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This show has been flagged as Clean by the host. 01 Introduction This is a follow up to my 4 part series on simple podcasting. In this episode I will discuss a number of experiments with audio filtering. These experiments were inspired by comments by listeners and by other discussions about audio on HPR. I am not an audio expert, so I am doing this partly in order to learn something, but mainly in order to have a bit of fun. I hope that you find this entertaining as well. In a comment on the first episode a listener mentioned something called Solocast and said that the method bore a resemblance to the method that I was using. Here is his comment -------------------- 02 Comment #3 posted on 2026-04-03 07:49:58 by Reto It reminds me about Solocast Hi Whiskeyjack, I really liked your podcast and the topic. I cannot remember about your last, but the sound quality of this one was good on my mobile speakers :) The concept reminded me about the program from Norrist (another host on HPR), while similar does it have some differences HPR 3496 https://hackerpublicradio.org/eps.php?id=3496 As I am not on the future feed, I look forward to your next episode. Cheers, Reto -------------------- 03 End of comment. I did not recall having heard the episode on Solocast, but this sounded very interesting. Solocast was in HPR episode 3496 and was released by norrist on the 27th of December 2021. I listened to that episode and does indeed use use the same basic concept of recording short segments of audio and combining them later instead of creating one big recording and editing it with an audio editor. 04 The main difference is that the work flow that I described involves a lot of manual steps, while Solocast is a short Python program that automates the entire process of presenting your script, recording the segments, combining the segments, and filtering and normalizing the result. I won't try to describe Solocast in detail, instead I would recommend just listening to HPR episode 3496 to get norrist's explanation directly. -------------------- 05 While I wanted to make sure that I credited norrist with having come up with this concept four years before I did, this won't be the focus of this episode. Instead I will talk about audio filtering and various experiments that I ran on several different methods. 06 While looking at the source code for Solocast I noticed that it used a filtering method that resembled one used by Jivetalk, a podcast production program that caught the attention of one of the HPR community news presenters. This method involves taking a sample of quiet audio where there is no speaking taking place, and then using this as input to a noise reduction filter which is applied to the voice recording. The filter subtracts the quiet sample from the voice audio, which should theoretically remove the ambient noise. 07 I decided to apply this method to a number of different audio test recordings which were recorded under different circumstances using different hardware. In this way I could see if the method worked equally well under all circumstances or if there were some sorts of noise which it was suited to and some sorts that were not. 08 While I was at it, I also picked several other filter methods to see how they worked as well. Potentially, some methods may be better under some conditions while other methods were better suited to others. -------------------- 09 I won't present all of my experiments, as that would be a bit dull to listen to. Instead I will describe each method and then present audio samples which illustrate my conclusions. There are two pieces of audio software involved, both of which were also used in my series on simple podcasting. 10 The first is Sox, spelled s o x , and which is short for Sound Exchange. Sox is a command line program for audio manipulation. Sox is Free Software, released under the GPLv2 or later. The other is FFMPEG, which is also a command line program. FFMPEG is also Free Software, released under the LGPL V 2.1 or later, and GPL v 2 or later. Sox actually uses FFMPEG for certain operations. -------------------- 11 Audio Hardware For recording hardware I used the following. 12 Maxwell Headset The first is a cheap Maxwell headset that has an electrical noise problem. Unfortunately I don't have a model number for this headset. I described this hardware, the noise problems that I had with it, and how I created filters to deal with the noise in my series on simple podcasting. Briefly though, this is a headset that has a build in microphone on a boom which allows the microphone to be positioned close to the mouth. It connects with a USB cable. 13 Borne Earpiece and In-line Microphone This is a set of earplugs that go in your ears and connected by wires and a very small microphone built into a small bulge in the cable. It connects using a 3.5mm jack. The model number seems to be BUD250-BL. 14 XTrike Headset This is a gaming headset similar to the Maxwell headset described above. The model number is GH-510 It uses a USB connection. 15 Yanmai Condenser Microphone This is a microphone that comes with a small tripod stand. The model number is SF-910 It uses a 3.5mm audio jack. -------------------- 16 This is not a review of the hardware. Rather, I was trying to create audio problems so that I could test ways to fix them. Therefore, do not take the above list as a recommendation of what to buy. However, you can see that I am not using any expensive audio hardware. If you want to make an HPR podcast, you do not need professional level hardware. -------------------- 17 Audio Samples The audio samples are as follows 18 Quiet This was recorded in a quiet environment at my desk. This is my normal podcasting environment and represents optimal conditions. The main reason for this method is to see how the various filter methods perform when dealing with the electrical noise from the Maxwell headset. 19 Small fan This is a small USB powered table fan approximately 10 cm in diameter. It was located roughly 40 cm or less to the left of the microphone, although this varies depending on the microphone. 20 Traffic This was along a busy street with traffic noise in the background. -------------------- 21 Filter Methods Sox noisered Filter with Audio Profile This method uses the Sox noisered filter. Here is a brief quote from the Sox documentation on this filter. Quote Reduce noise in the audio signal by profiling and filtering. This effect is moderately effective at removing consistent background noise such as hiss or hum. To use it, first run SoX with the noiseprof effect on a section of audio that ideally would contain silence but in fact contains noise - such sections are typically found at the beginning or the end of a recording. End of quote For these tests I recorded a separate noise profile to go with each test. -------------------- 22 Basic Manual Filter This is a basic high and low pass filter pair based on the work I had done in my previous series on simple podcasting. However, based on the tests that I have done for this episode, I decided to get a bit more aggressive in terms of filtering. I use a high pass filter of 120 Hz, and low pass filter of 8 kHz. The each filter is then applied twice to increase its effect. I also added band reject filters to deal specifically with 50 and 60 Hz line noise. -------------------- 23 Complex Manual Filter This uses the manually constructed filter described in my series on simple podcasting. This uses the basic manual filter plus a series of custom bandreject filters to fix specific noise problems with the Maxwell headset. -------------------- 24 FFMPEG afftdn Filter The documentation describes this as "Denoise audio samples with FFT." -------------------- 25 FFMPEG arnndn Filter The documentation describes this as "Reduce noise from speech using Recurrent Neural Networks." -------------------- 26 FFMPEG agate Filter I will pronounce this as "agate" for convenience. The documentation describes this as "A gate is mainly used to reduce lower parts of a signal. This kind of signal processing reduces disturbing noise between useful signals." -------------------- 27 Method The experimental method used was to take each noise sample and apply the different filter methods to it. Where there are parameters which can be adjusted, a script was used to generate a series of different sample files with different parameter values. Not all possible parameters were experimented with, as the goal is to see which method produces what sorts of results under different circumstances, not to get the best possible result for the samples that I happen to have. The method in each case was as follows 28 Step 1 Convert the audio file to FLAC if it is not already in that format. 29 Step 2 Apply a basic high and low pass filter described previously to each sample. The reason for this basic filtering is that it eliminates at least some undesired noise in a fairly fool proof manner, leaving less for the more advanced filter to deal with. This should allow for a better test of the filter under realistic conditions. 30 Step 3 Apply the noise reduction filter being tested. 31 Step 4 Normalize the filtered sample to 17 LUFS according to the EBU R128 standard. The EBU standard is described in my series on simple podcasting. Normalizing adjusts the audio signal to a desired loudness level. This allows for more more consistent sound levels and allows us to hear the results under realistic conditions. I normalize the audio individually for each sample as different recording hardware requires different amounts of loudness adjustment. This is different from the typical podcast process where normalizing takes place as the very last step in the process, but it was necessary in this case. 32 Step 5 Concatenate selected sample audio files to one another to allow for better review and comparing. -------------------- 33 Results The results are grouped according to the type of noise which is being mitigated. This allows for easier comparison of the effectiveness of each technique under different circumstances. I have only picked a few examples of interest out of the numerous experiments that I conducted. -------------------- 34 Quiet Recording Environment with Maxwell Headset This compares how well the various filtering methods work on the noise induced by the electronics in the Maxwell headset. This electronic noise consisted of a noise spike every 1 kHz. This should be representative of electronic noise caused by problems in recording hardware. 35 Manual Filter The manual filter applied a narrow band reject filter every 1 kHz from 1 kHz to 12 kHz. This completely removed the otherwise audible whine caused by the noise. 36 FFMPEG afftdn This method allows for setting a noise floor and then specifying how much the noise floor should be reduced by. The method is very sensitive to getting the noise floor correct for that recording. Set the floor too low and nothing happens. Set it too high, and some distortion results. However it seemed to be moderately effective, but it would seem to require checking it and possibly adjusting it each time it is used. 37 FFMPEG agate This method allows setting a noise floor and then suppressing all sound which falls below that level. This method is very sensitive to getting the noise floor correct for that recording. If set too low (or quiet), it is ineffective. If set too high (or loud), it distorts words which come after a pause, which would typically be between sentences. 38 When set correctly, it completely removes noise in the silences between sentences. However, the noise is still audible during speech. This is because the noise in this case is a higher frequency than normal speech, and so stands out more. It may not be a significant problem for noise which is closer to the main vocal frequency band. Overall, this method is not suitable for this particular problem. 39 FFMPEG arnndn This method used the standard model. A variety of different noise reduction models are available. I only tested it with one, std.rnnn It does not seem to introduce much distortion in the voice signal even with a high amount of mix parameter. 40 However, it is only slightly effective at removing the whine from the signal, even with a high amount of mix parameter. Overall, this method does not appear to be useful for this sort of noise problem. 41 Sox noisered Filter This was effective in removing noise between words, but noise can be heard while words are being spoken. It was better than agate however. 42 Overall Conclusion for the Maxwell Headset Noise When dealing with narrow noise bands that occur at known frequencies, the manual filter is leagues ahead of any of the other tested alternatives. 43 Sample Audio Here is a sample audio recording showing the best overall results The sample is repeated, first with only basic low and high pass filtering, and then with the manually constructed filtering. In the first sample you should hear a high pitched background whine. In the second sample, the high pitched whine is completely removed. 44 (Audio sample inserted here.) -------------------- 45 Traffic Noise This was recorded using the Borne in-line microphone connected to a mobile phone while walking along beside a busy street. This was in dry cool spring weather, and the road was paved with asphalt. This should be reasonably representative of podcasting while walking outdoors in a noisy environment. 46 Basic Manual Filter This used the basic manual filter with high and low pass filters. This did nothing very useful in this case as the signal was already filtered within those limits by the recording hardware anyway. The low sample rate of 8 kHz in the phone limited the upper frequency to 4 kHz. Recall that the sample rate has to be twice the highest frequency that you want to detect. Overall, this is not suitable for this sort of problem. 47 FFMPEG afftdn With a high noise floor, background noise is reduced, but not eliminated. There was not much distortion in the voice. This is only slightly useful for this sort of problem. 48 FFMPEG agate With a high threshhold, background noise is reduced, but not eliminated. There was some distortion in the voice. The background noise could also be heard when speaking, but because the frequency of the background signal was similar to the louder voice signal, it was not as noticeable as it would have been if the two were very different. This is moderately useful for this sort of problem. It may be more useful in situations where the background noise was not quite as loud. 49 FFMPEG arnndn With high amounts of noise reduction, much of the background noise is suppressed, but there is not a lot of distortion in the voice. The background traffic noise is still present, but is significantly less. This offers only a moderate improvement. 50 Sox noisered Filter With small amounts of noise reduction voice is clear but traffic noise is present as a very significant continuous warbling sound in the background. This is no improvement on the original and in fact could be seen as making it worse. With moderate amounts of noise reduction, traffic noise is mostly gone, but there are still various squeaks present. Voice is noticeably distorted. With large amounts of noise reduction, traffic noise is gone but voice is highly distorted. This is moderately useful for this sort of problem, but requires careful adjustment. 51 FFMPEG arnndn Followed by FFMPEG agate This combined two different filters. First, it used arnndn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This used the same amount of mix and threshold as was found to be most effective when each of these filters was used on its own. The background noise is almost completely gone while distortion of the voice signal is low. 52 Overall Conclusion for Traffic Noise The arnndn combined with agate filters was the most successful at suppressing background noise while limiting the amount of voice signal distortion. 53 Sample Audio Here is an audio sample for what I felt to be the best overall results, the arnndn filter combined with the agate filter. First is the original audio with basic filtering. This is followed with the same audio after being passed through the arnndn and agate filters. 54 (Insert arnndn plus agate audio sample here) 55 Another Sample Here is a second audio sample showing the Sox noisered profile based filter. I have included this to show how a profile based filter can make things worse if you are not careful how you use it. This repeats the test audio 4 times. The first is with basic filtering only. The second uses low amounts of noise reduction. The third uses moderate amounts of noise reduction. The fourth uses high amounts of noise reduction. 56 (Insert noisered audio sample here) -------------------- 57 Small Fan Noise with Yanmai Microphone This was recorded using the Yanmai condenser microphone. A small fan was set up behind and to the left of the microphone. This is intended to represent situations where someone may have a fan or air conditioner running in the background due to hot weather, or has a loud computer fan. 58 A condenser microphone was used for this test as they are more prone to picking up unwanted noise. However, for practical recording purposes, this sort of microphone is unsuitable for this type of environment. 59 Basic Manual Filter This used the basic manual filter with high and low pass filters. This did nothing useful as the fan noise was in the same frequency range as the voice signal. This may be of more help in cases where the noise is below the 120 Hz cut off used in the low pass filter. 60 FFMPEG afftdn With high amounts of noise reduction, much of the background noise is suppressed, but there is some distortion in the voice. The background fan noise is still present, but is significantly less. Overall this is moderately effective. 61 FFMPEG agate This was effective in removing noise between words, but noise can be heard while words are being spoken. However, this was a small voice sample and it is possible that more problems could occur. With less fan noise than was in this sample this technique may work much better. 62 FFMPEG arnndn With high amounts of noise reduction, much of the background noise is suppressed, but there is not a lot of distortion in the voice. The background fan noise is still present, but is significantly less. Overall this was fairly effective. 63 Sox noisered Filter With small amounts of noise reduction voice is clear but fan noise is present as a slight warbling sound in the background. With moderate amounts of noise reduction, fan noise is gone, but voice is somewhat distorted. With large amounts of noise reduction, fan noise is gone but voice is very distorted. 64 In general this method is fairly successful at dealing with this sort of problem. However, there is a trade off between background noise and voice quality. Getting that trade off correct takes experiment and judgment for each specific situation. 65 FFMPEG arnndn Followed by FFMPEG agate This combined two different filters. First, it used arnndn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This got rid of virtually all of the background noise between words. If you listen carefully however, there is a slight buzzing sound in the voice signal. 66 Overall Conclusion for Fan Noise with Yanmai Microphone. Of the methods tested, the arnndn followed by agate filter seemed to offer the most improvement for the least effort and least voice distortion. The arnndn filter on its own seemed the next most preferable to me despite leaving some fan noise in the background. 67 Audio Sample Here is an audio sample for what I felt to be the best overall results, the arnndn filter combined with the agate filter. First is the original audio with basic filtering. This is followed with the same audio after being passed through the arnndn and agate filters. 68 (Insert audio sample here) -------------------- 69 Small Fan Noise Recorded with Headset The following is an observation rather than a filtering technique. When a recording was made using the Maxwell headset and listened to on the headset later or with speakers, the fan was virtually inaudible. When the same recording was listened to with the XTrike headset, it was barely audible with careful listening and only identifiable as a fan because I knew it was there. 70 In situations where there is ambient noise, the best noise reduction technique is probably to move the microphone as close to your mouth as possible, although not directly in front of it, and reduce the gain if there is a gain adjustment in the microphone. This will work far better than trying to remove the noise later. If you are recording an HPR episode at a desk, then an inexpensive headset with boom mike may do the job just fine with minimal effort and expense. -------------------- 71 Conclusions I have tested three noise scenarios - Electronic noise in the audio hardware at specific frequencies. Recording outdoors with an inline microphone in a noisy traffic environment. A noisy fan creating background noise in an office. My conclusions on these are as follows. 72 Electronic Noise in the Audio Hardware at Specific Frequencies If you can use Audacity or some other means to find the frequencies which are causing the noise, the best solution, assuming you don't just replace the hardware, is to manually construct filters to remove those specific frequencies. This is the safest solution in terms of only doing what you tell it to and not producing unexpected surprises some time down the road when something changed in the environment. 73 If you are looking for a fairly automatic filtering method, the Sox noisered profile based filter seems to work fairly well. There is an equivalent filter in ffmpeg, but I did not include that in my experiments as it is harder to use in a script because it does not use a separate noise profile file. 74 Recording Outdoors with an Inline Microphone in a Noisy Traffic Environment. In this situation, the FFMPEG arnndn combined with agate filters seem to be the most successful. The Sox noisered filter may work, but at the cost of more distortion in the voice than is seen in the other methods. 75 An inherent problem with any profile based noise reduction method is that if the background noise is not constant, which it seldom is in that sort of environment, the profile may not represent the background noise which is present later on in the recording. This risks adding more distortion in the voice as the profile and later environments diverge. 76 However, for this application a different microphone that provided a better recording would appear to be advisable. A solution which brought the microphone much closer to the mouth and so resulted in a better ratio of voice signal compared to background noise would appear to be necessary, after which the question of what sort of noise reduction to use would need to be re-evaluated. 77 A Noisy Fan Creating Background Noise in an Office. The Sox noisered filter and the FFMPEG arnndn, afftdn, and agate methods all work to some degree. However, they all need correct selection of parameters to achieve the proper results. When I compared all four methods side by side, I found the arnndn combined with the agate filter to be preferable in terms of the trade off between background noise reduction and distortion of the voice signal. The arnndn filter on its own seemed the next most preferable to me despite leaving some fan noise in the background. 78 However, that is a subjective judgment of a specific noise sample when recorded using a specific microphone. Keep in mind though that many listeners will not be listening in an idea environment. They may be doing things where background noise is present rather than in a very quiet room and so may find a small amount of background noise in the recording to be less of a problem than distortion in the voice signal which may make some words harder to understand. 79 When I conducted the same experiment recorded with the XTrike headset I found that arnndn seemed to offer no noticeable improvement. This may be because the amount of audible fan noise was far less with the XTrike headset to begin with. In other words, there is no single best solution here, and you may have to be prepared to try different options to see which one works in your situation. The important thing is to avoid making things worse by applying filtering that is not appropriate for that situation. The best method may be to use a recording method that doesn't pick up the fan noise to begin with. This can include just using a gaming headset with boom mic. 80 I have one final observation on this point regarding headsets. The Maxwell headset has a foam cover over the microphone while the XTrike headset does not. There was some slight audible wind buffeting noise picked up by the XTrike headset that was not observed with the Maxwell. This seemed to cause particular problems with the Sox noisered profile based filter, as this noise was irregular and after filtering would show up as a warbling sound. If you use a headset and plan to use it in conjunction with a fan, it may be advisable to apply some sort of wind cover over it. 81 Combining Complex Filters In several cases I found that combining several complex filters offered better results than using any single one on its own. The basic strategy though is to first use a method which is good at reducing undesirable noise without introducing excessive voice distortion. Then apply a different filter which is good at reducing small levels of background noise to an even lower level while affecting the voice signal as little as possible. This uses the relative strengths of different filter types to compensate for the weaknesses of the other. 82 Different combinations of filters were most effective for different types of problems. I did not try all possible combinations however. Perhaps a further exploration of this would be worth doing in a later podcast. -------------------- 83 Case Study - Noise in Another HPR Episode Audio In the comments to my second episode on Simple Podcasting (which is HPR4618) where I discussed basic filtering, a couple of listeners brought up an interesting point. Antoine mentioned "declicking" in a post. -------------------- Vance replied 84 Antoine, thanks for mentioning the click removal capability in Audacity! While I already knew about its noise removal filter, I wasn't aware it also had click removal. It might have helped me for HPR4637, where some sort of electromagnetic signal was picked up by my microphone/recorder, a Zoom H2 (the tapping sound was *not* present in the room where I recorded). While click removal does seem to distort speech when applied to it (though to my ears, it doesn't sound as weird as when noise removal is done with speech), I could have applied the filter only to the pauses, where the "tapping" is most noticeable. I will consider doing this in the event that I'm not able to eliminate the source of interference in the future, which would be the best way to go. -------------------- 85 End of quote. I found this interesting as it sounded like another audio problem that could be experimented with. I found a sample of the episode which had the clicks and cut a copy of that segment out to experiment with. These sounds are a series of clicks, or "ticks" would be another way to describe them, in the quiet part of the audio between sentences or phrases. 86 Next I used Audacity to study the sound spectrum. I found a massive 60 Hz noise spike. However, my speakers won't reproduce sound that low, and filtering this out didn't reduce the clicks. The clicks turned out to be bursts of noise across the 100 to 800 Hz band, which is right where the main vocal band also is. This makes it difficult to filter based on frequency. The most promising approach would seem to be to filter based on sound level. 87 I tried all of the individual audio filter techniques mentioned in the other experiments above. None produced satisfactory results except for agate, which makes quiet audio quieter. This completely suppressed the clicks. However, when applied to the entire episode it also distorted the start of a few sentences which began with single short syllables. 88 The agate filter has a number of parameters which could be adjusted to try to deal with these cases, although I did not spend the time to do so. Another solution to this distortion problem is to simply not apply the filter to those parts of the audio which are affected. If you record the audio as a series of small individual files, it would be easy enough to filter before concatenating the files together while skipping those files which contain audio which is not suited to this method. Here are the results of the experiments. 89 FFMPEG afftdn This reduces the size of of the ticks, but they are still present. However, they may be reduced to a level which is considered acceptable. 90 FFMPEG agate This was very effective in removing ticks with the right parameters. However, it can introduce some voice distortion in the form of cutting out the start of a few sentences which began with single short syllables. This can be corrected with a very short "attack" parameter to turn off the filter when it detects sound above a set threshhold. 91 FFMPEG arnndn This was relatively ineffective. 92 Sox noisered This was effective in removing the sounds between phrases. However, it introduces some distortion in the voice signal. 93 I also tried combining filters. FFMPEG afftdn Followed by agate This combined two different filters. First, it used afftdn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This got rid of virtually all of the background noise between words. 94 Here is a short audio sample from HPR4637. First is the unfiltered audio. Second is the filtered audio using the combined afftdn plus agate filters. Since the "clicks" are very quiet, you may not hear them unless you are in quiet environment. Quite a few listeners would probably not be aware of the perceived audio problem in this episode if it had not been discussed here. None the less, it makes for an interesting experiment. Here it is: 95 (Insert sample audio here) 96 Overall Conclusion for Noise "Ticks" The afftdn combined with agate filters seemed to offer the best overall results when used with the right parameters. However, the author, Vance, speaks very clearly and evenly, and so his voice is ideally suited for use with this filter. Another author's voice may not be as suited to this filter. 97 The Sox noisered profile based filter offers various degrees of trade off between suppressing noise and distorting the voice signal. As to whether this is an acceptable trade off depends on the particular voice in question and how easily understood it is under normal circumstances with out additional distortion. The afftdn filter may be a fairly safe filter to use on its own while producing acceptable if not perfect output. -------------------- 98 Overall Conclusions I have presented only a few of the experiments that I conducted. My overall conclusion after all of this is that there is no universal audio filtering method that works best in all circumstances. There are instead a number of tools in the toolbox, and picking the right one for the job takes a bit of trial and error. 99 However, if you have a repeatable recording environment, then once you have decided what tool you need you should create a script for it so you can have a repeatable processing setup. These conclusions apply to voice podcasting. Music has a different set of criteria and techniques that work well with basic voice podcasting may produce poor results when applied to music which has a broader range of frequency and just as importantly, a broad range of loudness. 100 If you are used to using filters and effects in Audacity, many of the settings on those correspond to arguments in the command line version of ffmpeg. It is worth learning how to use ffmpeg directly to automate your recording process. 101 The experiments that I conducted were greatly assisted by writing scripts which created multiple versions of audio files with different settings, thereby allowing me to try many different alternatives relatively easily. It also allowed me to concatenate different audio samples into a single audio file and so listen to different versions in quick succession, making subjective listening judgments more reliable. 102 It is important to keep in mind in all this that I am playing with audio filtering mainly to have fun. It is not necessary to do any of this if you think your podcast episode sounds just fine without it. So, don't let any of what I have talked about in all this discourage you from simply recording a podcast and sending it in as is. I will include copies of the filters I have described here in the show notes. -------------------- 103 Related Matters Hardware Characterization Using Audio Signals I found it useful to characterize the hardware that I had in order to understand its limitations better before starting the experiments. This involved playing a signal out through a set of speakers and then recording it through a microphone. 104 I used two types of signal for this. One is type of signal is known as a "chirp" signal. This is a sine wave that steadily increases in frequency as it sweeps across the audio spectrum. The standard audio range is 20 Hz to 20 kHz, but for my purposes I limited the upper frequency to 15 kHz to save time as anything beyond that is not very useful for voice podcasts. 105 By recording the chirp signal with a microphone and analyzing it with a Fourier transform, I could quickly see what each device was capable of. See my previous series on simple podcasting for an explanation of what a Fourier transform is and what software to use to see the results of it. Here is a chirp signal. 106 (Insert Audio Sample Here) 107 In addition to a chirp signal, I also used a series of simple tones of specific frequencies. By using these tones of known frequency I could gain an understanding of the limitations of my speakers and headphones, and just as importantly, my own ears. By understanding these limitations I was able to narrow the range of frequencies that I need to deal with quite considerably and set the high and low pass filters accordingly. These tones are a series of flac files generated with ffmpeg. 108 Here is a a sample audio tone at a 2 kHz frequency. 109 (Insert Audio Sample Here) 110 Copies of the script to create the chirp signal and the tones are in the show notes. -------------------- 111 A "Not a Review" of some of the Hardware that I Used I said that I would not do a review of the hardware that I used. However, some of it deserves mention for either how good or bad it was. I will record each section using the hardware being described. 112 Maxwell Headset This is my original recording hardware. This is a headset with boom mic and USB connection. There is no model number on it, so I don't know the model. This probably cost somewhere between 10 and 25 dollars. The earpieces sit on the ears and do not fully enclose them. This makes it light weight and comfortable to wear for extended periods of time. It has a problem however with electronic noise consisting of a noise spike every 1 kHz. I was able to fix this with a series of filters using FFMPEG. Fixing this problem is what got me started in understanding audio. I will probably continue to use this headset to make podcasts. 113 XTrike Headset, Model GH-510 This is also a headset with boom mic and USB connection. I purchased this headset for the purposes of experimentation for this podcast episode. It cost $12.88. I found it to be surprisingly good for the price. It has fully enclosed ear pieces however, which may make it uncomfortable to wear in hot weather. I may try doing some of my future podcasting using this headset. 114 Borne Earpiece and In-line Microphone This is a set of earplugs that go in your ears and connected by wires and a very small microphone built into a small bulge in the cable. It connects using a 3.5mm jack. The model number seems to be BUD250-BL. It cost approximately $3.00. I bought several sets of these and use them for listening to podcasts from an MP3 player. The ear pieces are pretty good for listening with. The microphone works reasonably well when used in a quiet location. It is less good when in a noisy environment. It is very important however to secure the microphone to your lapel or other location reasonably near your mouth and to point the microphone (that is the small hole) outwards and not simply let it dangle freely. If you let it just hang, you will get poor quality and inconsistent audio. 115 Yanmai Condenser Microphone, Model SF-910 I purchased this microphone for the purposes of experimentation for this podcast episode. It cost $3.88. As it is a condenser microphone, it is prone to picking up background noise more and as such is probably not a good choice for podcasting by single person sitting at a desk. However, it is none the less a surprisingly good microphone for surprisingly little money. 116 iCan USB Microphone, Model M-306 I purchased this microphone for the purposes of experimentation for this podcast episode. This has a USB connection. This was also relatively inexpensive at $7.99, or roughly twice the price of the Yanmai microphone. Unlike the Yanmai however, it is absolutely wretched. There was such a high degree of distortion when recording through it that I found I could not use it in the fan experiments which I had bought it for. I ended up buying the Yanmai microphone for that instead. -------------------- 117 Easy Effects Software The techniques described so far all involve recording audio files and then processing them later to produce the desired result. This is probably the simplest and most straightforward way of doing things if you are making a typical podcast. However, there may be instances where you want to apply filtering or other effects on the "live" signal immediately and not after the fact. 118 There is audio software which can hook into your computer's audio system and do this with a live signal. For Linux, there is a package called "Easy Effects". This is Free Software and comes under a GPL V3 or later license. I installed it from the Debian repository under Ubuntu 24.04. 119 You can create various filters and even chain them together to combine them. I played with it a bit but do not know enough about it to discuss it seriously at this time. However, I thought it would be worth mentioning for the sake of those who may wish to try it out themselves. -------------------- 120 Episode Conclusion After having had some fun with audio and listening to other HPR members talk about audio, I thought I would have some more fun by playing with noise reduction filters. I have no intention of becoming an audio professional, but by doing some experiments I learned a few things and had some fun doing it. I hope that the rest of you found this interest as well. I will see you all again later in another episode of Hacker Public Radio. -------------------- Scripts Basic Filter This shows basic high and low pass filters ( 120 Hz and 8 kHz respectively) and band reject filters for 50 and 60 Hz. # The high and low pass filters. hlpfil="highpass=f=120, highpass=f=120, lowpass=f=8000, lowpass=f=8000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Filter using ffmpeg. ffmpeg -i inputfile.flac -af "$hlpfil, $linefil" outputname.flac # ====================================================================== afftdn Filter # noisefloor should be between 20 and 80. noisefloor=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af "afftdn=nr=10:nf=-""$noisefloor" tmptestrec.flac # ====================================================================== agate Filter # threshold shoud be between 10 and 80. threshold=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af "agate=threshold=-"$threshold"dB:range=-60dB" tmptestrec.flac # ====================================================================== arnndn Filter # mix should be between 0 and 1. mix=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af 'arnndn=model=std.rnnn:mix='"$mix" tmptestrec.flac # ====================================================================== sox noisered Filter # Generate the noise profile from a sample of background noise. sox silencefiltered.flac -n noiseprof noise.prof # nramount shoudl be between 0 and 1 sox testrec-filtered.flac noiseout-testrec.flac noisered noise.prof "$nramount" # ====================================================================== Manual Filter for Maxwell Headset Noise # Create a series of band reject filters, from 1 kHz to 11 kHz. ftemplate="bandreject=f=%s000:width_type=h:w=100" kilospikefil=$( seq 1 11 | xargs printf "$ftemplate," ) # Using ffmpeg ffmpeg -i testrec-filtered.flac -af "$kilospikefil" tmptestrec.flac # ====================================================================== Create a "chirp" signal # Start frequency. f0=20 # End frequency. f1=15000 # Duration of signal. duration=10 ffmpeg -f lavfi -i "aevalsrc=sin(2 * PI * (0.5 * ($f1 - $f0)/$duration * t^2 + ($f0 * t))):s=44100:d=$duration" -c:a flac -af "aformat=sample_fmts=s16" chirp.flac # ====================================================================== Generate Audio Tones toneout () { printf -v freqval "%05d" $1 ffmpeg -f lavfi -i "sine=frequency=$freqval:duration=3" tmptone.flac # Normalize ffmpeg -i tmptone.flac -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k -sample_fmt s16 tone$freqval.flac rm tmptone.flac } # List of frequencies in hertz. freqlist="50 60 100 120 130 140 150 160 170 200 500 1000 2000 3000 4000 5000 6000 7000 8000 9000" for freq in $( echo $freqlist ); do toneout $freq done # ====================================================================== Provide feedback on this episode.

Jay Gunkelman goes in BLIND on Case 8 — a 30-year-old whose eyes-open EEG looks like eyes-closed. Alpha at 150 microvolts. Widespread. Anteriorized. Not responding to eye opening. After half a million EEGs, Jay calls the phenotype on sight: vigilance regulation problem, not attention. Left-side mu disconnect. Right-parietal alpha persistence. Frontal alpha hyper-coherence climbing from 0.5 eyes-open to 0.6+ eyes-closed — affect regulation flag. Plus a treatment map more granular than the room expected: FC beta for salience activation, C3 for language, C4 for affect, C4-to-PZ for the parietal alpha that won't quit. And a history segment most listeners have never heard — the first transmitted EEG in 1974, phase-lock loops over voice-grade phone lines, Trudy and Eric Gibbs, Larry Wood's engineering. Stay for the inter-rater reliability number that should end the classical-EEG debate: 90% on phenotypes vs 30-40% on traditional reads.

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This show has been flagged as Clean by the host. 01 This is the third in a four part series on simple podcasting. 02 In this episode we will cover the following topics: Analysis of audio noise problems and filtering methods used to deal with specific problems that we may find. Command line recording. Command line playback. Getting information about an audio recording. 03 Introduction When I did my first couple of podcasts I didn't notice that there was a quiet high pitched whine or buzz in the background. Nobody complained about it, but I thought I could do better in subsequent episodes. 04 Creating an Audio Sample If you have a similar problem, the first step is to find out where it is coming from. If there is no audible noise where you are recording, there is a good chance the problem is in the microphone or another part of the audio system. Plug in your microphone and record 2 or 3 seconds of quiet audio where you do not speak into the microphone or make other noise. 05 You will need a minimum amount of data in order to analyze it. For a flac file sampled at 44.1 kHz, 2 to 3 seconds of data should be enough. To get a sample of just electronic noise you can put the microphone in a drawer or somewhere like that if you want to be sure of getting a quiet signal. Any sound recorded in this way should be mainly from the microphone or other electronic elements in the analogue pathway. To get a sample of possible ambient noise, such as fans, make sure the microphone is in the open air in an area which is representative of where it will be when you are recording. -------------------- 06 Analyzing using Fourier Transforms Next you need to look at the wave form. At this point I will describe this using Audacity. I will show other ways later, but Audacity is actually the easiest if you are starting from nothing. You don't need to become an expert in Audacity to use it, just follow the steps I will describe. I myself don't know how to use Audacity beyond using this one feature. 07 We are going to analyze the sound spectrum in our sample. The technique being used is a Fourier Transform. A Fourier transform, often called an "FFT" for fast fourier transform, is a mathematical method of showing a signal in terms of frequency along the x axis instead of time. This allows us to spot troublesome noise frequencies which appear when we don't want them to. The FFT is a very common mathematical technique which is widely used in signal processing, not just in audio. 08 There is software which will create pretty coloured animations of sound waves, but this is not what you want. These are simply decorative patterns and won't tell us what we want to know. -------------------- 09 Using Audacity Install Audacity if you haven't already. Start Audacity. Select file > import > audio, then navigate to your sample and select "open". The file should load. 10 In the wave form part of the window, click anywhere and then type Ctrl-S to select all data points. The chart should turn a slightly darker colour. From the menu, select Analyze > Plot Spectrum. A new window will open, showing magnitude in db on the Y axis, and frequency in hertz on the x axis. For "algorithm" be sure it is set to "spectrum" 11 There are now two settings that we need to play with while we look for problems. One is "size" The default for this is 1024. The other is "axis". The default for this is "log frequency". -------------------- 12 What to Look For What we are looking for are large obvious spikes that stand out in the data. Since our test signal has very little to no actual audio data, any spikes should represent electrical or other noise that doesn't belong there. 13 I have found two combinations of settings to be most helpful in finding problems. These are Size 2048, axis linear frequency. Size 32768, axis log frequency. 14 A small size value can help very narrow spikes stand out from the background more, while a large size value can help separate spikes from surrounding noise. A linear frequency axis can help with seeing all spikes across the full frequency range, while a log frequency axis can help to better see what is happening in the often very crowded lowest frequency range. -------------------- 15 A Real Example of an Audio Problem If you have good audio equipment you may find nothing obvious. If you cannot hear any noise in the signal, there may be none of any consequence and there is nothing for you to do. 16 However, in my case I found two main problems and one lesser one. One problem was a spike at 60 Hz, which is the AC line frequency. There is also a lesser problem of a collection of a broad frequency range of noise below 60Hz. Both of these however will be taken care of by the basic filtering that we looked at earlier so we do not need to worry about them here. 17 The other main problem is I had a large spike at every 1 kHz interval from 1 kHz to 19 KHz. This was noise generated within the head set electronics, or the result of noise on the USB power supply. This is the product of a cheap headset. 18 These spikes are not very large compared to the volume of my voice, but if I do the same sort of analysis of samples where I am speaking, they appear in the intervals between words. This results in a high pitched whine or buzz. This was the source of the background noise or buzz in my first two podcast episodes. I need to get rid of this. 19 One option would be to get a better microphone, but, well, that wouldn't be any fun would it. It would also cost money and I don't want to spend any of that if I don't have to. If you analyze your own signal, you may find a different pattern, or even no noise at all. If you did not find anything when shielding your microphone from ambient audio noise, repeat the same test but with the microphone exposed to acoustic noise in the room. -------------------- 20 Advanced Filtering The next step is to figure out how to get rid of this noise. I have called this section "advanced filtering", but we are actually just making use of a technique that was already covered in basic filtering. 21 To deal with the remaining spikes we can use additional "band reject" filters, each of which removes a specific frequency at 1 kHz intervals from 1 kHz to 12 kHz. We will use this in combination with the filtering that we have already done previously, so we don't need to worry about anything above 12 kHz as we already remove that with a low pass filter. After a small amount of experimenting I came up with the following. 22 Because I am applying a total of 16 filters, 4 for basic filtering and 12 to deal with the specific microphone problems that I have, I have broken up the filters into separate strings. I then generate the 12 new band reject filters from a template. Note that I don't show the "de-esser" filter here. I would recommend adding it as a separate step after doing the sort of filtering we are talking about here. 23 Rather than reading out multiple lines of bash script, I will post them in the show notes. I will give a brief description of them here which you can refer to when reading the show notes. The FFMPEG and Sox versions are very similar in concept so I don't need to go over the Sox version in detail. See the show notes for it. FFMPEG Version Here's the FFMPEG version. # The high and low pass filters. hlpfil="highpass=f=80, lowpass=f=12000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Create a series of band reject filters, from 1 kHz to 12 kHz. # Change or remove this part if your recording hardware does not require it. ftemplate="bandreject=f=%s000:width_type=h:w=100" kilospikefil=$( seq 1 12 | xargs printf "$ftemplate," ) # Using ffmpeg ffmpeg -i input.flac -af "$hlpfil, $linefil, $kilospikefil" output.flac 24 There are a total of 5 lines of bash script. In the first line, we create a string called "hlpfil" which is just the high and low pass filters copied from our previous discussion on basic filtering. In the second line, we create a string called "linefil" which is just the simple bandreject filters to cover 50 and 60 hertz AC line noise filters also from basic filtering. 25 In the third and fourth lines, we create a string called "kilospikefil" containing the new filters. The "f" parameter represents the frequency we are targeting. The "w" parameter represents the "width" of the frequency range we are filtering in terms of hertz. The filter is applied gradually rather than with a sharp cut-off, so to get more filtering action we need to have larger width. In this case I decided to hammer the spike quite aggressively and so used a relatively wide width of 100 hertz. Testing with a voice file did not show any noticeable distortion, so it's an acceptable solution. 26 For this filter we need to create a dozen filter command so we use the shell "seq" command to generate a sequence of numbers from 1 to 12. We then pipe that into the xargs command which applies each number to the next command. The next command is "printf", which takes the number it gets from xargs and applies it to the "ftemplate" string template in a manner very similar to C programming printf string templates. 27 We also have a comma in there to separate each of the individual filters. We then surround this with a $ and () so we can run the command and capture the output into a variable. Then we call ffmpeg and pass it the filters we created by putting the variable names inside a double quoted string, separated by commas. All of this will be in the show notes, so don't worry about trying to get the exact details right now. Sox Version Here's the Sox version. # The high and low pass filters. sxhlpfil="highpass 80 lowpass 12000" # Band reject filters filter for 60Hz and another for 50Hz. sxfilter="$sxhlpfil $sxkilospikefil bandreject 60 20 bandreject 50 20" # Create a series of reject filters filters, from 1 kHz to 12 kHz. sxftemplate="bandreject %s000 100" sxkilospikefil=$( seq 1 12 | xargs printf "$sxftemplate " ) # Using SOX. sox input.flac output.flac $sxhlpfil $sxfilter $sxkilospikefil 28 The Sox version is very similar with the exception that the command arguments representing the filters must not be in quoted strings as Sox wants to see them as separate arguments instead of parsing a string. -------------------- 29 Confirming the Effect If we apply the above filters and look at this headset noise output file in the Audacity spectrum analyzer we will now see that these noise spikes are almost completely gone. We can now confirm how well this works by using a test audio file. Any normal short voice audio file will do for this. Just talk into the microphone normally and create a voice sample file that is 5 or 10 seconds long, or whatever you feel comfortable with. 30 With the original unfiltered voice audio I can hear a distinct high pitched whine overlaying the voice. With the filtered audio that whine or hum is not detectable. If we then look at the voice file in the Audacity spectrum analyzer, we can see distinct "notches" at the 50 Hz and 60 Hz frequencies, and at every 1 kHz from 1 kHz to 12 kHz. These notches are narrow enough that they won't cause a noticeable problem with voice signals. If we apply this filter to voice samples, the buzz or whine is gone and the voice signal sounds fine. Despite using a very cheap microphone, I now have acceptable quality audio for a podcast. 31 Again I want to emphasize that in this instance I am dealing with deficiencies with my hardware instead of buying a better microphone. These additional filters are intended to deal with the specific hardware problem I am facing. You don't need these additional filters if you cannot detect an audible problem. On the other hand, if you have a different problem you may wish to deal with a different set of frequencies. Finding these problems is the reason for using a spectrum analyzer. 32 FFMPEG has other filtering methods as well. However, as I didn't end up using them I can't really do an adequate job of describing them. If anyone has used them successfully, they are welcome to make a podcast on the subject. -------------------- 33 Completing the Process With these new filters added into the middle of the processing steps, you can now complete the processing by doing the de-essing, normalizing, and review steps as described in the previous episode. -------------------- 34 Command Line Recording I will now cover a separate topic, which is recording using command line programs. I am covering it in this episode as it is a short topic and it is convenient to talk about it here. 35 As well as using GUI based recording programs such as Gnome Sound Recorder, it is possible to record podcast episodes using command line tools such as FFMPEG. As for why you may wish to use command line tools to record audio, there are several reasons. One is that you may simply prefer to do it this way because it pleases you to do so. Another is that it allows the recording step to be included in a script that encompasses other parts of the process, automating what may have otherwise been separate manual steps. 36 However, if you don't find these arguments particularly compelling, then I'm not going to attempt to persuade you to use the command line to record audio. I am doing this part of this episode out of a desire to have a bit of fun and I probably won't be using it much myself. I will however use one of these methods to record this part of this episode. 37 Recording with FFMPEG - The Basics One of the common command line tools you can use is FFMPEG, a package which I have previously mentioned with respect to filtering audio files. Here is an example of how to record using FFMPEG. We call FFMPEG specifying the audio input system as the FFMPEG input, and then specify a file to output to. 38 # Record audio. ffmpeg -f pulse -i default ff.flac 39 Press 'q' to stop. This uses pulse audio on Linux for input "-f pulse", and the default input "-i default". However, this does not specify the the sample rate or mono recording. To do that we need to add a few more parameters as in the following 40 ffmpeg -f pulse -i default -ac 1 -ar 44100 ff.flac 41 "-ac 1" specifies mono output "-ar 44100" specifies 44.1 khz bit rate. 42 Playback with FFMPEG - The Basics FFMPEG can also play back music. In this case however we need to call the "ffplay" program rather than FFMPEG itself. To play an audio file, simply call ffplay and give it the name of the audio file as an argument to the command. For example: 43 # Play an audio file. ffplay podcast.flac 44 We can also call it with the "autoexit" option, which tells ffplay to automatically exit when the audio file has finished playing. ffplay -autoexit ff.flac 45 -autoexit means Exit when the audio file is done playing. 46 To exit in the middle of the recording, press "q' or ESC. To pause the playback, press "p" or space bar. To decrease the volume press "9" or "/". To increase the volume press "0" or "*". 47 To seek forward 10 seconds, press the right cursor button. To seek backward 10 seconds, press the left cursor button. To seek forward 1 minute, press the up cursor button. To seek backward 1 minute, press the down cursor button. 48 The "0" and "9" keys mentioned above are those on the top row of the keyboard, not the ones on the separate numeric pad. 49 While the recording is playing, a graphical window will open which shows a cascading waveform based on the current content. This is purely decorative and does not serve any particularly useful purpose. -------------------- #!/bin/bash # Record a podcast episode segment. # Get the next file name. # First we check if any matching file patterns exist. If they don't, # then we create the first one starting counting at 1. fcount=$( ls [0-9][0-9].flac 2>/dev/null | wc -l ) if (( $fcount < 1 )); then fname="01.flac" else # If there are any matching file patterns, we find the highest number # and increment it by 1. filenum=$( ls [0-9][0-9].flac 2>&1 | cut -d. -f1 | sort | tail -1 ) newfilecount=$(( 10#$filenum + 1 )) fname=$( printf "%02d.flac" $newfilecount ) fi echo "Recording to: $fname" # Record using ffmpeg. # This makes use of pulse audio and the input is the default audio input. # The sample rate is set to 44.1 kHz, and it is recorded as mono (1 channel). ffmpeg -f pulse -i default -ar 44100 -ac 1 $fname echo "Recorded audio to: $fname" # Report on basic information about the audio file that was just recorded. ffprobe -hide_banner $fname -------------------- 50 Sox - Not so Good I did not find the recording or playback features of Sox to be as useful as those of FFMPEG, so I won't bother to cover them here. -------------------- 51 Getting Information About an Audio Recording There are also command line tools which can be used to retrieve information about audio recordings. 52 FFMPEG Version With FFMPEG this is called "ffprobe". For example: 53 ffprobe hpr4566.mp3 54 This will print out a lot of information about FFMPEG itself. To skip that use the hide_banner option. 55 ffprobe -hide_banner hpr4566.mp3 56 This will print out information about the audio recording. This will include things like the duration, bit rate, sample rate, stereo or mono, etc. If the author added metadata tags to the file, it will also show those. HPR add things like the title, author, copyright license, comment, etc. You can extract the ones you want using something like grep and cut. 57 Sox Version Sox has a similar feature, called "soxi". 58 soxi ff.flac 59 However, it may not work on mp3 files if you do not have an mp3 handler for it installed. -------------------- 60 Conclusion In this episode we took a brief look at an example of how to solve an audio problem through filtering. We looked at how to use Audacity to find where the problems were. We then looked at how to apply filters to remove these sources of noise. We also looked at how to record podcasts and get information about audio files using command line tools. 61 In the next episode we will look at alternatives to Audacity for analyzing audio. While Audacity works just fine, this is an opportunity to have a bit fun with some gratuitous hackery. 62 This has been the third episode in a four part series on simple podcasting. -------------------- -------------------- Full Audio Processing Pipeline This version includes the special filters used to fix my headset problems. Use the version from the previous episode if you do not have the same audio hardware problems. #!/bin/bash # Full processing pipeline for making simple podcasts. # ====================================================================== # Concatenate multiple flac files into a single flac file. # This is used to combine podcast recorded segments into a single # flac file for uploading to HPR. concataudio () { outputname="$1" # First create the list file. printf "file '%s'n" [0-9][0-9].flac > podseglist.txt # Now concatenate them ffmpeg -f concat -safe 0 -i podseglist.txt "$outputname" rm podseglist.txt } # ====================================================================== # Basic and advanced filters. filter () { inputfile=$1 outputname=$2 # Using ffmpeg. # The high and low pass filters. hlpfil="highpass=f=80, lowpass=f=12000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Create a series of band reject filters, from 1 kHz to 11 kHz. ftemplate="bandreject=f=%s000:width_type=h:w=100" kilospikefil=$( seq 1 11 | xargs printf "$ftemplate," ) # Using ffmpeg ffmpeg -i $inputfile -af "$hlpfil, $linefil, $kilospikefil" $outputname } # ====================================================================== # De-Essing. deessing () { inputfile=$1 outputname=$2 option=$3 # De-essing filter. ffmpeg -i $inputfile -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=$option" -b:a 336k -sample_fmt s16 $outputname } # ====================================================================== # Normalizing the audio to EBU R128 standard for review using ffmpeg. normffmpeg () { inputfile=$1 outputname=$2 # Normalize to EBU R128 standard. ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname } # ====================================================================== # Output an MP3 version to help with reviewing. mp3convert () { inputfile=$1 # Get the name of the file and then create the output file name. j=$( basename $inputfile ".flac" ) outputname="$j"".mp3" # Convert to MP3. ffmpeg -i $inputfile $outputname } # ====================================================================== # Concatenate the separate audio files. concataudio fullpod-unfiltered.flac # Basic filtering. filter fullpod-unfiltered.flac filtered.flac # De-essing. This is the version to send for publishing. # The third argument should be "o" for de-essing, or "i" for pass through without de-essing. deessing filtered.flac fullpod.flac o # Normalized for review. normffmpeg fullpod.flac fullpod-norm.flac # Output an MP3 copy for review. mp3convert fullpod-norm.flac -------------------- -------------------- Provide feedback on this episode.

In this episode, we take a closer look at the MOKiN 17-in-1 USB-C Docking Station, a Windows-focused hub priced at $79.99 that aims to consolidate your desktop setup. The dock offers extensive multi-display support with three HDMI and two DisplayPort outputs capable of driving up to three independent 4K displays at 60Hz, though extended desktop functionality is limited to Windows systems. Beyond video, it packs a comprehensive port selection including 10Gbps and 5Gbps USB-C and USB-A ports, Gigabit Ethernet, SD and microSD card readers, and a 3.5mm audio jack. A distinguishing feature is its integrated LCD screen that displays real-time charging wattage, connected display resolutions, port status, and local weather via built-in Wi-Fi. The dock supports up to 85W laptop charging pass-through from a 100W input, though the power adapter is sold separately. Additional touches include a double-tap privacy button to disable screens, silicone suction feet for stability, and LED status indicators. With a two-year warranty and compatibility across Dell, HP, Lenovo, and other USB-C laptops with Thunderbolt 3/4 support, it positions itself as a mid-range option for users seeking a feature-dense workstation hub. Follow AndroidGuys(X) Twitter: https://www.twitter.com/androidguysInstagram: https://www.instagram.com/androidguysTikTok: https://www.tiktok.com/@androidguysofficialYouTube: https://www.youtube.com/@AndroidGuyscomOfficialWebsite: http://www.androidguys.comFollow Scott WebsterInstagram: https://www.instagram.com/scottwebsterFollow Luke GaulInstagram: https://www.instagram.com/lukegaul

On this week's show a listener asks for some help with keeping his audio in sync with his video. We also discuss how to turn off the ACR on your Smart TV. But first we read your emails and take a look at the week's news. News: Here's What's Coming in the 2026 Apple TV Roku's Howdy Streaming Service Reaches an Estimated 1 Million Users Deal Alert! 65" TV for $238 Audio Sync in a Home Theater Byron's request for answers to some specific questions on audio sync: I'd appreciate it if you guys could provide some "guiding principles" on syncing audio in a home theater setup. I have four questions: 1. Should the AVR be the ONLY place to mess with syncing settings (when everything runs through it, including ARC)? Yes, in most cases—this is the recommended approach. Start with AVR settings at zero or Auto, enable Auto Lip Sync if available, and adjust the manual audio delay there. Avoid adjusting on the TV or sources unless you have a specific reason like a stubborn source that bypasses the AVR. Changing multiple devices creates conflicts and makes troubleshooting harder. 2. If AVR is the main adjustment point, do sources automatically stay in sync after setting it once?  Often yes, especially with Auto Lip Sync enabled and consistent sources. The AVR's delay setting (or per-input memory) applies across similar content. However: Different video formats, resolutions, SDR vs. HDR/Dolby Vision,  60Hz vs. 24p or processing modes can introduce varying delays. Some AVRs store audio delay per input, so one good setting per source/input often suffices.  3. For Fire TV Sticks, Apple TV, etc.: Do sync settings apply across all apps, or per-app? Fire TV Stick: The AV Sync Tuning (under Settings > Display & Sounds > Audio) is generally a device-wide offset. It should hold across apps for the HDMI output. Individual apps might have minor internal variations, but a global tweak usually covers most cases. Reboot the stick if sync drifts. Apple TV: No built-in manual per-app delay slider in standard settings. There's a Wireless Audio Sync calibration that uses the iPhone for measurement, which is more global. Different apps (e.g., Netflix vs. others) can sometimes show varying sync due to their decoding/processing—users often report needing AVR tweaks when switching apps. Match Frame Rate and consistent audio formats help stability.  In both cases, rely on the AVR for the heavy lifting. 4. Do higher-end AVRs allow different sync settings per input? Yes! Many mid-to-high-end models store audio delay/lip sync per input source. Examples include Denon models with "Master Audio Delay" or similar, where you can set and recall different ms offsets (often 0–500ms) for each HDMI input. This is a big convenience for multiple devices. Check your AVR manual for "Audio Delay," "Lip Sync," or "per input" settings. Additional Best Practices Minimize variables: Disable unnecessary video processing (motion smoothing, noise reduction) on the TV and AVR to reduce video latency. Use "Game" or "Pure Direct" modes where possible for lower lag. HDMI/ARC specifics: Ensure high-quality HDMI cables. eARC is better than ARC for bandwidth and sync negotiation. Power cycle everything (unplug) after big changes. Order of troubleshooting: AVR Auto Lip Sync → Manual AVR delay → Source device tweaks → TV audio delay (last). Test tools: Use built-in sync tests on your devices or YouTube "lip sync test" videos. The Most Effective ways to Circumvent Smart TV Spying Last week we talked about how your TV was spying on what you are watching. This week we discuss how to prevent that from happening. The following are the most effective ways to circumvent smart TV spying and related data collection, ranked from easiest/quickest to most thorough. These also help limit proxy network enrollment in shady apps. 1. Disable ACR Directly in TV Settings (Quickest First Step) Most brands let you turn off Automatic Content Recognition (and related ad/personalization features) without losing core picture quality. Do this on every TV: Samsung: Home button → Sidebar menu → Privacy Choices → Terms & Conditions / Privacy Policy → Uncheck Viewing Information Services (and Interest-Based Ads if present). LG: Settings → General → System → Additional Settings (or Advanced) → Turn Live Plus OFF → Also enable Limit Ad Tracking. Sony: Settings → Initial Setup → Disable Samba Interactive TV. Vizio: System → Reset & Admin → Turn Viewing Data OFF. Roku TV / Roku-based: Settings → Privacy → Smart TV Experience → Uncheck Use Info from TV Inputs. Hisense / TCL: Settings → System or Privacy → Disable Smart TV Experience or Use Info from TV Inputs. Amazon Fire TV: Preferences → Privacy Settings → Turn off data tracking options. After changing, restart the TV. Check the setting again after any software update, as it can reset. Also disable voice assistants, microphones, and cameras (cover them physically if needed). 2. Block Internet Access to the TV (Highly Effective) The simplest long-term fix: Prevent the TV from phoning home at all. Don't connect it to Wi-Fi or Ethernet in the first place. Or, on your router: Create a guest Wi-Fi just for the TV, then use firewall rules, parental controls, or MAC address blocking to stop all outbound internet traffic (while allowing local network access if you stream from a NAS/Plex/Jellyfin). Advanced: Use a tool like Pi-hole or AdGuard Home on your network to block known tracking domains. Pro tip: Many people report the TV works fine (or even faster) for HDMI inputs and local streaming when fully offline. External streaming devices handle all internet needs. 3. Use the TV as a "Dumb" Display Only Treat your smart TV like a big monitor: Connect all content via HDMI from a more private device (never use the TV's built-in apps). Recommended external boxes (in order of privacy-friendliness): Apple TV — Clean interface, minimal tracking, no aggressive ads. NVIDIA Shield or other local-media-focused devices.  Raspberry Pi or HTPC running Kodi/Plex for full local control. This bypasses the TV's OS almost entirely. 4. Go Fully "Dumb" (Most Private Long-Term Solution) Buy a true dumb TV or large computer monitor (no smart features, no Wi-Fi, no ACR). Options exist in smaller sizes or from brands like Westinghouse for basic panels. Pair it with an external streamer or your own computer/laptop via HDMI. Many privacy-focused users prefer this setup over any "smart" panel. Important reality check: Disabling ACR and blocking internet stops most viewing-data collection, but no method is 100% foolproof against every firmware trick or future update. The nuclear option—keeping the TV completely offline and HDMI-only—remains the gold standard for privacy.  

(00:00:00) Il MacBook Neo ha ucciso l'iPad? (6 mesi con iPad Pro M5) (00:00:13) Intro: Ha ancora senso parlare di iPad nel 2026? (00:02:12) Un tuffo nel passato: l'evoluzione dell'iPad dal 2016 a oggi (00:09:45) 6 mesi con iPad Pro M5: batteria rinata e i vantaggi del chip C1X (00:15:10) La stagnazione del design: Touch ID, 60Hz e le speranze per il futuro A sei mesi (e una settimana) dall'acquisto dell'iPad Pro M5, tiro le somme sul tablet top di gamma di Apple. La batteria fa miracoli e i nuovi modem proprietari C1X mantengono il dispositivo freddo anche in 5G. Ma il vero elefante nella stanza è un altro: ha ancora senso consigliare un iPad per la produttività base dopo l'uscita del MacBook Neo da 699€? In questa puntata analizzo la pericolosa stagnazione della line-up dei tablet Apple (ferma al Touch ID e ai 60Hz sulle fasce medie) e le mie speranze per il nuovo CEO John Ternus, in attesa dell'iPad Mini OLED e sognando un ritorno al passato per la Magic Keyboard.Visita Digiteee e scopri tutte le notizie sulla tecnologiaSegui Digiteee su TikTokDimmi la tua su Twitter, su Threads, su Telegram, su Mastodon, su BlueSky o su Instagram.Mail jacoporeale@yahoo.it Scopri dove ascoltare il podcast e lascia una recensione su Apple Podcast o Spotify.Ascolta An iPad guy su YouTube Podcast.Supporta il podcast

This show has been flagged as Clean by the host. Basic-Filtering 01 Introduction This is the second episode in a four part series on a simple way to create your own HPR podcast episode. 02 This episode will cover the following topics: Basic filtering.. De-essing to improve voice quality. And normalizing to adjust audio levels for easier reviewing. 03 Filtering is removing unwanted noise from an audio signal. There are several ways of doing this. It is possible to do this with Audacity, but I don't know how so I won't try to describe that method. It is possible however to filter using command line tools such as FFMPEG and Sox. When assembled into shell scripts, these tools can become part of an automated process that you can use over and over again for each HPR episode that you record. 04 In a later episode I will discuss how to analyze audio signals to find the sources of noise that can be reduced or eliminated with filters. In this episode however I will discuss basic filtering that you can apply routinely without doing any analysis beforehand. 05 Sources of Noise A question that you may have is "why is there noise in the recording?" There are many sources of undesirable noise. 06 A very common one that you may not be aware of is electrical noise that works its way into the electronic recording circuits and is imperceptible to you until you play back the recorded audio. The most common noise signal is what is commonly called "line noise" and is a low frequency hum at 50 or 60 Hz from the electric power lines and reflects the 50 or 60 Hz frequency of the AC power lines feeding your recording hardware. 07 You may be familiar with this low frequency hum from when it emanates from large electrical hardware such as transformers as it makes the laminations vibrate. However, it can also work its way indirectly into electronic equipment as well. Good quality audio hardware may filter all or most of this out, but it is present in a lot of consumer grade hardware. 08 Other sources of electrical noise may reflect specific problems in your recording hardware. I will discuss one such problem with my microphone that I had to address. Still other sources of noise may reflect actual physical audio noise around you, such as fans. Placing the microphone close to your face will help in dealing with a lot of these problems, but you may find filtering to be of some help here as well. 09 Audio Frequency Range Let's start with some basics. A good quality stereo of the type you may have at home is typically rated to perform between 20 Hz and 20 kHz. This is the widest possible range that we need to consider. In reality, this is a far wider range than is needed for a voice oriented podcast. It is also well beyond the range of the hardware that many of your listeners will be using to listen to the podcast. 10 For example, the speakers that I have connected to my PC and a number of headphones and earphones that I have tested drop off drastically below 80 Hz or above 8 kHz, or even above 6 kHz in many cases. This is not audiophile quality hardware, but it is representative of the sort of hardware that a lot of your listeners will be using when listening to podcasts. And to be honest here, a lot of people will have difficulty hearing anything above 8 kHz even with the best quality audio hardware due to hearing loss from environmental noise exposure or age. 11 You can get a good idea of what different frequencies sound like by generating sine waves using either FFMPEG or Sox. Here's an example of generating a 1 kHz sine wave using FFMPEG. A copy of this will be in the show notes. ffmpeg -f lavfi -i "sine=frequency=1000:sample_rate=44100:duration=3" 01000hz.flac This creates a sine wave at 1 kHz and at a sample rate of 44.1 kHz for a duration of 3 seconds and saves it to a flac file named 01000hz.flac 12 Here's the same using Sox. sox -n -r 44100 -b 16 01000hz.flac synth 3 sine 1000 The -b 16 specifies using 16 bit audio to encode it, and the "sine 1000" element specifies the frequency in hertz. 13 You can test this out at different frequencies to get a feel for how your hardware responds. What the effective limits on typical hardware audio range means is that we can quite safely filter out a large part of what is considered to be the "audio range" without any noticeable loss of quality. For the purposes of our discussion here then I will limit the frequency range to between 80 Hz and 12 kHz, and that is being generous. You can probably narrow that, particularly at the top end, without any problems. 14 At the low end, the typical rule of thumb recommended by most people seems to be that for the average male voice you can set the lower threshold at 80 Hz, and for the average female you can set it at 160 Hz. Note that you don't *have* to set the threshold higher for a female. Rather, it is just that you typically *can* set it higher if you wish. Note also that these are averages, and may not reflect an actual individual. 15 Simple Filters We will now create some simple filters using the same command line software mentioned in a previous episode in this series. These are FFMPEG and Sox. 16 First let's define some terminology. A high pass filter passes through frequencies which fall above a certain threshold and blocks frequencies which are below that frequency. A low pass filter passes through frequencies which fall below a certain threshold and blocks frequencies which are above that frequency. 17 In reality there isn't an abrupt cut-off in the filters. Instead there is a gradual roll off or sloping off of amplitude below or above the specified filter frequency. This is for two reasons. One is that if there was an abrupt cut off then it would risk introducing audible distortion in the signal for frequencies on the margin. 18 The other reason is that this is how hardware filters traditionally inherently worked when they were made out of electronic components such as resistors, capacitors, and inductors. The sharpness of this cut off can be adjusted, but we won't be fiddling with it in that sort of detail. You will sometimes see filters specified in terms of "poles". This has to do with describing how filters were constructed using electronic components. Don't worry about it, it doesn't really matter. 19 Here is a typical high pass filter using ffmpeg which filters out frequencies below 80 hertz. # High pass filter. ffmpeg -i inputfile.flac -af "highpass=f=80" outputfile.flac Here is a typical low pass filter using ffmpeg which filters out frequencies above 12 kHz. # Low pass filter. ffmpeg -i inputfile.flac -af "lowpass=f=12000" outputfile.flac 20 Here is a filter which combines the two. # Combined filters. ffmpeg -i inputfile.flac -af "highpass=f=80, lowpass=f=12000" outputfile.flac And here is the same thing using Sox. sox inputfile.flac outputfile.flac highpass 80 lowpass 12000 21 Filtering Out Specific Frequencies Recall that I mentioned that a common source of noise is the 50 or 60 Hz AC power line frequency working its way through the electronics of your recording device. Because filters operate gradually and the 80 Hz lower filter threshold is close to 60 Hz, the high pass filter may not deal with this adequately. 22 Now it happens that your listeners may not be able to hear this 50 or 60 Hz noise anyway because their audio hardware won't reproduce it. That by the way includes you not being able to hear it either when you review your recording before uploading it. However, there may be some HPR listeners who are sitting back sipping a glass of wine and listening to your episode on their stereo and who can hear it. That suggests that we ought to do something about it just in case. 23 I will get into how to analyze audio signals in a later episode, but for now just accept that I looked at the frequency spectrum of a sample recording using my hardware and found a large 60 Hz noise spike which I wanted to address. 24 Experimenting with additional high pass frequencies up to 120 Hz did not improve things much with respect to the 60 Hz problem. There are other parameters which could be tweaked, but at this point it would seem most promising to attack the 60 Hz spike problem directly using a different filter method. To deal with the this 60 Hz spike we can use a "band reject" filter, which removes a specific band of frequencies. We will use this in combination with the filtering that we have already done above. 25 After a small amount of experimenting I came up with the following. I also added in a 50 Hz filter while I was at it, for the benefit of those living in areas with 50 Hz electrical supply. These filters will be included in the show notes, so don't worry if you can't quite understand all the details from a verbal description. 26 Here's the FFMPEG version. # Using ffmpeg ffmpeg -i input.flac -af "highpass=f=80, lowpass=f=12000, bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" output.flac 27 This as the following elements A high pass filter at 80 Hz, A low pass filter at 12 kHz, A band reject filter centred at 60 Hz and with a width of 20 hertz. A similar band reject filter centred at 50 Hz. 28 Here's the Sox version. # Sox version. sox input.flac output.flac highpass 80 lowpass 12000 bandreject 60 20 bandreject 50 20 Note that with sox, don't quote the filter definition strings or else it will result in an error as sox doesn't see enough parameters. This is not a problem with ffmpeg. 29 The band reject filter knocks the stuffing out of the 60 Hz line noise, and the 50 Hz parameter should do the same for that frequency as well. This basic filter should be able to be applied to any podcast audio recording without causing any problems. You can probably reduce the low pass frequency from 12 kHz down to 8 kHz without any problems, but I would suggest that you test it with your voice before making that decision. 30 I will come back to filtering out specific frequencies again later when I discuss how I solved a specific problem with the hardware that I am using. However, we have to discuss how to analyze audio signals before we can do that sort of technical troubleshooting, and I will cover that in a later episode. -------------------- 31 De-Essing An additional type of filtering is "de-essing". When recording audio, the microphone or environment may result in "s", "sh", "ch" and possibly other sounds to be exaggerated. These are all higher frequency elements of voice recordings. "De-essing" attempts to soften these sounds by selectively reducing the volume on the frequency band which contains these sounds. 32 Software Filters De-essing is accomplished via software filters. FFMPEG and Sox both have de-essing filters. For FFMPEG, the de-essing filter is built in. For Sox however, we must install an optional plug-in. I will cover this is more detail when I discuss using Sox for de-essing. 33 Do You Need De-Essing? The first thing to make clear however, is that you may not need to worry about this. If you think the audio sounds just fine the way it is, you don't need to do any de-essing to it. De-essing is a very subtle change, and you would probably need to do some careful before and after comparisons of audio samples to tell the difference. I didn't know that a thing called de-essing even existed before I started doing the research to make this podcast episode. However, at this point we are doing things more for fun than out of necessity, so I'll describe it anyway. 34 De-Essing with FFMPEG De-essing with FFMPEG is relatively simple. The filter is built in, and there are just three values to adjust. On the other hand, it is not really obvious what these values mean in practical terms. 35 I will however warn you to not rely on the AI search results from Google to understand this feature. The AI, in my experience, just makes stuff up about it and tells you to use options that don't exist and values that are not valid. I found that the only useful information came from FFMPEG's own web site, and from examples written by actual humans. 36 I then experimented with different values to see what effects they had. Since the results are rather subtle, fine tuning isn't really that necessary and I found that I could arrive at some reasonable values fairly quickly. I will provide the parameters that I found useful for me, and I suspect they would probably work for you as well. 37 Here is a typical de-essing command. ffmpeg -i inputfile.flac -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=o" -b:a 336k -sample_fmt s16 outputfile.flac 38 The important arguments are i, m, and f. i is intensity for triggering de-essing. The allowed range is 0 to 1. The default is 0. By experimentation I found that "0" means no de-essing, and "1" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 39 m is the amount of "ducking on the treble part of sound". The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 40 f is how much of the original frequency content to keep when de-essing. The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 41 Setting "m" or "f" too high can result in a distorted output as too much of the original sound is cut out. The defaults of 0.5 in both cases gave audible improvements without noticeable distortion. 42 There is an additional parameter called "s". This controls whether the de-essing filter does anything. Setting it to "o" is the normal and default mode. Setting it to "e" causes it to output just the components that it would normally have filtered out. This is useful for testing purposes so you can see what and how much is being filtered. You only use this when experimenting with different values. Setting it to "i" causes the input to be passed through without de-essing. This would be useful in scripts where you want to use a variable to control whether or not to use the de-esser while still creating the expected output file. 43 There are two other elements of the command which were included but are not strictly speaking part of the de-essing filter itself . These are " -b:a 336k" and "-sample_fmt s16". " -b:a 336k" sets the audio bit rate to 336k. "-sample_fmt s16" sets the audio sample format to 16 bit. I found it necessary to specify these in order to prevent the de-essing filter from changing formats. They are not part of de-essing however. 44 De-Essing with Sox You can also de-ess with Sox. However, this is more complex for several reasons. One reason is that Sox does not have its own de-essing filters. Instead it uses optional plug-ins, and you must find and install these. The actual plug in may vary depending on what operating system you are using. The other reason is that it deals with the issue in fairly low level parameters, and so is a bit more complex to describe. Because of this I will skip over describing this in detail and just give a very brief overview. If anyone would like me to describe in more detail how to de-ess with Sox, then send in a comment and I will do a short episode on it later. 45 Sox De-Essing Overview To de-ess with Sox, you first need to install the plug-ins. On Linux, these will be the TAP ladspa plug-ins. TAP stands for "Tom's Audio Processing" plugins. ladspa stands for "Linux Audio Developer's Simple Plugin API" To install the TAP plugins on Ubuntu, using the following command. sudo apt install tap-plugins The plug-in we need is called "tap_deesser.so". 46 In order to use the plug-ins, you need to set the path as a variable. On Ubuntu this is. export LADSPA_PATH="/usr/lib/ladspa:" I put the above in the shell script which calls the Sox de-esser. 47 To use the Sox de-esser, you do the following: sox inputfile.flac outputfile.flac ladspa tap_deesser tap_deesser -30 4500 48 tap_deesser tap_deesser tells it which plugin to use. We need to state tap_deesser twice because the first is the name of the ".so" file and the second is the name of the plugin. A single "so" file can contain multiple filters, although in this case there is only one. -30 is the threshold in dB at which to start to apply the filter. 4500 is the frequency in Hz that the filter centres around. 49 The TAP web page has a table of recommended frequencies. These are: Male 'ess' 4500 Hz Male 'ssh' 3400 Hz Female 'ess' 6800 Hz Female 'ssh' 5100 Hz You will need to do some trial and error to find what works best for you. 50 De-Essing Summary De-essing can be used to make minor improvements to voice quality by reducing certain harsh sounds which may be exaggerated by a microphone. If it sounds like a lot of work you can probably simply not bother with it and not really miss it. -------------------- 51 Normalizing Normalizing a signal means adjusting it to meet a specified level. For audio it means adjusting the volume or sound level. You may wish to normalize the audio of your recording to make it easier to listen to when reviewing it. The copy that you send to HPR however should be the original un-normalized version. 52 Sound level is measured in two ways, dB and LUFS. The latter is a more sophisticated way of measuring things which takes into account how the human ear perceives loudness. I won't go into a lot of detail in that regards, other than to say that just accept LUFS as a unit of perceived loudness that is the international standard. LUFS stands for "Loudness Units referenced to Full Scale", and is part of the EBU R128 standard, where EBU stands for European Broadcast Union. In both cases the measured value is a negative number, with numbers smaller in magnitude being louder. Smaller in magnitude means closer to zero. 53 HPR will adjust the sound level for publication, but if you wish to check the audio before uploading it can help to adjust it to something close to what HPR will do so that you can listen to it at a volume which most listeners will hear. In my case full volume on the audio system input produced a sound level which was much lower than a typical HPR episode. However, the volume level in the flac file itself can be adjusted using ffmpeg. 54 Measuring Volume Level First we need to see what the volume level is for a typical HPR podcast. To do this we use ffmpeg. In this example we are using an episode named "hprpodcast.mp3". Pick an episode which you think is suitable and copy the file to the working directory. 55 In the following script we use a volumedetect filter. The text we want normally outputs to standard error, so we have to do a bit of bashery to redirect this to standard output so it will go through a pipe. We then grep for the string "I:". This will have the average volume level in "loudness units" (LUFS). Then we extract the number, giving us a target LUFS level. 56 ffmpeg -i hprpodcast.mp3 -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 57 Unfortunately I can't find a Sox feature which handles EBU loudness, so we need to work in dB instead. Here is the sox version. However, note that this may not work on mp3s if sox mp3 handing is not installed. 58 sox hprpodcast.mp3 -n stats 2>&1 | grep "RMS lev dB" | rev | cut -d" " -f1 | rev 59 You can use either of these for measuring the volume or sound level of an audio file. However, note that individual episodes from HPR may vary a bit in terms of loudness. In the samples that I looked at, this however was less than 1 LUFS or dB while my own recording was roughly 5 LUFS lower in volume than a typical HPR episode. -------------------- 60 If you Google for the EBU R128 standard the AI result will confidently tell you to use a target of -23 LUFS. However, this is wrong, which shouldn't be of any surprise if you are familiar with using AI. 61 The -23 LUFS figure is for broadcast television. There is in fact no standard level for podcasts. However, there is apparently a general industry convention of using somewhere around -17 LUFS. If I look at the first two HPR episodes that I did, HPR normalized them to -16.8 LUFS and -17.8 LUFS, while the original FLAC files that I submitted were -21.6 LUFS and -22.3 LUFS respectively. 62 So HRP appear to be targeting somewhere around -17 LUFS as well. We will therefore use -17 LUFS as our target for our own copy for review. -------------------- 63 The nice thing about using the EBU filter in FFMPEG is that this is very simple. Here is the FFMPEG version. 64 ffmpeg -i inputfile.flac -af loudnorm=I=-17:TP=-2.0:LRA=7.0 -ar 44.1k outputfile.flac 65 "I" is the LUFS target. LRA is the loudness range target. The default value is 7.0 so I used that. TP sets the maximum true peak. The default value is -2.0. so I used that. -------------------- 66 With Sox things are a bit more difficult. There is no direct method of setting the loudness that I am aware of, so we need to measure the current sound level in dB, do some calculations, and then apply that as a gain factor to the output. 67 First we need to subtract the measured db level from our flac file from the target db level from the HPR episode we decided to use as a sample. Bash by itself normally just does integer math. However, we would like to have at least one decimal point of resolution to work with. The simple solution is to do this calculation using bc, the shell arbitrary precision calculator. 68 Then take this new value and use it in a "volume" filter. The number which we give sox is the amount to increase or decrease the volume by. Sox will then output a new file with the new volume level. You can now listen to this file under conditions more closely approximating what it will be like after HPR have done their own audio adjustments and normalizaton on it This helps when listening to the file for any problems before you upload it. 69 Rather than reading 5 lines of complex shell script to you, I will put a copy of it in the show notes. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) sox $inputfile $outputname gain "$volumechange" -------------------- 70 Normalization should be the last thing you do to the file. It should be done after any noise filtering, such as low pass, high pass, bandreject, etc. If you normalize first, you will be amplifying the noise as well as the desired signal. 71 The exact normalization level used for review purposes doesn't matter, as HPR will apply their own later. All we are doing at this point is adjusting the volume to something which approximates a normal episode so you can listen to it for final review. 72 When you send your file to HPR, send the original *unnormalized* version, not the normalized version. When you normalize an audio signal, if you are not careful you may introduce things which cause problems with later additional processing. HPR probably do more things to the audio than just normalizing and so they need the unnormalized file so that they can do their own normalizing last. -------------------- 73 If at this point you are happy with the recording as is, you are ready to send the *unnormalized* version to HPR. The scripts to implement the features discussed in this episode will be in the show notes. 74 Conclusion In this episode we covered basic filtering using ffmpeg and sox. We discussed what noise was and some of the origins of noise. We talked about the audio frequency range and the limitations of common hardware used to record and listen to podcasts. We covered basic high and low pass filters used to limit the audio frequency range in order to remove possible low and high frequency noise. 75 We discussed specific filters to eliminate 50 and 60 Hz electrical power noise. We talked about de-essing, what it was, why you may wish to use it, and some basic de-essing filter implementation details. We discussed normalizing, what it is, why you may wish to use it, and how it relates to podcasting conventions. 76 In the next episode we will discuss analyzing audio signals to help find the sources of noise problems. We will also discuss creating filters to eliminate any problems that we found. In my case I had a problem with the microphone that I use, and I describe how I used filters to deal with that problem. 77 This has been the second episode in a four part series on simple podcasting. -------------------- EBU R128 Loudness Measurement using FFMPEG #!/bin/bash echo "EBU r128 loudness measurement using FFMPEG" for inputfile in *.flac *.mp3 ; do level=$( ffmpeg -i $inputfile -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 ) echo $inputfile $level done -------------------- DB Sound Level Measurement using Sox #!/bin/bash # Sox version. May not work for mp3 if an mp3 format handling is not installed. echo "dB sound level measurement using Sox." for inputfile in *.flac *.mp3 ; do level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) echo $inputfile $leveldb done -------------------- EBU R128 Loudness Normalization using FFMPEG #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname echo $outputname done -------------------- DB Sound Level Normalization using Sox #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" # Measure the volume level and extract the mean volume. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) # Calculate the difference in dB desired. Scale specifies the number of decimal places. # Target db is the volume measured on hpr4506 (UCSD-P-System). targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) echo "Using sox: File: $inputfile Original level: $leveldb Change by: $volumechange" # Adjust the volume. sox $inputfile $outputname gain "$volumechange" done -------------------- Full processing pipeline for making simple podcasts using FFMPEG #!/bin/bash #!/bin/bash # Full processing pipeline for making simple podcasts. # ====================================================================== # Concatenate multiple flac files into a single flac file. # This is used to combine podcast recorded segments into a single # flac file for uploading to HPR. concataudio () { outputname="$1" # First create the list file. printf "file '%s'n" [0-9][0-9].flac > podseglist.txt # Now concatenate them ffmpeg -f concat -safe 0 -i podseglist.txt "$outputname" rm podseglist.txt } # ====================================================================== # Basic filters. filter () { inputfile=$1 outputname=$2 # Using ffmpeg. # The high and low pass filters. hlpfil="highpass=f=80, lowpass=f=12000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Using ffmpeg ffmpeg -i $inputfile -af "$hlpfil, $linefil" $outputname } # ====================================================================== # De-Essing. deessing () { inputfile=$1 outputname=$2 option=$3 # De-essing filter. ffmpeg -i $inputfile -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=$option" -b:a 336k -sample_fmt s16 $outputname } # ====================================================================== # Normalizing the audio to EBU R128 standard for review using ffmpeg. normffmpeg () { inputfile=$1 outputname=$2 # Normalize to EBU R128 standard. ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname } # ====================================================================== # Output an MP3 version to help with reviewing. mp3convert () { inputfile=$1 # Get the name of the file and then create the output file name. j=$( basename $inputfile ".flac" ) outputname="$j"".mp3" # Convert to MP3. ffmpeg -i $inputfile $outputname } # ====================================================================== # Concatenate the separate audio files. concataudio fullpod-unfiltered.flac # Basic filtering. filter fullpod-unfiltered.flac filtered.flac # De-essing. This is the version to send for publishing. # The third argument should be "o" for de-essing, or "i" for pass through without de-essing. deessing filtered.flac fullpod.flac o # Normalized for review. normffmpeg fullpod.flac fullpod-norm.flac # Output an MP3 copy for review. mp3convert fullpod-norm.flac -------------------- -------------------- Provide feedback on this episode.

「好みの材料でアイスクリームやシャーベットをかんたんに作れるCuisinartの「フローズンデザートメーカー」」　コンエアージャパンは、キッチン家電ブランド「Cuisinart(クイジナート)」から、好みの材料でアイスクリームを含む5種類のデザートが作れる「フローズンデザートメーカー」(品番：ICE-FD10J)を2026年4月下旬に発売する。価格は17,930円。事前に冷凍庫で冷やした材料を本体にセットし、ハンドルを上下に動かして攪拌するだけ！本製品は、手軽に手作りアイスが楽しめるフローズンデザートメーカー。事前に冷凍庫で冷やした材料を本体にセットし、ハンドルを上下に動かして攪拌するだけで、簡単にアイスクリームを作ることができるのだ。しかも、5種類のモードを搭載しており、アイスクリームのほか、材料を変えてシャーベットやミルクシェイクなど様々なフローズンデザートを楽しむことが可能。また、専用のデザートカップは3つ付属。複数の材料を事前に冷凍しておけば、その日の気分で好みのフレーバーを楽しめるのはもちろん、家族や友人と違う味を楽しむこともできる。このほか、本体はスリムな縦型デザインで、使用後は取り外してコンパクトに収納可能。さらに、本体ユニット部は丸洗い可能なほか、デザートカップとフタは食器洗浄乾燥機に対応している（耐熱温度は70℃）。■製品仕様電源：AC100V 50/60Hz消費電力：200W定格時間：約2分外寸寸法：約幅110×奥行110×高415mm質量：約1.6kg(本体ハンドル、本体ユニット、デザートカップ装着時)コードの長さ：約1.5mセット内容：本体ハンドル、本体ユニット、デザートカップ(最大容量240ml)×3、オリジナルレシピ製品情報https://cuisinart.jp/products/ICE-FD10J.html構成／立原尚子

On this week's show we go beyond the hype to tell you what specs matter most, what specs are mere marketing hype, and we give you some tips for buying your next HDTV. We also read your emails and take a look at the week's news. News: The price of Netflix is set to go up for all users New VIZIO smart TVs to require a Walmart account The latest Matter update improves camera streaming Other: Why Did TV Manufacturers Stop Using 8K Panels? What Specs Matter and What Don't When Buying a New HDTV Last week the Brightside Home Theater Podcast did a panel discussion on the real factors that shape picture quality. Check it out when you have a chance, it's very informative (Beyond Resolution: The Real Factors That Shape Imaging). So this week we are piggybacking on their discussion to tell you what specs matter most, what specs are mere marketing hype, and we give you some tips for buying your next HDTV.  Specs That Matter Most Panel Technology (OLED vs. Mini-LED/QLED): Not really a spec as much as a technology but it is important for making the right decision for your room. This is the single biggest factor to consider. Choosing the right panel really matters. It directly affects how sharp, colorful, and lifelike the picture looks in your room — whether you're watching movies in the dark or enjoying sports during the day. Which technology you choose depends on what and where you watch TV. OLED (including QD-OLED): Perfect blacks, high contrast, excellent viewing angles, and natural motion. Great for dark rooms and movies. Newer 2026 OLEDs are much brighter than older ones so if you are watching sports don't count this out. Just make sure you buy one of the brighter panels like the LG G5/G6 series, Panasonic Z95B, and the BRAVIA 8 II. Mini-LED/QLED: Much brighter overall (can exceed 2,000–3,000+ nits), better for bright rooms with lots of ambient light. Good contrast with enough dimming zones, but blacks aren't as deep as OLED. Choose based on your room: OLED for controlled lighting, Mini-LED for bright rooms.  Brightness (Peak HDR nits): Real measured peak brightness in HDR content (especially small bright areas like highlights). Higher is better for HDR pop and visibility in bright rooms (1,000+ nits is solid; 2,000+ is excellent). Full-screen brightness also matters but is less advertised. Ignore vague "ultra bright" claims—look for review-tested numbers. Contrast & Local Dimming (for LCD/Mini-LED TVs): Native contrast ratio (higher is better). Number and quality of local dimming zones (more zones = better control, less blooming). OLED skips this entirely with per-pixel lighting. Poor dimming creates distracting halos. HDR Support: Dolby Vision, HDR10+, HDR10, and HLG. Dolby Vision and HDR10+ are dynamic (scene-by-scene adjustments) and preferred over basic HDR10. Most good TVs support multiple formats now. Refresh Rate (Native Panel Rate): 120Hz native is the sweet spot for most people—smooths sports, reduces blur in action, and supports 4K@120Hz from PS5/Xbox/PC. 144Hz or 165Hz is a bonus for high-end gaming. 60Hz is fine for casual viewing but noticeable in fast content. Gaming Features (if you game): HDMI 2.1 ports (at least 2–4 for full bandwidth), VRR (Variable Refresh Rate: freesync/g-sync compatible to eliminate tearing), ALLM (Auto Low Latency Mode), low input lag (

On this week's episode of The MacRumors Show, we discuss Apple's concentrated week of announcements that saw the introduction of 10 new products.The most significant announcement of the week was the MacBook Neo, an all-new entry-level Apple laptop that starts at $599. The ‌MacBook Neo‌ is designed to compete with lower-cost Windows laptops and Chromebooks, while expanding the Mac lineup with a substantially more affordable option.Unlike every other Apple silicon Mac, the ‌MacBook Neo‌ is powered by the A18 Pro chip originally developed for the iPhone 16 Pro, making it the first Mac to use an iPhone-class processor instead of an M-series chip. The machine features a rounded, colorful design available in Silver, Indigo, Blush, and Citrus finishes, with matching keyboards and wallpapers that give it a more playful appearance than Apple's existing notebooks. At 2.7 pounds, it weighs the same as a MacBook Air.It offers a 13-inch Liquid Retina display with uniform, iPad-style bezels rather than a notch, a Magic Keyboard, a mechanical trackpad, two USB-C ports, 8GB of memory, a headphone jack, a 1080p camera, dual mics, dual speakers with Spatial Audio, and a battery life rated for up to 16 hours.Apple also updated several existing devices with modest specification improvements. The iPhone 17e retains the same design and price as the iPhone 16e but adds the A19 chip, MagSafe support, Apple's second-generation C1X modem, and 256GB of base storage.The 11- and 13-inch iPad Air gained the M4 chip, 12GB of RAM, Wi-Fi 7 support via Apple's N1 wireless chip, and the same C1X modem in cellular models. Meanwhile, the 13- and 15-inch ‌MacBook Air‌ were upgraded with the M5 chip and a higher base storage capacity of 512GB, though the removal of the 256GB option increased the starting price to $1,099.At the high end of the Mac lineup, Apple refreshed the 14-inch and 16-inch MacBook Pro models with the new M5 Pro and M5 Max chips, introducing a "Fusion Architecture" that bonds two 3nmdies together into a single processor. These models also gained faster SSD speeds, higher base storage, and Wi-Fi 7 and Bluetooth 6 via the N1 chip. Battery life increased slightly across the lineup, while GPU cores now include dedicated Neural Accelerators intended to improve AI workloads.Apple also expanded its display lineup with a new Studio Display XDR model, replacing the Pro Display XDR. The new model offers a 27-inch 5K mini-LED panel with up to a 120Hz refresh rate, HDR brightness up to 2,000 nits, and Thunderbolt 5 connectivity. The standard ‌Studio Display‌ was updated at the same time with two Thunderbolt 5 ports, improved speakers, and a camera that now supports Desk View, but retains its 60Hz panel and 600-nit brightness.All of the newly announced devices became available to pre-order on Wednesday, March 4, with the entire lineup scheduled to launch and begin arriving to customers on Wednesday, March 11.Get the right life insurance for you, for less, and save more than fifty percent at https://www.selectquote.com/macrumors00:00 - Intro01:17 - iPhone 17e06:42 - M4 iPad Air08:46 - M5 MacBook Air11:53 - Sponsor: SelectQuote13:40 - MacBook Pro: M5 Pro and M5 Max Overview21:30 - Studio Display25:58 - Studio Display XDR38:05 - Introducing the MacBook Neo

「使い勝手抜群！焼き具合や仕上がりをひと目で確認できるEPEIOSの「ガラスボウルエアフライヤー」」　 EPEIOS JAPANは、ライフソリューションブランド「EPEIOS」から、「ガラスボウルエアフライヤー」を発売した。価格はオープン。市場想定価格は19,860円前後。 ガラスボウルはサイズ違いで2つ付属！ 「ガラスボウルエアフライヤー」は、油を使わないヘルシーな揚げ物調理も可能な熱風加熱調理ユニットと、調理や保存にも使えるサイズ違いの2つの耐熱性ガラスボウルを組み合わせた調理家電。 ベイク・温め直し・高温調理・ノンフライの4つの調理モードを搭載しており、それぞれワンタッチで選択可能。もちろん、食材や好みに合わせて、温度や調理時間を微調整することができる。 また、食材を入れるガラスボウルは中の様子がしっかりと見えるクリアガラス仕様なので、焼け具合や仕上がりを目で見て確認することが可能だ。 容量約4Lと約1.5Lの2つのガラスボウルを同梱しているのも特長で、食材のサイズに合わせて選べるだけでなく、調理中にもうひとつのガラスボウルで下ごしらえすることも可能。さらに、ガラスボウル専用のフタも付属しているため、調理後に冷蔵庫などで保存することもできる。 このほか、お手入れのしやすさにも配慮しており、油汚れのひどいボウルだけ取り外して丸洗いできるほか、食洗機にも対応。保管も本体とボウルを分けることで高さも取らずにスマートに収納できる。 ■製品仕様 電源：AC100V 50/60Hz消費電力：1,400W容量：約4L（ガラスボウル大）/約1.5L（ガラスボウル小）温度調整範囲：60～200℃（10℃刻み）調理時間設定：1～60分（1分刻み）電源コード長：約0.9mサイズ：W210×H215×D215mm（ガラスボウル小使用時）/W294×H272×D250mm（ガラスボウル大使用時）重さ：約3.0kg（ガラスボウル小使用時）/約4.6kg（ガラスボウル大使用時） 関連情報https://epeios.jp/ 構成／立原尚子

On this week's episode of The MacRumors Show, we talk through Apple's plans to refresh the Studio Display and Pro Display XDR. Apple's next-generation Studio Display is widely expected to feature the same 27-inch screen size as the current model, but with mini-LED technology instead of LCD. This upgrade would result in increased brightness and a higher contrast ratio compared to the current model, bringing it in line with the MacBook Pro, which has touted mini-LED since 2021. Leaked Apple code suggests that the new Studio Display will also feature an A19 chip. The Studio Display's chip supports features like Center Stage, Spatial Audio, and "Hey Siri" commands. The current Studio Display contains the A13 Bionic, a chip that started out in the iPhone 11 lineup back in 2019. The new model could also feature ProMotion for a refresh rate up to 120Hz, just like the ‌MacBook Pro‌, along with HDR. Apple released the Studio Display in March 2022, alongside the first Mac Studio. The standalone display features a 27-inch LCD screen with a 5K resolution, a 60Hz refresh rate, up to 600 nits brightness, a built-in camera and speakers, a single Thunderbolt 3 port, and three USB-C ports. In the U.S., the monitor starts at $1,599. Reports suggest that the next-generation Studio Display will come out in early 2026, when we're also expecting new Macs with the M5 chip. Apple has been rumored to be working on an updated version of the display since 2022, adding an Apple silicon chip. As a result, the Pro Display XDR is likely to gain speakers, microphones, Hey ‌Siri‌ support, and a camera with Center Stage, just like the Studio Display. Further parity with upcoming Studio Display features such as mini-LED and ProMotion is also possible. At the very least, the new monitor is expected to feature the same quantum-dot display technology adopted by the MacBook Pro. The latest quantum-dot display films have equal to better color gamut support, and offer improved motion performance, compared to the KSF phosphor film that Apple uses for the existing Pro Display XDR and previous ‌MacBook Pro‌ models. This means the new Pro Display XDR should have improved color accuracy and faster response times compared to the current model. This holiday, give your loved ones the only gift that keeps on giving — health. Go to Superpower .com/gift to get a free $49 gift box with your gifted membership.

TriggerTalk with Sage & SammyBoiii takes aim at Battlefield 6: RedSec and the newly announced Elite Series — a $1 million esports event bringing Battlefield back into competitive gaming. Sage and Sammy dive deep into what this means for the franchise, how Gauntlet changes the game, the challenges of esports production, and why this could reshape the future of Battlefield. Sage and Sammy discuss… The Elite Series announcement, format, and prize pool Sammy's unexpected invite as a team captain and how he built his squad Why Battlefield esports is both exciting and risky The Gauntlet mode and its potential as a true competitive format RedSec's audio, tick rate, and technical quirks How updates, communication, and cadence compare to 2042 The future of Battlefield's live service and expectations for Season 2 Balancing content creation, competition, and the love of the game Chapters: 00:00 Welcome to TriggerTalk 00:30 Battlefield RedSec and the Elite Series overview 02:00 Sammy's surprise invite & building a competitive team 05:00 Breaking down the Elite Series — format, dates, and prize pool 08:00 Why Battlefield is finally entering esports 10:00 Competitive pressure, viewership, and Red Bull partnership 13:00 LAN dreams and fairness in online tournaments 15:00 Why Gauntlet might outshine Battle Royale 18:00 The storytelling power of BR and spectator appeal 20:00 Why Gauntlet should be Battlefield's competitive focus 23:00 EA's under-promotion of Gauntlet and lessons from Hazard Zone 25:00 Sammy's team reveal and "underdog heat" 29:00 RedSec audio and directional issues 33:00 Tick rate debate — 30Hz vs 60Hz servers 38:00 DICE communication, trust rebuilding, and player feedback 44:00 Movement feel, input lag, and subtle gameplay differences 48:00 Upcoming December update preview 50:00 Season 2 expectations and cadence consistency 55:00 Live service evolution vs. 2042 58:00 Player agency, map rotation, and content quality 1:03:00 Balancing gaming, work, and competition prep 1:05:00 Tournament stakes, prize money, and team matchups 1:09:00 Battlefield's esports potential and industry competition 1:11:00 Wrapping up — RedSec's future and player hopes

On this week's show we look at alternatives to YouTube TV for sports fans. We also look at AV Receivers for Home Theater Newbies, Enthusiasts, and Fanatics. And like always, we start with your emails and take a look at the week's news. News; Ikea's new low-cost line is a huge win for Matter and your smart home Middle-Aged Viewers Power YouTube Long-Form Content Paramount+ announces next round of price increases YouTube TV Subscribers Increasingly Irate Over Disney Blackout Other: LINOVISION POE Over Coax EOC Converter LINOVISION EOC Transmitter and Camera Outdoor Universal Mount Box NCIS promo Brady Darvin's first tattoo in honor of Morton Darvin to raise money for Veterans Legal Institute Please support Movember and enter to win great prizes from Bright Side Home Theater Movember Raffle — Bright Side Home Theater Best AV Receivers for Newbies, Enthusiasts, and Fanatics It's getting close to Black Friday and you may want to upgrade your home theater system for the Holidays and you are wondering what AVR should I consider.  Well the HT Guys have done the homework for you.  We breakout our picks in the following three categories: Home Theater Newbie (entry-level, under $600—simple setup, basic features), Home Theater Enthusiast (mid-range, $800–$2,000—balanced performance and expandability), and Home Theater Fanatic (high-end, $3,000+—audiophile-grade power and advanced processing). To simplify we stuck with Denon. Although we have used AVRs from Onkyo, Sony, Marantz, Pioneer, and Yamaha in our theaters, we chose Denon because of their reliability, relative price/performance ratio, and excellent room calibration features.  Category Pick Price Channels Power (W/ch)   Home Theater Newbie Denon AVR-S570BT $449 5.2 70   Home Theater Enthusiast Denon AVR-X3800H $1799 9.4 105   Home Theater Fanatic Denon AVR-A1H $7199 15.4 150   Home Theater Newbie: Denon AVR-S570BT If you're new to home theater or upgrading from a soundbar, this AVR keeps things simple but includes the key features. It supports 5.2 channels for basic surround sound and passes 4K video from your set top box or game consoles. Audyssey auto-calibration checks your room and adjusts the sound for you with minimal intervention by you. Users like its clear, balanced audio in small to medium rooms, so movie soundtracks are improved without complicated setup. The Denon AVR-S570BT has an Amazon rating of 4.3 stars out of 5 by over 1600 users. Home Theater Enthusiast: Denon AVR-X3800H Enthusiasts get a great mix of power and features with the X3800H's 9 amplified channels that include support for 5.2.4 Dolby Atmos. The upgraded Audyssey MultEQ XT32 fine-tunes the sound for your room, making bass and dialogue clearer and more powerful. You will notice an improvement over the Newbie System system in clarity and and it has more features including six HDMI 2.1 ports that support 8K and 4K at 120Hz gaming with VRR and ALLM. HEOS lets you stream music wirelessly from services like Spotify. It's also good for music, with support for high-resolution audio. One small downside: it's bulkier than slimmer models. It's ideal for expanding your system without breaking the bank. The Denon AVR-X3800H has an Amazon rating of 4.4 stars out of 5 by almost a 1000 users. Home Theater Fanatic: Denon AVR-A1H Audiophiles and home theater fans will love this top-of-the-line receiver. It handles up to 15.4 channels (powers 15 at once) for big setups like 9.1.6 Dolby Atmos or Auro-3D. It puts out 150 watts per channel with clean, powerful sound, using high-current amps and ESS Sabre DACs for high-res audio up to 24-bit/192kHz. It includes advanced room calibration with optional Dirac Live or Audyssey, plus IMAX Enhanced for movie-theater quality. All seven HDMI inputs support 8K at 60Hz or 4K at 120Hz, and there are analog inputs for turntables. It's overkill for small rooms but will shine in a dedicated theater delivering realistic, immersive sound. Downsides: expensive and uses a lot of power. The Denon AVR-A1H has an Amazon rating of 5 stars out of 5 by 5 users.

「KURUKURUの新家電ブランド「ONPU」からUSB Type-C接続対応の15.6型ポータブルディスプレイが登場」　 KURUKURUは、「使いやすさ」「分かりやすさ」「手に取りやすさ」の3つの「やすさ」をコンセプトにした新家電ブランド「ONPU（オンプ）」をローンチし、その第1弾として、「ポータブルディスプレイ O-NDP-BK-01」を販売開始した。価格はオープン。Amazon.co.jpでの販売価格は12,980円（2025年11月9日現在）。 HDMIやUSB Type-Cケーブルから、電源アダプター、専用カバーまで同梱！ 「ONPU」は、「目まぐるしく変わるテクノロジーに疲れを感じる人々に癒しを提供したい。」という思いから誕生した家電ブランド。その第1弾となる「ポータブルディスプレイ O-NDP-BK-01」は、「設定のわかりやすさ」と「使いはじめの速さ」に徹底的にこだわった製品だ。 まず注目なのが、HDMIやUSB Type-Cケーブル、電源アダプター、専用カバーまで揃ったフルセット仕様なところ。面倒な追加購入は不要で、箱を開けてすぐに快適な環境を整えることができるのだ。 また、持ち運びしやすい薄型軽量設計なうえ、USB Type-Cケーブル1本で映像出力と電源供給できるので、どこでも手軽にデュアルディスプレイ環境を構築することが可能。さらに、ダイヤル1つの簡単操作で明るさ、コントラスト、音量などを調整できるのも嬉しいポイントだ。 このほか、反射を抑えるノングレア液晶とブルーライト25％カット機能で、目の負担も大幅に軽減する。 主な仕様は、パネルタイプがIPS、画面サイズが15.6インチ、解像度がフルHD（1,980×1,080ドット）、リフレッシュレートが60Hz。本体サイズは約36.5×22.8×1.5cm、重量は約680g（カバーなし）。インターフェースはUSB Type-C×2、mini HDMI×1、イヤホンジャックを装備する。 関連情報https://onpu.ne.jp/ 構成／立原尚子

Can the grid power AI's future? Join host Nick Schutt on Robots and Red Tape as he chats with Harry Munroe, IBM quantum ambassador and energy expert. Harry explains the U.S.'s three fragmented grids, real-time supply-demand balancing, and massive data center demands (up to terawatt-hours yearly). Discover quantum's role in batteries/solar and grid modernization challenges. A must-listen for tech and energy pros! *Three U.S. grids: West, East, Texas (ERCOT) *Real-time electron matching; *60Hz stability Data centers = small city power (100MW+) *Quantum for materials, optimization

On this week's show we recommend five 55” TVs for less than $500 that will give you the best bang for your buck! We also read your emails and take a look at some of the week's news. News: Anker opens pre-orders for its Nebula X1 Pro projector system Amazon unveils a new Fire TV lineup, including the $40 Fire TV Stick 4K Select TiVo Exiting Legacy DVR Business Walmart's Onn 4K Pro Google TV Streaming Device is On Sale At Its Lowest Price Ever Other: DIY Surround Sound... USING LASERS! Signal GH Highly Rated 55 Inch TVs Under $500  This week we scoured the Internet for best bang for the buck TVs that would work in a typical family room. For this criteria we landed on 55” as it is, in our opinion, the Goldilocks size. We read reviews from sites like RTINGS, CNET, Tom's Guide, and What Hi-Fi? To select five models that have something for everyone. All the TVs are 4K smart TVs with good picture quality, HDR support, and gaming features.  All Models Available at Amazon Here's a comparison of the top-rated options: TCL QM6K (QLED Mini-LED)  55-inch ~$445 at Amazon   CNET: 8.6 out of 10 RTINGS: 7.1 out of 10 overall  Tom's Guide: 4 out 5 144Hz refresh rate, local dimming for deep blacks, Google TV OS, VRR/AMD FreeSync for gaming, Dolby Vision HDR. Best all-around budget TV; excels in brightness, color vibrancy, and motion handling for movies/gaming—rivals pricier models without blooming issues. Hisense QD7QF (QLED)  55-inch ~$350 at Amazon   CNET: 8 out of 10  RTINGS: 6.8/10 Full-array local dimming, 144Hz VRR, Dolby Vision/Atmos, Google TV, twice the brightness of most budget rivals. Unmatched contrast and immersion for the price; ideal for dark-room viewing and gaming, with solid upscaling for streaming. Roku Plus Series (QLED Mini-LED) 55-inch $400 at Amazon Tom's Guide: 4 out of 5 WIRED: Best Smart TV  Mini-LED backlight, quantum dots for color pop, Roku OS (simple streaming), HDR10+, 60Hz with low lag.  Easiest interface for casual users; great value for vibrant colors and decent blacks—perfect for bright rooms and Roku fans. Hisense U6K (Mini-LED) 55-inch ~450 at Amazon  RTINGS: 7.4 out of 10|  Tom's Guide: 4.5 out of 5 Quantum dots, local dimming, 60Hz Game Mode, VIDAA OS, Dolby Vision, Affordable entry to Mini-LED tech; strong HDR performance and shadow detail—beats basic LEDs in contrast without extras. Amazon Fire TV Omni QLED 55-inch $410 at Amazon What Hi-Fi?: 4 out of 5;  RTINGS: 7.6 out of 10  Local dimming, Alexa voice control, Fire TV OS, Dolby Vision, wide color gamut | Balanced for smart home integration; solid contrast and app ecosystem—best for Amazon Prime users wanting a compact, feature-rich set.

「サンコーがモニター不要で最大200インチの大画面を好きな場所で楽しめるARグラス「THANグラス」を発売」　 サンコーは、『いつでも目の前に大画面 サンコーのARグラス「THANグラス」』を発売した。サンコー公式オンラインストアでの販売価格は55,200円。 裸眼でストレスフリーに使える視度調整機能付き！ 本製品は、好きな場所で大画面を楽しめるスマートグラス。最大解像度は1,920×1,080ピクセル、リフレッシュレートは60Hzで、最大200インチの映像を表示可能。また、視度調整機能を搭載しているのも特長で、近眼の人でも裸眼のまま快適に使用することができる。 さらに、周りがほんのり見えるシースルー仕様のため、映像を楽しみながら周囲の状況も確認可能。付属のシェーディングレンズを外すことで、周囲をより明瞭に見ることができる。 このほか、入力端子にはUSB Type-Cを採用し、 DP Alt mode対応のゲーム機、スマートフォン、パソコンとケーブル1本で簡単に接続できるのも嬉しいポイントだ。 主な仕様は、最大解像度が1,920×1,080ピクセル、表示色数が24bit、視野角度がFOV 52°、アスペクト比が16：9、リフレッシュレートが60Hz、輝度が500cd/m2。入力端子はUSB Type-C。本体サイズは幅155×奥行180×高さ45mm、重量は約80g。ケーブル長は約1.2m。セット内容は本体、専用Type-Cケーブル、映像出力アダプタ、専用ケース、専用袋、シェーディングレンズ、予備クリングス×2、予備ノーズパッド2種(L×4、R×4)、日本語取扱説明書。 製品情報https://www.thanko.jp/view/item/000000004731

近視でもそのままかけられる「ARスマートグラス」サンコーから　5万5200円　。　サンコー（東京都千代田区）は9月25日、視度調整機能を備えたARグラス「THANグラス（サングラス）」を発売した。価格は5万5200円。ディスプレイ上部のダイヤルで視度を調整でき、近視の人でもメガネやインナーグラスなしで使用できるのが特徴だ。画質はフルHD（1920×1080ピクセル）、リフレッシュレートは60Hzで、最大200インチ相当の映像を目の前に表示できるという。

On this week's show we look at the CDEDIA Best of show winners for this years event. We also read your emails and take a look at the week's news. News: Google's Home app just got a huge upgrade that makes automations even smarter Paramount to launch new Sports Entertainment division The first Roku-powered smart projector is here Other: The Streaming War Is Over. Piracy Won. TWICE Best of Show Awards Winners for CEDIA 2025 AiSPIRE/WAC Group VENTRIX Lighting, Power and Control System - is an innovative, modular linear lighting solution designed for high-end architectural applications in both commercial and residential spaces. VENTRIX provides a scalable, customizable framework for illumination challenges, such as recessed grid ceiling installations or linear layouts in retail, restaurants, offices, or upscale homes. No pricing available. BZBGEAR BG-AIR4KAST-MKX | 4K@60Hz Wireless HDMI Extender with Multi-Receiver Support - Is a professional-grade wireless HDMI extender kit designed for transmitting uncompressed 4K video signals over the air without the need for long cables. The system uses BZBGEAR's proprietary ipcolor STREAM technology to ensure high-definition video with low latency, operating on the 5GHz wireless frequency band for stable, interference-resistant transmission. Up to 164 feet (50 meters) line-of-sight for 4K@60Hz; extends to about 230 feet for 1080p@60Hz. Available for Pre-order $450 Crestron Home OS - Since 1972, Crestron has been the leader in creating innovative technologies that remove barriers to connection, collaboration, communication, comfort, and control in just about every meaningful aspect of our professional and personal lives. Engineered to be simple, reliable, secure, and easy to use, Crestron sets the standard for intelligent video conferencing, digital content distribution, smart home systems, as well as control and management technology. Solutions that empower people around the world to do more, learn more, enjoy more, and achieve more. Furrion Aurora Partial-Sun 2 4K LED Outdoor Smart TV - is a weatherproof outdoor television designed specifically for partially sunny environments, such as patios, decks, or yards where sunlight is present but not direct or prolonged on the screen. It is part of Furrion's Aurora series, engineered for backyard entertainment with rugged construction to withstand rain, humidity, dust, and temperature fluctuations while delivering high-quality 4K viewing. 55” is going for $1700 HangSmart TV DIY TV wall mount system -  designed for easy installation without the need for wall studs, making it ideal for renters, homeowners, or anyone avoiding complex drilling or hiring professionals. It supports TVs from 19 to 100 inches and holds up to 150 pounds, compatible with most flat-screen LED, LCD, or curved models (including brands like Samsung, LG, and Sony) via standard VESA patterns. Kaleidescape Strato M Movie Player - an entry-level movie player it serves as a standalone device or part of a larger Kaleidescape ecosystem, designed for residential, marine, and commercial theater setups. Priced at around $1,995–$2,000, it offers about half the cost of Kaleidescape's previous lowest-entry system (the Strato V at $4,000) while delivering premium audio and video quality without relying on streaming services. madVR Envy Core MK2 - is a high-end video processor developed by madVR Labs, designed specifically for premium home theaters and media rooms. It represents an upgraded iteration in the company's Envy lineup, building on the original Envy Core (introduced in 2024) by incorporating 48 Gbps HDMI 2.1 support for 8K input and output, enhanced gaming capabilities, and improved overall performance. Announced on September 2, 2025, alongside the Envy Extreme MK3 and Pro MK3 models, it aims to deliver advanced video processing at a more accessible price point compared to flagship models like the Extreme series, while maintaining near-identical image quality for many core functions. $5995 Nice ELAN OS 9.0 - is the latest software platform for the Nice Home Management system, a customizable smart home automation solution developed by Nice North America (formerly Core Brands). Released around mid-2025, OS 9.0 focuses on enhanced personalization, seamless integration with Nice's broader ecosystem (including shading, audio, gate motors, access control, and security), and intuitive user experiences for whole-home control. Samsung OLED TV (S95F) - The Samsung S95F is Samsung's flagship 4K OLED TV series for 2025, succeeding the popular S95D model and positioning itself as a premium smart TV with advanced QD-OLED panel technology. It combines vibrant quantum dot colors with OLED's self-emissive pixels for superior contrast, deep blacks, and lifelike visuals, making it ideal for home theater enthusiasts, gamers, and streaming users. Available in sizes including 55-inch, 65-inch, 77-inch, and 83-inch, it runs on Samsung's Tizen OS with integrated Vision AI for enhanced personalization and upscaling. 55” $2200 - 83” $5800 Samsung HW-QS700F Soundbar - is a premium Q-series 3.1.2-channel soundbar system featuring a dedicated wireless subwoofer. It supports Wireless Dolby Atmos and True 3.1.2ch sound, with Q-Symphony technology that synchronizes seamlessly with compatible Samsung TVs for amplified audio output. The innovative Convertible Fit design allows flexible placement—either as a standalone bar or mounted with rear speakers for expanded surround sound. Priced at $599.99. SimpliSafe Outdoor Security Camera Series 2 with Active Guard Outdoor Protection - is a wireless, AI-powered outdoor camera designed for integration with the SimpliSafe home security system. Released in late 2024, it's an upgrade over the original model, focusing on proactive threat detection and deterrence. It requires a SimpliSafe base station to operate and is available for $199.99 directly from SimpliSafe or major retailers like Amazon and Best Buy. Battery-powered for flexibility, it can also be wired for continuous operation, which is essential for unlocking advanced features like Active Guard Outdoor Protection. Skyworth Canvas Elite Art TV - is a premium lifestyle television series launched by Skyworth USA in August 2025, designed to blend high-performance entertainment with gallery-quality art display. It features the world's largest art TV at 100 inches, alongside an 86-inch model, making it ideal for custom home integration where aesthetics meet advanced technology.  Starting at $4000 Sony BRAVIA Projector 7 4K HDR Laser Home Theater Projector with Native 4K SXRD Panel - is a premium native 4K HDR laser home theater projector that features Sony's advanced SXRD (Silicon X-tal Reflective Display) technology with a compact 0.61-inch native 4K panel (3,840 x 2,160 pixels), delivering over 8 million pixels for sharp, detailed images with inky blacks, vibrant colors, and rich textures. Powered by a long-lasting laser light source providing up to 2,200 lumens of brightness, it excels in rendering high dynamic range (HDR) content like Dolby Vision and IMAX Enhanced, ensuring vivid highlights and deep shadows even on screens up to 120 inches in moderately lit environments. $10,000 Sony BRAVIA Theater System 6 - is a 5.1-channel home theater system featuring a soundbar, wireless rear speakers, and a dedicated subwoofer for immersive surround sound. Delivering 1,000W of total output, it supports Dolby Atmos and DTS:X for dynamic, three-dimensional audio with precise dialogue via Voice Zoom 3. Easy to set up and compatible with select BRAVIA TVs for seamless control, it includes HDMI eARC, Bluetooth, and the BRAVIA Connect App for enhanced connectivity and customization. $800 What Hi-Fi? Best of Show Awards Winners Bluesound PULSE CINEMA - is a premium wireless streaming soundbar that is an all-in-one solution that delivers immersive Dolby Atmos audio without requiring a separate AV receiver, making it ideal for users who want cinematic sound for movies, music, gaming, and TV in a clutter-free design. Positioned as a competitor to brands like Sonos, it emphasizes high-resolution multi-room streaming via Bluesound's BluOS platform, high-fidelity performance, and easy expandability to a full surround system. The PULSE CINEMA is designed for larger spaces, pairing best with 55-inch TVs and above, and measures 47 inches wide for a low-profile fit under or mounted below your screen. $1500 Coastal Source 1000 Series Bollards - are a premium line of modular outdoor speakers. Designed for high-end landscape audio installations, they build on the success of the earlier 10.0 Bollard Series, offering enhanced performance while maintaining a sleek, weather-resistant design that blends into outdoor environments like patios, pools, or gardens. These bollards are engineered to "Defy the Elements," with sealed enclosures that provide superior durability against rain, sun, salt air, and extreme temperatures, making them ideal for coastal or harsh climates. No Pricing Kaleidescape Strato M Movie Player - See above L-Acoustics HYRISS - (Hyperreal Immersive Sound Space) is an audio solution launched by the French audio company L-Acoustics in September 2024. HYRISS transforms everyday environments into dynamic, immersive auditory experiences. It's particularly aimed at high-end residential, hospitality, corporate, retail, and even yacht settings, where it integrates seamlessly with architecture to create customizable soundscapes. Unlike traditional home audio systems, HYRISS isn't just about speakers—it's a complete ecosystem combining hardware, software, advanced processing, and professional installation to deliver concert-quality sound while preserving visual aesthetics. Ara's note on pricing - I didn't bother looking it up. It's French and it's designed for high end. I think that sums it up! Magnetar UDP900MKII - is a high-end universal disc player designed for audiophiles and cinephiles who prioritize reference-grade playback of physical media. It serves as an upgraded successor to the original UDP900 model, incorporating enhancements based on user and dealer feedback to deliver superior audio fidelity, video processing, and build quality. It's positioned as a flagship device in Magnetar's lineup, emphasizing support for a wide array of formats while addressing the growing scarcity of premium Blu-ray players (following exits by brands like Oppo, Reavon, LG, and Samsung). Shipping in Q4 2025 with suggested retail prices of $3300 Sony BRAVIA 8 II 65-inch Class QD-OLED 4K HDR Google TV - The Sony BRAVIA 8 is Sony's flagship OLED television for 2025. It leverages advanced QD-OLED panel technology from Samsung Display—the latest generation, shared with models like the Samsung S95F—for superior brightness, color vibrancy, and contrast. This TV is designed for cinematic immersion, blending high-end picture processing with immersive audio, making it ideal for movie enthusiasts, gamers (especially PS5 owners), and those seeking a premium home theater experience. It's available in 55-inch and 65-inch sizes only, with no larger options to avoid overlapping Sony's Mini-LED flagship, the BRAVIA 9. $3100 Sony BRAVIA Projector 7 4K HDR Laser Home Theater Projector with Native 4K SXRD Panel - See above  

Rauf und runter mit den Preisen Mal was ganz was neues. Netflix wird billiger. Seit 3.11. gibt es ein Werbefinanziertes Modell für 4,99€ / Monat. Qualität ist dabei HD 720p, manche Serien und Filme sind nicht verfügbar, ebensowenig wie der Download. Teurer wird es dafür bei Disney+. Zumindest in den USA steigen die Preise von 8 auf 11$. Das könnte entsprechend auch in Deutschland kommen. Das beste Spiel aller Zeiten? Lange durfte man auf das neue God of War hinfiebern. Anfang November war es dann soweit und Ragnarök hat die Gaming Welt im Sturm erobert. Die Presse sagt teilweise, es wäre das beste Spiel aller Zeit, nicht nur deswegen hat Matze sich mit Kratos und Atreus durch die nordische Sagenwelt geschlagen. Strechy Screen Da hat LG doch tatsächlich eine Display-Folie entwickelt, die man sprechen kann, damit sie größer wird. Den gezeigten Prototypen konnte man immerhin von 12 auf 14″ dehnen. Neue InEars müssen her Die neuen Apple AirPods Pro 2 treten im Test gegen LGs True Tone DT90Q mit Dolby Atmos Lizenz an. Matze testet Klangqualität, Funktionalität, Tragekomfort, Noise Cancelling und Usability. Seid gespannt. Die alte Schule Big Daddy Kane und Busta Rhymes bringen mit Slap! nen neuen Track und der hat es dermaßen in sich, dass wir den einfach spielen müssen. News rund um die xBox Offenbar leiden Entwickler sehr unter der xBox. Vor allem natürlich unter der Series S. Wer ein Spiel auf xBox veröffentlichen will muss ja immer Series X UND S unterstützen und anscheinend stellt die mangelnde Performance manche Studios vor eine Herausforderung. Lahm wie eine Kartoffel scheint sie zu sein… Den Konsolenkrieg zwischen Playstation und xBox hat Microsoft übrigens auch direkt beendet. Sony hat gewonnen. Das erfüllte im Rahmen einer Pressemitteilung bezüglich des Deals mit Activision… und der kommt gerade ins Stocken. Sky Serien sind schon gut Babylon Berlin geht in die 4. Runde: nicht die Mainstream Serie wie bei Netflix und genau deswegen ist sie so gut. Sky wagt sich mit der Zeit vor dem 2. Weltkrieg und der Wirtschaftskrise an Themen die spannend, bedrückend und zugleich sehr unterhaltsam sind. Auch in Staffel 4! Mehrere Displays an einem MacBook Anschluss Eine nervige Sache an Apple Notebooks: Pro USB-C Anschluss kann man nur ein Display anschließen. Das hat Software Gründe. Nun gibt es anscheinend aber einen Adapter, mit dem endlich mehr geht. Vier Displays pro Ausgang mit Full HD und 60Hz sollen damit drin sein. PlayStation VR 2 bestellen oder wie man es nicht macht Sony Matze hat seine PSVR 1 längst verkauft. Nun muss aber die PSVR 2 her und die konnte man nur auf Reservierung bestellen und das war ein absoluter Mist, wie schon bei der PS5. Eine Drama Bericht!

The Binaural Beat Podcast — A Rhythm for Slowing DownMindfulness, sound healing, and ritual — woven into every frequency — a sensory journey from Upward Together, curated by Studio Sya.Created with love by Sya Warfield — founder of Upward Together and creator of Studio Sya.We're celebrating 3 years of weekly episodes of The Binaural Beat Podcast. Thank you for being part of this journey!

No Apple y "palmeros de compañía", en 2025 un móvil de 1000€ con pantalla a 60Hz no es de recibo. Ya no lo era hace 5 años.

feat. Jake la Furia, Tormento, Mistaman, Jhonny Marsiglia, Guè, Ensi, Stokka, Clementino, Ele A, Izi, Nerone, Izi, Primo, Neffa, Frank, Inoki, Ernia, Silent Bob, Ghemon, Gemitaiz, Nitro, Egreen, Don Joe. Learn more about your ad choices. Visit megaphone.fm/adchoices

UGREEN has broken their own record for releasing the world's first 300W charger and pushed the envelope even further by launching the world's first 500W Nexode Charger. The UGREEN Nexode 500W Charger is a behemoth when it comes to capabilities and specs. The single unit can replace multiple chargers in your home or office and recharge up to 6 devices simultaneously at max speed. We have been using the 300W Nexode Chargers in our office since 2023 and they have proven both reliable and super convenient for their ability to recharge multiple devices and as they are compatible with just about every charging standard and speed, we could remove many of the different chargers we had sitting around and replaced them with one device. We have been putting the UGREEN Nexode 500W Charger to the test in the office over the past few weeks to see if it is a worthy successor to the 300W charger we reviewed previously. UGREEN Nexode 500W Charger Specs Input: 100-240V~ 50/60Hz 7.0A Max USB-C1 Output: 5.0V=3.0A/9.0V=3.0A/12.0V=3.0A/15.0V=3.0A/20.0V=5.0A/28.0V?5.0A/36.0V?5.0A/48.0V?5.0A 240.0W Max USB-C2/C3/C4/C5 Output: 5.0V=3.0A/9.0V=3.0A/12.0V=3.0A/15.0V=3.0A/20.0V=5.0A 100.0W Max USB-A Output: 5.0V=3.0A/9.0V=2.0A /12.0V=1.5A /10.0V=2.25A 22.5W Max Total Output Power: 500.0W Max 500W 6-Port (5USB-C, 1USB-A) GaN Fast Charging V-0 Rated Flame-Retardant Material Support PD3.1 protocol, single-port support up to 240W output, in addition to daily electronics charging, but also for some high-performance gaming laptops Supports fast charging with a wide range of protocols including PD3.0/2.0, QC4.0/3.0, PPS, AFC, FCP, APPLE 5V2.4A, BC1.2 Built-in 6 Gallium Nitride chips, conversion rate up to 95%. Set up multi-channel NTC detection, 100/S temperature detection, and real-time intelligent adjustment. Orientation sensor, when the device is tipped over, it will automatically adjust the power to prevent overheating and damage to the device. Including over-current/overload/over-temperature and 11 other protections. The UGREEN Nexode 500W Charger can intelligently split the 500 watts available across its 6 ports depending on how many are being used. The highest output available from one single USB-C port is a colossal 240 watts. The remaining four USB-C ports each top out at 100 watts, with the USB-A port being capable of 22.5 watts. UGREEN Nexode 500W Charger - How does it perform? We have a collection of power banks here that are used every day. They are large capacity and with the wrong charger, they can take a lifetime to charge. With the UGREEN Nexode 500W Charger, you can plug multiple power banks into charge, along with a MacBook and iPhone, and in short order, you are ready to hit the road. The power banks are essential for journalists as you can charge everything else from them when you are on the go, and being able to charge them quickly is essential. As devices get more powerful and power hungry at home too, the Nexode 500W charger can charge multiple tablets, phones and laptops, all at the same time. It also makes it very straightforward for everyone in the home to use, as you no longer need a specific charger for specific devices. Just find a spare port on the Nexode, and you are all set. Conclusion UGREEN continue to make nicely designed and reliable products that solve problems in your home or office. The Nexode 500W Charger makes it simple to charge any device you may have with its wealth of compatible charging standards and power on offer. It is the first 500W charger available and may be the only one you will need to buy to power all of your devices. The Nexode 500W Charger is available to purchase from Amazon and directly from the UGREEN website now.

「小氣」不是吝嗇，而是有原則。 - 本集感謝【販奇網】贊助播出

En este capitulo hablamos de la nueva tasa de refresco que traerán los iPhone 17, los nuevos procesadores de los Samsung S25, los mejores teléfonos de gama media del 2025 y mucho mas...

Rewire your brain for more joy, focus, and peace with The Binaural Beat Podcast.To subscribe to our newsletter and receive monthly mindfulness tips click here.Read about the benefits of binaural beats on our blog.Download our free flow state guide here.Our tranquil soundscapes target ADHD, creativity, meditation, and soothing deep REM sleep to increase dreams. Binaural beats include delta, alpha, gamma, beta, and theta waves.Binaural beats are an auditory illusion caused by listening to two tones of slightly different frequencies, one in each ear. Headphones are recommended for an immersive listening experience.Experience immersive sound for wellness with noise cancellation headphone recommendations for enhanced audio quality:https://amzn.to/49v2iOPADHD recommendations:https://shorturl.at/cqdlvOur links:https://linktr.ee/relaxconnectcreateFollow us on Instagram:https://www.instagram.com/the_binauralbeatpodcast/

Apple's nieuwste iPhone 16 is 'made for AI'. Toch koop je de nieuwe smartphone op dit moment zonder enige AI-functie die Apple beloofde. Is deze iPhone, te koop vanaf 969 euro, zonder AI ook de aanschaf waard? Dat bespreek techredacteur Stijn Goossens tijdens de ochtendspits met Bas van Werven en Frederique Moll.  De iPhone 16 introduceert twéé nieuwe knoppen: de actieknop die de oude mute-switch vervangt (bekend van de iPhone 15 Pro), en een nieuwe camara control-knop (ook nieuw op de Pro-modellen). De camera control-knop maakt foto's maken alles behalve intuitiever. Het lijkt vooral meer tijd te kosten, en veel gebruikers zullen de knop mogelijk bijnan ooit gebruiken. Het enige voordeel: je kan er andere camera-apps sneller mee openen, denk aan Snapchat of Halide.  Verder verschilt de 16 van zijn voorganger door een iets verbeterde accu, wat meer megapixels in de camera en een krachtigere chip. Ten opzichte van de duurdere iPhone 16 Pro is het scherm vooral een doorn in het oog: de 60Hz-verversing en het ontbreken van een altijd-aan scherm doen de iPhone 16 voelen als weinig vernieuwend ten opzichte van 3 jaar terug.  Ben je in de markt voor een nieuwe iPhone? Dan is dit misschien niet direct de beste koop. Voor minder geld zal de iPhone 15 je veel van hetzelfde bieden, zeker doordat Apple's AI de komende tijd nog niet te krijgen zal zijn in Europa. Met een iPhone 12 of ouder zal deze iPhone 16 voelen al een echte upgrade, zeker als je er nog 3-4 jaar mee zal doen. Kom je van een iPhone 13 of nieuwer? Dan zou een iPhone 15 (Pro) ook interessant kunnen zijn, maar een jaartje overslaan is misschien nog wel de meest duurzame keuze. Luister deze podcast voor de uitgebreide review van Stijn GoossensSee omnystudio.com/listener for privacy information.

Ugreen have launched a new charging product, the Nexode RG, which takes a more fun approach with its robot-like aesthetics. Ideal for children or the more playful among us who are looking to add some character to their chargers, the new Nexode RG chargers are highly spec'd and come with all the smart charging and safety features we've come to expect from Ugreen. Just this time, there are some smiley faces and a robot shaped body to shake things up! The Nexode RG robot charger comes in blue and purple colours and as you can see from the images, the base of the unit acts as a cover for the 3 pin plug, making them easy to throw in a backpage or store. There is a 65 watts of charing on offer across 2 USB-C ports and 1 USB-A ports. The charger supports various fast charging protocols including PD/QC/SCP/FCP so pretty much all bases are covered and you can fast charge most devices with an M2 Mackbook Air charging to 50% in 30 minutes, for example. As you can see in image, the small display on the unit changes depending on what's happening with the charger. Using emjoi-like faces, the display showe when no device is connected, when the device is fast charging and when the device you have plugged in is fully charged which is a handy visual cue to unplug your device. On top of these features, as we mentioned already, there is a full suite of safety features built into Nexode RG such as temperature detection protection from overheating, overcharge, and excessive current as well as a system to make sure your batteries are being charged as best they can to prolong their lifespan. All in all, these are neat little devices which are powerful enough to charge most of your devices while bring a more fun side to something that is usually fairly mundane. The Black and Purple versions are both available to purchase from Amazon now. Full Ugreen Nexode RG Robot 65W GaN Charger specifications: AC Input 100-240V ~ 50/60Hz 1.8A Max USB Input USB-C1: 5V/3A 9V/3A 12V/3A 15V/3A 20V/3.25A 65W Max USB-C2: 5V/3A 9V/3A 12V/2.5A 15V/2A 20V/1.5A 30W Max USB-A: 5V/3A 9V/3A 12V/1.5A 10V/2.25A 22.5W Output 65W Max Static Power Consumption ?0.3W Output Ripple 5V/9V

Nos juntamos con Eduardo Temprana, especialista en fotónica, para hablar de LiDAR, su uso en vehículos autoconducidos y el uso del láser en telecomunicaciones por fibra óptica. Eduardo es doctor en ingeniería electrónica de la Universidad de California, San Diego y actualmente trabaja para Mobileye, una empresa de Intel.Referencias del episodioMobileyeEduardo en Google ScholarLiDAR usado para encontrar antiguas civilizacionesWaymo: Jaguar autónomo en San FranciscoCoco: Robots de delivery de comidaMapa mundial de fibra óptica (Google Maps)

Scientists from Trinity college Dublin published a paper in the journal PLOS ONE that found that some people perceive more images per second than others. Plus Yahoo and Artifact jointly announced Tuesday that Yahoo will buy Artifact, an AI-generated news aggregation and recommendation app. And why does the New York Times consider games like World and Connections new classified section?Starring Tom Merritt, Sarah Lane, Roger Chang, Joe.Link to the Show Notes.

Scientists from Trinity college Dublin published a paper in the journal PLOS ONE that found that some people perceive more images per second than others. Plus Yahoo and Artifact jointly announced Tuesday that Yahoo will buy Artifact, an AI-generated news aggregation and recommendation app. And why does the New York Times consider games like World and Connections the new classified section? Starring Tom Merritt, Sarah Lane, Roger Chang, Joe. To read the show notes in a separate page click here! Support the show on Patreon by becoming a supporter!

Why might chilli cause an upset stomach? How does a boomerang work? What's the difference between 50Hz and 60Hz of energy? Why does Saturn have a hexagon? Are stars moving away from us? How do we know how large underground oil deposits are? Why aren't cameras as good as out eyes? Do mosquitoes prefer certain people? Dr Chris Smith and Clarence Ford have all the answers... Like this podcast? Please help us by supporting the Naked Scientists

Why might chilli cause an upset stomach? How does a boomerang work? What's the difference between 50Hz and 60Hz of energy? Why does Saturn have a hexagon? Are stars moving away from us? How do we know how large underground oil deposits are? Why aren't cameras as good as out eyes? Do mosquitoes prefer certain people? Dr Chris Smith and Clarence Ford have all the answers... Like this podcast? Please help us by supporting the Naked Scientists

Ugreen, a global leader in consumer electronics and charging technology, is pleased to announce the launch of its Revodok Series Hubs and Docking Stations. Under the banner "Expand Your Creativity," these new products cater to diverse user demands and comprise three distinct series: Revodok Max Series, Revodok Pro Series, and Revodok Series. Ugreen Revodok Series Hubs&Docking Stations, expanding User Creativity & Empowering Productivity The Revodok Max 213, the premier product of the Revodok Max Series, is specifically tailored for professionals in fields like media, data/financial analysis, photography, audio/video production, engineering, and design. It epitomizes "Ultra-high Speed and Ultra-high Efficiency", facilitating seamless collaboration and productivity in multi-device offices and high-performance equipment settings. With its Thunderbolt 4 interface, the Revodok Max 213 offers a remarkable 40Gbps transmission speed, providing rapid file transfers. It also functions as a flexible monitor interface, ensuring smooth connectivity without sacrificing performance. Professionals can enjoy a single 8K, 30Hz display setup for Windows, or a dual 4K, 60Hz display with Mac models that have the M1/M2/M3 Pro, Max & M1/M2 Ultra chips, and Mac models that support two external screens for varied content display. Designed to cater to the varied needs of professionals, the device comes with 13 ports, providing a wide range of connectivity options. There's a 2.5Gbps Ethernet port, perfect for high-performance computing, multimedia transmission, and large-scale online data transfers. The Max 213 supports 90W fast charging, ensuring devices are charged quickly and efficiently. It also provides dual TF/SD card reading ports which are great for professionals who frequently use memory cards. The Revodok Max 213 is compatible with computers that have Thunderbolt 3, Thunderbolt 4, and USB-C interfaces. Protecting the internal parts, there is an enhanced heat dissipation system, featuring a triple heat dissipation design with an aluminum shell, two-sided thermal aluminum sheets, and built-in heat dissipation silicone which guarantees optimal performance even during prolonged use. Priced at 399,99, the Revodok Max 213 will be available at Amazon and Ugreen website in mid-February with discount. All four variations of the Revodok Pro Series are dedicated to delivering an exceptional user experience, encouraging users to "Enjoy the Prime Experience" as its primary focus is to cater to professionals such as developers, financial analysts, gamers, product managers, educators, graphic designers, content creators, and more. The Revodok Pro 210, for example, supports 8K HDMI to a single screen for Windows, high refresh rates, and dual 4K, 60Hz output for smooth visuals. It offers 85-watt fast charging for extended gaming or work sessions. The Gigabit Ethernet port ensures a stable, fast internet connection for high-stakes gaming or crucial video calls. Also included is a USB data interface for simultaneous multi-device connection, guaranteeing seamless interaction. Priced at 69,99, the Revodok Pro 210 is available both at Amazon and Ugreen's website with a 34% discount. The Revodok Series is another series in Ugreen's long line of products, tailored to meet the needs of individual users.

Soothe anxiety and recover from insomnia with high frequency soundscapes to raise your energetic vibrations. Binaural beats are an auditory illusion caused by listening to two tones of slightly different frequency, one in each ear. Headphones are advised.Support future episodes of TBBP through Paypal or Venmo:https://paypal.me/Syawarfield?country.x=US&locale.x=en_USVenmo: @syawarfield Bring mindfulness and ikigai into your life with our new flow state guide: https://bitly.ws/VRKSOur work/life balance recommendations: https://linktr.ee/relaxconnectcreateReceive one month free and 50% off one year of Flodesk using the link below: https://flodesk.com/c/4SB33EFor updates, follow us on instagram: https://www.instagram.com/the_binauralbeatpodcast/

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When you see a round display, do you think... pizza? planet? beachball? no? how about a Stargate animation! there's three parts to getting these funky displays working with raspberry pi over the DSI port: the SPI configuration of the screen, the I2C configuration of the ICN6211 converter and the DTO device tree overlay on the pi itself. all must be perfect for an image to appear! to make it less complex, we're going to only do one part at a time and celebrate the successes. we got the SPI config working with blinking the display on and off, and the ICN config was proven when we displayed a colorbar test pattern. finally we load a DTO up which will tell the pi to look for a 720x720 display off the dsi0 port (https://github.com/timonsku/display-overlays/blob/main/panels/HD40015C40/HD40015C40.dts) and voila! a 60Hz display with full color... we can even play any video off the desktop with VLC and it looks great. Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

Troy Cross and Bitcoin Bassload Treble + Bass = Energy Grid Harmony   In this electrifying episode of BitBuyBit, Max and Jon speak with energy market expert and Pleb Miner Mafia Capo, Bitcoin Bassload as well as Philosopher and Bitcoin enthusiast Troy Cross from the Bitcoin Policy Institute.   The relationship between Bitcoin mining and the American energy industry is complex, nuanced, wrought with acronyms, oversight, and regulation. The purpose of this conversation is to find where we agree and disagree on the relationship between Bitcoin mining and the energy industry and what we as Pleb Miners can do when our energy is focused and pointed in the same direction. Troy and Bassload come from different perspectives when looking at the relationship between Bitcoin mining and energy, but their hearts and minds are focused on making sure that Bitcoin wins.   In this discussion Bassload defines terms like the Federal Energy Regulatory Commission (FERC), Regional Transmission Organizations (RTO), and Independent Systems Operators (ISO) and explains how regulation and government policy steer energy markets. He discusses the Physical Grid versus Policy Grid, balancing authorities, generation fleet mix, and Meredith Angwin's fatal trifecta for the grid: over reliance on renewables, backing up the renewables with just in time resources, and overdependence on neighbors. Bassload offers advice on creating relationships with energy providers: 1. Print the load 2. Pay an invoice. Bitcoin Bassload's Energy Market Inflows can be found on his Substack in which he puts out frequent updates.    Troy discusses the unique characteristics of Bitcoin mining and its relationship with energy, particularly in the context of environmentalism and regulatory arbitrage. He highlights that Bitcoin's decentralized nature and algorithmically fixed production makes it resistant to local regulations and taxes. His point in conveying this, is that Bitcoin mining can take advantage of excess energy in regions with corrupt governments, it can bypass restrictions, and potentially disrupt the energy market. The discussion emphasizes that Bitcoin's fundamental value is tied to the cost of energy rather than fiat currency. Over the long term, government regulations and subsidies may not significantly impact Bitcoin mining, or its adoption. Troy expands on this theory in this recent article.   Treble and Bass = Grid Harmony   Terms and Definitions   FERC- FERC was originally called the Federal Power Commission to then become the Federal Regulatory Commission created on October 1 1977. The FPA was originally designed to coordinate federal hydropower development (in 1920) then in 1935 it was given the independent regulatory status to then regulate both hydropower and electricity.  Then in 1938 the natural gas act gave FPA jurisdiction over interstate NG pipelines and wholesale sales.  FERC was created due to a response to the oil crisis of 1973 and thus passing the Department of Energy Organization act of 1977 in an effort to consolidate agencies into a ‘department of energy'. DOE was born.  Congress insisted that the independent regulatory body be retained. FERC originally was to determine whether wholesale electricity prices were unjust and unreasonable  If so regulate the pricing and give some refunds to ratepayers FERC an independent organization that its commissioners are appointed by the president and confirmed by the senate Order 888 was issued in 1996 which created the RTO's (regional transmission organizations) in response to the Energy Policy Act in 1992.       RTO's- Organized by FERC to have what were the former power pools to ‘rebrand' themselves as independent transmission operators that would be able to compete in a wholesale electric market administered by RTO's.  PJM, NYISO and ISONE were first in line. Like an ISO they operate transmission systems and develop innovative procedures to manage transmission equitably.    ISO's- Independent System Operators were designed to consolidate and manage the operation of transmission facilities to provide nondiscriminatory open transmission service for all generators and transmission customers.   Traditional wholesale markets were in the SE, SW and NW and most were vertically integrated where they own generation, transmission and distribution systems to serve electricity consumers.  They also many include federal systems: Bonneville Power System Tennessee Valley Authority Western Area Power Administration   At the wholesale level, the RTO's and the ISO's is managing economic dispatch of generators and its auctions to the clearing price.  Less expensive power gets dispatched first.  RTO controls the bids, they know the cost of fuel, and they know the marginal cost of the next kwh your generator plant makes.  One can add a risk premium to the bids but the RTO's are checking. (Meredith Angwin)    TYPES of RTO's and ISO's CAISO- California Independent System Operator ERCOT- Electric Reliability Council of Texas SPP- SouthWest Power Pool MISO- Midcontinent Independent System Operator (15 states and canadian province of Manitoba)  SouthEast Power Pool PJM- Pennsylvania New Jersey and Maryland NYISO New York Independent System Operator ISONE Independent System operator of New England    Vertically integrated- this is where the same entity owns all of the generation, transmission and distribution to service electricity consumers in the given region that they are in.   PUC's- Public Utility Commission were designed to do a couple of things: Balance the needs of consumers AND utilities  Ensure safe and reliable utility service at reasonable rates Protect public interest Educate consumers to make independent and informed utility choices Typically the PUC's were designed for the consumer, but they are also heavily “in bed' with the utilities Regulate electric, gas, telecommunications, water and wastewater facilities Typically appointed by the governor serving 4-6 year terms. Typically regulate all investor owned utilities in their state Municipalities and cooperative utilities are often exempt from PUC regulations    PUCs often use non-adjudicatory processes to address new and evolving issues. This would include traditional rulemakings, in addition to informal stakeholder collaborative processes. Over the past decade, the stakeholder process has become one of the mainstays of issue resolution. In these proceedings, professional facilitators are often used and the parties work toward a narrowing of issues or their complete resolution through a negotiated or shared agreement. Typical participants include utilities, ratepayer advocates, environmental advocates, and industry advocates.    Load Shape- the amount of energy consumption one uses, measured in watts or kilowatts over a period of time.  When looking at the curve of how that energy is consumed, the shape of that curve is what is monitored.  If flat, good.  If not and seeing spikes means that the shape is inconsistent with the amount of watts consumed over time   BTU- A British Thermal Unit, the base unit of measure for measuring energy in the US.  a btu is the amount of energy required to heat one pound of water    Joule- joule, unit of work or energy in the International System of Units (SI); it is equal to the work done by a force of one newton acting through one metre. Named in honour of the English physicist James Prescott Joule, it equals 107 ergs, or approximately 0.7377 foot-pounds.   Watt- the SI unit of power, equivalent to one joule per second, corresponding to the power in an electric circuit in which the potential difference is one volt and the current one ampere. 1 watt = 1J/s   Baseload- Baseload electricity generation creates 24/7 power to the grid to meet the base energy needs of the U.S. While peaking generation must follow the varying hourly electricity needs as demand rises and falls, base load generation operates constantly to support the increment of demand that is always there no matter the time of day or day of the week. https://energytransition.nema.org/wp-content/uploads/2023/01/NEMA-QuickFacts-Baseloadgeneration.pdf   Balancing Authority- The BA makes sure that the supply of power on the grid is exactly matched with the requirement for power always.  The BA must keep voltage within a narrow range and balance demand on the grid.  The BA must also make sure that the VARs (Volts Amps Reactive) are in balance. Refer to page 28-30 of shorting the grid.  “A well run grid is like a good bicyclist on a smooth road, while a more difficult grid (more sudden ups and downs in power or energy requirements) requires more of a balancing-type energy (Meredith Angwin).  60Hz or 60 cycles per second in the US 50HZ or 50 cycles per second everywhere else The responsible entity that integrates resource plans ahead of time, maintains load-interchange-generation balance within a balancing authority area, and supports interconnection frequency in real time.   Energy Auction House- mentioned above and see pages of Mereidth Angwins book shorting the grid pages 91-93   Generation Fleet Mix Nuclear  Coal Natural Gas Oil Hydro Solar Wind Geothermal   Renewable energy- Renewable energy is energy produced from sources like the sun and wind that are naturally replenished and do not run out. Renewable energy can be used for electricity generation, space and water heating and cooling, and transportation. Non-renewable energy, in contrast, comes from finite sources that could get used up, such as fossil fuels like coal and oil. (DOE definition) energy from a source that is not depleted when used, such as wind or solar power. "the environmental benefits of renewable energy" (Oxford Dictionary)   Net Zero- net zero means cutting greenhouse gas emissions to as close to zero as possible, with any remaining emissions re-absorbed from the atmosphere, by oceans and forests for instance. To ‘go net zero' is to reduce greenhouse gas emissions and/or to ensure that any ongoing emissions are balanced by removals. (university of oxford) REC- Renewable Energy Credits A renewable energy certificate, or REC (pronounced: rěk, like wreck), is a market-based instrument that represents the property rights to the environmental, social, and other non-power attributes of renewable electricity generation. RECs are issued when one megawatt-hour (MWh) of electricity is generated and delivered to the electricity grid from a renewable energy resource. RECs include several data attributes, including:* Certificate data Certificate type Tracking system ID Renewable fuel type Renewable facility location Nameplate capacity of project Project name Project vintage (build date) Certificate (generation) vintage Certificate unique identification number Utility to which project is interconnected Eligibility for certification or renewable portfolio standard (RPS) Emissions rate of the renewable resource *Note: This list is not exhaustive and, depending on the market in which the REC is generated, other attributes may be associated with the certificate   Three buckets  o   financial- everything to do with pricing, hedging, derivative markets for energy, from wholesale to retail  o   physical- infrastructure related, engineering and design of the implementation and installation of large equipment o   regulatory- politics, rules and regulation from governing bodies aka FERC, DOE, PUC, ISO, RTO and alike.   We hope this to be the first of many discussions on Bitcoin's relationship with energy markets and energy providers. If you enjoyed the discussion in this episode, let us know by boosting on Fountain.    Ungovernable Misfits Socials https://www.ungovernablemisfits.com   Twitter  https://twitter.com/ungovernablemf   Ungovernable Misfits Socials https://www.ungovernablemisfits.com   Twitter  https://twitter.com/ungovernablemf     Show Sponsor - Foundation Devices   Foundation builds Bitcoin-centric tools that empower you to reclaim your digital sovereignty. As a sovereign computing company, Foundation is the antithesis of today's tech conglomerates. Returning to cypherpunk principles, they build open source technology that “can't be evil,”    Thank you Foundation Devices for sponsoring the show.  Use code BITBUYBIT at check out for $10 off your purchase.   https://foundationdevices.com   Show Sponsor: sx6.store   SECURE YOUR BITCOIN IN MARINE GRADE, 316L STAINLESS STEEL!  

Welcome to Dev Game Club, where this week we take a short break from our series on Metroid Prime to catch up on the mail bag. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Issues covered: GoldenEye, Republic Commando influences, tracking data in games, informing your decisions, figuring out what to do with your data, Arecibo radio telescope, feeling like we're in the game, a favorite multiplayer mode, socially playing GoldenEye, choosing weapons for Dead Space, keeping your enemies closer in Dead Space for tension, what's with all the remakes, why you might do a remake, not enjoying older media, training your new generation of creators, likening GoldenEye 007 to a heist, quicktime events, systemic approaches to spectacle, players knowing they are playing a boring game, feedback through animation, "breaking the game," acceptable frame rates, not feeling the 60Hz, picking a goal and sticking with it, taking a village to fix frame rate, finding the frame rate that makes sense for your game, new funding models, GamePass and 150 million monthly active users, hidden objectives in games, the fun of discovering an objective, cost accessibility and game sales. Games, people, and influences mentioned or discussed: GoldenEye 007, gonsalet, DOOM (1993), Quake, MDK, Outlaws, Nintendo 64, Nintendo Switch, Republic Commando, Halo, Rainbox Six: Rogue Spear, SWAT 4, Irrational Games, Ken Levine, Freedom Fighters, IO Interactive, Star Wars, Unreal, Alex Epton, Deus Ex, The Walking Dead, The Art of Live Ops, Maple Story, World of Warcraft, Steve Meretzky, Infocom, Sam Bates, Sean Bean, Contact, Assassin's Creed, Brett Baptist, Blarg42, Dead Space, Capcom, Resident Evil, Silent Hill, System Shock, Callisto Protocol, Ian Milham, Shadow of the Colossus, Medi-evil, Link's Awakening, Call of Duty, Daron Stinnett, Electronic Arts, Michael, Arkham Asylum, God of War, Dark Souls, From Russia With Love, Hidetaka Miyazaki, Warzone, Fortnite, Rare Studios, Grant Kirkhope, mysterydip, Tears of the Kingdom, Skyrim, Eric Johnston, Starfighter, Breath of the Wild, Microsoft, Activision/Blizzard, Bobby Kotick, Artimage, Jedi Starfighter, TimeSplitters 2, Kirk Hamilton, Aaron Evers, Mark Garcia.  Next time: Back to Metroid Prime Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub Discord  DevGameClub@gmail.com

Tim from HUB joins to discuss OLED Monitors, Intel Meteor Lake, and RADEON vs Nvidia Software! [SPON: Get 10% off Tasty Vite Ramen with code BROKENSILICON: https://bit.ly/3wKx6v1 ] [SPON: dieshrink = 3% off Everything, brokensilicon = 25% off Windows: https://biitt.ly/shbSk ] [SPON: Get 6% OFF Custom PCs & GPUs at https://www.silverknightpcs.com/ w/ “brokensilicon”] 0:00 Intro Banter with Tim about the past year and Fanboy Comments 3:15 Did monitors finally Git Gud in the last year? Is OLED still the best? 10:12 Who can we really recommend 360Hz to? Is 120Hz “the new 60Hz”? 21:03 Monitor Shopping Advice, Future Panel Technology 42:21 Is DLSS crushing FSR in 2023? How can AMD make FSR 3 succeed? 1:06:00 AMD Software Features, Driver Stability, Bad Marketing 1:18:55 8GB Graphics Cards in 2023 1:32:26 Will Used 8GB GPUs have any value in 2024? 1:46:19 RX 7600, RTX 4060 Ti, RTX 4060 – What should they cost? 2:12:45 Why did Tim stop doing Laptop Reviews? 2:24:20 Can Intel Meteor Lake & AMD Strix make Laptops interesting again? Check out Monitors Unboxed: https://www.youtube.com/@monitorsunboxed Check out Hardware Unboxed: https://www.youtube.com/@Hardwareunboxed Last Episode Tim was on: https://youtu.be/fLslDE27XxY Jarrod'sTech Dragon Range Review: https://youtu.be/mdWAfPfYTnU Jarrod'sTech Ada Power Testing: https://youtu.be/jMMrh6PpLI4 https://www.notebookcheck.net/Asus-ROG-Zephyrus-G14-Review-Compact-Gaming-Laptop-with-AMD-Zen4-Phoenix-RTX-4090.711986.0.html https://www.notebookcheck.net/AMD-Ryzen-9-7940HS-analysis-Zen4-Phoenix-is-ideally-as-efficient-as-Apple.713395.0.html https://youtu.be/bBiXa89QeOc https://youtu.be/O5B_dqi_Syc https://rog.asus.com/laptops/rog-flow/rog-flow-z13-2023-series/ https://www.theverge.com/23719210/asus-rog-ally-review

Tick tock, it's time for this week's EYE ON NPI - this week we're on time and on budget with the EPSON RX4901CE and RX8901CE Real-Time Clocks. (https://www.digikey.com/en/product-highlight/e/epson/rx4901ce-and-rx8901ce-real-time-clocks). These are two affordable yet ultra-high high precision temperature compensated Real Time Clocks - from EPSON who are well known for their quality crystal offerings (https://www.digikey.com/short/b0t2j2c5). Accurate time-keeping is something folks ask us about a lot - it's a lot harder than most people think! (It's sorta up there with voice recognition and 3D-indoor-spacial-tracking with "things that seem really common but actually are super tough) Most folks are used to alarm clocks that use the power line 60Hz sine wave to keep track of seconds, we've done that for plug-in clocks for almost a century (https://en.wikipedia.org/wiki/Electric_clock) And while the utility's mains frequency does fluctuate with load, its compensated overnight so average out to a near-perfect 60Hz (http://leapsecond.com/pages/mains/). If you don't have access to that 60Hz calibrated signal, say because you're battery powered, or using a switching supply, you have a few options for externally-validated time keeping. Some folks like the WWVB radio-signal (https://en.wikipedia.org/wiki/WWVB) synchronization modules (https://www.sparkfun.com/products/retired/10060) that receive an atomic-clock-accurate signal from Colorado. Others like to use a GPS module, which will get atomic-clock-accurate signals from spaaaaaaaaaace (https://www.adafruit.com/product/4279), finally of course, if you have Internet connectivity you can get time from NTP (https://www.ntppool.org/en/). All of these require a lot of power, and for GPS you need to have an outside antenna - or at least close to a window. WWVB works best in the middle of the country, but we've always had a little difficulty in a NYC apartment. If you want low-power or battery-powered time stamping and logging, a real time clock is the way to go. But these chips aren't sync'd to some global standard and they tend to have a lot of drift (https://en.wikipedia.org/wiki/Clock_drift) - seconds a day, which adds up! This is due to the timing crystal having some variation, usually 10 to 20 ppm. 20 parts-per-million is the same as 20 / 1,000,000 * (24 * 60 * 60 seconds/day) = 1.7 s/day variability, or about a minute a month. So it really can add up! The RTC counter circuitry itself is perfectly accurate, so if we could make sure the crystal was perfect, we'd have no timing issues. To do that, we have to account for the temperature...thus bringing forth the invention of the TCXO Temperature Compensated Xtal Oscillator (https://www5.epsondevice.com/en/products/tcxo/) something that Epson is really good at making! So it's no surprise that they've packaged an RTC chip into one of their crystal-sized enclosures to create a sealed high precision RTC. And the price is really good too! We often see TCXO RTC's for $6-$8, whereas the Epson RX8901CE are $3.25 in quantity and they're also nice and compact, 3x2x2.5mm in size. (https://www.digikey.com/short/mw38mqrz) Both the Epson RX8901CE I2C version (https://www.digikey.com/short/z4rhvbw0) and the RX8901CE SPI version (https://www.digikey.com/short/hmwj9djc) are in stock right now for immediate shipment from Digi-Key! Order today and you'll get it by tomorrow afternoon - so you can stick to your production schedule with a tip-top RTC that won't waste your time.

Will the end of the cross-gen console era also see the end of 60fps as the standard for gaming on Xbox Series and PlayStation 5? It's the big topic for this week in the wake of the arrival of Gotham Knights and A Plague Tale: Requiem. Also, the team shares its enthusiasm for the return of Silent Hill, Resident Evil 4 and the latest Final Fantasy 16 trailer. 00:00:00 Introduction 00:01:05 News 01: Gotham Knights and Plague Tale run at just 30fps on consoles 00:26:39 News 02: Silent Hill returns! 00:40:33 News 03: Resident Evil 4 remake gameplay trailer released 00:48:16 News 04: Final Fantasy 16 gets impressive new story trailer 00:55:33 DF Content Discussion: Uncharted PC: Review Code vs Day One Patch 01:05:39 DF Supporter Q1: What performance should we expect from consoles once FSR and SSDs are maximized? 01:10:00 DF Supporter Q2: How much performance loss will I see by using a 4090 in an older system? 01:12:47 DF Supporter Q3: If an emulated game has an improved frame-rate, should gameplay be adjusted to compensate? 01:14:04 DF Supporter Q4: Why don't developers offer higher bitrate versions of game video files as an optional download? 01:18:53 DF Supporter Q5: With many PC gamers on 144Hz displays, why not do benchmarking at 72Hz instead of 60Hz? 01:20:58 DF Supporter Q6: Was Gotham Knights sabotaged just to spite Rich?

Here's the Supporter Q&A from April 22nd, 2022. All comments and questions are fielded through the support service Q&A page. Please consider supporting this channel via monthly services, tips, or even just by using our affiliate links to purchase things you were already going to buy anyway, at no extra cost to you: https://www.retrorgb.com/support.html View this as a video: https://www.youtube.com/retrorgb Amazon Links to products I use: https://www.amazon.com/shop/retrorgb T-Shirts & Stuff: https://www.retrorgb.com/store.html TIMESTAMPS (please assume all links are affiliate links): 00:00 http://retrorgb.link/whatnot 00:16 Retro World Expo CRT's / Meeting me at con's 03:40 Connect a 30-year-old mac to a modern computer 05:03 Thunderbolt / PC Recording 08:10 RGB to S-Video conversion issues, what do you call a “pulsing” CRT, posting on Floatplane 14:11 Xbox 360 VGA requiring a digital sync combiner 15:44 UnRAID questions 20:10 GC Prism Component Cables stopped working 22:49 Using another monitor or switch instead of 75ohm terminators on a BVM 24:01 What's better, an original PS2 game, or a PS3 remake of that game? 28:36 Xbox controller membrane replacements, Concame Sanwa buttons 30:21 PS2 deinterlacing on a budget 35:04 Composite to RGB converters? 37:37 Multi-region Saturn internal PSU? Step down converter? 41:04 CRT long-term storage tips 45:29 1440p compatibility, 59.97 vs 60Hz, Sanni Cart Reader Updates --- Support this podcast: https://anchor.fm/retrorgb/support

Blessing and Tim kick off the week talking about Metroid Dread sales in the UK, Metal Gear Solid 3 remake rumors picking up steam, and more. Time Stamps - 00:00:00 - Start 00:05:04 - Housekeeping It was a BIG BABY WEEKEND go over on Twitter and show some sweet nasty love to Greg and Gen, AND Gary Whitta for the birth of their big beautiful kids. Speaking of Greg, Greg may be out but that doesn't mean the train stops. I'm hosting PS I Love You XOXO happening live in a couple of hours on Patreon and we're going to be talking about the PlayStation games that deserve remakes. I need your help, go over to Patreon.com/KindaFunnyGames to let me know what games you think deserve a remake and Janet and I will talk about those submissions on the show. TODAY'S THE DAY. The first episode of The Arkham Files, a Kinda Funny Games Mini-Series where Barrett looks back at what makes each of the Batman: Arkham games so special, premieres today, on YouTube.com/KindaFunnyGames at 2:30pm PT. Join Barrett in the live chat and talk with him about why Arkham Asylum is still a masterclass in design. If that's not enough for Kinda Funny feature content, The Blessing Show returns this week as a Youtube premiere. Tune in on Thursday at 9am PT on Youtube.com/kindafunnygames as we break down what's up in a very loopy episode. Tomorrow at 11AM right after KFGD on Twitch.tv/kindafunnygames we are partnering with Nvidia Geforce as Andy, Mike, and Nick will be playing Back 4 Blood showing off DLSS and all that dope RTX tech Thank you to our Patreon Producers: Pranksy & Black Jack The Roper Report - 00:08:55 - Metroid Dread is the highest-grossing Metroid game launch in UK history - Christopher Dring @ GiBiz 00:21:30 - The Metal Gear Solid 3 Remake keeps building steam - Andy Robinson @ VGC 00:31:40 - Forza Horizon Preview Round Up 00:39:02 - Ad 00:42:15 - GTA: The Trilogy – Definitive Edition could cost $70 with physical versions coming December - Dom Peppiatt @ VG247 00:47:20 - FIFA could be rebranded as ‘EA Sports FC' - Tom Ivan @ VGC 00:51:57 - Nintendo 64 Games will be 60Hz versions in Europe - @NintendoUK on Twitter 00:56:07 - Out today Tomorrow's Hosts: Blessing and Tim