DOCSLIB.ORG

KAOSS PAD QUAD Owner's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KAOSS PAD QUAD Owner's Manual 1 Precautions THE FCC REGULATION WARNING (for USA) Location This equipment has been tested and found to comply with the limits for a Class B digital device, Using the unit in the following locations can pursuant to Part 15 of the FCC Rules. These limits result in a malfunction. are designed to provide reasonable protection • In direct sunlight against harmful interference in a residential instal- • Locations of extreme temperature or hu- lation. This equipment generates, uses, and can midity radiate radio frequency energy and, if not installed • Excessively dusty or dirty locations and used in accordance with the instructions, may • Locations of excessive vibration cause harmful interference to radio communica- tions. However, there is no guarantee that interfer- • Close to magnetic fields ence will not occur in a particular installation. If Power supply this equipment does cause harmful interference Please connect the designated AC adapter to to radio or television reception, which can be de- termined by turning the equipment off and on, the an AC outlet of the correct voltage. Do not con- user is encouraged to try to correct the interfer- nect it to an AC outlet of voltage other than that ence by one or more of the following measures: for which your unit is intended. Reorient or relocate the receiving antenna. Interference with other electrical devices Increase the separation between the equipment and receiver. Radios and televisions placed nearby may Connect the equipment into an outlet on a circuit experience reception interference. Operate different from that to which the receiver is con- this unit at a suitable distance from radios and nected. televisions. Consult the dealer or an experienced radio/TV technician for help. Handling Unauthorized changes or modification to this sys- To avoid breakage, do not apply excessive tem can void the user’s authority to operate this force to the switches or controls. equipment. Care Notice regarding disposal (EU only) If the exterior becomes dirty, wipe it with a When this “crossed-out wheeled bin” sym- clean, dry cloth. Do not use liquid cleaners bol is displayed on the product, owner’s such as benzene or thinner, or cleaning com- manual, battery, or battery package, it sig- pounds or flammable polishes. nifies that when you wish to dispose of this product, manual, package or battery you Keep this manual must do so in an approved manner. Do not After reading this manual, please keep it for discard this product, manual, package or later reference. battery along with ordinary household waste. Dis- posing in the correct manner will prevent harm to Keeping foreign matter out of your equipment human health and potential damage to the envi- Never set any container with liquid in it near ronment. Since the correct method of disposal will this equipment. If liquid gets into the equip- depend on the applicable laws and regulations in ment, it could cause a breakdown, fire, or elec- your locality, please contact your local administra- tive body for details. If the battery contains heavy trical shock. metals in excess of the regulated amount, a Be careful not to let metal objects get into the chemical symbol is displayed below the “crossed- equipment. If something does slip into the out wheeled bin” symbol on the battery or battery equipment, unplug the AC adapter from the package. wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased. * All product names and company names are the trademarks or registered trademarks of their respec- tive owners. 3 New Vinyl Break effect The Vinyl Break effect simulates how a turn- Introduction table platter slows down gradually before stop- Thank you for purchasing the Korg KAOSS ping. The effect also simulates Scratch play PAD QUAD dynamic effect processor. To en- on a turntable. These turntable effects can be joy the KAOSS PAD QUAD to the fullest po- useful for DJ performances. tential, please read this manual carefully and Tap Tempo and Auto BPM use the KAOSS PAD QUAD only as directed. The KAOSS PAD QUAD’s Auto BPM circuit derives tempo information from any audio source and can sync effects to play in time. Main features You can also tap the Tap button along with the beat to sync with the music’s BPM. Create custom KAOSS effects combinations Freeze function You can combine up to four different effects to create your custom KAOSS effect combina- Pressing the FREEZE button while touching tions, with literally hundreds of possibilities. the pad will memorize your position on the Since switching is as easy as hitting a button pad, allowing you to remove your finger and and touching the touch pad, you can also swap keep the effect(s) playing. Since each effect effects as often as desired as the song pro- module features its own FREEZE button, the gresses. looper can play a phrase repeatedly using the same “frozen” effect, while you control other Total control and smooth playability effects via the touch pad. Creative freedom is Simply touch, tap or rub your finger across the all yours. Turning an effect on or off, or chang- surface of the touch pad, and you will be in ing the effect within one of the four banks, will total control of the effects. call up the effect with the “frozen” position on Flexible Looping the pad. In addition to the normal Looper function, the KAOSS PAD QUAD features a Reverse Looper, and a Loop Slicer that slices recorded samples and then loops them automatically between manually adjusted points. You can switch the type of the Looper during playback. These newly-designed Looper effects increase the variety of performance possibilities. 4 Getting ready Connections AC AC ADAPTER MIXER, DJ MIXER CD PLAYER Connecting your monitor amp or mixer to the output Connecting the KAOSS PAD QUAD to send/return jacks jacks You can use the KAOSS PAD QUAD as an ex- Connect the KAOSS PAD QUAD’s LINE OUT ternal effect unit by connecting it to the send jacks to your mixer or powered monitors (am- and return jacks of a mixer. For this connec- plified speakers). tion, set the CONNECTION switch to SEND. If you’re using headphones, connect them to DIRECT: Both input and effect sounds will be the PHONES jack. output from the KAOSS PAD QUAD. When TIP The KAOSS PAD QUAD’s sound will still be out- you are not touching the touch pad, the input put from the LINE OUT jacks even if headphones are sound will be output as is. “Controlling the ef- connected. fect depth (p.7)” Connecting your mic or audio source to the input SEND: Only the effect sound (not the input jacks sound) will be output from the KAOSS PAD If you’re using a mic, connect it to the MIC QUAD. jack. TIP For more information on the send and return If you want to connect a sampler or other audio jacks, refer to the owner’s manual for the device that you are connecting. source device, connect its output jacks to the KAOSS PAD QUAD’s LINE IN jacks. TIP When you are using the KAOSS PAD QUAD as an external effects unit, the return level may be lower Always connect devices to your KAOSS PAD QUAD than expected. In such cases, adjust the input level with the power turned off. Careless operation can damage on the KAOSS PAD QUAD. “Adjusting the volume your speaker system or cause other issues. (p.6)” If you are not using a mic, turn the MIC VOLUME knob all the way down. 5 will not be applied. Operation TIP The initial factory setting is “Ena” for the Auto Power Off function. Using the power switch Adjusting the volume 1. Connect the KAOSS PAD QUAD to your 1. Use the INPUT VOLUME knob to adjust other equipment as shown in the diagrams the input level. on the preceding pages, and connect the AC Adjust the level as high as possible without adapter to an electrical outlet. making the peak indicator light up red when Never use any AC adapter other than the one that’s in- audio is input from the connected equipment. cluded. If you are using the mic jack, adjust the MIC 2. Press the Power button to turn the KAOSS VOLUME knob as appropriate for the sensi- PAD QUAD on. The display will light up. tivity of the mic, so that the sound is not dis- To turn the KAOSS PAD QUAD off, press and torted. hold down the Power button until the display 2. If you are listening through headphones, indicators turn off. use the PHONES VOLUME knob to adjust the The settings will not be retained after the power is headphone level. turned off. TIP The PHONES VOLUME knob does not affect the level at the LINE OUT jack. Auto Power Off The KAOSS PAD QUAD features an Auto Power Off function, which turns the unit off Selecting an effect automatically if the unit is left unused for ap- The KAOSS PAD QUAD features four effect proximately four hours. modules (1–4). You can assign a different ef- TIP If any sound is being input, this function will not fect to each of these four models. kick in. Touching the touch pad will cause all selected Disabling the Auto Power Off function effects to be applied to the sound. You can Follow the steps below to disable the Auto also continue applying the effects by pressing Power Off function. the FREEZE button. “Freeze (p.7)” 1. Turn the KAOSS PAD QUAD on while TIP Effects are applied in ascending order of the ef- pressing and holding down the 1DELAY but- fect modules (1 to 4).
Load more

Recommended publications
  • TECH RIDER Bunkr
    BUNKR STUDIO BASSANO DEL GRAPPA 36061 Console – Thermionic Culture Ltd. Fat Bustard II 14ch Summing Analog Valve Mixer – Solid State Logic Six SuperAnalogue™ Desktop Mixer Pre Amps – Chandler Limited TG2 Abbey Road Special Edition Stereo Preamp/DI – Chandler Limited Germanium Preamp/DI – Empirical Labs Mike-E Preamp/Comp – SSL SuperAnalogue™ Mic’ Preamp (2x) – Focusrite ISA 428 Preamp – Focusrite ISA Two Preamp – Motu 896 Mk3 Preamp Outboards – Warm Audio EQP-WA Tube EQ (Pultec EQP-1A replica) (2x) – Klark Teknik 76-kt (1176 Syle FET Compressor) (2x) – Dbx 160A American Series Compressor – Dbx 166XL Stereo Gate/Comp/Limiter – Phonic PCL 3200 Gate/Comp/Limiter – Audioscope 2813 – TC Electronic Clarity M Converters – Apogee Symphony (8 analog i/o + 8 digital i/o) – Apogee Quartet (4 analog in, 8 analog out) – Motu 896 Mk3 (8 analog i/o) – RME Fireface Monitoring – Dynaudio BM15A – Yamaha NS10 w/ Yamaha Power Amp & M Audio SBX10 Pro Active Subwoofer – Behringer Behritone C5A – PreSonus Eris5 – up to octophonic multichannel configuration Reel Tape Recorder – Revox A77 1/4 ” 2 tracks tape recorder Computers – Apple Mac Pro Intel 2,8 Ghz 8-Core Dual 8 Gb RAM – Apple iMac Intel Core 2 Duo 3.06 Ghz 8 Gb RAM – Apple Mac Book Pro Retina 2,5 GHz Intel Core i7 16 Gb RAM Software – Avid ProTools HD3 Accel w/ ProTools HD 9, Pro Tools 10/11 – Ableton Live Suite 10 – Apple Logic Pro X – Cycling 74 Max8 Microphones – DPA 4006A Stereo Matched – Akg C414 Xls (2) – Akg D112 – Audio Technica AT4040 – Audio Technica AT2020 – Audio Technica ATM 250 – Audix D6 – Audix i-5 – Audix D4 – Audix D2 (2) – ElectroVoice RE20 – G.S.A.
    [Show full text]
  • Controllers As Musical Instruments, Controllerism As Musical Practice
    Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy.
    [Show full text]
  • KAOSS PAD Entrancer Owner's Manual
    OWNER’S MANUAL MANUEL D’UTILISATION BEDIENUNGSANLEITUNG Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration • Close to magnetic fields Power supply Please connect the designated AC adapter to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended. Interference with other electrical devices Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions. Handling To avoid breakage, do not apply excessive force to the switches or controls. Care If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes. Keep this manual After reading this manual, please keep it for later reference. Keeping foreign matter out of your equipment Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC adapter from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased. THE FCC REGULATION WARNING (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
    [Show full text]
  • KORG Pa1000 Quick Guide
    5 E Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy Web www.korg.com ENGLISH | MAN0010117 | Quick Guide | Quick Pa1000 © KORG Italy 2020. All rights reserved PART NUMBER: MAN0010117 Pa1000 Pa1000 Important safety instructions 1. Read these instructions. ▪ The ventilation should not be impeded by 2. Keep these instructions. covering the ventilation openings with items, such as newspapers, table-cloths, curtains, 3. Heed all warnings. etc. 4. Follow all instructions. ▪ No naked flame sources, such as lighted can- 5. Do not use this apparatus near water. dles, should be placed on the apparatus. 6. Clean only with dry cloth. ▪ Do not install this equipment in a confined 7. Do not block any ventilation openings. Install space such as a box for the conveyance or in accordance with the manufacturer’s in- similar unit. structions. ▪ WARNING – This apparatus shall be connect- 8. Do not install near any heat sources such as ed to a mains socket outlet with a protective radiators, heat registers, stoves, or other ap- earthing connection. paratus (including amplifiers) that produce ▪ Turning off the standby switch does not com- heat. pletely isolate this product from the power 9. Do not defeat the safety purpose of the po- line, so remove the plug from the socket if larized or grounding-type plug. A polarized not using it for extended periods of time, plug has two blades with one wider than the or before cleaning. Please ensure that the other. A grounding type plug has two blades mains plug or appliance couple remains read- and a third grounding prong.
    [Show full text]
  • El Beatbox: Panorama Actual Y Propuesta De Grabación Y Producción En Estudio
    EL BEATBOX: PANORAMA ACTUAL Y PROPUESTA DE GRABACIÓN Y PRODUCCIÓN EN ESTUDIO Por: Jesús David Acosta Cabrera C.C 1032420270 Dirección Metodológica Germán Loedel, Ph.D Dirección específica Eduardo Andrés García Proyecto Artístico presentado para la obtención del título de Maestro en Música con énfasis en Ingeniería de sonido Facultad de Artes Universidad El Bosque Bogotá 2014-1 En la presente se hace constar que la Universidad El Bosque, no se hace responsable de los conceptos emitidos por los investigadores en su trabajo, solo velara por el rigor científico, metodológico y ético del mismo en aras de la búsqueda de la verdad y la justicia. AGRADECIMIENTOS Primero que todo quiero agradecer a mi madre por el apoyo brindado durante todo el transcurso de mi formación académica. A mis maestros, por su enseñanza, la cual me sirvió para mi desarrollo profesional. Quiero agradecer también a mis asesores, metodológico y específicos German Loedel, Eduardo García y José David Zárate respectivamente, por brindarme el apoyo y la guía necesaria para sacar adelante este trabajo de grado. Agradezco a Studios Jomi por la paciencia, los consejos y el apoyo brindado en todo el proceso de producción musical. Y por último a todas las personas, amigos y familiares que me brindaron su apoyo en muchos momentos que lo necesité. Tabla de contenido INTRODUCCIÓN ....................................................................................................................... 8 1. ASPECTOS GENERALES DE LA INVESTIGACIÓN ..........................................................
    [Show full text]
  • Iwavestation Owner's Manual
    Contents MIXER ...................................................... 21 MIXER page ..............................................................................22 Introduction ................................................4 MIDI page .................................................................................23 Main Features ............................................4 EDIT ........................................................ 25 How the iWAVESTATION is structured ...........5 How a Patch is structured ........................................................25 Performances .............................................................................5 Oscillators ....................................................................................... 25 Patches ........................................................................................5 Vector synthesis ........................................................................... 25 Waveforms ..................................................................................6 Waves ............................................................................................... 26 Wave sequences .........................................................................6 Wave sequences ........................................................................... 26 Cards ...........................................................................................6 Filter .................................................................................................. 26 Pan
    [Show full text]
  • “BACKLINE” STUDIO 1 EQUIPMENT SYSTEM Consoles SSL 4056E
    MUSIC LAN STUDIOS “EQUIPMENT” & “BACKLINE” STUDIO 1 EQUIPMENT SYSTEM Consoles SSL 4056E Total Recall G + Computer (56 Channels), Neve 8036 (24 Channels 1081) Recorders: Digital: ProTools HD3, Prism Sound ADA8, D.A.D. AX24, Apogee PSX100 Analog: Sony APR24, Otari MTR12 Pro Tools HD3 Accel 2x2.8 GHz Quad Core Intel Xeon with 8GB of memory Digidesign 192 interface - 3x, Digidesign 192 Digital - 1x Digidesign Sync I/O - 1x Digidesign Midi I/O - 1x Monitors/Power amps Dynaudio M2+ Abes II- Pair Yamaha NS-10M (unpowered) - Pair Genelec 1031 (powered) – Pair Bryston 4BSST power amp - 2x Headphone System Furman Cue System – x 4 AKG K-271 Studio Headphones – x5 AKG K-141 Studio Headphones – x5 Beyer Dynamic DT100 & DT150- x1 Sony MDR V-600- x2 Senheisser HD 433 – x11 1 OUTBOARD GEAR Preamps /EQ 24 Neve 1081 , 56 SSL4000E, 8 Api 512B , 2 Api EQ 550 B, 2 Millenia HV3(16 preamps), 1 Millenia STT1, 2 TLA N1, 2 Amek PurePath, 1 Avalon VT737,1 Avalon U5, TL Audio Dual Valve Mic Preamp. Compressors 1 Neve 33609, 2 Neve 2254, 2 Distressor EL8, 2 Urei 1176, 1 Urei LA4,1 Universal Audio 6176, Amek 9098 Stereo Compressor, 2 dbX 160, 1 dbX 165, Joemeek VC1. Effect Units Lexicon 960L, Lexicon 480L, Lexicon PCM91, Lecicon PCM 41, TC6000, 1 TC electronic 2290, 1 TC electronic Fireworx, 1 TC Electronics DTWO, 1 Studio Technologies AN-2 Stereo Simulator, Eventide Orville, Eventide H3000S, Pulteq EQP1A, 1 SPL Transient Designer TD4, 1 SPL Vitalizer, Elektrix Filter Factory, Elektrix Mo, Elektrix Warp, Sony D7, Yamaha Rev7.
    [Show full text]
  • ELECTRIBE Wave Is Structured
    E 3 Table of Contents Introduction .......................................................4 Part Names and Functions ............................ 14 Main Features .....................................................................4 Header ................................................................................ 15 What’s a wavetable sound generator? ................................................4 Edit Section .........................................................................17 How the ELECTRIBE Wave is structured ......................5 Step section ....................................................................... 18 About the parts ...................................................................5 Parameters for Each Page ............................ 20 Synth Part ..................................................................................................5 MIXER Page ..................................................................... 20 Drum Part ..................................................................................................6 SOUND Page .................................................................... 21 Sequencer ............................................................................7 SYNTH ..................................................................................21 Motion sequences ..............................................................7 Header ......................................................................................................22 Mixer ......................................................................................7
    [Show full text]
  • Korg Oasys Service Manual
    Korg Oasys Service Manual KORG OASYS -= Repair / SERVICE MANUAL - Booklet in Musical Instruments & Gear, Pro Audio Equipment, Parts & Accessories / eBay. To get the latest support information for your Korg product, simply click on the “Select Product” drop down If you are unable to find a manual for your product in the list below, let us know! RESULTS FOR: OASYS Service Center Locator. KORG OASYS 76 OASYS 88 SM. Sponsored link. Type: (PDF), Size 5.4 MB, Page 41, Category: INSTRUMENT - SERVICE MANUAL. Warning! If you are not. Refer all servicing to qualified service personnel. The Korg OASYS software contained in this product is dy- The OASYS includes two owner's manuals:. Sticky: Korg OASYS - Manual Errors and Clarifications ( Multi-page thread 1 2) Sticky: The Korg OASYS Master Resource List OASYS Service Manuals. All Access Subscription · Tablet Subscriptions · Renew · Customer Service · Give a With the Triton Taktile, Korg aims to sweeten the pot by offering something we feature familiar from such high-end Korg workstations as the OASYS and M3. need to make Preferences settings, but the PDF manual is crystal clear. Korg Oasys Service Manual Read/Download Created by KORG to satisfy today's most demanding, accomplished performers and Support. Manuals · Software · Drivers Catalyst Volume 2: 32 amazing KARMA-fied combis for Korg Kronos (all models) and OASYS. Every resources and technology of service to the modern musician has been refined, perfected,. I think I'm not going to be able to do what I want, which is to use this Korg Oasys PCI card I got with my old Windows XP computer.
    [Show full text]
  • Laptop Performance in Electroacoustic Music: the Current State of Play
    Laptop Performance in Electroacoustic Music: The current state of play MMus I. J. Algie 2012 2 Laptop Performance in Electroacoustic Music: The current state of play Ian Algie MMus (Reg No. 090256507) Department of Music April 2012 Abstract This worK explores both the tools and techniques employed by a range of contemporary electroacoustic composers in the live realisation of their worK through a number of case studies. It also documents the design and continued development of a laptop based composition and performance instrument for use in the authors own live performance worK. 3 4 Contents TABLE OF FIGURES ................................................................................................................ 6 PART 1 – WHO IS DOING WHAT WITH WHAT? ............................................................ 7 INTRODUCTION ............................................................................................................................ 8 SCANNER ................................................................................................................................... 13 HELENA GOUGH ........................................................................................................................ 15 LAWRENCE CASSERLEY ............................................................................................................ 19 PAULINE OLIVEROS .................................................................................................................. 22 SEBASTIAN LEXER ...................................................................................................................
    [Show full text]
  • 2013 – 50Th Anniversary Issue
    Magazine 2013 – 50th anniversary issue www.korg.co.jp | www.korg.com | www.korg.co.uk Magazine Today, and into the future; inspiring instruments that make music fun. 2013 – 50th anniversary issue Message from Korg .................................................................................... 3 50 years of Korg – Timeline ................................................................... 4-5 SYNTHESIZERS & KEYBOARDS Kronos X ..................................................................................................... 6 Krome ................................. ......................................................................... 7 KingKorg ...................................................................................................... 8 MS-20 Mini .................................................................................................. 9 KORG ARTISTS ..................................................................................... 10-11 microKorg & microKorg XL+ ...................................................................... 12 SV-1 .......................................................................................................... 13 KORG LEGENDS ................................................................................... 14-15 PROFESSIONAL ARRANGERS Pa600 ........................................................................................................ 16 Pa3X ......................................................................................................... 16 microArranger
    [Show full text]
  • Sweetnotes Fall 1999
    Sweetwater named “Retailer of the Year” Page 5 MUSIC TECHNOLOGY DIRECT FALL 1999 ISSUE SPECIAL SUMMER NAMM ISSUE! It was hot in Nashville this summer, both outside and inside the Nashville Convention Center where the latest NAMM Show took place. Yes, there was more great new gear on display (no surprise) and we were there to docu- ment the event for all of you. From sophisticated synths CREATE NOW WHILE to great guitars to the newest groove making modules, BUILDING FOR THE FUTURE! you’ll find our complete report inside! — SEE PAGE 3 With all the home, project and pro studio recording options out there, it’s tough to know where to start. Of course you want something powerful and flexible that fits within your budget. But an equally important necessity is to start with a system that will grow with you as your needs grow. We could get into a lengthy discussion of hard disk recording vs. tape-based recording, but that’s an issue for another forum. Let’s just say you want a flexible solution that will allow you to expand as your needs (and budget) change. Now call us partial if you’d like, but we do sell an awful lot of Digidesign products. And we’ve had tremen- dous support from the company, not to mention overwhelming responses from customers who have bought their hardware and software. So when we tell you about their great new products, we’ll admit up front that we’re a bit biased. But please, read on and judge for yourself .
    [Show full text]