View allAll Photos Tagged Amplifying
Another piece of street art in Asbury Park, NJ by Shepard Fairey. This is stenciled onto the bricks of this building next to the convention center. I had a look with Google street view and noted that this stenciled image was still here at the time the Google camera car went by.
Respect thy Father, Mother & Country was my first program. After all, isn't it their empathy that tells me to put on my toque and mittens...Eh? lol ♥
Another neat piece of treasure left behind for me to play with! This behemoth has always reminded me of some sort of old, iron phonograph, blasting its song of the mining days out into the Hills.
A vintage amp awaits to be plugged in during a recording session at Blue Light Studio in Vancouver. bit.ly/PBMusicFB
Here's a little Sailor Moon lore for you: the enemies in the third season of Sailor Moon are the Death Busters, an invasion force from a parallel dimension. The seed of their supreme general, Mistress 9, also known as the Messiah of Silence, is planted within Doctor Tomoe's daughter Hotaru. The mind of Mistress 9 lies dormant within Hotaru, unable to fully awaken unless the Death Busters obtain the Holy Grail. As the Messiah of Silence, Mistress 9 can use the Holy Grail to lay waste to the Earth (there's also another Messiah that can use the Holy Grail to save the world).
Occasionally the Death Busters, especially Doctor Tomoe, need to consult with Mistress 9 before her awakening. To do this, they put Hotaru into a special, very dark "play room" full of strange looking toys. She is then drugged and sinks into a near comatose state. Only when Hotaru's own mind is completely suppressed can Mistress 9 take over. However, due to the near comatose state of Hotaru's body, Mistress 9 can't do anything but barely whisper. The room is equipped with loudspeakers that amplify the whispers to an audible volume.
You couldn't write it. Well, you can, but some people will always ignore it because, obv, it does not apply to them (even though it applies precisely to them). Surprisingly she did not get pinged £3 to aid and abet her criminal enterprise but more for lacking any sense of irony and any consideration for those living nearby (and, if it makes a difference, the nearest residents are all council tenants).
Cova de Sa Tuna
Baix Empordà, Northern Spain
Press the 'Go' and then type 'L' to enlarge. It loops. 'Escape' to return.
To hear the subsonics and reverbs the video needs to to be viewed on a computer linked to a sound system and there is no effect on a portable phone or tablet.
A test for acoustic properties. On the third pass you can just hear a 'sweet spot' of reverb that has astonishingly deep subsonics. Whilst the sound on the camera is poor and equalised, and the Flickr processing compressed, you can still just hear both the reverb and sweet spot by listening to the end of the test sounds and 'underneath' the sounds. When in this man-made late bronze age cavity, the accelerated effect of the sweet spot is astonishing and like being inside a musical instrument. The space itself is like a large pot with the sweet spot on the upper left as you look in from outside.
The sound in the clip is an alternative to clapping and is not meant to illustrate a potential.
With the nearby Cova dels Clots de Sant Julià seeming to have had a past with acoustic properties, it seems worthwhile testing other man made prehistoric cavities of the local area. A reverb for a tone will also reverb for a song or a musical instrument. The reverb of this space feeds back on itself and the term amplification must apply. Prehistoric monolithic amplification.
This site is currently proposed as a sepulture. Whilst individuals may have asked to be buried here at the end of its period of meaning, the origins of the cavity may have been for applied musical effect over large distances.
A choir of 10 singing from inside
A drum skin attached outside and wedged against an interior roped beam.
Early oboes turning rondes.
Interior percussive cascades.
Lone melodious voice...
Unlike the Sant Julià site, which sits clean above an established quarry, the Sa Tuna site looks at first site to be on a typical hunters outcrop of rock, uphill from a fine menhir. Aside the idea of a sepulture, one might expect an explanation as a food store or shelter of one form or another. Providing the arguments as to how an 'acoustic cavity' may have been created on this spot requires a step back...
AJM 07.05.18
I figured it was time to post something from my catalog of flowers and seeing how orange is my favourite colour i thought this would be a fair choice . Cheers
Toa Gaia & custom kanohi's
The Kanohi Faxon was forged was rival_mocs on Instagram. original by Khingk
and the Mangai KauKau was painted by driftingmoc on Instagram
Forged by Vahki6
Build: Metru x Mahri
Kanohi: Great Mangai Kanohi Kaukau.
Formally the trans-blue amplified ruru.
allows the user to have greater vision underwater
specifically: dark, murky and cloudy water, etc.
Mahri: Amplified Faxon
Allows the user to mimic rahi powers
hunting skills and how they would strategize in difficult situations
Story: secret special agent and naval forces. unknown by Turaga Dume who just happened to be Makuta in disguise in Dume's position. ordered to spy on him and report back to Lhikan, the Order of Mata-Nui or both. secondly to immobilize corrupted vahki abusing their power over the law.
Strobist Info: Canon 430 EXII on full power through soft box from above, and a Walimex flash with guide number 43 on 1/4 of its power from the lower right through diffusor.
One weekend I came across hundreds of teenagers entering the subway dressed up as various anime characters. I decided to get of at the same stop, and discovered it was a kind of convention. I am personally not so interested in the field(though I enjoy many of Miyazaki's movies together with my daughter), but it was a great opportunity for portraits.
Seoul, South Korea, July 2010.
Copyright © Ioannis Lelakis.
All rights reserved.
(I replaced to a textured version since the original upload)
Credit to Noni for the emo glasses
I hardly do any SOOCs, so here you go...
Have a great weekend friends :)
French postcard by Cinémagazine-Edition, Paris, no. 777.
Good looking Swedish actor Nils Asther (1897-1981) was an intense star of the silent European cinema. In Hollywood, he was the leading man of stars like Pola Negri, Greta Garbo, and Marion Davies and was labelled ‘the male Greta Garbo’.
Nils Anton Alfhild Asther was born in Copenhagen, the capital of Denmark (some sources say Hellerup, Denmark), in 1897, but he was raised in Malmö, Sweden, by his wealthy Swedish parents. After attending the Kungliga Dramatiska Teaterns Elevskola (Royal Dramatic Theater School) in Stockholm, the darkly handsome Asther began his stage career in Copenhagen. In 1916 legendary director - and the later mentor of Greta Garbo - Mauritz Stiller discovered him. Reportedly they also began an affair. Stiller cast him in the leading role (as an aspiring actor, appropriately enough) in the Swedish film Vingarne/The Wings (Mauritz Stiller, 1916). In the following years, Asther acted on the Swedish stage and in a few films. In 1922 he worked with another acclaimed Swedish director, Victor Sjöström in Vem dömer/Love's Crucible (1922) with Gösta Ekman. Then he starred in German productions like Briefe, die ihn nicht erreichten/Letters, Which Never Reached Him (Friedrich Zelnik/Frederic Zelnik, 1925), Der Goldene Schmetterling/The Golden Butterfly (Mihály Kertész/Michael Curtiz, 1926) opposite Lily Damita, and Hotelratten/Hotel Rats (Jaap Speyer, 1927).
In 1927 Nils Asther moved to Hollywood. His first American films were Topsy and Eva (Del Lord, 1927), based on Harriet Beecher Stowe’s novel Uncle Tom's Cabin, and the popular comedy Sorrell and Son (Herbert Brenon, 1927), in which he played Sorrell jr. Another successful film directed by Herbert Brenon was Laugh, Clown, Laugh (1928) starring Lon Chaney. Asther’s foreign, exotic looks made him a popular actor, and he soon grew a thin moustache that amplified his suave appearance. His good looks landed him romantic roles with such co-stars as Pola Negri in Loves of an Actress (Rowland V. Lee, 1928), Marion Davies in The Cardboard Lover (Robert Z. Leonard, 1928), and Joan Crawford in Our Dancing Daughters (Harry Beaumont, 1928). Hans Wollstein writes at AllMovie: "Almost impossibly handsome, (...) Asther had the misfortune to be tagged the 'male Greta Garbo. He did two films with his famous counterpart: The Single Standard (John S. Robertson, 1929) and Wild Orchids (Sidney Franklin, 1929), and what an exotically handsome couple they made." Asther was bisexual, and for a while, he was smitten with Garbo. Like John Gilbert, he unsuccessfully proposed in 1929 while they were filming The Single Standard (John S. Robertson, 1929). In the early 1930s, he was briefly married to vaudeville actress Vivian Duncan, his co-star in Topsy and Eva (1927). Although his foreign accent was a hindrance in the sound film, he starred opposite Joan Crawford in Letty Lynton (Clarence Brown, 1932), and opposite Barbara Stanwyck in The Bitter Tea of General Yen (Frank Capra, 1933). He also starred in James Whale’s charming romantic comedy By Candlelight (1933) with Elissa Landi.
Nils Asther's Hollywood career continued until 1934 when he was blacklisted for breaking a contract. In 1935, he moved to Britain for four years. His British films included the spectacle Abdul the Damned (Karl Grune, 1935) with Fritz Kortner, and the historical romance The Marriage of Corbal (Karl Grune, 1936). Although he was allowed back in 1941, his Hollywood career declined. He played supporting parts in B-films like The Night Before the Divorce (Robert Siodmak, 1942), Night Monster (Ford Beebe, 1942), and the Film Noir Jealousy (Gustav Machaty, 1945) starring John Loder. But according to Hans J. Wollstein at AllMovie, "Whatever the setting, Asther always delivered a carefully modulated performance." By 1949 he was driving a truck. In 1958, he returned to Sweden, where he made occasional appearances in films like När mörkret faller/When Darkness Falls (Arne Mattsson, 1960), and Vita frun/Lady in White (Arne Mattsson, 1962) opposite Anita Björk. He also worked for Swedish television and on stage. Nils Asther died in 1981 in Stockholm. A very honest autobiography, 'Narren's Väg' (The Road of the Jester), was published posthumously in Sweden in 1988.
Sources: Peter Rivendell (Gay For Today), Hans J. Wollstein (AllMovie), Lyn Hammond (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Messing around with a Leica CL and a 40mm f/1.4 voiglander lens. I found the camera was a bit hard to load and after i rewound my film the shutter locked. So the camera is currently on its way to edinburgh for repair.
Leica CL
Voigtlander 40mm f/1.4
Kodak Ultramax 400
expired '06