The Legend of Zelda: Tears of the Kingdom lets you build all kinds of wild contraptions thanks to Link’s new abilities like Ultrahand, Fuse, and Autobuild. While some folks are out here making weapons of mass destruction, Japanese players are flexing their creative muscles in other ways, and I’m so here for it.

Read More: Zelda: Tears Of The Kingdom Players Are Building Tanks, Planes To Commit War Crimes

TotK gives you a whole new suite of skills to explore Hyrule Kingdom. Ascend and Recall are great powers that allow Link to slide through solid surfaces and rewind an object’s place in the world, but it’s the other three abilities—Ultrahand, Fuse, and Autobuild—that have captured the internet’s creativity as folks from TikTok to Reddit to Twitter have been sharing their wild constructions. You’ve likely seen some of this already, which includes bonkers builds such as flamethrowing dicks, long bridges, war tanks, and much more. Japanese players, though, are taking it a step further, building out some of the same creations alongside other fascinating and downright silly inventions.

The Legend of Zelda: Engineers of the Kingdom

If you browse the Japanese TotK hashtag on TikTok and Twitter, you’ll undoubtedly see some crazy build you never thought was possible. Take, for instance, ZAKUYA_BOTW, who on May 14 tweeted themselves riding some creepy-looking quad-pedaled robot.

Twitter user cross00841798 thought it’d be hilarious to cook up a boss Bokoblin using some fire and lasers as it was trapped in a green cage. Ouch.

Meanwhile, oimosandayo tweeted a creation on May 15 of a little army of killer, laser-shooting robots that absolutely rekt an outdoor Bokoblin camp.

Over on TikTok, user2761600317825 (yes, that’s their legit handle) built a huge fighter jet equipped with a large supply of rockets. They meant business.

While I’m not totally sure what shrine this is, TikToker ng_elite_force discovered a great way to finish the puzzle. Talk about simplifying the solution.

Then there’s i.anfu, who posted a TikTok on May 14 of themselves using a bomb-equipped armored tank to obliterate a Hinox without taking any damage.

There are so many mind-blowing creations I’ve seen while browsing my Twitter timeline and TikTok For You page. From paint rollers to laser-shooting gliders, here’s just a small smattering of some additional TotK builds for your perusal.

Although you probably need an engineering degree to put some of these creations together, there’s a handy website that gives you a step-by-step guide on TotK builds. So, if you were curious about how to make a satellite laser cannon or a skateboard, Zeldabuilds.gg totally has you covered.

Read More: Zelda: Tears Of The Kingdom’s Game Breaking Item Glitch Survives First Patch

Much like Breath of the Wild before it, Tears of the Kingdom has been a smashing success for Nintendo since it hit the Switch on May 12. The game sold 10 million copies in just three days and is one of the best-reviewed titles to date. In short, Nintendo has another certified banger on its hands.

 

THIEAUDIO PRESTIGE $1,299 REVIEW

May 17, 2023 §

80% keyboards are probably the most popular mechanical keyboard size of all time.

It has enough keys to be highly functional, but with a sleeker layout that saves desk space over full-sized 100% keyboards!

Here’s more details ?

How many keys are on a 80% keyboard?

There are usually 87 keys on a 80% keyboard. However, there are a few 80% keyboards that might have 88 keys.

Sadly, many keyboards are incorrectly labeled as 75% (or even 65%) keyboards, when they are really 80% (and vice-versa).

Remember, 80% keyboards don’t have a numberpad, and DO have dead space in-between the key clusters! 75% keyboards are the exact same, except with no dead space between the key clusters.

All the keys are smushed together on 75% keyboards.

Almost all of the most popular 80% keyboards have 87 keys:

What are some other keyboard sizes?

First, check out our full guide to keyboard sizes here.

Some of the most popular keyboard sizes include:

• 100% full-sized (has all the keys, function row, arrow keys, numberpad, etc)
• 96% – Has the same keys, but with no “dead space” in between the key clusters
• 80% TKL – Doesn’t have the numberpad
• 75% – Same as 80%, but with no “dead space” in between the key clusters
• 65% – Doesn’t have the numberpad or function row, but usually has arrow keys and a few “home cluster” keys
• 60% compact – Doesn’t have numberpad, function row, arrow keys, or home cluster keys
• 40% compact (doesn’t have a number row)

What’s the BEST keyboard size?

This comes down to personal preference, including what keys you need for work or gaming, as well as the desk space you want your keyboard to take up.

That said, the most popular keyboard sizes are 60%, 65%, 75%, 80% TKL, and 100% full-sized.

These offer enough functionality, with the 75% and 80% TKL keyboards being the best balance of functionality and desk space!

How many switches will I need for a 80% keyboard?

More than 88 switches. Since switches often come in packs of 10, I recommend choosing a package of around 90 switches.

It never hurts to have extras in case a switch turns into a dud.

What are some of the best uses for 80% keyboards?

The great thing about 80% keyboards is their wide range of use. They’re perfecrt for gaming, typing, work, media editing, etc.

Everything except using a 10-key numberpad ?

The only real downside I can think of is the lack of wireless 80% keyboards (they exist of course, but they’re more rare than 75% wireless keyboards).

But if you leave your keyboard on your desk (instead of traveling with it), this isn’t an issue.

The functionality can’t be beat though, and it’s nice to save the desk space.

Are keyboard “sizes” and “layouts” the same thing?

Although “size” and “layout” are often used interchangeably, they actually refer to different aspects of keyboards! “Size” generally refers to both the physical size of the keyboard, and how many keys the keyboard has (a 60% keyboard has 61 keys, while an 80% keyboard has 88 keys).

“Layout” usually refers to the arrangement of the keys and shape of some keys, such as ANSI (popular in North America), ISO (popular in Europe), and JIS (Japan).

Additionally, “layout” can also refer to the software arrangement of the typing keys, such as “QWERTY,” Colemak, and Dvorak.

Read our full guide to keyboard layout here.

Here are the top 80% keyboards we recommend:

You can see our top recommendations for TKL keyboards here, but here are a few of our favorites:

Keychron K1

Keychron makes a bunch of different sized keyboards, and the K1 is their 80% TKL. It’s wireless, hot-swappable, pairs with several devices, comes in a few different designs, and works GREAT with both Windows and Mac computers.

That, and it’s budget-friendly!

GMMK (or GMMK 2)

I’ve owned the originally GMMK 80% keyboard for a few years, and have always loved it.
There’s not many fancier features (it’s not wireless, for one), but it is hot-swappable and built like a truck.

In 2022, they also released an upgraded version, the GMMK 2, which features better parts, a slightly different design, and the ability to customize further on the GMMK website.

Logitech G915

The G915 is one of Logitech’s premium keyboards, with a TON of smaller features that add up into something special!

The keyboard itself is wireless and low-profile (which is rare for the bigger keyboard companies), and it comes with several switch options, can be customized via the Logitech software, etc.

It costs a bit more, but the features are worth it.

*

Happy clicking and clacking my mechanical keyboard friends!

Here are our other guides to various keyboard sizes ?

Article Content

In any style of music that includes vocals as a featured element, an intelligible vocal — appropriately processed to work alongside the other elements of the arrangement — is key to a successful production. Compression, which can do so much more than control the dynamics of a signal, is one of the essential processors found within an audio engineer’s toolbox.

Before I describe how I use compression when mixing vocals, it’s important to emphasize that compression can’t fix mistakes in performance, recording technique or in any other signal processing. If you’re not comfortable with it, I strongly recommend against using compression on a dynamic singer, as improperly applied compression can squeeze the life out of a performance, resulting in a variety of non-musical artifacts that can’t easily be remedied at the mix stage. If anything, compression can potentially bring out poor acoustics, errors in vocal performance and poor application of equalization, saturation, reverb, etc. Assuming all these are done well, however, compression can bring a production to the next level, and most of the vocals found within the music you hear in popular media have been processed with a liberal amount of compression.

Another point worth mentioning is to be wary of drastic settings on compressors — extremely fast attack and release times, high ratios and dramatic amounts of gain reduction can be fun (and have a place in vocal production), but as a starting point, using more moderate settings usually results in a more natural sound.

With that, here’s how I use compressors when mixing vocals.

1. Level Your Vocals Using Clip Gain Before Applying Any Compression

While leveling of amplitude is one of the most common applications of compressors, by using clip gain to ensure that quiet and loud passages are more even in level, compression will be applied more evenly throughout the song. This will avoid the audible squeezing and pumping that compressors can sometimes impart onto extremely dynamic signals, vocals included.

2. Use Multiple Compressors in Series

I suppose that one could use this technique instead of tip number one, although I prefer using both. Take a compressor and adjust the settings so that it’s only applying moderate gain reduction (1-4 dB) on the loudest passages. Then, insert a second compressor later in the signal chain that applies gain reduction more evenly (again, only a couple of dB) across the entire performance.

The point of this all is to avoid the negative artifacts of compression by using two different compressors conservatively — the first compressor only engages on the loudest parts, which then prevents the second compressor from ever having to work too hard. The most common tandem for this application is the tried-and-true 1176 into an LA-2A, but try your own combination of compressors — even stock ones that come with your preferred DAW can work well. Additionally, using multiple compressors in the same chain, perhaps not one right after another as in this example, is encouraged as well.

3. Use Parallel Compression

Blending an unprocessed track alongside a treated one is commonplace in modern music production workflows. Many plugins now include a dry/wet blend feature, allowing users to take advantage of parallel processing. Some of my favorite compressors with this ability include FabFilter Pro-C 2, UAD Empirical Labs Distressor, Soundtoys Devil-Loc Deluxe and more.

On especially dense mixes, a vocal can struggle to cut through. In this situation, I might send an unprocessed (or minimally processed) vocal to one or several auxiliary/return tracks, then inserting a variety of effects on these, including compression. One such track might be affected to have a bright and airy timbre, another with pronounced lower midrange for fullness and warmth. Compression-wise, I can afford to use more pronounced settings because I’ll blend these tracks with the original, which keeps the overall dynamics natural.

4. Beware of Breaths and Sibilance

Compression tends to accentuate the brightness and harshness of sibilant passages, and while de-essers are a useful tool for dealing with this, too much of it results in a ‘lispy’ vocal quality. On some pop mixes that feature accentuated high frequencies and around 10 dB of gain reduction on vocals, things can begin to sound sizzly and harsh. I often hunt down sibilant passages and use clip gain to reduce their level until I’m satisfied with them. Similarly, heavy compression on deep breaths leading up to singing can cause a swelling sound, with the breath sounding as loud or louder than the lyrics. To remedy this, I’ll turn them down with clip gain, or even drag them to their own track.

5. Know the Different Types of Compressors and Consider Them in Context

It’s beneficial to understand the different compressor types (VCA, FET, optical, variable mu) and how they can affect the dynamics of a signal.

Voltage Controlled Amplifier (VCA) compressors are popular for mix buss applications thanks to their ability to glue an entire mix together. They lend a certain attitude to program material, and have a distinct punch that works well on drums. Popular units include the SSL G-series stereo compressor, the API 2500 and one of the two sections of the Shadow Hills Mastering Compressors. Can you use them on vocals? Of course, but the aforementioned units have historically been used more as finishing compressors, and were perhaps seen as overkill when compressors found within console channel strips or other mono hardware units were available.

Field Effect Transistor or FET compressors make up some of the most popular dynamics units of all time, including for vocal applications. They are fast, bright and even aggressive-sounding when pushed hard. Because of this, they are popular for an in-your-face vocal sound. Well known units include Bill Putnam’s original 1176 and the many disciples that followed. Overstayer, manufacturers of one of my favorite hardware units, the MAS, has its own unique take on the FET compressor. It’s been dubbed the stereo field effect, which contains similar controls to an 1176-style unit, but with added features including:

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• Discrete harmonics circuitry to add rich color and character to the compression. This integration gives you a fluid recording/mix chain.
• Parallel blend control — adjust compression and harmonics as aggressively as needed and balance to taste.
• Multiple ratios allow for subtle control to harder limiting, while the external sidechain loop can be used to shape further or bypass compression altogether, driving only the analog harmonics.
• Nonlinear mode brings creative & extreme punch for energized compression balanced with additional harmonics.

Another classic compressor design, the optical or opto compressor employs a light element and optical cell to reshape the dynamics of a signal. As the amplitude increases, the element emits more light, thereby causing the optical cell to attenuate the amplitude of the output signal. Optical compressors are known for their relatively slow, smooth dynamics response, making them more useful for when you need a more gentle, detailed vocal sound. That said, have no qualms about treating a screaming vocal track with an opto compressor like the famed LA-2A, a Tube Tech CL 1B or a Manley ELOP. Optical compressors can be found in guitar pedal form, specifically the Mira by Walrus Audio. Featuring all the controls that you’d expect from a studio-grade compression unit, all found within a gorgeous enclosure, the Mira makes a great choice obviously for guitarists, but also for any engineer who reamps their signals, vocals included.

Lastly is the variable mu design, which incorporates tubes to handle attenuation duties. As more signal is fed into the compressor, the current sent to the tube’s grid decreases, resulting in gain reduction. Depending on the performance, of course, variable mu designs generally have a soft knee, resulting in a smooth compression quality. Popular units/plugins include the Fairchild 660/670, the Manley Variable Mu and the Arturia Comp Tube-STA.  

6. Use Compressors for Their Tonal Qualities

Similar to how the different compression topologies handle dynamics, each compressor will impart harmonics onto program material in a unique and useful way. From the warmth of an opto LA-2A, the emphasized midrange of a FET 1176, the open, tube-infused richness of the variable mu UAD 175b and 176, to the versatility of the VCA Empirical Labs Distressor, every compressor has its own harmonic flavor that can color vocal tracks. Spend time with each compressor, getting to know its tonality in addition to how it treats the dynamics of a signal. See the beneath screenshots that feature a 1 kHz sine wave with a variety of plugin compressors inserted, and note the added harmonics.

     

7. Use Compression to Bring the Vocal “Closer to the Listener”

Using the appropriate settings, compression can impart an up-front quality onto signals. I often use my parallel multi-buss technique to give an immediacy to the vocals, making them seem like they’re coming right out of the speakers. The trick here is to not over compress every one of the busses. Most of the time, 3-5 dB of gain reduction (and make up gain), with moderate attack and release settings will get vocals sitting right. Perhaps I’ll use more extreme settings on another buss, but compression has a tendency to reduce overall low end response, which makes any signal (including vocals) feel smaller. Once you grasp how to bring vocals closer to the listener, you can then use time-based effects like reverb and delay to impart a sense of space onto the performance. I find that overly dynamic vocals in reverb is a recipe for disaster. The quiet passages won’t sound affected, and loud passages will be swimming in reverb. Use compression for consistency before mixing into other effects.

8. Lastly, Always Consider Context

Compression is simply one of the many tools we use to elevate a vocal production. How you apply compression will affect any equalization, saturation, de-essing, delay, automation, etc. that you may also have on your vocal tracks. Consider how compression is changing these other processes and make adjustments depending on the needs of the song, not what your gain reduction meter is reading.

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Is the metaverse dead? In 2021 and early 2022, there was a lot of interest in the metaverse.  Facebook renamed itself to Meta Platforms, and sales of virtual real estate reportedly exceeded $1.4 billion.  But what is the state of the metaverse in 2023?

In this debate, we’ll look at two opposing views: Mic Ty is the founder and editor-in-chief of 360 Rumors and is a VR enthusiast but believes the metaverse is dead.  Vineet Devaiah is the founder of Teliportme and is the Manager of 360 Rumors, who believes the metaverse is still viable. Mic and Vineet discuss the latest trends, challenges, and opportunities in the rapidly evolving world of the Metaverse.

Vineet and Mic share their perspectives on the metaverse’s impact on various sectors, including gaming, entertainment, education, and commerce. They also discuss the potential of the Metaverse to revolutionize the way we interact with each other and the world around us.

The Metaverse has been a buzzword in the tech industry for several years now, with major players like Facebook’s Mark Zuckerberg claiming it’s the future of social media. However, despite the hype, there is little evidence to suggest that the Metaverse is anything more than a pipedream at this point. In this article, we’ll explore the state of the Metaverse today and what needs to change for it to become a reality.

First, let’s define what we mean by the Metaverse. The term refers to a virtual world where users can interact with each other in real time, much like in a video game. It’s been described as a sort of “internet of the future,” where people can work, socialize, and do business entirely in a virtual space.

While the concept is certainly intriguing, the reality is that the Metaverse is still very much in its infancy. There are several major barriers standing in the way of widespread adoption, including technological limitations, legal issues, and social factors.

One of the biggest technological barriers is bandwidth. The Metaverse would require a massive amount of data to be transmitted in real-time, which would require infrastructure that doesn’t currently exist. Even with the most advanced technology available today, it would be impossible to create a truly seamless and immersive virtual world.

Another major challenge is creating realistic avatars that can interact with each other. While there have been advances in motion capture and animation technology, it’s still difficult to create avatars that look and move like real people.

Legal issues are another major obstacle. The Metaverse would require a new legal framework to address issues such as virtual property rights, virtual crime, and virtual identity theft. These are complex issues that will require cooperation from governments and international organizations.

Finally, there are social factors to consider. The Metaverse would need to be a place where people want to spend their time, which means creating an engaging and meaningful experience. It’s also important to ensure that the Metaverse is accessible to everyone, regardless of their background or level of technical expertise.

So what needs to change for the Metaverse to become a reality? Here are 10 points to consider:

1. Bandwidth needs to be significantly increased to support the data transfer required for a seamless Metaverse experience.
2. Advancements in motion capture and animation technology need to continue to improve the quality of avatars.
3. There needs to be a new legal framework to address virtual property rights, virtual crime, and virtual identity theft.
4. The Metaverse needs to be accessible to everyone, regardless of technical expertise.
5. There needs to be a clear and compelling reason for people to spend time in the Metaverse.
6. The Metaverse needs to be designed with privacy and security in mind.
7. The technology behind the Metaverse needs to be open and interoperable to avoid vendor lock-in.
8. The Metaverse needs to be scalable, meaning it can support millions of users simultaneously.
9. There needs to be a way to monetize the Metaverse, whether through advertising, subscriptions, or other means.
10. The Metaverse needs to be inclusive, promoting diversity and tolerance among its users.

In conclusion, while the concept of the Metaverse is certainly exciting, it’s still very much a pipedream at this point. There are several major challenges that need to be overcome before it can become a reality, including technological limitations, legal issues, and social factors. However, if these challenges can be addressed, the Metaverse could offer a new and innovative way for people to connect and engag

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Following Link’s descent from Great Sky Island, your time is really your own. There’s a main quest which you should definitely make some progress in (especially if you want the all-important paraglider early on), but stretching your legs a bit and exploring what secrets this gorgeous world has in store for you is well worth it. One place you’ll want to consider checking out is Kakariko Village.

“Find the Fifth Sage,” one of the main quests, will end up taking you to Kakariko Village eventually, but the trip is worth it early on as you’ll come across some shrines along the way. Plus, exploring this world is always a treat. I’ll mention a side quest or two you may want to pick up on your trip, but don’t worry, I won’t spoil how to complete them here.

How to get to Kakariko Village from Lookout Landing

As one of the first places you’ll find when touching down on the surface of Hyrule, Lookout Landing is where we’ll start. Make sure you’ve activated the tower there since this guide will call out a few places you’ll need the paraglider for. Also, grab a good amount of arrows before you go. I recommend at least 10.

Read More: Zelda: Tears Of The Kingdom’s Paraglider Is Easy To Miss, Here’s How To Get It

From Lookout Landing, head southeast. Stay on the road until you come to a three-way split; facing southeast, take the leftmost path. You’ll want the lake to be on your left as you proceed. You’re heading for Rebonae Bridge. There’s an opportunity to get into a brawl with some hostile Constructs and Bokoblins along the way if you’re in the mood for a skirmish.

Before reaching the bridge, you’ll come across poor Addison, stuck there holding a damn sign featuring his beloved boss, President Hudson. Help the guy out by using Ultrahand to grab something from the nearby stack of wood to support the sign. He’ll give you a Red Rupee for it, as well as some Veggie Rice Balls. Continue onto the bridge when you’re done.

On the bridge you’ll run into Gladis who’ll chat your ear off about Bubbulfrogs and Bubbul Gems. He’ll clue you in on where to get the Mystic Robe: an item you can trade Bubbul Gems for all the way east at Woodland Stable. There’s also a cave visible to the left of the bridge with some Horriblins inside. True to their names, these guys can hit hard and are tricky to deal with if you’re not used to ‘em, but the cave has some decent loot, so it might be worth the trip.

Cross Rebonae Bridge and keep to your right on the fork in the road. At the first bend, if you go straight ahead, you’ll find Wetland Stable. But before you do, look to your left and you’ll spot some rocks falling from a Sky Island. Do yourself a favor and hop on one and hit it with Recall to send yourself up to a small island. That’ll take you up to the Central Hyrule Sky Archipelago. This is a great vantage point to see where we’re going next.

From up here you’ll want to take note of two things: looking southeast, you should see Sahasra Slope Skyview Tower tower on your right, and a giant wheel to the left (that last one is a little rough to see with the game’s draw distance). That wheel (which is actually called a Ring Ruin) is where you want to be heading to find the town, however, you really ought to activate the tower first. As you might expect, it won’t be as straightforward as just walking in and hopping on a platform.

Before you hit the tower though, you might want to hit up the Tukarok and Morok Shrines. Tukarok is just behind the Wetland Stable, which is a short walk south of Rebonae Bridge (when the road makes a bend, keep going straight off the road, you can’t miss it).

You can then walk over and climb up to the Morok Shrine afterwards (if you do, speak with an NPC along the way to grab the “Impa and the Geoglyphs” quest), but you can also use a combination of your paraglider from the Sky Archipelago and some Zonai Wings to make the trip easier.

Read More: This Tears of the Kingdom Paraglider Trick Basically Lets You Fly Forever

Note: Walking over to Morok Shrine is complicated by a pretty steep climb (you’ll likely need two Stamina Vessels to make it up the tree root) and on two occasions I’ve encountered Gloom Hands underneath this Shrine location, so you’ve been warned.

How to activate Sahasra Slope Skyview Tower and fight the Battle Talus

Once you reach the tower, you can have a chat with Billson in front of the tower door. He’ll tell you the door’s stuck. That’s unfortunate, but not impossible. He’ll also mention being hungry and thinking about mushrooms from the cave below, your clue to poke around at the base of the hill, though, weirdly, you can’t help poor Billson with his hunger or his mushroom craving.

You will need to hop down to the base of the hill and enter the cave there to progress, but there’s also a pretty robust foe wandering around on the surface nearby that you may want to deal with: a Battle Talus with three bokoblins riding on it. You can ignore them if you want, but it’s a pretty fun fight if you’re careful.

I recommend taking out the bokoblins first with arrows, or at least knocking them off the Talus. A small, annoying quirk I’ve noted about this fight is that holding ZL seems to favor targeting the Talus’ weak point rather than the bokoblins.

When you’ve dealt with the bokoblins, cycle through jumping off of higher ground onto the Battle Talus from left and right sides of the slope leading to the tower (the Talus can start walking up one side if you jump from the same spot each time which will wreck this strategy, so keep switching sides).

When on top of the Talus, strike the dark rock to damage its health. It’ll eventually toss you once you’ve done enough damage, so I recommend three or four strikes with a high-power weapon before leaping off, using your paraglider to get a good distance (one strike from this thing can easily kill you).

Once you’re done with this enemy (or should you choose to ignore the Talus for now), head into the caves at the base of the tower’s hill. There are two entrances on either side. At first you might not think there’s not much in here. You’ll need to fuse a rock to a weapon and start whacking the dark orange rocks (or use some other method to clear them out). You’ll want to keep going until you’re literally underneath the tower marker on the map. After that, use Ascend to travel up into the tower to spot the problem: two pieces of wood are keeping the door shut. Move those with Ultrahand or just grab them and slide the door open, surprising Billson and granting you access to the tower.

Finding Kakariko Village from the Sahasra tower

Launch yourself from the tower and let Link do his scan thing. Once you’re in freefall, you’ll want to pull back a bit to start falling toward the west, right where Kakariko Village is. You’ll spot a large red pit—that’s the direction you want to head (the Village is between the tower and that pit). Keep an eye out for Makasura Shine just overlooking Kakariko Village. When you’re ready, hop down there and start talking to some folks to pick up some quests.

Quests here include “A Trip Through History,” which will have you checking out the Ring Ruins for interesting historical insight; speak with Bugut to get started on that one. There’s also “Out of the Inn,” which will task you with finding where the local inn’s owner has run off to (you won’t be able to stay at this inn until you complete this quest); go try renting a room to chat with a certain individual about the owner’s whereabouts to log that one in your Purum Pad. You can also speak with Lasli near a fire on the east side of the village to get started on the “Gloom-borne Illness” side quest, while chatting with Trissa at the General Store will start one called “Codger’s Quarrel.”

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Enjoying Nintendo’s new open world game? Make sure to check out the tips we wish we knew before playing, some advice on side quests you shouldn’t miss, the duplication glitch shattering the game’s economy, and all the latest on Hyrule’s Korok murder crisis. Unless you’re still stuck in the tutorial area, or missing the paraglider you should pick up the game’s best shield ASAP.

Lots of people are calling the NK Silk Olivia switches the “best stock linear switches.”

(Stock = you don’t need to lube them).

Are they though? How do they feel right out of the box?

This is my NK Silk Olivia Switch Review (and sound test).

My Overall Review: The NK Silk Olivia does come pre-lubed with Krytox 205g, making them the most “convenient” linear switch. The sound is higher-pitched (rather than thocky) and pleasant, but they get “clacky” when you hit them hard. They feel smooth (not scratchy and with very little wobble). And at $0.50 per switch, these are a FANTASTIC linear switch that you don’t have to lube at home!

Overall, these get my full recommendation, but they aren’t for everybody.

I’ve tried over 100+ switches, so let me break down who should type/game on the NK Silk Olivias ?

It’s interesting that the NK Olivia sounds quite different depending on how hard you type on them!

We’ll talk about that more below in the “sound and feel” section.

NK Olivia Switch Details:

The NK Silk Olivia is a light, linear switch.

As a reminder, here are the 3 types of mechanical keyboard switches:

• Linear: The simplest type. Pressing them is a straight, smooth path from the top to the bottom. There’s no tactile or auditory feedback when you press them, and they require the least amount of force to actuate.
• Tactile: These switches provide a tiny “bump” when you press them (generally around the actuation point). This “tactile feedback” helps your fingers feel when the key has actually been registered.
• Clicky: These are a sub-type of tactile switches. There’s the tiny bump, but with a small audible “click.” These are generally louder.

Here’s a breakdown of the NK Silk Olivia switch:

Type	Linear (meaning there’s no tactile bump in the keystroke. It’s smooth all the way down and back up).
Operating Force	45g (medium resistance, similar to standard Cherry MX Red)
Travel Distance	2mm pre-travel, 4mm total travel (pretty standard)
Price	Around $0.50 each on NovelKeys
Sound	Higher-pitched and “tappy” at low volumes, a bit “clacky” at high volumes
Feel	Very smooth! They feel heavier than they should at 45g operating force, but not SUPER heavy and buttery

NOTE: The NK Silk Olivia switches do come pre-lubed at the JWK factory (with Krytox 205g).

Not only that, but my personal take is that they are well-lubed!

Sometimes factory-lubed switches end up much worse than unlubed switches, but the NK Silk Olivia appear (and sound) really well done.

Also, don’t miss the rose gold springs! They’re beautiful.

NK Silk Olivia: Pros and Cons

PROS:

• Pre-lubed means less work
• The lubing is well done
• Smooth feel!
• If you like the higher-pitched tappy (I do!), then they’re fantastic
• Decent price

CONS:

• If you don’t like the higher-pitched tappy, then don’t get these
• If you hit them too hard, they start to sound “clacky”
• Definitely not “light and fast.”

If you want a clacky switch, you’ll probably be looking for a tactile switch.

NK Silk Olivia Pricing:

They cost roughly $0.50 per switch (or maybe a little more).

Honestly? I think that’s a FANTASTIC price for Krytox pre-lubed switches!

Compare that with…

• Boba U4: $0.65 per switch
• Gateron Brown: $0.45 per switch
• Glorious Pandas: $0.70 per switch
• Akko Silver: $0.40 per switch

They’re not a “budget switch,” but that’s totally affordable for what you get.

NK Olivia Sound & Feel

Let’s dive into performance.

Sound

The NK Olivias oddly have a “dual sound profile,” meaning the sound changes quite drastically depending on how hard you hit them!

If you’re a soft typer or gamer, these will sound soft & tappy & awesome!

If you’re heavy-handed, however, they start to sound clacky, and not in a great way. Solid, wood-like.

Not my favorite (as somebody who types pretty hard lol).

I think the sound would be worse if they WEREN’T lubed, so it’s probably a good thing they are!

Feel

They feel smooth but surprisingly heavy.

They’re the same operating force at Cherry MX Reds, but feel much heavier and stiffer.

That’s not necessarily a bad thing, as it comes down to personal preference! (Especially if you work/type on these for long sessions, they’ll probably be more comfortable).

They weren’t too wobbly, either (horizontally or vertically). You might put some thinner switch films on them, but they come pre-lubed, so I personally wouldn’t.

Alternatives to NK Silk Olivia Switches

Here are some similar switches that I have tested and can recommend!

Akko Silvers

The Akko Silvers might be my favorite linear switch of all time, and they’re very similar to the NK Olivias (except lighter). They’re both a higher-pitched tappy sound, but the Silvers don’t turn into “clack” when you hit em harder.

Also, they’re slightly cheaper! (they don’t come pre-lubed though).

NK Cream switches

NovelKeys has released SEVERAL versions of their cream switches (Cream, Box Cream, Cream+, Cream Tactile, Dream, etc).

The cream switches feature all-POM housing and stems, and generally don’t come pre-lubed. (Although they are a bit cheaper).

These are wildly popular in the mechanical keyboard communities I’m a part of.

Tecsee Carrot

Tecsee is definitely a budget brand (these are even cheaper than Akko switches), and the Carrot switches are worth mentioning because they also work really well out of the box (unlubed).

They don’t sound or feel quite as good as the Akko Silvers, but for the price they’re great. If you’re on a super low budget, give them a try.

Click here to read my Tecsee Carrot Review.

Some more you might check out:

Bottom Line: Should you purchase the NK Silk Olivias?

If you don’t want to lube switches at home and want a linear switch, I think the NK Silk Olivias are a fantastic choice.

If you want the absolute best linear switch of all time, you should try something else (like the Akko Silvers, Gateron Milky Yellow or Ink Blacks, NK Creams even).

$0.50 per switch is certainly a fair price for these!

You can click here to purchase them on NovelKeys.

NK Olivia F.A.Q.s

What does “NK” stand for (in mechanical switches)?

“NK” stands for “NovelKeys,” a popular brand in the mechanical keyboard world. Switches like NK Creams, NK Silk Olivias, etc, are all designed by and sold by NovelKeys.

Who manufactures NK silk switches?

NK switches (like the NK Silk Olivias) are made in the JWK Factory. This is the same manufacturer of Durock Switches, and other popular switches like the Tangerines, Alpacas, and Banana Splits.

Are NK Silk Olivias good for gaming?

It will depend on personal preference, but I think the Olivias would work great for gaming. They smooth like most linear switches, and they feel slightly heavier than Cherry MX reds, even though they technically have the same operating force.