Powerbeats 2 Wireless In-Ear Headphone : Great Headphone For Listening Music

Beats have definitely given us something to rave about with these new wireless in-ear headphones. Designed for simultaneous flexibility and comfort, these headphones are perfect for anything from working out to lounging on the beach. Athlete or not, these headphones are some of the best headphones in the UK 2020 in the line. Beats has outdone themselves with this addition to the line. Check out some of the things that we love about this product.

Design:

These headphones can handle intensity for sure. They are made to be durable and flexible, and they feature water resistance and a tangle-free wrap around chord that ensures security while these Beats are in use. The wrap around chord features a RemoteTalk controller to easily change the song, adjust the volume, and answer or make calls without ever having to adjust or take off your headphones. As an athlete, the flexible ear hook is perfect for me. I really enjoy the way it moves with me as I go wherever I go. The lightweight feel adds to the comfort factor. The design is definitely the highlighting factor for these headphones.

Features:

With these wireless headphones, you’re able to separate up to 30 feet from your Bluetooth device and still maintain the connection. I’ve noticed that as long as my phone is in my pocket, I’m okay. However, I’m unable to really distance myself and maintain the connection with the headphones. For example, if I leave my phone on the adjacent machine while working out and move to the next one, I notice fuzziness in my music. Battery life is awesome with this set. Though the advertised lifetime of each charge is over 6 hours, I’m able to get 4-5 hours between charges. Obviously, this will depend on how much you use your Beats within the charging periods.

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Never Heard Classical Music till I Played and Instrument

In my house there was no interest in classical music, but things were not so dark there were two records of my father one Yma Sumac whose husband Mosies Vivanco composed the orchestra settings for her., there was another one Michel Legrand and I would listen to it often before I went to sleep. I got into playing music in Los Angeles California and I wanted to play sax but there was none to speak of for rent, so I settled for clarinet.

When I came back here to south Florida I played bass and alto clarinet in an orchestra that played classical music, not a marching band. I got very interested in classical so naturally was taken by the violin family of instruments, and it was natural in that school, thank goodness that one could be a cellist and a bassoon player. There was a girl who played tenor saxophone and flugelhorn and cello and guitar, even piano! There was nobody that could afford a cello but the school had all the strings and oboe wasn’t popular so there were two available, no sax of course. It so happens that I bought a violin and sax a year apart in my senior year before leaving to college.

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New Order’s – One of the Best Records that Exists.

I grew up on the outskirts of Manchester but never really understood that New Order were from there, or why that was important, until much later. New Order came to me shorn of all context beyond being the music on a c90 cassette tape given to me by my parents when I was seven or eight years old. A copy of Substance that they had got from a friend who had bought the vinyl.

I listened to this tape day after day. Learnt every song by heart. When I was eleven, the first thing I did when I was lucky enough to borrow a Korg M1 synthesiser for the first time was teach myself how to use the built-in sequencer by programming my own interpretations of Blue Monday over and over again. Later, when I was able to use the little drum machine my school’s music department had during lunch breaks, I did the same thing with that. By the time I was fifteen and got my first midi interface working with an amiga computer I graduated to instrumental True Faith covers instead. Or sometimes Shellshock. I could probably write an essay about the way those synth strings are stereo panned note by note during the opening minute of Shellshock. And the intermittent ticking percussion. And how there are two more orchestra hits than you’d expect when it sounds like a stuck record towards the end of the intro to throw you off the rhythm. Was that deliberate? Did they just not hit the button on the sequencer at the right moment? And who was panning those strings!? Was it done by midi or by hand? These are questions that bug me to this day.

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