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Friday June 1, 2012 1:49 pm
Google plans to show off 3D maps 5 days before Apple does
It's pretty much a sure thing that Apple will be replacing Google Maps with its own solution in iOS 6, highlighting a new 3D mapping feature in the process, and that this will be revealed on June 11 during the WWDC 2012 keynote. What we didn't expect, however, was that Google would be planning its own Maps even five days prior to Apple's announcement in order to show off what we assume will be its own 3D mapping feature. Yep, Google will be holding an event to show off "The Next Dimension of Google Maps" the morning of Wednesday, June 6 at 9:30am PDT. We'll have all the details as they happen.
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Miami-Dade County
Secret Service agents in South Florida for Obama visit had traffic accident in Keys
A burgeoning new scandal over drunkenness or tawdry behavior among Secret Service officers traveling with President Barack Obama is partly rooted in a traffic accident in the Florida Keys earlier this month involving two of the agency's men.
The Secret Service agents, both counter-sniper officers, wrecked their rental car while pulling out of a grocery store parking lot in Islamorada into the path of a fully loaded Publix grocery truck about 2 a.m. March 7, according to a Florida Highway Patrol crash report.
An FHP trooper detected "a slight odor of alcohol" on the agent driving the car, according to the report. But after "no detection of impairment was observed" during a sobriety test, the trooper decided not to give him a breathalyzer or blood test, just a ticket for failure to yield the right of way. The accident report does not say whether the Secret Service agents identified themselves as such to the trooper.
The wreck occurred about 12 hours before Obama arrived in South Florida for a speech at Miami's Coral Reef Senior High School and a visit to the Ocean Reef Yacht Club in Key Largo, about 35 miles north of the accident site.
News of the accident — and the tension it triggered inside the Secret Service, which was still unsettled after a series of 2012 incidents with prostitutes and booze in Cartagena, Colombia, triggered the removal of 10 agents — didn't leak out at the time.
But it emerged Thursday in a Washington Post story in the wake of disclosures that three Secret Service agents were yanked home from a presidential trip to the Netherlands last weekend after one of them was found passed out in a hotel hallway after a night of hard drinking.
The new reports of Secret Service misadventures have triggered growing concern among congressional overseers of the agency, particularly because they come after a "no tolerance" policy on partying was declared by Secret Service Director Julia Pierson.
"The most recent incident with the Secret Service shows that the agency has to deal with some in its ranks who fail to respect the important job the agency is tasked with," said Sen. Charles Grassley, ranking Republican on the Senate Judiciary Committee. "I appreciate the swift action by Director Pierson, but it looks like she's still got work to do to regain the trust of the American people."
Sen. Tom Carper, D-Del., chairman of the Senate Homeland Security Committee, said he was "troubled by the recent news reports regarding the behavior of a few Secret Service agents" and has "requested more information."
Secret Service spokesman Brian Leary declined to comment on details of the incident in Amsterdam except to say that "three employees were sent home for disciplinary reasons." Of the Islamorada crash, he said that two "U.S. Secret Service personnel" were involved.
"They were not on duty at the time," he said. "Out of an abundance of caution, they were returned home to [Washington] D.C. because of contact with police, pending police and traffic investigations."
The FHP report identifies the two agents as Matthew Kyle Reyes, 27, of Woodbridge, Va., who was driving, and Kevin Sedlak, 51, of Elkridge, Md. The Publix driver was Nicolas Quintana Llarena of Miami. None could be reached Thursday for comment.
The accident occurred as the Secret Service agents' vehicle, a Dodge Caravan rented from the Avis Budget Group, tried to pull across U.S. 1 from the Trading Post, a small boutique grocery, to the chic Cheeca Lodge in Islamorada. The agents' vehicle did not have its headlights on.
The truck was traveling about 35 miles an hour, setting off the airbags in the agents' vehicle, according to the report. The car was damaged so badly that it had to be towed away the next morning. FHP estimated damage of at least $10,000.
Elizabeth Jacocks, owner of the grocery store, said the agents told her employees that they were buying supplies for a fishing trip.
A federal law enforcement official who declined to speak for the record said a Secret Service investigation concluded that the agents did not violate an agency rule barring alcohol consumption during the 10 hours before a work shift.
Controversy over drinking among Secret Service agents is hardly new. One of the little-remembered findings of the Warren Commission, which investigated the assassination of President John F. Kennedy, was that nine agents on the president's security detail had been up late partying. (Among them: Clint Hill, the agent who famously leapt atop Kennedy's limo to push his wife Jacqueline back into the car after she crawled onto the trunk after the assassin's shots.)
But over the past two years there has been a steady drumbeat of complaints about rowdy Secret Service misbehavior:
• In April 2012, a prostitute's noisy demands that an agent had failed to pay an agreed-upon $800 fee for her services during an Obama visit to Colombia touched off the investigation that resulted in 10 men leaving the Secret Service.
• Six months later, Miami cops charged a Secret Service agent accompanying a presidential visit with disorderly intoxication and resisting arrest after they found him collapsed at a busy Brickell intersection.
• Last November, two agents were booted from Obama's detail after one of them was caught trying to sneak into a woman's hotel room where he had left a bullet from his gun — a discovery that also led to the finding of unsavory sexual emails to a female subordinate.
Pierson, appointed chief of the Secret Service about a year ago, has taken a tough stance toward misconduct, especially among the agency's 3,300 field agents. Supposedly it is working — a 144-page report by the Department of Homeland Security, which examined whether the presidential protection agency has systemic or cultural problems, said its inspector general "did not find evidence that misconduct is widespread" in the Secret Service.
"Furthermore, we did not find any evidence that [Secret Service] leadership has fostered an environment that tolerates inappropriate behavior," the report said.
However, almost a thousand of the 2,575 Secret Service employees who were surveyed for the report said they did not believe a statement that the agency's management does not tolerate misconduct.

subset: commoncrawl


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How do I find a hospice program?
Finding the hospice program that best meets your needs may take some research, but it's time well spent. Since most communities have more than one hospice provider, you and your family will need to decide which agency you'll use.
Your doctor or hospital discharge planner can help you find hospices in your area. Hospice care providers also are listed in the phone book. You may also find information and referral services through your American Cancer Society, an Agency on Aging, or a local United Way chapter.
You and your family should do this early in your care while you have the strength and ability to take part in the decision. Quality of care, availability of needed services, the types of services covered, staff training and expertise, and insurance coverage all need to be considered. Here are some things to think about as you start your search:
State resources
You may contact your state's hospice organization or its department of health or social services to get a list of licensed agencies where you live. The state health department oversees certification of hospice services. Certification makes them able to get funding from Medicare and, in some states, also from Medicaid. Check the blue pages of your phone book for other resources in your area or search online for your state hospice organization.
National resources
National organizations like the National Hospice and Palliative Care Organization, or the National Association for Home Care and Hospice Care can help you find hospice services near you.
What to look for in a hospice program
There are a number of things you might want to ask about when deciding on a hospice program. Here are some ideas to get you started on a list of questions:
Is the agency accredited (certified and licensed) by a nationally recognized group, such as the Joint Commission? The Joint Commission is an independent, not-for-profit organization that evaluates and accredits health care organizations and programs. It's an important resource in selecting quality health care services.
Is this hospice program certified by Medicare? Medicare-certified programs have to meet at least minimum requirements for patient care and management. (Remember: Medicare will only pay for care given by agencies they've certified.)
If your state requires it, is the program licensed? You can check with your state health department to find out. They're listed in the blue pages of your phone book.
Consumer information
Does the agency have written statements outlining services, eligibility rules, costs and payment procedures, employee job descriptions, and malpractice and liability insurance? Ask them to send you any brochures or other available information about their services.
How many years has the agency been serving your community? Can the agency give you references from professionals – such as a hospital or community social workers – who have used this agency? Ask for names and telephone numbers. A good agency will give you these if you ask for them. Talk with these people about their experiences with the hospice. Also, check with the Better Business Bureau, your local Consumer Bureau, or the State Attorney General's office.
How well does the hospice work with each patient and family to apply policies or negotiate differences? If the hospice imposes conditions that don't feel comfortable, it may be a sign that it's not a good fit for you. If you're not sure whether you or your loved one qualifies for hospice – or whether you even want it – is someone from the agency willing to meet with you to help you talk through these concerns?
Care plan
Does the agency create a care plan for each new patient? Is the plan carefully and professionally developed with input from you and your family? Is the care plan written out and are copies given to everyone involved? Check to see if it lists specific duties, work hours/days, and the name and telephone number of the person in charge of your care. Will the care plan be updated as your needs change? Ask if you can look at a sample care plan.
Primary caregiver
Does the hospice require you to have a main (primary) caregiver as a condition of admission? What responsibilities are expected of the primary caregiver? Will someone need to be with you all the time? What help can the hospice offer to organize and assist the family's efforts? For example, can the hospice fill in around job schedules, travel plans, or other responsibilities? If you live alone, what other options can the hospice suggest?
Initial evaluation
Will a nurse, social worker, or therapist come to you to talk about and evaluate the types of services you may need? Is this done in your home, rather than by phone? Does it highlight what you can do for yourself? Does it include input from your family doctor and/or other professionals already involved in your care? Are other members of your family included in this visit?
Are there references on file for home care staff? Ask how many references the agency requires for each staff member who gives home care (2 or more should be required). Does the agency train, supervise, and monitor its caregivers? Ask how often the agency sends a supervisor to the patient's home to review the care being given to the patient. Ask whether the caregivers are licensed and bonded. Who do you call if you have questions or complaints? What's the procedure for resolving issues?
How does the agency handle payment and billing? Get all financial arrangements – costs, payment procedures, and billing – in writing. Read the agreement carefully before signing it and be sure to keep a copy. Check with your health insurance provider to find out what deductibles and co-pays to expect. For example, certain medicines and respite care may require a co-pay. What resources does the agency provide to help you find financial assistance if it's needed? Are payment plans available?
Telephone response
Does the agency have a 24-hour telephone number you can call any time you have questions or problems? How does the hospice respond to calls? Does the telephone staff seem caring, patient, and competent from the first contact, even if they need to call you back? Do they speak in plain, understandable language? What's the procedure for making and resolving complaints?
How did the hospice respond when you first contacted them? How a hospice responds to your first call for help may be a good sign of the kind of care to expect.
Emergency planning
Does the agency have an emergency plan in case of bad weather, a power failure, or a natural disaster? You can ask to see a copy of the plan. In case of an emergency, you need to know whether the agency can still deliver services at your home.
How quickly can the hospice start services? What are its geographic service boundaries? Does the hospice offer specialized services such as rehabilitation therapists, pharmacists, dietitians, or family counselors when these could improve your comfort? If needed, does the hospice provide medical equipment or other items that might improve your quality of life?
Limits on treatment
During your first visit be sure to talk about all of the treatments you are currently getting. If you want to continue these things you must make it clear to the hospice provider. Some hospices will not cover things like dialysis, total parenteral nutrition (TPN, or intravenous feedings), blood transfusions, or certain drugs. But some hospices do allow you to add hospice care to your current medical treatment. Find out how the hospice would handle your current treatments before committing to their services.
You'll also want to find out how the hospice would manage any new health problems that would be curable, such as a urinary tract infection or pneumonia. You may be more comfortable if they're able to treat these types of problems.
Inpatient care
You might want to ask these types of questions about inpatient care:
- Where is such care provided?
- What are the requirements for an inpatient admission?
- How long can a patient stay?
- What happens if the patient no longer needs inpatient care but can't go home?
- Can you tour the inpatient unit or residential facility?
- Which hospitals or nursing homes contract with the hospice for inpatient care?
- What kind of follow-up does the hospice provide for inpatients?
- Does the hospice provide as much nursing, social work, and aide care for each inpatient as it does for those at home?
- Patient's rights and responsibilities
- Does the agency explain your rights and responsibilities as a patient? Ask to see a copy of the agency's patient's rights and responsibilities information.
- What if I don't like the hospice service I choose?
- If you change your mind after choosing a hospice program, you can change hospice providers. Check with your insurance company to be sure how to go about this without interrupting payments or services. They can tell you how to stop care with your first hospice agency and sign up with another one.
Hospice Directory. Hospice Myths and Realities. Accessed at www.hospicedirectory.org/cm/about/choosing/myths_facts on April 20, 2016.
Hospice Directory. How to Choose. Accessed at http://hospicefoundation.org/End-of-Life-Support-and-Resources/Coping-with-Terminal-Illness/How-to-Choose on April 20, 2016.
Last Medical Review: April 28, 2016 Last Revised: May 13, 2016
American Cancer Society medical information is copyrighted material. For reprint requests, please see our Content Usage Policy.


text: Uwe Bugla wrote: > Am Donnerstag, 19. Juli 2007 02:29:34 schrieben Sie: >> Uwe Bugla wrote: >>> Am Mittwoch, 18. Juli 2007 06:03:41 schrieb P. van Gaans: >>>> I don't call myself a programmer (I've never seen any C guide), but >>>> somehow I figured out how to add an extra switch to tzap to make it >>>> print the status in (human-readable) decimal instead of hex. It is >>>> attached. It would be really nice if this would make it into the >>>> dvb-apps on linuxtv.. >>>> >>>> Talking about that, could anybody tell me the minimal and maximal and/or >>>> possible values for status, signal, snr, ber and uncorrected? If I would >>>> know them I could try to make the numbers more human-readable (eg signal >>>> ranging from 0 to 99 or so). >>> Could you please redo that: >>> - in patch format (=only the additions) >>> - equally for tzap, czap, szap and femon? >>> >>> Thus everybody could take advantage from that idea. >>> Would be a pleasure for us all if you did! >>> >>> My idea for further enlargement (a quite old idea of mine): >>> route the human readable numbers into a speech recognition engine >>> (festival) to make them auditable and thus real usable for DVB-S dish >>> tuning f. ex. >>> >>> Note: If the DVB-S dish is far away from the machine (card), auditable >>> signals are necessary. >>> >>> _______________________________________________ >>> linux-dvb mailing list >>> linux-dvb at linuxtv.org >>> http://www.linuxtv.org/cgi-bin/mailman/listinfo/linux-dvb >> In patch format.. Oh please.. I have no idea how to produce that! I >> installed xxdiff, it perfectly shows what I've changed but I don't see >> an option to save it to a patch file! >> >> You're lucky I've got a satellite dish so I should also be able to patch >> szap and femon. I'll also produce a patched version of czap but my cable >> card is not installed ATM and I don't feel like doing so (cable provider >> is crap) but I'll probably get someone else on this list to test it. >> >> Please do not try to add the switch yourself without asking me if I'm >> still working on it. Nobody needs double work. >> >> If somebody can tell me how to produce the so much wanted .diff files >> I'll start working on it. > > A. Take the latest kernel patch (i. e. 220.127.116.11) as an example. > B. format is as follows: > --- a/(file to be changed) > +++ b/(file to be changed) > @@ -(starting line number),(total number of lines starting from the beginning > line before the change) +(starting line number),(total number of lines > starting from the beginning line after the change) > (3 context lines starting with a space) > (additions start with plus) > (deletions start with minus) > (3 context lines starting with a space) > > If this explanation still is too abstract, have a look at the example again. > Don't forget to test the patch! > No fuzz factors, no rejections please. > For testing purposes keep the original file to be patched in a separate > directory please. > Now please give it a try - for sure you gonna make it! > I've got an idea of how the .diff is constructed, but I simply refuse to write them by hand. I've bought a computer NOT to do any more boring repetitive work ;-). diff -urN oldfile.c newfile.c > lolwat.diff appears to work luckily. Tzap was patched already. Szap patched, compiles, tested and OK. Czap patched, compiles without errors, untested because I hate my cable provider and the box I would have to install the cable card in is really noisy and unstable. Whoever wants to test: please report results, czap looks a little different from szap and tzap but I'm pretty certain it'll work straightaway. I assume this is OK, you couldn't expect all linuxtv developers to own cards for all DVB-systems anyway.. Femon patched in a different way: Femon already has a "human readable" switch, I just made BER and uncorrected show up as decimal instead of hex in human readable mode. Adding another switch sounds pointless to me. The numbers/output seem to differ between devices and between szap and tzap greatly so for now I'm not going to try to make them more human-readable because of the possibility of breaking something. Everything attached. -------------- next part -------------- A non-text attachment was scrubbed... Name: czapextraswitch.diff Type: text/x-patch Size: 1666 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0004.bin -------------- next part -------------- A non-text attachment was scrubbed... Name: czap-patched.c Type: text/x-csrc Size: 8709 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0004.c -------------- next part -------------- A non-text attachment was scrubbed... Name: femonhumandec.diff Type: text/x-patch Size: 453 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0005.bin -------------- next part -------------- A non-text attachment was scrubbed... Name: femon-patched.c Type: text/x-csrc Size: 4189 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0005.c -------------- next part -------------- A non-text attachment was scrubbed... Name: szapextraswitch.diff Type: text/x-patch Size: 1812 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0006.bin -------------- next part -------------- A non-text attachment was scrubbed... Name: szap-patched.c Type: text/x-csrc Size: 17944 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0006.c -------------- next part -------------- A non-text attachment was scrubbed... Name: tzapextraswitch.diff Type: text/x-patch Size: 1787 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0007.bin -------------- next part -------------- A non-text attachment was scrubbed... Name: tzap-patched.c Type: text/x-csrc Size: 15552 bytes Desc: not available Url : http://www.linuxtv.org/pipermail/linux-dvb/attachments/20070720/8685921e/attachment-0007.c


text:
There's no immediate Black Monday word out of Charlotte, after Ron Rivera closed his second season with a fourth straight win.
But a bad finish elsewhere could speed the process along.
Rivera said he'd meet with Panthers owner Jerry Richardson soon to evaluate the year, and find out whether he'd return.
Asked if he thought he'd be back, Rivera said (via Joe Person of the Charlotte Observer): "Well, I want to be back. We'll see."
Rivera's strong finishes (winning four of his last six in 2011, and five of his last six this year) don't completely cover up a pair of 2-8 starts which have rendered Panthers seasons over before Halloween for three years running. That also cost general manager Marty Hurney his job in October.
And while there are people around the league who think Rivera and interim GM Brandon Beane can hang onto their jobs, the fact Richardson hired Ernie Accorsi as a consultant seems to point in the opposite direction.
With Accorsi's ties to the Giants organization, college scouting director Marc Ross and senior pro personnel analyst Dave Gettleman became immediate contenders for the GM job. And now that the Giants' 9-7 season is over, they're free to interview.
Having Accorsi giving advice also gave the Panthers a significant head start, and they can hit the ground running today if they choose.
That could get Rivera one day closer to an answer as to whether the next GM wants to give him another chance to coach some more meaningless December games.


text:
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Taboo "Lucid" mode and Decware Speakers (Read 21548 times)
Ex Member
Taboo "Lucid" mode and Decware Speakers
07/17/06 at 03:14:29
Introduction of the Taboo with Lucid mode.
This evaluation project has really opened many doors to alternative means of diverse listening experiences. Now included within this range of diversity is that of the original Taboo model which was patterned after Steves final production circuit based upon the experimental design which led up to it.
As many of you may recall, this is the amp that toured the country with its initial introduction. Those of you that had the chance to evaluate this amplifier within your own systems have heard this design in its base form, WITHOUT the special lucid circuit which makes it so unique. Once the audition tour finalized, this amp returned to its maker for the revised upgrade to include the LUCID feature. The revised amp then made its final journey to Bob Z who became the owner of this special little amplifier.
I never had the chance to hear this amplifier during that period. Bobs Taboo model was the first that I listened to and that just recently came about. The advantage that I have now with this amp, is that I get to compare not only the base circuit for which the auditioning circle experienced, but enhanced with the additional lucid circuit which is as simple as a flick of the switch for comparative analysis. Of course, all Taboo models are sold with this unique feature and anyone with an actual production model has this built in to their amp. Bob has generously lent me this amplifier as an alternative approach for which to evaluate the Decware speaker line-up. I will have this amplifier for an extended period until at which point my observations have been concluded.
After several years of dedication to the purist approach with Single Ended Triode class A amplifiers, I now have the fortunate opportunity to compare a bit of design diversity into the mix. This was something that I would have never taken interest during the period for which the prototype Taboo was introduced. At that time, I was utterly convinced that my SET mono-blocks were the epitome of design perfection. There did not seem to be cause for any further inclusion of amplifier modifications or alternative designs. My level of satisfaction was at a point where I could not fathom the possibility of refined sound character and simply ignored any scope beyond this.
This is an example of how easy it is to become locked into a certain mindset. When one is convinced of certain contentment, why take alternative measures to explore what surely must be a futile search for that which is readily apparent? One will never know the possibilities which exist until alternative designs have been evaluated for the unique characteristics inherent within them. I now have three very distinct high quality platforms for which to measure the finer aspects associated by each design. Each class of amplifier has its own degree of complexities for which makes it special by comparison and all adhere to advanced performance guidelines for which the book has been rewritten in regards to amplifier design. Decware amplifiers have without doubt, pushed the advancement of tube audio design into a realm previously unexplored. Further advancement into this thinking -outside-of-the-box concept has proven substantially worthwhile as these are not just improvements to old tried and true designs of past. To the contrary, the design theory that evolved into these production circuits are that of absolute genius. Each design represents the diverse possibilities for which to push the envelope beyond the limitations of textbook tradition.
As stated before, I like so many others of my generation were heavily influenced by the influx of massive solid state amplification which governed our mindset in general. Valve amplification had been reduced to the annals of antiquated technology, doomed to the certainty of obsolescence. New technology is superior according to the masses, or at least that is what the marketing ploy would lead us to believe. One who does not know the difference is easy prey to such a grey area of manipulation.
Those of you that have never stepped outside the boundaries of current amplifier design technology, owe yourself the opportunity to experience that which is revealed by properly designed advancements within the world of tube amplification which started it all. Sure, it goes without saying that many past valve designs have lacked true precedence by todays standards, but that is not indicative for this category in general to any degree of conformity. I for one have been fortunate to discover this and therefore see no path leading back to the current form of engineering principals. Been there, done that. This is the real thing! For those of you that have followed this path, you know exactly what the difference offers within this dimension, for those that choose to be enlightened by its promise.
My first introduction to anything tube related stemmed from an idea that I had regarding bi-amplification of speakers. As I had heard about the strengths of great tube amplification considered ideal for the purpose of driving the mid range and higher frequencies, I started my search for the appropriate amplifiers to perform that specific task. The idea was to use solid state amplification for driving the lower frequencies as this was considered an area which fell short with tube driven amps by comparison. (hardly the case)
This was what led me on my journey to new discoveries in the nature of audio truth. All the years of marketing brainwashing were about to be stripped away to de-program my misled influence of what I perceived as the way it should be. The internet can truly be the highway to our understanding and it certainly provided me with the answers which brought me to this point in time.
It turns out that I was close to the proper concept but still not quite into focus as I still had ties with the belief that tube amps could not produce clean, accurate bass and this had to be delegated to high current solid state offerings. My philosophy was that shared qualities between the two elements in a bi-amp configuration would bring forth the ultimate combination of sound in theory.
In my search, I really did not find anything within an acceptable price range that I was willing to try out for this purpose. Eventually through the use of a search engine, I was led to an interesting site while on the search for d i. y. projects regarding tube amplifiers. I spent a great portion of that evening reading all the articles and content available on that site. What really caught my attention was a step by step process with clear assembly photographs for which an amp builder could build this affordable but obviously well executed amplifier design. This as you may have guessed was where you have landed now and this was my introduction to Steve Deckert and his great design philosophy.
I am generally very good about sensing something worthwhile and usually act upon my intuition if the purpose calls for it. The next day I called to investigate this company further with the usual assumption that I would be connected to some employee with limited knowledge to the designs in general. To my surprise, the Zen Master himself answered the phone and spent a great deal of time educating me as to what we know today.
Rather than try to sell me with his ideas or products, we merely discussed the goal that I was looking to achieve and he suggested a better solution. This would be at minimal cost and fully refundable if not up to my liking. He knew exactly what was wrong with my situation and just how to make my system perform more to my needs. That is when I bought my first piece of tube based audio gear being that of the original ZSLA which at that time cost less than $300.00. This of course replaced my existing solid state preamplifier and became a direct line stage for which to control my bridged SS mono-blocks, acting as a filtering buffer to smooth out the overall sound of the system.
Needless to say, that unit was never returned and I still have it today. This had performed something short of a miracle to the balance and control of my system and I knew right then and there what direction was in store for me. If that little control box could accomplish a measure of refinement to that degree, WHAT IF .?
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Re: Taboo "Lucid" mode and Decware Speak
Reply #1 -
07/17/06 at 03:21:08
In the short term to follow, I made the decision to totally revamp my system and take the dedicated purest approach to an all exclusive tube based system with the exception of my digital source being that of an Arcam CD player. This was during the introduction of the ZTPRE and the new flagship SV83M-DC Mono-Blocks of which without hesitation, orders were placed. As I knew that my inefficient speakers would be the weak link to this new combinations finesse, these would have to be replaced with something in proper synergy to this system. I must have been one of the first to order the newly introduced RL-1 radial speakers which came about sometime later, as I remember ordering these after talking to Steve for advice and these were about to be placed online as a high efficiency speaker ideal for low powered S.E.T. amplifiers. What better place to order speakers from than the designer who made them specifically for this application. Common sense dictates the outcome and the price was very affordable so what did I have to lose? NOTHING! In fact, I gained everything that I was looking for and have never turned back since.
That system remained unchanged with the exception of the RL-2 upgrades and the eventual inclusion of my Teres analog source. This has kept me quite content up to the present. However, many changes have taken place in the Decware component line-up and I just could not help myself have a go at it again. Eventually the curiosity factor will set in and mine had hit its peak when I heard about the new TORII MK making its appearance. This type of amp is what initially started my search but as we all know, nothing like this existed until now and anything that even came close was priced prohibitively for the average consumer.
As something that I never anticipated, the big push-pull TORII MK2 has shown itself to be so advanced in design for which to surpass everything so well known for the S.E.T. designs, that I actually have retired the old Mono-blocks without ever missing them. That is a pretty hard act to follow but then again this new amp is truly a masterpiece of design ingenuity. It is truly the reference standard for which all others are gauged. If you find that hard to believe, experience it for yourself and draw your own conclusions. The outcome would not surprise me from what I know now.
This leads me up to my current evaluations with the original Taboo model. I shall lend some perspective as to how I perceive this little gem in contrast to the extremes of the S.E.T.s on one end of the spectrum to the TORII MK2 itself.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #2 -
07/17/06 at 03:27:17
After my implementation of the new P-P design, I consider this to be the focal point for which to compare anything within its premise. When I discovered the opportunity to actually hear the Taboo within my system, I jumped at the chance and decided that this would become an excellent alternative to amplifier-speaker relations. This simply adds another degree of flexibility in choice. There is no better way of discovering the hidden magic which may await the right combination of speakers to the available amplifier types. What may not work well for one combination could be the ultimate match-up for another.
At this point, I have mated the Taboo with the RL-3s and have been listening to this combination for the past week with only some quick tube rolling to get a sense of which tube types work best for my application.
The Taboo is an example of how far that known design parameters can be stretched outside of the normal approach. Based upon a single 12AX7 driver tube, the circuit employs a dual configuration(one tube per channel) of output tubes based upon the EL84/SV83 types. Power supply rectification is controlled by that of the 5Y3GT variety which can also be substituted for the 5U4 types providing an optional change in character to the resulting output stage. The amp was designed to work optimally with the 5Y3GT rectifier tube and I find this to be very complimentary to its overall sound. I have yet to swap in any of the high quality n.o.s. 5U4 types for lack of any desire to do so. I will eventually perform this swap for the basis of comparative testing but it has not taken place as of this time.
I am currently operating the Taboo with an RCA 5Y3GT that is labeled made in UK with the QH designator printed on the glass. When compared side by side to an American version of the RCA 5Y3GT, these are completely different in design and size.
I suspect that these are the high quality versions manufactured by Mullard which I tend to believe may have come from the well renowned Blackburn facility. I have not verified this but that is my speculation. Regardless of its origin, this is one well built tube and has the sound quality to match. I have about a dozen n.o.s 5Y3GT tubes to choose from which are from just about every source of variety, but I started with the cream of the crop for my initial evaluation of this amplifier. Eventually, the others will need to be compared for any discernable differences between them.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #3 -
07/17/06 at 03:33:00
I began listening to this amp with a set of 6n15nM labeled Svetlana tubes which is of the SV83 variety. These have been cryogenically treated and are well broken in. These are what Bob had installed along with his Bugle Boy Amperex 12AU7 driver tube. Initially, I listened with this set of particular tubes for the first day just to get a feel for what they provide. Note that this is a 12AU7 as opposed to the 12AX7 version for which this amp was tailored to. The 12AU7 is permissible as an alternative substitute however this changes the character of the amp in its voltage swing and signature. The Amperex did have a very nice presentation to it but I wanted to set this amp up to its intended base configuration for accurate testing. What I changed aside from the UK made RCA rectifier, was the driver tube for an RCA 12AX7A with a top mounted halo getter. The output tubes have been changed to a fresh set of Russian Military 6n15n-EBs labeled 1284 on the glass. These were extremely harsh during the initial hours of play but eventually began the transitional break-in and within a few hours became very listenable. Improvements have been substantial throughout the week as these tubes get a greater amount of playing time on them. At this stage, this set of tubes has been operated for at least 50 hours and it took just short of that to hear them as they should perform.
The source feeding the signals directly to the Taboo inputs are direct from the DEC685 tubed output stage and do not necessitate the need for any sort of pre-amplification buffering or gain control. The voltage provided from the source is more than abundant which allows the signal chain to be reduced to an absolute minimum for the benefit of untainted signal purity. Only a custom set of high purity solid silver interconnect leads which are fitted within outer cotton jackets and encased within a foundation of Beeswax are utilized for the transmission. These have full outer protection as a barrier to EMI/RFI interference and are terminated with Nuetrik ProFi connections which make ground before signal contact and vise-versa. The tube on the DAC output stage is an RCA 12AU7 clear top which handles this duty exceptionally well.
As for the Taboo circuit feature which gives it the uniqueness it has come to be known by is of course the Lucid function which can be toggled in and out on the fly. Unlike any other Decware amplifier designs which are free from the degrading effects of negative feedback, this amp thrives on an induced mixture of precisely modified feedback to produce this very unique sound. In a nut shell, the end result of this completely revised form of global feedback makes possible, the ability for both channels to become actively engaged in unity as if conjoint twins shared thought patterns from a centrally localized brain. Sounds a bit like the Borg on Star Trek where combined unity strengthens the entity as a whole. This ability for the two channels to share activity in real time is the impending result known as the Lucid portion of the circuit hence its ability to provide accurate lucidity in its presentation as a whole.
That is a bit bizarre in description but somehow relative in theory. I promise that I have abstained from mind altering chemicals and none were used here to convey the message. However, one may feel as though they were influenced by mind altering chemical enhancement, once subjected to the addictive sound which emanates from this very special circuit design. This gives new meaning to the phrase psychedelic music. The only difference is that one is not imagining the floating sense of involvement into the music, as this effect is indeed real in its ability to produce stunning imagery within a mesmerizing sense of distinct clarity.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #4 -
07/17/06 at 03:38:16
This amplifier design is like an experiment set in motion, resulting in a newly found discovery never anticipated or conceived with even remote possibility. This is what taking it to the threshold of possibility is all about and this one was stretched to the extreme with spectacular results. I have been meaning to put my TORII MK2 back into the loop for the last two days. I just seem content to hear the magic prevalent within this miniature box of audio TNT.
The design of the Taboo is centered upon Pentode configuration wired in a single ended approach. This of course makes it an SEP design which sets it apart from the surrounding stable of Triode counterpart designs. While the Pentode version uses the same output tubes as used by the Triode versions, the resulting performance curve is of a totally different nature. The Taboo would fall somewhere in between the performance stature of the SV83M Mono-Blocks and that of the new TORII MK2. This because it shares some of the most profound qualities known to each design class. Even though it has the ability to accurately convey the subtle detail so prevalent within the character of low powered S.E.T. amplifiers, it also has precisely controlled dynamics which breath effortlessly. It just seems impossible for this little amplifier to defy its hefty brother which shadows over it in an intimidating manner. Dont let the size fool you, if you could not see this amp while playing, you would be fooled into the image of a much larger chassis with the thought of output tubes in the 6550, KT88 or 300B range. There is a phenomenal sense of speed associated within the complex nature of the Taboo and power is never an issue with efficient speakers rated at or above 94dB. This amp produces low level information with a strong measure of tactile connection which almost compares to the TORII MK2 in a relatively scaled down way. Visually, it is difficult to compare these two amplifiers side-by-side and try to put this into perspective as to the sound levels produced by each design.
While I have yet to match the Taboo with the MG-944s, the HDTs with the new Decware modified DFR-8 single drivers and Alternate tuning package, the HDT MK2s, the Nibbelin Ultraflex NFX speakers or the prototype dual fostex designs, I have listened to it extensively with the RL-3s. I have had such a positive reaction with this combination that I believe further relative success will be achieved with all fore mentioned speaker types. If you are not in a position to obtain the high end flagship model TORII MK2, I would without reserve recommend the Taboo as a secondary alternative.
When gauged into a performance versus price range category, this amplifier will provide all the audio expectations that one would require with high efficiency speakers at an exceptional value. This guaranteed if mated to Decware designs in general. Speaker choice is a matter of personal preference and it is my objective to capture and convey the uniquely different characteristics for each type of design.
Further analysis of this ongoing evaluation will take place as time permits with further impressions about speaker changes and tube rolling to be the primary focus.
To be continued
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Re: Taboo "Lucid" mode and Decware Speak
Reply #5 -
07/18/06 at 14:04:35
Hello Paul!
Another great review. After our long discussions regarding the MK II the review of the Taboo brings a question to mind. Some in the past have stated that the Taboo can get a little stretched when pressed by itself compared to the MK II's extra punch. If that is the case how does this amplifier pair with the WO32?
I'm still commited to getting the MK II but I just thought I'd throw this out for possible discussion.
Other than that, how've you been? Haven't heard from you for a while around here.
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Reply #6 -
07/19/06 at 04:26:27
Hello again Terry,
I have been doing very well as there is never a dull moment with this major experiment. I just wish that I had more time to dedicate towards it. My best time to perform these evaluations occurs over the weekends and they zip by at light speed as you know. This is no easy task although an absolute pleasure to take part in. I have recently spent several weekends over the past couple of months commuting to Phoenix for which to visit Bob Z. in person. I am responsible for the care of this equipment for which I got to bring back with me during each trip. It has been a true learning experience getting to know Bob on a personal basis. I have learned a great deal over the course of my visits and I can tell you that he is definitely the guy to build your next set of speakers! The things that I have witnessed in person about his development techniques and build process is nothing short of exemplary to say the least. What can I tell you about the speakers that come to be in his shop. I do know that they are built to the highest standards and are optimally voiced as perfect cohabitants for Decware amplifiers. If you only knew how much time and effort goes into a set of speakers built by him, with exacting care and attention to detail, you would have to ask why he produces them at such an affordable price. I have done some enclosure building myself and I can tell you that for the difference in overall cost, let alone the amount of labor which goes into such a thing, that these Decware designs are much more of an incredible bargain than what I had imagined. I for one will testify that these speakers should respectively so be sold at a much higher profit margin. Materials used in the build process are second to none and are optimally chosen for very specific reasons as determined by exhaustive voicing within real world listening conditions. These cabinets are rock solid and have the weight factor to prove it.
Of course the sound is what matters in the end and there are definitely no shortfalls to be found! There are specific reasons for determining the choice of cabinet materials used in speaker design. The differences between MDF or Baltic Birch support a profound basis for which make or break the resulting sound, due to the tuning of the cabinets in respect to their natural resonate qualities. The steps that evolve into the corresponding driver-cabinet relationship are quite revolutionary and are proven techniques placed into motion from Steve and Bobs intensive efforts. Believe me, these speaker designs are pushed beyond the limits of imagination for which the resulting performance reflects this to the extreme.
I have not tried combining the WO32 into the loop as of yet with the Taboo, but this would be interesting to hear just what the outcome may provide. I will eventually try this and report on my findings.
When comparing the Taboo to the TORII MK2, it is a bit like comparing David to Goliath although David does not defeat Goliath in this match but a great fight pursues with some interesting observations crediting the might of the underdog. There is a great deal of advantage for the TORII MK2 by nature of design so it becomes a major conquest for something such as the Taboo to even begin sizing up to its standards. With that as a given, we know that these two amplifiers could never compete in a head to head contest as this would be an unfair match-up. This would be like trying to pair up a race between a standard Ferrari and one that has been modified to the extreme for professional racing. While that factory version is of highly desirable status with world class performance as reflected by its badge of honor, its performance could never hold enough promise to compete in the same league as its racing counterpart.
This is why I referred to the Taboos strengths as (relatively) close to that of the TORII MK2 but in a scaled down manner as to how something would be concluded in a pound for pound proportional measure. There is quite a bit of difference in the power curves between these designs and rightfully so considering the magnitude of the TORII MK2s circuit and features. The Taboo was not intended to have benchmark power stature where as the big Push-Pull amp excels with that being a major aspect of its focus. Even so, with a respectable six quality watts of single ended pentode power per channel, the Taboo is no weakling! This amp comes off sounding much more powerful than one would expect, while maintaining absolute control and finesse over the musical passages, with a level of presence that is unquestionably fulfilling when matched to high efficiency speakers.
Where the Taboo excels in the highest regard lies in its innate ability to flush out the tiniest of detail within the musical passages which in many amplifiers would go unnoticed in an obscured manner at best. Not only does this present itself within its self proclaimed lucid manner but does it to a degree where this becomes one of its greatest attributes in a very coherent manner. There never seems to be stress within the function of this amplifiers ability to produce desirable levels of sound and does so with a total sense of control.
One cannot expect a single output tube in the EL84 class to compete with a pair of KT88s or EL34s especially when the circuit is based upon a single ended approach versus that of the push-pull design class. However, what may amaze you is that this single output tube per channel circuit can produce unfaltering presence to a degree which gives the heftier tube designs a run for the end result in general. As opposed to the triode configurations, what contributes to this ability within the Taboo would be the direct influence stemming from the fact that it is wired to operate in pentode operation. The EL84 tube may be small by comparison, but the sound is huge when wired in this manner. This was one of my observations about these two amplifiers as visually, the TORII MK2 absolutely dwarfs the original Taboo in stature. The actual power and perceptiveness provides a higher degree of balance when that factor is substituted for sizing these two up. As stated before, if you could not see the Taboo in action, your estimation of physical size would elude to something much more stout within its chassis.
If you want it all without any degree of compromise, get the TORII MK2. For the next best thing in reduced scale, the Taboo definitely makes the cut if you have the appropriate speakers ideally matched to its performance level.
To summarize in general, the Taboo holds its own and does so extraordinarily for its design class. The Taboos presentation lives up to its name with clarity, detail, focus and great balance. While the lower extension or overall tactile force will not compare in strength to that of the KT88 driven TORII MK2, it is very substantial for its class and is quite satisfying in general . For the price range that it is offered, it is an exceptional bargain and one that has a wide margin of return upon its investment.
For any further questions, feel free to ask.
More on this to come.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #7 -
07/19/06 at 14:24:13
It seems that the major difference between the two that you are reporting is the power. Could you comment in the difference between the two at, say, 80db listening level? Thanks.
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Reply #8 -
07/20/06 at 00:34:47
Sure, that would be easy enough to do. I can monitor the independent strengths as well as the overall averages for each frequency in SPL with my handheld audio analyzer in either A, C, or flat weighted response. I will push the Taboo to its extended limit without being overdriven as a baseline reference and perform some checks at various range levels below that. Then the TORII MK2 will be analyzed to match the same levels obtained with the Taboo so that we have the same degree of baseline SPL. This will show what point that the larger amp is being driven to for which to match the optimal output of the Taboo's strength. At this point, the two amps can be A-B'd with the same program material for which to compare notes between them. 80dB is a good average to do this and the comparison will be done at this level as well. That should be well within the Taboo's ability and far below the ability of the TORII MK2.
Give me enough time to perform this test and the data will be documented as to my observations in a few days. (maybe sooner depending on how soon that I complete this.)
Terry brought up the suggestion of bringing the WO32 into the loop as an additional test of compatibility for the Taboo. This will also take part in separate listening tests so those impressions can be noted as well. For the direct comparison as stated above, the subwoofer will not be used so that only the mains will be analyzed in the reference check.
Will be back with this data soon.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #9 -
07/20/06 at 01:20:41
[quote author=RFZ_Quest link=1153106069/0#8 date=1153352087]I will push the Taboo to its extended limit without being overdriven as a baseline reference and perform some checks at various range levels below that. Then the TORII MK2 will be analyzed to match the same levels obtained with the Taboo so that we have the same degree of baseline SPL. [/quote]
Thanks Paul,
Actually I was thinking of having both amps well within their power capabilities, which 80db ought to be (and then some). Peaks shouldn't be above 90db. I'm not sure if that's what you were describing in the second half of the post, I got a little confused. I'm just interested in what the differences are aside from the power and how the Torii II sounds and compares with the Taboo at low volumes.
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Reply #10 -
07/22/06 at 16:12:25
Great reviews Paul, I put in my order for the Taboo end of June and can't wait to get it in my system. Any new info like what Dave just asked? I built some horns for my fe108's and they sound really good but when the Taboo gets in the mix I'm sure they will be amazing
. Dave
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Reply #11 -
07/22/06 at 23:44:44
Hello Dave (Can),
Thanks for the input! Glad to hear that you have the Taboo coming. I promise you that this is an unregretable choice and one that will serve as a superb platform. This should sound interesting with the horn based Fostex speakers as I am sure that the dynamics and detail are going to be ideal for this amplifier. You will undoubtedly hear into the music unlike anything that you have experienced before as this little amp really exposes the music for all its worth.
Yes, you will have further impressions from my point of view as I will be performing my Taboo vs. TORII MK2 listening tests this weekend starting this evening with all probability ending sometime tomorrow evening. I will need the appropriate time to gather my thoughts based upon my impressions and data collected from my Real Time Analyzer.
As to what may lend itself a bit closer to your behalf, I not only am going to compare notes with the RL-3's, but also with the MG-944 MTM Towers AND as a special bonus, a prototype set of dual modified Fostex *(only) drivers within a cabinet designed for transmission line loading. These will compare heavily to your application and should give you a very good representation as to what you will be hearing. While not quite the same, these designs both use the Fostex drivers, therefore the final sound should be relative. I for one like the extension of the modified Fostex drivers so well that I do not want any inclusion of further high frequency enhancement. I just do not feel the need for it with what I have heard, as these are very pronounced in solo form. In a well designed cabinet with transmission line bass loading, they sound very open and non restricted in the mid range with qualities similar to that of full range ribbon drivers set into a open baffle design. A very unique sound quality which nothing else that comes to mind compares to its signature. The drivers are wired direct from the amplifier with NO crossover network what-so-ever to hamper the signal. All crossover duties are handled naturally by means of mechanical dampening techniques which perform the same task without any compromise to the musical waveform. This solution brings unsurpassed clarity to the presentation with amazing realism.
I will express my impressions of this analysis based upon the Taboo driven Fostex designs so that hopefully, you can relate to what I have experienced and notes can be compared.
As I write this, the Taboo is warming up along with the RL-3s which will start the process. Now I am off to begin this stage of the evaluation. A full report on this shall be posted soon. Remember, these tests will have to be repeated for three sets of speakers not only with the Taboo, but with the TORII MK2 as well. This will give you an estimate of the time involved with this and I tend to get involved within extended listening sessions. At times, one can get so wrapped up into the sound presentation that things can easily be put on hold. I will try to avoid this but I cant make any promises. Now, lets see what we can accomplish ..
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Reply #12 -
07/23/06 at 06:21:39
Thanks Paul, I look forward to reading the rest of your impressions. Dave
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Reply #13 -
08/10/06 at 02:50:14
Comparative test data .Equipment rated; TORII MK2...TABOO SV83M-DC Mono-blocks RL3s MG944s ..results are in!
Head to Head comparisons in real time data compiled with frequency analyzer
Parameters are baseline for all test data.
Listening environment set up as follows:
Room dimensions= 19L by 12W by 8D
Speakers set up parallel with longest parameter of room.
Speaker positioning as follows: 32 from side walls set 6 aft of front wall. Distance between driver centers is 6 6. Speakers towed inward toward listening position for an intersecting point of 9 (* intersects 2 behind listening position). This places the prime listening position within an equilateral central location with sound rays encasing the prime listening spot with properly timed alignment. The audio analyzer microphone is placed accordingly within this area exactly where the listener is positioned.
Liberal implementation of acoustical treatment has been placed within the room to tame and balance the rooms response time. A solid area of prime 13 diffusers measuring 6w by 7 d is centered along the left side wall adjacent to the left speakers reflection points. The opposing right wall is widely covered by a combination of diffusion and absorption methods providing a highly effective means for controlling reflections from the right speaker area. The back wall behind the listeners position is heavily treated with absorption factoring in at a full 1.0 coefficient from above 250Hz to beyond 20kHz. Any frequency above 250 cycles is stopped dead in its tracks and absorbed rather than reflected back toward the listener. Forward of the speaker position is semi-live with moderate measures taken to reduce reflections. Full bass traps are placed within the front room corners which run floor to ceiling.
Room analyzed with RT60 pink noise generator:*flat weighted response set at 35 milliseconds with a minimum of 30dB correlation between baseline and test signal. Response time equals 0.31 seconds @ 51dB decay rate at prime listening position.
The point of this accumulative test data is to provide a measurable response from the amplifier/speaker combination in question. All testing parameters have been standardized for uniformity and accuracy. The following test data pertains to this listening environment and is not indicative for results outside of its relevancy.
You may experience better or worse results within your actual environment. In any case, the facts are in and they indeed reflect the condition of my acoustical boundaries in current form. As you will notice, this room is still in need of fine tuning and the data clearly shows areas of concern where attention needs to be focused upon. Further improvements are mandatory for better balance within the room. This of course would directly impact the quality of perceived sound and would correspond with a drastic change in the following test data accordingly. For now, the acoustical parameters are above average and within tolerable range for which to form an acceptable basis for evaluation. The future foresees much progression in this area with far superior results pending.
On with the results .
I have compiled data from each segment of the testing phase and placed the corresponding figures in a side by side perspective with dual categories signifying the differences in SPL between flat and A weighted response. These volume settings are set very low with the TORIIMK2 barely taxed off idle to keep within these limits. These results are as measured directly from the listening position which is approximately seven feet equilateral from the speaker drivers. These figures represent the actual frequency response attained at my listening position and should give you a good idea as to the perceived loudness for each frequency. The test data derived by the RTA is sampled in 1/3 octave divisions and each SPL figure represents the maximum peak hold obtained for the entire test cycle.
The tests are evenly divided into direct and separate categories. Each speaker and amplifier combination is tested in both Flat weighted response and A weighted response with the volume adjusted for each test to reach a maximum peak range of 80dB so that all tests are uniform as possible. For the majority of the musical passage, the average SPL is around 70dB with 80dB +/- 1dB as an absolute peak limit. I used the same musical passage for all tests to keep it as accurate as possible. The particular music used was chosen for its consistent intensity throughout the spectrum with a very strong low frequency response. From Peter Gabriels SO album, I used the entire song Sledgehammer for all comparative data. This source is DSD mastered onto SACD format.
Category 1
Taboo (S.E.P. design), TORIIMK2 (push-pull design) & SV83M-DC (S.E.T. design) amplifiers with RL-3 speakers.
*(speaker capacitors are Jensen foil-in-oil type rated @ 1.5 uf)
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Re: Taboo "Lucid" mode and Decware Speak
Reply #14 -
08/10/06 at 03:29:12
Test # 1
Taboo & RL-3s (sensitivity = 94 dB 1w 1m 4 ohms)
*line signals direct from source, NO preamp
Tube complement = Mullard 5Y3GT rectifier, Russian Military 6n15n-EB output tubes, RCA 12AX7A driver tube .
Range set for 30 to 90 dB with response time @ 35 milliseconds.
( volume control set at the 10:30 position )
*Max PEAK SPL = 80.9 dB *Max PEAK SPL = 80.1 dB
FLAT weighted. A weighted.
20 Hz = 58.8 dB 20 Hz = 39.6 dB
25 Hz = 64.0 dB 25 Hz = 43.7 dB
31.5 Hz = 63.3 dB 31.5 Hz = 34.6 dB
40 Hz = 59.6 dB 40 Hz =*under 30 dB
50 Hz = 63.8 dB 50 Hz = 35.4 dB
63 Hz = 75.4 dB 63 Hz = 50.7 dB
80 Hz = 75.8 dB 80 Hz = 54.7 dB
100 Hz = 62.1 dB 100 Hz = 43.0 dB
125 Hz = 59.5 dB 125 Hz = 44.0 dB
160 Hz = 64.3 dB 160 Hz = 52.7 dB
200 Hz = 60.0 dB 200 Hz = 50.9 dB
250 Hz = 70.9 dB 250 Hz = 64.1 dB
315 Hz = 71.1 dB 315 Hz = 66.3 dB
400 Hz = 80.5 dB 400 Hz = 76.7 dB
500 Hz = 76.3 dB 500 Hz = 74.3 dB
630 Hz = 78.6 dB 630 Hz = 78.4 dB
800 Hz = 74.8 dB 800 Hz = 75.9 dB
1 kHz = 76.2 dB 1 kHz = 78.8 dB
2 kHz 5 Hz = 66.4 dB 2 kHz 5 Hz = 68.5 dB
3 kHz 15 Hz = 64.7 dB 3 kHz 15 Hz = 66.7 dB
4 kHz = 65.9 dB 4 kHz = 69.0 dB
5 kHz = 63.1 dB 5 kHz = 64.8 dB
6 kHz 3 Hz = 67.1 dB 6 kHz 3 Hz = 67.6 dB
8 kHz = 61.8 dB 8 kHz = 62.9 dB
10 kHz = 60.1 dB 10 kHz = 58.0 dB
12 kHz 5 Hz = 62.4 dB 12 kHz 5 Hz = 43.8 dB
16 kHz = 59.8 dB 16 kHz = 36.5 dB
20 kHz = 49.1 dB 20 kHz = *under 30 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #15 -
08/10/06 at 03:54:30
Test #2
SV83M-DC mono-blocks driven by ZSLA line stage
& RL-3s (sensitivity = 94 dB @ 1w 1m 4 ohms)
Tube complement = RCA 5U4GB rectifiers, balanced & matched Ei Elite EL84EG(gold pin) trio per channel, Sovtek 6922 driver tubes.
*Dual Core Mode Engaged
*(ZSLA uses a single 6n1p tube)
(volume control set at 9:30 position on ZSLA line stage)
Range set for 30 to 90 dB with response time @ 35 milliseconds.
*Max PEAK SPL = 80.3 dB *Max PEAK SPL = 79.9 dB
FLAT weighted. A weighted.
20 Hz = 62.2 dB 20 Hz = 45.6
25 Hz = 65.0 dB 25 Hz = 55.9 dB
31.5 Hz = 60.3 dB 31.5 Hz = 51.5 dB
40 Hz = 58.2 dB 40 Hz =41.3 dB
50 Hz = 61.9 dB 50 Hz =42.8 dB
63 Hz = 75.0 dB 63 Hz =48.9 dB
80 Hz = 77.7 dB 80 Hz =56.3 dB
100 Hz = 62.4 dB 100 Hz =43.0 dB
125 Hz = 59.9 dB 125 Hz =44.9 dB
160 Hz = 64.6 dB 160 Hz = 51.9 dB
200 Hz = 59.7 dB 200 Hz = 49.2 dB
250 Hz = 70.6 dB 250 Hz =62.6dB
315 Hz = 71.0 dB 315 Hz =64.7 dB
400 Hz = 79.5 dB 400 Hz =75.0 dB
500 Hz = 74.8 dB 500 Hz =72.1 dB
630 Hz = 78.0 dB 630 Hz = 76.6 dB
800 Hz = 73.9 dB 800 Hz = 73.6 dB
1 kHz = 75.4 dB 1 kHz = 76.8 dB
1 kHz 25 Hz = 76.4 dB 1 kHz 25 Hz = 75.3 dB
1 kHz 6 Hz = 76.7 dB 1 kHz 6 Hz =79.2 dB
2 kHz = 65.4 dB 2 kHz = 67.5 dB
2 kHz 5 Hz = 66.6 dB 2 kHz 5 Hz = 67.4 dB
3 kHz 15 Hz = 67.8 dB 3 kHz 15 Hz =67.3 dB
4 kHz = 70.1 dB 4 kHz = 71.0 dB
5 kHz = 67.8 dB 5 kHz = 69.7 dB
6 kHz 3 Hz = 71.5 dB 6 kHz 3 Hz =73.4 dB
8 kHz = 67.3 dB 8 kHz = 67.4 dB
10 kHz = 64.4 dB 10 kHz = 64.9 dB
12 kHz 5 Hz = 50.5 dB 12 kHz 5 Hz = 47.6 dB
16 kHz = 43.7 dB 16 kHz = 37.5 dB
20 kHz = 34.6 dB 20 kHz *under 30 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #16 -
08/10/06 at 04:23:56
Test # 3
TORII MK2 & RL-3s (sensitivity = 94 dB @ 1w 1m 4 ohms)
Tube complement = RCA 5R4GY rectifiers-*1956 production, balanced & matched Quad set of JJ KT88s, Sovtek 6922 driver tubes.
*(volume position on amp .25 inch from zero for Flat weighting response)
*(volume position approx. .5 inch from zero for A weighting response)
Signals direct from source with NO preamp used.
Range set for 30 to 90 dB with response time @ 35 milliseconds.
*Max PEAK SPL = 80.0 dB *Max PEAK SPL = 80.0 dB
FLAT weighted. A weighted.
20 Hz = 63.5 dB 20 Hz = 39.9 dB
25 Hz = 70.5 dB 25 Hz = 42.1 dB
31.5 Hz = 61.2 dB 31.5 Hz = 33.9 dB
40 Hz = 59.6 dB 40 Hz = 39.4 dB
50 Hz = 64.8 dB 50 Hz = 42.3 dB
63 Hz = 75.8 dB 63 Hz = 57.5 dB
80 Hz = 78.2 dB 80 Hz = 63.3 dB
100 Hz = 61.5 dB 100 Hz = 49.9 dB
125 Hz = 58.7 dB 125 Hz = 49.6 dB
160 Hz = 62.8 dB 160 Hz = 57.3 dB
200 Hz = 58.1 dB 200 Hz = 59.4 dB
250 Hz = 68.7 dB 250 Hz = 66.8 dB
315 Hz = 68.3 dB 315 Hz =72.2 dB
400 Hz = 75.3 dB 400 Hz = 79.6 dB
500 Hz = 70.4 dB 500 Hz = 76.8 dB
630 Hz = 73.3 dB 630 Hz = 78.5 dB
800 Hz = 68.5 dB 800 Hz = 76.2 dB
1 kHz = 70.2 dB 1 kHz = 78.2 dB
1 kHz 25 Hz=70.3 dB 1 kHz 25 Hz=77.3dB
1 kHz 6 Hz = 66.8 dB 1 kHz 6 Hz = 76.9 dB
2 kHz = 61.4 dB 2 kHz = 72.0 dB
2 kHz 5 Hz = 61.3 dB 2 kHz 5 Hz = 72.1 dB
3 kHz 15 Hz = 61.8 dB 3 kHz 15 Hz = 70.4 dB
4 kHz = 64.2 dB 4 kHz = 78.5 dB
5 kHz = 63.4 dB 5 kHz = 71.7 dB
6 kHz 3 Hz = 68.8 dB 6 kHz 3 Hz = 75.8 dB
8 kHz = 65.2 dB 8 kHz = 69.9 dB
10 kHz = 61.2 dB 10 kHz = 66.6 dB
12 kHz 5 Hz = 57.2 dB 12 kHz 5 Hz = 50.9 dB
16 kHz = 58.7 dB 16 kHz = 44.9 dB
20 kHz = 40.6 dB 20 kHz = 38.4 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #17 -
08/10/06 at 04:55:30
Category 2
Taboo, TORIIMK2 & SV83M-DC amplifiers with MG944 speakers.
Test # 1
TORII MK2 & MG944s (sensitivity = 94 dB @ 1w 1m 4 ohms)
Tube complement = RCA 5R4GY rectifiers-*1956 production, balanced & matched Quad set of JJ KT88s, Sovtek 6922 driver tubes.
*(volume position on amp just above IDLE for Flat weighting response)
*(volume position approx. .4 inch from zero for A weighting response)
Signals direct from source with NO preamp used.
Range set for 30 to 90 dB with response time @ 35 milliseconds.
*Max PEAK SPL = 80.0 dB *Max PEAK SPL = 79.6 dB
FLAT weighted. A weighted.
20 Hz =60.9 dB 20 Hz = 38.9 dB
25 Hz = 66.0 dB 25 Hz = 39.8 dB
31.5 Hz = 63.4 dB 31.5 Hz = 35.8 dB
40 Hz = 62.3 dB 40 Hz = 41.5 dB
50 Hz = 64.5 dB 50 Hz = 37.7 dB
63 Hz = 75.4 dB 63 Hz = 53.2 dB
80 Hz = 78.1 dB 80 Hz = 59.7 dB
100 Hz = 62.9 dB 100 Hz = 46.8 dB
125 Hz = 59.0 dB 125 Hz = 45.7 dB
160 Hz = 67.7 dB 160 Hz = 58.2 dB
200 Hz = 56.3 dB 200 Hz = 49.5 dB
250 Hz = 64.3 dB 250 Hz = 59.6 dB
315 Hz = 66.5 dB 315 Hz = 63.9 dB
400 Hz = 74.8 dB 400 Hz = 74.0 dB
500 Hz = 67.1 dB 500 Hz = 67.9 dB
630 Hz = 70.1 dB 630 Hz = 72.4 dB
800 Hz = 70.7 dB 800 Hz = 74.0 dB
1 kHz = 67.1 dB 1 kHz = 71.2 dB
1 kHz25Hz=72.3 dB 1 kHz25Hz= 77.4 dB
1 kHz 6 Hz = 74.7 dB 1 kHz 6 Hz =79.3 dB
2 kHz = 67.0 dB 2 kHz = 71.4 dB
2 kHz 5 Hz = 60.2 dB 2 kHz 5 Hz = 66.0 dB
3 kHz 15 Hz = 60.6 dB 3 kHz 15 Hz = 66.3 dB
4 kHz = 63.7 dB 4 kHz = 67.9 dB
5 kHz = 63.3 dB 5 kHz = 67.9dB
6 kHz 3 Hz = 68.5 dB 6 kHz 3 Hz = 72.3 dB
8 kHz = 59.2 dB 8 kHz = 62.0 dB
10 kHz = 58.3 dB 10 kHz = 62.7 dB
12 kHz 5 Hz = 48.9 dB 12 kHz 5 Hz = 50.8 dB
16 kHz = 37.2 dB 16 kHz = 37.8 dB
20 kHz = 37.7 dB 20 kHz = *below 30 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #18 -
08/10/06 at 05:30:18
Test # 2
Taboo & MG944s (sensitivity = 94 dB @ 1w 1m, 4ohms)
*line signals direct from source, NO preamp
Tube complement = Mullard 5Y3GT rectifier, Russian Military6n15n-EB output tubes, RCA 12AX7A driver tube .
Range set for 30 to 90 dB with response time @ 35 milliseconds.
*Max PEAK SPL = 79.9 dB *Max PEAK SPL = 80.4 dB
FLAT weighted. A weighted.
20 Hz = 59.9 dB 20 Hz = 39.5 dB
25 Hz = 62.9 dB 25 Hz = 39.6 dB
31.5 Hz = 60.9 dB 31.5 Hz = 33.1 dB
40 Hz = 67.7 dB 40 Hz = 36.5 dB
50 Hz = 64.6 dB 50 Hz = 35.1 dB
63 Hz = 74.0 dB 63 Hz = 49.5 dB
80 Hz = 74.2 dB 80 Hz = 52.0 dB
100 Hz = 60.4 dB 100 Hz = 42.3 dB
125 Hz = 57.8 dB 125 Hz = 43.5 dB
160 Hz = 68.0 dB 160 Hz = 55.9 dB
200 Hz = 58.6 dB 200 Hz = 49.3 dB
250 Hz = 67.8 dB 250 Hz = 58.3 dB
315 Hz = 71.0 dB 315 Hz = 64.9 dB
400 Hz = 79.3 dB 400 Hz = 75.4 dB
500 Hz = 72.3 dB 500 Hz = 69.1 dB
630 Hz = 75.3 dB 630 Hz = 74.1 dB
800 Hz = 76.4 dB 800 Hz = 74.7 dB
1 kHz = 72.8 dB 1 kHz = 71.6 dB
1 kHz 25 Hz = 77.1 dB 1 kHz 25 Hz = 77.9 dB
1 kHz 6 Hz = 79.2 dB 1 kHz 6 Hz = 80.3 dB
2 kHz = 71.9 dB 2 kHz = 72.6 dB
2 kHz 5 Hz = 63.2 dB 2 kHz 5 Hz = 65.6 dB
3 kHz 15 Hz = 62.5 dB 3 kHz 15 Hz = 63.9 dB
4 kHz = 66.1 dB 4 kHz = 67.4 dB
5 kHz = 63.9 dB 5 kHz = 64.2 dB
6 kHz 3 Hz = 68.5 dB 6 kHz 3 Hz = 65.8 dB
8 kHz = 54.8 dB 8 kHz = 53.7 dB
10 kHz = 54.1 dB 10 kHz = 50.3 dB
12 kHz 5 Hz = 45.4 dB 12 kHz 5 Hz = 39.9 dB
16 kHz = 36.6 dB 16 kHz = *under 30 dB
20 kHz =*under 30 dB 20 kHz = *under 30 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #19 -
08/10/06 at 05:45:28
Test #3
SV83M-DC mono-blocks driven by ZSLA line stage
& MG944s (sensitivity = 94 dB @ 1w 1m 4 ohms)
Tube complement = RCA 5U4GB rectifiers, balanced & matched Ei Elite EL84EG(gold pin) trio per channel, Sovtek 6922 driver tubes.
*Dual Core Mode Engaged
*(ZSLA uses a single 6n1p tube)
(volume control set at 9:00 position on ZSLA line stage; FLAT weighted)
(volume control set at 9:15 position on ZSLA line stage; A weighted)
Range set for 30 to 90 dB with response time @ 35 milliseconds.
*Max PEAK SPL = 80.1 dB *Max PEAK SPL = 79.9 dB
FLAT weighted. A weighted.
20 Hz = 62.5 dB 20 Hz = 39.6 dB
25 Hz = 66.7 dB 25 Hz = 38.5 dB
31.5 Hz = 64.2 dB 31.5 Hz = 32.9 dB
40 Hz = 61.9 dB 40 Hz = *under 30 dB
50 Hz = 62.9 dB 50 Hz = 30.3 dB
63 Hz = 73.3 dB 63 Hz = 46.1 dB
80 Hz = 76.6 dB 80 Hz = 52.5 dB
100 Hz = 66.5 dB 100 Hz = 41.5 dB
125 Hz = 63.1 dB 125 Hz = 42.4 dB
160 Hz = 69.6 dB 160 Hz = 54.5 dB
200 Hz = 59.0 dB 200 Hz = 51.9 dB
250 Hz = 67.1 dB 250 Hz = 56.5 dB
315 Hz = 70.1 dB 315 Hz = 62.3 dB
400 Hz = 78.4 dB 400 Hz = 71.2 dB
500 Hz =71.1 dB 500 Hz = 66.4 dB
630 Hz = 74.1 dB 630 Hz = 71.8 dB
800 Hz = 75.5 dB 800 Hz = 74.3 dB
1 kHz = 72.4 dB 1 kHz = 71.8 dB
1 kHz 25 Hz = 77.9 dB 1 kHz 25 Hz = 77.3 dB
1 kHz 6 Hz = 79.0 dB 1 kHz 6 Hz = 79.2 dB
2 kHz = 72.7 dB 2 kHz = 72.8 dB
2 kHz 5 Hz = 66.4 dB 2 kHz 5 Hz = 65.6 dB
3 kHz 15 Hz = 65.0 dB 3 kHz 15 Hz = 65.8 dB
4 kHz = 67.6 dB 4 kHz = 67.2 dB
5 kHz = 67.3 dB 5 kHz = 66.9 dB
6 kHz 3 Hz = 72.9 dB 6 kHz 3 Hz = 70.8 dB
8 kHz = 61.5 dB 8 kHz = 61.2 dB
10 kHz = 55.9 dB 10 kHz = 58.2 dB
12 kHz 5 Hz = 48.8 dB 12 kHz 5 Hz = 47.6 dB
16 kHz = 39.3 dB 16 kHz = 32.9 dB
20 kHz = *under 30 dB 20 kHz =*under 30 dB
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Re: Taboo "Lucid" mode and Decware Speak
Reply #20 -
08/10/06 at 05:54:25
I will make additional comments about the sound characteristics when I have more time. The data given should provide a very clear view as to how these amplifiers perform with these particular speakers.
To be continued.....
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Re: Taboo "Lucid" mode and Decware Speak
Reply #21 -
08/13/06 at 22:03:56
Yeh but how do they sound?
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Re: Taboo "Lucid" mode and Decware Speak
Reply #22 -
08/13/06 at 23:19:47
Well Rap,
If I could just get everyone to insert a quarter in the slot, this may get me motivated to start writing again.
Have a nice day!
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Re: Taboo "Lucid" mode and Decware Speak
Reply #23 -
08/14/06 at 01:21:31
Lol, good reply :)
p.s I just a bit concerned that your forgetting to stop and smell the roses :)
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Re: Taboo "Lucid" mode and Decware Speak
Reply #24 -
08/14/06 at 03:14:47
Stop and smell the roses you say?
I'm too busy burning the candle at both ends for that! Now I have added the new NFX speakers into the mix as the DFR-8 drivers will arrive tomorrow and these speakers will begin break-in procedures in preparation for review.
My new CSP2 arrives in the afternoon as well and this too becomes part of the process as it will play an integral part of the evaluation with its contribution.
Here we go again.
Never a dull moment around here! It's a rough task but someones got to do it. (Insert pity here)
Anyway, I hope that someone out there is interested in reading about these as the review will be posted here when finished. I try to avoid time tables, especially when it is non-profit. When its done, its done.
I have finished listening to and evaluating the RL-3's, the MG944's,the DM944 bookshelf speakers, and a special set of prototype cabinets with Fostex drivers for which i have focused upon the majority of the duration.
When the time is right, my thoughts will be put into writing and this will all be posted here. I can give you some advance insight being that there has been some very positive and fascinating results coming out of all this. It has been a tremendous learning experience and one that has been very worth while. There is still a long way to go but at least for now, I'm sifting my way through the discovery process. I have a feeling that by the time I finish, it will turn into a short novel and may be the remedy for insomnia.
The HDT models will make their way into the loop during the final phase and that includes both versions of cabinet designs.
Take care Rap, I'll see you around the block.
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Re: Taboo "Lucid" mode and Decware Speak
Reply #25 -
09/25/06 at 01:52:51
As it has been suggested by others to couple the new CSP2 with the Taboo amplifier, curiosity got the best of me and this I had to try. I am now listening to this combination with the older version Taboo at full volume and the CSP2 interfaced for refined gain control.
I had a Mullard GZ34 (5AR4) rectifier which is coded from the highly regarded Blackburn plant sitting here which had not been listened to as of yet. This tube was labeled for Amperex and has the "Bugle Boy" cartoon insignia printed on it. This seemed to be the appropriate time to test this out as well. The driver tube is an RCA 12AX7 as before and the power tubes are the Russian military types as used in previous evaluations.
This is the Mullard GZ34 in use now.
This combination was just fired up and will take a bit of playing time to warm up to full potential. In cold start-up condition for both units, the sound is quite good and will even get better as these components reach full operating temperature. This should be interesting to discover whether or not there actually is an improvement to be had with the preamplifier in the loop.
Here is the CSP2 used to drive the Taboo. The rectifier tube shown is an RCA ST style 5U4G. The RCA is a great performer and was used while driving the SV83M Dual-Core mono-blocks. The trio of signal tubes are a matched set of Ei Elite 6DJ8EG (gold pin).
The new ZP3 phono stage will arrive in a few weeks. The ZP3 will be added to this combination to evaluate what this does for the sound of vinyl. At this time, the source is the Dec685 with tubed DAC stage.
I am currently evaluating this set-up driving the extremely detailed NFX "open baffle" design speakers with the DFR-8 drivers.
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text:
Definition of sepic
a. - Of or pertaining to sepia; done in sepia; as, a sepic drawing. 2
The word "sepic" uses 5 letters: C E I P S.
Direct anagrams of sepic:
epics spice
Words formed by adding one letter before or after sepic (in bold), or to ceips in any order:
a - apices spicae b - biceps d - spiced e - pieces specie l - splice o - copies r - cripes precis prices spicer s - spices t - septic y - spicey
Shorter words found within sepic:
cep ceps cis epic es ice ices is pe pec pecs pes pi pic pice pics pie pies pis psi sec sei si sic sice sip sipe spec spic
List shorter words within sepic, sorted by length
Words formed from any letters in sepic, plus an optional blank or existing letter
List all words starting with sepic, words containing sepic or words ending with sepic
All words formed from sepic by changing one letter
Other words with the same letter pairs: se ep pi ic
Browse words starting with sepic by next letter
Previous word in list: sepias
Next word in list: sepiolite
Some random words: ems tchotchke glabella ubieties deil tmeses akimbo
This is not a dictionary, it's a word game wordfinder.
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text:
It looks like your browser is out of date.
To use all features of KLM.com safely, we recommend that you update your browser, or that you choose a different one. Continuing with this version may result in parts of the website not being displayed properly, if at all. Also, the security of your personal information is better safeguarded with an updated browser.
Sweeping mountain views, wide ski slopes and delicious Italian cuisine: skiing in the mountains around Turin offers a feast for all senses. Numerous large ski resorts lie within a short distance of the airport. Travellers can land in the morning and be skiing by afternoon.
Turin was the host of the 2006 Winter Olympics and is a skier's paradise with dozens of kilometres of uninterrupted ski terrain. Not only can you ski to your heart's content, your gourmet needs will also be met. On the Italian slopes food is just as important as good snow conditions. Here you won't find any wiener schnitzels or greasy sausages but fresh pasta and fine regional wines. Skiing in Italy offers truly the best of both worlds!
Via Lattea is the largest ski area in the Turin region. Via Lattea, which means 'Milky Way', is a chain of villages in the mountains around Turin. In the centre of this vast area is the modern town of Sestrière in the Valle di Susa. Due to its location, the area is very sunny and snow is almost always guaranteed. The highest ski run lies at 2823 metres, and the area encompasses a total of 400 kilometres of runs for both beginners and advanced skiers. Sestrière is especially famous for its excellent shopping and lively après-ski. Those who prefer a more intimate destination with an authentic Italian ambiance will enjoy Sauze d'Oulx. You can literally ski to the front door of your hotel and then enjoy a lovely dinner in the historic centre. The other villages that connect to this large ski area include Sansicario, Cesana, Claviere and the French village Montgenevre.
Bardonecchia is a lesser known ski area, located near the Italian-French border. The area features around 100 kilometres of ski runs. Bardonecchia also hosted the snowboard competitions for the 2006 Olympic Games, and the half-pipe is still being used. Daredevils can ride to their heart's content in the Bardonecchia Snowpark. This park is divided into 5 different areas, according to the difficulty of the obstacles and jumps. The area offers a reasonable snow guarantee. Due to its southern location, it's rarely affected by the föhn, a strong warm wind that blows on the northern side of the Alps and increases the risk of avalanches.
The area around Turin also offers plenty of activities for those who don't want to ski or board. Take a cable car to the summit of Monte Bianco (also known as Mont Blanc) to soak up unparalleled views. Cross-country skiers will enjoy themselves in Parco Naturale Val Troncea near Sestrière. The park offers a vast network of outstanding and diverse cross-country ski trails with fabulous vistas.


text:
Internet 100
Choose Telenor Pakistan's Internet bundles to have high-speed internet at your fingertips. Stay connected with 150MB of 4G data to keep up with your online world.
Offer Eligibility:
All Telenor Postpaid customers are eligible for this offer.
The subscription is valid for 30 days.
Terms and Conditions
- Internet Bundles are available on all Postpaid price plans including Smart plans
- Default rate usage without subscribing to bundles will be charged at Rs12/MB on 3G & 4G
- Default rate usage without subscribing to bundles will be charged at Rs21.5/MB on 2G
- 4G bundles will work both on all 4G,3G & 2G
How can subscribers check remaining internet Volume (MBs)?
Dial *999# to check the remaining internet volume.
What will happen if user purchases any Internet Bundle with this offer?
Bundle will be activated. Each bundle will expire as per its own validity. Bundle with lower validity will be consumed first.
What will happen if user changes his Price Plan after activating any internet bundle?
Bundle will be deactivated.
Is this offer mutually exclusive with any other offer?
No this offer is not mutually exclusive with any other offer.
What happen if I have a 4G Bundle and not in 4G coverage area?
Telenor' 4G bundle is valid on 2G+3G+4G, therefore even if you are not in 4G Coverage area the bundle will automatically on 3G/2G a well.
Are there any Internet bundle that will not work on 4G?
Yes, all 2G Bundle will not work on 3G or 4G. They will be for 2G area only


text:
BMW national rally at Spokane Washington and the "ADV-Rider" rally in Ouray Colorado
I attended the BMW nation rally in Spokane Washington, and had a great time riding in the forests of Washington and Idaho. From there I went to Ouray Colorado, where a "HIGH" time was had by all. We rode our Dual Sport bikes to almost 13,000 feet of elevation, got rained on covered with sleet and even a little bit of snow. Life is good.Read More


text:
DALLAS — Villains is how Mark Cuban thinks fans still view the two-time champion Miami Heat, and that's great for the NBA, he says.
The owner of the Dallas Mavericks on Friday compared the LeBron James-led Heat to the Oakland Raiders in their glory days — saying fans either love 'em or hate 'em, and that polarization makes for a far more intriguing league for fans, and heightens the competitive juices of rivals.
Cuban's 2011 Mavs remain the lone team to beat Miami in the postseason since James took his talents to South Beach before the 2010-11 season.
"With the two titles, they're still like the bad guys," Cuban said. "There's a confidence bordering on arrogance that is good for them as a team and good for us as a league because it also makes them the team that everybody wants to knock off.
"They're kind of in some respects the Oakland Raiders … when they were winning. I don't want to compare [Heat owner] Mickey [Arison] to Al Davis, that's not fair, but you either love them or hate them. That's always good for the NBA when you have a team that everybody looks forward to beating. It's just like when we beat them, I would go in places I've never been and people would give me a standing ovation. That's good for the NBA."
In 2011, the Mavs had the city of Cleveland and, seemingly, an entire nation behind them against the villainous Heat in their inaugural season as the Big Three, with James and Chris Bosh having joined Dwyane Wade through free agency. Basketball fans recoiled at James' disastrous "The Decision" on ESPN when he infamously announced his departure from Cleveland for Miami. Fans who once worshiped James had turned fiercely against him and the Heat.
That wasn't the case in 2006 when Shaquille O'Neal helped Wade win his first championship as the Heat rallied from a 2-0 hole to beat the Mavs in six games.
On Friday, Cuban made a rare appearance at the Mavs' practice court. His visit came two days after having spent the previous two weeks fighting a different kind of court battle. On Wednesday Cuban was exonerated in a SEC insider trading case. Cuban said his attorney fees to fight the government's charges were far greater than the fine he faced if found guilty.
"It wasn't a maxed-out contract," Cuban said, "but it was in shouting range."


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text:
March 2013
5 March 2013
At just 9 years of age, Robert Irwin is the spitting image of his dad. But whereas Steve gained notoriety as The Crocodile Hunter, Robert's moniker of choice is The Dinosaur Hunter, and his new book series, the first of which features Australia's unique dinosaur heritage, tells you why.
Robert absolutely LOVES dinosaurs. He's crazy about them, he's knowledgeable about them and he's travelled the world looking for them - well, their fossilised remains, that is! He's also amassed an extensive collection of fossils and associated paraphernalia, and keeps these items close to his fossicker's tool kit. As well as visiting digs around the world, Robert can count as a friend and mentor one of Australia's most eminent palaeontologists, the former young Australian of the Year, Dr Scott Hocknull, of the Queensland Museum. Not only that, his ninth birthday present was a life-size model of a gigantic Sarcosuchus imperator. Wooo-hoo!
Now, kids aged 6-9 can share his enthusiasm via this exciting new book collection that combines fast-paced adventure, facts and stunning illustrations. Each book contains a handy field guide, a unique illustration, proudly drawn by Robert himself, and plenty of his characteristic humour.
The first four books are available right now, with another four titles scheduled for release in 2013, and can be ordered for international delivery from the Australia Zoo Online Shop.
Book 1: The Discovery
The adventure begins where else but Queensland. Robert and his friend Riley are off to Winton to go on a dinosaur dig as a special treat for Robert's ninth birthday. When Robert discovers a dinosaur claw, he stumbles upon a way to travel back in time 95 million
years. Landing smack-bang in the middle of a dinosaur stampede, Robert's first thought is to avoid being trampled. But that's the least of his problems. How will he survive and find his way back home?
Book 2: Ambush at Cisco Swamp
The Irwins are at Cisco Swamp in Texas for the annual population survey of American alligators. Robert knows that the ancient deinosuchus roamed around these parts, and when his dinosaur
fossil transports him back in time, he gets to see firsthand the prehistoric predator take on an albertosaurus!
Book 3: Armoured Defence
Robert and Riley are on a two-day camping trip in the Canadian Badlands of Alberta with Riley's Uncle. The Badlands are famous for being one oft he world's richest deposits of fossils and Robert is super-excited. When Riley and Robert are pulled back in time 70 million years they find an euoplocephalus trapped in some vines. With a hungry gorgosaurus hot on their tails, will the boys - and the tank-like euoplocephalus - survive?
Book 4: The Dinosaur Feather
Robert and Riley are at Australia Zoo looking for Stomp, one of the zoo's cassowaries. When Robert mentions that some dinosaurs were also feathered, Riley doesn't believe him until they're transported back in time to prehistoric Asia, where feathered dinosaurs roam the land. Spotting an oviraptor, the boys can't help but sneak over and investigate. Soon they've found an abandoned dinosaur egg, but will they be able to return it to it's owner before it hatches?
Hungry for more?
- Check out Robert's "Author Q&A", and more, at the Random House Dinosaur Hunter website
- You can follow Robert's Real Life Adventures, exclusive webisodes, by joining the Australia Zoo Club, where you'll also be able to read monthly blogs from Robert and Bindi, enter competitions and access heaps of other exclusive member only content.
- You can also head on over to the Australia Zoo Online Shop, where there's STACKS of other books available!
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text:
Bankers across the globe expect a string of large, high-profile IPOs during the rest of the year, on the back of strong equity markets and U.S. Federal Reserve policies that have driven an uptick in IPO activity.
Global equity fundraising is up 16.3 percent so far this year, boosted by low volatility, record U.S. market highs and a resurgence of capital markets in Europe and Asia.
Continue Reading Below
The next few months could also see several notable initial public offerings from companies with global brand appeal, including micro-blogging network Twitter Inc, Chinese e-commerce giant Alibaba, hotel operator Hilton Worldwide and real estate investment trust Empire State Realty Trust.
"We think the fourth quarter will probably go down in the story books because there are a number of billion-dollar-plus, jumbo IPOs across different sectors," said Phil Drury, co-head of equity capital markets for the Americas at Citigroup . "Last year was all about small cap growth within tech and retail, but 2013 is actually the reestablishment of the jumbo IPO."
Global equity fundraising volumes, including IPOs and secondary offerings, totaled $524.4 billion year to date, up from $450.9 billion in the same period last year, according to preliminary Thomson Reuters data as of September 26.
The increase came amid a 29 percent rise in global IPO proceeds, excluding Facebook . A total of 467 companies worldwide have gone public so far this year, raising $85.3 billion, compared to a year ago when 540 companies raised $66.1 billion through IPOs excluding Facebook.
Bankers are encouraging companies that are considering public offerings to tap the markets sooner rather than later while the going is still good.
"Right now, we are telling issuers to go because there are some potential macro issues out there such as Syria and debt ceiling discussions," said Frank Maturo, vice chairman of equity capital markets at Bank of America Merrill Lynch. "Any macro issues could cause some short-term volatility in the market and you just don't know when those periods are going to occur."
A $3.9 billion IPO for Japanese beverage company Suntory Beverage & Food helped boost deal volumes this year, as did the $2.6 billion IPO for Pfizer Inc animal health spin-off Zoetis Inc.
Private equity firms also continued to sell companies from their portfolios as they looked to unload investments made during the buyout boom.
Private equity backed companies made up 40.2 percent of U.S. IPO proceeds so far this year, up from 20.9 percent during the prior period.
Large IPOs from private equity backed companies have included industrial distribution company HD Supply Holdings Inc , drug researcher Quintiles Transnational Holdings Inc and fragrance company Coty Inc .
Others expected later this year include retailers Burlington Coat Factory and the Container Store.
Goldman Sachs Group Inc topped the global ranking of equity underwriters so far this year, keeping its number one spot. JPMorgan Chase & Co came in second, followed by Morgan Stanley and Citigroup.
Goldman also topped the list of global IPO underwriters, followed by Morgan Stanley.
Europe has seen a pickup in share offerings in 2013 as market confidence has improved and bankers working in the sector expect the remainder of the year to continue to be busy.
In Europe, even the usually subdued holiday period of August saw a string of equity capital market deals, including a 348 million pound capital hike by security services firm G4S , and the sale of a 10 percent stake in French electrical equipment supplier Rexel by its controlling shareholder.
"We've seen a busy summer. I've never seen so much activity in what people would normally consider a quieter period for deals," said Klaus Hessberger, co-head of Europe, the Middle East and Africa ECM at JPMorgan.
"Investors are moving back into 'risk on' mode to generate some returns," he said.
As bankers and investors returned to work in September, momentum has continued to pick up with a flurry of bloc sales including the British government raising 3.2 billion pounds ($5.1 billion) by reducing its stake in bailed-out lender Lloyds .
Other big deals already underway include an the initial public offering of Britain's Royal Mail, and a 5.95 billion pound ($9.5 billion) share issue by British bank Barclays .
Among those expected to go public in Europe in the final three months of the year are private-equity backed Merlin Entertainments Group, French cable operator Numericable and luxury down jacket maker Moncler.
"This is the first year in a while where we haven't had any big interruptions to activity from market volatility or big macroeconomic events," said Josef Ritter, co-head of equity capital markets for Europe, the Middle East and Africa for Deutsche Bank and head of the bank's ECM operations in Germany.
"We are now in a situation where there is expectation of good development in the US, recovery in Europe, less concern around China, and all that in combination with the delay in tapering has lead to a relatively benign environment for offerings," he said.
(Reporting by Olivia Oran in New York and Kylie MacLellan in London)