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Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Chalk on brown paper; 48.2 x 63.3 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Basic weathering on. It's quite heavy like the
paint modulation as it'll be covered up by
a winter white wash finish.
The markings aren't accurate, just scraps from the
spares box but they'll mostly be covered up and just
leave a hint of something under the white wash.
In memory of
Janet Patricia
Dearly loved daughter of
H Temple and Edna L White
Born 17th March 1920
Died 30th November 1921
Evening Post, Volume CII, Issue 131, 30 November 1921, Page 1
WHITE.—On the 30th November, 1921, at Christchurch, Janet Patricia, infant daughter of Mr. and Mrs. H. Temple White; aged 1 year and 8 months.[1]
Block 29 Plot 86SEC
Address: 17 Jefferson St, Wellington
Born: Wellington[2]
Janet’s mother:
Edna Lucie nee CRABB
•On the 11th September 1916 at the residence of E. H. CRABB. Esq., Palmerston North married to Harold[9]
Janet’s father:
Harold Temple White
Conductor; music teacher; composer
Harold Temple White was born in Laceby, Lincolnshire, England, on 24 December 1881, the son of Emma Jane Wales and her husband, John Hobson White, a grocer. The family were ardent Methodists (John White was to become a minister at Kimbolton) and Harold's religious upbringing strongly influenced his later activities and personal life.
The family arrived in New Zealand on the Rimutaka in 1893 as part of an emigration scheme organised by John White. They settled in New Plymouth and Harold won a scholarship to New Plymouth High School. He then trained as a schoolteacher and taught at Rahotu, Omata and Eltham Road schools before establishing himself as a professional music teacher. He had received his first piano lessons from his mother but was otherwise self-taught.
He married Marguerite Amy Tichbon on 31 March 1904 at Stratford. There were three sons of the marriage, two of whom survived to adulthood. In August 1904 the couple moved to Feilding where Temple White, as he was always known, conducted the Feilding Choral Society and was organist and choirmaster at the Methodist church. His choir had considerable success in provincial competitions, and as conductor he 'set a new standard in this form of singing – in delicacy, precision, phrasing, and modulation'.
His reputation grew and in 1913 he secured an appointment as organist and choirmaster to the Wesleyan Methodist Church in Taranaki Street, Wellington. He was to hold this position for 46 years. His wife was in continuous poor health and soon after the shift to Wellington took her own life. On 11 September 1916 at Palmerston North Harold Temple White married Edna Lucie Crabb. Three sons and two daughters were born to them, one daughter dying in infancy.
Temple White soon became a central figure in Wellington's musical life. Under his direction the Wesleyan Methodist Church choir achieved high standards and he was soon involved in other choral activities. In 1914 he established the Wellington Harmonic Society and was its conductor until 1957. In 1918 he became conductor of the Wellington Commercial Travellers' Male Voice Choir, a position he held until 1930, and in 1919 was appointed conductor of the Royal Wellington Choral Union.
In spite of his innate gentleness, there was underneath a firm fibre of determination, and when roused he could support his strongly held beliefs in fearless exchange. His eight-year association with the choral union, which was then Wellington's major choir, came to an abrupt end in 1927 when he resigned on a matter of principle. One source of disagreement was his salary, but he was also unhappy about lack of consultation over the selection of soloists and repertoire. On this occasion his views did not prevail with the choir committee, but such was his popularity with ordinary choir members that they presented him with a grandfather clock.
When the radio station 2YA began broadcasting in Wellington in 1927, Temple White was appointed music adviser and the scope of his musical activities broadened. He played the organ for regular community singing in the town hall during the 1930s, gave organ recitals and conducted carol services at Christmas. In 1939 his old friend Aunt Daisy (Maud Basham) enlisted his help in establishing Easter dawn services.
In the 1930s Temple White formed new choirs: the Wellington Apollo Singers, the Wellington Boys' Choir, and the Wellington Girls' junior and senior choirs, all of which he led until 1947. He also conducted the Tudor Singers from 1936 until 1941. The highlight of these years was his association with the composer Percy Grainger, who visited New Zealand in 1935. Temple White had the challenging task of welding together two separate choirs, the Harmonic Society and the Apollo Singers, to perform Grainger's programme in the Wellington Town Hall. Grainger later wrote, 'I don't know that I can recall any choral programme of my works, in any city of the world, in which every item was rendered with the unvarying perfection attained on November 23'.
Besides giving private music lessons in piano, organ and singing, Temple White taught singing at Rongotai College from 1940 until 1945. During school holidays he was in demand throughout New Zealand as a judge for regional music competitions, and he adjudicated at the City of Sydney Eisteddfod in 1936. He also composed works, mainly choral, that reflected his intense religious and patriotic feelings. During the 1953–54 royal visit he conducted a choir of 13,000 children in a performance of his own work, 'Aotearoa'. The singing was accompanied by six strategically placed brass bands. That year he was made an OBE for services to music.
Temple White served on the Music Teachers' Registration Board of New Zealand, the Music Teachers' Association of New Zealand, the Department of Internal Affairs Music Bursary Selection Committee, the New Zealand Church Music Society and the Wellington Organists' Association. He was appointed honorary city organist in 1961. When he resigned in 1966 the council conferred on him the title honorary city organist emeritus. A bust of Temple White was placed outside the Ilott Concert Chamber in the Wellington Town Hall.
Instantly recognisable by his neatly clipped beard and erect elegant figure, Harold Temple White walked from his Brooklyn home to the city every day, even when he was past 80. He was an avid reader and loved reading aloud; chess was another interest. He was unfailingly courteous and won many friends. After his wife's death in 1950 he and his daughter stayed on in the family home until frailty necessitated his care in Woburn Presbyterian Home and Hospital, Lower Hutt. He died there on 8 September 1972 in his 91st year. [3]
Evening Post, Volume XCVI, Issue 27, 31 July 1918, Page 8
WAR ANNIVERSARY
MEETING AT TOWN HALL.
Sunday will be the fourth anniversary of the declaration of war between Great Britain and Germany, and the occasion will be marked by patriotic meetings to he held all over New Zealand on Monday night next. The Wellington meeting in the Town Hall promises to be a memorable gathering. The motion reaffirming New Zealand's “inflexable [sic] determination to continue to the victorious end of, a reighteous [sic] war" will be moved by the Mayor (Mr. J. P. Luke, C.M.G., M.P.) and supported by several prominent speakers, whose names will be announced later. The Trentham Band will be in attendance, and the City Organist (Mr. Bernard Page) will play suitable selections on the grand organ. Mr. Temple White has, agreed to arrange a .programme of musical items, which in itself should be a big attraction. [5]
Hawera & Normanby Star, Volume LXV, 23 December 1913, Page 5
Harold Temple WHITE’S first wife, missing for 10 days and found suicided by drowning. She had been depressed for some time.[10]
She was 33 years old.[12]
Janet’s siblings:
Brother: Douglas Hallam WHITE married Florence Marianne LAWTON 2 March 1928[8]
Other family connections:
Janet’s uncle
Feilding Star, Volume XIII, Issue 3287, 9 July 1917, Page 2
Mr Sydney Wales WHITE brother of Mr Temple White has one of his paintings (a portrait of Flight-Lieut. Williams, of the Royal Naval Service) hung in the exhibition of the Royal Academy this year.[4]
Sydney married 1906 at Fulletby, Lincolnshire to Miss Alice Mary TARTTELIN and received gifts from amongst others – Prince and Princess Alexis Dolgorouki; The Marchioness of Tullibardine; Sir James Tamsay Bart. Of Banff; the Hon. Mrs. Claud Hamilton. [13]
Janet’s grandmother
Feilding Star, Volume VII, Issue 1880, 21 September 1912, Page 2
DEATH OF MRS J. H. WHITE.
News came through this morning of the death of Mrs White, wife of the Rev. J. H. White, at one time of Kimbolton, and mother of Mr H. Temple White, of Feilding. She passed away peacefully at Patea last evening. Throughout Feilding and district deep sympathy will be felt with the members of the bereaved family, especially with the Rev. J. H. White, in. whose constant companionship in his work in the Kimbolton Methodist Circuit Mrs White made many friends. [11]
Janet’s grandfather
Evening Post, Volume XCVI, Issue 31, 5 August 1918, Page 8
The sudden death of Mr Joseph Temple White brother of the Rev. J H White of Brooklyn and uncle of Mr. H Temple White the Wellington organist, occurred at Stanley Building, Auckland, last Thursday. Deceased, who arrive din New Zealand in the 80’s, lived in Taranaki before going to Auckland. He was prominent in temperance circles.[6]
Two of his sons served long periods at the war and one was recently decorated. He has a brother, a Methodist minister, at Kelbur, Wellington and is survived by a widow and a grown up family.[7]
SOURCES:
[1]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&d=EP...
[2]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[3]
Judith White. 'White, Harold Temple - White, Harold Temple', from the Dictionary of New Zealand Biography. Te Ara - the Encyclopedia of New Zealand, updated 30-Oct-2012
URL: www.TeAra.govt.nz/en/biographies/3w11/white-harold-temple
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[6]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[7]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[8]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[9]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[10]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[11]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[12]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[13]
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Philosophy Hall, built in 1910, was one of the original buildings designed for Columbia university's Morningside Heights campus by Charles Follen McKim of McKim, Mead, and White. The 8-story, Italian Renaissance Revival building houses the English, Philosophy, and French departments, along with the university's writing center, part of its registrar's office, and the student lounge of its Graduate School of Arts and Sciences
As a senior at Columbia University's new Philosophy Hall in 1912, Edwin H. Armstrong worked in the second-floor Hartley Laboratories on his first of several major developments in wireless communication technologies. After graduation the promising young engineer was assigned a small laboratory to continue his work, and eventually became the head of the Hartley Laboratory. Even after a series of inventions made him not only wealthy, but one of the foremost inventors in wireless technology, Armstrong continued to use these second-floor laboratories and office facilities, as well as lecture rooms elsewhere in Philosophy Hall, to advance his work. The last of his major developments was the design of a wide-band frequency modulation (FM) system that achieved unprecedented fidelity and elimination of static.
Over the years the building has been home to such notable faculty members as philosophers John Dewey, Frederick J. E. Woodbridge and Ernest Nagel, Guadeloupean novelist Maryse Condé, French literary scholar Michael Riffaterre, poet Kenneth Koch and English literary scholars Lionel Trilling, Edward Said, Carolyn Heilbrun, Quentin Anderson, Gayatri Chakravorty Spivak and Mark Van Doren.
The lawn in front of Philosophy Hall is the site of an original cast of The Thinker (Le Penseur), one of the most famous pieces by French sculptor Auguste Rodin.
National Register #03001046 (2003)
Sinclair ZX81
Type
Home computer
Release date
5 March 1981; 36 years ago[1]
Introductory price
£49.95 kit, 2017 prices)
Discontinued
1984
Units sold
More than 1.5 million[3]
Operating system
Sinclair BASIC[4]
CPU
Z80 at 3.25 MHz[4]
Memory
1 KB (64 KB max. 56 KB usable)[4]
Storage
External cassette tape recorder at a claimed 250 bps[4] or an average 300 bps[5]
Display
Monochrome display on UHF television[4]
Graphics
24 lines × 32 characters or
64 × 48 pixels graphics mode[4]
Power
9V DC[4]
Dimensions
167 millimetres (6.6 in) deep by 40 millimetres (1.6 in) high[4]
Weight
350 grams (12 oz)[4]
Predecessor
ZX80
Successor
ZX Spectrum
Related articles
Timex Sinclair 1000,
Timex Sinclair 1500
The ZX81 is a home computer produced by Sinclair Research and manufactured in Scotland by Timex Corporation. It was launched in the United Kingdom in March 1981 as the successor to Sinclair's ZX80 and was designed to be a low-cost introduction to home computing for the general public. It was hugely successful, and more than 1.5 million units were sold before it was discontinued. The ZX81 found commercial success in many other countries, notably the United States, where it was initially sold as the ZX-81. Timex manufactured and distributed it under licence and enjoyed a substantial but brief boom in sales. Timex later produced its own versions of the ZX81 for the US market – the Timex Sinclair 1000 and Timex Sinclair 1500. Unauthorised clones of the ZX81 were produced in several countries.
The ZX81 was designed to be small, simple, and above all cheap, using as few components as possible to keep the cost down. Video output was to a television set rather than a dedicated monitor. Programs and data were loaded and saved onto audio tape cassettes. It had only four silicon chips on board and a mere 1 KB of memory. The machine had no power switch or any moving parts (with the exception of a VHF TV channel selector switch present on early "ZX81 USA" models and the Timex-Sinclair 1000) and used a pressure-sensitive membrane keyboard for manual input. The ZX81's limitations prompted the emergence of a flourishing market in third-party peripherals to improve its capabilities. Such limitations, however, achieved Sinclair's objective of keeping the cost of the machine as low as possible. Its distinctive case and keyboard brought its designer, Rick Dickinson, a Design Council award.
The ZX81 could be bought by mail order in kit form or pre-assembled. In what was then a major innovation, it was the first cheap mass-market home computer that could be bought from high street stores, led by W. H. Smith and soon many other retailers. The ZX81 marked the first time that computing in Britain became an activity for the general public, rather than the preserve of businesspeople and electronics hobbyists. It inspired the creation of a huge community of enthusiasts, some of whom founded their own businesses producing software and hardware for the ZX81. Many went on to play a major role in the British computer industry in later years. The ZX81's commercial success made Sinclair Research one of Britain's leading computer manufacturers and earned a fortune and an eventual knighthood for the company's founder, Sir Clive Sinclair.
Sinclair ZX81 PCB Revision 3 keyboard
The ZX81 came with 1 KB of on-board memory that could officially be expanded externally to 16 KB. Its single circuit board was housed inside a wedge-shaped plastic case measuring 167 millimetres (6.6 in) deep by 40 millimetres (1.6 in) high. The memory was provided by either a single 4118 (1024 bit × 8) or two 2114 (1024 bit × 4) RAM chips. There were only three other chips on board: a 3.5 MHz Z80A 8-bit microprocessor from NEC, an uncommitted logic array (ULA) chip from Ferranti and an 8 KB ROM providing a simple BASIC interpreter. The entire machine weighed just 350 grams (12 oz).[4] Early versions of the external RAM cartridge contained 15 KB of memory using an assortment of memory chips, while later versions contained 16 KB of chips, but the lowest addressed kilobyte was disabled.
The front part of the case is occupied by an integrated 40-key membrane keyboard displaying 20 graphic and 54 inverse video characters.[4] Each key has up to five functions, accessed via the SHIFT and FUNCTION keys or depending on context. For example, the P key combined the letter P, the " character and the BASIC commands PRINT and TAB. The ZX81 uses a standard QWERTY keyboard layout. The keyboard is mechanically very simple, consisting of 40 pressure-pad switches and 8 diodes under a plastic overlay, connected in a matrix of 8 rows and 5 columns.[6]
The ZX81's primary input/output is delivered via four sockets on the left side of the case. The machine uses an ordinary UHF television set to deliver a monochrome picture via a built-in RF modulator. It can display 24 lines of 32 characters each, and by using the selection of 2×2 block character graphics from the machine's character set offered an effective 64 × 44 pixel graphics mode, also directly addressable via BASIC using the PLOT and UNPLOT commands, leaving 2 lines free at the bottom. Two 3.5 mm jacks connect the ZX81 to the EAR (output) and MIC (input) sockets of an audio cassette recorder, enabling data to be saved or loaded. This used an unusual PWM encoding at a single frequency, giving an average rate of 307 bps nominal, varying between 400 bps for all '0's, to 250 bps for all '1's.[5] This provides a somewhat temperamental storage medium for the machine, which has no built-in storage capabilities. The ZX81 requires 420 mA of power at 7–11 V DC, delivered via a custom 9 V Sinclair DC power supply.[4]
The ULA chip, described by the ZX81 manual as the "dogsbody" of the system, has a number of key functions that competing computers shared between multiple chips and integrated circuits. These comprise:[7]
Synchronising the screen display;
Generating a 6.5 MHz clock, from which a 3.25 MHz clock is derived for the processor;
Outputting an audio signal to a cassette recorder in SAVE mode;
Processing the incoming cassette audio signal in LOAD mode;
Sensing keystrokes;
Using memory addresses provided by the CPU to decide when ROM and RAM should be active;
Controlling general system timing.
The ZX81's built-in RF modulator can output a video picture to either a UHF 625-line colour or monochrome television (used in the UK, Australia, and most western European countries). France required a slightly modified version of the machine to match the positive video modulation of SECAM sets, while the USA and Canada required a different ULA chip and modulator to cope with their 525-line VHF (NTSC) television systems. Both the ZX81 and its predecessor, the ZX80, have a significant drawback in the way that they handle visual output. Neither machine has enough processing power to run at full speed and simultaneously maintain the screen display. On the ZX80, this means that the screen goes blank every time the machine carries out a computation and causes an irritating flicker whenever a shorter computation – such as processing a keystroke – takes place.[8]
The ZX81's designers adopted an improved approach, involving the use of two modes called SLOW and FAST respectively. In SLOW mode, also called "compute and display" mode, the ZX81 concentrates on driving the display. It runs the current program for only about a quarter of the time – in effect slowing the machine down fourfold, although in practice the speed difference between FAST and SLOW modes depends on what computation is being done.[9] In FAST mode, processing occurs continuously, but the display is abandoned to its own devices – equivalent to the ZX80's standard operating mode.[10]
Another hardware quirk produced one of the most distinctive aspects of the ZX81's screen display – during loading or saving, moving zigzag stripes appear across the screen. The same pin on the ULA is used to handle the video signal and the tape output, producing the stripes as an interference pattern of sorts. The ULA cannot maintain the display during SAVE and LOAD operations, as it has to operate continuously to maintain the correct baud rate for data transfers. The interference produces the zigzag stripes.[7]
The unexpanded ZX81's tiny memory presented a major challenge to programmers. Simply displaying a full screen takes up to 793 bytes, the system variables take up another 125 bytes, and the program, input buffer and stacks need more memory on top of that.[11] Nonetheless, ingenious programmers were able to achieve a surprising amount with just 1 KB. One notable example was 1K ZX Chess by David Horne, which managed to include most of the rules of chess into only 672 bytes. The ZX81 conserved its memory to a certain extent by representing entire BASIC commands as one-byte tokens, stored as individual "characters" in the upper reaches of the machine's unique (non-ASCII) character set.[12]
The edge connector or external interface at the rear of the ZX81 is an extension of the main printed circuit board. This provides a set of address, control, and data lines that can be used to communicate with external devices.[13] Enthusiasts and a variety of third-party companies made use of this facility to create a wide range of add-ons for the ZX81.
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
-----
2012 Update: I've since ditched my MacMini/EyeTV setup for the Boxee Box / Live TV tuner setup. Read more
----
I'll write up a much larger blog post on this after I see how broadcast works @ Superbowl Party, but real quick:
I have a Mac MIni (w/ Boxee & Plex) hooked up to an Eye TV (USB tuner, $130) that is hooked up to the Time Warner cable that runs thru my apt and reading the unencrypted QAM stream. (read: watching cable w/out a cable box)
The QAM feed has about 120 channels - most of them are bullshit (infomercials, pay-per-view ads) and a lot of Spanish channels. These are the 12 that are interesting (and work great)
I'll cover this in the post, but configuring the EyeTV (separating good channels from crap) can be a bit of a pain, so I'm hoping this screenshot will let some people skip corners. (note: I am using the TV Guide listings from "Northern Manhattan" even tho I am downtown. Take note of the "1008" channels - there's a ton of them, but only 2-3 worth keeping. Tell the difference using the freq/MHz)
Links:
EyeTV: www.elgato.com/elgato/na/mainmenu/products/EyeTV-Hybrid-1...
QAM: en.wikipedia.org/wiki/Quadrature_amplitude_modulation
Search terms for Google (cause I couldn't find this info when searching)
+ QAM channels in NYC
+ Time Warner Cable QAM
+ TWC QAM
+ eyeTV in NYC
+ eyeTV Manhattan
ps: Using Boxee and Plex for everything else (movies, Netflix, Hulu, CNN, ESPN3, etc)
And yes, I get the irony of trying to #QuitCable tho still being dependent on their physical cable line to get this QAM stream. The #QuitCable thing is more "stop paying $161/mo for something I barely use but sometimes need" and less "sever all ties w/ Time Warner" (i'll still be paying for internet thru them). Slightly still up in the air is "does TIme Warner change their QAM policies if a critical mass of people quit cable? My understanding is that they're required to broadcast the "major networks" over QAM, tho not required to do it in HD. I could also ditch QAM / Time Warner for TV entirely but I'm hearing that over-the-air antennas (that pick up broadcast HD signals) don't do so well in the "urban canyon" that is NYC.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
Pencil on paper; 52 x 38 cm.
Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.
Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.
The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.
Acrylic on canvas; 136.5 x 184.8 cm.
Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.
In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.
The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.
Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).
GP500 motorcycle windshields
The history of Yamaha Motorcycles
"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.
"If you're going to do something, be the best."
Genichi Kawakami
Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.
He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.
In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.
When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."
The first Yamaha motorcycle... the YA-1.
"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.
Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.
That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.
By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.
The first Yamaha to compete in America (1957).
Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.
Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.
With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.
In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.
Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.
Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.
By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."
He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."
A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced
"Make every challenge an opportunity."
Genichi Kawakami
the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.
In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.
Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.
Yamaha Motor Corporation, USA Cypress, California
Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.
History Timeline of Yamaha (USA)
Year Yamaha Motor Origin
1955
The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.
Year USA History
1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).
1960 Yamaha International Corporation began selling motorcycles in the USA.
1968
The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.
Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.
1970
Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.
1971
The SR433 high performance Snowmobile was introduced.
1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).
1975
Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.
1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.
1977
Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.
1978
The XS1100 motorcycle (four cylinder, shaft drive) was introduced.
XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.
Golf Cars were introduced in the USA with the G1 gas model.
1979
YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.
1980
The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.
The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).
The G1-E electric powered Golf Car model was introduced.
1981
The first air-cooled, V-twin cruiser, the Virago 750, was introduced.
1984
The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.
Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.
The Phazer snowmobile was introduced. Known for its light weight and agile handling.
Yamaha begins marketing Outboard Motors in the USA.
1985
The V-Max 1200 musclebike hits the streets.
1986
Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.
1987
A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.
Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.
Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.
1992
The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.
1994
Yamaha expands its product offerings by acquiring the Cobia boat company.
1995
The Century and Skeeter boat companies are acquired by Yamaha.
1996
Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.
Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.
1997
Yamaha acquires the G3 boat company.
At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.
Yamaha opens southeastern offices in Kennesaw, Georgia.
1998
The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.
The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.
The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.
The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.
2000
The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.
2002
The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.
The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.
2003
The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.
2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
A DIY audio electronics development platform. Very easy to plug things in and out of the breadboards and Arduino (duemilanove). Seeed Studio oscilloscope has proven to be a worthy tool. Now cooking: an arduino synthesizer, based on some simple waveform tables, homemade 8-bit DAC and bitwise modulation. Basically same as this but now much neater. Audio and video demos coming up, soon maybe... Here's an old demo, this one sounds roughly the same.
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
GP500.Org Part # 24000 Yamaha motorcycle windshields
GP500 motorcycle windshields
The history of Yamaha Motorcycles
"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.
"If you're going to do something, be the best."
Genichi Kawakami
Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.
He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.
In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.
When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."
The first Yamaha motorcycle... the YA-1.
"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.
Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.
That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.
By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.
The first Yamaha to compete in America (1957).
Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.
Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.
With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.
In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.
Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.
Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.
By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."
He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."
A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced
"Make every challenge an opportunity."
Genichi Kawakami
the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.
In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.
Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.
Yamaha Motor Corporation, USA Cypress, California
Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.
History Timeline of Yamaha (USA)
Year Yamaha Motor Origin
1955
The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.
Year USA History
1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).
1960 Yamaha International Corporation began selling motorcycles in the USA.
1968
The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.
Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.
1970
Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.
1971
The SR433 high performance Snowmobile was introduced.
1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).
1975
Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.
1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.
1977
Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.
1978
The XS1100 motorcycle (four cylinder, shaft drive) was introduced.
XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.
Golf Cars were introduced in the USA with the G1 gas model.
1979
YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.
1980
The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.
The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).
The G1-E electric powered Golf Car model was introduced.
1981
The first air-cooled, V-twin cruiser, the Virago 750, was introduced.
1984
The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.
Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.
The Phazer snowmobile was introduced. Known for its light weight and agile handling.
Yamaha begins marketing Outboard Motors in the USA.
1985
The V-Max 1200 musclebike hits the streets.
1986
Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.
1987
A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.
Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.
Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.
1992
The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.
1994
Yamaha expands its product offerings by acquiring the Cobia boat company.
1995
The Century and Skeeter boat companies are acquired by Yamaha.
1996
Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.
Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.
1997
Yamaha acquires the G3 boat company.
At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.
Yamaha opens southeastern offices in Kennesaw, Georgia.
1998
The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.
The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.
The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.
The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.
2000
The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.
2002
The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.
The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.
2003
The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.
2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.
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Abstract
Space medicine research has drawn immense attention toward provision of efficient life support systems during long-term missions into space. However, in extended missions, a wide range of diseases may affect astronauts. In space medicine research, the gastrointestinal microbiome and its role in maintaining astronauts' health has received little attention.
We would like to draw researchers' attention to the significant role of microbiota. Because of the high number of microorganisms in the human body, man has been called a 'supra-organism' and gastrointestinal flora has been referred to as 'a virtual organ of the human body'.
In space, the lifestyle, sterility of spaceship and environmental stresses can result in alterations in intestinal microbiota, which can lead to an impaired immunity and predispose astronauts to illness. This concern is heightened by increase in virulence of pathogens in microgravity. Thus, design of a personal probiotic kit is recommended to improve the health status of astronauts.
Introduction
Living in space has been a great desire for mankind, leading to the development of space stations for long-duration manned space missions. The design of a life support system is needed to maintain the minimum life requirements for humans in space by conserving a stable body temperature, a standard pressure on the body and by managing waste products.
So far, the majority of research in this area has been devoted to the human primary requirements such as air, water and food. Furthermore, a life support system deals with astronauts' healthcare. Although health status of the astronauts such as immunological and physiological problems has been investigated, less attention has been paid to the intestinal microbiome and its significant role in the astronaut's health.
Immunological and physiological health problems could occur when considering the identified increase in the virulence and antibiotic resistance of some infectious bacteria exposed to microgravity, along with possible weakening of the immune system during space flight. Compensating for these alterations may not only enhance the health and immunity status of astronauts, but might have possible effects on enhancing the duration of space journeys.
For many years, the importance of intestinal flora in human health and disease has been known to man. Researchers have suggested a possible association between the changes in the balance of gut flora and several diseases. At the end of the Human Genome Project, the aggregation of flora genes within the human genome was named the 'human metagenome, highlighting the crucial role of the microbiome in the maintenance of health.
This perspective highlights the crucial role of the microbiome in the health and/or disease status in astronauts. Considering astronauts' special health and nutrition needs in orbit, it could be advantageous to develop probiotics for each crew member. These healthy bacteria could then be consumed during long-duration missions to replenish the intestinal microbiome.
The Human Intestine & the Microbiome
Today 'gut health' is a term increasingly used in the medical literature to describe effective digestion and absorption, the absence of gastrointestinal lesions, presence of normal intestinal microflora and proper immune function. However, from a scientific point of view, it is still extremely unclear what gut health is or how it can be defined and/or measured.
The interactions between the gastrointestinal barrier and the microbiome appear to be a complex mechanism that assists in maintaining gut health. The gastrointestinal tract contributes to digestion and absorption of nutrients, minerals and fluids, osmoregulation, endocrine regulation and host metabolism, mucosal and systemic tolerance, immunoenhancement, defense against potential pathogens and harmful substances, signaling from the periphery to the brain, and detoxification of toxic molecules originating from the environment or the host.
Recognition of the importance of gastrointestinal health and microflora can be an important asset to astronauts' health.
Across the large surface of the digestive tract, healthy and pathogenic bacteria compete for dominance. With such a huge exposure area, the immune system has a hard task of hindering pathogens from entering the blood and lymph. The presence of a balance between beneficial and potentially harmful bacteria is considered normal and contributes to a dynamic and healthy human gut.
One way to maintain this homeostasis is to introduce helpful bacteria or probiotics. After the first suggestion of the health benefits of probiotics in the early 20th century by Nobel Laureate Metchnikoff, many bacterial strains have been clinically tested as potential probiotics. Probiotics are thought to play a health-promoting role by improving intestinal microbial infections.
The surface area, apparent balance of microflora and health impact of the human gut reminds us that this complex organ must not be forgotten as one factor in long-duration spaceflight health.
Stress & Gut Microbiome
The Human Genome Project revealed that the human body is the habitat of microbial symbionts ten-times more in number than Homo sapiens cells. The recognition of the complex interactional environment between the human and our symbiotic microflora led researchers to name this the 'human microbiome'.
In the human gut, the microbiome directly influences biochemical, physiological and immunological pathways and is the first line of resistance to various diseases.
Traveling can act as an environmental stress causing changes in the microbiome composition or its gene expression. This may lead to the transient (as in travelers' diarrhea) or permanent dominance of pathogenic gut bacteria. Recently, it was shown that exposure to a social stressor altered the composition of the intestinal microbiome, indicating stressor-induced immunomodulation.
It was demonstrated that stressor exposure changes the stability of the microflora and leads to bacterial translocation. Circulating levels of IL-6 and MCP-1 increased with stressor exposure and these increases were significantly and positively correlated to changes in three bacterial genera (i.e., Coprococcus, Pseudobutyrivibrio and Dorea) in the cecum.
This suggested that the microbiome somehow contributed to stressor-induced immunoenhancement. To test the theory, in follow-up experiments, mice were treated with an antibiotic cocktail to determine whether reducing microflora would annul this stressor-induced increase in circulating cytokines.
In the antibiotic-treated mice, exposure to the same stressor failed to increase IL-6 and MCP-1 confirming that intestinal microflora were necessary for the observed increase in circulating cytokines.
Microgravity Stress Alters Bacterial Virulence
Studies have shown an increase in the virulence, changes in growth modulation and alterations in response to antibiotics in certain bacteria both in space and simulated microgravity. Significant technological and logistical hurdles have hindered thorough genotypic and phenotypic analyses of bacterial response to actual space environment.
In this line, Wilson et al. cultured Salmonella enterica Typhimurium aboard space shuttle mission STS-115 with identical cultures as ground controls. Global microarray and proteomic analyses were carried out and 167 differentially expressed transcripts and 73 proteins were identified among which conserved RNA-binding protein Hfq was suggested as a likely global regulator involved in the response to spaceflight.
Similar results were obtained with ground-based microgravity culture model. Furthermore, spaceflight-grown S. enterica Typhimurium had enhanced virulence in murine models and exhibited extracellular matrix accumulation consistent with a biofilm. Typhimurium grown in spaceflight analog exhibited increased virulence, increased resistance to environmental stresses (acid, osmotic and thermal stress), increased survival in macrophages and global changes in gene expression.
Low-shear modeled microgravity rendered adherent–invasive Escherichia coli more adherent to a mammalian gastrointestinal epithelial-like cell line, Caco-2. Simulated microgravity conditions markedly increased production of the heat-labile enterotoxin from enterotoxigenic E. coli. Upon a 12-day exposure to low-shear modeled microgravity, Candida albicans exhibited increased filamentation, formation of biofilm communities, phenotypic switching and more resistance to the antifungal agent amphotericin B.
Only one virulence gene was found among 163 differentially expressed genes in simulated microgravity grown S. Typhimurium and actually, most virulence genes were expressed at a lower level (including genes involved in lipopolysaccharide production). Furthermore, sigma factor (a transcription factor responsible for a general stress response) was not thought to be a cause, since a decreased level of its gene expression was observed in simulated microgravity.
The mechanism of enhanced virulence of S. Typhimurium grown in actual spaceflight and rotating wall vessel culture conditions does not involve an increased expression of traditional genes that regulate the virulence of this bacterium under normal gravity conditions; however, Hfq pathway is required for full virulence in S. Typhimurium.
Biofilm formation is part of the normal growth cycle of most bacteria and this film is linked to chronic diseases that are difficult to treat such as endocarditis, cystitis and bacterial otitis media. Bacterial biofilm creates superior resistance to oxidative, osmolarity, pH and antibiotic stresses.
Theoretically, bacterial biofilm production, which enhances bacterial survival by resistance to the immune system and antimicrobial agents, may increase the risk and/or severity of infection in long-term space missions. Diminished gravity has been shown to stimulate bacterial biofilm formation both in E. coli and Pseudomonas aeruginosa. In a study by Crabbe et al. in 2008, rotating wall vessel technology was exploited to study the effect of microgravity on growth behavior of P. aeruginosa PAO1.
Rotating wall vessel cultivation resulted in a self-aggregating phenotype, which subsequently led to formation of biofilms. In a second study in 2010, the same researchers employed microarrays to investigate the response of P. aeruginosa PAO1 to low-shear modeled microgravity both in rotating wall vessel and random position machine.
P. aeruginosa demonstrated increased alginate production and upregulation of AlgU-controlled transcripts (including those coding for stress-related proteins) in modeled microgravity. Results of the study also implicated the involvement of Hfq in response of P. aeruginosa to simulated microgravity. Involvement of Hfq in response of P. aeruginosa to actual spaceflight was later confirmed in another study.
In addition, there is concern that antibiotic-resistance increases during short-term spaceflight. The MIC of both colistin and kanamycin increased significantly in E. coli grown aboard the flight module compared with the MIC on the ground. A similar increase in the MIC of oxacillin, erythromycin and chloramphenicol was reported in Staphylococcus aureus. This has led to concerns that the efficacy of antibiotics may be diminished during even short orbital missions.
It has been hypothesized that reduction in the natural, terrestrial diversity of the gastrointestinal bacterial microflora in spaceflight may give rise to an increase in the presence of the drug-resistant bacteria. It has also been postulated that the emergence of such resistant clones could be facilitated by the administration of antibiotics either before or during the flight.
Emergence of drug resistance is also facilitated by bacterial mutation which occurs more frequently in long-term spaceflights. Overall, there is the possibility that drug-resistant bacteria could colonize all crew members on a mission, giving rise to a difficult-to-treat healthcare problem.
Spaceflight & the Microbiome
In an attempt to protect astronauts from exposure to novel pathogens preflight, several guidelines are carried out. Prelaunch, crew members are limited both in travel and visitors to limit pathogen exposure. Therefore, crew members tend to launch with normal gut microflora and with a reduced risk of gut infection.
Items flown to the International Space Station (ISS) are cleaned before loading to limit introducing bacteria to the environment. Once in orbit, all areas in the ISS have ultra-high-efficiency bacterial filters in the air supply ducts to reduce the levels of bacteria and fungi. Finally, cleaning of the surfaces of the modules is a regular 'housekeeping' chore to limit bacterial and fungal growth.
Still, microorganisms exist on the ISS. No matter how much cleaning is done, microorganisms are continuously shed from skin, mucous membranes, gastrointestinal and respiratory tracts or can be released by sneezing, coughing and talking. Specimens were obtained for mycological examination from the skin, throat, urine and feces of the six astronauts who conducted the Apollo 14 and Apollo 15 lunar exploration missions both before and after flight.
Analysis of preflight data demonstrated that the process of severely restricting opportunities for colonization for 3 weeks before flight resulted in a 50% reduction in the number of isolated species. Postflight data indicated that exposure to the spaceflight environment for up to 2 weeks resulted in an even greater reduction with a relative increase in the potential pathogen C. albicans.
The compositions of intestinal, oral and nasal flora have been shown to change even during short spaceflights. In one study, a reduction in the number of nonpathogenic bacteria and an increase in the number of opportunistic pathogens has been reported in the nasal flora of cosmonauts. A significant reduction in the number of bacterial species of the intestine has been seen after 2 weeks of spaceflight.
These observations were similar to changes seen in ground volunteers who were kept in isolation, in which volunteers were fed only sterilized, dehydrated foods. A significant decrease in the number of bifidobacteria, lactobacilli and other bacteria was seen. In a Russian experiment, a decrease in lactobacilli (and replacement with pathogens) were seen in mouth and throat cavities in all mission members in in-flight period.
Spaceflights and even the preparation phase before take-off can exert dysbiosis in the human microflora which results in reduction of the defense group of microorganisms (bifidobacteria and lactobacilli) and appearance of opportunistic pathogens such as E. coli, enterobacteria and clostridia. Subsequently, this procedure can lead to accumulation of the potentially pathogenic species and their long-term persistence.
Colonization resistance is one of the factors that needs to be taken into account to stabilize the microflora of the cosmonauts during space flights. Indigenous microflora are vital for preservation of microecological homeostasis. It has been hypothesized that a regular intake of probiotic foods might be helpful in correcting this change.
Human microflora functions as a barrier against antigens from microorganisms and food. Alterations in the microbiome composition have been reported in inflammatory bowel disease, inflammatory conditions, ulcerative colitis and more. Healthy immunophysiologic regulation in the gut has been hypothesized to depend on the establishment of indigenous microflora that create specific immune responses at the gut and system levels.
Furthermore, gut microflora has a role in induction and maintenance of oral tolerance in experimental animal models. Changes in the diversity and number of gut microflora have been linked to a deficient immune system as well as immunological dysregulation which is associated with many human noninfectious diseases such as autoimmunity, allergy and cancer.
Reinforcing this concept of health symbiosis, studies of germ-free animal showed wide-ranging defects in the development and maturation of gut-associated lymphoid tissues. Another way of viewing this health interaction comes from the data that ten Salmonella bacteria have been shown to induce infection in germ-free mice, while 109 bacteria are needed to induce infection in a conventional animal possessing intact intestinal microflora.
To maintain astronaut health on orbit, an awareness of the importance of a balanced gut microbiome to maintaining the immune homeostasis and resistance to infections is valuable.
Previous studies have shown that important immune parameters are decreased during spaceflight. Reductions in the number and proportion of lymphocytes and their cytokine production, depression of dendritic cells function and T-cell activation, and finally reduction in numbers of monocytes and precursors of macrophages, have been noted.
In one study, stresses associated with spaceflight were shown to alter important functions of neutrophils and monocytes. In another study, the astronauts' monocyte functions showed reductions in their ability to engulf E. coli, elicit an oxidative burst and degranulation. Non-MHC-restricted (CD56) killer cell cytotoxicity tends to decrease after short-term spaceflight.
In the latter study, the authors examined the age, gender (nine men and one woman), flight experience, mission factors and mission role (e.g., pilot, scientist or crew) of the astronauts and found no correlation between these variables and individual non-MHC killer cell function levels.
Therefore, other factors may contribute to the compromised immune system in space. Decreased natural killer cell cytotoxicity in cosmonauts after short- and long-term spaceflights have also been reported. Reductions in absolute numbers of lymphocytes, eosinophils and natural killer cells, reduced lymphocyte mitogenic response, diminished delayed-type hypersensitivity, changes in CD4+:CD8+ ratios and reduced production of IL-2 and IFN-γ have also been reported.
The immune system changes of astronauts as well as environmental stress may have been a factor in known incidents of infectious illness in crew members. During the Apollo 8 preflight period for instance, all crew members suffered viral gastroenteritis. During flight, the effects of mission duration on the neuroimmune responses in astronauts were studied and changes in plasma cortisol, epinephrine, norepinephrine, total IgE levels, number of white blood cells, polymorphonuclear leukocytes and CD4+ T cells were found at different times.
Upper respiratory problems, influenza, viral gastroenteritis, rhinitis, pharyngitis or mild dermatologic problems were among the illnesses that astronauts faced during Apollo spaceflights. Reactivation of varicellas zoster virus, herpes virus and shedding of Epstein–Barr virus was also found in space shuttle crew members.
In astronauts of the Mir station, analyses demonstrated a significant number of episodes of microbial infections, including conjunctivitis, acute respiratory events and dental infections. Future Perspective: Considering Probiotics as a Countermeasure
On Earth, probiotics have been shown to improve both innate and adaptive immune responses. Oral bacteriotherapy with probiotic bacterial strains is believed to improve the intestine's immunologic barrier, particularly through intestinal IgA responses and alleviation of inflammatory reactions. A gut-stabilizing effect seems to occur through a balance between proinflammatory and anti-inflammatory cytokines.
Lactobacillus rhamnosus GG has been shown to inhibit TNF-α-induced IL-8 secretion of human colon adenocarcinoma (HT29) cells and to reduce elevated fecal concentration of TNF-α in patients with atopic dermatitis and cow milk allergy. On the other hand, ingestion of lactobacilli in fermented milk products or as live-attenuated bacteria potentiated the IFN-γ production by peripheral blood mononuclear cells.
Oral administration of lactobacilli increased the systemic and mucosal IgA response to dietary antigens. Oral supplementation with Bifidobacterium bifidum and Bifidobacterium breve enhanced the antibody response to ovalbumin and stimulated the IgA response to cholera toxin in mice. An increase in the humoral immune response including an increase in rotavirus-specific antibody-secreting cells in the IgA class was also detected in children and individuals receiving L. rhamnosus GG.
Isolauri et al. reported that infants receiving a reassortant live oral rotavirus vaccine in conjunction with L. rhamnosus GG had a higher frequency of rotavirus-specific IgM class antibody-secreting cells. An increased incidence of rotavirus-specific IgA antibody class seroconversion compared with placebo subjects was also seen. IgA+ cells and IL-6-producing cells increased in number after 7 days of Lactobacillus casei administration.
In another study, administration of lactic acid bacteria stimulated the gut immune cells to release inflammatory cytokines such as TNF-α, IFN-γ and IL-12, and regulatory cytokines like IL-4 and IL- 10 in a dose- and strain-dependent manner. Several lactobacilli strains have been shown to promote the immunopotentiator capacity of cells of the innate immune system, including macrophages. Examples of probiotics that can modulate the gut immune system are abundant and have been reviewed extensively.
Buckley et al. have suggested that consumption of soy-based fermented products (containing lactic acid bacteria) can prevent the health problems of astronauts associated with long-term space travel. Assessment of soy-based fermented products by in vitro challenge system (using TNF-α) with human intestinal epithelial and macrophage cell lines has demonstrated the ability of the intervention to downregulate production of the proinflammatory cytokine IL-8.
Considering the importance of the human gut in healthy digestion, nutrient absorption and exposure to pathogens across its large surface area, a healthy digestive tract is important to a healthy human. Diet, lifestyle, antibiotic therapy, different kinds of stressful conditions and so on, can exert alterations in an astronaut's gut microbiome in space.
Considering potential immune system alterations from gut microflora changes, antibiotic use in orbit and changes of increased virulence and antibiotic resistance of bacteria in space, physicians who care for astronauts must remember the importance of the intestinal microbiome to their health status. From this perspective, an impaired digestive system might endanger the mission as well as the health of the astronaut. One countermeasure to be considered would be replenishing the astronaut's intestinal microflora by introducing immune-enhancing probiotic bacteria periodically during the mission.
Diet, lifestyle, antibiotic therapy and various environmental stresses, and so on, can exert alterations in an astronaut's gut microbiome in space and impair their immune system.
Although single probiotics have sometimes been shown to promote health, the human microbiome is composed of more than 400 microbial species, most of which remain uncultured and have as yet unknown functions. The Human Microbiome Project will certainly pave the way for us to increase our understanding of these microbial entities.[4] Thus, providing only a single probiotic might not be the answer.
Contrary to numerous previous investigations and clinical trials in which only effects of single or a couple of probiotics have been studied, we think multiprobiotic therapy and/or designing individualized probiotic kits seems a more reasonable option. A series of experiments need to be launched to confirm the efficacy and safety of using probiotics in space.
Safety studies are of equal importance as efficacy studies, since astronauts are immunocompromised (although as discussed above, much of this may return to washing out of microflora in space). These studies can be carried out initially in ground-based space analogs and further followed in actual space (first on animal models and then on humans). The lifestyle of astronauts can be simulated in these studies and after interventions; the composition of microbiota (including opportunistic pathogens) along with immunological markers should be determined.
Both short- and long-term confinement and actual spaceflight studies can be designed. The administration and/or consumption of probiotics is supposed to have immune-enhancing effects, hinder alterations in the human microbiome to a large extent and prevent colonization of potential pathogens. Upon observation of possible benefits, probiotics can be incorporated into astronauts' food or supplied periodically as a probiotic kit.
This line of research can be followed by NASA scientists and other space agencies to enhance the quality of life of astronauts and to contribute to human presence in space.
Surprisingly, this may bring a future where astronauts utilize probiotic bacteria to counteract the potential effect of pathogenic bacteria during spaceflight.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
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
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
GP500 motorcycle windshields
The history of Yamaha Motorcycles
"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.
"If you're going to do something, be the best."
Genichi Kawakami
Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.
He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.
In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.
When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."
The first Yamaha motorcycle... the YA-1.
"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.
Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.
That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.
By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.
The first Yamaha to compete in America (1957).
Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.
Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.
With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.
In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.
Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.
Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.
By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."
He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."
A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced
"Make every challenge an opportunity."
Genichi Kawakami
the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.
In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.
Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.
Yamaha Motor Corporation, USA Cypress, California
Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.
History Timeline of Yamaha (USA)
Year Yamaha Motor Origin
1955
The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.
Year USA History
1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).
1960 Yamaha International Corporation began selling motorcycles in the USA.
1968
The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.
Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.
1970
Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.
1971
The SR433 high performance Snowmobile was introduced.
1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).
1975
Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.
1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.
1977
Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.
1978
The XS1100 motorcycle (four cylinder, shaft drive) was introduced.
XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.
Golf Cars were introduced in the USA with the G1 gas model.
1979
YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.
1980
The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.
The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).
The G1-E electric powered Golf Car model was introduced.
1981
The first air-cooled, V-twin cruiser, the Virago 750, was introduced.
1984
The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.
Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.
The Phazer snowmobile was introduced. Known for its light weight and agile handling.
Yamaha begins marketing Outboard Motors in the USA.
1985
The V-Max 1200 musclebike hits the streets.
1986
Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.
1987
A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.
Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.
Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.
1992
The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.
1994
Yamaha expands its product offerings by acquiring the Cobia boat company.
1995
The Century and Skeeter boat companies are acquired by Yamaha.
1996
Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.
Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.
1997
Yamaha acquires the G3 boat company.
At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.
Yamaha opens southeastern offices in Kennesaw, Georgia.
1998
The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.
The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.
The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.
The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.
2000
The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.
2002
The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.
The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.
2003
The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.
2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
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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لو حابب تعرف أكتر عن المنتجات أو تشوف أكتر تقدر تزور موقعنا الرسمي 👇
ومن خلاله تقدر تعمل أوردر يوصلك لحد باب البيت في أسرع وقت أو تشرفنا بفرع الشركة :
217 شارع احمد زكي - المعادي ميدان فايدة كامل امام سنتر الهدي والنور
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طرق الدفع لدينا:
متوفر دفع بالفيزا كارد و الماستر كارد مع ميزة انك تقدر تقسط اي منتج مع البنك الاهلي المصري بدون فوائد لمدة 6 شهور
و خدمة QR و المحفظة الذكية و فودافون و اورانج كاش
هدفنا: الثقة - التميز - الأبداع - العمل علي راحة العميل
Arduino UNO does PWM (pulse width modulation) – 16mm scale.
This test board has a UNO configured to provide 6 PWM servo outputs as a microcontroller for points (turnouts) and/or signals on my 16mm scale narrow gauge exhibit. Two vero strip boards incorporate the required crossovers to provide Futaba/Hitec/etc format servo pinouts on the UNO’s digital output sockets.
Each of the UNO’s analogue inputs is held at intermediate potential by a pair of 1 Kohm resistors. The remote commander has a 20 foot wander lead and its four momentary push buttons short out one or other 1 Kohm resistor to take the analogue input to LOW or HIGH potential as a tri-state switch. The UNO picks up the change in potential and moves the corresponding servo through the number of degrees pre-programmed in the sketch, via the selected PWM output.
This basic setup will enable the option of automated signal and point control on the 16mm scale exhibition layout by linking the UNO's analogue inputs to other sensors.
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 added more yellow-green and sprayed some soft (not masked, but sprayed at an angle) highlights.
Not sure if I was daring enough as it's not very visible.
I've also touched in the road wheels in different greens, and sprayed a few in hull red for primer.
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.
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.