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Super Nintendo consoles have been quietly overclocking themselves for 35 years, but it took until 2025 for the SNES fandom to notice

Super Nintendo consoles have been quietly overclocking themselves for 35 years, but it took until 2025 for the SNES fandom to notice

Yahoo15-03-2025
When you buy through links on our articles, Future and its syndication partners may earn a commission.
It's been 35 years since the SNES first launched as the Super Famicom in Japan, complete with a sound chip designed by the father of PlayStation himself, Ken Kutaragi. Over the past few weeks, Super Nintendo fans have made a curious discovery – that chip has been quietly overclocking itself over the decades, making SNES consoles run ever so slightly faster than they did back in the day.
The idea that "SNES consoles seem to be getting faster as they age" was posited back on February 26 via TASBot – the speedrunning robot operated by community figure Alan "dwangoAC" Cecil – alongside a call for data detailing exactly how quickly everyone's Super Nintendo is running. After well over 100 responses, the hypothesis is starting to seem pretty definitive. A SNES in 2025 is going to run faster than it did when it was originally manufactured.
The SNES has a pair of audio chips that work together to produce audio, including the SCP700 coprocessor designed by Kutaragi. As 404 Media reports based on an interview with Cecil, Nintendo's original developer documentation reported that the SCP700 ran with a digital signal processing, or DSP, rate of 32,000hz. By 2007, emulator developers had clocked the real-world DSP rate at 32,040Hz. In 2025, the data suggests the average is now 32,076Hz, with some units clocked as fast as 32,182Hz.
If audio data gets processed through the SNES faster, that speeds up one potential bottleneck on how fast the console can run a game. Depending on how the game is programmed, this could have a variety of effects, such as speeding up the loads between rooms in a game like Super Metroid. You might think this would have a big effect for speedrunners, but Cecil doesn't expect it to be profound.
"We don't yet know how much of an impact it will have on a long speedrun," Cecil tells 404 Media. 'We only know it has at least some impact on how quickly data can be transferred between the CPU and the APU." He believes even the fastest SNES units would likely only benefit a speedrun by a few frames – likely far less than a second – and the margins in most human speedrunning communities are typically larger than that. And, well... it's not like any speedrunner is suffering the disadvantage of a newly manufactured SNES in 2025.
But why are these chips faster now? That's the detail that hasn't been fully nailed down. Computer parts are obviously made up of physical materials, and those materials degrade and change over time. The SCP700's DSP rate is governed by a ceramic resonator, and ceramic is sensitive enough for these types of chips to fluctuate in performance based on temperature, similar to silicon producing minor differences in modern CPUs.
For now, it's probably safest to attribute all this to the simple entropy of the universe. Folks like Cecil will certainly be continuing in the research even as, day by day, our SNESes all get that tiny fraction faster.
Think of it this way: the best SNES games are now all that tiny bit better.
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Sharon Osbourne says that reports that Black Sabbath's Back To The Beginning farewell show raised $190 million for charity are "just ridiculous"
Sharon Osbourne says that reports that Black Sabbath's Back To The Beginning farewell show raised $190 million for charity are "just ridiculous"

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Sharon Osbourne says that reports that Black Sabbath's Back To The Beginning farewell show raised $190 million for charity are "just ridiculous"

When you buy through links on our articles, Future and its syndication partners may earn a commission. Sharon Osbourne says that some of the "false press" surrounding the amount of money raised for charity by Black Sabbath's farewell Back To The Beginning shown in Birmingham last month is "ridiculous". In the aftermath of the spectacular July 5 event at Villa Park, roundly acclaimed as the greatest heavy metal concert of all time, the show's musical director Tom Morello posted a series of photos from the day on Instagram, one photo of Ozzy Osbourne overlaid with the line "More than 190 million will be donated to houses and hospitals for children." Billboard magazine reported that the event had raised $190 million, while The Guardian reported that the pay-per-view livestream of the event reached more than five million fans, generating an estimated $150 million in revenue. It had been promised that 100% of the proceeds from the livestream would go to Acorns Children's Hospice, Birmingham Children's Hospital and Cure Parkinson's. Interviewed for live music industry bible Pollstar, however, Sharon Osbourne says that these claims are over-inflated. "One of the things that's frightening me is all this false press about [how], we've made $140 million and all of this, and I'm like, God, I wish we could have, for one gig," Osbourne says. "It's just ridiculous, the different stories. I went on the internet the next morning and it was like, $140 million, $160 million. And I'm like, Where does this stuff come from?""It takes a really long time [to work out the sums incvolved], because we've had all of the bands that we had come in and their expenses, and it'll take a good six weeks to get the final number," she continued. When Pollstar writer Ray Waddell notes, "These reports are not helpful for the Children's Hospital to see, waiting for their $190 million", Osbourne responds, "Oh my God! It's the Children's Hospital, a children's hospice, and Parkinson's research. Everybody thinks that they're going to cure everything with this much money, but it's not the real world." These concerns aside, Osbourne pronounced the event, which also featured her late husband's final show as a solo artist, as well as performances from Metallica, Slayer, Guns N' Roses, Tool and many, many more, "a huge success." "It was a phenomenal event," she says. "It was the first time, I think, that anybody's gone into retirement and done it, where the show is streamed and it goes to charity. So it's the first time anybody has said goodnight like that, it's the perfect way, when you've had such a long career, to end it. I never wanted Ozzy to just disappear without some big event." Ozzy Osbourne passed away on July 22, just a few weeks after his emotional farewell performances. Solve the daily Crossword

Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process
Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process

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Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process

When you buy through links on our articles, Future and its syndication partners may earn a commission. Fender has debuted the American Ultra Luxe Vintage collection, an assortment of high-end Stratocasters and Telecasters that have been positioned as some of the finest – and, by extension, most expensive – Fender guitars currently available. The American Ultra line has long sat at the very upper echelons of Fender's electric guitar catalog, and was recently the recipient of an extensive upgrade with the launch of the American Ultra II range. Now, the American Ultra Luxe range has been given a much-needed overhaul, with the Luxe Vintage line looking to further lean into Fender's heritage while retaining some of the most forward-thinking features the firm has to offer. Five models head up the new line – the American Ultra Luxe Vintage '50s Stratocaster, '60s Stratocaster, '60s Stratocaster HSS, '50s Telecaster and '60s Custom Telecaster – each of which hope to represent 'the pinnacle of Fender innovation and craftsmanship'. Image 1 of 5 Image 2 of 5 Image 3 of 5 Image 4 of 5 Image 5 of 5 Perhaps the biggest talking point here is the fact all three models roll out Fender's elusive Heirloom finish for a production line guitar for the first time. First introduced on Bruno Mars' signature Strat, the Heirloom finish looks to recreate a faithful 'closet classic' aesthetic through subtle and tasteful aging. It's a far cry from the Road Worn treatment of Fenders from yesteryears and it's intriguing that Fender is now making it more readily available. The Heirloom treatment has long been speculated to be Fender's own answer to the Gibson Murphy Lab. And, notably, the Ultra Luxe Vintage guitars offer a 'Meticulously Aged Heirloom' finish, which suggest the existence of other Heirloom tiers. Image 1 of 3 Image 2 of 3 Image 3 of 3 Whatever the case, Fender is clearly taking its relic'ing activities very seriously, and the Ultra Luxe Vintage gives the elusive finish its full range debut. Heirloom aside, the guitars all offer medium jumbo stainless steel frets with rolled edges, Modern D shape neck profiles and sculpted neck joints for easier upper-fret access. Electronics-wise, S-1 switches – found on the volume pots – tap into a wider array of Fender tones, which are present courtesy of a suite of Pure Vintage single-coils and a Haymaker humbucker for the HSS. Deluxe locking tuners, Luminlay side dots and Graph Tech TUSQ nuts are available across the board, while two-point trems and brass saddles are available for the Strats and Tele, respectively. Some stunning colorways are on tap, too: White Blonde, Butterscotch Blonde, Sea Foam Green, Fiesta Red, Ice Blue Metallic, 3-Color Sunburst among them. 'With the American Ultra Luxe Vintage series, we've redefined the balance between heritage and innovation,' said Max Gutnik, Chief Product Officer, FMIC. 'This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship. 'Every detail is built for exceptional tone, feel, and timeless style. We're proud to offer players an elevated experience that respects tradition and sets a new standard for performance.' The decision to double down and divert resources towards a range that looks to marry true vintage aesthetics and modern playability with a new Heirloom finish to boot is telling from Fender. Image 1 of 2 Image 2 of 2 It's a clear move to make a mark in the 'boutique vintage' market currently occupied by the likes of Suhr, Tom Anderson, and other firms that have been putting such modern spins on the classic S and T types in the past. "The blend of vintage and contemporary spec will be a turn-off for some but it is really compelling in practice," Guitar World Reviews Editor Rob Laing writes in his American Ultra Vintage Luxe '60s Custom Telecaster review. "An investment here could result in a Tele that could easily become a number one workhorse for a gigging guitarist." All of that comes at a price, though – the American Ultra Luxe Vintage models start from $2,849 and rise up to $2,999. For more info, visit Fender.

Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process
Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process

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time2 hours ago

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Fender debuts the American Ultra Luxe Vintage range – taking on its boutique rivals and rolling out its new relic'ing process

When you buy through links on our articles, Future and its syndication partners may earn a commission. Fender has debuted the American Ultra Luxe Vintage collection, an assortment of high-end Stratocasters and Telecasters that have been positioned as some of the finest – and, by extension, most expensive – Fender guitars currently available. The American Ultra line has long sat at the very upper echelons of Fender's electric guitar catalog, and was recently the recipient of an extensive upgrade with the launch of the American Ultra II range. Now, the American Ultra Luxe range has been given a much-needed overhaul, with the Luxe Vintage line looking to further lean into Fender's heritage while retaining some of the most forward-thinking features the firm has to offer. Five models head up the new line – the American Ultra Luxe Vintage '50s Stratocaster, '60s Stratocaster, '60s Stratocaster HSS, '50s Telecaster and '60s Custom Telecaster – each of which hope to represent 'the pinnacle of Fender innovation and craftsmanship'. Image 1 of 5 Image 2 of 5 Image 3 of 5 Image 4 of 5 Image 5 of 5 Perhaps the biggest talking point here is the fact all three models roll out Fender's elusive Heirloom finish for a production line guitar for the first time. First introduced on Bruno Mars' signature Strat, the Heirloom finish looks to recreate a faithful 'closet classic' aesthetic through subtle and tasteful aging. It's a far cry from the Road Worn treatment of Fenders from yesteryears and it's intriguing that Fender is now making it more readily available. The Heirloom treatment has long been speculated to be Fender's own answer to the Gibson Murphy Lab. And, notably, the Ultra Luxe Vintage guitars offer a 'Meticulously Aged Heirloom' finish, which suggest the existence of other Heirloom tiers. Image 1 of 3 Image 2 of 3 Image 3 of 3 Whatever the case, Fender is clearly taking its relic'ing activities very seriously, and the Ultra Luxe Vintage gives the elusive finish its full range debut. Heirloom aside, the guitars all offer medium jumbo stainless steel frets with rolled edges, Modern D shape neck profiles and sculpted neck joints for easier upper-fret access. Electronics-wise, S-1 switches – found on the volume pots – tap into a wider array of Fender tones, which are present courtesy of a suite of Pure Vintage single-coils and a Haymaker humbucker for the HSS. Deluxe locking tuners, Luminlay side dots and Graph Tech TUSQ nuts are available across the board, while two-point trems and brass saddles are available for the Strats and Tele, respectively. Some stunning colorways are on tap, too: White Blonde, Butterscotch Blonde, Sea Foam Green, Fiesta Red, Ice Blue Metallic, 3-Color Sunburst among them. 'With the American Ultra Luxe Vintage series, we've redefined the balance between heritage and innovation,' said Max Gutnik, Chief Product Officer, FMIC. 'This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship. 'Every detail is built for exceptional tone, feel, and timeless style. We're proud to offer players an elevated experience that respects tradition and sets a new standard for performance.' The decision to double down and divert resources towards a range that looks to marry true vintage aesthetics and modern playability with a new Heirloom finish to boot is telling from Fender. Image 1 of 2 Image 2 of 2 It's a clear move to make a mark in the 'boutique vintage' market currently occupied by the likes of Suhr, Tom Anderson, and other firms that have been putting such modern spins on the classic S and T types in the past. "The blend of vintage and contemporary spec will be a turn-off for some but it is really compelling in practice," Guitar World Reviews Editor Rob Laing writes in his American Ultra Vintage Luxe '60s Custom Telecaster review. "An investment here could result in a Tele that could easily become a number one workhorse for a gigging guitarist." All of that comes at a price, though – the American Ultra Luxe Vintage models start from $2,849 and rise up to $2,999. For more info, visit Fender.

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