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Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
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For other uses, see Mallard (disambiguation).
Mallard
Temporal range: Late Pleistocene–present
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Anas platyrhynchos male female quadrat.jpg
Female (left) and male (right)
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Female call
Conservation status
Least Concern (IUCN 3.1)[1]
Scientific classificationedit
Kingdom:Animalia
Phylum:Chordata
Class:Aves
Order:Anseriformes
Family:Anatidae
Genus:Anas
Species:A. platyrhynchos
Binomial name
Anas platyrhynchos
Linnaeus, 1758
Subspecies
A. p. platyrhynchos Linnaeus, 1758
A. p. domesticus Linnaeus, 1758
A. p. conboschas C. L. Brehm, 1831 (disputed)
AnasPlatyrhynchosIUCN2019 2.png
Range of A. platyrhynchos
Breeding
Resident
Passage
Non-breeding
Vagrant (seasonality uncertain)
Possibly extinct and introduced
Extant and introduced (seasonality uncertain)
Possibly extant and introduced (seasonality uncertain)
Synonyms
Anas boschas Linnaeus, 1758
Anas adunca Linnaeus, 1758
The mallard (/ˈmælɑːrd, ˈmælərd/) or wild duck (Anas platyrhynchos) is a dabbling duck that breeds throughout the temperate and subtropical Americas, Eurasia, and North Africa, and has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, Colombia, the Falkland Islands, and South Africa. This duck belongs to the subfamily Anatinae of the waterfowl family Anatidae. The male birds (drakes) have a glossy green head and are grey on their wings and belly, while the females (hens or ducks) have mainly brown-speckled plumage. Both sexes have an area of white-bordered black or iridescent blue feathers called a speculum on their wings; males especially tend to have blue speculum feathers. The mallard is 50–65 cm (20–26 in) long, of which the body makes up around two-thirds the length. The wingspan is 81–98 cm (32–39 in) and the bill is 4.4 to 6.1 cm (1.7 to 2.4 in) long. It is often slightly heavier than most other dabbling ducks, weighing 0.7–1.6 kg (1.5–3.5 lb). Mallards live in wetlands, eat water plants and small animals, and are social animals preferring to congregate in groups or flocks of varying sizes. This species is the main ancestor of most breeds of domestic ducks.
The female lays eight to 13 creamy white to greenish-buff spotless eggs, on alternate days. Incubation takes 27 to 28 days and fledging takes 50 to 60 days. The ducklings are precocial and fully capable of swimming as soon as they hatch.
The mallard is considered to be a species of least concern by the International Union for Conservation of Nature (IUCN). Unlike many waterfowl, mallards are considered an invasive species in some regions. It is a very adaptable species, being able to live and even thrive in urban areas which may have supported more localised, sensitive species of waterfowl before development. The non-migratory mallard interbreeds with indigenous wild ducks of closely related species through genetic pollution by producing fertile offspring. Complete hybridisation of various species of wild duck gene pools could result in the extinction of many indigenous waterfowl. The wild mallard is the ancestor of most domestic ducks, and its naturally evolved wild gene pool gets genetically polluted by the domestic and feral mallard populations.
Taxonomy and evolutionary history
An American black duck (top left) and a male mallard (bottom right) in eclipse plumage
The mallard was one of the many bird species originally described in the 1758 10th edition of Systema Naturae by Carl Linnaeus.[2] He gave it two binomial names: Anas platyrhynchos and Anas boschas.[3] The latter was generally preferred until 1906 when Einar Lönnberg established that A. platyrhynchos had priority, as it appeared on an earlier page in the text.[4] The scientific name comes from Latin Anas, "duck" and Ancient Greek πλατυρυγχος, platyrhynchus, "broad-billed" (from πλατύς, platys, "broad" and ρυγχός, rhunkhos, "bill").[5] The genome of Anas platyrhynchos was sequenced in 2013.[6]
The name mallard originally referred to any wild drake, and it is sometimes still used this way.[7] It was derived from the Old French malart or mallart for "wild drake" although its true derivation is unclear.[8] It may be related to, or at least influenced by, an Old High German masculine proper name Madelhart, clues lying in the alternative English forms "maudelard" and "mawdelard".[9] Masle (male) has also been proposed as an influence.[10]
Mallards frequently interbreed with their closest relatives in the genus Anas, such as the American black duck, and also with species more distantly related, such as the northern pintail, leading to various hybrids that may be fully fertile.[11] This is quite unusual among such different species, and is apparently because the mallard evolved very rapidly and recently, during the Late Pleistocene.[12] The distinct lineages of this radiation are usually kept separate due to non-overlapping ranges and behavioural cues, but have not yet reached the point where they are fully genetically incompatible.[12] Mallards and their domestic conspecifics are also fully interfertile.[13]
Genetic analysis has shown that certain mallards appear to be closer to their Indo-Pacific relatives, while others are related to their American relatives.[14] Mitochondrial DNA data for the D-loop sequence suggest that mallards may have evolved in the general area of Siberia. Mallard bones rather abruptly appear in food remains of ancient humans and other deposits of fossil bones in Europe, without a good candidate for a local predecessor species.[15] The large Ice Age palaeosubspecies that made up at least the European and West Asian populations during the Pleistocene has been named Anas platyrhynchos palaeoboschas.[16]
Mallards are differentiated in their mitochondrial DNA between North American and Eurasian populations,[17] but the nuclear genome displays a notable lack of genetic structure.[18] Haplotypes typical of American mallard relatives and eastern spot-billed ducks can be found in mallards around the Bering Sea.[19] The Aleutian Islands hold a population of mallards that appear to be evolving towards becoming a subspecies, as gene flow with other populations is very limited.[15]
Also, the paucity of morphological differences between the Old World mallards and the New World mallard demonstrates the extent to which the genome is shared among them such that birds like the Chinese spot-billed duck are highly similar to the Old World mallard, and birds such as the Hawaiian duck are highly similar to the New World mallard.[20]
The size of the mallard varies clinally; for example, birds from Greenland, though larger, have smaller bills, paler plumage, and stockier bodies than birds further south and are sometimes classified as a separate subspecies, the Greenland mallard (A. p. conboschas).[21]
Description
Juvenile male and female
Iridescent speculum feathers of the male
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A group of mallards quacking
Duckling
The mallard is a medium-sized waterfowl species that is often slightly heavier than most other dabbling ducks. It is 50–65 cm (20–26 in) long – of which the body makes up around two-thirds – has a wingspan of 81–98 cm (32–39 in),[22]: 505 and weighs 0.7–1.6 kg (1.5–3.5 lb).[23] Among standard measurements, the wing chord is 25.7 to 30.6 cm (10.1 to 12.0 in), the bill is 4.4 to 6.1 cm (1.7 to 2.4 in), and the tarsus is 4.1 to 4.8 cm (1.6 to 1.9 in).[24]
The breeding male mallard is unmistakable, with a glossy bottle-green head and a white collar that demarcates the head from the purple-tinged brown breast, grey-brown wings, and a pale grey belly.[25] The rear of the male is black, with white-bordered dark tail feathers.[22]: 506 The bill of the male is a yellowish-orange tipped with black, with that of the female generally darker and ranging from black to mottled orange and brown.[26] The female mallard is predominantly mottled, with each individual feather showing sharp contrast from buff to very dark brown, a coloration shared by most female dabbling ducks, and has buff cheeks, eyebrow, throat, and neck, with a darker crown and eye-stripe.[22]: 506
Both male and female mallards have distinct iridescent purple-blue speculum feathers edged with white, which are prominent in flight or at rest but temporarily shed during the annual summer moult.[27] Upon hatching, the plumage of the duckling is yellow on the underside and face (with streaks by the eyes) and black on the back (with some yellow spots) all the way to the top and back of the head.[28] Its legs and bill are also black.[28] As it nears a month in age, the duckling's plumage starts becoming drab, looking more like the female, though more streaked, and its legs lose their dark grey colouring.[22]: 506 Two months after hatching, the fledgling period has ended, and the duckling is now a juvenile.[29] Between three and four months of age, the juvenile can finally begin flying, as its wings are fully developed for flight (which can be confirmed by the sight of purple speculum feathers). Its bill soon loses its dark grey colouring, and its sex can finally be distinguished visually by three factors: 1) the bill is yellow in males, but black and orange in females;[30][self-published source] 2) the breast feathers are reddish-brown in males, but brown in females;[30] and 3) in males, the centre tail feather (drake feather) is curled, but in females, the centre tail feather is straight.[30] During the final period of maturity leading up to adulthood (6–10 months of age), the plumage of female juveniles remains the same while the plumage of male juveniles gradually changes to its characteristic colours.[31] This change in plumage also applies to adult mallard males when they transition in and out of their non-breeding eclipse plumage at the beginning and the end of the summer moulting period.[31] The adulthood age for mallards is fourteen months, and the average life expectancy is three years, but they can live to twenty.[32]
Several species of duck have brown-plumaged females that can be confused with the female mallard.[33] The female gadwall (Mareca strepera) has an orange-lined bill, white belly, black and white speculum that is seen as a white square on the wings in flight, and is a smaller bird.[22]: 506 More similar to the female mallard in North America are the American black duck (A. rubripes), which is notably darker-hued in both sexes than the mallard,[34] and the mottled duck (A. fulvigula), which is somewhat darker than the female mallard, and with slightly different bare-part colouration and no white edge on the speculum.[34]
In captivity, domestic ducks come in wild-type plumages, white, and other colours.[35] Most of these colour variants are also known in domestic mallards not bred as livestock, but kept as pets, aviary birds, etc., where they are rare but increasing in availability.[35]
Owing to their highly 'malleable' genetic code, mallards can display a large amount of variation,[36] as seen here with this female, who displays faded or 'apricot' plumage.
A noisy species, the female has the deep quack stereotypically associated with ducks.[22]: 507 Male mallards make a sound phonetically similar to that of the female, a typical quack, but it is deeper and quieter compared to that of the female. When incubating a nest, or when offspring are present, females vocalise differently, making a call that sounds like a truncated version of the usual quack. This maternal vocalisation is highly attractive to their young. The repetition and frequency modulation of these quacks form the auditory basis for species identification in offspring, a process known as acoustic conspecific identification.[37] In addition, females hiss if the nest or offspring are threatened or interfered with. When taking off, the wings of a mallard produce a characteristic faint whistling noise.[38]
The mallard is a rare example of both Allen's Rule and Bergmann's Rule in birds.[39] Bergmann's Rule, which states that polar forms tend to be larger than related ones from warmer climates, has numerous examples in birds,[40] as in case of the Greenland mallard which is larger than the mallards further south.[21] Allen's Rule says that appendages like ears tend to be smaller in polar forms to minimise heat loss, and larger in tropical and desert equivalents to facilitate heat diffusion, and that the polar taxa are stockier overall.[41] Examples of this rule in birds are rare as they lack external ears, but the bill of ducks is supplied with a few blood vessels to prevent heat loss,[42] and, as in the Greenland mallard, the bill is smaller than that of birds farther south, illustrating the rule.[21]
Due to the variability of the mallard's genetic code, which gives it its vast interbreeding capability, mutations in the genes that decide plumage colour are very common and have resulted in a wide variety of hybrids, such as Brewer's duck (mallard × gadwall, Mareca strepera).[43]
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
ASM Hydrasynth 49-key
The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.
Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.
As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.
Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever.
Polytouch™ keybed
The new ASM Polytouch® semi-weighted keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch.
In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.
The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly.
Oscillators
The tone generation capability is the heart of any synthesizer.
The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.
Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode.
This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another.
mutators
Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways.
Each MUTANT allows you to choose from the following processes:
FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.
Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount.
Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.
Pulse Width - This will pulse width modulate ANY input sound.
PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.
PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.
Harmonic Sweep - this will sweep the harmonics of the incoming sound.
PhazDiff - this takes the input signal, shifts the phase and then creates a difference result with the original signal
The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.
Mixer/ filter routing
The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.
The Mixer allows you to mix levels as well as pan the input source.
There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2.
The filters can be set to be parallel or series for ultimate flexibility.
filters
If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.
The Hydrasynth has two filters that can be configured in series or parallel.
The first filter has 16 different filter models, giving you multiple options for tailoring your sound.
The second filter is a 12db per octave has a continuous sweep from either low pass > bandpass >high pass or low pass > notch > high pass, similar to the way the classic SEM filter worked.
LFO's
5 Low-Frequency Oscillators…YES, 5.
Much like our sound engine, the LFO’s are not ordinary by any means.
The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 64 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound.
Of course, there are also 10 standard waveforms to choose from.
The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync.
envelopes
5 DAHDSR Envelopes……YES 5.
An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.
The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in
sync to your song.
You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix.
The envelopes have the added ability to be triggered from multiple sources as of the 1.5 update.
MODULATION MATRIX
The modulation capabilities on the Hydrasynth are endless.
With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations.
Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.
The Modulation matrix points themselves can also become modulation destinations.
Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s
ARPEGGIATOR
The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance.
You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time.
CV/GATE - MIDI - USB
There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world.
It supports the standard voltages for Eurorack modulars, the 1.2V per octave Buchla standard, as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities.
Main Controls
The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen.
Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button.
Pressing the HOME button returns you to navigating patches in a simple and easy way.
master controls
The Master Control section is where all parameter editing, patch naming, and Macro performing is done.
Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on.
The VOICE parameters give you access to play modes, analog feel, voice panning and many other features.
macros
The patch MACROS are designed to allow the user deep control over the engine in live performance.
The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob.
patches
The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches.
Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future.
effects
The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound.
The delays and reverbs were modeled on some of the most popular effects on the market.
The effects are the perfect way to complete your sound, in the box.
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Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there:
Frame size C54cm
Frame tubing Dedacciai COM 12.5 Butted Cromoly
Fork Kona P2 700c TB Disc w/Lowrider
Headset TH
Crankarms FSA Gossamer MegaExo Chainrings 30/39/50
B/B FSA MegaExo
Pedals Shimano PD-M520 SPD - Silver
Chain Shimano HG53 --> Shimano HG93 XT
Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd)
F/D Shimano Tiagra Triple
R/D Shimano XT Shadow
Shifters Shimano Bar-Con
Handlebar FSA RD30 0S
Stem FSA OS-190LX
Grips Velo Wrap with Gel
Brakes Avid BB7 Road Disc Brake
Levers Shimano BLR-600
Front Hub Shimano M525 Disc
Rear Hub Shimano M525 Disc
Spokes DT Stainless 14g
Tyres Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c
Rims Mavic A 317 Disc
Saddle Selle Italia XO SE --> Brooks B17
Seatpost FSA SL-280
Seat Clamp Kona Clamp
Rear Rack Tubus Logo
Panniers Bikebins
Computer Sigma DTS 1606 L
Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speed-bumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, although I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the Sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
Antonello da Messina (Messina, 1430 - Messina, February, 1479) was an Italian painter of the Italian Renaissance. He was deeply influenced by Early Netherlandish and Venetian painting. He served as apprentice in Messina and in Palermo before studying under Niccolò Colantonio in Naples, one of the most lively centres of Renaissance art. In 1457, he received his first commission as an independent painter, a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria. The first work to be signed and dated by him, the Salvator Mundi, was created in 1470. Among his most famous paintings are the Annunciation and Saint Jerome in His Study, which he painted in 1474.
Antonello's style is remarkable for its fusion of Italian simplicity with a Flemish concern for detail. He exercised an important influence on Italian painting due to his introduction and dissemination of Flemish painterly styles. His portraits are characterised by their modulation of light and shadow, as seen in this painting.
[Oil on walnut, 20.4 x 14.5 cm]
gandalfsgallery.blogspot.co.uk/2012/07/antonello-da-messi...
I GOD OF ALL SUPREME FORCE UNIVERSE WERE TAUGHT LESSONS BY THE INDIAN THIRTY OFFICERS OF THE IPS.REQUESTING WE TO GIVE A FEW THOUSAND CRORES NOT JUST A CRORE FOR THE DEVELOPMENT OF THE POLICE TRAINING IN THE POLICE TRAINING COLLEGE PHILLAUR.P.S.PASRICHA THE PRINCIPAL OF THE COLLEGE WAS A VERY NICE PERSON ON PHONE.NO MEETING WAS.IT ALL WAS DUE A FAMILY MEMBER WHO BECAME A REAL DEATH IN ALL ASPECTS.WHO WAS SENT BY THE WE THE SENDER SAINT SHRI S.S.KOHLI NOT AS IT WAS NOT HIS PROPERTY.HE WE SAW WERE SENT BY THE SOLE LANDOWNER EARTH MISTER M.S.KOHLII WHO HAD BEEN TAKING INTEREST IN THE INTERNATIONAL ARENA AT THE LEVEL OF THE WORLD PRESIDENTS AND WAS A ONE IN THEM BEING PRESIDENT OF . THIRTY SIX COUNTRIES OTHER THAN INDIA OF WHICH TOO HE WAS OVER ABOVE ELECTED PRESIDENT BEING OWNER OF INDIA..WHICH HE WAS GIVEN IN PURCHASE OF HIS TECHNOLOGIES OF THE RAIL INVENTED TILL 1.1.1948.ANY GIVEN THEREAFTER WE CONSIDE WITH THE AGENTS OF THEY TRYING TO DEVIATE HIS WEALTH..TO ENGLAND ON COMMISSIONS OR SEX ALLURES OF THE WHITE WOMEN BEING LOOSE IN SEX AND OF NO VALUE BEING ABSOLUTELY INEFFICIENT WHO STOPPED THEMSELVES THE CONFIDENTIAL REPORT SYSTEM.IN 1948 THE WE CONSIDER WE AS A TIRED AS..THE WE ON THE 2 OF IT THE WE THE OWNER OF INDIA.ACCEPTABLE TO NEHRU..WHO AND GANDHI WANTED WE NOT TO OPT FOR A ROYALTY OF TEN PERCENT ON THE SLAE OF THE RAIL SERVICES..AROUND THE WORLD AND INSTEAD BUY THEM THE OUR TO ACCEPT AS A LEADERS OF SOME LEVEL IN THE OUR DRIVEN FREEDOM MOVEMENT.WE WERE THERE IN THE MURAL ORIGINAL DEPICTING THE LEADERS OF THE FREEDOM MOVEMENT IN WHICH PATEL WAS THIRD TO OUR KULLAN DEVI RENAMED LATER KULWANT KOHLI WHOP WERRE THE FIRST LEADER TO BE IN THE SCULPTURE OF THIRTY NINE FEET AND TEN FEET TILL IN THE SIDE OF THE ROAD SORING THE SOME WHO POLICERS RAPED HER REPEATEDLY FOR IT SAYING WERE GIVING REGARDS NOT BUT TELLING WHO WAS SHE TO BE A WOMAN AND NOT KNOWN AND STILL IN THE LEAD PHOTO TO THE SCULPTURE NAMED THEN A MURAL THERE ON THE ROADSIDE BEHIND THE PRESIDENT HOUSE DELHI ON THE ROAD BEHIND IT ADJACENT TO IT AND IRVIN HOSPITAL NEAR.THEY ALSO PUT HER MOTHER IN THE PROSTITUTE--A SPECIAL AREA AFTER SEEING HER ALL ALONE NOT BUT MADE HER SO.DECLARING HER DEAD AND GETTING ANOTHER BODY IN THE CLOTHES GETTING IT BURNT BY A RELATIVE.BUT PUTTING HER THROUGH THE NAKED TREATMENT MEANT IN THE SOME COUNTRIES OF THE PLANET AGAINST THE WILL OF THE SOLE LANDOWNER WORLD WE..THE GOD OF ALL HERE ON THE EARTH AS THEIR SON AND GRANDSON.MAHARANI JHANSI BAI WAS THE MOTHER OF THE KULLAN IN NAME PUNJAB SAID LACHCHMI..INSTEAD OF LAXMI OF HINDI BELT BTO WHICH SHE BELONGED..FROM JHANSI IN MADHYA PRADESH..WHO SOUGHT REFUGE IN THE HUSBAND AT AGE SIX OF THE THEN THE GURU OF THE PLANET------THE ELECTED MASTER OF THE STATE.AS WHICH HE WAS FOR THREE HUNDRED YEARS. WE CAME TO LIVE HIM AS WE ARE LIVING THE HIS GRANDSON A SUPER SUPERIOR TO HIM..IN MANY MANY SCIENCES,ARTS,CULTURES AND HAS OWNED THE EARTH BY PURCHASING IT FROM THE JOINT OWNER TWENTY SIX COUNTRY WESTREN ALLY..WHO TOO OWNED INDIA AND HAD TAKEN WE AS THE GOD IDENTIFIED ON THE OBSERVATIONS AND TESTS OF THE THIRTY FOUR SONS OF A BITCH SAID BY MISTER J.L.NEHRU WE REGRET.AS A MAN OF LOW.MORAL.CHARACT MAN NOT BUT A BHAINGA LIKE MAHATMA GANDHI CAUGHT IN RAPING TWO OF THESE CITED .POLICE PAHARGUNJ PUT A CASE WE SAW CORRECTLY DECIDED CORRECTLY IN WHICH NEHRU GOT HE SHOT.PUTTING BLAME ON THE HINDU MAHASABHA..WE BOTH GOD BROUGHT FORTH IN THE YEAR WE THE THREE YEAR OLDIE AS NOT BUT AS A SIXTEEN PLUS WELL ESTABLISHED ASSESSED INTERNATIONALLY AS NUMBER ONE IN THE WORLD AS THE ADMINISTRATOR..BY THE INTERNATIONAL INTELLIGENCE.WE REFER TO THE NOTE TO THE PARLIAMENT OF INDIA OF THE INTELLIGENCE INDIA DATED THREE OF THE TWO OF THE NINETEEN SIXTY FOUR NOT THREE.IN THE MATTER AT THE NUMBER FOUR OF THE THEN IN THE MATTER TAKEN UP BY OUR FRIEND RAM MANOHAR LOHIA WITH WHO WE HAD A ONE NOT THREE TALKS ON THE WE AS A CONSTITUTION IN THE DELHI..WHICH WAS BEREFT OF SECURITY FOR THE SIKH GIRLS.SPECIALLY ORGANISED BY SOME.WE WERE THE SIKH GURU WHO WROTE GURU GRANTH FOLLOWED TILL NOW BY THE SIKHS.WE ONLY PUT OUR CREDIT TO ARJAN DEVE FIFTH GURU FICTIOUSLY CARVED BY WE TO WARD OFF THE HINDU ONSLAUGHT ON US.WHICH HAS BEEN CONTINUOUS SINCE THEN I GOD CERTIFY THAT THIS HAS BEEN SO. AND I HAVE BEEN TIME AND AGAIN SAID WE WILL CONTROL THE COUNTRY COME WHAT MAY TAKING OVER THE ENTIRE EARTH.AS IT IS OF ONE OF THE INDIA AND HE A MILD MAN NICE ENOUGH TO BE CONTROLLED..ASD WE DID IN USSR KILLING THE COUNTRY AND ECONOMY COMPLETELY SHOWING AS IUF THE USA WAS DOING IT CONTROLLING THE TWO THE RONALD REGAN COUPLE THROUGH THE HARJIT'S CHOTA RAJAN GANG SINCE THE WHITE HOUSE CAPTURE KILLING PRESIDENT LYNDON B. JOHNSON BY A BULLET IN THE CHEST TO SLOW DEATH AND MAKE HIM CRY WHILE K.PAUL WAS ASKED BY TWO A.S. BRAR AND HARJIT SINGH AND A D.I.S.KOHLI NOT BUT PRESENT SAID IN THE RAW RECORD NOW BEING MADE IN PUT IN IS BY THEY THREE THESE HERE CITED.K.K.PAUL DID DRINK TWO FULL SLUSH OUT OF HIS CHEST BEFORE THE FEMALE SHRIEKED PRESIDENT AND A GUARD RUSHED IN TOO TO BE SHOT BY THE THEY TWO NOT HIM...TOO TOOK THE THEIR ATOMIC MISSILE SYSTEM ON CONTROL AS PLOTTED BY THE TWO NOT FOUR INCLUDING A RPK.PRESIDENT L.B.JOHNSON SEEING CARD OF GOD HAD STARTED A CONVERSATION WITH THE GOD MARKED BY HE AND HIS TEAM WE HERE IN INDIA CHANDIGARH G-3,SECTOR 14,CHANDIGARH IN PANJAB UNIVERSITY WHILE WE IN THEIR HEARING PUT TO CONFERENCE IN SEE REACTIONS CLEARED WE NEVER CAME TO READ CARD SENT TO WE AND WERE SNATCHED OF THESE BY MISS RAJPAL KAUR KOHLI BEFORE HER MARRIAGE TO DIS KOHLI WHO TOO WERE WITH THEY IN THE WHITE HOUSE WE HAD PROHIBITED IN THE LISTEN OF THE C.I.A. STAFF IN THE WHITE HOUSE WHEN DIS KOHLI PHONED FROM THERE HE WAS IN TROUBLE AND NEEDED HELP SOME WANT TO SEE PRESIDENT AMERICA AND I BE HELPING BY ASKING THE WHITE HOIUSE STAFF TO LET THEM SEE HIM THEY WANT AT LEAST A SINGLE MAN TO DO SO...AT WHICH WE ASKED THEY GIVE PHONE TO THE STAFF AND STARTED DETAILED CONVERSATION ALERTING THEY AND THE WHITE HOUSE.BUT WE THE GOD OF ALL FROM HEAVENS SAW WHAT OUR AVTAR COULD NOT SEE BEING IN CHANDIGARH.EXCEPT IMAGINE WHAT WAS HAPPENING MUCH MORE SUPERIORLY THAN THESE ALL AND THEIR OTHER LEADERS TILL WHICH HE SERVED OPPOSING THESE AND IS TILL TODAY OPPOSED TOTALLY BY THESE DOERS OFD DISGRACE TOP HE THE THEIR OWNER LAND,FREEDOM GIVER WHICH NEVER WAS TILL IOTA DUE NEHRU GANDHI OR HINDUS OR SIKHS IN GENERAL OR DUE THEIR EFFORT TO RISE FOR THE COUNTRY. WE CORRECT IT TILL INFINITY TOO IN SAYING THE FREEDOM WERE ONLY DUE THIS FAMILY.WE DO NOT INCLUDE DIS KOHLI IN IT BECAUSE OF SANSI YADWINDRA SINGH SAYING HE IS THEIR SPERM IN GIVEN IN RAPES TOO TO HIS MOTHER SO TOO WILL KILL HER TOO FATHER TOO BROTHER TOO IN IT IF HE DOES NOT SERVE THEM.THAY THE PRESIDENT JOHNSON IN CONVERSATIONS LASTING TOTAL THAT DAY THIRTY FIVE MINUTES FOUND M.S. THE GOD DID NOT APPROVE THEIR REACHING HE EVEN TO HIS STAFF BECAUSE OF MODULATIONS AND LANGUAGE OF THEY ALL WHO TALKED TO HE FROM A PHONE IN WHITE HOUSE GROUND PROVIDED TO TOURISTS INTERESTED IN CALLING ON THE STAFF TELLING PROBABLY C.I.A. STAFF HERE TO ASK THEY SEE OUTSIDE AND MEET AT MOST A RECEPTIONIST TO ENQUIRE ANY POINT EVEN THEY CAN ANSWER IF FIND ANY THEY FEEL THEY SHOULD BE FROM ANOTHER APPLY THEMSELVES AND NO RECOMMENDATION HIS IOS LISTENING TO MATTER IN TONES NOT DESIRABLE.............I CERTIFY THAT THIS WAS CLEAR BEFORE AMRINDER SINGH BRAR ASKED THE TWO CARRYING GUN ASKED TO DEPOSIT CARRYING IN STILL INSISTED ON SHOWING THREE CARDS OF GOD .DIS DID NOT CARRY IT .THE THREE WE DESIRE BE INN BTHE PRISON NOW BUT ARE EVADING OUR ORDERS.INSTEAD ARE TRYING TO KILL ME. . WHEN THEY SEEING ARE CAUGHT SHOT HIM WHILE TAKING OVER ECONOMY OF AMERICA IN TELLING WE ARE THE GOD SO BE LET DOING OUR GOD WORK IN SHOOTING IN NO ACTION BE AS THE CARD ASKED BE AS A PERMIT TO HE WE THE ACTUAL GOD WHO ALONE COULD BE EXERCISING IT THE CARD.WE ASK WHERE DOES THE CARD PROVIDE ANY TO CARRY OR WE TO GIVE.MORE THAN WE HOW THE CARDS OTHER BE THERE EXCEPT BY A PROCESS OF IT.THEY EXPLAIN......IF IT IS DUE THEIR ASKING THE INTERNATIONAL COURT OF JUSTICE OR OTHER HAVING OUR FILE WHY DID THEY. IF THEY GOT IT REPEATEDLY TO THE THEIR PRESIDENT WHY THE THEIR PRESIDENT KEPT THEM AND NOT PASS ON THESE TO WE THE SENIOR TO HIM BY TWO BILLION OF TIMES...IF HIS JUNIOR STAFF PASSED ON WHY IT.WHY IT TO POLICE.WHO MISLED THEM WHEN WE ARE FILE NUMBER ONE EVEN NOW AND FOR LIFE AND OTHERWISE BEING NEVER IN SELLING LAND.AS OWNER OF THEY AS WELL ALL ON EARTH ASKED TO BE IT BECAUSE OF OUR NOT BEING ATTACHED TO A COUNTRY OR PERSON OR RELIGION BEING THE GODLY THAT HE WE SON M.S.KOHLII WAS. WHY HAVE MANY PERSONS JOINED AS KOHLI SAHEB.I TELL OUR SEEN WE SAW A POLICER K.K.PAUL FELL TO THINK AS A D.S.P. HEADING A POLICE STATION DEFENCE COLONY IN DELHI REQUESTING POSITIONS FROM HEAD U.N. AND SOLE LANDOWNER WORLD M.S.KOHLII THROUGH HIS NEXT DOOR NEIGHBOURER MRS. BIMLA PAUL HIS OWN MOTHER WHICH HE DID A NUMBER OF TIMES IS ON C.I.A.,U.N.,KGB AND THIRTY SIX OTHER COUNTRY RECORD.FORGETFULNESS AND IRRESPONSIBILITY OF THAT ORDER TO EAT A POSITION TWELVE BILLION TIMES HIGHER HOW IT BE PERMITTED BY WE TO EVEN A PRESIDENT ELECTED BY PEOPLE SO WE FIRE THEY ALL OF THE HINDU AND SIKH. THE WE ARE READY WITH THE DATA ON THE THEY.ANY CAN CALL ON WE FROM AMONGST THE REPORTERS.U.N. STAFF TOO WE DO NOT SEE ANY MORE ERLIER IT WAS. SO TOO NATO PLANES PASSING DAILY OVER MY HOUSE AS A ROUTINE. NO MORE SAYING THEY THROUGH TRUMP A ILLICIT RELATION OF THE THEY IN RAPING THE WISE QUEEN WITH THEY THIRTY OFFICERS OF THE MASONS CLUB NOT BUT THEY TOO IN IT.WE NEVER KNEW WHAT WAS GOING ON AS THE THEY ALL IN THE IT INCLUDING THE THEIR TOURISM DEVELOPMENT DEPARTMENTS WERE IN TAKING WE OFF HOME IN CAGES TO PLUCK OUR RIGHTS LIKE A SLAVE'S. THIS IS THE HIGHEST INJUSTICE WE HAVE SEEN.
I wanted to create an image that was a bit haunting, with some sensuality. The glow of the light and the darkness of the hands play well together by creating depth and mystery. Freeman mentions how black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and in defining shape. I enhanced this photo with a levels adjustment, noise reduction, hue, and saturation.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
UCSF scientists have successfully treated a patient with severe depression by identifying the personal pattern of brain activity leading to their suffering and using a “brain pacemaker” to restore it to its natural rhythm.
DBS (Deep Brain Stimulation) for mood; can elicit joy with precise placement of electrode; 2mm over, and you might see fear
First patient had TRD, cured with DBS sensing electrode in the amygdala looking for the pattern that signals the onset of her depression, which triggers a second electrode in the ventral striatum — involved in emotion, motivation, and reward, where stimulation consistently eliminated her feelings of depression. None of this is felt or perceived by the patient.
Can detect the precursor to depression before they experience it.
Patient: “Within a few weeks, the suicidal thoughts just disappeared. Then it was just a gradual process where it was like my lens on the world changed.” She smiled for the first time in five years.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
The insert panel allows DJs to mix in their laptop computers or MP3 players, and the oscilloscope tells us whether or not we are "in phase" - a technical term for whether the recordings played are in proper stereo modulation, which is another technical term meaning does it sound good or not.
If you would like to adopt a Fixture, please make a paid-in-full pledge of $180 or more to WFMU's 2026 Marathon by 11:59pm on March 15th, 2026, and then send an email via this page to stake your claim. Make sure that you specify in the email that you'd like The WFMU Oscilloscope and Insert Panel!
First come, first served!
Ogundipe Fayomi's monument for Dr. Ronald Erwin McNair (1950–1986) combines a traditional bust with a uniquely shaped pedestal. McNair was the African-American astronaut, physicist, teacher, and musician who died aboard the Space Shuttle Challenger when it exploded on January 28, 1986.
This park, formerly known as Guider Park, was named for Dr. McNair in the same year as the Challenger disaster. The City’s Department of Cultural Affairs sponsored a competition through its Percent-for-Art program to choose an artist to create a central sculpture. They ultimately selected the Nigerian-born sculptor Fayomi, who fashioned a sensitive bronze portrait, set within a nine-foot tall polished red-granite pedestal resembling a modified rocket ship. The pyramidal base features bronze relief with images relating to Dr. McNair’s achievements and interests.
Dr. McNair was born on October 21, 1950, in Lake City, South Carolina. He graduated from Carver High School in Lake City in 1967, and received a B.S. degree in physics from North Carolina A & T State University in 1971. In 1976, Dr. McNair completed his Ph.D. in physics at the Massachusetts Institute of Technology (MIT). After graduating from MIT, Dr. McNair was employed as a staff physicist at Hughes Research Laboratories in Malibu, California. His work there involved developing lasers for isotope separation and photochemistry, using non-linear interactions in low-temperature liquids. He also conducted research on electro-optic laser modulation for satellite-to-satellite space communications and explored the scientific foundations of the martial arts. A member of numerous scientific organizations and a visiting lecturer in physics at Texas Southern University, Dr. McNair also taught karate as a fifth-degree black belt and was a performing jazz saxophonist.
In 1978, the National Aeronautics and Space Administration (NASA) selected Dr. McNair as an astronaut candidate. He completed his training the following year, and became eligible as a mission specialist astronaut on Space Shuttle flight crews. He first flew as a mission specialist on Mission STS-41-B on February 3, 1984, which featured the first untethered spacewalk. Serving as a mission specialist on Mission STS-51-L, his life was tragically cut short when the space shuttle exploded one minute and 13 seconds into the launch. After his death, the Dr. Ronald E. McNair Foundation for Science, Technology & Space Education was established in Atlanta, Georgia.
When this monument was dedicated on June 14, 1994, family, friends, former colleagues, community representatives, city officials and hundreds of school children gathered in memory of Dr. McNair’s legacy. The monument and the park, which was renovated at the time of the sculpture’s installation, evoke a mood in keeping with Dr. McNair’s wish inscribed on the pedestal. It reads, “that we should allow this planet to be the beautiful oasis that she is, and allow ourselves to live more in the peace she generates.”
Founding member and keyboardist of Pink Floyd, he passed away yesterday after a brief fight against cancer. This morning, in celebration of his life and his timeless contributions to the music world, I'm playing a few of the Pink Floyd classics he wrote, co-wrote or sang on. RIP Rick, thanks for all the music.
Dave Gilmour's website comments on Rick's passing
No one can replace Richard Wright. He was my musical partner and my friend.
In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten.
He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound.
I have never played with anyone quite like him. The blend of his and my voices and our musical telepathy reached their first major flowering in 1971 on 'Echoes'. In my view all the greatest PF moments are the ones where he is in full flow. After all, without 'Us and Them' and 'The Great Gig In The Sky', both of which he wrote, what would 'The Dark Side Of The Moon' have been? Without his quiet touch the Album 'Wish You Were Here' would not quite have worked.
In our middle years, for many reasons he lost his way for a while, but in the early Nineties, with 'The Division Bell', his vitality, spark and humour returned to him and then the audience reaction to his appearances on my tour in 2006 was hugely uplifting and it's a mark of his modesty that those standing ovations came as a huge surprise to him, (though not to the rest of us).
Like Rick, I don't find it easy to express my feelings in words, but I loved him and will miss him enormously.
David Gilmour
Monday 15th September 2008
Nick Mason's comments on Rick's passing;
Losing Rick is like losing a family member - in a fairly dysfunctional family. He's been in my life for 45 years, longer than my children and longer than my wife. It brings one's own mortality closer. I'll remember Rick with great affection. He was absolutely the non-contentious member of the band and probably suffered for it. I wouldn't say he was easy-going, but he certainly never pushed to any aggravation. It made life a lot easier.
I first met Rick at the Regent Street College of Architecture. And I think Rick was always pretty much that same character I met in 1962. Rock'n'roll is a Peter Pan existence; no one ever grows up. Over a period, we gravitated towards the people who were less interested in architecture and more in going to the pictures and making music. The band happened a couple of years later. We all had very different ways of working. He always knew what he wanted to do and had a unique approach to playing. I saw an interview he did on TV, and he said it clearly: "Technique is so secondary to ideas." Roger [Waters] said the more technique you have, the more you can copy. Despite having some training, Rick found his own way.
To some extent, I think, the recognition for what he did in the band was a bit light. He was a writer as well as a keyboard player, and he sang. The keyboard in particular creates the sound of a band. By definition, in a rock'n'roll band people remember the guitar solo, the lead vocal or the lyric content. But a lot of people listen to our music in a different way. The way Rick floats the keyboard through the music is an integral part of what people recognise as Pink Floyd. He wrote "The Great Gig in the Sky" and the music for "Us and Them".
We were a very close-knit band and one always has the memory of that. We spent a lot of time together between 1967 and the mid-1970s. Rick was a very gentle soul. My image of Rick would be him sitting at the keyboard playing when all the fireworks were going on around him. That's the main quality one remembers, in a band where Roger and David [Gilmour] were more strident about what they believed should be done.
If there's something that feels like a legacy, it's Live 8 [July 2005, Hyde Park] and the fact that we did surmount any disagreements and managed to play together. It was the greatest occasion.
Roger Waters comment on Rick's passing;
"I was very sad to hear of Rick's premature death, I knew he had been ill, but the end came suddenly and shockingly. My thoughts are with his family, particularly [his daughters] Jamie and Gala and their mum Juliet, who I knew very well in the old days, and always liked very much and greatly admired.
"As for the man and his work, it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s. The intriguing, jazz influenced, modulations and voicings so familiar in 'Us and Them' and 'Great Gig in the Sky,' which lent those compositions both their extraordinary humanity and their majesty, are omnipresent in all the collaborative work the four of us did in those times. Rick's ear for harmonic progression was our bedrock.
"I am very grateful for the opportunity that Live 8 afforded me to engage with him and David [Gilmour] and Nick [Mason] that one last time. I wish there had been more."
ECHOES...
"Overhead the albatross hangs motionless upon the air
And deep beneath the rolling waves
In labyrinths of coral caves
The echo of a distant time
Comes willowing across the sand
And everything is green and submarine.
And no-one called us to the land
And no-one knows the wheres or whys
But something stirs and something tries
And starts to climb towards the light
Strangers passing in the street
By chance two separate glances meet
And I am you and what I see is me
And do I take you by the hand
And lead you through the land
And help me understand the best I can
And no-one calls us to move on
And no-one forces down our eyes
And no-one speaks and no-one tries
And no-one flies around the sun
Cloudless everyday you fall upon my waking eyes
inciting and inviting me to rise
And through the window in the wall
Come streaming in on sunlight wings
A million bright ambassadors of morning
And no-one sings me lullabies
And no-one makes me close my eyes
And so I throw the windows wide
And call to you across the sky..."
I think Hitachi succeeded in their attempt to make a "serious" radio with this 10 transistor KH-1002S.
Very hefty, well built, solid performer on all bands and good tone. This one may end up being a regular player in my basement radio room.
This radio utilizes Automatic Frequency Control. (AFC)
taken from the internet
Automatic Frequency Control. (AFC) - method or device to keep a radio or television receiver automatically tuned to a desired frequency or channel. Assuming that the receiver is at least approximately tuned to the desired frequency, a circuit in the receiver develops an error voltage proportional to the degree to which the receiver is mistuned. This error voltage is then fed back to the tuning circuit in such a way that the tuning error is reduced. In most frequency modulation (FM) detectors an error voltage of this type is easily available. In an FM receiver, automatic frequency control (AFC) may make it difficult to receive a weak signal located near in frequency to a strong one.
RCA model 1-XF-4 "Filteramic" AM/FM radio receiver, c. 1955.
Many people began bringing radio receivers into their homes in the 1920s. By the early 1960s most homes had at least one radio and often more. At that time amplitude modulation, or AM, served as the primary mode of broadcasting, but a newer mode that used frequency modulation, or FM, was becoming increasingly popular. Well-known industrial designer John Vassos created this radio for RCA in the 1950s.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Modules from DinSync.Info are now in-stock. Shown here is a batch of Osc303 mkII as they were initially prepared for direct orders. Now we have both the Osc303 mkII and Modseq available.
The Osc303 mkii is an updated version of the Osc303 with various improvements. A complete pcb redesign makes it more skiff friendly. The Modseq is a low cost, low hp, 8 step auxiliary sequencer. As the name implies its primary duty is for modulation, however it will function perfectly well as a note sequencer.
LINK for more info:http://www.analoguehaven.com/dinsyncinfo/ .
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
10th July 2013 at the Village Underground, London EC2 (Shuggy Otis gig).
Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.
The photo includes (left to right) TC electronic flashback (delay effect); Boss Chorus Ensemble CE-5 (chorus effect), Boss Flanger BF-3 (flanging effect); MXR Phase 90 (phaser effect) and Roger Mayer Octavia (sound an octave higher).
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
This is a garage door opener based on an ultra-simple multi-protocol low frequency RFID reader design of mine. It's mounted behind the front wall of the house. Hold your wallet (with ID card) up to the front of the house, and it opens the door.
The hardware for this project consists of a Parallax Propeller microcontroller and only passive analog components. Some fancy firmware handles all modulation, demodulation, and A/D conversion.
Firmware (with schematics in the comments) at svn.navi.cx/misc/trunk/propeller/rfid/
Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”
The artist’s attraction to windows and window views, linked to the Symbolists’ use of glass panes as metaphors for the transition from internal to external states, culminated in his Simultaneous Windows series. (The series derives its name from the French scientist Michel-Eugène Chevreul’s theory of simultaneous contrasts of color, which explores how divergent hues are perceived at once.) Delaunay stated that these works began his “constructive” phase, in which he juxtaposed and overlaid translucent contrasting complementary colors to create a synthetic, harmonic composition. Guillaume Apollinaire wrote a poem about these paintings and coined the word Orphism to describe Delaunay’s endeavor, which he believed was as independent of descriptive reality as was music (the name derives from Orpheus, the mythological lyre player). Although Simultaneous Windows (2nd Motif, 1st Part) contains a vestigial green profile of the Eiffel Tower, it is one of the artist’s last salutes to representation before his leap to complete abstraction.
I had a Coleco when I was a little boy, and I absolutely loved this stupid game, and its screeching theme music, which is not the "tra LAAA la-laaa la la" music from the show. I'd find myself whistling this digital tune set all the time. Each section of the world had its own music that would cut in replacing the last bit whenever you switched backgrounds, which occurred every 2 screens or so. The musical bits were constructed of short, roughly 10-second loops, and so could conceivably annoy the crap out of parents if you played too long.
I had Donkey Kong there, too, but none of the other few on the table. One of the cool things about the Coleco was their Atari adapter, which they were eventually sued over. There's a port on the front of the Coleco, centered horizontally in front of the cartridge hole into which you could plug the wedge-shaped Atari adapter, and then you could stick Atari 2600 games into that, and it had its own reset buttons, etc. As such, I never actually had an Atari 2600, though I had original joysticks, and several of the games. It's weird, because I've ended up with strong nostalgic feelings for this other system I never actually owned.
This projector is made of casette player and walkman parts, some mirors and cheap chinese laser pointer. Everything is positioned freehand and glued in place with hotglue. This is work in progress. Still comming, separate speed and direction regulation for both motors, and sound to laser modulation.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
The identification of compounds capable to modulate the activity of therapeutic targets relies on using interaction potency as a predictor of in vivo efficacy. Despite that this approach facilitates high-throughput screening of large compound libraries, potency alone fails to reveal the actual pharmacological diversity of compounds.
There are several biochemical features related to the drug-target interaction that drive its mechanism of action and all of them contribute to the ultimate pharmacological response. Although more than 80% of the marketed drugs compete with endogenous effectors, approximately 75% of these inhibitors use an additional mechanism to produce an efficacious response (uncompetitive or non-competitive inhibition, slow dissociation, conformational changes, etc).
We believe that early identification of the driving mechanism of action and assessment of the different biochemical parameters involved in the binding modulation are pivotal in the design of therapeutic agents with improved clinical efficacy and security profiles. Feel free to use this image, just link to www.enzymlogic.com.
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
On 1 February 1925 six Auckland telephone exchanges were switched from manual to automatic operation. These were Wellesley Street, Mt Eden, Ponsonby, Remuera, Devonport and Takapuna. This design for the exchange at Takapuna was drawn in 1918, but the lighting was not installed and the painting not done until late in 1924, ready for the start of operations.
According to Te Ara “Between 1910 and 1950 the number of telephones grew more than tenfold – from around 33,000 to more than 350,000. Much of the growth took place in the interwar years. Increasing suburbanisation was met and fostered by the spread of exchanges into suburbs. Enhanced carrier technology allowed more calls to be carried on each line by the use of wireless frequency modulation techniques. Private (from 1925) and rural (1929) automatic exchanges – PABXs and RAXs – increased government, commercial and rural use of phones. In 1922/23, telecommunications revenues outstripped postal revenue for the first time.”
The plan is from a Public Works file held at Auckland Regional Office – BBAD 1054/2075a – Post Offices – Takapuna Automatic Telephone Exchange.
For further information please email Auckland.Archives@dia.govt.nz
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Form and function at its best. It took a little bit to set them up, mostly to get the right spacer thickness and slight toe in. They work fantastically - good modulation, lots of power and no squeal. Worth every penny.
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Sansui Solid State Stereophonic AU 999
Specifications
Year 1970
Power amplifier part
Effective output 70W/70W (4ohm)
80W/80W (8ohm)
Music power (IHF) 180W (4ohm)
140W (8ohm)
THD 0.4%
Cross modulation distortion 0.4%
Power Band Width (IHF) 10Hz - 30kHz
Frequency characteristic 5Hz - 100kHz
Stereo separation 50dB
A hum and a noise 100dB
Input sensitivity/impedance 1V/40kohm
Load impedance 4ohm-16ohm
Dumping factor 45 (8ohm)
Preamplifier part
Output power 1V
THD 0.1%
Frequency characteristic 15Hz - 70kHz
A hum and a noise (IHF) Phono1, 2:80dB
Mic:80dB
Tuner, Aux: 85dB
Input sensitivity Phono1, 2:2mV
Mic:3mV
Tuner, Aux, Tape mon (Pin/Din): 200mV
Sound-recording output Tape rec(Pin):200mV
Tape rec(Din):30mV
Tone control Bass: +12dB--8dB (20Hz)
Midrange: ±5dB (1kHz, 2kHz)
Treble: +12dB--8dB (20kHz)
Tone selector Bass:Defeat, 200Hz, 400Hz
Midrange:Defeat, 1kHz, 2kHz
Treble:Defeat, 6kHz, 3kHz
A low filter -20dB(20Hz)
A high filter -18dB(20kHz)
Muting −20dB
Miscellaneous
Power consumption 370W
Dimensions
Width 461.5x height 155x depth of 316mm
Weight 17.5kg
Option Wood case C-17
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
The Synthex is a massive sounding and classic analog 8 voice synthesizer. This one in particular has the added MIDI feature. First off, It's interface is a dream to program. It has 30 knobs, 6 sliders, 80 switches and a joystick. Powerful sounds with 2 oscillators per voice, separate envelope generators, chorus and even a sequencer! The use of stable DCO's (digitally controlled analog oscillators) and oscillator cross modulation of Pulse Width and a multimode filter! The filter is based on the CEM3396 chip which was also featured in e.g. Oberheim's Matrix line of synthesizers.
There is a cool joystick that replaces traditional pitch/mod wheels and allows for greater variable real-time control over the two LFOs, oscillator and filter modulation. The 6 sliders beside the joystick assign what (LFO, osc and filter) goes to the joystick. Voices can also be layered or split across the keyboard. Other great features include the onboard digital Ring-Modulator, Chorus effect and Dual or Layer modes available. And also a four-track sequencer rounds out this synths host of features. The four different sequencer tracks can have different length, and sounds (Upper/Lower can be allocated to different tracks). Also it is possible to insert rests between notes as well as length of notes. Sequences and patches could be dumped to analog cassette tape through an audio interface. Two of it's tracks can output MIDI data.
The Synthex has three keyboard modes. 8 voice single sound (both Lower/Upper voices), Split with user selected split point (4 voices Lower/4 voices Upper) or Double which reduce the polyphony to four voices. Later versions implemented basic MIDI functions. Voices can also be layered or split across the keyboard.
Polyphony - 8 Voices
Oscillators - 16
Sequencer - 4-Track
Filter - Curtis Chips: 24dB LowPass, 12dB HiPass, 12dB & 6dB BandPass
VCA - ADSR
Keyboard - 61 keys
Memory - 40 preset/40 user
Control - MIDI
Date Produced - 1981 - 1984
De izda a dcha: La antena de WRVE, primera emisora autorizada en emitir regularmente en FM estéreo. La emisora experimental de Edwin H. Armstrong, en Alpine.
La antena de Radio Juventud de Barcelona en el Carmel. Román Gibert, ingeniero de Faro Española.
El mástil de OM de Radio Juventud de Murcia, de 60 metros de altura y 4 toneladas de peso, tipo cuarto de onda, instalado en las inmediaciones del vivero forestal regional en el Parque del Valle, cuyo coste total llegó a las 600.000 pesetas de la época, desde donde continuaría sus emisiones Radio Juventud de Murcia el viernes 11 de octubre de 1963 por la frecuencia de 1106 kilohertzios con una longitud de onda de 271 metros. El emisor de onda media fue trasladado a Las Torres de Cotillas, probablemente al inicio de los 90, coincidiendo con la aplicación del nuevo Plan Técnico Nacional de Radiodifusión Sonora en Ondas Medias (hectométricas) de 1993 (Real Decreto 765/1993, de 21 de mayo, publicado en el BOE de 11 de junio de 1993), por el que se aprobaba el cambio de frecuencia de 1107 Khz, en la que emitía desde el otoño de 1978, a la nueva frecuencia de 567 Khz y con un notable aumento de potencia a 50 kw.
La Frecuencia Modulada en estereofonía (1):
Bastante ha llovido desde que a Clément Ader se le ocurriese transmitir un concierto de la Ópera de París, para la Exposición Internacional de la Electricidad en 1881, mediante dos líneas telefónicas simples e independientes, conocido entonces como el sistema Théatrophone, con el fin de mejorar la audición a distancia del sonido retransmitido binaural. Con posterioridad se llevaron a cabo múltiples experimentos e inventos para transmitir el sonido estereofónico bien por medio de cables o grabaciones en discos de distinto formato.
Ya en diciembre de 1925 la BBC realizó la transmisión de un concierto dirigido por Hamilton Harty desde Manchester de forma experimental, considerada como su primera emisión de radio en estéreo, emitiendo el canal derecho por la estación 5XX en onda larga desde Daventry y el canal izquierdo por una emisora local de onda media, como era la 2LO en Londres, a la que le siguieron varias transmisiones de ópera desde el Old Vic en Londres con el mismo sistema. Años después, desde 1958 hasta mediados los años 60, los sábados por la mañana quincenalmente se realizaban transmisiones de un canal de sonido por TV, combinado con el segundo canal de sonido por radio, el Tercer Programa Network 3 en OM y FM.
De forma parecida a lo que hacía la BBC en Europa, algunas emisoras norteamericanas transmitían en estéreo, emitiendo un canal en AM y por su emisora asociada en FM el otro canal. Ejemplos de esto son la WGN de Chicago en AM y su asociada en FM la WGNB el 22 de mayo de 1952 y de igual forma la WQXR de Nueva York en octubre de 1952. Todas estas modalidades precisaban de dos aparatos receptores para poder percibir el sonido binaural.
En esta época la estereofonía era para la radio como el color para la televisión, hechos ambos que se iban desarrollando al mismo tiempo prácticamente, para pasar a ser difundidos tambien a todas sus audiencias después en tiempos parecidos, en los años sesenta.
Edwin Howard Armstrong, inventor e impulsor de la frecuencia modulada, en diciembre de 1933 junto a su colaborador John Bose desarrollaron el sistema de multiplexado que permitía a las emisoras de FM utilizar las bandas laterales de sus frecuencias principales para la transmisión en estereofonía o para emitir una programación subsidiaria, facsímil, codificada o de pago, ya desde los inicios de la misma en noviembre de 1934 desde el piso 85 del Empire State, de forma experimental, patentandolo en 1949 y siguieron experimentando desde su emisora en Alpine para presentarlo en público en 1953.
A partir de ahí diversas compañías e investigadores siguieron desarrollando esta técnica. Uno de ellos fue William S. Halstead, un inventor prolífico, con más de 80 patentes desarrolladas para radio y televisión, que además desarrolló tambien tecnología para añadir el sonido estereofónico a las películas de cine. Así, en 1.950 desarrolló un sistema de multiplexado como lo había hecho Armstrong previamente. Su primera prueba experimental se realizó el 13 de septiembre de 1.950, en Nueva York, en 70 Pine Street, a través de la WGYN en 97,9 Mhz, cuyas emisiones regulares habian cesado el 12 de mayo del mismo año por quiebra, efectuandose la recepción de la transmisión en los estudios Reeves Sound, describiendose entonces como transmisión tridimensional de radio por FM, como consta en las audiencias del subcomité del Comité de Relaciones Extranjeras del Senado de los Estados Unidos sobre Programas de Información de Ultramar celebradas el 20 y el 21 de noviembre de 1.952. Esta era una de las primeras ocasiones en que una transmisión en estéreo podía realizarse desde un solo emisor y reproducirse en un solo aparato receptor.
Tras un cierto tiempo de experimentación, en 1960 la Comisión Federal de Comunicaciones analizó 14 sistemas patentados para la emisión en estéreo por FM, incluídos los de Halstead, Crosby, EMI, Zenith y General Electric entre otros, de los que preseleccionó 8, y de los que finalmente el Comité Nacional para la Radio Estereofónica seleccionó 6 (Crosby Teletronics, Calbest Electronics, Multiplex Developement, Electric and Musical Industries, General Electric and Zenith conjunto, GE alternativo y Philco) para ser probados a través de la emisora KDKA-FM (Uniontown, en Pittsburg, Pennsylvania) en julio y agosto de ese mismo año; eventualmente sólo dos sistemas llegarían a una última selección. La aprobación de los estándares de múltiplex estéreo se hicieron públicos el 20 de abril de 1961 por una resolución de dicha Comisión en la que justificaba su decisión de que el estándar ofreciese suficiente calidad sin alterar la audición monofónica ni que los servicios subsidiarios fueran alterados mientras que se emitiese en estereofonía, siendo finalmente elegido el modelo denominado 4-4A presentado de forma conjunta por General Electric Corporation, Syracuse y Zenith Radio Corporation, Chicago (idénticos en la teórica y en la práctica), recalcando su bajo costo y estar libre de distorsiones, precisando que su cobertura sería menor que las emisiones monofónicas, autorizando a emitir regularmente, desde las 00:01 h a.m. del 1 de junio de 1.961 en sus respectivas zonas horarias, a las tres primeras emisoras de FM en estéreo en Estados Unidos: la WGFM de Schenectady (de General Electric), desde mayo de 1.947 en 99,5 Mhz (en la actualidad conocida como WRVE) comenzó transmitiendo las obras de Command, Persuasive and Provocative Percussion, para pasar a emitir regularmente en estéreo 20 horas semanales al mediodía y por las tardes, la WEFM de Chicago (de Zenith EC), también entonces en la misma frecuencia de 99,5 Mhz con una programación regular limitada y la KMLA de Los Angeles en 100,3 Mhz, aunque con tecnología de Calbest Electronics. Una cuarta emisora, WUPY Boston FM anunció que emitiría en estéreo tambien desde la fecha mencionada, pero tuvo que aplazarse hasta que fuera autorizada por la Comisión Federal de Comunicaciones. El sistema de General Electric y Zenith de estéreo tono-piloto es el que se utiliza en la actualidad por todo el mundo.
En el área de Londres, la BBC, desde su emisora en Wrotham donde se realizaron las primeras emisiones experimentales en FM desde mayo de 1950 y regularmente desde el 2 de mayo de 1955, llevó a cabo las primeras pruebas experimentales en FM estéreo del sistema tono-piloto de General Electric y Zenith el 13 y 14 de enero de 1958; en este mismo año se inician las primeras grabaciones en estéreo de distintos programas, como fue el caso del tradicional Festival de las Nueve Lecturas y Villancicos desde la capilla del King's College en Cambridge que se celebra cada año el día de Nochebuena. La continuidad de las emisiones en pruebas en FM estéreo no volvería hasta el 28 de agosto de 1962 por esa misma emisora, el Tercer Programa Network 3, en 91,3 Mhz, con sucesivas emisiones cada vez menos esporádicas; el 17 de abril de 1966, la retransmisión del concierto de tarde del BBC Music Programme se convierte en la primera emisión en directo en estéreo para emitir ya regularmente ciertos programas diarios desde el 30 de agosto de 1966. En 1968 comenzó a extender esta modalidad a otros transmisores (Sutton Coldfield (21/7/1968) y Holme Moss (10/8/1968) para llegar a una cobertura del 60% de la población del Reino Unido en 1970. Cuando la BBC pudo disponer de su propio sistema digital de radioenlaces entre transmisores (Pulse Code Modulation) extendió el estéreo a sus emisoras Radio 2 y 4 desde Wrotham el 4 de noviembre de 1972. Radio 1, la emisora musical contemporánea de la BBC, comenzaría a emitir en FM estéreo el 1 de octubre de 1987 desde Crystal Palace en 104,8 Mhz.
En España, a lo largo de los años 60 se implantaba la FM, y a finales de esta década o principios de los 70 en RNE se realizaban pruebas con la estereofonía, calificada por el jefe de la sección de FM en RNE Gabriel Vivó como «la meta más remota y espectacular en el mundo de la radio». Con el fin de ilustrar tales virtudes —«su respuesta abarca sonidos que el oído humano no puede captar, pero que enriquecen extraordinariamente los audibles. No existen, en teoría, ruidos ajenos a la propia emisión, siendo plena la definición de graves y agudos»- los contenidos fueron principalmente musicales.
En cualquier caso, en España, el proyecto pionero de emitir con sonido estereofónico fue de Radio Juventud de Barcelona; al igual que la BBC y las emisoras americanas, en 1962 en algunos programas, como obras de teatro radiadas, desde la emisora de Barcelona en OM se emitía un canal y por las emisoras de Radio Juventud en OM de San Feliú, Molins de Rey, Martorell, Igualada, Granollers y Sabadell se emitía el segundo canal de sonido. Años despues, Radio Juventud de Barcelona sería tambien la primera emisora española en emitir con regularidad en frecuencia modulada y estereofonía desde el 10 de enero de 1.975, en 90 Mhz, cuyo proyecto vino de la mano de su director, Josep Lluís Surroca, junto a Josep Payá, Josep Deu y Manuel Bolívar, con Román Gibert Paluzie y Julio Grau, ingenieros de los laboratorios técnicos de Faro Española, quienes aportaron el codificador estéreo para el emisor, entonces situado en el Carmel, a cargo de Juan Elías Bautista, una vez autorizado el gasto de 50.000 pesetas para su adquisición y tras un tiempo de pruebas con nocturnidad, a partir de la medianoche, con un magnetófono Telefunken y una cinta grabada en estéreo del Dúo Dinámico.
Radio Juventud de Murcia tenía entonces la emisora de OM e instalada la de FM desde marzo de 1967, pero sin llegar a emitir con regularidad hasta que en diciembre de 1974 solicita de nuevo a la central de la CAR la autorización para emitir en FM, coincidiendo con el XXV aniversario de la fundación de la emisora. Pocas semanas despues que RJ de Barcelona iniciara sus emisiones en estereofonía, RJ de Murcia se convirtió en la segunda emisora española en emitir en FM estéreo de forma diferenciada a la programación convencional, según su director entonces, Adolfo Fernández Aguilar, gracias a los mismos ingenieros técnicos de Faro Española que desarrollaron la emisora en Barcelona, junto al jefe técnico de la emisora, Sergio Villodre y el jefe de Programas, Luis Fernández. El emisor fue inicialmente instalado en la caseta de la emisora sita en las inmediaciones de La Alberca, en el Valle, con 6 dipolos multidireccionales en lo alto del mástil de la antena de OM, cubriendo el área metropolitana de Murcia, las comarcas del valle del Guadalentín, y las vegas media y baja del Segura. La primera emisión se realizó a las dos menos cuarto del sábado 22 de febrero de 1975 para pasar a emitir en pruebas dos horas de emisión diarias, de 7 a 9, en la tarde desde el 23 de febrero de 1.975, quedando despues inauguradas oficialmente las emisiones a las 13 horas del 31 de marzo del mismo año. Con el mismo indicativo que la emisora catalana, “RJ2 estéreo” aparecía por la frecuencia de 92,1 Mhz, con una programación muy reducida por las tardes, cuya duración se amplió a cuatro horas, de seis de la tarde a diez de la noche desde el 18 de abril de 1975. A partir del 5 de diciembre de 1976 se aumenta la potencia del emisor en el Valle, se mejora la baja frecuencia con un estudio específico dotado de equipos mas modernos y se amplía el horario de emisiones con una programación compuesta por distintas selecciones musicales, inicialmente distinta en parte de la emisora de OM, comenzando las emisiones a las 10 de la mañana, se cerraba a las 2 de la tarde y reanudando la emisión a las 4 de la tarde hasta las 10 de la noche en que pasaba a hacerse simultáneamente con la emisora de OM (Madrugada y melodía, Estamos contigo, Alta madrugada) hasta las 2 de la madrugada todos los días de la semana (excepto domingos y festivos en que sólo había emisión de tarde y noche hasta el 15 de octubre de 1978 en el que se iguala el horario matutino de domingos y festivos).
La selección era de música de todos los tipos (Matinal estéreo, Radiomanía) y algunos programas especializados por la tarde y noche: Salón de conciertos, Estrellas en estéreo, El mundo del sonido, La musicracia, Clave de Rock, La diligencia, El Jazz, Campos de algodón, Banda sonora, Oído al cante, Azarbe, Instrumental RJ y Bravo, al filo de la medianoche. El personal era en parte el mismo de la OM, sincronizadores y locutores, junto a una serie de colaboradores, en turnos diferentes realizando los programas por autocontrol, recordando, entre otros, a Carmen Romero, Enrique López, Jose María Vaquero, Mercedes Navarro, Martín Noguerol, Jose María Imbernón, Adolfo Luis Fernández (hijo), Joaquín García Estañ (Dr. Obuguie) y Andrés Garrido, que llegaría a ser su coordinador de emisiones.
A principios de noviembre de 1980 se reformó el equipo emisor aumentando su potencia y desde el 1 de diciembre del mismo año pasó a emitir ininterrumpidamente desde las 8 de la mañana hasta las 12 de la noche, pero ya con la emisión separada por completo de la OM. Más adelante ampliaría el horario hasta la madrugada pero con el recurso en ciertos tramos de la programación de programas grabados, más de una vez repetidos, reconociendo el esfuerzo por ofrecer una radio, prácticamente en su totalidad de carácter local, a lo largo de 40 horas al día (OM y FM), con medios económicos muy ajustados. A modo de ejemplo, recordar algunas emisiones conmemorativas como los 150 años de la muerte de Beethoven el 26 de marzo de 1977 o aquellas 24 horas ininterrumpidas de música de los Beatles tras la trágica muerte de John Lennon el 13 y 14 de diciembre de 1.980.
En el verano de 1.983 el emisor es trasladado a la torre de emisiones de RTVE en la Cresta del Gallo, en la misma sierra de Columbares, con mayor cota cubriendo desde más allá de Alicante hasta Albacete y Almería, desde donde se comienza a transmitir el 10 de agosto de 1983 con dos kilowatios de potencia.
A pesar de esta mejora notable, sin embargo, seguía sin poder oírse en Cartagena, la barrera del puerto de la Cadena era una vez mas un impedimento en la comunicación entre las dos ciudades principales de la región.
En esta época también comienza a emitir, ya como Radiocadena FM, programas emitidos desde la emisora central de Madrid, en directo y alta fidelidad, gracias a la instalación en Murcia capital de líneas telefónicas de altas prestaciones y enlaces con otras capitales de provincia.
Desde el 1 de enero de 1989, tras la absorción de Radiocadena Española por Radio Nacional, pasó a ser Radio 4; en el otoño de 1990 se traslada el emisor a Carrascoy y se aumentó su potencia hasta los 10 kw, desde las cinco y cuarto del sábado 17 de noviembre de 1990 comienza a emitir desde las nuevas instalaciones con un aumento muy notable de su cobertura, incluyendo ya a Cartagena...
(El texto continúa en la imagen de la antena del castillo de San Julián en Cartagena).
1966 Classic! Original Key of Eb with 1/2 Step Modulation to E. Intro Bass Line, Guitar Chord Comp, Proper Chord Progression for Verse & Bridge, 2 Strum Patterns, Chord Melody Example, with details of Left & Right hand Fingerings.
Notation for this lesson available at:
More lessons and webcam instruction details:
This book concludes our tandem edition on Recombination and Meiosis. Subtitled Models, Means and Evolution, it follows its first-born twin with emphasis on Crossing-Over and Disjunction. In the commissioning of chapter topics we have tried to cover numerous aspects of the meiotic system from many different angles. Both these books are embedded as volumes 2 and 3 in a topical Series devoted to Genome Dynamics and Stability, where DNA transmission and maintenance functions are discussed from experimental and theoretical perspectives. The earlier vol. 1 dealt with Facets and Perspectives of Genome Integrity, focusing on DNA damage repair mechanisms, and an upcoming vol.4 is on transposable elements. These books on meiotic processes, together with other volumes in this Series on genome management in mitotic cells, provide a grass-roots level starting platform—initiating a prospective trajectory superimposable upon the exploding field of molecular cell physiology, or systems biology (see below). The preceding volume preferentially dealt with meiotic processes in multicellular organisms, such as plants and animals including man. Also, basic accomplishments from work on yeasts was presented in a comparative perspective—concerning the decisive roles of Spo11-induced breaks for crossing-over, of sister chromatid cohesion in chromosome disjunction, and cell cycle modulation in the global control of the meiotic program. The present book puts additional focus on yeasts as unicellular model organisms, where progress in revealing the mechanisms of meiotic recombination has taken place most rapidly and systematically. Also, a central aspect of genetic recombination in E. coli is included for its outstanding merits as a universal model. Furthermore, three facets of evolutionary relevance are also discussed. As for the models and means of meiotic recombination, two prominent and comprehensive chapters call for particular attention. Inasmuch as theoretical interpretations of empirical data about the exchange of genetical markers in successive generations has long preceded their biochemical elucidation,James E.Haber gives expert guidance on a veritable tour de force, presenting the Evolution of Recombination Models frompurely genetic crosses into the molecular era. He follows the historical record from simplistic breaking/joining schemes to break-induced replication, from suspected single-strand breaks to partner choice by single-strand annealing, and from the generation of double-strand breaks (DSBs) to their repair by the establishment and resolution of single or double Holliday junctions, and finally to DSB repair in the absence of crossing over accomplished through synthesis-dependent strand annealing that does not involve Holliday junctions. This scenic ride is aptly complemented from the enzymatic perspective, as displayed by Kirk T. Ehmsen and Wolf-Dietrich Heyer on the Biochemistry of Meiotic Recombination: Formation, Processing, and Resolution of Recombination Intermediates. These authors highlight the biochemistry of meiotic recombination, as more and more meiosis-specific enzymes have been added to the basic toolbox, which likewise is at work in mitotic cells (cf. GDS vol. 1, this Series). Overlapping with functions in replication and DSB repair these enzymes comprise topoisomerase, nuclease, recombinase, polymerase, and helicase activities, as well as single-strand stabilizing protein, a protective end-tethering complex and a range of modulating co-factors. The single most remarkable feature about the initiation of meiotic recombination is the deliberate and catalyzed introduction of numerous DSBs in the chromosomal DNA. Notably, the enzyme responsible for this pivotal and conserved activity is derived from a former topoisomerase (Spo11; Keeney, this SERIES), which as such had a cell-intrinsic function essential for the untangling of replication intermediates in every cell cycle. The total number of cuts is even larger than the number of effective crossovers later on2. The important question of how the sites to be cut are chosen in a given cell— among myriads of potentially equivalent sites that are ignored—is still one of the most vigorously pursued aspects of ongoing research. Foremost, the susceptible substrate for meiotic DSBs is not naked DNA, but DNA embedded in chromatin, as highlighted by Michael Lichten, in his chapter on Meiotic Chromatin—the Substrate for Recombination Initiation. The two yeasts compared for this traits how pronounced differences in the distribution of hotspot sites for DSB formation. In Saccharomyces cerevisiae, a fairly promiscuous DSB machinery can be assembled at about every stretch of accessible chromatin that has been opened up for other purposes, especially at activated promoter regions. Michael Lichten coins the term "opportunistic DSBs" for these phenomena, foremost in S. cerevisiae—differentiating meiotic DSBs from both lower
and higher degrees of sequence specificity: on one hand ionizing radiation induced DSBs,which occur with little sequence preference and without regard for chromatin structure, and on the other hand from the site-specific cuts of restriction-type endonucleases—or other nucleic acid transactions, such as transcription promotion, where both chromatinstructure and the recognition of DNA sequence elements contribute to specificity. Such opportunistic usage of promoter-modulated open chromatin can only in part explain the DSB pattern observed in the fission yeast Schizosaccharomyces pombe, where other determinants may play a significant, hotspot-specific role. Also to be determined by meiosis-specific chromatin organization, the assembly of and/or cleavage by the DSB machinery should not be all too promiscuous on a particular issue, in that at most one of two sister chromatids can become susceptible at any given site, whereas the other sister strand needs to be protected around the equivalent site. The molecular basis for this significant restriction still remains to be determined. After the meiosis-specific, Spo11-induced DSBs have been processed to protruding 3 ends, these single strands have to interact with the corresponding sequence on the homologous chromosome, in order to repair and seal the break by homologous recombination. In eukaryotes the crucial strand exchange reaction is catalyzed by RecA-like recombinases of the ubiquitous Rad51 family and/orthemeiosis-specificDmc1protein. As modeled by the most widely studied RecA recombinase of E.coli, Chantal Prévost, in herchapter on Searching for Homology by Filaments of RecA-Like Proteins, discerns their basic functions in the genome-wide search for complementary DNA strands so as to facilitate the initial strand exchange reaction in highly coordinated, helical DNA–protein filaments, which likewise are formed by the eukaryotic RecA homologs. Corresponding studies to the leading work on meiosis in S.cerevisiae have also been pursued in S.pombe,showing striking differences indetail at various levels. The most interesting aspects of this work are pointed out in two chapters specifically devoted to the fission yeast. For one thing, S. pombe belongs to the rather few organisms that have lost the ability to form synaptonemal complexes in meiotic prophase, which usually stands out as the most characteristic structural basis of bivalent synapsis. Instead, another conserved feature of canonical meiosis, the clustering of telomeres in the so-called bouquet arrangement, is vastly exaggerated in a series of nuclear movements, which in S. pombe facilitates a dynamical alignment
of homologous chromosomes from nuclear fusion throughout the entire prophase of meiosis (D.Q. Dingand Y. Hiraoka, this BOOK). Furthermore, the crossover mechanism itself is peculiar as well. Whilst many organisms including S. cerevisiae actually employ two partly overlapping crossover pathways, one of these pathways is entirely missing in S. pombe. Characteristically, the main recombinational intermediate in S.pombe consists of single Holliday junctions (G. Cromie and G.R.Smith, this BOOK), whilst earlier results on S. cerevisiae had suggested double Holliday junctions as the canonical model. The species-oriented chapter by Gareth Cromie and Gerald R. Smith, on Meiotic Recombination in S. pombe: A Paradigm for Genetic and Molecular Analysis,was published Online FirstinJune2007. At thatrelatively early date, most of their extensive data on DSB hotspot distribution in S. pombe were mentioned in brief as unpublished results. These significant data are now more fully discussed, as mentioned above, in Michael Lichten’s comparative chapter—with due reference to their recent publication in the mean time (Cromie et al. 2007). Unfortunate as such asynchrony appears to be, this is a price to pay for the advantages of Online First publication for the individual chapters as they are being completed—with a spread of Online First dates up to a year per book in such a series. Three evolutionary topics relating to meiosis have been selected to conclude this book: the putative origin of the meiotic system, the confinement of meiosis to the germline in animals, and the abandonment of meiosis in relatively few eukaryotic lineages, some of which are remarkably persistent on the evolutionary time scale—capable of lasting for millions of years. At the dawn of genetics, crossing-over and meiosis had been considered very much the same, but the early view of apparent congruence between the two phenomena has long since been abandoned. Instead, genetic recombination as such has proved to have much earlier and more fundamental roles than the complex and highly integrated pattern of mainstream meiosis, of which crossing-over has become the most characteristic ingredient. In short, homologous DNA recombination has directly co-evolved with faithful replication (see R. Egel and D.Penny, thisBOOK), clearing physical damageand/or broken replication forks as they arise (C. Rudolph, K.A. Schürer, and W. Kramer, GDS vol. 1, this Series)—potentially in each cell cycle of prokaryotes and eukaryotes alike. Of more sporadic occurrence, on the other hand, meiosis only happens once per generation,or life cycle—whatever meaning may be attached to these derived terms for unicellular organisms (see below). N.B., bacteria and archaea are proficient in recombinational repair of DSB damage to their DNA, but meiosis is missing altogether. In multicellular organisms, the meanings of generation and lifecycle are evident, and the complex inter-relationship of germline development and maintaining sexuality in animals and plants was already recognized by Charles Darwin and August Weissmann by the end of the 19th century. In his chapter on The Legacy of the Germ Line—Maintaining Sex and Life in Metazoans: Cognitive Roots of the Concept of Hierarchical Selection, Dirk-Henner Lankenau follows the germline concept to its historical roots, and he addresses the multiple levels of selective evolution related to this concept. Also, he fathoms Weismann’s prescient usage of germ plasm in its original meaning that nowadays has been replaced by genes and genomes—and he sketches a tie to modern frontiers, discussing the so-called nuage as a germline-specific germplasm organelle of multiple RNA processing, where a suspended term is thus revived in new guises. A hallmark of meiosis is the production of recombinant offspring, efficiently scrambling the parental genotypes. The overwhelming majority of taxonomic groups throughout eukaryotes show proficiency of meiosis, at least to begin with. Higher plants and animals would probably never have originated without the evolutionary thrust empowered by meiosis. Yet, sexual propagation including meiosis has been lost repeatedly in evolution, although major evolutionary innovations have never sprung from such secondarily asexual lineages. Hence, asexual lineages of relatively ancient origins can serve as virtual mirrors to reflect the evolutionary importance of meiosis in the remaining majority of animals and plants, as thoroughly discussed by Isa Schön, Dunja K.Lamatsch,
and Koen Martens in their chapter on Lessons to Learn from Ancient Asexuals. To single out a particular highlight, the purging of deleterious mutations by a meiotic recombination appears to be remarkably effective—readily compensating for the low mutation rates observed. As for the inferred origin of the meiotic system, this does not only far predate the emergence of multicellular animals, fungi and plants—it even dates back before the last common ancestor of all the eukaryotic phyla known today (LECA). As canonical meiosis, therefore, is a common heritage to all eukaryotes, there are no comparative cues among different lineages living today from which by parsimony to deduce a likely order of step-wise additions to the basic toolbox of meiotic mechanisms. On the other hand, the meiotic system is so complex in its widely conserved pattern, that its instantaneous invention from scratch appears unlikely. Against this rather uninformative backdrop, Richard Egel and David Penny, in their chapter On the Origin of Meiosis in Eukaryotic Evolution, propose a possible series of incremental steps towards meiosis, each of which could have added some selective advantage on its own. This series may well have started before the mitotic division system had been perfected to its present fidelity, e.g. when telomere-directed chromosome movements may have preceded the establishment of centromeres. Hence their hypothesis is subtitled Coevolution of Meiosis and Mitosis from Feeble Beginnings. A likely driving force to establish a proto-meiotic system—alternating with proto-mitotic nuclear division—is seen in maintaining a periodically needed dormancy program, so as to protect it against the accumulation of dormancy-deficient mutations at the higher error load presumed in early evolution. This is in line with the common correlation between meiosis and the formation of dormant spores or cysts in extant microbial eukaryotes. In a certain sense, therefore, a single generation in the life cycle of unicellular eukaryotes would last from one stage of encystment or sporulation to the next. With the commissioning and presentation of the various chapter topics on the genomic aspects of the meiotic system we hope to have served a salient need for integrating basic knowledge gained from studying diverse genetic model organisms. Research on meiotic exchange and segregation mechanisms may appear more esoteric than the vast resources spent on understanding metabolism and growth in mitotic cells. While emphasis on the latter area is motivated by the numerical predominance of mitotic divisions, as well as the direct connection of mitotic cell divisions to the immense problems of cancerous growth in human disease, meiosis in its paucity is more secluded and its medical aspects are limited to less pressing problems, such as impaired fertility or Down-like syndromes (H.Kokotas,M.Grigoriadou,andM.B.Petersen, this Series). Also, a certain twist of hierarchy is undeniable: whilst endless perpetuation of mitotic divisions can be viable as an evolutionarily stable strategy, a contiguous series of several meioses is certainly not. In this sense meiosis will always be the subordinate companion of mitosis. At the conceptual level, however, the complexity of molecular mechanisms applying to meiosis far exceeds that of its mitotic counterpart. And for the continuity of generations in most eukaryotic forms of life, both meiosis and mitosis are complementary features of general and essential interest. Traditionally, the largest share of meiotic research has been focused on DNA exchange and related features, whereas the immense field of protein–protein interactions in the rewiring of the meiotic cell out of and back into the mitotic cell cycle stood in second place. The concluding chapter of the preceding volume specifically deals with these meiotic aspects of molecular cell physiology (L. Pérez-Hidalgo, S. Moreno, and C. Martin-Castellanos, this Series). As pioneered with yeasts, genome-wide expression studies have started with identifying all the genes upregulated in meiotic cells and sorting them into functional categories. This is a long way off fromknowing all their particular functions. To illustrate the scope of the barely charted field: of 4,824 annotated genes in S. pombe, 955 proteins contain coiled-coil motifs4; of these, 180 are upregulated before, during or after meiosis—21 exclusively so, but not expressed during mitosis (Ohtaka et al. 2007). The interactive potential of so many proteins is enormous, and the systemsbiology of meiosis has merely just begun. To form a link between both books on Recombination and Meiosis, the list of chapter titles in the preceding volume is included after the Contents table of this book. In fact, as some of the individual chapters already had been published Online First, before the editorial decision to divide the printed edition into two books, the preliminary cross references had not yet accounted for the split. We apologize for any inconvenience this may cause, but the listing of all the chapter titles in both books should hopefully direct the reader to the proper destination. We would also like to point out that the missing chapter numbers are no neglect but reflect an obligatory compromise necessitated by publishing all manuscripts OnlineFirst immediately
after they have been peer-reviewed, revised, accepted and copy-edited (see, www.springerlink.com/content/119766/). We most cordially thank all the chapter authors for contributing to this topical edition of two accompanying books focusing on meiotic recombination. Without their expertise and dedicated work this comprehensive treatise would not have been possible. Receiving the incoming drafts as editors, we had the great privilege of being the first to read so many up-to-date reviews on the various aspects of meiotic recombination and model studies elucidating this ever-captivating field. Also, we greatly appreciate the productive input of numerous referees, who have assisted us in thriving for the highest level of expertship, comprehensiveness, and readability. We are again deeply indebted to the editorial staff at Springer. We would especially like to mention the editor Sabine Schwarz at Springer Life Sciences(Heidelberg), the deskeditor Ursula Gramm (Springer,Heidelberg),and the production editor Martin Weissgerber (le-tex publishing services oHG, Leipzig).
April 2008
Copenhagen, Richard Egel
Ladenburg, Dirk-Henner Lankenau
Zeiss 135/2.0 shot with D810 in RAW and developed in Lightroom 6.4 to Adobe Standard except sharpening at 35/0.5/36/10 and NR=OFF.
And obviously converted to b&w ;-)
NASA INFO: At 7:00 a.m. on 4 April 1968, Saturn V 502 rose thunderously from its Florida launch pad to boost Apollo 6 (AS-502) into orbit, but that was nearly the last normal thing the big rocket did. For the first two minutes, the five huge engines in the first stage roared, shook the ground, and belched fire evenly. Then there were thrust fluctuations that caused the vehicle to bounce like a giant pogo stick for about 30 seconds. Low-frequency modulations (known as the pogo effect) as high as +/-0.6 g were recorded in the command module, which exceeded design criteria (0.25 g was the upper limit permitted for manned flight in Gemini). Except for the bouncing and the loss of a piece of the panel in the adapter, the first stage did its job, however.
Very shortly after the second stage ignited, two of its five J-2 engines stopped. The other three engines had to fire longer to compensate for this loss of power. The second stage did not reach the desired altitude and velocity before its fuel gave out and it dropped away. To reach the required speed, the S-IVB third stage also had to burn longer than planned, putting the spacecraft into an orbit of 178 by 367 kilometers, instead of a 160-kilometer circular orbit. Apollo 6 launch LIVE on TV: www.youtube.com/watch?v=kREHEUWCXbo
NASA / LIFE photo, source Google/Life 2008 (Free).
Ogundipe Fayomi's monument for Dr. Ronald Erwin McNair (1950–1986) combines a traditional bust with a uniquely shaped pedestal. McNair was the African-American astronaut, physicist, teacher, and musician who died aboard the Space Shuttle Challenger when it exploded on January 28, 1986.
This park, formerly known as Guider Park, was named for Dr. McNair in the same year as the Challenger disaster. The City’s Department of Cultural Affairs sponsored a competition through its Percent-for-Art program to choose an artist to create a central sculpture. They ultimately selected the Nigerian-born sculptor Fayomi, who fashioned a sensitive bronze portrait, set within a nine-foot tall polished red-granite pedestal resembling a modified rocket ship. The pyramidal base features bronze relief with images relating to Dr. McNair’s achievements and interests.
Dr. McNair was born on October 21, 1950, in Lake City, South Carolina. He graduated from Carver High School in Lake City in 1967, and received a B.S. degree in physics from North Carolina A & T State University in 1971. In 1976, Dr. McNair completed his Ph.D. in physics at the Massachusetts Institute of Technology (MIT). After graduating from MIT, Dr. McNair was employed as a staff physicist at Hughes Research Laboratories in Malibu, California. His work there involved developing lasers for isotope separation and photochemistry, using non-linear interactions in low-temperature liquids. He also conducted research on electro-optic laser modulation for satellite-to-satellite space communications and explored the scientific foundations of the martial arts. A member of numerous scientific organizations and a visiting lecturer in physics at Texas Southern University, Dr. McNair also taught karate as a fifth-degree black belt and was a performing jazz saxophonist.
In 1978, the National Aeronautics and Space Administration (NASA) selected Dr. McNair as an astronaut candidate. He completed his training the following year, and became eligible as a mission specialist astronaut on Space Shuttle flight crews. He first flew as a mission specialist on Mission STS-41-B on February 3, 1984, which featured the first untethered spacewalk. Serving as a mission specialist on Mission STS-51-L, his life was tragically cut short when the space shuttle exploded one minute and 13 seconds into the launch. After his death, the Dr. Ronald E. McNair Foundation for Science, Technology & Space Education was established in Atlanta, Georgia.
When this monument was dedicated on June 14, 1994, family, friends, former colleagues, community representatives, city officials and hundreds of school children gathered in memory of Dr. McNair’s legacy. The monument and the park, which was renovated at the time of the sculpture’s installation, evoke a mood in keeping with Dr. McNair’s wish inscribed on the pedestal. It reads, “that we should allow this planet to be the beautiful oasis that she is, and allow ourselves to live more in the peace she generates.”
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
Murray Perahia KBE (born April 19, 1947) is an American concert pianist and conductor.
Murray Perahia was born in the Bronx borough of New York City to a family of Sephardi Jewish origin. According to the biography on his Mozart piano sonatas CD, his first language was Judaeo-Spanish, or Ladino. The family came from Thessaloniki, Greece. His father moved to the United States in 1935.
Perahia began studying the piano at age four with a teacher he says was "very limiting" because she made him play a single piece until it was perfect. He says his musical interests blossomed at age 15 for reasons he can't explain, and he began to practice seriously. At 17, Perahia attended Mannes College, where he studied keyboard, conducting, and composition with his teacher and mentor Mieczysław Horszowski. During the summer, he also attended Marlboro, where he studied with musicians Rudolf Serkin, Alexander Schneider, and Pablo Casals, among others. He played duets for piano four hands with Serkin, who later made Perahia his assistant at the Curtis Institute in Philadelphia, a position he held for over a year.
In 1965, Perahia won the Young Concert Artists International Auditions. In 1972, he was the first North American to win first prize at the Leeds Piano Competition, helping to cement its reputation for advancing the careers of young pianistic talent. Dame Fanny Waterman recalls anecdotally (in Wendy Thompson's book Piano Competition: The Story of the Leeds) that Mieczysław Horszowski had phoned her prior to the competition, announcing that he would be the winner.
In 1973, he worked with Benjamin Britten and Peter Pears at the Aldeburgh Festival, and with fellow pianist Radu Lupu. He was co-artistic director of the Festival from 1981 to 1989.
In the 1980s, Perahia was invited to work with Vladimir Horowitz, an admirer of his art. Perahia says this had a defining influence on his pianism. He became close to Horowitz whom he visited to play for during the elder pianist's last four years.
From 1973 - 2010, Perahia recorded exclusively for Columbia Masterworks, now Sony Classical. His first major recording project was Mozart's 27 piano concertos, conducted from the keyboard with the English Chamber Orchestra. In the 1980s, he also recorded Beethoven's five piano concertos, with Bernard Haitink and the Royal Concertgebouw Orchestra. In 2016, Perahia signed with Deutsche Grammophon.
Perahia resides in London. He is married and the father of two adult children.
In 1990, Perahia suffered a cut to his right thumb, which became septic. He took antibiotics for this condition, but they affected his health. In 1992, his career was threatened by a bone abnormality in his hand causing inflammation requiring several years away from the keyboard, and a series of operations. During that time, he says, he found solace through studying the music of Johann Sebastian Bach. After recovering, he produced a series of award-winning recordings of Bach's keyboard works in the late 1990s, most notably a cornerstone rendition of the Goldberg Variations.
In early 2005, Perahia's hand problem recurred, prompting him to withdraw from the concert stage on the advice of his doctors. He cancelled several appearances at Barbican Centre, as well as a 10-city national tour of the United States, but returned with recitals in German cities in 2006 and at the Barbican in April 2007.
In autumn of 2007, he completed a triumphant 10-city tour of the United States. Owing to his hand problem, and on the advice of his doctor, Perahia cancelled a February 2008 solo recital at Barbican Centre[7] and a tour in the United States with the Academy of St. Martin in the Fields (March and April 2008). He returned to the platform in August 2008, touring with the Royal Concertgebouw Orchestra under the direction of Bernard Haitink, and had an Asian recital tour in October and November.
Perahia has recorded Chopin's études, and Schubert's late piano sonatas. He is currently editing a new Urtext edition of Beethoven's piano sonatas.
Besides his solo career, he is active in chamber music and appeared regularly with the Guarneri and Budapest String Quartets. He is also Principal Guest Conductor of the Academy of St Martin in the Fields, with which he records and performs.[9]
Since his return at the 2008 Proms season, Perahia has been continually active on the concert scene.
On 1 April 2014, Perahia appeared on Sir Neville Marriner's 90th birthday concert, playing Mozart's Piano Concerto No. 20 in D minor, K 466 alongside the Academy of St Martin in the Fields conducted by Marriner.
After 43 years (1973-2016) with Sony Classical (and its predecessor, Columbia Masterworks), Perahia has signed with the German label Deutsche Grammophon. His first release for the label, Bach's French Suites, came out in October, 2016.
Perahia's performance of Beethoven's magnum opus the Hammerklavier Sonata elicited this review from the Los Angeles Times:
Perahia threw himself into everything with a ferocious concentration. The opening left-hand leap to the fugue's landing on a triumphant final cadence 40 minutes later felt like a single gesture, a life passing by during a fall and safe landing off a cliff. The epic Adagio was exceptional. Beethoven is in a black mood. The twisted harmonies and endless melodic lines keep shifting, trying to go one way and then the next, never finding resolution or solace. For Perahia this was inescapable pain, but not to be dwelt upon. His ability to find the life in each note proved intensely moving.
In January 2009, Murray Perahia was appointed president of the Jerusalem Music Center established by violinist Isaac Stern. In an interview with Haaretz newspaper he said: "Music represents an ideal world where all dissonances resolve, where all modulations —that are journeys— return home, and where surprise and stability coexist." (Wikipedia).
X100S vs. X100 comparison. See www.flickr.com/photos/25805910@N05/sets/72157632958348638/ for the full set.
Click here for my regular X100S sample set: www.flickr.com/photos/25805910@N05/sets/72157632954030903...
JPEG SOOC Provia, NR -2, Shadow Tone +1.
Is the X100S Lens Modulation Optimizer (LMO) positively affecting IQ at small apertures?