Super Sound 16 Mp3 Download [REPACK]
Ellen Woolcock
Looking back on my actual experiences mixing with classic Auratones (as well as "Auraclones"), despite some popular sentiment, I would not characterize these monitors as cheap in quality or trashy in sound. Therefore, there must be an explanation for their wide use and popularity other than, "Hey, let's check the mix on crappy speakers." I would argue that perhaps Auratones have been such a staple monitoring tool not because they are "lo-fi," but because they're actually very accurate - within their frequency limits, of course. With a sealed, non-resonant enclosure and a single driver, the 5C doesn't suffer from the time-domain anomalies and phase- response deviations (and resultant comb-filtering) typical of ported 2-way designs. Rather, the 5C has a revealing and unforgiving midrange. I'd been shopping for some "mix check" speakers for some time and was just about to buy a pair of clones, when I got the news that Auratone was manufacturing again.
The 5C doesn't need a ton of power; its maximum power rating is 25 watt RMS, 50 watt peak. I've been using a Lepai LP-2020A+ Tripath Class T stereo amplifier ($26 on Amazon) to drive my 5C pair. The Lepai came with a janky power supply, but otherwise, the amp is small and super-efficient, and it exhibits lower distortion than some Class A or Class AB amplifiers costing several times more.
I'm in the habit of mixing at lower volumes, which is where I feel the 5C really works best. Before powering up the big monitors, I love quietly working up a mix in the Auratones, because they really push me to concentrate on the essential midrange elements of almost every source. I can hear right away when a rhythm guitar is overshadowing a background vocal, or when overheads are eating up the whole track. Setting (or checking) pans with the Sound Cubes is a breeze. Imaging is strong, and the sound stage is rendered with focus. Therefore, I can really feel the difference between 1 and 2 o'clock positions, and it becomes painfully obvious when a hard pan is just not the right way to go. I should mention that I did experiment with the popular technique of a single 5C for mono use (and I achieved good results doing so), but it's really not my "thing" - so I won't elaborate here.
JB: I've been using Auratones as one of my pairs of main mixing monitors for the past 25 years. I really depend on them to help me achieve proper balances. I will usually start a mix on bigger, louder monitors to shape and place my sounds where I feel they need to be. Then after a break, I'll come back and do 80% of the remaining work on the Auratones at relatively low volumes. Using this method, I find that I end up with better sounding mixes that translate well to other systems. I also seem to catch weird anomalies like noise and distortion more readily while listening on Auratones. Importantly, I'm less fatigued at the end of a long day.
Our first reaction was that I screwed up, and the NS-10Ms were still hooked up. The new 5C sounds nothing like the old one. It sounds much better. Hmmm - not what I was expecting. We double checked and confirmed that the Yamahas were disconnected. I can now attest to the new Auratones having much lower and higher frequency extension than the vintage ones I own. Scott commented, "They sound more like NS-10Ms than Auratones."
Next, just to eliminate the variable of the amplifier (the new 5Cs were on the NS-10Ms' Hafler amp, and the vintage ones were on a solid-state home stereo amp), we hooked up both Auratone pairs to the home stereo amp and used the amp's speaker switches. The Hafler had offered a bit more extension in frequency response, as well as more depth, but even on the home stereo, the new ones still sounded much better than the old ones. I was having a hard time wrapping my head around how to write this review, as the Auratones sounded so different from one another. Then, I thought that since I mainly use my vintage 5Cs for mix balance, I should listen to some mixes I'd done to determine if I would have balanced elements differently on the new 5Cs. During this evaluation, I realized that the midrange was really similar on both Auratones, and that for guitars and vocals especially, yes I would have likely made the same decisions. Bass was a bit trickier. The thing I like about my vintage 5Cs is that they have no bottom end. If I can hear the bass on them, then I feel that I'm doing something right. If the bottom end is out of control when I switch to the big monitors and subwoofer, I know that I still have work to do. Moving between these two extremes gives me insight in where to place the bass in the mix. I'd have to spend more time with the new 5Cs to see if I would get the same results, but my guess is that I would.
The bottom line is that vintage Auratones are overpriced and really don't sound that good. It's all about the midrange in my opinion, and both new and old sound very similar in that regard. I think SM's review does a great job of contextualizing the Auratones. After our testing, the other Scott (McDowell) commented, "I hate those old Auratones you have. I never use them. I really like these new ones. I'd use these." I like my old 5C Sound Cubes - a lot. But maybe you'll like the newer ones more. Both Scotts did. - JB
Take your cone outside. Put the small end in your ear. Point the cone in different directions and listen carefully. Notice how different the world sounds with and without the cone to aid your hearing.
If you put something like paper in the path of the sound wave, it willalso vibrate quite a lot. If you give this paper surface the rightshape, the sound waves will be funneled to a point. So your super soundcone is a sound funnel!
Of course, nospacecraft actually communicates by sound. Messages wouldn't get veryfar, since sound waves can't travel in the vacuum of space! But thespacecraft do send out radio waves, which can travel practicallyforever. The trouble is, the radio waves spread out and get weaker andweaker the farther they travel. So NASA's radio wave "ears" must be very big indeed!
These dish antennas don't look much like your sound cone, do they? But thepath the radio signals take once they hit the dish is like a folded upcone. Once the signal hits the focus (like the small end of your cone),electronic instruments take over to turn up the volume even more.
HKS Exhaust Manifold (P/N 33002-AN001) + Stock Catalizer + SSM
(Applicable to Japanese Safety Regulation Applicable)
Enjoy the smoother high tone sound. The exhaust pulsation is dramatically reduced, and the sound level is increased to 90dB.
Stock Exhaust Manifold + HKS Metal Catalyzer (P/N 33005-AN003) + SSM
(Applicable to Japanese Safety Regulation Applicable)
Well-modulated sound quality can be created. The exhaust efficiency is improved, and the exhaust sound level is increased to 94dB. The exhaust sound is changed to wild.
HKS Exhaust Manifold (P/N 33002-AN001) + HKS Metal Catalyzer (P/N 33005-AN003) + SSM (Inapplicable to Japanese Safety Regulation)
*Closed Exhaust Noise Level is 98dB, which is not allowed to drive on public roads.
Super powerful racing sound is created for a circuit use. Extreme exhaust efficiency changes the exhaust sound to racy like a GT machine.
This muffler is our super sound version. It has the traditional 911 sausage shape. It will give your flat 4 the most wonderful, deep and sporty sound. It produces an extraordinary sonic depth without going overboard. This is the retro 70s version and is clearly our favourite.
As an enthusiast for the classic 911 I was tempted to try out a 2,0L 914 (1973)... and it proved to be a revelation... for its kind of off-beat style, its good feeling but also for its central engine, it's road-holding..etc... virtually a perfect car to my mind... virtually though because the sound of the flat4 isn't quite as sexy as that of the flat6... So I took a chance and bought and fitted a scart exhaust... since then I am more than satisfied with its full and generous sound... without overdoing it...thank you and well done!
The Iwaya model was actually quite impressive for a first effort. It was painted in the authentic colours with the correct logos, and even included a decal on the windscreen. It was a solid model and captured the shape of the real vehicle well. Like all Iwaya models, it had a black plastic base. The interior was spartan, but well detailed, and the dashboard dials were visible. The rear window and spoiler were very well modelled, as was the large bonnet air scoop. The model lacked wipers, and the wing mirrors were rather small, although these were probably altered for purpose of aerodynamics. Disc wheels were fitted for the same reason. The audio feature had a very harsh sound to it, similar to a Formula 1 racer.
The SR-JV80-07 Super Sound Set features an impressive variety of sounds from several different genres of music - plus technical and mechanical sounds which are idiosyncratic of particular instruments - making it a great addition to any musician's sonic arsenal.
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