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Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20

41%2B1AYmXtjL. SL160  Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20

  • Large 1″ (25mm) capsule with gold plated diaphragm
  • Cardioid polar pattern
  • Self noise of only 5dB (A)
  • Ultra low noise, transformerless surface mount circuitry
  • Wide dynamic range

The RODE Mic NT1A raises the bar for value-priced mics! The NT1A Anniversary Model is a complete redesign of the now legendary NT1 classic studio microphone. From the new nickel plated body to the state of the art surface mount electronic circuitry, the NT1A will leave you asking ‘how can RODE offer a microphone that sounds this good, for so little money’? The RØDE NT1A, Winner of the Electronic Musician 2004 Editor’s Choice Award and the world’s quietest studio condenser microphone. This redesigned version of RØDE’s classic NT1 has only 5 dBA of self-noise. The Rode Mic NT1A Anniversary model includes a premium shockmount with integrated pop filter, high quality 6m (20′) XLR cable, microphone dust cover and even a bonus instructional DVD. Presented by RØDE founder and company president, Peter Freedman, the NT1A Studio Secrets DVD features a range of tips and techniques to help NT1A owners get the most from their new microphone. AC_FL_RunContent( ‘codebase’,'http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,28,0′,’width’,’330′,’height’,’220′,’title’,’Rode NT1A Vocal Condenser Microphone’,'src’,'http://www.americanmusical.com/ItemFiles/Flash/RodeNT1A’,'quality’,'high’,'pluginspage’,'http://www.adobe.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash’,'movie’,'http://www.americanmusical.com/ItemFiles/Flash/RodeNT1A’ ); //end AC code

Rating: 5 Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20 (out of 4 reviews)

buynow big Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20

List Price: $ 369.00

Price: $ 205.00

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Rode NTK Tube Condenser Microphone
The RODE NTK sets the standard for value in professional microphones.This is a tube mic designed exclusively for recording professionals who want what only the best can offer. The heart of the NTK is the Australian designed and manufactured HF-2 capsule. The electronic circuitry complementing this very sensitive transducer includes a hand-selected twin-triode 6922 valve and audiophile grade components and lay-out. The result is an ultra-wide dynamic range, very low noise, and stunning tube warmth. The NTK’s rich valve sound is ideal for vocals, acoustic instruments, drum overheads, guitar amps and pianos. It includes a power supply, 30 foot cable, stand adapter and case.RODE NTK FeaturesLarge 1 inch capsule with gold plated

Rode NTK Tube Condenser Microphone Rode NTK Tube Condenser Microphone

Rode NTK Tube Condenser Microphone

diaphragmClassAvalve circuitryUltra low noiseWide dynamic rangeHand-selected and graded 6922 twin-triode valve Dedicated Power Supply High strength heat-treated steel mesh head Durable satin nickel finish Internal capsule shock mounting High level of RF rejection When professional performance counts use only a Rode NTK tube microphone.

Features

  • External power supply: 100-120V / 200-240V AC
  • Signal/Noise Ratio: > 82dB
  • Maximum SPL: > 158dB SPL
  • Unity-gain closed-loop impedance converte
  • Dynamic Range: > 147dB (A-weighted, per IEC268-15)

What others are saying about the Rode NTK Tube Condenser Microphone

Absolutely love it!star50 tpng Rode NTK Tube Condenser Microphone
I’ve had this mic for a few years now and I have to say that this has made a huge difference in the quality of my vocals in recording (and now that I’m using it with a Line 6 Toneport audio interface, I’m in heaven). I don’t have extensive experience with a bunch of high-end mics, but as someone who records in a project studio at home and focuses on vocals as the most important part of the recording, I am very, very pleased. Search around online for reviews of this mic- there are loads of them, nearly all raving about the sound and value of the NTK. Each voice is different, and some mics and voices match better than others- but I certainly recommend this one.

This Mike SIZZLES !!!!star50 tpng Rode NTK Tube Condenser Microphone
By career, I have received attention in the media
and referred to by my peers as one of the most
highly reknown hypnotists,hypnotherapists in the
field, but I have also been successful
in other endeavors, especially in the recorded
medium of spoken word, voice overs (cassettes,
cds, etc).

Over 25 years I’ve had the opportunity to work
with every kind of microphone imaginable .. from
the garden variety Radio Shack $25 dollar model
…. to the $5,000 dollar, industry
standard Neumans. If you are a vocalist, a professional
speaker or a voice over specialist, you are easily aware
of how a microphone can pick
up every undulating tone you can utter.
A microphone can
make you sound tinny and sterile or boxy.
It can bring out the richness or squash that vocal quality.

Now to me, a microphone is as important an instrument to
a vocalist as is a Stradivarious to a violin player ….
and if you think I’m about to rave over the RODE NTK
tube condenser, you’re right.
This mike sizzles. It brings out nuances and richness
in a voice that has to be heard to be experienced.
There is a warmth that just reaches out and grabs
you, envelops you in the sound … well … don’t take
my word for it. Head over to your local audio dealer
with a cassette player in hand and make a few test
recordings using a Rode NTK as well as other name
brands microphones and I’ll bet you’ll agree and easily
convince yourself those Australians downunder
were on to something when they made this product.
And try not to thank me too repeatedly. Just knowing
that others are taking advantage of a wonderful piece
of equipment that is priced extremely fairly is thanks
enough.

Smooth Soundstar50 tpng Rode NTK Tube Condenser Microphone
Great mic – excellent sound. I have been a pro voice over artist for over 30 years and have dealt with a variety of studio mics. In building my own studio I really wanted a front end that had a clear and smooth full-range sound. The R0de NTK was recommended to me by another “big voice” artist, and completely lives up to the recommendation. Everyone I have talked to says it’s about the best value out there. If you have cash to blow, you can get a “noyyyyyymannnnn” (raise eyebrows here), or you can enjoy the sound of this mic and take the extra $3200 and spend it on more gear. The hard plastic padded case for the mic and power supply are a nice touch. Don’t forget to buy a shock mount for it!
Enjoy -


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All microphones convert sound energy into electrical energy, but there are many different ways of doing the job, using electrostatics, electromagnetism, piezo-electric effects or even the change in resistance of carbon granules. Pondering over which mics to buy, the field of choice is narrowed considerably when it comes to mics used in music recording or live performance. The vast majority of microphones used in these applications are either capacitor (electrostatic) or dynamic (electromagnetic) models. Both types employ a moving diaphragm to capture the sound, but make use of a different electrical principle for converting the mechanical energy into an electrical signal. The efficiency of this conversion is very important, because the amounts of acoustic energy produced by voices and musical instruments are so small.

DYNAMIC MICROPHONES

Most of you will have used a dynamic mic at sometime or another — if it looks like a mesh ball on a stick, then it’s almost certainly a dynamic model. In live sound, nearly all the mics used are dynamics, and in the studio, instruments such as drums, electric guitars, and basses may also be recorded using dynamic mics. Dynamic microphones have the advantages of being relatively inexpensive and hard-wearing, and they don’t need a power supply or batteries to make them operate. So, how do they work?

A lightweight diaphragm, usually made of plastic film, is attached to a very small coil of wire suspended in the field of a permanent magnet. When a sound causes the diaphragm to vibrate, the whole assembly works as a miniature electricity generator, and a minute electric current is produced. Because the electrical output is so very small, it has to be amplified using a mic preamp before it is large enough to be useful.

Given the stated advantages of dynamic mics, why bother with any of the other, more expensive types? The weakness of the dynamic mic lies in the fact that the sound energy has to move both the mic diaphragm and the wire coil attached to it. The mass of the coil adds to the inertia of the diaphragm assembly, which in turn restricts the frequency response of the microphone. In practical terms, the outcome is that dynamic microphones fail to reproduce very high frequencies accurately. In some applications, this isn’t too serious, but if you’re working with an instrument where a lot of tonal detail is contained in the upper harmonics, a dynamic mic is unlikely to bring out the best in that instrument.

Another side-effect of the finite mass of the diaphragm/coil assembly is that the dynamic microphone is not particularly efficient — a lot of amplification has to be used to make the signal usefully large, and the more gain you use, the more noise you add to the signal. In the studio where the mic is used very close to the sound source, this lack of efficiency is not a major problem, but if you’re trying to capture a quiet or very distant sound, then a dynamic mic isn’t likely to produce good results.

To summarise; dynamic microphones are most effective when working with relatively loud sound sources that don’t contain a lot of very high-frequency detail. They’re also tough as old boots, which makes them good for live work, or for any application within six feet of a drummer!

Another type of dynamic microphone is the ribbon microphone, but these are only used in fairly esoteric recording applications by engineers who appreciate the subtleties of the ribbon sound. These mics are comprised of a thin metal ribbon suspended in a magnetic field, and when sound energy is encountered, the electrical signal generated is induced in the ribbon itself rather than in a voice coil. The main advantage of ribbon microphones is their smooth, detailed sound; the disadvantages are their higher cost and the fact that they are more fragile than conventional dynamic mics.

CAPACITOR MICROPHONES

Capacitor mics have been around for several decades, and although modern capacitor mics do incorporate a few small technical improvements, the sound character has actually changed very little — some of the best-sounding models were designed over 20 years ago. Basically, the heart of any capacitor mic is a pair of conducting plates, one fixed and the other in the form of a moving diaphragm. When the spacing between the plates changes (as it does when the diaphragm vibrates) the capacitance varies, and if a fixed electrical charge is applied to the capacitor, an electrical signal is produced which faithfully represents the diaphragm vibration.

To keep the weight down, the diaphragm is often made from gold-coated plastic film. As a result, the diaphragm assembly is very light compared to that of a dynamic mic, so the system is much more efficient, and is capable of capturing harmonics right up to the range of human hearing and beyond. The size of the diaphragm also has an effect on the tonal quality of the mic — large-diameter models are chosen for vocal work because of their warm, flattering sound. Small-diaphragm models tend to be chosen where high accuracy is required.

Even though they are relatively efficient, capacitor microphones still produce such a small electrical signal that they require a special type of built-in preamplifier to bring the signal up to usable levels, and this is one factor that contributes to the higher cost when compared to dynamic mics. Additionally, all capacitor mics need a polarizing voltage in order to work. The most common source of polarizing voltage is the 48V ‘phantom’ power source, which is why many mixing consoles have a phantom power supply built in. The term ‘phantom power’ came about because the polarizing voltage is supplied via the signal leads of the microphone — no additional cabling is needed. Because of the way phantom power is supplied, all phantom-powered microphones must be balanced, and must employ the same wiring configuration. Budget mixers or cassette multitrackers with unbalanced mic inputs cannot be used with conventional capacitor microphones unless an external mic preamp (with phantom power) is used.

Broadly speaking, capacitor microphones are more expensive than their dynamic counterparts, but they are also much more sensitive, and can capture high-frequency detail much more accurately. Furthermore, the capacitor principle, unlike the dynamic principle, lends itself easily to the production of mics with switchable pickup patterns (see the box elsewhere in this article for more information on these), although the cheaper models tend to offer just a fixed cardioid pattern. Currently, there are some real bargains to be had in the capacitor mic market — for example the AKG C3000 (currently retailing at £351) and the Russian-made Oktava MK219 (£311).

ELECTRET MICROPHONES

There is another type of capacitor microphone, known as the electret mic. Despite inauspicious beginnings, these have now been developed to the point where they can rival true capacitor quality for a much lower price. Instead of applying an electrical charge to the microphone capsule via an external power source, electret mics use a diaphragm made from an insulating material that has a permanent electrical charge. A preamplifier is still needed, but this can be built very cheaply, and will run from a battery in some cases.

Electret mics made in this way don’t offer any real advantage over dynamic mics, because the diaphragms have to be quite heavy in order to carry the permanent electrical charge — but what if the permanently-charged material was fixed not to the diaphragm, but instead to the stationary back-plate? This way, much thinner diaphragms can be employed, made of the same metal-coated plastic material as on a true capacitor model. What I’ve just described is the back-electret microphone, and the best of today’s back-electret models can rival conventional capacitor models in every aspect of performance. The best back-electret models are actually just as expensive as top capacitor models (the famous Bruel and Kjaer mics are back-electrets), but there are some less costly models around which deliver studio quality at a bargain price. One of the most popular low-cost back-electret models in recent years is the AKG C1000, but don’t neglect the models from other manufacturers. Currently, it’s possible to buy a good back-electret mic for around the same price as one of the better dynamic models –  Most back-electret microphones in this price range offer a choice of battery or phantom power operation, with a fixed cardioid pickup pattern.

FREQUENCY RESPONSE

You might expect the perfect microphone to have a perfectly flat response right across the audio spectrum, but there are various practical reasons why this isn’t so. Virtually all mics have a deliberate low-frequency (or LF) ‘roll-off’ — in other words, they are less sensitive to frequencies below about 50Hz. Without this roll-off, low-frequency vibrations, knocks, breath pops and other such problems would produce very large, low-frequency output signals, which would not only compromise the sound quality, but might even damage loudspeaker systems.

While LF roll-off is designed to exclude unwanted sounds, mics are also often designed to accentuate specific parts of the audio spectrum in order to create a flattering sound. For example, numerous Rode mics are designed with a ‘presence’ boost in the upper mid-frequency range, to help make vocals more intelligible. Presence boost (which is usually between 3 and 6 kHz), has the effect of making the sound more transparent or detailed.

PROXIMITY EFFECT

The proximity effect comes into play when vocalists sing very close to a Rode mic, and the effect is that the level of bass in the recorded signal goes up enormously. The proximity effect is all down to the laws of physics, and may be a benefit or a problem depending on what you do with it — experienced live performers can use the proximity effect as a type of dynamic EQ, allowing them to alter the tone of their voice as they sing, simply by varying the mic-to-mouth distance.

In the studio, Rode mics tend to be used at a reasonable distance from the performer, usually with a pop shield in between, so the proximity effect doesn’t affect the recording of vocals. When recording electric guitar or bass, the proximity effect is often deliberately brought into play, to help create a more punchy sound.

SUMMARY

A professional studio will accumulate a varied collection of Rode mics, but in project studios, where finances are limited, it’s usually a matter of buying whatever mic suits the regular vocalists the best. If you’re working with a number of singers, then it may be better to go for a more tonally neutral mic, so that you can use EQ to fine-tune the sound.

If you’re currently working with budget equipment, you might feel that paying a lot of money for a mic is pointless, because the ultimate quality of your recordings will be limited by the gear you’re using. To some extent this is true, but if you don’t capture a good sound at source, things can only go downhill from there. Microphones don’t tend to go out of fashion in the same way that effects units and synths do, so there is an argument for buying only quality Rode Mics that will always be useful to you, no matter how your recording setup evolves over the years. Quality dynamic mics aren’t expensive, and even the top studios use mics such as Shure SM58s and 57s  If you can’t afford a capacitor mic straight off, a good dynamic will get you by for the time being, and when you eventually add a capacitor mic to your setup, the dynamic model will still be useful for instrument recording. It’s no longer true that professional Rode mics are only for professionals.

PICKUP PATTERNS

The most basic microphone pickup pattern is omnidirectional — which means that the microphone picks up sound equally from all angles. Omni pattern mics tend to be the most technically accurate, but they may well pick up sounds not intended for them, especially where several instruments are playing close together. That’s why cardioid (unidirectional) Rode mics are more suitable for use in smaller studios.

Directional microphones are referred to as cardioids because a graph of their sensitivity at different angles looks ‘heart-shaped’. The least sensitive spot of a cardioid microphone is right behind it, with the most sensitive spot being ‘on-axis’. Cardioids (or the more tightly-focused hypercardioids — see below) are used extensively in live performance, because of the need to prevent spill and acoustic feedback.

Hypercardioid mics, sometimes also known as supercardioids, are useful in situations where sound leakage is a real problem, but in the studio, they tend not to be used, as relatively small physical movements by the performer can cause the sound level to change significantly.

One mic pattern which now tends only to get used in specialist applications is the figure-of-eight — so called because its sensitivity graph looks like a figure eight. This type of Rode mic picks up sound equally well from in front and behind, but is relatively ‘deaf’ to sound arriving from the sides. Back in the early days of pop, it wasn’t uncommon to see two backing vocalists singing into opposite sides of a figure-of-eight mic to save on the number of microphones, but now they tend to be used mainly for classical stereo recording or as part of a Middle and Side (M&S) stereo pair (the workings of M&S mics are beyond the scope of this article.

As mentioned elsewhere in this article, capacitor microphones can be built to provide several different pickup patterns which may be changed with a simple switch. To achieve this, the capsule is made with two diaphragms, and by changing the level and polarity of the polarising voltage on one of the diaphragms, every possible pickup pattern can be created, starting with from omni, progressing through cardioid and hypercardioid to figure-of-eight.

WHAT TO BUY

It’s a fact that different Rode mics are better at different jobs, and in the studio, where there are lots of different instruments to record, it helps to have range of Rode mics from which to choose. If you can afford it, buy at least one good capacitor mic (ideally a large-diaphragm model) or at least one of the better back-electret models for serious vocal work, and keep a few general-purpose dynamic mics around for drum and electric guitar work. In smaller studios, where the acoustics are seldom ideal, the cardioid pattern Rode mic is the most useful, because it helps exclude unwanted room reflections — so don’t spend a lot more money buying a switchable pattern mic unless you have very clear reasons for needing those other pickup patterns.

When it comes to choosing a capacitor mic, you have to decide whether to opt for a large- or small-diaphragm model, but on top of that, you may have a choice of transformer or transformerless electronics, and maybe even a valve option to consider. As a very general rule, modern transformerless electronics offer the best paper specification, and the subjective sound is often brighter and more detailed than the transformer version of the same mic — but that’s no guarantee that the sound is better. Matching transformers can introduce benign coloration, and the mechanisms by which they do this are wrapped in almost as much mystique as the alleged sound of valves. For this very reason, some users will insist on the transformer version of a mic simply because they like the tonal character of the microphone. Subjectively, transformers seem to produce a warmer, more comfortable sound than transformerless circuits.

At one time, it looked as though valve mics would stay extinct, but the escalating prices of original models forced some manufacturers to reconsider, with the result that you can now buy re-issues of original valve mics alongside brand-new valve designs such as those built by Groove Tubes. Valve mics invariably cost more than their solid-state counterparts , but those who use them seem to feel that the enhanced sense of warmth and transparency is worth the extra cost. On the other hand, it can be argued that a good solid-state capacitor mic processed via a valve mic preamp (or via a mixer channel with a valve DI box in-line) should sound just as good, and will cost rather less.

The problem arises when you want to try out a Rode mic before buying it, because there’s no simple way to judge a mic without actually working with it for a period of time. That’s one reason people tend to buy tried and trusted mics instead of risking an unfamiliar brand. Ultimately, most people either buy something that they’ve used before in another studio, or they buy what the professionals use. This is a pity, really, as there are some excellent new mics on the market too. If you’re interested in an unfamiliar mic, try to arrange to hire one for a few days, to see how it works in your studio. Most dealers should be happy to offer an arrangement whereby you get the hire money back if you make a purchase.

WHAT TO USE: QUICK GUIDES

• VOCALS
When it comes to recording vocals, there are no hard and fast rules about the type of Rode mic to choose, because all that matters is the end result. For this reason, some top pop singers record using relatively inexpensive dynamic mics, rather than capacitor models, because the dynamic mic gives them a warmer, thicker, more punchy sound. On the other hand, a breathy, intimate voice can benefit from the detailed high-end of a capacitor mic. Not only do the different types of mic sound quite different, but you’ll also notice that even similarly-specified mics of the same type but from different manufacturers will also sound noticeably different. For example, the classic Neumann U87 provides a warm, confident sound, but with plenty of detail and ‘air’, while something like the Audio Technica 4033 has a distinctively silky sound. By the same token, AKG’s 414 and Beyer’s MC740  have a very bright, open sound, because of their presence characteristics.

• DRUMS
For drum work, the most common setup is to use dynamic mics for all the close mics (on the individual drums) and then augment these with capacitor mics for the overhead mics and the hi-hat. Dedicated kick drum mics are available, and these will produce a more powerful bass drum sound than general-purpose dynamic models. Some engineers also prefer to use capacitor mics on the snare drum for a crisper sound.

• GUITAR
Electric guitar is less demanding on mics, because a typical guitar cab has a very limited high-frequency output, and in most instances, a dynamic vocal or drum mic will do fine. As an alternative, a capacitor mic can be used for a more American sound.

Published in SOS June 1995
(some price information has been removed)
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The RODE VideoMic is a professional grade shotgun microphone. Based on

Rode VideoMic Directional Shotgun Mic Rode VideoMic Directional Shotgun Mic w/Mount

Rode VideoMic Directional Shotgun Mic

the latest Film industry technology, the VideoMic is designed specifically for use with high quality digital video cameras. The microphone exhibits low noise and an unusually wide bandwidth for its size. It is ultra lightweight, yet rugged, due to it’s ABS construction. The VideoMic is powered by a standard 9 V battery and offers a low battery LED status indicator and a switchable high pass filter to reduce unwanted low frequency rumble. The VideoMic attaches to any camcorder that has the standard camera-shoe fitting and utilizes a stereo mini jack for audio output.

VideoMic Specs

  • Power: 9V battery powered
  • Acoustic Principle: Line gradient
  • Directional Pattern: Super Cardioid
  • Frequency range: 40Hz-20kHz, selectable HPF @ 80Hz/12dB/octave
  • Output impedance: 200 Ohms
  • Signal noise ratio: 74 dB SPL (A – weighted per IEC651)
  • Equivalent noise: 20 dB SPL (A – weighted per IEC651)
  • Maximum SPL: 134dB SPL (@ 1kHz, 1% THD into 1KOhm load)
  • Sensitivity: -38 dB re 1 Volt/Pascal (15 mV @ 94 dB SPL) +/- 2 dB @ 1kHz
  • Weight: 176gm
  • Dimensions: 65mmH x 250mmW x 102mmD

One Year Warranty
All RØDE products are warranted for one year from date of purchase (extendable through online registration).

Here is a review of the Rode VideoMic

Rode VideoMic Directional Shotgun Microphone 300x146 Rode VideoMic Directional Shotgun Mic w/Mount

Rode VideoMic Directional Shotgun Microphone

After spending many days combing the internet and reading review after review I decided to give the RODE VideoMic Directional Camcorder Microphone a try. I wanted something that was good, light, somewhat short and inexpensive. I have a small mini dv camcorder that is only about 5 inches long and didn’t want a mic that would get in my viewfinder’s shots. The mic sticks out about 5 inches in front of my lens, but manages to stay out of my shots.

First let me comment on the sound. This little bugger picks up sounds very well. In a quiet room I can be 40 yards away and still pick up the conversation. The quality is outstanding. The audio compared to the built-in mic in my camcorder is night and day. The Rode is so clear. The price is great. I’m guessing the quality would compare to other mics in the $300 range.

My Rode came with a Dead Cat wind screen which resembles a cat’s tail. It really saved me some money! At first I didn’t use the Dead Cat, but then I ran into a little wind which interfered with gathering good audio. After using the Dead Cat, I always keep the wind screen on the mic. It does not interfere with the clarity of the audio and works incredibly well in breezy conditions. I will mention that I had to trim the hair on my wind screen because I could see the hair in my videos. After trimming the hair a bit, the wind screen is still effective and no more hair dangling in the top of my video screen.

The shock vibration design is cool and they even gave me extra rubber band thingies. This mic sits high off the camera and stays out of my shots. Since the mic is somewhat far away from the camcorder, I don’t pick up any camera humming noise that can happen with other mics that are too close to the camera. Even on my hot shoe, I don’t get any humming.

I wish I could say that I have used $300 mics and above, but I haven’t. I will say that you won’t be disappointed with this microphone. I’m a photojournalist by trade and I have begun to shoot video for our newspaper’s web publication. This mic is perfect for my needs.

If you buy it, don’t forget to turn off the mic. I accidentally left mine on. There is no auto shutoff.

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