John Markoff got a ride recently, and reported the craft as being interesting, even in the plankton fog of Monterey Bay, CA.

Each time the 21-foot long electric-powered submarine plunged, my loosely buckled five-point harness left me sliding out of my seat. Each time we started to ascend, I was pushed back into the seat by the acceleration...Unlike a conventional submarine, which uses ballast to plunge into the ocean depths, the Super Falcon "flies" through water. It is slightly buoyant, and it is the speed of its propeller that pushes it downward in the mirror image of the aerodynamic lift of a conventional winged aircraft.It can operate at depths up to 400 feet, has a top speed of six knots and can fly for five hours on a single battery charge.

Deep Flight is helmed by Graham Hawkes, a pioneer in deep sea exploration vehicles. Among other craft, Hawkes built the Deep Rover sub which was used to film Aliens of the Deep by James Cameron in 3D IMAX, the Mantis, which was filmed in the James Bond movie For Your Eyes Only and the Deep Flight Challenger, a winged sub built capable of reaching 37,000 feet of depth meant for Steve Fossett to break the deep diving record in.

If you're interested, John Markoff's article has a video embedded in it of the dive and a tale of the first ocean dive in the Falcon with Perkins, where they chased Hammerheads. Below, I've included a video of the Maltese Falcon coming under the Golden Gate Bridge, as well as a video of him testing his prototype Super Falcon.

[Deep Flight, NYTimes, photo by Leslie Terzian Markoff and Yachtpals]

I worked 30 hours a week during college and more during the summer. I worked at some computer help desk in Boston, but I spent a great deal of spare time hanging out in a local car-stereo installer's garage, talking to them about what exact set up I should install. They weren't the cleanest or best installers, looking back, but they did recommend some kick-ass gear.

Two giant Phoenix Gold amps, I forget the designation, painted white with clear windows for viewing the ICs. One was attached to a three-way system for everything above bass; 5-inch drivers in the door, and the tweeters and mids in the side foot panels, aimed through the dash to bounce off the windshield of my shitty little Acura Integra, lowered and ricey before that shit was played out. (It was also white.)

The car-stereo guys let me cut the wooden mounts which would give the deep speaker in the narrow door frame. I actually remember the amp names now. That was a ZX450 and it was pushing 450 watts through four channels, two to the midbass drivers, and two to the high/mids. I ran the 8-gauge wires myself, too. The other amp was the more interesting story, a ZX500, run in mono for I think close to 1000 watts, driving an 18-inch across, 9-inch deep JL Audio 18W6 (which was discontinued, presumably, because it was insane). The sub was mounted where the spare tire should have been, in a custom-built fiberglass tub, which raised the floor of my trunk so that it would barely hold a suitcase, on top of the sub's grill and half an inch of MDF fiberboard.

The system was played through an Eclipse CD head unit without MP3 capability (this was 1997 or something) which was made by Fujitsu and was very clean. It had an anti-theft system which consisted of a 1-800 number that tricked thieves into calling it to reactivate once they'd tried to get in a few times, which would instead summon the police to your door if you were calling about a reportedly stolen unit.

The first time I powered it up, the car shook so violently the clip on wide angle rear view mirror fell off, and I had to close my eyes because my eyeballs were itching from the vibration. I could also feel the sub pulling the moving the air in and out of my lungs.

I played lots of Biggie Smalls through it, and some Tupac and Mary J Blige when no one was around, and it was pretty gross. I mean, I didn't have to ring the doorbell when I visited friends, they could hear it a block away.

It forever changed the way I listen to music, because I am definitely unable to hear music with the same nuance that I did before the car stereo. The car was so loud, so notorious on campus, I am surprised it took so long for the setup to get stolen. But it did.

I fell asleep on my couch with my car outside my parking lot, on the street, and when I woke up to go drive home for Thanksgiving, it was gone. I called my mom to say I would miss dinner, and two days later, the insurance company wrote me a check when the car showed up, stripped, in Newton, Massachusetts. I used that money to move to California and to buy a motorcycle, which would eventually snap my leg in three places.

Somehow, this post turned into a note about how stupid of a 20-something I was.

It occurred to me, yesterday, on a long drive, beating on my steering while like a snare drum and my dead pedal as a bass, how much faster I drive as I listen to music. (Even if now I drive a boring station wagon with a stock stereo.) I'm not a music nut, but who can deny how much better our lives when there is song in it?

Music is arguably the most powerful medium, despite its often subtle delivery. Perhaps its power comes from how it can be enjoyed passively, while enhancing the things you're focusing on. Things from work, to running, to sex, to sleep, to skiing, driving, or just spending time with friends. Video, words, pictures require your focus, but you stand attention to these things. Audio and music go with along with anything well. A soundtrack.

Over the last few decades, since the birth of recording, technology's changed how we relate to music. In ways that go beyond the white earbuds. Everything in the last twenty years has changed, from how we discover new songs, to how we buy (or steal) it, to how we carry or trade it, to the very fidelity of the recording (which seems not to matter too much to anyone except audiophiles—a dying breed).

The only thing that hasn't changed is how the music makes us feel, no matter what the volume.

So, this week's Gizmodo is dedicated to music and the technology that helps us enjoy it. Let us know what you think of the stories, and let us know if there's anything we should post.

Listening Test: It's music tech week at Gizmodo.

Listening Test: It's music tech week at Gizmodo.

The subs aren't really subs, they always have a portion of the ship above water. But at less than 18 inches of height above sea level, they're hard to detect using radar, despite being anywhere from 40-80 feet, carrying from 4-12 tons of the white stuff and 4 people. (Or none if being remote controlled!) They are reported to go slow and steady using diesel engines and up to 1500 gallons of fuel. They can make the trip at 6-12 knots in a single tank. As if they could refuel anywhere. The ships take over a year to make from fiberglass/wood or steel, and cost $2m. Not a whole lot of money since one load can take almost $200m of cargo from Ecuador to San Diego.

Here's a worrying thought:
"...if you can move that much cocaine, what else can you put in that semi-submersible. Can you put a weapon of mass destruction in it?" Navy Adm. Jim Stavridis, Commander, U.S. Southern Command

The Stingray, with its carbon-fiber hull, is the brainchild of the San Diego iBotics Student Society, a bunch of undergraduates from a variety of colleges and universities in the San Diego area. They and the Naval Academy will be battling it out against teams from Duke, Cornell, MIT and last year's winner, the University of Central Florida. There's a whole bunch of other pics at over at CNET if, like me, you're into hot pool action.

[CNET News]

Where was I? Oh yes, the sub, more about the interesting speaker config, and a photo after the jump...

The sub places three aluminum drivers, each with its own amp, at 120 degrees to each other. That theoretically cancels out cabinet vibrations that color sound with noise. The drivers are 10-inches across. $2,995 for all this glory. –Brian Lam

Descent [Martin Logan]