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The Digilent Electronics Explorer board (EE board) includes all of the test and measurement equipment needed to design, build, and test analog and digital circuits of all types. Built around a large solderless breadboard, the EE board includes a 4-channel mixed-signal USB oscilloscope, waveform generator, variable power supply, voltmeter, reference voltage generator, and thirty-two digital signals that can be configured as a logic analyzer, pattern generator, or any one of several static digital I/O devices. All of these instruments can be connected to circuits built on the solderless breadboards using simple jumper wires.
store.digilentinc.com/electronics-explorer-all-in-one-usb...
Here is the bag configured with straps in backpack mode. Note the waist strap that's normally tucked away in the strap pockets can be withdrawn and used for a more secure way of carrying.
Size optimized and letterpress configured Papyrus. 124-pt.
A bit of typographic hyperbole taken from ‘A Red, Red Rose,’ a poem by the legendary Scotsman Robert Burns. Printed damp from photopolymer plates on white Magnani Pescia mouldmade paper. Watercoloring was applied within the counters of selective characters. Issued in an edition limited to 120 numbered copies.
Sgt. Karisa Abelseth and Spc. Samual Petermann configure the radios of the 2nd Battalion, 300th Field Artillery at the 153rd Airlift Wing in Cheyenne, Wyo. Abelseth and Petermann were part of a selection of 2-300th soldiers who participated in a HIMARS Rapid Infiltration mission that took place on Jan. 21-22 in Wyoming and Dugway Proving Grounds. (U.S. Army National Guard Photo by Spc. Roy Uptain)
Technical Meeting on Advanced Techniques for Equipment Testing Under Field Conditions (BRD TM). Division of Nuclear Security, IAEA Seibersdorf. 13 June 2019
Figure 32. A participant configures a backpack radiation detector (BRD) prior to a moving source test.
Photo Credit: Dean Calma / IAEA
G. H. Residence was conceived less as a house, but more as an extension and outgrowth of the limestone and aquifers of the Central Texas geography. The roof structure is configured so as to create a natural basin for the collection of rainwater, not unlike the vernal pools found in the outcroppings of Enchanted Rock. These basins harness additional natural flows through the use of photovoltaic and solar hot-water panels. The water, electricity and heat which are harvested on the roof tie into an extensive climate conditioning system which utilizes water source heat pumps and radiant loops to supply both the heating and cooling for the residence. The climate system is connected to geothermal ground loops as well as pools and water features thereby establishing a system of heat exchange which minimizes reliance on electricity or gas.
The primary formal gesture of the project inserts two long native limestone walls into the site. The walls serve as the boundary demarking domesticated space with the vegetation outbound of these walls being native while the interior spaces are more lush and tropical. The program of the residence is configured along the stone walls each of which serves as the spine for the public and private wings, respectively. The offset between the main wings establish an exterior courtyard which will serve as an extended living space for much of the year. The siting of the boundary walls and building elements was informed by the presence and preservation of three mature native oaks. The house enjoys close proximity to both Emma Long Metro Park and
West Bull Creek Preserve.
Bercy Chen Studio LP
www.facebook.com/pages/Austin/Bercy-Chen-Studio/350315618...
www.architizer.com/en_us/firms/view/bercy-chen-studio-lp/...
photo by Paul Bardagjy
You can come visit just the Great Gallery, visit the Great Gallery and take a Boeing Tour, or rent out the Great Gallery for your event if you so wish.
As you can see, great aircraft lighting by Hollywood Lights. Special thanks to Historic Flight Foundation for loaning the Gee Bee Super QED II and Flying Heritage Collection for loaning the Spitfire to the 10-Year Gala.
Please credit the Future of Flight with any use of this photograph. Thank you.
The Jane Marie is a true family private car, and is configured with a large lounge, 2 master bedrooms, a dining room seating eight, and full service galley. With two toilets with holding tanks, a shower, entertainment center, and 35kw diesel generator, the car is fully self contained.
It still proudly carries the Rock Island name on the letter board. Almost all of the furnishings are authentic railroad, and many are from Rock Island cars that were scrapped. The china and silver are authentic Rock Island. The curtains in the kitchen and bathroom are from the fabric used in coaches with the Rock Island logo.
How to configure a network printer and scanner on Ubuntu desktop
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A South Carolina National Guardâs CH-47F Chinook, a heavy-lift helicopter configured with an Extended Range Fueling System (ERFS), also referred to as the "Fat Cow," and its aircrew assigned to Detachment 1, Company B, 2-238th General Support Aviation Battalion, 59th Aviation Troop Command from Greenville S.C., stages its base of operations in support of Hurricane Matthew recovery efforts at McEntire Joint National Guard Base, Eastover, S.C., Oct. 10, 2016. Approximately 2,000 South Carolina National Guard Soldiers and Airmen were activated in direct support to Hurricane Matthew response efforts since Oct. 4, 2016. (U.S. Air National Guard photo by Senior Master Sgt. Edward Snyder)
G. H. Residence was conceived less as a house, but more as an extension and outgrowth of the limestone and aquifers of the Central Texas geography. The roof structure is configured so as to create a natural basin for the collection of rainwater, not unlike the vernal pools found in the outcroppings of Enchanted Rock. These basins harness additional natural flows through the use of photovoltaic and solar hot-water panels. The water, electricity and heat which are harvested on the roof tie into an extensive climate conditioning system which utilizes water source heat pumps and radiant loops to supply both the heating and cooling for the residence. The climate system is connected to geothermal ground loops as well as pools and water features thereby establishing a system of heat exchange which minimizes reliance on electricity or gas.
The primary formal gesture of the project inserts two long native limestone walls into the site. The walls serve as the boundary demarking domesticated space with the vegetation outbound of these walls being native while the interior spaces are more lush and tropical. The program of the residence is configured along the stone walls each of which serves as the spine for the public and private wings, respectively. The offset between the main wings establish an exterior courtyard which will serve as an extended living space for much of the year. The siting of the boundary walls and building elements was informed by the presence and preservation of three mature native oaks. The house enjoys close proximity to both Emma Long Metro Park and
West Bull Creek Preserve.
Bercy Chen Studio LP
www.facebook.com/pages/Austin/Bercy-Chen-Studio/350315618...
www.architizer.com/en_us/firms/view/bercy-chen-studio-lp/...
photo by Paul Bardagjy
Custom configure a snaptrac to suit your needs. Choose from our selection of rail slides, trolleys, end stops, posts & hangers, suspension plates, and conductor bars.
This build doesn't really have a definite front or back, it depends on how you configure the fingers.
Here the CPU cooler bulge it's one of the big parts crafted from recovered aluminium scraps, it took a while to smooth it out but it was worth it.
There is also the 200mm Cooler Master MasterFan doing it's job, the Energon 650W PSU and the silverstone technology sleeved cables are also visible through the acrylic side.
Beside the sleeved cables you can get a glimpse of the Arctic esports one 33 CPU cooler but being black it is very discreet.
They are my duo for the #CMWS20, it took a lot of work but I love 'em.
Made by Jean R built
The project is visible on build.gg
You can check the full build logs on the Cooler Master and bit-tech forums, or my Youtube channel to see the making of Leetfoot and other projects
G. H. Residence was conceived less as a house, but more as an extension and outgrowth of the limestone and aquifers of the Central Texas geography. The roof structure is configured so as to create a natural basin for the collection of rainwater, not unlike the vernal pools found in the outcroppings of Enchanted Rock. These basins harness additional natural flows through the use of photovoltaic and solar hot-water panels. The water, electricity and heat which are harvested on the roof tie into an extensive climate conditioning system which utilizes water source heat pumps and radiant loops to supply both the heating and cooling for the residence. The climate system is connected to geothermal ground loops as well as pools and water features thereby establishing a system of heat exchange which minimizes reliance on electricity or gas.
The primary formal gesture of the project inserts two long native limestone walls into the site. The walls serve as the boundary demarking domesticated space with the vegetation outbound of these walls being native while the interior spaces are more lush and tropical. The program of the residence is configured along the stone walls each of which serves as the spine for the public and private wings, respectively. The offset between the main wings establish an exterior courtyard which will serve as an extended living space for much of the year. The siting of the boundary walls and building elements was informed by the presence and preservation of three mature native oaks. The house enjoys close proximity to both Emma Long Metro Park and
West Bull Creek Preserve.
Bercy Chen Studio LP
BAF offered G-BEYF as an executive configured charter aircraft and it regularly appeared with different titles - here it has Occidental Oil titles. Note also the name 'Sheila Scott' on the nose - the famous Aviatrix who was the first pilot, male or female, to fly directly over true North Pole in a light aircraft
How to install a Brother printer on Linux
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G. H. Residence was conceived less as a house, but more as an extension and outgrowth of the limestone and aquifers of the Central Texas geography. The roof structure is configured so as to create a natural basin for the collection of rainwater, not unlike the vernal pools found in the outcroppings of Enchanted Rock. These basins harness additional natural flows through the use of photovoltaic and solar hot-water panels. The water, electricity and heat which are harvested on the roof tie into an extensive climate conditioning system which utilizes water source heat pumps and radiant loops to supply both the heating and cooling for the residence. The climate system is connected to geothermal ground loops as well as pools and water features thereby establishing a system of heat exchange which minimizes reliance on electricity or gas.
The primary formal gesture of the project inserts two long native limestone walls into the site. The walls serve as the boundary demarking domesticated space with the vegetation outbound of these walls being native while the interior spaces are more lush and tropical. The program of the residence is configured along the stone walls each of which serves as the spine for the public and private wings, respectively. The offset between the main wings establish an exterior courtyard which will serve as an extended living space for much of the year. The siting of the boundary walls and building elements was informed by the presence and preservation of three mature native oaks. The house enjoys close proximity to both Emma Long Metro Park and
West Bull Creek Preserve.
Bercy Chen Studio LP
Featured in the Wall Street Journal
online.wsj.com/article/SB10001424052702304141204577509473...
www.facebook.com/pages/Austin/Bercy-Chen-Studio/350315618...
www.architizer.com/en_us/firms/view/bercy-chen-studio-lp/...
photo by Paul Bardagjy
A South Carolina National Guardâs CH-47F Chinook, a heavy-lift helicopter configured with an Extended Range Fueling System (ERFS), also referred to as the "Fat Cow," and its aircrew assigned to Detachment 1, Company B, 2-238th General Support Aviation Battalion, 59th Aviation Troop Command from Greenville S.C., stages its base of operations in support of Hurricane Matthew recovery efforts at McEntire Joint National Guard Base, Eastover, S.C., Oct. 10, 2016. Approximately 2,000 South Carolina National Guard Soldiers and Airmen were activated in direct support to Hurricane Matthew response efforts since Oct. 4, 2016. (U.S. Air National Guard photo by Senior Master Sgt. Edward Snyder)
NS InterCity Direct (formerly Hi-Speed / Fyra) passenger trains are hauled by D/A/B/NL“ configured locomotives, which obviously means it is equipped for Germany, Austria, Belgium and the Netherlands, with all required quad panto-graphs and train protection systems. Several Alpha Trains 186s currently used in passenger service on the so-called services on the Amsterdam-Rotterdam line, as well as on IC services between Amsterdam and Brussels, are actually cleared for 160 kph rather than 140, even though the 186 has nose-suspended motors. However, it was found modern AC motors are sufficiently light to allow for 160 kph even when used in conjunction with nose suspension.
These quad voltage, four panto-graph TRAXX locos have been quite a boost to Dutch Intercity services and International services. Under Dutch wires they run off the standard 1500volt supply except on the High Speed South Line where its energized to 25,000 volts. When you watch these locos start a train at a Dutch station you will noticed that they have to raise a second panto-graph in order to achieve the current draw required, once they are rolling the second panto-graph is then lowered.
A visit to the "Musée de la Civilisation Gallo-Romaine", Lyon, France, on October 27, 2022, accompanied by my SLR Miranda Auto Sensorex EE.
The camera was loaded with a CineStill 400 Dynamic (400D) and configured with the loupe finder X5 and x15 and its normal lens Auto Miranda E 1:1.8 f=50 mm fitting original Miranda 52mm Skylight filter.
The film was exposed for 400 ISO following the readings of the camera (measuring mode "S") or a Minolta Autometer III fitted with a 10° finder. Indoor exposures were hand-held typically at 1/30s and full aperture. The film was then developed using a local C-41 development local service.
Musée de la Civilisation Gallo-Romaine, October 27, 2022
Rue de l'Antiquaille
69005 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
Other AI-based smartphone pictures and information notes available in the museum could be found in this companion album here : flic.kr/s/aHBqjAcSdv
About the camera :
This camera was initially sold out on March 15, 1972 to a first customer in Abbeville, France, and resold as a second hand by "Photo Ciné Saint Lazare", Paris, France one year later at spring 1973.
The camera was sold to me in March 2022 with the three finders available, three lenses Miranda Auto E, 1:1.8 f=50 mm, 1:2.8 f=28 mm, 1:2.8 f=105 mm all equipped with Miranda Skylight 52 mm filters.
EE stands for "Electric Eye", a system of diaphragm automated by the circuitry operating two CdS cells located behind the reflex mirror and making the photometry independent of the finders. The Miranda EE has two measuring mode : the pondered A (A as "Ambiant") and the S (spot) with the possibility to "memorize" the light value standing the release button at mid course as on modern camera's. the whole photometric system is fully functional on this camera and gives reading similar to a trusted external silicium electronic photometer (Minolta Auto Meter III).
030327-N-6817C-154.An F/A-18E Super Hornet configured in the in-flight refueling mode launches off of the flight deck on March 27, 2003. USS Abraham Lincoln (CVN 72) and Carrier Air Wing Fourteen (CVW 14) are conducting combat operations in support of Operation Iraqi Freedom. Operation Iraqi Freedom is the multi-national coalition effort to liberate the Iraqi people, eliminate Iraq's weapons of mass destruction, and end the regime of Saddam Hussein. (U.S. Navy photo by Photographer's Mate 3rd Class (Air Warfare) Tyler J.Clements) (Released)
The NZ-109 can be configured into many different ways or has the concept of being module. The only thing that restricts the configurations is that magwell as it can only accept a certain type of magazine. Because of the different reciviers, some configurations can't happen such as the carbine to a sniper due to magwell size.
TOP:
Carbine configuration
2ND:
Rifle configuration
3RD:
Support Weapon configuration
BOTTOM:
Sniper configuration
The TASCAM DM4800 is the ultimate digital console for professional users who demand a flexible, 64-channel mix platform that configures to fit their needs. A "fat channel" strip in the center of the board provides instant access to 4-band parametric EQ, dynamics and aux controls available for the first 48 channels. Twenty-four studio-grade mic preamps provide enough inputs for a live event, and more can be added using expansion cards with external preamps. The standard compliment of analog and digital I/O is more than you'll find on consoles costing three times as much, and a completely confi gurable 24-buss routing system allows you to re-patch the board at the flick of a switch.
TASCAM's DM4800 fits seamlessly into the modern recording environment based around a computer DAW. With a single button press, the Remote layer provides a 24-fader control surface for control of premiere workstations such as Pro Tools, Logic, SONAR, DP, Cubase and Nuendo. The optional IF-FW/DM mkII interface card provides 32 channels to and from a computer at up to 96kHz over a single FireWire cable. And the optional surround monitoring card provides downmixing, bass management and level control for mixing in up to 6.1 surround. No matter what your application, the TASCAM DM4800 adapts to the needs of any professional audio installation
AUDIX D6 – SUB-DYNAMIC INSTRUMENT MICROPHONE
by: John Ryan
As printed on the box, the Audix D6 is a Sub-Dynamic instrument microphone definitely designed to properly capture low frequency sound sources and percussion instruments. For this reason, the Audix D6 is my first pick when specifying or chosing among the many kick drum microphones available on the market. I’ve decided to own my personal D6 to take along with me wherever I go and it’s a pleasure to share my impressions with sound engineers and tech-conscious drummers on this great product.
I first tried the Audix D6 in 2004, during one of my most challenging jobs ever, mixing FOH for an itinerant festival tour that saw 16 bands playing live on stage every afternoon, three days weekly, for three months, in eleven major Italian cities, then topping the evening with one or two major international headliners (Nile Rodgers & Chic, Kool & The Gang, Kid Creole & The Coconuts, KC & The Sunshine Band...to name a few). The audio team’s main goal was to treat every band with the same attention. Toni Soddu, our stage manager (well known for his perfect management in this type of battle), had configured a twin rhythm section setup on stage, with everything perfectly matching, as if we had two separate stages. Marco Dellatorre (on monitors) and I (in FOH) both had our Yamaha PM1D with 96 channels configured to allow 40 channels for each of the two setups (stage A & stage B), allowing total control on one layer at a time of all inputs, outputs and effects for each band, plus feeds to and from the A/V mobile units, as well as extra microphones for the MC’s and guests. The 16 bands were only allowed a quick line check and this was done while the other band was playing (stage A playing live and stage B doing line check, etc). At this point, speed and consistency was the first things we were after. Each band would only perform one song and I wanted each band to sound right within the first few bars, so it had to be right from the start. My choice of using a wide range of Audix microphones, as well as a few of the all time favorite brands and models, turned out as being a winner. For this, I have to thank Pasquale Lombardi of Lombardi Service in Termoli for supplying us with a large amount of Audix microphones, at the time still quite unknown to the Italian market.
Shortly before starting this tour, I had been introduced to the Audix D6 by my friend Angelo Tordini, CEO of Reference Laboratory and Audix distributor in Italy. The result of trying this large diaphram microphone on the kick drum surprised me, to say the least. I had previously used Audix microphones, but they were lacking a product that would sound right on the kick. The D4 will work at times, but it does take some knob turning and a bit of generosity in the low end with the equalizer. The D6 has been designed to respond just like you would expect it to on the kick drum. The proximity effect on it is quite evident, keeping the low end always present, even when it’s not quite close to the source. Feedback control is very good, even when you’re forced to use more preamplifier gain to compensate for the distance from the source, but this is a common feature in Audix microphones, thanks to their VLM capsule technology.
You could say that the D6 has built in EQ, tuned to picking up a kick drum. The slight enhancement in the 35-80Hz range, attenuation of the low mids (to avoid boominess) and enhancement of frequencies above 1KHz, give this microphone what it needs in the low end as well as the proper definition in the high-mids. Its cardioid pattern works very well in rerejecting off axis signals. Proof of this can be obtained by just placing the D6 in the kick drum and listening to the signal, flat (way in or way out is up to personal taste and requirements). In most cases, I prefer placing the D6 in the hole, a few degrees off axis from the beater head, with just the XLR out of the hole. This gives me excellent attack response and enough air around the capsule to give me the low end I need. With one D6 I get the sound I used to look for by double-miking the kick. In a jazz kit, where there usually is no hole, I like to place the D6 slightly off center, parallel to the head and about 4 inches away. The naturalness of the sound, providing the drum head is tuned properly, is awesome. However, as in all microphone cases, experimentation is the secret. There is no single rule on how or where to place your mics on your sources, but proper placement will generally reduce over EQing. My point of view has always been that if your source needs too much equalization, but your PA system is tuned properly, problem probably lies within the combination of the source’s quality and the microphone used. Microphones don’t do miracles, they help us in making them...at times.
Also, remember that a properly tuned source is of great importance and that it should be the first thing we want to listen to. A badly tuned percussive or harmonic instrument, will never sound right, even with careful microphone placement. If your drummer’s heads are tuned properly, simple microphones placement techniques will give you much satisfaction. The best thing about the D6 is that you will probably never touch the EQ...I don’t. Also, try cabling your a D6 (and the rest of your mics) with a Reference RMC01 cable and find out how much signal you’ve been losing all this time.
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AUDIX D6 – MICROFONO PER STRUMENTI SUB-DINAMICO
di: John Ryan
Come stampato sulla confezione, l’Audix D6 è un microfono Sub-Dinamico, decisamente disegnato per la ripresa di sorgenti con basse frequenze e strumenti a percussione. Ancora oggi, io scelgo l’Audix D6 tra i molti microfoni per la cassa della batteria. Per questo motivo, ho deciso di avere il mio D6 personale, da portare ovunque io vada ed è con piacere che desidero scambiare con fonici e batteristi con la passione dell’audio,le mie impressioni a proposito di questo grande prodotto.
Ho provato, per la prima volta l’Audix D6, nel 2004, durante uno dei miei lavori più degni di sfida, mixando FOH per un festival itinerante che vedeva 16 band dal vivo ogni pomeriggio, per tre giorni a settimana, per tre mesi, in undici città principali Italiane, per poi finire ogni serata con uno o due headliners (Nile Rodgers & Chic, Kool & The Gang, Kid Creole & The Coconuts, KC & The Sunshine Band...per menzionarne alcuni). Lo scopo principale della squadra audio era di trattare ogni band con la stessa attenzione. Toni Soddu, il nostro Stage Manager (famoso per la perfetta gestione di simili battaglie), aveva configurato due sezioni ritmiche gemelle sul palco, con tutto perfettamente a doppio, come se fossero stati due palcoscenici separati. Marco Dellatorre (monitors) ed io (FOH), avevamo entrambi i nostri Yamaha PM1D con 96 canali configurati in modo da dedicare 40 canali per ognuno dei setup (palco A & palco B), permettendo il controllo di tutti gli input, output ed effetti su un layer completo per ogni band, più segnali da e verso l’unità mobile A/V e sufficienti microfoni di servizio per i presentatori e gli ospiti. Alle 16 band veniva permesso solamente un line check mentre l’altra suonava dal vivo (palco A suonava dal vivo mentre palco B effettuava il line check, etc). A questo punto, integrità e consistenza erano le prime cose che volevamo ottenere. Ogni band avrebbe suonato solamente un brano e io volevo che ogni band avesse il suono giusto sin dalle prime battute, quindi doveva essere giusto dall’inizio. La mia scelta di usare una vasta gamma di microfoni Audix, insieme ad alcuni marchi e modelli intramontabili, risultò essere vincente. Di questo ringrazio ancora Pasquale Lombardi della Lombardi Service di Termoli, che ci ha fornito un grosso quantitativo di microfoni Audix, allora ancora un prodotto non molto conosciuto in Italia.
Poco prima di iniziare questo tour, fui introdotto all’Audix D6 dall’amico Angelo Tordini, CEO della Reference Laboratory e distributore Audix in Italia. Il risultato della prova di questo microfono a capsula larga sulla cassa della batteria mi sorprese positivamente, a dire poco. Avevo già usato alcuni microfoni Audix, ma mancava un prodotto che sarebbe stato giusto per la cassa. Il D4 può andare bene a volte, ma richiede qualche manovra di troppo con l’equalizzatore e l’aggiunta di un generosità sulla parte bassa. Il D6 è stato concepito per rispondere esattamente come vi aspettereste da un prodotto specifico sulla cassa. L’effetto di prossimità è ottimo, evidenziando sempre la parte bassa, anche quando la distanza del microfono dalla sorgente varia. Il controllo di feedback è ottimo anche se siamo costretti a volte ad aumentare il guadagno del preamplificatore per compensare alla distanza dalla sorgente, ma questa è una caratteristica comune a tutti i microfoni Audix, grazie alla capsula con tecnologia VLM.
Potreste dire che il D6 ha un EQ al suo interno, tarato per catturare la cassa. La lieve esaltazione del range tra i 35-80Hz, l’attenuazione minima dei medio bassi (per eliminare le risonanze) e l’esaltazione delle frequenze al di sopra dei 1KHz, danno a questo microfono ciò di cui la cassa ha bisogno, mantenendo la definizione delle medio alte. La sua caratteristica polare cardioide respinge ottimamente i segnali fuori asse. La prova di tutto questo si può ottenere semplicemente piazzando il D6 nel foro della cassa, ascoltando il suo suono senza EQ (dentro o fuori è solo questione i gusto personale). Io preferisco, nella maggior parte dei casi, all’interno della cassa, con l’XLR fuori dal foro e con la capsula pochi gradi fuori asse rispetto alla pelle battente. Questo mi dà un ottimo attacco e sufficiente aria intorno alla capsula per darmi le basse che mi servono. Con un D6 sulla cassa, riesco ad ottenere il suono precedentemente trovato usando la tecnica della doppia microfonazione. Su un kit da jazz, dove spesso non c’è foro, mi piace posizionarlo leggermente fuori centro, parallelo alla pelle anteriore e a circa 10cm. La naturalezza del suono, sempre che la pelle della cassa sia accordata in maniera appropriata, è impressionante. Comunque, come in tutti i casi microfonici, il segreto è nello sperimentare. Non esiste un unica regola su come o dove posizionare i microfoni sulle sorgenti, ma il piazzamento ottimale generalmente riduce la troppa equalizzazione. Io sono sempre dell’idea che in un sistema ben tarato (impianto audio), se c’è troppo da equalizzare sulle sorgenti, il problema resta nell’accoppiata tra la qualità della sorgente e il microfono che si utilizza. Ricordate, i microfoni non fanno miracoli, ma ci aiutano a farli...a volte.
Inoltre, ricordiamoci che una sorgente bene accordata è di fondamentale importanza e dovrebbe essere la prima cosa cui ascoltare. Uno strumento accordato male, armonico o percussivo, non avrà mai il suono giusto, anche con piazzamenti microfonici scrupolosi. Se le pelli della batteria sono accordate a puntino, semplici tecniche di posizionamento dei microfoni vi daranno maggiore soddisfazione. la cosa migliore del D6 e che probabilmente non toccherete mai l’EQ...io non lo tocco mai. Inoltre, il D6 (e anche gli altri microfoni) cablato con un cavo Reference RMC01, vi farà comprendere anche quanto avete segnale avete perso in tutti questi anni.
An Asus wl-520gu wireless router running openwrt embedded linux configured for operation as a wifi streaming radio.
I added an inexpensive USB hub, Syba USB audio adapter and an Antec Veris Multimedia Station EZ -- a usb IR receiver, see: www.newegg.com/Product/Product.aspx?Item=N82E16811999190
Based on postings from Jeff @ mightyohm: mightyohm.com/blog/2008/10/building-a-wifi-radio-part-1-i...
Joseph Amadee, REF operational lead, configures power settings for a hybrid battery system that greatly reduces fuel consumption of the Rapid Aerostat Initial Deployment tower in Kabul, Afghanistan, in September 2014. The Army Rapid Capabilities Office’s mission is complementary to that of the REF, which has a 180-day turnaround time and delivers a specific piece of kit to meet the urgent operational needs of a specific forward-deployed unit. (U.S. Army photo by Sgt. William White, International Security Assistance Force Joint Command)
A fine and probably unused Sandvik handsaw model no 277, configured crosscut at 10 PPI/9 TPI and 26 inches.
This example has several interesting fetters. The handle mimics that of the folder era Apple handles with curvy features and dragon embroideries, but the medallion is replaced by a circular warning sign probably made out of paper and the handle is not made of apple, but stained and laminated hardwood. The etches which are almost perfect are possibly not etched at all, rather printed. They are identical in appearance and content to those found on a plastic handled no 277, which was mad win in the 1950s. So I'm guessing the age of this saw can be determined to about the same age.
Photos courtesy of Jim Stebbins
this is a blurry shot of my room, while the dogs and I were in the midst of configuring 3 wireless pan/tilt/zoom cameras (Linksys WVC200's) a Linksys router (WRT54G), and a laptop command center, to work over the web via dynamic dns.
About to be re-configured from its road-transportable mode to planting mode. Watch the video to see how it's done.
Video: youtu.be/FGvrY5DyA2o?hd=1
How to create and configure a MySQL user from the command line
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