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The home studio is mainly being used as a music room now. When I was a kid, I wanted to be the synthesizer player in a new wave band, but I wasn't any good at the piano and all I really wanted to do was just twiddle around and make cool noises with the things. And frankly I would never look good with Nick Rhodes' hair. So, now, some 27 years later, I have dozens of virtual synths on my Mac, a keyboard with knobs, and the amazing Korg Kaoss Pad, and I can twiddle 24/7. Anyone want to start a new wave band?
These pictures don't show it, but the accordion is in this room as well. The next photo has some notes detailing the hardware, but that's Ableton Live 7 and Reaktor 5 currently on the screen.
iBasso's hi-resolution DX90 digital audio player. I shot this for the ever-cool Headfonics.com website.
You can check their DX90 review here.
Shot with the Fujifilm X100s on a tripod. Two strobes were used, one in a softbox, one into a styrene reflector. Typical left/right setup. Triggered by flashwaves III.
30 May 2014. That's me in my studio in the British Library Sound & Vision's Technical Services. It was my last day before retirement after nearly 25 years in the job. The studio is named the Alan Dower Blumlein Studio and that's Nipper at my feet. All the equipment has been disconnected and powered down in readiness for the next person to work there and to set up how they would like it.
A Year in Pictures image 150 of 365.
Please contact me to arrange the use of any of my images. They are copyright, all rights reserved.
Even to the untrained eye most people will recognise this as an audio waveform, and it’s what I’ve been staring at for a frankly unhealthy amount of time over the past ten days or so.
Rewind 20 years or so, and between about 1998 and 2001 I did a lot of recording off-air of the BBC Radio 2 ‘In Concert’ programme. The recordings went onto minidisc and they’ve been sat on the shelf for twenty years.
What better use of an Easter weekend in lockdown than to start transferring them into a more accessible format? The job got finished today, and while it was a huge amount of work, let me now prove my age beyond all reasonable doubt as I say with a completely straight face: “bloody kids today don’t know they’re born!”
Back in the day I was splitting the tracks and naming what I could using the minidisc deck, and even with a QWERTY remote it was cumbersome. These days – my God, what a transformation!
Start by sucking the 57 minute broadcast into the PC. These days the whole thing will sit in RAM. You need to make track marks? No problem, you can see where most of them need to be visually. Got a bit of voiceover you want to remove? Click, drag, delete. Ah, but won’t that leave a glitch? Click, drag, crossfade – instant seamless join.
Ah, but what about naming them? No problem. If you know the Artist and you know the venue then there’s a good chance you’ll find the setlists on setlist.fm or similar. Not sure about the venue? No problem – hit the BBC Genome project and search every TV and Radio listing since God was a boy. No setlist available? Not a problem – just google a lyric and you’re done.
In that spirit I’ve now got an accessible collection of about 75 concerts and 992 songs, all of which have been named apart from three. Two of those are instrumentals by the Afro Celt Soundsystem which I’ve got Dave working on, and the other is an instrumental by the James Taylor quartet.
It’s been a fascinating journey exploring this snapshot of music in quite a narrow timeframe. With the exception of three historical concerts that got broadcast (The Kinks at the Rainbow Theatre, Bob Marley in the same venue, both in 1977 and something labelled as a Beatles Fantasy Concert, compiling live footage from 62-66) the shows are from between 97 and 2001.
Some people make the job easy – and let’s blow some kisses to Mary Black here, who has an archived setlist of every gig on her website. When you’re searching for lyrics life gets much easier when you’re dealing with someone who has beautiful diction, and I’m raising my hat to Trisha Yearwood. Other people make the task a bit harder. When the diction gets sloppy, it’s tricky – and yes, I’m looking at you Elvis Costello. And whatever happened to the good old-fashioned virtue of introducing your songs? If David Bowie can do it (and he does) then so can everyone else! Not that announcing the song helps when you’re dealing with an impenetrable Irish accent (thanks Sharon Shannon) or titles in Scots Gaelic (nice one Runrig).
The shows threw up some interesting peculiarities, particularly where I had more than one show from the same artist. The Bee Gees in Las Vegas really sounded like they were turning the handle on the mimeograph to crank out another identikit performance. Put them in the intimacy of the BBC Radio Theatre and they become warm and witty. For Gary Barlow it’s the other way round. He sounds very uncomfortable in the Sheffield Boardwalk, but in his element in the Manchester Apollo.
It’s also illuminating to see how people respect their back catalogue, or not. Ray Davies sounds like he’s singing ‘Lola’ through gritted teeth in 1977, whilst in 1999 Boy George completely owns the Culture Club back catalogue, gleefully introducing ‘Karma Chameleon’ as ‘one of our favourites, as it paid for a lot of very nice cars and a house in LA’. Sting is never afraid to dip into his previous work, often creatively reworking it. Bowie really goes the extra mile, as cognisant of the fact that he’s performing to an invited audience of a few hundred Bowie-geeks he plays one song that he hasn’t performed for decades and another that he’s never performed live at all.
There were some gifts. The Chaka Khan concert that started with three screamers from the James Taylor Quartet, including the Starsky and Hutch theme. A Prince cover by ‘Texas’. Pop culture references, including Vonda Shepard talking about dancing babies and the guitarist from Space proclaiming that ‘I think the Tellytubbies would kick shit out of the Wombles’. George Michael very convincingly performing ‘The Long and Winding Road’ at the Concert for Linda, and Midge Ure belting out ‘Vienna’ at ‘Scotland for Kosovo’ and loving every second, even though he’s flat as a pancake through most of it.
Oh my, this comment got very long, didn’t it? Sorry about that.
Update: Whilst I’ve been typing this Dave has been back to me with the two missing ACSS titles – Yey!
Update 2: I've got the JTQ track - 'Europa'.
you can get it if you really want it...
Sony DMX-R100 Digital Audio Mixer!
Sony’s DMX-R100 is a high-quality 48-channel digital audio mixer designed for professional recording and audio-post production applications. The mixing console can interface with a variety of professional digital audio recorders with the installation of optional I/O cards. Incorporating an ergonomic user interface, professional automation, full 5.1 surround capability, and machine control, the Sony DMX-R100 can efficiently fulfill most production requirements.
Sony DMX-R100 For Sale / Para La Venta / En Vente:
Sony DMX R100 48CH Digitalmixer Incl. 2 x DMBK-R101 (8 x XLR analog in) and 1 x DMBK- R103 (8Ch. AES/EBU in/out), 48-Kanal/25 Motor Fader, 24Bit up to 96kHz, Total-Recall-Automation, SVGA-LCD-Touchscreen, Surround Mixing-Control incl. Surround-Bus-Outputs. Digital routing Matrix and Output, Machine Control for up to 6 Machines (LTC,MTC,RS422), Touchscreen SVGA 21cm x 16cm, external VGA out incl. PS2 Tastatur- und Mausanschlüsse, free rooting Insertboard like Compressor/Expander/Gate pro Kanal, 4fach full parametric EQs. 48 Channel digital audio mixer with high quality signal processing
• 10-Bit touch sensitive motorized faders
• Easy-to-use high resolution color LCD touch panel and dedicated channel strip controls
• Professional automation functions including: snapshot and dynamic modes, touch-write fader operation, with built-in automation data storage
• Built-in matrix switcher allows total routing flexibility
• Optional I/O boards allow the Sony DMX-R100 to be configured to manage various applications
• Complete 5.1 surround mode include touch surround panning and discrete 5.1 monitoring
• Includes serial 9-pin and MMC (MIDI Machine Control) control capability
Software version 1.18
Conditions: like new, the Sony DMX-R100 Digital Audio Mixer has never been moved.
I put to 2 multicore with stage boxes to it…
free shipping inside europe
send your offers to info @ drmotte . de
thanx for looking
please tell your friends
for more info please click the link: sony-dmx-r100-digital-audio-mixer
27 May 2014. Will.
A Year in Pictures image 147 of 365.
Please contact me to arrange the use of any of my images. They are copyright, all rights reserved.
Making progress on my spdif switch (input selector and samplerate frequency display).
Here is the arduino nano sending test strings out to the 2 led display modules. pressing the switch on the left will cycle between the 2 inputs that I have planned (coax and optical).
wait, did I just spell 'opto' with zeros? lol. I'll have to change that to the letter Oh, I guess ;)
I plan to mount this to the front of a new chassis and have this module be the switch 'fabric':
www.flickr.com/photos/linux-works/16952723679/in/photostream
Inside view of the completed digital audio switch.
I'm pleased with the end result; the red plastic window is press-fit and an exact fit. the front button is soft touch and the input can be controlled with this button or via an IR remote. I avoided any screws or fasteners visible from the front panel (although the top panel is designed for easy removal and does have visible screws).
all in all, it was about a week's work to do the CAD, try it out with paper models and then finally go to laser cut plastic.
(the right-most LED block looks like its set back too far, but its not; that's just a photo angle problem. both LED strips are pressed right up against the red plastic filter and you don't see any unlit segments, day or night, either).
the arduino controls the thing and power also comes in via the usb rear port (for both programming and power to the entire box).
its not easily visible, but there's an 8pin attiny85 in there, too; its doing IR receive duty and sending ascii strings over a softserial port to the main arduino. the main arduino is too busy with freq counting (for the spdif bitrate display) to also do IR capture and decode; so the little 8pin chip will do that, instead. its my first time using the attiny in the arduino environment (flashing it from a spare arduino, as well).
there is a small red slide switch on the green board. since I'm using the hardware uart, you need to be able to remove the 'other device' hanging off of it when you download firmware over usb (which uses the UART on the arduino). so, switch open to update firmware, switch closed for runtime. if you forget and leave the switch connected, you will get nothing but timeouts when you try to flash the device.
in the far background is my HTPC, which has an optical-out for spdif (onboard realtek audio). it works fine up to 96k. the pc is a nice fanless i7 (haswell chip with heatpipes to keep it 100% fanless).
a fully home-made arduino. an ancient 168 version part, at that.
it runs a software frequency counter program and displays the nearest standard spdif 'data rate' on a colored led. for this build, I chose 6 led's in 3 colors. from a distance, you can easily see which of the 3 colors it is, and you can also see which side of the display it is. that's enough to know which item is displayed, even with lower eye vision.
some standard rates that you could assign to leds: 32k, 44.1k, 48k, 64k, 88.2k, 96k, 128k, 176.4k, 192k. there are 6 leds on this board but there are more arduino digital pins still available. I chose 6 for visual simplicity and I can pick the 6 most common spdif sample rates and have those be the ones that the leds will show.
this board is meant to be mounted in an existing stereo system. only small round holes (your choice how many you want to use) are needed. you can then add sample-rate display to your DAC, switch, cd/dvd/bd player, satellite receiver or anything that uses spdif digital audio.
for solder-side, see:
www.flickr.com/photos/linux-works/6931855049/
for the frequency counter arduino code, see:
interface.khm.de/index.php/lab/experiments/arduino-freque...
I will upload my own code for this complete solution, shortly.
(crude video to show the leds coming on during valid spdif frequencies: www.netstuff.org/spdif/spdif_led_meter_1.mp4 )
with complete wiring to a usb 'debug' port as well as the 2 wires needed for frequency sense that are schmitt-triggered by a 74hc14 chip (air-wired on the back of the board):
you can switch 4 inputs to a single output and you can also convert media types, coax and optical, with this circuit.
it does no reclocking at all - its purely an analog switch with high bandwidth, enough to 'contain' normal digital audio 'spdif'.
The back of the switchbox I used downstairs -- for switching between VCR (back when we did that), PlayStation 2, and upstairs-audio inputs. Once the Freecycle-Onkyo-receiver (recently photographed and uploaded) got deployed, this switchbox was no longer necessary. You only need something like this when dealing with shitty stereos that only have 1 worthy input.
RCA inputs, RCA outputs, RF input, RF output, coaxial ouput, composite output, digital audio output, switchbox.
downstairs, Clint and Carolyn's house, Alexandria, Virginia.
November 22, 2013.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
3 holes that I will need to tap into to get access to the i2s digital audio signals.
those 3 pads (scratched some resist paint off) and the 3 100ohm smd resistors are what I need.
plan is to export the i2s data in spdif form, using wm8805 spdif transmitter chips on a custom board.
A DVD-Audio of Bass Drum tracks from unconventional materials that Blue Man Group is popularly known for, in 5.1 channel.
I never did get along with my 80GB iPod Classic - the clickwheel was very insensitive, and often refused to respond at all. The iPod also seems to have a memroy leak problem, where it slows down more and more, eventually requiring a reset.
Then, a few weeks back, I remembered the Zune. From reading reviews of it, the general consensus seems to be that it's better than the iPod Classic, so I figgered I might as well give it a go. Before ordering one I downloaded the Zune software to see how I'd get on.
The Zune software is... ok. I find it better than iTunes for playing music, but when using the big list view, scrolling is reeeaallly slow. No idea why. The podcasts thing also took a bit of fiddling around with to set up (not helped by the decidedly flaky internet connection I've had lately). Took about 5 hours to sync my 55GB of music!
It's all set up now and I have to say, the Zune device is much nicer to use than the iPod Classic. Scrolling through lists is much quicker, easier and more accurate, the big screen put to good use when displaying album art, and little touches like being able to go to the current artist's list of albums when in Shuffle All mode are nice.
The only thing I've found wanting from the iPod is a Composers list, although I could perhaps get around this using a playlist. Seems a bit of a faff though.
The Zune Marketplace (similar to the iTunes Music Store) isn't available in the UK yet, so I can't comment on that aspect of the package.
Oh and the earphones that come with the Zune are really quite nice - noise-blocking and pretty good sound. I use them for listening to podcasts, but prefer my Koss PortaPros for music.
using a very cheap and easy to find cd4052 cmos analog switch IC.
quick wiring to test my idea.
yes, the circuit works - I tested all 3 inputs and when you select the right binary 2-bit address the correct input TOSLINK port is repeated out of the single TOSLINK output port (the one that is 'open', or shutterless happens to be the output port).
my own soldering. the so-called 'flood and suck' method really works well even though its looked down on, by soldering professionals.
lay a thick bead of solder along all the pins and be messy as you want about it. then use some solder wick and flux, cradle the hot soldering iron in the curve of the fluxed braid-wick and run the heated wick along the wires. careful not to press too hard or you will scrape off the pc board 'resist' (insulation). if you have good flux flowing in the procedure, the right amount of solder will stay on the board and pins and the rest will be wicked up, very neatly.
the outer chip-carrier board pins are standard 0.1" spacing. the black foam thing, above, is anti-static.
after adding a software calibration constant, the readings are much closer and within acceptable tolerance, now.
5.1 Channel Audio CDs
Fourplay "Fourplay" DVD-Audio
Steely Dan "Two Against Nature" DVD-Audio
Hootie and the Blowfish "Cracked Rear View" DVD-Audio
The Corrs "In Blue" DVD-Audio
Donald Fagen "The Nightfly" DVD-Audio
Miles Davis "TUTU" DVD-Audio
No Assembly Required "Pieces of a Dream" DVD-Audio
Livingston Taylor "Ink" SACD
Pink Floyd "The Dark Side of the Moon" SACD
Diana Krall "Love Scene" DTS-CD
Blue Man Group “Audio” DVD-Audio (not in photo)
after adding a software calibration constant, the readings are much closer and within acceptable tolerance, now.
2 coax-in input ports, on a single 'module'.
white molex connectors on the left are the inputs; connect those to RCA jacks (do not connect shield to chassis!).
2 red molexes on the right are the corresponding TTL outputs.
white molex in the middle (in between the reds) is power supply (5v) input to power the chip.
the 2 spdif coax in channels are separate and share only chip and power supply but don't 'mix' in any other way and are isolated from each other.
inside is an arduino cpu chip (atmel mega168), an IR receiver, a bunch of toslink i/o blocks and some rca jacks.
4 input and 1 output spdif switch with IR remote control and user-defined LCD names.
LCD is actually an RGB backlit display so you can choose many different colors by mixing values of r/g/b ;)
Microchip’s 16/32-bit PIC® MCU Accessory Development Platform for iPod and iPhone accelerates the design of accessory products by providing an easy-to-use, high- performance reference design with complete withwith a programmable user interface and charging capabilities. This platform boasts a complementary set of peripheral functions, including pushbutton switches, LEDs, potentiometer, LCD display, and temperature sensor. Microchip’s software library facilitates identification, authentication and all communication protocols, including a simple API and bootloading capability.
Microchip’s 8-bit PIC® MCU Accessory Development Platform for iPod and iPhone accelerates the design of accessory products by supporting analog audio, video output, a programmable user interface, and charging capabilities. This platform supports all necessary connection and communication features via hardware and software. Microchip’s software library facilitates identification, authentication and all communication protocols, including a simple API and bootloading capability.
Mix audio in the digital medium? I'm still trying to 'Ace' the old school, analog mixer that I bought here at Spaceman.
See Mikey G Ottawa's Flickr Photo Set of my visit to Spaceman Music in Centretown Ottawa on Gladstone Avenue at Bank Street. www.flickr.com/photos/mikeygottawa/sets/72157603698127445...
.
Sat Nav, Bluetooth for phone and audio streaming, SD Card reader & USB for music, videos, image viewer, DVD player and a standard 3.5mm stereo input. Made by BOSCH. Oh if anyone else has one of these units and their memory stick doesn't work, make sure its formatted to the FAT32 format and not NTFS.
Microchip’s Digital Audio Platform for iPod and iPhone accelerates the design of accessory products that access and output digital audio content, provide programmable user interfaces, and support charging capabilities. This platform supports all necessary connection and communication features via hardware and software. Microchip’s software library facilitates identification, authentication and all communication protocols, including a simple API and bootloading capability.