Mikorist

GLOSSARY OF AUDIOPHILE TERMS Analogthe actual sound wave. Baffle bounceReflection off the baffle of the sound wave after the main wave has launched. The larger the baffle, the more bounces. BandwidthAny spectrum of frequencies used for discussion. Audio bandwidth is 20hz to 20,000Hz. Subwoofer bandwidth might be 15Hz to 45Hz etc. Bass reachAbility to go down to the low frequency extremes. Bass tightnessTuneful, accurate bass not bloated or muddy. Bi-ampingUsing one channel of an amplifier to drive each Ribbon and midbass so that a stereo pair of speakers requires 4 channels of amplification. Means that instead of driving a speaker full-range with a single channel of amplification, through a single set of speaker cables, you actually connect two sets of cables, with each set driven by a separate amplifier, or separate channels of a multi-channel amplifier. This way, low frequencies and high frequencies each receive dedicated amplifiers. Bi-wiringRunning separate cables from the amplifier to the Ribbon and midbasses. CablesCarrying higher voltage and power, running from the amplifiers to the speakers. Also power cables CrossoverDigital, passive, electronic - means of channeling high frequencies into the high frequency driver (Ribbon midrange/tweeter or dome tweeter etc.), and low frequencies to the woofer. DiffractionAnomalies created when a wave moves out from the diaphragm and encounters a radical change in the baffle - say a 90 degree corner. The sharper the corner, the greater the diffraction effect. DigitalThe soundwave is broken down into a digital format which bears no physical resemblance to the original analog waveform. Digital chainWhere the complete signal path is digital and there are no analog steps except when the amplifier converts the digital information into the analog waveform which powers the speakers. DispersionHorizontal, vertical - radiation pattern - how evenly the soundwave moves off to the sides and up and down. DynamicsAbility to play loudly and cleanly. EQEqualizing electronically to deal with room acoustic problems or produce special effects. ExcursionForward and backward movement of the diaphragm. EtchedEmphasis of very high frequencies sounding very live but harsh. HardToo much mid-treble emphasis leading to rapid listening fatigue.Interconnectscarrying low voltage signals from the CD player say to the preamp and from the preamp to amp. Linesourcetall loudspeaker with a line of drivers or diaphragms (in the case of Ribbon) all producing the same frequencies. Tall enough to put the listener in the nearfield where there is very little room interaction. The taller the linesource, the further back the nearfield area extends. Very little floor or ceiling reflections. Radiates in a columnar form. Midrangespeaker driver reproducing middle (say speech) frequencies. Midbass driverbasically a woofer which also operates well into the lower midrange. Muddyrefers to bass and midbass where the notes are indistinct and poorly defined. Off-axisthe position relative to a line straight ahead of the diaphragm. Off-axis vertical and off-axis horizontal. Phasetime arrival of the information. Out of phase means wave is 180 degrees shifted from the in phase (ideal) wave. Planarany flat surface diaphragm driver typically film based, electrostatic, Ribbon types. Pointsourceradiates hemispherically - as much towards the ceiling and floor as to the sidewalls and listening position. Ribbonthin conductive diaphragm suspended in strong magnetic gap. Diaphragm vibrates when audio signal is put through it. Room acousticsthe sonic signature of a room, the frequencies it emphasizes and damps down. Softrolled off treble and bass producing very mellow sound but losing a lot of information. Soundstagingeffect of hearing the soundsources - instruments, singers etc. - located in specific places horizontally and in front of and behind the plane of the speakers. 3D sound localization as it would appear in a live show. Smooth responseeven frequency response so that all frequencies are presented evenly, it their proper perspective. Suck outa hole or depression in the frequency response - not as easy to detect as a boosted section of bandwidth. Tight group of curvesoff axis response very close to that of the on-axis response. Ie broad horizontal dispersion giving even sound in a wide listening area. Tweaksmodifying you sound components for better performance. Transparencyability to hear into the music. Separation of instruments, removal of "veils" from obscuring musical detail. Naturalness. Tweeterspeaker driver reproducing high frequencies. Voicing a speakergiving a speaker a specific character. (Newform's policy is to remove character as much as possible) Wooferspeaker driver reproducing low frequencies.

Ovo bi bilo odprilike ono sto bi svaki pravi Audiofil trebalo da zna napamet u po noci :buehehe:ne bi bilo lose kada bi neko imao dobre volje i vremena da sve ovo prevede na Srpski sta se moze prevesti :happy64:Aggressive - Forward and bright sonic character.Airy - Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high frequency reflections. High frequency response extends to 15 or 20 kHz.Ambience - Impression of an acoustic space, such as the performing hall in which a recording was made.Analytical - Highly detailed.Articulate - Intelligibility of voice(s) and instruments and the interactions between them.Attack - The leading edge of a note and the ability of a system to reproduce the attack transients in music.Balance - essentially tonal balance, the degree to which one aspect of the sonic spectrum is emphasized above the rest. Also channel balance, the relative level of the left and right stereo channels.Bass - The bass between 60Hz and 250Hz contains the fundamental notes of the rhythm section. EQing this range can change the musical balance, making it fat or thin. Too much boost in this range can make the music sound boomy. Bassy - Emphasized Bass.Blanketed - Weak highs, as if a blanket were put over the speakers.Bloated - Excessive mid bass around 250 Hz. Poorly damped low frequencies, low frequency resonances. See tubby.Blurred - Poor transient response. Vague stereo imaging not focused.Body - Fullness of sound, with particular emphasis on upper bass. Opposite of thin.Boomy - Excessive bass around 125 Hz. Poorly damped low frequencies or low frequency resonances.Boxy - Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz.Breathy - Audible breath sounds in woodwinds and reeds such as flute or sax. Good response in the upper mids or highs.Bright - A sound that emphasizes the upper midrange/lower treble. Harmonics are strong relative to fundamentals.Brilliance - The 6kHz to 16kHz range controls the brilliance and clarity of sounds. Too much emphasis in this range can produce sibilance on the vocals. Chesty - The vocalist sounds like their chest is too big. A in the low frequency response around 125 to 250 Hz.Clear - See Transparent.Closed - A closed-in sound lacking in openness, delicacy, air, and fine detail usually caused by Roll-off above 10kHz; in contrast to Open.Coloured - Having timbres that are not true to life. Non flat response; peaks or dips.Crisp - Extended high frequency response, especially with cymbals.Dark - A tonal balance that tilts downwards with increasing frequency. Opposite of bright. Weak high frequencies.Decay - The fadeout of a note, it follows the attack.Definition (or resolution) - The ability of a component to reveal the subtle information that is fundamental to high fidelity sound.Delicate - High frequencies extending to 15 or 20 kHz without peaks.Depth - A sense of distance (near to far) of different instruments.Detail - The most delicate elements of the original sound and those which are the first to disappear with lesser equipment.Detailed - Easy to hear tiny details in the music; articulate. Adequate high frequency response, sharp transient response.Dry - A sound that is devoid of "juice", which usually comes across as fine grained and lean. Also a loss of reverberation as produced by a damped environment.Dull - See dark.Dynamic - The suggestion of energy and wide dynamic. Related to perceived speed as well as contrasts in volume both large and small.Edgy - Too much high frequency response. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted harmonics that add an edge or raspiness.Euphonic - An appealing form of distortion that generally enhances perceived fidelity, often ascribed to the harmonic elaborations of some valve amps.Fast - Good reproduction of rapid transients which increase the sense of realism and "snap".Fat - See Full and Warm. Or, spatially diffuse; a sound is panned to one channel, delayed, and then the delayed sound is panned to the other channel. Or, slightly distorted with analogue tape distortion or tube distortion.Focus - A strong, precise sense of image projection.Forward(ness) - Similar to an aggressive sound, a sense of image being projected in front of the speakers and of music being forced upon the listener.Full - Strong fundamentals relative to harmonics. Good low frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin.Gentle - Opposite of edgy. The harmonics (of the highs and upper mids) are not exaggerated, or may even be weak.Grainy - A slightly raw, exposed sound which lacks finesse. Not liquid or fluid. Grip - A sense of control and sturdiness in the bass.Grungy - Lots of harmonic or I.M. (Intermodulation) distortion.Hard - Too much upper midrange, usually around 3 kHz. Or, good transient response, as if the sound is hitting you hard. Uncomfortable, forward, aggressive sound with a metallic tinge.Harsh - Grating, abrasive. Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz. Or, excessive phase shift in a digital recorder's low pass filter.Headstage - The perception of the Soundstage while listening to headphones.High Mids - The upper midrange between 2kHz and 4kHz can mask the important speech recognition sounds if increased, introducing a lisping quality into a voice and making sounds formed with the lips such as “m,” “b” and “v” indistinguishable. Too much increase in this range — especially at 3kHz — can also cause listening fatigue.Honky - Like cupping your hands around your mouth. A in the response around 500 to 700 Hz.Imaging - The sense that a voice or instrument is in a particular place in the room.Juicy - Sound that has joie de vivre, energy and life.Low Level Detail - The quietest sounds in a recording.Low Mids - The midrange between 250Hz and 2000Hz contains the low order harmonics of most musical instruments and can introduce a telephone-like quality to the music if increased too much. Increasing the 500Hz to 1000Hz octave makes the instruments sound horn-like, while increasing the 1kHz to 2kHz octave makes them sound tinny. Excess output in this range can cause listening fatigue.Mellow - Reduced high frequencies, not edgy.Muddy - Not clear. Weak harmonics, smeared time response, I.M. distortion.Muffled - Sounds like it is covered with a blanket. Weak highs or weak upper mids.Musical (or musicality) - A sense of cohesion and subjective "rightness" in the sound.Nasal - Honky, a in the response around 600 Hz.Naturalness - Realism.Opaque - Unclear, lacking transparency.Open - Sound which has height and "air", relates to clean upper midrange and treble.Pace - Often assoc. with rhythm, a strong sense of timing and beat.Piercing - Strident, hard on the ears, screechy. Having sharp, narrow peaks in the response around 3 to 10 kHz.Presence Range - The presence range between 4kHz and 6kHz is responsible for the clarity and definition of voices and instruments. Increasing this range can make the music seem closer to the listener. Reducing the 5kHz content makes the sound more distant and transparent. Presence - A sense that the instrument in present in the listening room. Synonyms are edge, punch, detail, closeness and clarity. Adequate or emphasized response around 5 kHz for most instruments, or around 2 to 5 kHz for kick drum and bass.Puffy - A in the response around 500 Hz.Punchy - Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a around 5 kHz or 200 Hz.Resolution - See DefinitionRich - See Full. Also, having euphonic distortion made of even order harmonics.Roll-off (Rolloff) - The gradual attenuation that occurs at the lower or upper frequency range of a driver, network, or system. The roll-off frequency is usually defined as the frequency where response is reduced by 3 dB.Round - High frequency rolloff or dip. Not edgy.Seismic - Very low bass that you feel rather than hear.Shrill - Strident, steely.Sibilant - "Essy" Exaggerated "s" and "sh" sounds in singing, caused by a rise in the response around 6 to 10 kHz. Often heard on radio.Sizzly - See Sibilant. Also, too much highs on cymbals.Smeared - Lacking detail. Poor transient response, too much leakage between microphones. Poorly focused images.Smooth - Easy on the ears, not harsh. Flat frequency response, especially in the midrange. Lack of peaks and dips in the response.Snap - A system with good speed and transient response can deliver the immediacy or "snap" of live instruments.Soundstage - The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.Spacious - Conveying a sense of space, ambiance, or room around the instruments. Stereo reverb. Early reflections.Speed - A fast system with good pace gives the impression of being right on the money in its timing.Steely - Emphasized upper mids around 3 to 6 kHz. Peaky, non flat high frequency response. See Harsh, Edgy.Strident - See Harsh, Edgy.Sturdy - Solid, powerful, robust sound.Sweet - Not strident or piercing. Delicate. Flat high frequency response, low distortion. Lack of peaks in the response. Highs are extended to 15 or 20 kHz, but they are not bumped up. Often used when referring to cymbals, percussion, strings, and sibilant sounds.Telephone Like- See Tinny.Thick - A lack of articulation and clarity in the bass.Thin - Fundamentals are weak relative to harmonics. Bass light.Tight - Good low frequency transient response and detail.Timbre - The tonal character of an instrumentTiming - A sense of precision in tempo.Tinny - Narrowband, weak lows, peaky mids. The music sounds like it is coming through a telephone or tin can.Transient - The leading edge of a percussive sound. Good transient response makes the sound as a whole more live and realistic.Transparent - Easy to hear into the music, detailed, clear, not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. A hear through quality that is akin to clarity and reveals all aspects of detail.Tubby - Having low frequency resonances as if you're singing in a bathtub. See bloated.Veiled - Like a silk veil is over the speakers. Slight noise or distortion or slightly weak high frequencies. Loss of detail due to limited transparency.Warm - Good bass, adequate low frequencies, adequate fundamentals relative to harmonics. Not thin. Also excessive bass or mid bass. Also, pleasantly spacious, with adequate reverberation at low frequencies. Also see Rich, Round. Warm highs means sweet highs.Weighty - Good low frequency response below about 50 Hz. A sense of substance and underpinning produced by deep, controlled bass. Suggesting an object of great weight or power, like a diesel locomotive. Woolly - Loose, ill-defined bass.

knjigu

idem logikom koju sam primenjivao na pc help forumu.......bolje je sam da postavis milion idiotskih pitanja i odgovoris na njih nego da dolaze idioti da ti ih postavljaju

mislis fali idiot na upitniku ?

ma ni ja ih nemam ...... :to_become_senile:u stvari imam ih na malom NAD-u ali su mi iskljucene oduvek.....

1. Da li koristite tonske kontrole ?2. Da li sve tonske "nedostatke" resavate novim komponentama ?3. Ako imate tonske kontrole da li ih drzite na 0 - odnosno iskljucenim ?

jos ce da ispadne da smo bolji Hi-Fi sti od Fi-Fi sta :JC_moon:leb te ........

patkometrija :sarcastic_hand:ljudi zapisujem sve odavde i bacam tamo

daj jos ruznog dobro je

first watt

upucaj ga

kako ce ove lampe da `drndaju` preko 150BPM znas nasta mislim ipak sam za sporet varijantu sa fet ili mos-fetima

Hvala puno zelja da ti se ispuni

samo da znate kako je sve ne modifikuju: We've previously been scathing about soundcards: “Don't buy one, the only place for a DAC is outside a PC, abolish PCI for music, etc”. But for this one, we had to make an exception. If you really can't live with an off-board digital to analog converter, this Burson-modified card, distributed in the UK and Europe uniquely by Item Audio, is the only one to have. The Audiotrak Prodigy HD2 in stock form is one of the best sounding cards available for two channel audiophile playback, but the HD2-SE is seriously hot-rodded for uncompromised performance. The HD2 incorporates many audiophile grade features: a low jitter oscillator, short signal paths, specialised power caps, and a fully differential output stage. It supports 192 kHz at 24-bit, with a sensational dynamic range of 120dB for playback. No other hardware in this price range provides this high level of output quality. The single most intractable problem for soundcards is noise and interference. Audiotrak caims to have resolved this issue completely with their PNK technology (PCI Noise Killer). Few external USB DACs in the market can match the Prodigy's attention to detail. However, the Special Edition is an entirely different animal. For starters, the NE5532 op-amps have been replaced with no less than three fully discreet Burson Audio dual opamps – regarded by audiophiles and the recording industry as simply the best alternative to IC opamps. Their performance significantly surpasses the once popular OPA627. This mod alone pushes the design complexity of the HD2 beyond many audiophile DACs or CD players. Naturally the power supply of the HD2 has also been optimized for the Burson Opamps. Close inspection revealed that the 'gold RCA connectors' of the standard unit were low grade plated aluminium connectors with poor quality soldering. So out they came in favour of top notch CNC RCA sockets which were more widely spaced to accommodate high quality single ended cables. Compared to the stock version, the supercharged soundcard projects a much wider soundstage. Mids and highs are fuller and more realistically drawn. Fine detail and subtle intonations can now be heard and analysed at a micro level. The bass goes deeper and, more importantly, gains control and definition. The card comes complete with ASIO 2, GSIF and WDM drivers for Windows versions. Please note that Apple Mac drivers are not presently available. We believe its the finest soundcard a discerning listener can buy, and it's the only one we are likely to offer in the forseeable future. We also think it's a bargain! “I think it's worth every penny. Absolutely fantastic! What a beautiful sound. Thanks!” – JW http://www.itemaudio.co.uk/prodigy_hd2.html ima i gorih od mene

za mene su naucna fantastika ovi ADAM S2.5A monitori i ovo pojacalo Behringer A500 preko koje je testirano.... Babel peva samo tako zakacen direktno na karticu

evo ti neka merenja ako ti to znaci :Objective measurements RMAA measurements are quite low. It has to do with low Loop values because of the ADC. And the spectrum shows additional noises, when tested via other cards. High noise is registered not only in the test with the E-MU1212m, but also with the E-MU1616m and the Lynx Aurora8 - the latter have external power supply. To check it up, we have run the E-MU1616m >> Lynx Aurora8 test - we've got clear spectrum even with a usual non-balanced cable. The other cards (X-Fi Elite Pro and Juli@) were also tested in the same system unit. The Juli@ shows a clean spectrum, the X-Fi Elite Pro - dirty. These noises are most likely caused by non-optimal layout of the ground. When connected to another device, all noises do not go to the ground, but through analog outputs to the ground of the other card. The E-MU1616m has a special ground screw on the external unit to flush all noises down to the ground, by-passing analog inputs. If a tested device does not have a similar ground connector, it won't be able to suppress noises completely. This can be illustrated by plugging computers to different mains sockets. If a mains socket is not grounded, a discharge may burn your card's inputs and outputs, when you hot-plug it. It happens a lot. You should also pay attention to PC cases - they are often made of riveted thin metal sheets. Grounding in these PC cases is highly inefficient, even if you have a high quality PSU. We'll review this problem in detail in a separate article. My point is that you can take readings with minimal noises, but it does not mean that the problem is gone on its own. Have a look at the Prodigy HD2 >> E-MU1212m readings. The noise level rises at 5 kHz. Then we plugged the Behringer A500 amplifier to the cards with it volume set to maximum. It was a non-balanced connection for both cards. The microphone registered noises generated by the cards. We can see the same rise in the spectrum. The E-MU1212m catches fewer interferences. You can hear them only in gaps at high signal amplification. You won't hear the interferences in a common situation. That's the case when numbers do not reflect characteristics directly. So you should pay attention to spectrums only. When we tested the ProdigyHD2 with the E-MU1616m, we managed to squeeze 110 dB versus official 120 dB. It's a good result. Audiotrak notes that the card uses the PNK technology (PCI Noise Killer). We can see that it does not work well, perhaps this optimization works better in Japan and Korea. It must be also mentioned that the card was redesigned a little after the first revision. It may be a tad simplified. We also come to a conclusion that power filtering is implemented better in the E-MU1212m and Juli@, which do not use advertised technologies. You must understand that signal-independent noise does not affect signal quality. RightMark Audio Analyzer Report DeviceProdigy HD2 >> E-MU1616m Dock A/BMode24-bit, 44 kHzAudio interface Signal pathExternal loopback (line-out - line-in)RMAA Version6.0.5 PRO 20 Hz - 20 kHz filter YESSignal normalizationYESDeviation-0.1 dB / -0.1 dBMONONOFrequency of the calibration signal, Hz1000Polarityright/wrong General results Frequency response (from 40 Hz to 15 kHz), dB +0.01, -0.17 Very good Noise level, dB (A) -110.3 Excellent Dynamic range, dB (A) 110.4 Excellent THD, % 0.0012 Excellent Harmonic distortion + noise, dB(A) -92.4 Very good Intermodulation distortion + noise, % 0.0024 Excellent Channel crosstalk, dB -111.2 Excellent IMD at 10 kHz, % 0.0018 Excellent General performance Excellent RightMark Audio Analyzer Report DeviceProdigy HD2 >> E-MU1616m Dock A/BMode24-bit, 192 kHzAudio interface Signal pathExternal loopback (line-out - line-in)RMAA Version6.0.5 PRO 20 Hz - 20 kHz filter YESSignal normalizationYESDeviation-0.1 dB / -0.1 dBMONONOFrequency of the calibration signal, Hz1000Polarityright/wrong General results Frequency response (from 40 Hz to 15 kHz), dB +0.02, -0.15 Very good Noise level, dB (A) -109.1 Excellent Dynamic range, dB (A) 109.1 Excellent THD, % 0.0012 Excellent Harmonic distortion + noise, dB(A) -92.3 Very good Intermodulation distortion + noise, % 0.0022 Excellent Channel crosstalk, dB -104.4 Excellent IMD at 10 kHz, % 0.0017 Excellent General performance Excellent Subjective audition E-MU1616m vs Prodigy HD2 Gold vs Aurora8 The E-MU1616m is a multi-channel professional card. Its audio quality is similar to that of the E-MU1212m, which has fewer input and output channels. So results of the E-MU1616m vs ProdigyHD2 comparison will be similar to that of E-MU1212m vs ProdigyHD2. The LynxStudio Aurora8 + LynxStudio AES16 is a complex solution - "digital card" + "external multi-channel DAC+ADC". The price is high owing to specific studio functions. Approximation of sound quality and price is not a good idea for professional cards. The LynxStudio Aurora 8 was used as a reference device and a switchboard to re-route signals to the ADAM S2.5A monitors. Tests were conducted by Maxim Liadov and Roman Kuznetsov. The DBT (double-blind test) shows that the E-MU1616m and ProdigyHD2 play on the same level. The difference in audio quality is insignificant. The Aurora8 sounds better, offering more details and a better attack. However, the difference between the Aurora8, the E-MU1616m, and the ProdigyHD2 is clearly noticeable only in some tracks. So does it really make sense to hunt after higher quality in hardly noticeable nuances? It's up to our readers to decide. Conclusions This card is a high quality top product from Audiotrak. There is weak competition in the Hi-End market of sound cards, so the direct rivals are only the X-Fi Elite Pro and the E-MU1212m. Unlike the X-Fi Elite Pro, drivers of the Prodigy HD2 are more professional, and have a simpler control panel than for the E-MU1212m. What concerns games, the card fares in between high quality sound processing in the X-Fi and no 3D audio support in the E-MU1212m. Unlike the E-MU1212m and X-Fi Elite Pro, the ProdigyHD2 is a low-profile card, so it can be used in compact HTPCs. Another advantage of this card versus the 1212m is its built-in preamp for headphones. http://ixbtlabs.com/...test-page4.html

http://www.player.rs...gory.php?ID=369imas i M Audio koja je izuzetna isto a ima i moja - Audiotrak Prodigy 7. HiFi 8690 din (naravno mora da se nadogradi da bi bolje svirala) http://www.player.rs...uct.php?ID=1785 slusao sam ih sve i ne znam sta da ti kazem sem da je najbolja Audiotrak Prodigy HD2 (za moje uvo) http://www.audiotrak...cts/prodigyhd2/ model koji nema da se kupi ovde - i skupa je u odnosu na sve ove jer ima samo dva kanala Nema bolje kartice koja svira pod Linux-om to mogu da potpisem

Izgleda da su nestali dok sam cacko po bazi.....

Intel D510MO Mini-ITX Motherboard velicina 1:1 » Model: D510MO» Processor: Intel Atom Processor D510 Quad (Dual Core), 1.66GHz » Chipset: Intel NM10 Express Chipset (TigerPoint) » L2 Cache: 512 KB x 2 L2 Cashe » System Memory: Single channel DDR2 800/667 MHz, 2x DIMMs (max 4GB) » Graphics: Integrated graphic VGA port & on board LVDS (optional) » Power: 24 Pin ATX » Connectors (rear): » 1x D-SUB15 (VGA) » 1x LAN 10/100/1000MBit (Realtek) » 3x Sound (Line Out, Line In, Microphone) » 2x PS2 » 4x USB2.0 » Audio: Realtek High Definition Audio (ALC) Incl multi-stream support » Connectors (internal): » 1x PCI » 1x Mini PCIex » AUDIO (Front panel) » AUDIO (SPDIF) » 3x USB » 2x SATA (3GBs) » 2x COM (Serial) » 1x Parallel » Included: » D510MO Main board (with 1.66Ghz Atom N510 CPU) » I/O ATX rear plate » SATA cable » Drivers CD » Form Factor: mini-ITX (170mm X 170mm) » Thermal solution: Passive, Z-height 35mm » Additional comments: » Windows Vista Basic WHQL certified » Windows 7 Starter/ Home basic support + taman jedan slot za zvucnu

ajde da (na)pravimo ovo napajanje :scratch_head:ne lici mi na rocket science :sarcastic_hand:odavno zelim da napravim jedno DIY za sva vremena

Presently, FLUENT can translate Chinese, Korean, Portuguese, Russian, Serbo-Croatian and Ukrainian, Reuters says.http://www.theregister.co.uk/2001/03/06/cia_patching_echelon_shortcomings/

Echelon, under U.S.'s NSA and other world superpowers, can intercept two billion phone calls per day, along with faxes and e-mails and other electronic communications. http://www.greaterth...ations/Echelon/ kakvu oni tehnologiju koriste i koje OS-ove ?