View allAll Photos Tagged modulation,
The young fellow’s room, on the fifth floor, looked into a kind of abyss, the huge passage of the Western Railway just beyond the tunnel exit near the Batignolles station. Duroy opened his window and leaned against the rusty iron crossbar. Below him, at the bottom of the dark hole, three motionless red lights resembled the eyes of huge wild animals, and farther on a glimpse could be caught of others, and others again still farther. Every moment whistles, prolonged or brief pierced the silence of the night, some near at hand, others scarcely discernible, coming from a distance in the direction of Asnieres. Their modulations were akin to those of the human voice. One of them came nearer and nearer, with its plaintive appeal growing louder and louder every moment, and soon a big yellow light appeared advancing with a loud noise, and Duroy watched the string of railway carriages swallowed up by the tunnel.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: Detail view of hotel and lounge area looking east.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0235 Concha.JPG
Record ID: WB2010-0235
Sub collection: resorts
waterfront
Copyright holder: Copyright Henry Pisciotta
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
www.drosophila-images.org/2015.shtml
This image shows the nutritional plasticity of a terminal tracheal cell (visualised in green using DSRF>mCD8GFP) populating the larval hindgut (highlighted in blue with an actin staining). In well fed larvae, the enteric tracheal terminal cells are profusely branched (top panel). A mild dietary restriction that does not affect growth rate or the size of other organs results in preferentially reduced branching of these enteric tracheal cells (bottom panel), but not other tracheal subsets.
Our study further showed that tracheal branching is controlled by nutrient responsive-neurons through their release of insulin-like and Pigment-dispersing factor (Pdf) neuropeptides. It also demonstrated that the plasticity of enteric trachea plays a key role in driving adaptations to malnutrition. Together, our findings uncovered a new mechanism by which nutritional cues modulate neuronal activity to give rise to organ-specific, long-lasting changes in tracheal architecture.
Linneweber GA, Jacobson J, Busch KE, Hudry B, Christov CP, Dormann D, Yuan M, Otani T, Knust E, de Bono M, et al. (2014). ”Neuronal Control of Metabolism through Nutrient-Dependent Modulation of Tracheal Branching.” Cell 156, 69-83.
Desayunador 2da y Miramar -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
175g per pair. Color black. Provides great pull, feel and modulation. Fine tune for hand reach on the fly. Standard on all Catrikes
Different sources of light on this morning's Arriva 127 bus. The LED destination sign lighting is controlled by Pulse Width Modulation hence its appearance.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Medical Records presents the release of its first contemporary artist with the Paris-based Illustration Sonore (I/S). The duo, consisting of Dasz (also in Dolina and Ame De Boue) and Christina (aka Froe Char), expertly craft dark and atmospheric songs laced with unbridled passion in the context of synth-laden melodies, dominant percussion and pensive vocals. I/S started in 2010 and have played many concerts in Belgium, France, Germany, and Italy. I/S uses variations of electricity to control oscillators and frequency modulations. Best described as synth-gaze, dark-wave, or no-future pop, I/S recorded this full length LP in 2013. The opening track “Ulysses,” sets the mood with uncompromising intensity and passion with serious low frequency tones and catchy synth drenched hooks. The dreamy and brooding “Our Bodies” starts the B side and is a definite standout tracks. The wonderful and melancholy pop track “Flying Lights” is also included on the LP and was previously featured on the lovely compilation “Circuit D’Actes 3” on the French La Forme Lente imprint earlier this year. The relentlessly apocalyptic “Cannibals” is yet another magnificent track worth mentioning here. For fans of EBM/synth-heavy industrial crossover, lovers of Cabaret Voltaire, Chris and Cosey, modern synth-wave and the like, these tracks will not disappoint. I/S has no fetishism for the old nor obsessions for the new, and they draw their inspiration in synth pop and surrealism. Presented on high-quality 180gram ultra-clear heavyweight vinyl. Features bonus LP insert with lyrics. Front cover design by Satanik Mike/Temple Vengeance. Limited edition.
credits
released 14 November 2013
Trivia question: When Velo Orange specifies that their Rando frameset's "brakes are long reach (47-57mm)" and when Paul says "the Racer Medium is a medium reach brake with a range of 47 to 57mm," will the Pauls fit?
Answer: Nope. The Rando's front brake needs at least 62mm reach to squeeze the 700C rim.
Comment 1: I wish I knew this before installing the $350 Pauls! So I swapped 'em out for these Dia-Compe #610 centerpull brakes (47 to 61mm reach).
Comment 2: The Dia-Compe 610s fit fine around the 45mm fender and 32mm tire. But their maximum 61mm reach is barely enough (threatens to rub front tire; should have gone with the Tektro R559 with 55-73mm reach).
Comment 3: Why centerpull brakes? I wanted to see what the hype was about. Centerpulls entered my radar when a fellow Riv owner posted images of the stunning jewelry that he installed on his Rambouillet. Then the guys at VO asserted that “Top of the line centerpulls generally have better stopping power than sidepulls, but what is more important is that they tend to have better modulation. That is, the brake pressure is more linear and controllable.” And Jan Heine concurred in "Braking 101" (Adventure Cyclist, April 2011, pp. 56-57) how "center-pull brakes offer excellent stopping power and modulation" and "are a refinement of cantilevers." (His recent "Why I Choose Center Pull Brakes" blog post is interesting too.)
Comment 4: At the end of the day, I just don't like the feel of these 610s as much as the Ultegra sidepulls on my Rivendell Rambouillet and especially not as much as the linear-pull "V" brakes on my Cannondale adventure tourer. Oh well, they do stop the bike.
If anyone has a pair of the discontinued Paul Racer (non-M) centerpull brakes in silver, I'm in the market!
[Image recorded 1-Aug-2022, 5:00 PM with a Leica M6, circa-1950 "Elmar" 90mm f/4 lens (with UV filter) on Kodak "New" Ektachrome E100 color slide film; exposed 1/60 second at f/5.6. I am recording a series of images of my 2022 Velo Orange Rando project on film to document the design and part choices. The full part spec is here.]
The best wellness item I have ever bought is this little thing: Zōk. It provides light, inner ear pressure modulation that stops my sinus pain before it can progress from a mild annoyance to a full-blown headache and nausea.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Studio 26 - long exposure.
A quick try this evening. Some time ago I read that Edward Weston would photograph his famed vegetables with ultra-long exposures of hours to half-days.
This here is a 18.5 minute exposure of a strawberry to see if I could emulate his technique somewhat, and to figure out if I would gain anything in the exchange for laboriously long exposures.
There would be huge technical challenges to completely duplicate his method, especially if using digital. Obviously he used film and some very non-sensitive film emulsions were available to him, plus he would not have had to worry about heating sensors and batteries dying. I don't think my camera battery would keep the camera open for more than a few hours. But I've never been too much of a stickler for detail anyway...
So - was it worth it? I'm not sure yet, but I've noticed a few interesting things: For one, one of the sepals (leaves) of the strawberry is blurry, when everything else in its plane of focus is not. I think walking by the wooden floor introduced some small vibration that shows up in this leaf as it's the most moveable, and this 'technique' could be used to fantastic effect.
Also, I was surprised how even the exposure on the shiny plate was - there was only one minor reflection. The light is so low because it is very diffuse (light from the hallway spilling into the bathroom), so it's as if I was using the world's largest softbox.
Finally, I like how sharp and 'real' the strawberry looks despite the lack of shadows (the diffuse light again) and lack of defined tonal modulation on the berry.
So while this isn't the greatest photo, I find the technique interesting enough I might play around with it some more. Who knows what it can do with a better setup and a true Weston-inspired vegetable?
CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
Microchip's latest 2.4 GHz 256-QAM RF high-power amplifier—the SST12CP21—offers ultra low EVM and current consumption for 256-QAM and IEEE 802.11n systems. The SST12CP21 delivers high linear output power of up to 23 dBm at 1.75% dynamic EVM, with MCS9 HT40 MHz bandwidth modulation at 5V and 320 mA current consumption. Additionally, the SST12CP21 delivers 25 dBm linear power at 3% EVM with only 350 mA current consumption for 802.11g/n applications. This performance significantly extends the range of 802.11b/g/n WLAN and MIMO systems, while consuming extremely low current at the maximum 256-QAM data rate. The SST12CP21 is also spectrum mask compliant up to 28 dBm for 802.11b/g communication. Board space is reduced by the small 3x3x0.55 mm, 16-pin QFN package that matches a popular pin-out. For more info, visit: www.microchip.com/get/L3PX
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
Church by Antoni Bonet i Castellana
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.
CCSC Riviera de Ensenada -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
No longer in service but still a fine piece of work. The power transformer, modulation transformer and air handler are in the basement below. The basement has a much higher ceiling. After the new solid state transmitter was installed they had to add a furnace so the pipes wouldn't freeze! The tubes used to keep it heated very nicely!
SKU: UW150-04
Product Name: 150Mbps Wireless WLAN USB Dongle with Realtek RTL8188CUS Chipset
Overview
Its a mini size USB wireless adapter ,it adopt the REALTEK RTL8188CUS and the transfer rate could be up to 150Mbps, This product can be used to computer, PSP, media player and other device which need the wireless application.
This high gain design will raise the performance in longer range and worse environment, it supports the soft AP and soft WPS ,the AUTO-RUN CD makes it easier to install its utility and driver.
Feaures
Standards: IEEE 802.11n, IEEE 802.11g, IEEE 802.11b
Chipset: Realtek RTL8188CUS
Interface: USB2.0 Hi-Speed connector
LED indicator: Link/Activity
Working channel: 1~13
FrequencyRange: 2.4-2.4835GHz
RF power: 20dBm(Maximum)
RF gain: 2dBi internal smart antenna
Network protocol: CSMA / CA with ACK
Work Mode: Ad-Hoc, Infrastructure ,soft AP
Wireless Security: 64/128 bit WEP, WPA/WPA2, WPA-PSK/WPA2-PSK (TKIP/AES)
Software features support for WPS,Quick Setup wireless encryption
Dimension: 1.8 x 1.4 x 0.6 cm (approx.)
Range
Indoors: 50-100m (Theoretical Value)
Outdoors: 100-200m ( Theoretical Value)
Wireless Signal Rates:
11n: Up to 150Mbps (Dynamic)
11g: Up to 54Mbps (Dynamic)
11b: Up to 11Mbps (Dynamic)
Data Modulation
11b: CCK,DQPSK,DBPSK
11g: OFDM
11n: OFDM with PSK,BPSK,16-QAM,64-QAM
Receiver Sensitivity
135M: -68dBm@10% PER
54M: -68dBm@10% PER
11M: -85dBm@8% PER
Operating Temperature 0°C~40°C (32°F~104°F)
Storage Temperature -40°C~70°C (-40°F~158°F)
Relative Humidity 10% ~ 90%, non condensation
Storage Humidity 5%~95% non-condensing
Support Operating System
Windows 2000/XP/VISTA/Win7/8 / Linux/Mac
Package Contents:
1 x USB WLAN Dongle
1 x Driver CD
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A smooth jazz vocal ballad accompanied by piano and rhythm section.
Vocal - Lee Fitzsimmons * Piano - Lee Fitzsimmons * Acoustic bass - Lee Fitzsimmons * Drum kit and ride cymbals - Lee Fitzsimmons
LYRICS
"The silence of the reason in all its simple fashion is the freedom of expression in all its simple notions
as its making to the wishing it falls into fruition as its calling back to what you feel for.
Hear the vision of the season in all its playful teasing as it lingers in the motion swirling around the ocean
as it frees itself forever and grabs a new perceiver as it comes back baby what you say for now.
We gonna take it uptown, and then we'll move at all around and put it back to where, yeah...
You know it's gonna be a smooth time, you know it's just a good time.
Yeah, we're gonna have a good time baby. It's gonna have a good time now. Gonna have a smooth time sugar. You know its just a good time now..."
"The where with all the fooling is the folly of the peaceful, that's keeping out the ruling and staking out the motion
of the coming through the trapping of the hearts that keep on clapping and see whatever therefore.
In the vastness of the little the hardness is so brittle, as everyone can take of it and see a little movement
as it's coming through the portal see the killer of mortal thoughts that seem to linger but are gone.
You see we've known it along, it's only just a song that puts it back to where, yeah...
You know we're gonna have a good time, it's gonna be a good time.
Yeah, we're gonna have a smooth time baby. Gonna have a good time now. Gonna have a smooth time sugar, Gonna have a good time now..."
"The silence of the reason in all its simple fashion is the freedom of expression in all its simple notion
as its making to the wishing it falls into fruition as its calling back to what you feel for.
Hear the vision of the season in all its playful teasing as it lingers in the motion swirling around the ocean
as it frees itself forever and grabs a new perceiver and it comes back baby what you say for now.
We gonna take it uptown, and then we'll move at all around and put it back to where, yeah
You know it's gonna be a smooth time, you know it's just a good time.
Yeah, we're gonna have a smooth time baby. We're gonna have a good time now. It's gonna be a smooth time sugar. Its gonna be a good time now..."
In the four bar intro, the piano plays two rolling arpeggios that establish the mood and tonal center of the work. The rich baritone vocal then enters and delivers its introspectively philosophical message. Eight bars later, the groove jumps to double time, and the ride cymbal begins playing near the bell. After this section, the groove goes back to regular time and stays there for twelve bars as a clever sequence of modulatory chords is presented at the end of this section as a new tonal center a half-step higher is established. The chorus then follows in double time and then sets up a modulation to return to the original tonal center. The entire form then repeats twice and ends.
This piece is about smoothness. It directly associates the concept of "smooth" with the idea of "good." Some of the more colorful lyrical passages are deliberately obscure so that they may be perceived by different individuals in different ways. This artistic work is also an example of how a song should not be taken too seriously because (as the lyrics clearly specify) it's only just a song.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
... simplified block diagram ... A.M. transmitter ...
... the 'Q Type’ transmitter was an evolution of that designed by Marconi's Wireless Telegraph Company Limited for the experimental station MZX and broadcasting station 2MT. These designs were, in turn, based on earlier telephony transmitters that used amplitude modulation (A.M.) dating back to the first world war.
The 'Q Type’ was designed by Captain Henry Joseph Round MC, assisted by C. S. Franklin, and incorporated enhancements over the earlier design used for 2MT. These included a higher rated output power of approximately 1 kW and the elimination of some single points of failure to increase the system's availability. The first 'Q' type transmitter was used in November 1922 as an upgrade for station 2LO, located in London. The subsequent British Broadcasting Company stations, including 6BM at Bournemouth, also used the 'Q' type transmitter.
The designers could have chosen to modulate the grid of the Modulated Amplifier triode but the valve had a non-linear gain characteristic. This method would therefore have introduced too much distortion. They instead selected direct 'plate' or anode modulation to optimise the quality of the modulated signal, even though this needed four MT7B high power triodes to generate the necessary audio frequency power.
A large iron-cored ‘speech choke’ ensured that the amplified audio frequency signal was impressed on the Modulated Amplifier’s EHT plate supply and reflected away from the EHT supply smoothing filter. This enabled the radio frequency signal to become amplitude modulated, with a modulation factor of nearly 100%.
The high power triode valves were developed by Marconi's and manufactured at the Osram Lamp Works (Marconi-Osram Valves or MOV). These large air-cooled valves were fairly primitive triodes:
MT4 - medium power triode, 80 watts anode dissipation. Maximum cathode current: 0.3 amps. Filament: 12.5 volts, 6.3 amps. Used for the Sub-Modulator at audio frequency.
MT7B - high power triode, 500 watts maximum anode dissipation. Four MT7B's were used in parallel for the Modulator at audio frequency.
MT2 - medium power triode, 300 watts continuous anode dissipation. Maximum cathode current: 1.0 amps. Filament: 17 volts, 15 amps. The MT2's were used for the Master Oscillator and the Modulated Amplifier at radio frequency.
Unlike most of the other BBC stations commissioned in 1923, Bournemouth had a purpose-built transmitter hut with a battery room, motor room, transmitter room and office.
Reference: 'The Saga of Marconi-Osram Valves' by Barry Vyse and George Jessop.
Reference: Description of 2LO Transmitter, by Rod Viveash, Appendix A to ‘From Hidden Technology to Exhibition Showpiece: The Journey of 2LO, the BBC’s First Radio Transmitter, 1922-2012’ by Dr. Alison Hess, Royal Holloway, University of London.
Engineers assigned to 6BM included:
L. A. V. Everitt
A. Walker
R. Haworth
R. G. ‘Tiny’ Durham
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
Jamis DXT Dual Sport Bicycles ON/OFF road hybrids: What are they? This is a hybrid with a mountain bike position but with road wheel 29” 700c wheels that are a bit wider then road hybrids so they are great for all round use: roads, dirt roads, a bit of mud as well. You can put wider tires with bigger tread as well if you want to go hard core off roading. They also have suspension forks and mountain bike gears so they are like a light weight fast mountain bike.
The dual-sport DXT’s are pumped-up, go-anywhere/do-anything versions of our Allegro fitness bikes. With more gearing range to take on steeper hills and tougher terrain. Wider tires with a trail-capable tread for access to more riding areas, both paved and packed. And disc brakes and suspension forks for real off-road exploration and off-pavement adventure.
Fast Tires: The advantage of large diameter wheels is getting a lot of press these days with all the noise and news about 29’er mountain bikes. We like to think that the DXT is one of the original 29’ers. With big 700c hoops (same as a 29’er) that roll over bumps & holes better than smaller diameter 26” or 27.5” wheels, and with a bigger contact patch for greater traction and control. But in the case of the DXT, with a smaller 40c width & smoother tread that significantly reduces rolling resistance over fatter, knobbier mountain bike tires for faster sailing on streets and paths.
Absolute versatility: Every DXT offers a full complement of eyelets and rack mounts to simplify installation of carriers and fenders. We even include bosses on the underside of the seatstays for installation of a ring lock. Ring locks are tremendously popular in Europe. A simple turn of the key immobilizes the rear wheel and prevents someone from riding off with your bike.
Go Anywhere. Do Anything: The drivetrains on our DXT bikes feature long cage ATB rear derailleurs, full-size triple chainring cranksets and big 11-34 or 32T cassette blocks. This gives you the dual advantage of having high road bike gearing for controlled pedaling at speed on descents and low mountain bike gearing for easier pedaling uphill.
Full Shimano Shift Systems: Fully integrated shifting systems offer the most precise and reliable performance. That’s why every DXT offers Shimano shifters, Shimano front and rear derailleurs, Shimano cranksets and Shimano cassettes.
Awesome brakes: The advantages of disc brakes over rim brakes on a versatile bike like the DXT far exceed their sole disadvantage, weight gain. Besides their incredible power and modulation, they’re just plain safer, especially in the rain. Once rims get wet or muddy, using friction to stop the wheel at its circumference is less efficient than using friction to stop a less wet or muddy small diameter disc near the center of the wheel from rotating. And eliminating the rim from braking surface duties results in a longer lasting wheel
Suspension When you need it, Lock out when you don’t: The advantage of a suspension fork should be intuitively clear: hit a bump and absorb it. Hit a bump and stay in control of your bike. But suspension isn’t always desirable. When riding on smooth pavement or climbing, pedaling energy and power can be absorbed and dissipated by the movement (bobbing) of the fork. Enter lockout. With a flip of a knob on the top of the fork, the fork’s travel can be locked from movement, allowing the bike to be 100% responsive to pedaling input .
Adjustable Cockpit height (stem adjustment): Proper fit on your bike is critical for maximum performance and comfort. That’s why we offer the patented ATS adjustable threadless steering system on the Allegro Elite and Comp models. Whether you want to fine tune your ride and establish the perfect fit, or change it regularly to suit different terrain, with this stem, adjusting your handlebar height is as easy as adjusting your seat post height. You can even adjust it quickly while out on a ride.
2016 DXT Sport $586 WAS $853
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT SPORT STEP THROUGH $599 WAS $955
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT COMP $817 WAS $1279
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT COMP $699 WAS $1069
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT ELITE $899 WAS $1459
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT FEMME $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/jamis-factory-outlet-store/jamis-dxt...
Converge high-speed, high-bandwidth data and video distribution at the edge of your cable access network with the Cisco RF Gateway Series. These standards-based universal edge quadrature amplitude modulation (U-EQAM) products support switched digital video (SDV), video on demand (VoD), and DOCSIS 3.0/ Modular-CMTS (M-CMTS), making the Cisco RF Gateway Series a powerful platform for end-to-end triple-play services.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
§ Intuitive apprehension in sizes and distances of the contiguous surroundings associates adherently to the anthropometric measurement rather than its absolute dimension • The element of scale anticipation becomes proportionately significant when perception is engaged as a part of definite spatial series •
§ The immense scale of the corner chamer sikharas and the libraries (pavilions? one far left in the photo which situated on the platform between the third and second gallery) creates total impression and concession in our apprehension when we approach nearer step be step around the terrace • We are liable to be subjugated to the will of its authority and entitled to claim respect to its scale of knowledge • This is the transition of scale between human and God—analogically, the anthropomorphic constraint and the knowledgeable constraint, the practical creation and the technical creation—which particularly concerned the architect as a matter of aesthetic intentionality • Appropriate modulation of scale, or size graduation, can produce a certain contribution to the reconciliation of human by reassuring the building towards alleviation of distress which seems, in some indefinable way, to elaborate the beholders to become respect to its stature simultaneously •
§ Modulation of scale that persisted in all Khmer temples since Bakong is not purposed to serve the utilitarianistic functionality • It is a synthesisation of Hindu philosophy to use architecture as a successful medium to subdue the attachment of the beholders' self (ahamkara—the egoistic bondage) and unify thier subtances with God—geometrically and cosmologically—as which the Khmer architects realised in its power very intimately •
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
Edificio: Centro de Estudios Hidrográficos (vista interior de la cubierta)
Arquitecto: Miguel Fisac
Año: 1960
Lugar: Madrid
My dad had a small portable Oscilloscope and a spectrum analyzer set up. That's what I was watching. I can’t tell from the picture angle but it could have been one or both.
It was a very early home studio which was all on MIDI. The computer was an ATARI 130XE, before we switched to Intel PCs.
The main synthesizer was a Casio Phase Modulation series with some of the sounds programmed by Isao Tomita. Big recording studios that my dad used to record bands in were still very expensive, so he was trying to see if one could make an affordable home production studio using all MIDI. It came close, but it took about ten years for home computers to start getting powerful enough to do the job properly.
At Technicolor, my dad still uses specialized computer systems and cloud style high-speed storage to do true professional on-air video.
Emmett Louis Hardy (June 12, 1903 – June 16, 1925)[1] was an American jazz cornet player during the early 1900s.
Career
Hardy was born in the New Orleans suburb of Gretna, Louisiana, United States, and lived much of his life in the Algiers neighborhood, on the west bank of New Orleans. Hardy was a child prodigy, described as already playing marvelously in his early teens.[1] Some New Orleans musicians remembered as a musical highlight of their lives, a 1919 cutting contest where, after long and intense struggle, Hardy succeeded in outplaying Louis Armstrong. (It is likely that Armstrong, although two years older than Hardy, had not yet hit his full stride at that time.)
In Hardy's early teens, he was a member of Papa Jack Laine's band,[1] then worked in the Carlisle Evans Band and Norman Brownlee's Orchestra of New Orleans.[2] He belonged to a small band that supported singer Bee Palmer.[2] After moving to Chicago, he became a member of the New Orleans Rhythm Kings.[1] For a time during its Friar's Inn residency/ the NORK used a two-cornet format – Paul Mares, leader and first cornet, and Emmett Hardy as second. As with other New Orleans jazz bands of that time (such as King Oliver's Creole Jazz Band and The Original Tuxedo Orchestra), the more creative player played the second part, with the first cornet staying closer to the lead line. Hardy did not appear on any of the Rhythm Kings recording sessions, never making any commercial recordings before his early death.[1]
After returning to New Orleans in the early 1920s, he led his own band and played in the band of Norman Brownlee.
Hardy's playing is described as being more lyrical than many of his New Orleans contemporaries, but with a driving rhythm. His tone was much admired. "Emmet...always preferred playing in some screwy, plenty tough keys like B-natural, F-sharp, C-sharp, D-flat, and E-natural, using all those keys on one tune and making his own modulations into and out of choruses. His tone was pure and wonderful and it sorta rolled forth, except with a drive like I've never heard anyone else get."—Monk Hazel, Down Beat magazine, May 15, 1940[3] Hardy was an important influence on Bix Beiderbecke,[1] [3] and Monk Hazel pointed out that Beiderbecke on the Wolverines records sounded very much like Hardy.[4][5]
"It’s no wonder that later, after the Wolverine era when Bix was forging ahead with Goldkette and Whiteman, Beiderbecke modestly paid tribute to Hardy as his greatest inspiration, and that he even wrote Emmet’s mother late in 1925 saying 'Emmet was the greatest musician I have ever heard. If ever I can come near your son’s greatness I'll die happy.'"—Dave Dexter Jr., Down Beat, June 1, 1940[4]
Hardy also did metal work, made his own mouthpieces for his horn, and modified his cornet to add an additional spit-valve. A relative remembered Hardy as being somewhat shy and unassuming, with a good dry sense of humor; that he was easily frightened by sudden loud noises, and superstitious about passing by graveyards.
When advancing tuberculosis started to make his breathing difficult, Hardy taught himself banjo so he could continue playing music.
Hardy and some of his musician friends made some home recordings on wax phonograph cylinders for their own amusement. As Hardy's tuberculosis worsened and his death seemed inevitable, the friends decided to preserve the cylinders as a memento of Hardy's playing. At least one cylinder survived to the start of the 1950s; the relative who heard it then said Hardy's playing reminded him of Sharkey Bonano. When Tulane University's Jazz Archive was established in the late 1950s, however, a diligent search failed to turn up any of these recordings, which are presumed lost forever.
Hardy died of tuberculosis in New Orleans, just four days after his 22nd birthday,[1] and was buried in Gretna, Louisiana.[2]
References
Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (First ed.). Guinness Publishing. p. 189. ISBN 0-85112-580-8.
Chadbourne, Eugene. "Emmett Hardy". AllMusic. Retrieved December 31, 2018.
Dexter, Dave (May 15, 1940). "Story of Emmet Hardy Told by New Orleans Musicians". Down Beat.
Dexter, Dave (June 1, 1940). "Hardy Welcomed Death By Playing the Blues!". Down Beat.
Raeburn, Bruce Boyd (July 2012). "Bix Beiderbecke and New Orleans". crj-online.org.
en.wikipedia.org/wiki/Emmett_Hardy accessed 8/12/2022 rvs