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huntermagazine362 · 4 years ago

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Vertex Standard Programming Software Download

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Vertex Standard CE-115 is programming software for the VX-451, VX-454 and VX-459 analogue two way radios from Vertex Standard. Software Only: This is for software download only.You may also need a programming lead. If so, to program a VX-451, VX-454 or VX-459 radio, you need both the FIF-12 USB interface box and a CT-106 DIN to 3.5mm Jack cable).

Vertex Standard. Vertex Standard is a developer of system tools. The current developer portfolio contains 1 program. The most popular software is CE64 with 2 installations on Windows PC. CE82 for Windows (VX-22002100 Series) is a Shareware software in the category Desktop developed by Vertex Standard Inc. The latest version of CE82 for Windows (VX-22002100 Series) is currently unknown. It was initially added to our database on. CE82 for Windows (VX-22002100 Series) runs on the following operating systems: Windows.

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wesleybates · 5 years ago

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Types of developers

How many types of developers do you know? And, if you are a developer, to which type do you refer yourself? In the real world, the boundaries between different types of developers are blurred. The more professional you become, the more types you will fit. So let’s see, how many types of developers are available in software development industry.

Before we start, we’d like to say thanks to Lorenzo Pasqualis whose article inspired us to create this material.

To be honest, most of us recognize only three types of software developers: frontend, backend and fullstack. That is obvious, but this is just a half of the truth. Nowadays different developers with the same tech stacks unlikely can apply their skills and knowledge to the different area. It’s like asking your mobile developer to work on creating a game. He could know the tools, but he is not a game developer. And that makes a huge differentiation in developer’s types.

We’ll start with the main types:

Frontend:

Yesterday we wrote the biggest article with cheatsheet for frontenders. So who are they? This is a type of developers who specialize in visual user interfaces, aesthetics, and layouts. Their code runs on a web browser, on the computer of the site user. They work on creating web apps and websites. Hardware is not what frontend specialists usually think about.

Their work requires an understanding of human-machine interaction and design principles more than computer science theory.

Frontend development skills:

design of user interface (UI)

design of user experience (UX)

CSS

JavaScript

HTML

UI frameworks.

Frontend devs need to be familiar with frameworks like Bootstrap, Foundation, Backbone, AngularJS, and EmberJS, which ensure great-looking content no matter the device, and libraries like jQuery and LESS, which package code into a more useful, time-saving form. A lot of front-end developer job listings also call for experience with Ajax, a widely used technique for using Javascript that lets pages dynamically load by downloading server data in the background.

Backend:

The second most popular type of developers. The backend developer specializes in the design, implementation, functional core logic, performance, and scalability of a piece of software or system running on machines that are remote from the end-user. They integrate a vast array of services such as databases, caching, logging, email systems etc.

What makes the front end of a website possible? Where is all that data stored? These are the questions for the backend development. The backend of a website consists of a server, an application, and a database. A backend developer builds and maintains the technology that powers those components which, together, enable the user-facing side of the website to even exist in the first place.

Backend development skills:

Java

C, C++

Ruby

Python

Scala

Go, etc.

They also use tools like MySQL, Oracle, and SQL Server to find, save, or change data and serve it back to the user in front-end code. Job openings for backend developers often also call for experience with PHP frameworks like Zend, Symfony, and CakePHP; experience with version control software like SVN, CVS, or Git; and experience with Linux as a development and deployment system.

Fullstack:

Call this developer a wizard, but he (or she) does both frontend and backend work. The fullstack developer has the skills required to create a fully functional web application. It is considered that working on both the server side and client side professionally opens more opportunities. They’re jacks-of-all-trades.

The complexity of full stack development can be illustrated with this picture (of course, there more technologies):

The fullstack developer should be able:

to set up and configuring Linux servers

to write server-side APIs

to dive into the client-side JavaScript powering an application

to turn a “design eye” to the CSS

Mobile developer:

This is a developer who writes code for applications that run natively on consumer mobile devices such as smartphones and tablets. This type appeared after the boom of mobile devices in the early 2000s and the explosion of the smartphone market. Before then mobile development was considered a subset of embedded development (we will write about embedded developers in this article too).

A mobile developer understands the intricacies of mobile operating systems such as iOS and Android, and the development environment and frameworks used to write software on those operating systems.

Mobile developer skills:

Java

Swift

Objective-C

C, C++ and Java

Application Programming Interfaces (API) like Apple iOS, Android, Windows Mobile, and Symbian

Web development languages like HTML 5 and CSS

Cross-platform mobile suites like Antenna and AMP ( Accounting-Management-Promotion)

Game developer:

Every game-addicted child wants to become a game developer in future. But this occupation as much romantic and fun as complicated and demanding.

Game developer specializes in writing games and can fall into one of the other categories of developers, but they often have specific knowledge and skills in designing and implementing engaging and interactive gaming experiences.

Skills for game developers:

DirectX, OpenGL, Unity 3D, WebGL frameworks

languages such as C, C++, and Java

JavaScript and HTML5

Swift and Java for mobile devices.

Data Scientist:

This type of developer writes software programs to analyze data sets. They are often in charge of statistical analysis, machine learning, data visualization, and predictive modeling. Quite romantic, right? But the list of skills a data scientist should have covers a lot of science-related things:

Statistical programming languages, like R or Python, and a database querying languages like SQL

Understanding the statistics and different techniques that are (or aren’t) a valid approach

Familiarity with machine learning methods

Knowing Multivariable Calculus and Linear Algebra principles

Knowing how to deal with imperfections in data (including missing values, inconsistent string formatting etc.)

Visualizing and communicating data is incredibly important

Having a strong software engineering background

Ability to solve high-level problems

DevOps developer:

This is a type of developer familiar with technologies to build, deploy and integrate the system and administer back-end software and distributed systems.

To explain the way:

A developer (programmer) creates applications

Ops deploys, manages, monitors applications

DevOps creates applications AND deploys/manages/monitors them.

DevOps was made possible because of the cloud and the tools/platforms to make deployment and management easy. Skills needed by devops:

Kubernetes

Docker

Apache Mesos

the HashiCorp stack (Terraform, Vagrant, Packer, Vault, Consul, Nomad)

Jenkins, etc.

Software Development Engineer in Test:

This type of developer is responsible for writing software to validate the quality of software systems. They create automated tests, tools and systems to make sure that products and processes run as expected. Skills needed for engineers in test:

Python

Ruby

Selenium.

Embedded developer:

The embedded developer works with hardware that isn’t commonly classified as computers. For example, microcontrollers, real-time systems, electronic interfaces, set-top boxes, consumer devices, IoT devices, hardware drivers, and serial data transmission fall into this category.

Embedded developers often work with languages such as:

C, C++

Assembly

Java or proprietary technologies, frameworks, and toolkits

With the embedded developer definition, we would like to finish the list of developer’ types. We named for you the main developer types which are fundamentally different. But you could also hear about:

– web developer (the purpose of web development is obvious)

– application developer (who is proficient in creating different types of apps)

– security developer (who creates systems, methods, and procedures to test the security of a software system)

– CRM developer (they hang out with SAP, Salesforce, Sharepoint, and Enterprise Resource Planning)

– Big data developer (rarely met, this type of developers use systems for distributed storage and processing of vast amounts of data such as MapReduce, Hadoop, and Spark)

– Graphics developers (they specialize in writing software for rendering, lighting, shadowing, shading, culling, and management of scenes)

If you want to know more about web development, then get in touch with the experts of Web Developers in Denver, CO

#Web Development #Digital Marketing #SEO Techniques

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nicerackcanada · 8 years ago

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Merry Christmas to our friends at RJM Music, Atomic Amps & The Custom District! Thanks for the sweet presents!

When two cutting edge electronics companies send you gear on the same day, the natural thing to do is build a rig out of the offerings.

We whipped up this whopper of a compact rig on a The Custom District perforated aluminum pedalboard with the Atomic Amps Amplifire, 2x Atomic Amps CLR Neo FRFR Wedges & RJM Music MasterMind LT7 MIDI Controller.

We added a Boss FV30L Volume Pedal modified for use an Expression Pedal connected to the MasterMind LT7, assigned per preset to Continuous Control Parameters as desired.

In the In & Out Connections box we built up a custom power supply for the Amplifire, MasterMind LT & LED lighting.

We also added a Tap Tempo Switch connected to the MasterMind LT’s External Switch Input. By setting the MasterMind LT as the MIDI Clock Master and selecting the “Flash With Tempo” setting, we are able to use the Tap Tempo switch’s LED as a visual Metronome.

The Amplifire modeling platform packs a big sonic punch into a small box. Users can select from a wide variety of Factory Amps & Cabinets, or they can load their own user IR’s. A big winner in the “bang for the buck” category, this tone tool is finding a home onto many a pedalboard for regular gigging and fly dates.

The MasterMind LT7 is RJM Music’s latest MIDI Controller development. This is the baby brother of the MasterMind GT series and a cousin the PBC. The LT7 uses the same computing hardware as the MasterMind series and is the most functional controller on the marker in it’s footprint & price. Fly rigs have found a very powerful new partner!

Need a Flyweight Rig packing Tonnes of Tone? Please contact Nice Rack Canada to have your sonic horizon expanded.

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inventivaindia · 7 years ago

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Amazon Fire HD tablets gain Drop In video calls and Announcements

If you’ve ever felt the urge to ping an unsuspecting Fire HD tablet owner with a video call, good news: Now you can. Amazon today announced that starting this week Fire HD 8 and Fire HD 10 owners will be able to receive Drop In video calls from Alexa-enabled devices with displays and cameras, like the Echo Show and Echo Spot.

The new features are coming in a software update that’ll begin rolling…

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bestportablewm · 6 years ago

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Best Desktop Audio Interface

Are you looking for a top audio interface card? Tired of those plug-and-play solutions that have latency problems? Don’t want to deal with USB and Firewire ports? On a budget? See below for several options when it comes to professional recording desktop interfaces for your podcast, music production, and overall recording needs!

Top Computer Audio Interface Cards For 2019

Name: Rating:Price on Amazon: M-Audio M-Track 2X2M5.0 (Best Overall) Focusrite Scarlett Solo4.8 (Best For Music Production) BEHRINGER Audio Interface4.7 (BEST For Live Music )

M-Audio M-Track 2X2M

M-Audio seems to be constantly looking for what a consumer desires in low-cost consumer audio gear. As time and technology progresses, it seems that home audio interfaces are becoming faster, smaller, and more feature-packed than ever before. At first glance, the Fast Track Ultra seems to fit perfectly into this mold. The unit is an development on the previous Fast Track Pro, and finds a happy middle-ground between being a small and lightweight portable interface, and a studio tool with a wealth of I/O options and high-quality components.

As a longtime owner of the now-aging M-audio OmniStudio interface, I was curious how this new M-audio interface would stack up against what I considered my small home-studio workhorse. So is M-audio able to continue to improve upon their product line, or are their promises becoming too good to be true?

The Unit

The body of the Fast Track Ultra is clearly a tight squeeze for a unit containing four XLR mic pre-amp inputs on the front face. While my M-audio OmniStudio would support rack ears, the Fast Track is only just over a half rack space wide, clearly showing it is intended mainly as a desktop interface. The unit’s body is plastic, as opposed to the OmniStudio unit which is cased in an aluminum shell. Combined with some questionably loose 1/4” inputs, I am reluctant to say whether the unit would be able to endure heavy use as a portable audio interface. Nevertheless, it is a very attractive unit with easily accessible connections and knobs, giving it a very use-friendly image from the start.

The I/O

Many low-cost and portable audio interfaces seem to fit into two categories: The small 2-channel interface for simple projects or stereo remote recordings (Presonus Firebox, M-Audio Fast Track Pro), or the expanded units, often with eight built-in pres (Presonus Firestudio, Alesis MultiMix). With four built-in mic pre-amps, the Fast Track Ultra fits nicely in the middle.

The M-Audio Fast Track Ultra provides a complete recording solution, with six channels of analog inputs and outputs plus 2-channel digital S/PDIF I/O. Unlike most USB audio interfaces, it features two dedicated inserts on the first two channels, giving you the ability to insert outboard processing before A/D conversion. Easy connection via a single USB 2.0 cable delivers both audio and MIDI communication with your computer.

Getting Connected

The card is the first interface released by M-audio to have USB 2.0 connectivity, a change that seems a bit late. After booting up your computer, you may be surprised to find out that the Fast Track Ultra will power up as well, even without a power adapter. The unit can run with a minimal 2-in 2-out connectivity while being powered through the USB bus alone. A 5V power adapter, which looks oddly like a cell phone power supply, allows for full usage of the I/O options.

I noticed a weird problem after tracking some MIDI keyboards using the unit’s USB bus power. In order to hear playback, I put on my headphones and immediately noticed a hum. After unplugging the MIDI cable, the hum vanished. I decided to leave the MIDI cable inserted and plug in the power adapter. After restarting the unit, the hum again was gone.

The included drivers and software couldn’t have been easier to install on my Mac. The unit supports ASIO and WDM on PC, and core audio on Mac. The installation includes a Control Panel that exists both in the Applications folder and in System Preferences, bringing up the software mixer and monitor controls. Within less than ten minutes, you should be setup and ready to go.

The Control Panel

The m-audio allows monitoring all eight direct inputs (six analog channels and two of S/PDIF digital) as well as software returns, all of which can be separately adjusted in the Control Panel. The monitor windows are clean and simple, and allow fast and easy adjustments with flexible routing. The window looks like a basic mixer and includes a fader, pan, solo, mute, stereo channel link, and an effect send, as well as master out faders with effects return.

Adding up to monitor control, there is a tab for settings, meters, and a status screen labeled “about”. There is also a unusual tab named “flow” that initially seems to be a visual means of re-routing I/O. The screen is, in fact, a diagram for reference, perhaps to give a better on-screen understanding of the unit’s signal flow.

The settings tab has a sample rate selector, a toggle between internal and external clock sync, and settings for the hardware DSP processors, but before you get too excited, this is not intended to be a software plug-ins solution, but pretty a tool for routing monitor reverb or delay to a player without exhausting the cpu. This is a smart and useful, yet partial concept. Each channel is given an individual effect blend via the control panel, but the effects are restricted to several reverb, delay, and echo settings, all of which do not sound particularly great. Even so, this feature is not found on most units in this price range, and is a nice tool to have handy, regardless of its limitations.

The Sound

After completing a project, I am very pleased with the functionality of the unit. I connected it to an iMac with an external firewire hard drive, and we recorded up to six channels flawlessly, with very minimal latency and no clicks or other digital errors.

My only complaint is that the headphone outputs did not have enough gain to my liking, especially for drum tracking. A solution to this could be a better isolating pair of headphones.

Although the build quality of this audio interface seems decent enough, it is still a downgrade from my older OmniStudio, which has a heavier chassis and tighter knobs. Even so, I think the fast track would resist the test of time as long as it’s treated with care.

Whether you’re a musician, producer or DJ, the powerful combination of Apple and M-Audio gives you everything you need to put together a high-powered personal studio.

Best Audio Interface for Electronic Music Production

Focusrite Scarlett Solo

I use the Focusrite Scarlett Solo for recording podcasts, acoustic songs, and even vocals for some of my club mixes. Even with that wide variety of uses, I have to say that this audio interface gets the job done. My system is an everyday HP desktop that I purchased online that’s a little bit on the more advanced end of the spectrum. For software, I use Adobe Audition as I’ve been using its previous version, Cool Edit Pro, since high school. The Delta 44 and Adobe Audition have been a winning combination for me on my desktop.

The problem I had in the past with recording solutions was the constant snap, crackle, and pop of the audio. Reviewers complained about this issue with the Focusrite Scarlett Solo as well, but the informed reviewers stated that with the proper tuning and by actually reading the instruction manuals, you can have a professional recording setup on your desktop without breaking the bank. Initially, I was skeptical due to the negativity, yet I decided to take the plunge and try things out myself. The worst that could happen is a refund or putting it for sale somewhere online for a little bit of a loss. To me, that’s no big deal so I went along with it.

When the audio card arrived in the mail, I knew I had to do as the positive reviews suggested. I read the instructional manual, took into consideration some tips of reviewers, and even checked some other information online. When I felt I was ready to get the show on the road, I popped open my desktop tower and inserted the card into one of the PCI slots on my motherboard. Yes, even as a top audio interface today, this audio card still relies on a PCI connection rather than a PCI Express connection, which is more common nowadays.

Even with the slightly dated technology, this audio card runs like a charm. My first test was to record one segment of my upcoming podcast for my buddy’s exercise and health website. I made sure my buffer settings were just right – not too high and not too low as suggested by a reviewer of the the Delta 44 online. My voice has never sounded so clear, and this was without any filters. So once I applied my usual filters and effects with some tiny tweaks to mesh better with the new audio card, I sounded like a professional radio personality. Considering how much I spent on this audio card compared to my previous audio interface, it was basically a steal. I guess that’s what happens when you switch from a USB solution to an audio card interface.

So if you have the capacity for a top audio interface in your recording rig, you need to get this Focusrite Scarlett Solo . A few years ago, I purchased a Lexicon Lambda USB interface for my Dell laptop at the time. For what I wanted to do, it got the job done, but took way too much time to configure to get subpar results. There was constant sound popping and recordings cutting out no matter what I did. Even after going through page upon page of support topics, I didn’t get the end results I needed. With the Delta 44 though, everything’s working with much better ease. My acoustic songs sound pretty close to professional quality even though I’m recording things from my bedroom and my recent dance songs have more punch to them.

On the side, I moonlight as a DJ at the local clubs in my area. Aside from spinning remixes of the latest hits on the radio, I like creating my own songs and mashups with my own vocals. A lot of people have been digging my originals, so I had to step things up with better sound quality. The solo delivers.

If you’re in the market for a top audio interface that delivers professional results while on a budget, then the Focusrite Scarlett Solo is what you need in your recording rig. As long as you read the instruction manual and understand the basics of setting up this audio card with the rest of your recording equipment, you’ll be able to create sound recordings pleasant to the ears.

Best Audio Interface for Live Performance

BEHRINGER Audio Interface

Having experience with M Audio in the past, I knew I needed a more robust BEHRINGER Audio Interface controller compared to what I had before. I was making progress with my electronic music, so an upgrade was needed. My recording adventures began in high school when I would simply record acoustic tracks and vocals with my Dell desktop’s cheap computer microphone. With a couple of tweaks within Cool Edit Pro (now Adobe Premiere), I was able to get some decent sounding recordings.

When I got to college, that’s when I got heavy into acoustic recordings and gigs with my roommate at the time. However, I gradually saw myself transitioning into electronic dance and pop music. To me, there’s nothing like really getting into a beat and wanting to bust a move in a fun environment. So on my computer, I’d mess around with Fruity Loops, Reason, and Garageband once I got a Macbook Pro. For a while, I used an M Audio Radium 61 as my MIDI controller in Reason and Garageband. I really enjoyed its solid construction and its overall functionality. However, I needed an input device with a full keyboard. That’s when I knew I had to drop more than $100 or $200 on a MIDI controller to get what I wanted.

After some digging through M Audio reviews, as I knew I would be sticking with this solid brand, I found the BEHRINGER. Like my previous controller, it’s USB-powered, so I don’t have to worry about lugging around a clunky AC adapter or dealing with a bunch of wires. The wires involved with my Macbook Pro and other equipment are enough for me. However, some people might prefer using the optional AC adapter to relieve some stress off their computer’s calculations and whatnot.

The Oxygen 88 also comes with 4 velocity curves and 3 pedals – 2 sustain pedal inputs and 1 expression pedal.

What I absolutely love about the Oxygen 88 are the hammer-action keys. Rather than pressing onto something that feels cheap and overly plastic, it really feels like I’m pressing the keys to a legitimate upright piano. For how much I paid, that’s a pretty solid deal.

Of course, if I wanted to simply play piano, I could’ve gone with something more cost effective, but of course I bought this BEHRINGER Audio Interface controller to make awesome beats. For a few weeks, I messed around with Garageband and Reason utilizing the built-in functions of this MIDI device. Gradually, I got back to that level of comfort I had with the Radium 61, and I actually enjoy using this more due to those hammer-action keys. At first, I was reluctant to upgrade my MIDI controller because its keys just felt so right to me. Now I don’t see myself using a cheaper device again. Actually being able to feel the weight of the keys helps when I’m trying to add a certain effect or certain level of expression in my songs. This is something that is hard to create in mixing software without having to manipulate the settings and filters.

Now that I was feeling more comfortable with my new MIDI setup, I decided to test things out at a mug night for the upperclassmen at school. They apparently needed someone to replace this local band that was supposed to play for their event. One of my buddies was running this mug night and knew I liked DJing and throwing in a few of my own custom mixes, so he asked if I wanted to fill in that empty spot.

The night went on without any problems. Sure, it’s a different ballgame going from using this BEHRINGER Audio Interface controller to program notes to playing bits and pieces live, but I felt I knew what I was doing. Well I hope so. Most people wouldn’t have noticed anyway given the type of event I was playing for. Regardless, I was really feeling my songs – beat by beat, track by track. Having those extra keys on the Oxygen 88 really helped me out with my live playing. It was so much easier being able to assign instruments all across the board, especially since I was experimenting with more layers in my songs.

Everyone at that mug night event seemed happy and I was happy with how the Oxygen 88 helped me win the crowd over. I doubt I would’ve been able to pull this off if I was using a shorter keyboard. Don’t get me wrong. I’m not saying the Radium 61 is a bad MIDI controller, as it was my pride and joy for years. It’s just that with the layering and complexity of my songs now compared to in the past, the Oxygen 88 is the right BEHRINGER Audio Interface controller for my needs.

The post Best Desktop Audio Interface appeared first on Best Portable Reviews.

from Best Portable Reviews https://bestportablereview.com/best-desktop-audio-interface/

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bixeapage · 7 years ago

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Mytek Liberty DAC And Headphone Amplifier Review

The Mytek Liberty DAC and Headphone Amplifier surprises by providing distinctly smooth sound while remaining clean and dynamic. This is an excellent-sounding component, and both the DAC (used as a preamplifier) and headphone amp are exceptionally well-voiced.

Highlights

Mytek Liberty DAC and Headphone Amplifier

Handles PCM, MQA, and DSD files from its USB2 input

Sounds significantly less strident than the majority of Sabre-chip DACs

Balanced and unbalanced volume-controlled analog output jacks for preamplifier feed

127dB of dynamic range

Up to 384K, 32-bit PCM capability

DSD inputs at DSD – 64 / 128 / 256

Built-in 3-Watt headphone amp

Introduction

The Liberty DAC and Headphone Amplifier is the latest product from Mytek Digital Corporation. Mr. Michal (pronounced “Mehow”) Jurewicz is the company’s guiding light, and designer of the Mytek Liberty DAC. Jurewicz is married to Icelandic artist Hrafnhildur Arnardottir, and they currently live in Brooklyn with their two teenage children.

As to Michal’s background, after earning an Electrical Engineering degree in Warsaw, Poland, he moved to New York City. Jurewicz was the recording engineer at two of the top recording studios there. When he saw the coming digital revolution, he started Mytek Digital in 1991. Originally building analog-to-digital converters for recording studios, Mytek launched its Consumer Division in 2011. Many famous recording artists use Mytek gear, including Stevie Wonder.

Mytek Liberty DAC and Headphone Amplifier Specifications

Digital to analog conversion rates:

up to 384k, 32-bit PCM, native DSD up to DSD256, DXD, @ 127dB Dynamic Range

MQA decoding:

Built-in and certified MQA

hardware decoder

Digital inputs:

USB2 Class2 (OSX, Linux driverless, all formats) AES/EBU (PCM up to 192k, up to DSD64 DOP) 2 x S/PDIF (PCM up to 192k, up to DSD64 DOP) Toslink/ADAT 2 x S/PDIF (PCM up to 192k, up to DSD64 DOP)

Analog outputs:

1 pair of unbalanced RCA 1 pair of balanced TRS TRS to XLR Metropolis Cable can be added as option

Headphone amplifier:

Reference high-current, high-transient headphone amplifier 300mA @ 3 Watts, unbalanced single ¼” headphone jack Designed to drive high-impedance headphones 0.1 Ohm output impedance

DAC Chip:

Sabre ESS9018K2M

Clock generator:

Low-noise with 10ps of jitter

Firmware:

Upgradable via USB via Mytek Control panel application

Optional DC/battery power input:

12V DC

Dimensions:

WxDxH=5.5” x 8.5” x 1.74” / 140 x 216 x 44mm

Weight:

3lbs / 1.5kg

Warranty:

2 years

Manufacturer-suggested retail price (MSRP):

$995 / €995

Company:

Mytek Digital

Secrets Tags:

MYTEK, DAC, LIBERTY, Reviews, 2018, Headphone amplifier, Sabre, consumer, DAC and Amplifier Review 2018

Linkbacks

MYTEK LIBERTY shipping announcement

MQA at Consumer Electronics Show 2018

MYTEK BROOKLYN announcement at the Munich audio show

The Liberty is a 1/3-rack-unit-sized device that was originally developed for professional studio-recording use. Additional “one function” Liberty line products are anticipated later this year.

The Liberty design concept is to provide a simple, small and robust unit which can do one specific function very well. The Mytek Liberty DAC was intended to be a great-sounding USB DAC, that can play every possible format including full decoding of Master Quality Authenticated (MQA) files. The Liberty DAC is intended to provide a good balance of detailed, transparent, and musical sound while also being a very good headphone amplifier.

The Liberty DAC firmware is updateable via the Mytek Control Panel app. There will be new firmware releases as features are added. The content will be fine-tuned based on customer feedback.

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The USB input is asynchronous Class 2. That means the DAC runs on its exceptionally-clean internal master clock and requests data as needed, eliminating any jitter created by the source component. The USB input also accepts high speed formats not available on other digital inputs including signals up to 32-bit/384K in both PCM and DSD256 flavors, and up to DSD128 on a Mac using DOP.

When the non-USB, synchronous digital inputs are used, two methods are operating simultaneously for improved sound. Jitter reduction is accomplished not only by a sophisticated Phase-Locked-Loop (PLL) on the input, but also by the asynchronous architecture of the Sabre 9018 DAC chipset itself. Additionally, a low-jitter master clock is used for the last stage of data conversion.

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Design & Setup

The Mytek Liberty DAC and headphone amp is the newest of the Mytek Digital products. It uses the Sabre ESS9018K2M DAC chipset – so I’ll start with a confession. Many reviewers as well as many on the internet have claimed that Sabre DACs have a characteristic sound. Some claim that the sound is detailed while others claim that the sound is bright and glare-prone in the lower treble. I’ve owned at least two Sabre-DAC-based products in the past. My first, an OPPO BDP-105 Blu-Ray player I considered quite detailed, but without the notorious “Sabre glare.” But my second Sabre product, the newer Oppo UDP-205 4K player, strikes me as crossing the line into the “bright and glare-prone” category.

So, I must admit that I had negative expectations for the Mytek Liberty DAC, based solely on its Sabre chipset. Now note that all these Sabre-DAC devices, including the both OPPOs and the Mytek Liberty, measure ruler-flat in the frequency domain. But the sounds are distinctly different; due (I’m presuming) to the filters used and the implementation and voicing of the output buffer amplifiers.

And not to keep you in suspense – the Mytek Liberty retains all the expected detail of the Sabre chipset without any of the brightness and glare. How Mr. J. and company managed this, I can’t say, but the results speak for themselves.

Looking inside the Mytek Liberty’s box gives no clue as to its sound either. If you’re looking for audiophile wiring, expensive brand-name resistors, or fancy film capacitors, you won’t fine them here. This is obviously a consumer product with its plethora of (reasonably high quality) polarized and non-polarized electrolytic caps.

My Mytek Liberty DAC was supposed to arrive with some TRS-to-XLR Metropolis (adapter) cables, but as you can see from the photo above, the only cables in the review box were the standard IEC power cord and a USB-2 cable. Fortunately, I had some adapters in my spare parts box, and was able to listen to the outputs via both RCA (unbalanced) and XLR (balanced) options.

After a very simple setup, the DAC is ready to play. The short and to-the-point owner’s manual is adequate and accurate. The front of the DAC includes a single tri-function rotary knob, a ¼” headphone jack, and a selection of very, very bright LED lights. The knob can be used as an on-off switch, an input selector, and a (digital-domain) volume control. Because this device is intended as either a professional rack-mount item or as an enhancement to computer desktop audio, no remote control is included. Now this omission is a bit disappointing in a device priced close to $1,000. But in keeping with the Liberty philosophy of “one use,” it is understandable. The Liberty DAC was never intended to be a preamplifier. So, in its role as DAC and headphone amp, a remote control would have been mostly superfluous. Even so, I can always wish…

The back of the Mytek Liberty DAC is equally straightforward. There are multiple digital inputs, a power socket, and two pairs of analog outputs. There is also a 12-volt input jack and Mytek suggests that using a high-current 12-volt source (such as an auto battery) can provide improvements in performance. I didn’t try this option, but can understand how it could be so, provided that sufficiently heavy-gauge connecting wire was used and that the socket/plug can pass enough current.

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I expect that few will avail themselves of the battery option, simply due to the inconvenience. However, if you do opt to try this, be aware that auto batteries contain sulfuric acid, that leaks can be highly corrosive, and that the battery cells can generate free hydrogen. That hydrogen must be vented and dispersed lest flammable mixtures occur. Blowing up your stereo would have a profoundly low spousal-acceptance factor! (I’m picturing snickering firemen too. Ed.) So, remembering that hydrogen gas is lighter than air, be aware that ventilation above the battery is mandatory. (Safety rant concluded…)

In Use

So how does the Mytek Liberty DAC and Headphone Amplifier sound? I first evaluated the DAC with the unbalanced outputs driving a power amplifier directly. The sound was clean and detailed with absolutely none of the “Sabre-glare” that I was expecting. This alone makes the Liberty DAC highly unusual in the galaxy of Sabre-DAC devices. My only complaint (the lazy-man’s one) had to do with the lack of a remote and the necessity to get up and cross the room for every volume adjustment.

I then used the XLR adapters to feed a fully-differential, fully-balanced integrated amplifier. With the Liberty DAC’s output set to 100%, I could use the analog and remotely-controlled volume control of the integrated amp. In this mode, I again found the sound far better than average.

I soon noticed, however, that my left channel sound was intermittent. After verifying that the DAC, amplifier, and interconnects were functioning properly, I noticed that my TRS-to-XLR adapters were too wide for the spacing allowed by the Mytek Liberty’s TRS jacks. The shoulders of the adapters were physically pushing each other aside, making for intermittent connection on the stereo ¼” phone plugs. This is not the fault of the DAC, and a slimmer pair of cables (such as Mytek’s Metropolis models) would certainly not have this problem. I mention it only to caution those who might try to employ adapters such as mine.

Finally, I listened to the headphone output using easy-to-drive Koss Porta-Pro headphones. Running these phones was a walk in the park for the Mytek, which is built to run very demanding headphones. But despite the “running at an idle” state of the Mytek, the Koss phones sounded as good as I’ve heard them.

So as a preamplifier, I rate the Mytek Liberty very highly. It is not my choice for a primary preamplifier only because of its missing remote volume control. But since preamplifier use was never the primary purpose of the Liberty, that should not be a deciding factor.

What the Mytek Liberty DAC is primarily intended to be is a very high-quality headphone amplifier. As I’ve said, my selection of headphones is very limited, since I’m not a big cans listener. My choices were Apple ear-buds (that I don’t like anyway and didn’t try) and the lightweight Koss Porta-Pros. The Liberty’s detail from my Porta-Pros was as good as any I’ve heard.

The good news is that my audio amigo has a pair of very hard to drive Sennheiser HD-600 headphones that he’s agreed to use with this Mytek. Once he has a chance to try those phones with the Mytek Liberty, I’ll update this review in the comments section to discuss how well the Liberty’s headphone amp works with really demanding headphones.

Associated Equipment

MacBook Pro running jRiver Media Center 22 (Media center was not used with 192/24, MQA, or DSD content)

Ixos digital interconnect for S/PDIF inputs of the Mytek

AudioQuest and Blue Jeans interconnects

Emotiva BasX A-300 power amplifier

Yamaha A-S2000 integrated, balanced amplifier

Straight Wire and AudioQuest speaker wires

Thiel 1.6 speakers with and without subwoofers

Tekton Pendragon speakers with no subwoofers

RBH MC-6C sealed bookshelf speakers with subwoofers

PowerSound Audio S3601 dual 18” subwoofer

RBH DSA-31 10” subwoofer

A variety of music was used while auditioning the Mytek Liberty as a preamplifier. Included in my notes are:

“One Night In Rio” by Louie Austen – (Hôtel Costes byStéphanie Pompougnac)

Louie’s voice is one that can sound unnatural through many DACs, but the Mytek Liberty nailed his whiney tone perfectly here.

“Barflies at the Beach” by the Royal Crown Revue (New Music from Interscope Records 1997)

The big Royal Crown band should blare without glare. With this DAC, they do.

“Banned in the USA” by The 2 Live Crew (As Nasty As They Want To Be)

There is a great host of sound effects in this song, from news announcers to samples of “My Country ‘Tis Of Thee.” This is an oldie, but a goodie, and the sound effects should be startling in their diversity. The Mytek brings the goods!

“Cast Your Fate To The Wind” by (the late) Allen Toussaint (Allen Toussaint 1971)

This soulful take on an old classic is so much fun, in my opinion, that it should be part of almost every review. Allen’s piano should sound real and present without any portion of its frequency range sounding recessed or excessively forward. The Liberty manages a clean and nuanced presentation.

“Pukara” by Andean Symphony V (Inca Gold, 1998)

The bass wind instrument (I’m not sure of the name) on this recording is difficult to reproduce. Some DACs have disassociated the puff of the breath and the hum of the wooden instrument. But the Mytek makes the combination a whole. Even so, some of my speakers fought the music (being mostly a satellite-subwoofer-crossover artifact, I think). But headphone listening makes clear that the disconnect is not the fault of the Liberty.

“Un Fiesta Anima” by Padu Del Caribe (Cu Amor | Carino)

This is “love it or hate it” music, and I’m obviously in the former camp. I find the juxtaposition of the piano and out-of-time accompaniment to be a musical jolt, but an enjoyable one. Others for whom I’ve played this music absolutely can’t stand it. But what I think makes this a good recording for analyzing a DAC is that deliberately discordant timing makes the listener pay more attention to the sounds of the instruments. If the DAC cannot differentiate between all the things happening in the mix, this song can sound like a disorganized jumble. But if the tonality is right, this music is great, great fun. Again, the Mytek nails it!

“Orleans Stomp” by The Cruel Sea (Honeymoon is Over 1993)

Yes, I’m partial to New Orleans music. And this one reminds me of the Meters in its presentation. Again, a dense mix demands a lot from the DAC, and again, the Mytek seems to come through without any of the dreaded “Sabre glare.” Well done.

“Scarlotti Sonata K. 491” by Vladimir Horowitz (A Reminiscence – 2004)

Solo piano is always one of the toughest tests of a DAC (and the rest of the system, for that matter). Since we’ve all had plenty of experience hearing real pianos in real spaces, our minds are calibrated to the live sound. Some DACs emphasize one part of the frequency spectrum over another, making a pianist sound as if she or he is playing louder and softer (or often closer and farther away) as the music ascends or descends the keyboard. But to my ears, the Mytek provided a unedited frequency response from one end of the instrument to the other.

“Wieniawski Scherzo Tarantelle” by Itzhak Perlman (Itzhak Perelman Encores – 1988)

So, HERE’S where any glare will be evident (if it’s there to be heard in the first place). The fundamentals and overtones of the violin strings and its body sounds span the entire upper midrange to treble region. The finger sounds and bow scrape should be clear and obvious without being dominating. If Mr. Perelman doesn’t seem to be in the room with you, something’s wrong. If the instrument sounds screechy, something’s wrong.

Here’s where I listened most closely for the “Sabre glare”, to my surprise and pleasure, I found none from the Mytek Liberty. If only my OPPO 205 had such poise and neutrality! Ironically, my older 105 Oppo COULD present this music as well as the Mytek does. But rest assured that to my ears, the Mytek is as glare-free as two of the best DACs I’ve yet auditioned, Schiit’s Gungnir Multibit and Rega’s DAC-R.

Bellezza Crudel – Vivaldi “Cupido, Tu Vedi by Tone Wik & Baokkanerne”

Vivaldi Cantata Rv 679: Che Giova Il Sospirar, Povero Core – Aria: Cupido, Tu Vedi by Tone Wik & Baokkanerne.Playing this off the hard drive in full MQA provided a better image (both side-to-side and front-to-back) than my previous Meridian Explorer II in hardware MQA mode. The imaging, through the Mytek, also exceeded the performance of my previous AudioQuest Dragonfly Red in software MQA mode.

Why this is so, I won’t even speculate, because the MQA format itself is supposed to minimize playback variability. But the sound spoke for itself, and the Liberty DAC delivered yet again.

Almost all the above music was played via the TOSLINK optical and the S/PDIF coaxial inputs of the Mytek Liberty DAC. To test the USB capabilities, I hooked up my MacBook Pro directly to the USB input of the Mytek, made a few changes in the setup, then tried a variety of 192/24, MQA, and DSD files. All played perfectly, and without trouble. The lights on the front of the Liberty DAC confirm the type of file currently playing. The MQA material (mostly downloaded from the 2L website) was particularly pleasant.

I’ll mention again that my limited trial of the headphone amplifier was done using Koss PortaPro cans, and that I’ll be sure to follow-up this review in the future with at least one, and preferably more, harder-to-drive headsets.

Conclusions

The MYTEK LIBERTY DAC AND HEADPHONE AMPLIFIER offers exceptionally good sound with a smooth and detailed frequency response that avoids glare. Its price is commensurate with its performance.

Likes

Avoids the lower treble brightness that some Sabre chipsets exhibit

The ability to run balanced or unbalanced outputs allows flexibility

MQA-in-hardware decoding is still a rare feature in DACs

Full hardware MQA capability

This DAC sounds very good!

Would Like To See

A remote-volume control would have made this a viable preamp

The front panel LEDs are exceptionally bright – a dimmer control would be nice

As a balanced and unbalanced DAC and preamplifier, the Mytek Liberty has superb technical chops. Its ability to handle any and all sources I threw at it (including MQA, DSD, and high-bitrate files) exceeds that of any other device I’ve tested. On the other hand, the lack of a remote-control volume pretty much disqualifies the Liberty (for most potential buyers) as anything but a headphone amplifier. This is in keeping with the Liberty’s stated design goal of “one-function, done very well.”

The sound of the Mytek Liberty is also exceptionally good. Better, in fact, than any other DAC I’ve yet heard that uses the Sabre-brand chipset. Apparently, significant attention was paid to filtering and buffering, and that attention shows in its highly-dynamic sound that (at least in my system) lacks any hint of harshness or glare.

Used within its intended parameters, the Mytek Liberty DAC and Headphone Amplifier seems like a winner to me!

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