be used with an active subwoofer, the Astutes cover the 85HzkHz frequency range with a pronounced roll off from lOOHz.

Deeper bass duties are then picked up by your subwoofer of choice. And rather than merely reproducing laboratory standards of frequency and amplitude, the Astutes dive straight into communicating your music. Given Origin Live has clearly paid so much attention to engineering and physics we are ready for a clinical presentation of music, but the opposite is true.

Suspending these quality drivers projects a compelling holographic image that is tall, wide and utterly stable. Hanging the dynamic drivers appears to unlock an extra presence and realism to voices, releasing them from other midband detail and deepening the stereo image front to back. This is a classic side effect of high quality and an intuitive response to a lack of distortion. These speakers are happy to reproduce convincing dynamics at very low volume levels or party hard, and the disco anthem is soon projected into every corner of the room.

Conclusion The Astutes are a beguiling combination of engineering decisions and unique technical features that add up to a highly coherent and very musical whole.

They are remarkably unphased being positioned near rear walls, but appreciate a little air around them. The unique skeletal design offers unparalleled versatility with a huge choice of single or double arm options. Our prized sapphire bearing and platter system has been retained from the DIVA II, as has the option of using our unique clamping system, which efficiently channels unwanted vibrations away from both the record and platter. The gently sloping front baffle gives it a distinctive appearance and the bright metal trim rings around the drivers lend a classy look.

This is a very well executed small floorstander, offering a lot for the price. Our AE comes in vinyl- wrap walnut, but it is done well and black and gloss white finishes are options too. This is at the bottom of the front baffle, which is a wholly good idea because it makes the speakers far less sensitive to placement near boundary walls; we find that they work well as close as 20cm from a rear wall.

Round the back you get a single pair of non-bi-wireable binding terminals. Sound quality The AE has a bright, snappy and enjoyable sound that has a naturally musical nature and a good bit of power for when required. You can hear the tweeter adding just a little liveliness to the proceedings; hi-hats and the top harmonics from snare drums seem a lot better lit. By the standards of its rivals tonal balance falls around the middle; not too sharp or too soft.

J the way through the track when the AE seems to momentarily lose its composure in the low frequencies. Generally it proves a great dance music speaker, and works really well with other types of music. Conclusion This is a fine speaker that responds well to good amps and sources. Properly set up you can enjoy its good rhythms and dynamics, and sense of musical flow.

ATC began its life building drive units for professional monitor speakers, and then started making its own. The benefit of a dome, as well as excellent dispersion, is that it is phase-coherent with the dome tweeter - which is to say it radiates sound waves in a similar manner. It mates to an ATC-designed and built 25mm dome tweeter with a doped polyester diaphragm and suspension, with alloy wave guide.

But if you imagine that it is cerebral, analytical and dispassionately forensic then think again. Feed it a high-quality source via a smooth, punchy solid-state amplifier and you get a startlingly fine sound back.

This is made more apparent by its superb bass; arguments rage about the merits of infinite baffle boxes, but ATC has got this one working brilliantly. The only downside is that it makes lesser amps feel like a jogger running in concrete trainers! Positioned just 30cm from our rear wall and toed-in slightly, the speed, power and grip is superlative. The attack transients on the synth bass are superb, starting and stopping with the speed of an LED. Conventional-holed boxes have practicality and ease-of-drive in their favour, but can bring problems related to phase integrity across the whole frequency.

It sounds like a veil has been lifted from in front of the music and it gives an explicit insight into proceedings. Conclusion Given a serious source and recording, the SCM40 is superb - we know no price rivals with this level of accuracy, speed and insight. It strings the rhythmic elements of the mix together brilliantly, punching out subtle dynamic inflections in a satisfying and visceral way. This is plenty of fun, but better still the Cambridge Audio proves highly adept at playing rhythms.

Cambridge Audio Aeromax 6 arely 18 months since it first launched its Aero range, CA has gone for a revamp and a new name. No less profound is the fitment of the latest fourth-generation Balanced Mode Radiator BMR , which partners with twin bass drivers.

Married to this is better OFC internal wiring and upgraded speaker terminals. What you get is an almost uniquely even sound, totally devoid of the sort of peaks and lumpiness in the midband that all but the very best boxes suffer from.

It really is uncanny, and the mods make it even easier to enjoy. It works well close to a rear wall, but it excels around 50cm into the room with the bung removed.

Sound quality The basic sound of the Aeromax 6 is very smooth, satisfyingly musical and eerily unlike pretty much every other loudspeaker in its price bracket and indeed many others, too! The first choice to make is whether to use the supplied foam bung in the bass port; in our room we fit it because it tightens up the bass. The ultimate in high-end audio systems, components and accessories. Renaissance Audio provides products that brings the listener closer to the real music experience.

Visit our website to find your local retailer or call us for more information. Suddenly, the K2s have the ability to work as wireless speakers, and be driven from a range of digital sources - or even an analogue input. But where does this leave us before the Active-K pack arrives? The speaker is a two-and-a-half-way design and is quite diminutive for its price. Finally, this drops down to another mm driver that handles bass frequencies only.

Sound quality In essence, the new Epos has a very musical sound. But whereas some speakers that exhibit these sort of traits end up sounding rather boring, the Epos certainly does not. It offers the enchanting combination of being relaxed in nature, but engaging in action. The Epos by contrast tones it down slightly, but the instrument in no way loses impact; instead we are able to follow it better throughout the song.

Its prowess with attack transients - the ability to catch leading edges of notes as they happen - allied to a dislike of sitting on dynamic accenting - is what makes this such a lively speaker, despite not sounding in the least bright. Instead, the accent is more on the lower midband and bass, rather than further up. It gives the song a little bit more body, and a silkiness that other speakers at the price lack.

Even the tinselly hi-hats sound sophisticated. Its skill at contrasting the respective levels of instruments proves excellent; instead of ramming everything at you, it steps back a pace or two, so you can get a better sense of scale. The effect is immersive, letting you get lost in its wall of sound. It affects the transient response of the driver, its rigidity and the resonance or lack thereof.

The Aria showcases a new recipe - the French speaker specialist has cooked up a sandwich of glass fibre, a special type of textile fibre called flax and glass fibre again. Flax is, however, so the two should make a happy combination. Sound quality The Focal family sound is generally very fast, sharp and engaging; these speakers go loud without compression and punch hard on transients, making them lively listens.

The new does all of these things, but it seems to do everything with a little more elan than the earlier series. At the same time, those flax cones invest the midband with a transparent feel, meaning it is better able to show the differences between recording studios than many other similarly priced boxes.

Although a little softer sounding, those flax cones are just as fast at capturing the attack transients of a snare drum rim shot or the dull pounding of the bass drum, and the result is an enjoyable unfatiguing listen.

You might think that with a slightly sweeter midband sound, the metal tweeter will stick out a little more than with previous Focal boxes, but it proves enjoyably smooth. At high volumes, the is quite superb; distortion is so low that you can push it right up to the point that your flares start flapping, the Aria slamming out tuneful bass without the merest hint of complaint. Across the mid, it is excellent - fast and poised and wonderfully engaging - and treble glistens away with a lovely crisp yet smooth hi-hat sound.

The S8 is a three-way with the addition of a mm midrange unit and two mm bass units. Running them in parallel lets the speaker shift a decent amount of air and retain its narrow dimensions.

Importantly, though, the midband driver is the same - albeit slightly smaller - unit as the bass drivers. This will provide not only a good tonal match, but it should keep good phase too, and have similar dispersion characteristics. Roughly translated, this means a thin hybrid metal cone that has been dimpled to resist bending. It vents internally around the outside of the magnet system into a large rear-loading chamber above the separate midband chamber. Sound quality The Silver 8 is surprisingly unfussy.

We stand it about 30cm from the rear wall, gently toed-in and it sings. It has a surprisingly clean and neutral sound - unlike some rivals that also use metal coned drivers. Indeed, if anything it is ever so slightly on the warm side, and certainly able to live with a lively sounding source or amplifier. It sounds wonderfully integrated and all-of-a-piece. Bass is strong and well articulated, midband crisp yet smooth and the treble beautifully detailed. This gives a seamless, almost electrostatic-like sound; it spreads out easily into the room and the bass, mid and treble driver integrate well.

The 8s serve up large tracts of bass, which is tight and well articulated, with no sense of the speakers falling over their own feet, so to speak.

Further up, that midband driver kicks in at Hz to give an even and spacious sound until the tweeter joins the party at 2. Interestingly, the Silver 8 has no real weaknesses. Conclusion As any good football manager knows, the easiest way to win is not to lose - and the Silver 8 is an arch exponent of this. The most visible change to the Motive SXl is the tweeter. The titanium unit of old has been replaced with an aluminium design. The tweeter is partnered with the same mm mid bass drivers as before and the cabinet has the same distinctive rearward lean to aid the time alignment.

The cabinet porting exits through the bass of the speaker. For this reason, the plinth and spikes are fixed.

The advantage of this is that the SXl is not too fussed about placement close to a wall although best results are gained being at least 30cms out , but we discover that on a suspended floor, the Motive can be a little lively.

Neat supplies a set of foam bungs to limit the output, but best results are gained on solid floors or isolating platforms. Sound quality The overall balance of the Motive is one that perhaps trades that last tiny percentile of detail in a performance for an even-handed accessibility with a wide variety of music that makes this an appealing partner across a wide variety of genres.

There is a clearly discernible sense of fun to the way that the Neat goes about making music that adds to the involvement it can create. Picking this overall perception apart is tricky, but it seems to stem from an exceptionally well balanced presentation from top to bottom that avoids over emphasising any part of the frequency response.

For what is a relatively compact and slender floorstander, the bass response is genuinely impressive. Although the Motive is happiest on a solid surface, the potent low end is apparent on all surfaces.

As well as a genuine amount of impact, that is felt as much as heard, there is detail and agility that aids believability. Push the Neat to antisocial levels and the port can become audible, but at more sane volume points it works seamlessly with the drivers. At the other end of the frequency extremes, the SXl has a sweetness to the upper registers that is largely responsible for the forgiving way that it performs, even fed with less than perfect material.

The handling of voices in particular is unambiguously real. Their placement as part of the wider recording is entirely convincing and it emphasises its ability to focus on the wider performance rather than picking it apart. The soundstage has a good sense of scale and there is plenty of detail between the speakers. A characteristic that also remains constant is that although the Motive SXl is not especially difficult to drive, it benefits from amplifiers that have good current delivery and that exert a sense of control.

The amount of power needed to reach a decent volume level is not that high, but the Neats thrive on that power delivery being of a high standard, and the excellent bass response seems to really come alive when driven from solid-state power. Their latest models in this long and proud heritage are the Quintet Series. All Quintet cartridges use the same ABS thermoplastic bodies and neodymium magnets, but each model in the range has its own sonic expression that retlects its status.

From the well-rounded Quintet Red. The Quintet Series also includes a true-mono cartridge, for accurate reproduction of older mono recordings. They look visually identical to the single one in the Concept 20, but the motor has been improved and the magnet strengthened. The 25mm soft dome tweeter cuts in at 2. We find that they work best at around 30cm out from the rear wall.

None of this is lost in the Concept 40, but you get a wealth of extra musical insight, which takes it way beyond the i. The sound seems far faster, more open and yet more subtle too, and the spaces in-between the musical notes seem to drop back to vanishingly low levels. When the lead vocal kicks in, it has a wonderfully silken sound. The song seems to have a real trajectory, instead of ambling around lazily.

Feed the Concept 40 some punchier rock, and it shows itself in an even better light. Through lesser loudspeakers it can sound congested, but the new Qs are wonderfully clean and open, throwing the sound out as if they have dissolved out of the room, retaining only a ghostly vestigial presence.

Bass is surprisingly strong and pleasingly even too - devoid of any false bass peaks. Notes stop and start quickly and are played tunefully.

Treble is good too, the crashing cymbal work sounding decently metallic, but not grating. It is amazingly well rounded, having practically no obvious weaknesses, and a whole lot of strengths.

Right across the range - from detail and dynamics to tonal balance and musicality, it scores very highly indeed. Most of all what we like about it is its naturalness. These are said to improve low-level linearity and mechanical stability. To go with this is a re-engineered crossover, devoid of series-attenuating resistors to minimise thermal modulation distortion. It also gets precision- wound high-linearity tapped inductors.

It knows how and when not to interfere, where less sophisticated, more impetuous rivals fall over themselves to demonstrate their punchy bass or laser-etched treble. Even at high levels, there is no huffing, puffing or chuffing, and the low frequencies remain tight and supple.

The result is a lovely, lilting musicality with just a tiny bit of softness and looseness, which any ported speaker gives. The midrange performance is lovely.

Behind this, a wonderfully fluid groove gets going courtesy of great drum kit work; despite not throwing everything at you on a plate, it proves to be highly rhythmically adept. Conclusion It is very good at soundstaging too; it just seems to be able to throw out excellent stereo with precious little setting up or fine tuning. Ignore this one at your peril " What Hi-Fi? Sound and Vision. It's a beautifully styled product which we confidently believe provides a level of sonic performance previously thought impossible at its price point.

To achieve this extraordinary result, Q Acoustics' design team applied advanced technology to address the fundamental problem of cabinet resonance; widely recognised as the single biggest hurdle preventing 'high end' sonic performance at an 'affordable' price. The 'Concept 20' proves cabinet resonance need be a problem no longer. This substantially reduces distortion and allows the individual drive units to deliver their optimal performance.

The mm midrange driver uses a composite former eddy current-free voice coil, and the cone sports a blend of traditional cellulose pulp, kapok, kenaf and other natural fibres, and is said to give the most natural sound. The woofer is a mm affair with a sandwich cone membrane that combines a heart of hi-tech rigid syntactic foam with external layers treated with cellulose pulp.

Baker's Dozen: Budamunk by Budamunk Link. Labels: Instrumentals. Statik Selektah-No. Talib Kweli - Radio Silence Swollen Members - Supreme Beings.

Emancipator-Baralku Wednesday, November 15, Nuts One-Metamorphosis. Kuartz — Koishiteru Koishiteru by Kuartz Link. Labels: 12". BlabberMouf - Da Flowin' Dutchman Hypnotic Brass Ensemble - Book of Sound FloFilz - Getdismoney. De La Soul - Royalty Capes. Sicknature - The Rapper, The Producer. Posted by Sniper at PM 3 comments:. Labels: Album , Live. BlabberMouf - On Da Rise. Muthafuckin Exquire and Sean Price.

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“To Kill a Mockingbird” By Nelle Harper Lee 2 Part One Chapter 1 When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow. When it healed, and Jem’s fears of never being able to play football were assuaged, he was seldom self-conscious about his injury. His left arm was somewhat shorter than his.

9 Replies to “K Untitled C1 - Yard (2) - Ep.151 (File, MP3)”

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