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Raycon has an amazing selection of best selling earbuds, headphones and more which rival the most popular brands — but best of all, they’re significantly less expensive. ...
Singer Sophia Abrahão using a handheld wireless microphone Singer Cody Simpson using a wireless microphone headset in a 2013 concert in Montreal. A wireless microphone, or cordless microphone, is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated.
While a loudspeaker must use a relatively large (often 15" or 18") speaker driver to reproduce low frequencies, headphones can accurately reproduce bass and sub-bass frequencies with speaker drivers only 40-50 millimeters wide (or much smaller, as is the case with in-ear monitor headphones). Headphones' impressive low-frequency performance is ...
Many electric guitar players intentionally overdrive their amplifiers (or insert a "fuzz box") to cause clipping in order to get a desired sound (see guitar distortion).. Some audiophiles believe that the clipping behavior of vacuum tubes with little or no negative feedback is superior to that of transistors, in that vacuum tubes clip more gradually than transistors (i.e. soft clipping, and ...
The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc, [3] but also existed to some extent when the vinyl phonograph record was the primary released recording medium and when 7-inch singles were played on jukebox machines in clubs and bars.
The iPhone Stereo Headset was introduced in 2007 and was bundled with the original iPhone and iPhone 3G, and featured a control capsule in-line with the left earbud's wire with a microphone and a single button, actuated by squeezing the unit, which can be programmed to control calls, presentations, music and video playback, launch Siri, or take pictures with the Camera application.
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The first research on the topic of how the ear hears different frequencies at different levels was conducted by Fletcher and Munson in 1933. Until recently, it was common to see the term Fletcher–Munson used to refer to equal-loudness contours generally, even though a re-determination was carried out by Robinson and Dadson in 1956, which became the basis for an ISO 226 standard.