Wireless Earbuds, NYZ [2020 Upgraded] True Wireless Bluetooth Headphones in-Ear Earphones HiFi Stereo Cordless Earbuds with Microphone Portable Charging Case for iPhone,Android,Windows (Space C1)

Product Information

The buds comes in 3 different eartip sizes, so the wearer can choose their perfect one for stable fitting in ears for daily workout.

I use them for 30 to 90 minutes at a time, so I don't know if longer continuous use would affect battery life differently.To ensure the smooth connection, it is recommended that the distance between the Bluetooth device and the earbuds be within 10M. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Whilst they can’t compete with premium over ear style headphones, the NYZ Space 2 earphones deliver an impressive overall audio experience. Burraston has previously collaborated with Alan Lamb on recordings of a mile-long telephone wire in the Australian outback, and more recently he issued nearly a dozen NYZ tapes and CDs with some of the most crucial modern music labels, as well as a number of releases under the Noyzelab and Bryen Telko aliases.

The results are surely comparable to the haunting early rave and ambient sound of AFX's SAW 85-92 as much as the freaky ideas found on Brian Dougans's proto- FSOL project, Humanoid's Sessions 84-88, or the hardcore breakbeat ruggedness of Autechre's Legofeet, yet all done with a trippy sound design and time-out-of-joint feel that's singular to this remarkable record, and speaks to the artist's wealth of experience; from his role as a BT trouble-shooter in the '70s, to his work on landscape-sized sound art installations, and his legendary "SYROBONKERS" interview with Richard D.

Los llevo probando desde que me llegaron, y tengo que decir que la calidad del sonido me ha impresionado. INCLUDES BACKGROUND ESSAY ON MY WORK IN GENERATIVE MUSIC, AS WELL AS FURTHER INFO PERTAINING TO THIS ALBUM. Unreleased bounty of 30-year-old bleep techno, ambient/noyze and breakbeat hardcore from Dave Burraston's cult NYZ project -- rinsing his archived Amiga productions for animated gems comparable to Autechre's Legofeet, AFX's SAW volumes, or the earliest Humanoid recordings. Since there are so many varieties to choose from, it’s common to become a bit confused and somewhat overwhelmed with your choices.

The main light never turns green to let you know the case and earbuds are fully charged, the light will stay a solid red. If the product had been consistent I would have given these a four star but I saw other reveiedcwith some of the same issues I had. SHFTR FRQ is a series of experimental studies into simple synth setups controlled by varying levels of generative complex systems [MANIAC cellular automata]. Simply put, they’re built to withstand moisture from sweat, splashes and rain as well as intrusion from dust and dirt. It's an immensely enjoyable and enigmatic album sure to spark ravenous interest with old and yung skool ravers and electronic music fiends.We offer in-depth legal knowledge and international experience in the areas of our expertise, gained while working in senior positions within international law firms, major businesses in the industry and governmental institutions. Some mention that they work very well, while others say that they stopped working after a few months into use. Some mention that the case recharges the earbuds and the battery life has been impressive, while others say that the left side is not even charging, the right ear buds only charges if they press it down, and the case does not charge the ebuds when not plugged into a power. SHFTR FRQ was recorded over the last six years on an ever-changing hybrid of equipment encompassing the domains of modular and MIDI-based microtonal sound synthesis [analog and digital]. The results are surely comparable to the haunting early rave and ambient sound of AFX’s ‘SAW 85-92’ as much as the freaky ideas found on Brian Dougans’ proto-FSOL project, Humanoid ‘Sessions 84-88’, or the hardcore breakbeat ruggedness of Autechre’s Legofeet, yet all done with a trippy sound design and time-out-of-joint feel that’s singular to this remarkable record, and speaks to the artist’s wealth of experience; from his role as a BT trouble-shooter in the ‘70s, to his work on landscape-sized sound art installations, and his legendary ’SYROBONKERS’ interview with Richard D.