View allAll Photos Tagged modulation
Modules from DinSync.Info are now in-stock. Shown here is a batch of Osc303 mkII as they were initially prepared for direct orders. Now we have both the Osc303 mkII and Modseq available.
The Osc303 mkii is an updated version of the Osc303 with various improvements. A complete pcb redesign makes it more skiff friendly. The Modseq is a low cost, low hp, 8 step auxiliary sequencer. As the name implies its primary duty is for modulation, however it will function perfectly well as a note sequencer.
LINK for more info:http://www.analoguehaven.com/dinsyncinfo/ .
Nitto-made, rack adaptor bolts. Cantis are Tektro CR720, polished, with Kool Stop salmon inserts replacing stock pads which are junk. The salmon pads very noticeably improve the modulation of these wonderful yet inexpensive brakes.
10th July 2013 at the Village Underground, London EC2 (Shuggy Otis gig).
Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.
The photo includes (left to right) TC electronic flashback (delay effect); Boss Chorus Ensemble CE-5 (chorus effect), Boss Flanger BF-3 (flanging effect); MXR Phase 90 (phaser effect) and Roger Mayer Octavia (sound an octave higher).
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
This is a garage door opener based on an ultra-simple multi-protocol low frequency RFID reader design of mine. It's mounted behind the front wall of the house. Hold your wallet (with ID card) up to the front of the house, and it opens the door.
The hardware for this project consists of a Parallax Propeller microcontroller and only passive analog components. Some fancy firmware handles all modulation, demodulation, and A/D conversion.
Firmware (with schematics in the comments) at svn.navi.cx/misc/trunk/propeller/rfid/
The identification of compounds capable to modulate the activity of therapeutic targets relies on using interaction potency as a predictor of in vivo efficacy. Despite that this approach facilitates high-throughput screening of large compound libraries, potency alone fails to reveal the actual pharmacological diversity of compounds.
There are several biochemical features related to the drug-target interaction that drive its mechanism of action and all of them contribute to the ultimate pharmacological response. Although more than 80% of the marketed drugs compete with endogenous effectors, approximately 75% of these inhibitors use an additional mechanism to produce an efficacious response (uncompetitive or non-competitive inhibition, slow dissociation, conformational changes, etc).
We believe that early identification of the driving mechanism of action and assessment of the different biochemical parameters involved in the binding modulation are pivotal in the design of therapeutic agents with improved clinical efficacy and security profiles. Feel free to use this image, just link to www.enzymlogic.com.
Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”
The artist’s attraction to windows and window views, linked to the Symbolists’ use of glass panes as metaphors for the transition from internal to external states, culminated in his Simultaneous Windows series. (The series derives its name from the French scientist Michel-Eugène Chevreul’s theory of simultaneous contrasts of color, which explores how divergent hues are perceived at once.) Delaunay stated that these works began his “constructive” phase, in which he juxtaposed and overlaid translucent contrasting complementary colors to create a synthetic, harmonic composition. Guillaume Apollinaire wrote a poem about these paintings and coined the word Orphism to describe Delaunay’s endeavor, which he believed was as independent of descriptive reality as was music (the name derives from Orpheus, the mythological lyre player). Although Simultaneous Windows (2nd Motif, 1st Part) contains a vestigial green profile of the Eiffel Tower, it is one of the artist’s last salutes to representation before his leap to complete abstraction.
On 1 February 1925 six Auckland telephone exchanges were switched from manual to automatic operation. These were Wellesley Street, Mt Eden, Ponsonby, Remuera, Devonport and Takapuna. This design for the exchange at Takapuna was drawn in 1918, but the lighting was not installed and the painting not done until late in 1924, ready for the start of operations.
According to Te Ara “Between 1910 and 1950 the number of telephones grew more than tenfold – from around 33,000 to more than 350,000. Much of the growth took place in the interwar years. Increasing suburbanisation was met and fostered by the spread of exchanges into suburbs. Enhanced carrier technology allowed more calls to be carried on each line by the use of wireless frequency modulation techniques. Private (from 1925) and rural (1929) automatic exchanges – PABXs and RAXs – increased government, commercial and rural use of phones. In 1922/23, telecommunications revenues outstripped postal revenue for the first time.”
The plan is from a Public Works file held at Auckland Regional Office – BBAD 1054/2075a – Post Offices – Takapuna Automatic Telephone Exchange.
For further information please email Auckland.Archives@dia.govt.nz
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter twitter.com/ArchivesNZ
Material from Archives New Zealand
GATECRASHER 9TH BIRTHDAY LIVE @ REPUBLIC 21-Sept-2003 , SHEFFIELD , ENGLAND , UK
Gatecrasher 9th B'day (2003-09-20) Play List PVD
01. Mark Norman - Overkill (Intro Mix)
02. Terry Bones & Fred Baker - Introspection (John Askew Remix) (Paul van Dyk Re-Edit)
03. Inzite - Spellbound
04. Agnelli & Nelson - Holding On To Nothing (Paul van Dyk Rework)
05. Modulation - Spirits (Cosmicman Remix)
06. R.B.A - Daywalker
07. Motorcycle - As The Rush Comes (Sweeping Strings Mix)
08. ID
09. 4 Strings - Revelation
10. Jaron Inc. - Overflow
11. Scott Bond Vs. Solar Stone - Naked Angel
12. James Holden & Thompson - Nothing (93 Returning Mix)
13. Donald & Giles - Weekend Wonder (Donald & Giles Remix)
14. Goldenscan - Sunrise (Pulser 6AM Vocal Mix)
15. Paul van Dyk feat. Second Sun - Crush (Album Mix)
16. Paul van Dyk Feat. Vega 4 - Time Of Our Lives (Paul van Dyk Club Mix)
17. David Forbes - Answers (Original Mix)
18. Masters & Nickson - 5th Dimension (Instrumental)
19. Lunatic Asylum - Cabal (Energy Flow) (Hiker & Dumondt's Gom Jabar Mix)
20. Nu-NRG - Connective
21. Three Drives - Carrera 2 (Nu-NRG Remix)
22. Modulation - Spirits (Slusnik Luna Remix)
23. ID
24. Extension 119 - The Zone (Original Mix)
25. Marcel Woods - Time's Running Out
26. ID
27. DJ Flex Pres. Digital Club - Dynamo [w/ DJ Tomcraft - Brainwashed (Club Mix Sampled]
28. Paul van Dyk vs Marco V - For A Revolt
29. Chris Liebing - Natural Selection
30. Tiesto - Traffic
31. Mat Silver Vs. Tony Burt - Ultimate Wave (Paul van Dyk Rework)
32. Project Magneta - Twisted Soul
33. Project Zero - Omega Six (Paul van Dyk Rework)
34. Nick Lunn & YOMC pres. Tecno Punx - Energize (Paul van Dyk Edit)
35. Paul van Dyk feat. Hemstock & Jennings - Nothing But You (Original Mix)
Form and function at its best. It took a little bit to set them up, mostly to get the right spacer thickness and slight toe in. They work fantastically - good modulation, lots of power and no squeal. Worth every penny.
X100S vs. X100 comparison. See www.flickr.com/photos/25805910@N05/sets/72157632958348638/ for the full set.
Click here for my regular X100S sample set: www.flickr.com/photos/25805910@N05/sets/72157632954030903...
JPEG SOOC Provia, NR -2.
Is the X100S Lens Modulation Optimizer (LMO) positively affecting IQ at small apertures?
NASA INFO: At 7:00 a.m. on 4 April 1968, Saturn V 502 rose thunderously from its Florida launch pad to boost Apollo 6 (AS-502) into orbit, but that was nearly the last normal thing the big rocket did. For the first two minutes, the five huge engines in the first stage roared, shook the ground, and belched fire evenly. Then there were thrust fluctuations that caused the vehicle to bounce like a giant pogo stick for about 30 seconds. Low-frequency modulations (known as the pogo effect) as high as +/-0.6 g were recorded in the command module, which exceeded design criteria (0.25 g was the upper limit permitted for manned flight in Gemini). Except for the bouncing and the loss of a piece of the panel in the adapter, the first stage did its job, however.
Very shortly after the second stage ignited, two of its five J-2 engines stopped. The other three engines had to fire longer to compensate for this loss of power. The second stage did not reach the desired altitude and velocity before its fuel gave out and it dropped away. To reach the required speed, the S-IVB third stage also had to burn longer than planned, putting the spacecraft into an orbit of 178 by 367 kilometers, instead of a 160-kilometer circular orbit. Apollo 6 launch LIVE on TV: www.youtube.com/watch?v=kREHEUWCXbo
NASA / LIFE photo, source Google/Life 2008 (Free).
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
De izda a dcha: La antena de WRVE, primera emisora autorizada en emitir regularmente en FM estéreo. La emisora experimental de Edwin H. Armstrong, en Alpine.
La antena de Radio Juventud de Barcelona en el Carmel. Román Gibert, ingeniero de Faro Española.
El mástil de OM de Radio Juventud de Murcia, de 60 metros de altura y 4 toneladas de peso, tipo cuarto de onda, instalado en las inmediaciones del vivero forestal regional en el Parque del Valle, cuyo coste total llegó a las 600.000 pesetas de la época, desde donde continuaría sus emisiones Radio Juventud de Murcia el viernes 11 de octubre de 1963 por la frecuencia de 1106 kilohertzios con una longitud de onda de 271 metros. El emisor de onda media fue trasladado a Las Torres de Cotillas, probablemente al inicio de los 90, coincidiendo con la aplicación del nuevo Plan Técnico Nacional de Radiodifusión Sonora en Ondas Medias (hectométricas) de 1993 (Real Decreto 765/1993, de 21 de mayo, publicado en el BOE de 11 de junio de 1993), por el que se aprobaba el cambio de frecuencia de 1107 Khz, en la que emitía desde el otoño de 1978, a la nueva frecuencia de 567 Khz y con un notable aumento de potencia a 50 kw.
La Frecuencia Modulada en estereofonía (1):
Bastante ha llovido desde que a Clément Ader se le ocurriese transmitir un concierto de la Ópera de París, para la Exposición Internacional de la Electricidad en 1881, mediante dos líneas telefónicas simples e independientes, conocido entonces como el sistema Théatrophone, con el fin de mejorar la audición a distancia del sonido retransmitido binaural. Con posterioridad se llevaron a cabo múltiples experimentos e inventos para transmitir el sonido estereofónico bien por medio de cables o grabaciones en discos de distinto formato.
Ya en diciembre de 1925 la BBC realizó la transmisión de un concierto dirigido por Hamilton Harty desde Manchester de forma experimental, considerada como su primera emisión de radio en estéreo, emitiendo el canal derecho por la estación 5XX en onda larga desde Daventry y el canal izquierdo por una emisora local de onda media, como era la 2LO en Londres, a la que le siguieron varias transmisiones de ópera desde el Old Vic en Londres con el mismo sistema. Años después, desde 1958 hasta mediados los años 60, los sábados por la mañana quincenalmente se realizaban transmisiones de un canal de sonido por TV, combinado con el segundo canal de sonido por radio, el Tercer Programa Network 3 en OM y FM.
De forma parecida a lo que hacía la BBC en Europa, algunas emisoras norteamericanas transmitían en estéreo, emitiendo un canal en AM y por su emisora asociada en FM el otro canal. Ejemplos de esto son la WGN de Chicago en AM y su asociada en FM la WGNB el 22 de mayo de 1952 y de igual forma la WQXR de Nueva York en octubre de 1952. Todas estas modalidades precisaban de dos aparatos receptores para poder percibir el sonido binaural.
En esta época la estereofonía era para la radio como el color para la televisión, hechos ambos que se iban desarrollando al mismo tiempo prácticamente, para pasar a ser difundidos tambien a todas sus audiencias después en tiempos parecidos, en los años sesenta.
Edwin Howard Armstrong, inventor e impulsor de la frecuencia modulada, en diciembre de 1933 junto a su colaborador John Bose desarrollaron el sistema de multiplexado que permitía a las emisoras de FM utilizar las bandas laterales de sus frecuencias principales para la transmisión en estereofonía o para emitir una programación subsidiaria, facsímil, codificada o de pago, ya desde los inicios de la misma en noviembre de 1934 desde el piso 85 del Empire State, de forma experimental, patentandolo en 1949 y siguieron experimentando desde su emisora en Alpine para presentarlo en público en 1953.
A partir de ahí diversas compañías e investigadores siguieron desarrollando esta técnica. Uno de ellos fue William S. Halstead, un inventor prolífico, con más de 80 patentes desarrolladas para radio y televisión, que además desarrolló tambien tecnología para añadir el sonido estereofónico a las películas de cine. Así, en 1.950 desarrolló un sistema de multiplexado como lo había hecho Armstrong previamente. Su primera prueba experimental se realizó el 13 de septiembre de 1.950, en Nueva York, en 70 Pine Street, a través de la WGYN en 97,9 Mhz, cuyas emisiones regulares habian cesado el 12 de mayo del mismo año por quiebra, efectuandose la recepción de la transmisión en los estudios Reeves Sound, describiendose entonces como transmisión tridimensional de radio por FM, como consta en las audiencias del subcomité del Comité de Relaciones Extranjeras del Senado de los Estados Unidos sobre Programas de Información de Ultramar celebradas el 20 y el 21 de noviembre de 1.952. Esta era una de las primeras ocasiones en que una transmisión en estéreo podía realizarse desde un solo emisor y reproducirse en un solo aparato receptor.
Tras un cierto tiempo de experimentación, en 1960 la Comisión Federal de Comunicaciones analizó 14 sistemas patentados para la emisión en estéreo por FM, incluídos los de Halstead, Crosby, EMI, Zenith y General Electric entre otros, de los que preseleccionó 8, y de los que finalmente el Comité Nacional para la Radio Estereofónica seleccionó 6 (Crosby Teletronics, Calbest Electronics, Multiplex Developement, Electric and Musical Industries, General Electric and Zenith conjunto, GE alternativo y Philco) para ser probados a través de la emisora KDKA-FM (Uniontown, en Pittsburg, Pennsylvania) en julio y agosto de ese mismo año; eventualmente sólo dos sistemas llegarían a una última selección. La aprobación de los estándares de múltiplex estéreo se hicieron públicos el 20 de abril de 1961 por una resolución de dicha Comisión en la que justificaba su decisión de que el estándar ofreciese suficiente calidad sin alterar la audición monofónica ni que los servicios subsidiarios fueran alterados mientras que se emitiese en estereofonía, siendo finalmente elegido el modelo denominado 4-4A presentado de forma conjunta por General Electric Corporation, Syracuse y Zenith Radio Corporation, Chicago (idénticos en la teórica y en la práctica), recalcando su bajo costo y estar libre de distorsiones, precisando que su cobertura sería menor que las emisiones monofónicas, autorizando a emitir regularmente, desde las 00:01 h a.m. del 1 de junio de 1.961 en sus respectivas zonas horarias, a las tres primeras emisoras de FM en estéreo en Estados Unidos: la WGFM de Schenectady (de General Electric), desde mayo de 1.947 en 99,5 Mhz (en la actualidad conocida como WRVE) comenzó transmitiendo las obras de Command, Persuasive and Provocative Percussion, para pasar a emitir regularmente en estéreo 20 horas semanales al mediodía y por las tardes, la WEFM de Chicago (de Zenith EC), también entonces en la misma frecuencia de 99,5 Mhz con una programación regular limitada y la KMLA de Los Angeles en 100,3 Mhz, aunque con tecnología de Calbest Electronics. Una cuarta emisora, WUPY Boston FM anunció que emitiría en estéreo tambien desde la fecha mencionada, pero tuvo que aplazarse hasta que fuera autorizada por la Comisión Federal de Comunicaciones. El sistema de General Electric y Zenith de estéreo tono-piloto es el que se utiliza en la actualidad por todo el mundo.
En el área de Londres, la BBC, desde su emisora en Wrotham donde se realizaron las primeras emisiones experimentales en FM desde mayo de 1950 y regularmente desde el 2 de mayo de 1955, llevó a cabo las primeras pruebas experimentales en FM estéreo del sistema tono-piloto de General Electric y Zenith el 13 y 14 de enero de 1958; en este mismo año se inician las primeras grabaciones en estéreo de distintos programas, como fue el caso del tradicional Festival de las Nueve Lecturas y Villancicos desde la capilla del King's College en Cambridge que se celebra cada año el día de Nochebuena. La continuidad de las emisiones en pruebas en FM estéreo no volvería hasta el 28 de agosto de 1962 por esa misma emisora, el Tercer Programa Network 3, en 91,3 Mhz, con sucesivas emisiones cada vez menos esporádicas; el 17 de abril de 1966, la retransmisión del concierto de tarde del BBC Music Programme se convierte en la primera emisión en directo en estéreo para emitir ya regularmente ciertos programas diarios desde el 30 de agosto de 1966. En 1968 comenzó a extender esta modalidad a otros transmisores (Sutton Coldfield (21/7/1968) y Holme Moss (10/8/1968) para llegar a una cobertura del 60% de la población del Reino Unido en 1970. Cuando la BBC pudo disponer de su propio sistema digital de radioenlaces entre transmisores (Pulse Code Modulation) extendió el estéreo a sus emisoras Radio 2 y 4 desde Wrotham el 4 de noviembre de 1972. Radio 1, la emisora musical contemporánea de la BBC, comenzaría a emitir en FM estéreo el 1 de octubre de 1987 desde Crystal Palace en 104,8 Mhz.
En España, a lo largo de los años 60 se implantaba la FM, y a finales de esta década o principios de los 70 en RNE se realizaban pruebas con la estereofonía, calificada por el jefe de la sección de FM en RNE Gabriel Vivó como «la meta más remota y espectacular en el mundo de la radio». Con el fin de ilustrar tales virtudes —«su respuesta abarca sonidos que el oído humano no puede captar, pero que enriquecen extraordinariamente los audibles. No existen, en teoría, ruidos ajenos a la propia emisión, siendo plena la definición de graves y agudos»- los contenidos fueron principalmente musicales.
En cualquier caso, en España, el proyecto pionero de emitir con sonido estereofónico fue de Radio Juventud de Barcelona; al igual que la BBC y las emisoras americanas, en 1962 en algunos programas, como obras de teatro radiadas, desde la emisora de Barcelona en OM se emitía un canal y por las emisoras de Radio Juventud en OM de San Feliú, Molins de Rey, Martorell, Igualada, Granollers y Sabadell se emitía el segundo canal de sonido. Años despues, Radio Juventud de Barcelona sería tambien la primera emisora española en emitir con regularidad en frecuencia modulada y estereofonía desde el 10 de enero de 1.975, en 90 Mhz, cuyo proyecto vino de la mano de su director, Josep Lluís Surroca, junto a Josep Payá, Josep Deu y Manuel Bolívar, con Román Gibert Paluzie y Julio Grau, ingenieros de los laboratorios técnicos de Faro Española, quienes aportaron el codificador estéreo para el emisor, entonces situado en el Carmel, a cargo de Juan Elías Bautista, una vez autorizado el gasto de 50.000 pesetas para su adquisición y tras un tiempo de pruebas con nocturnidad, a partir de la medianoche, con un magnetófono Telefunken y una cinta grabada en estéreo del Dúo Dinámico.
Radio Juventud de Murcia tenía entonces la emisora de OM e instalada la de FM desde marzo de 1967, pero sin llegar a emitir con regularidad hasta que en diciembre de 1974 solicita de nuevo a la central de la CAR la autorización para emitir en FM, coincidiendo con el XXV aniversario de la fundación de la emisora. Pocas semanas despues que RJ de Barcelona iniciara sus emisiones en estereofonía, RJ de Murcia se convirtió en la segunda emisora española en emitir en FM estéreo de forma diferenciada a la programación convencional, según su director entonces, Adolfo Fernández Aguilar, gracias a los mismos ingenieros técnicos de Faro Española que desarrollaron la emisora en Barcelona, junto al jefe técnico de la emisora, Sergio Villodre y el jefe de Programas, Luis Fernández. El emisor fue inicialmente instalado en la caseta de la emisora sita en las inmediaciones de La Alberca, en el Valle, con 6 dipolos multidireccionales en lo alto del mástil de la antena de OM, cubriendo el área metropolitana de Murcia, las comarcas del valle del Guadalentín, y las vegas media y baja del Segura. La primera emisión se realizó a las dos menos cuarto del sábado 22 de febrero de 1975 para pasar a emitir en pruebas dos horas de emisión diarias, de 7 a 9, en la tarde desde el 23 de febrero de 1.975, quedando despues inauguradas oficialmente las emisiones a las 13 horas del 31 de marzo del mismo año. Con el mismo indicativo que la emisora catalana, “RJ2 estéreo” aparecía por la frecuencia de 92,1 Mhz, con una programación muy reducida por las tardes, cuya duración se amplió a cuatro horas, de seis de la tarde a diez de la noche desde el 18 de abril de 1975. A partir del 5 de diciembre de 1976 se aumenta la potencia del emisor en el Valle, se mejora la baja frecuencia con un estudio específico dotado de equipos mas modernos y se amplía el horario de emisiones con una programación compuesta por distintas selecciones musicales, inicialmente distinta en parte de la emisora de OM, comenzando las emisiones a las 10 de la mañana, se cerraba a las 2 de la tarde y reanudando la emisión a las 4 de la tarde hasta las 10 de la noche en que pasaba a hacerse simultáneamente con la emisora de OM (Madrugada y melodía, Estamos contigo, Alta madrugada) hasta las 2 de la madrugada todos los días de la semana (excepto domingos y festivos en que sólo había emisión de tarde y noche hasta el 15 de octubre de 1978 en el que se iguala el horario matutino de domingos y festivos).
La selección era de música de todos los tipos (Matinal estéreo, Radiomanía) y algunos programas especializados por la tarde y noche: Salón de conciertos, Estrellas en estéreo, El mundo del sonido, La musicracia, Clave de Rock, La diligencia, El Jazz, Campos de algodón, Banda sonora, Oído al cante, Azarbe, Instrumental RJ y Bravo, al filo de la medianoche. El personal era en parte el mismo de la OM, sincronizadores y locutores, junto a una serie de colaboradores, en turnos diferentes realizando los programas por autocontrol, recordando, entre otros, a Carmen Romero, Enrique López, Jose María Vaquero, Mercedes Navarro, Martín Noguerol, Jose María Imbernón, Adolfo Luis Fernández (hijo), Joaquín García Estañ (Dr. Obuguie) y Andrés Garrido, que llegaría a ser su coordinador de emisiones.
A principios de noviembre de 1980 se reformó el equipo emisor aumentando su potencia y desde el 1 de diciembre del mismo año pasó a emitir ininterrumpidamente desde las 8 de la mañana hasta las 12 de la noche, pero ya con la emisión separada por completo de la OM. Más adelante ampliaría el horario hasta la madrugada pero con el recurso en ciertos tramos de la programación de programas grabados, más de una vez repetidos, reconociendo el esfuerzo por ofrecer una radio, prácticamente en su totalidad de carácter local, a lo largo de 40 horas al día (OM y FM), con medios económicos muy ajustados. A modo de ejemplo, recordar algunas emisiones conmemorativas como los 150 años de la muerte de Beethoven el 26 de marzo de 1977 o aquellas 24 horas ininterrumpidas de música de los Beatles tras la trágica muerte de John Lennon el 13 y 14 de diciembre de 1.980.
En el verano de 1.983 el emisor es trasladado a la torre de emisiones de RTVE en la Cresta del Gallo, en la misma sierra de Columbares, con mayor cota cubriendo desde más allá de Alicante hasta Albacete y Almería, desde donde se comienza a transmitir el 10 de agosto de 1983 con dos kilowatios de potencia.
A pesar de esta mejora notable, sin embargo, seguía sin poder oírse en Cartagena, la barrera del puerto de la Cadena era una vez mas un impedimento en la comunicación entre las dos ciudades principales de la región.
En esta época también comienza a emitir, ya como Radiocadena FM, programas emitidos desde la emisora central de Madrid, en directo y alta fidelidad, gracias a la instalación en Murcia capital de líneas telefónicas de altas prestaciones y enlaces con otras capitales de provincia.
Desde el 1 de enero de 1989, tras la absorción de Radiocadena Española por Radio Nacional, pasó a ser Radio 4; en el otoño de 1990 se traslada el emisor a Carrascoy y se aumentó su potencia hasta los 10 kw, desde las cinco y cuarto del sábado 17 de noviembre de 1990 comienza a emitir desde las nuevas instalaciones con un aumento muy notable de su cobertura, incluyendo ya a Cartagena...
(El texto continúa en la imagen de la antena del castillo de San Julián en Cartagena).
1966 Classic! Original Key of Eb with 1/2 Step Modulation to E. Intro Bass Line, Guitar Chord Comp, Proper Chord Progression for Verse & Bridge, 2 Strum Patterns, Chord Melody Example, with details of Left & Right hand Fingerings.
Notation for this lesson available at:
More lessons and webcam instruction details:
November Pageant Training Course for Ponds Femina Miss India 2013, Ponds Femina Miss India Goa 2013, Ponds Femina Miss India Kolkata 2013, Femina Miss India Bangalore 2013, Femina Miss India Indore 2013, Ponds Femina Miss India Delhi 2013, Ponds Femina Miss India Chandigarh 2013, Ponds Femina Miss India Pune 2014, I am She 2013, Gladrags Megamodel 2012/2013 and Gladrags Mrs. India 2012/2013
Urvashi Rautela groomed and coached by The Tiara wins I am She Miss India Universe 2012 and ' I am Photogenic". Dipna Patel trained by The Tiara wins 3rd Runners up at IAM SHE Miss Universe India and the subtitle I am Fit. Gunjan Tyagi wins 2nd Runner Up at Gladrags South Mrs. India 2012. She will go on to participate in the Mrs. India All India in Mumbai later this year.
17 Winners in 14 Years! A Winner Every Year at The Tiara Pageant Training Studio
1. Winner of Young Turk 1998 Sandip Soparrkar , Ace Choreographer, Ballroom dance teacher,
2. Femina Miss India Earth 2002 Gauhar Khan,
3. Femina Miss India Universe 2005 Amrita Thapar
4. Femina Miss India World 2009 Pooja Chopra,
5.Gladrags Megamodel 2009 and Femina Miss India East 2011 and Bollywood Diva 2011 Ankita Mohapatra
6.Mr. India Earth 2009, Mann Sukhija
7.Miss India Intercontinental 2009 Sonia Jain
8. Femina Miss India International 2010 Neha Hinge
9.Gladrags Megamodel 2010 Arshina Trivedi
10.Femina Miss India South 2011 Shweta Dolli
11.Gladrags Manhunt 2011 First Runner Up Maitraya Kotecha
12.Miss Tourism Queen International of the year 2011 Urvashi Rautela
13.Miss India Worldwide 2011 1st Runner Up Anvita Sudarshan
14.Femina Style Diva 2011 Dipna Patel
15.Femina Miss India Earth 2012 Prachi
16.Mrs. India International 2012, 1st Runners Up Reet Sahu
17.Urvashi Rautela I am She Miss Universe India 2012.
ELIGIBILITY
If you are participating in:
Femina Miss India: Height 5.6” upwards, Age: 18 to 25
I am She: Height 5.6 upwards, Age: 18 to 27
Gladrags Mrs India Height 5.3 upwards, Age: 20 to 50
Gladrags Megamodel: 5.3” Upwards Age: 17 to 27
November 5th to December 10th 2012(Course Fee Rs 25,000)
Monday to Friday
To ensure that you have your seat please pay the booking amount of Rs 5000 which is an advance fee. This fee is non-refundable and non-transferable to another batch in another month. The remaining 20,000 has to be paid on the first day of class, For the hostel please call Mr. Anil Shinde 9822282817 .Meetings are only by appointment.
The Tiara is located only in Pune, we have no branches.
Course Details
• Filling up Forms and Registration Help
• Developing a Pageant Strategy
• Pageant & Ramp Walk
• Personality & Grooming
• Posture & Poise.
• Camera Facing Techniques & Portfolio Assistance ( Professional Portfolio Not Included)
• Public Speaking &Voice Modulation
• Modeling Technique & Body Language
• Making a Positive First Impression
• Wardrobe Analysis & Customized Wardrobe Assistance
• Diet, Nutrition & Fitness Assistance
. Confidence Building
• Mental Preparation
• Question Handling (Preliminary Round, Prejudging, On Stage and One-on-One)
• Personalize your answers so that you sound original
• Connecting with the Judges and Handling the Stage
• Platform Development
Don't be dismayed if you find that we are at Pune. You deserve the help of a Pageant professional; don't let location stand in the way of your dream. Assistance with accommodation provided. Limited seats. Reserve your spot now!
The Tiara,
Tel: +919823156193
ritika.ramtri@gmail.com
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
This book concludes our tandem edition on Recombination and Meiosis. Subtitled Models, Means and Evolution, it follows its first-born twin with emphasis on Crossing-Over and Disjunction. In the commissioning of chapter topics we have tried to cover numerous aspects of the meiotic system from many different angles. Both these books are embedded as volumes 2 and 3 in a topical Series devoted to Genome Dynamics and Stability, where DNA transmission and maintenance functions are discussed from experimental and theoretical perspectives. The earlier vol. 1 dealt with Facets and Perspectives of Genome Integrity, focusing on DNA damage repair mechanisms, and an upcoming vol.4 is on transposable elements. These books on meiotic processes, together with other volumes in this Series on genome management in mitotic cells, provide a grass-roots level starting platform—initiating a prospective trajectory superimposable upon the exploding field of molecular cell physiology, or systems biology (see below). The preceding volume preferentially dealt with meiotic processes in multicellular organisms, such as plants and animals including man. Also, basic accomplishments from work on yeasts was presented in a comparative perspective—concerning the decisive roles of Spo11-induced breaks for crossing-over, of sister chromatid cohesion in chromosome disjunction, and cell cycle modulation in the global control of the meiotic program. The present book puts additional focus on yeasts as unicellular model organisms, where progress in revealing the mechanisms of meiotic recombination has taken place most rapidly and systematically. Also, a central aspect of genetic recombination in E. coli is included for its outstanding merits as a universal model. Furthermore, three facets of evolutionary relevance are also discussed. As for the models and means of meiotic recombination, two prominent and comprehensive chapters call for particular attention. Inasmuch as theoretical interpretations of empirical data about the exchange of genetical markers in successive generations has long preceded their biochemical elucidation,James E.Haber gives expert guidance on a veritable tour de force, presenting the Evolution of Recombination Models frompurely genetic crosses into the molecular era. He follows the historical record from simplistic breaking/joining schemes to break-induced replication, from suspected single-strand breaks to partner choice by single-strand annealing, and from the generation of double-strand breaks (DSBs) to their repair by the establishment and resolution of single or double Holliday junctions, and finally to DSB repair in the absence of crossing over accomplished through synthesis-dependent strand annealing that does not involve Holliday junctions. This scenic ride is aptly complemented from the enzymatic perspective, as displayed by Kirk T. Ehmsen and Wolf-Dietrich Heyer on the Biochemistry of Meiotic Recombination: Formation, Processing, and Resolution of Recombination Intermediates. These authors highlight the biochemistry of meiotic recombination, as more and more meiosis-specific enzymes have been added to the basic toolbox, which likewise is at work in mitotic cells (cf. GDS vol. 1, this Series). Overlapping with functions in replication and DSB repair these enzymes comprise topoisomerase, nuclease, recombinase, polymerase, and helicase activities, as well as single-strand stabilizing protein, a protective end-tethering complex and a range of modulating co-factors. The single most remarkable feature about the initiation of meiotic recombination is the deliberate and catalyzed introduction of numerous DSBs in the chromosomal DNA. Notably, the enzyme responsible for this pivotal and conserved activity is derived from a former topoisomerase (Spo11; Keeney, this SERIES), which as such had a cell-intrinsic function essential for the untangling of replication intermediates in every cell cycle. The total number of cuts is even larger than the number of effective crossovers later on2. The important question of how the sites to be cut are chosen in a given cell— among myriads of potentially equivalent sites that are ignored—is still one of the most vigorously pursued aspects of ongoing research. Foremost, the susceptible substrate for meiotic DSBs is not naked DNA, but DNA embedded in chromatin, as highlighted by Michael Lichten, in his chapter on Meiotic Chromatin—the Substrate for Recombination Initiation. The two yeasts compared for this traits how pronounced differences in the distribution of hotspot sites for DSB formation. In Saccharomyces cerevisiae, a fairly promiscuous DSB machinery can be assembled at about every stretch of accessible chromatin that has been opened up for other purposes, especially at activated promoter regions. Michael Lichten coins the term "opportunistic DSBs" for these phenomena, foremost in S. cerevisiae—differentiating meiotic DSBs from both lower
and higher degrees of sequence specificity: on one hand ionizing radiation induced DSBs,which occur with little sequence preference and without regard for chromatin structure, and on the other hand from the site-specific cuts of restriction-type endonucleases—or other nucleic acid transactions, such as transcription promotion, where both chromatinstructure and the recognition of DNA sequence elements contribute to specificity. Such opportunistic usage of promoter-modulated open chromatin can only in part explain the DSB pattern observed in the fission yeast Schizosaccharomyces pombe, where other determinants may play a significant, hotspot-specific role. Also to be determined by meiosis-specific chromatin organization, the assembly of and/or cleavage by the DSB machinery should not be all too promiscuous on a particular issue, in that at most one of two sister chromatids can become susceptible at any given site, whereas the other sister strand needs to be protected around the equivalent site. The molecular basis for this significant restriction still remains to be determined. After the meiosis-specific, Spo11-induced DSBs have been processed to protruding 3 ends, these single strands have to interact with the corresponding sequence on the homologous chromosome, in order to repair and seal the break by homologous recombination. In eukaryotes the crucial strand exchange reaction is catalyzed by RecA-like recombinases of the ubiquitous Rad51 family and/orthemeiosis-specificDmc1protein. As modeled by the most widely studied RecA recombinase of E.coli, Chantal Prévost, in herchapter on Searching for Homology by Filaments of RecA-Like Proteins, discerns their basic functions in the genome-wide search for complementary DNA strands so as to facilitate the initial strand exchange reaction in highly coordinated, helical DNA–protein filaments, which likewise are formed by the eukaryotic RecA homologs. Corresponding studies to the leading work on meiosis in S.cerevisiae have also been pursued in S.pombe,showing striking differences indetail at various levels. The most interesting aspects of this work are pointed out in two chapters specifically devoted to the fission yeast. For one thing, S. pombe belongs to the rather few organisms that have lost the ability to form synaptonemal complexes in meiotic prophase, which usually stands out as the most characteristic structural basis of bivalent synapsis. Instead, another conserved feature of canonical meiosis, the clustering of telomeres in the so-called bouquet arrangement, is vastly exaggerated in a series of nuclear movements, which in S. pombe facilitates a dynamical alignment
of homologous chromosomes from nuclear fusion throughout the entire prophase of meiosis (D.Q. Dingand Y. Hiraoka, this BOOK). Furthermore, the crossover mechanism itself is peculiar as well. Whilst many organisms including S. cerevisiae actually employ two partly overlapping crossover pathways, one of these pathways is entirely missing in S. pombe. Characteristically, the main recombinational intermediate in S.pombe consists of single Holliday junctions (G. Cromie and G.R.Smith, this BOOK), whilst earlier results on S. cerevisiae had suggested double Holliday junctions as the canonical model. The species-oriented chapter by Gareth Cromie and Gerald R. Smith, on Meiotic Recombination in S. pombe: A Paradigm for Genetic and Molecular Analysis,was published Online FirstinJune2007. At thatrelatively early date, most of their extensive data on DSB hotspot distribution in S. pombe were mentioned in brief as unpublished results. These significant data are now more fully discussed, as mentioned above, in Michael Lichten’s comparative chapter—with due reference to their recent publication in the mean time (Cromie et al. 2007). Unfortunate as such asynchrony appears to be, this is a price to pay for the advantages of Online First publication for the individual chapters as they are being completed—with a spread of Online First dates up to a year per book in such a series. Three evolutionary topics relating to meiosis have been selected to conclude this book: the putative origin of the meiotic system, the confinement of meiosis to the germline in animals, and the abandonment of meiosis in relatively few eukaryotic lineages, some of which are remarkably persistent on the evolutionary time scale—capable of lasting for millions of years. At the dawn of genetics, crossing-over and meiosis had been considered very much the same, but the early view of apparent congruence between the two phenomena has long since been abandoned. Instead, genetic recombination as such has proved to have much earlier and more fundamental roles than the complex and highly integrated pattern of mainstream meiosis, of which crossing-over has become the most characteristic ingredient. In short, homologous DNA recombination has directly co-evolved with faithful replication (see R. Egel and D.Penny, thisBOOK), clearing physical damageand/or broken replication forks as they arise (C. Rudolph, K.A. Schürer, and W. Kramer, GDS vol. 1, this Series)—potentially in each cell cycle of prokaryotes and eukaryotes alike. Of more sporadic occurrence, on the other hand, meiosis only happens once per generation,or life cycle—whatever meaning may be attached to these derived terms for unicellular organisms (see below). N.B., bacteria and archaea are proficient in recombinational repair of DSB damage to their DNA, but meiosis is missing altogether. In multicellular organisms, the meanings of generation and lifecycle are evident, and the complex inter-relationship of germline development and maintaining sexuality in animals and plants was already recognized by Charles Darwin and August Weissmann by the end of the 19th century. In his chapter on The Legacy of the Germ Line—Maintaining Sex and Life in Metazoans: Cognitive Roots of the Concept of Hierarchical Selection, Dirk-Henner Lankenau follows the germline concept to its historical roots, and he addresses the multiple levels of selective evolution related to this concept. Also, he fathoms Weismann’s prescient usage of germ plasm in its original meaning that nowadays has been replaced by genes and genomes—and he sketches a tie to modern frontiers, discussing the so-called nuage as a germline-specific germplasm organelle of multiple RNA processing, where a suspended term is thus revived in new guises. A hallmark of meiosis is the production of recombinant offspring, efficiently scrambling the parental genotypes. The overwhelming majority of taxonomic groups throughout eukaryotes show proficiency of meiosis, at least to begin with. Higher plants and animals would probably never have originated without the evolutionary thrust empowered by meiosis. Yet, sexual propagation including meiosis has been lost repeatedly in evolution, although major evolutionary innovations have never sprung from such secondarily asexual lineages. Hence, asexual lineages of relatively ancient origins can serve as virtual mirrors to reflect the evolutionary importance of meiosis in the remaining majority of animals and plants, as thoroughly discussed by Isa Schön, Dunja K.Lamatsch,
and Koen Martens in their chapter on Lessons to Learn from Ancient Asexuals. To single out a particular highlight, the purging of deleterious mutations by a meiotic recombination appears to be remarkably effective—readily compensating for the low mutation rates observed. As for the inferred origin of the meiotic system, this does not only far predate the emergence of multicellular animals, fungi and plants—it even dates back before the last common ancestor of all the eukaryotic phyla known today (LECA). As canonical meiosis, therefore, is a common heritage to all eukaryotes, there are no comparative cues among different lineages living today from which by parsimony to deduce a likely order of step-wise additions to the basic toolbox of meiotic mechanisms. On the other hand, the meiotic system is so complex in its widely conserved pattern, that its instantaneous invention from scratch appears unlikely. Against this rather uninformative backdrop, Richard Egel and David Penny, in their chapter On the Origin of Meiosis in Eukaryotic Evolution, propose a possible series of incremental steps towards meiosis, each of which could have added some selective advantage on its own. This series may well have started before the mitotic division system had been perfected to its present fidelity, e.g. when telomere-directed chromosome movements may have preceded the establishment of centromeres. Hence their hypothesis is subtitled Coevolution of Meiosis and Mitosis from Feeble Beginnings. A likely driving force to establish a proto-meiotic system—alternating with proto-mitotic nuclear division—is seen in maintaining a periodically needed dormancy program, so as to protect it against the accumulation of dormancy-deficient mutations at the higher error load presumed in early evolution. This is in line with the common correlation between meiosis and the formation of dormant spores or cysts in extant microbial eukaryotes. In a certain sense, therefore, a single generation in the life cycle of unicellular eukaryotes would last from one stage of encystment or sporulation to the next. With the commissioning and presentation of the various chapter topics on the genomic aspects of the meiotic system we hope to have served a salient need for integrating basic knowledge gained from studying diverse genetic model organisms. Research on meiotic exchange and segregation mechanisms may appear more esoteric than the vast resources spent on understanding metabolism and growth in mitotic cells. While emphasis on the latter area is motivated by the numerical predominance of mitotic divisions, as well as the direct connection of mitotic cell divisions to the immense problems of cancerous growth in human disease, meiosis in its paucity is more secluded and its medical aspects are limited to less pressing problems, such as impaired fertility or Down-like syndromes (H.Kokotas,M.Grigoriadou,andM.B.Petersen, this Series). Also, a certain twist of hierarchy is undeniable: whilst endless perpetuation of mitotic divisions can be viable as an evolutionarily stable strategy, a contiguous series of several meioses is certainly not. In this sense meiosis will always be the subordinate companion of mitosis. At the conceptual level, however, the complexity of molecular mechanisms applying to meiosis far exceeds that of its mitotic counterpart. And for the continuity of generations in most eukaryotic forms of life, both meiosis and mitosis are complementary features of general and essential interest. Traditionally, the largest share of meiotic research has been focused on DNA exchange and related features, whereas the immense field of protein–protein interactions in the rewiring of the meiotic cell out of and back into the mitotic cell cycle stood in second place. The concluding chapter of the preceding volume specifically deals with these meiotic aspects of molecular cell physiology (L. Pérez-Hidalgo, S. Moreno, and C. Martin-Castellanos, this Series). As pioneered with yeasts, genome-wide expression studies have started with identifying all the genes upregulated in meiotic cells and sorting them into functional categories. This is a long way off fromknowing all their particular functions. To illustrate the scope of the barely charted field: of 4,824 annotated genes in S. pombe, 955 proteins contain coiled-coil motifs4; of these, 180 are upregulated before, during or after meiosis—21 exclusively so, but not expressed during mitosis (Ohtaka et al. 2007). The interactive potential of so many proteins is enormous, and the systemsbiology of meiosis has merely just begun. To form a link between both books on Recombination and Meiosis, the list of chapter titles in the preceding volume is included after the Contents table of this book. In fact, as some of the individual chapters already had been published Online First, before the editorial decision to divide the printed edition into two books, the preliminary cross references had not yet accounted for the split. We apologize for any inconvenience this may cause, but the listing of all the chapter titles in both books should hopefully direct the reader to the proper destination. We would also like to point out that the missing chapter numbers are no neglect but reflect an obligatory compromise necessitated by publishing all manuscripts OnlineFirst immediately
after they have been peer-reviewed, revised, accepted and copy-edited (see, www.springerlink.com/content/119766/). We most cordially thank all the chapter authors for contributing to this topical edition of two accompanying books focusing on meiotic recombination. Without their expertise and dedicated work this comprehensive treatise would not have been possible. Receiving the incoming drafts as editors, we had the great privilege of being the first to read so many up-to-date reviews on the various aspects of meiotic recombination and model studies elucidating this ever-captivating field. Also, we greatly appreciate the productive input of numerous referees, who have assisted us in thriving for the highest level of expertship, comprehensiveness, and readability. We are again deeply indebted to the editorial staff at Springer. We would especially like to mention the editor Sabine Schwarz at Springer Life Sciences(Heidelberg), the deskeditor Ursula Gramm (Springer,Heidelberg),and the production editor Martin Weissgerber (le-tex publishing services oHG, Leipzig).
April 2008
Copenhagen, Richard Egel
Ladenburg, Dirk-Henner Lankenau
A Spanish Airforce McDonnell Douglas AV-8B Harrier II during a hover. First entered service in 1973, and still being used by the Spanish and Italian Air Forces.
Various outputs from a C++/OpenGL custom software i'm working on.
Demo here: vimeo.com/user18035206/sound-sculptures
Ogundipe Fayomi's monument for Dr. Ronald Erwin McNair (1950–1986) combines a traditional bust with a uniquely shaped pedestal. McNair was the African-American astronaut, physicist, teacher, and musician who died aboard the Space Shuttle Challenger when it exploded on January 28, 1986.
This park, formerly known as Guider Park, was named for Dr. McNair in the same year as the Challenger disaster. The City’s Department of Cultural Affairs sponsored a competition through its Percent-for-Art program to choose an artist to create a central sculpture. They ultimately selected the Nigerian-born sculptor Fayomi, who fashioned a sensitive bronze portrait, set within a nine-foot tall polished red-granite pedestal resembling a modified rocket ship. The pyramidal base features bronze relief with images relating to Dr. McNair’s achievements and interests.
Dr. McNair was born on October 21, 1950, in Lake City, South Carolina. He graduated from Carver High School in Lake City in 1967, and received a B.S. degree in physics from North Carolina A & T State University in 1971. In 1976, Dr. McNair completed his Ph.D. in physics at the Massachusetts Institute of Technology (MIT). After graduating from MIT, Dr. McNair was employed as a staff physicist at Hughes Research Laboratories in Malibu, California. His work there involved developing lasers for isotope separation and photochemistry, using non-linear interactions in low-temperature liquids. He also conducted research on electro-optic laser modulation for satellite-to-satellite space communications and explored the scientific foundations of the martial arts. A member of numerous scientific organizations and a visiting lecturer in physics at Texas Southern University, Dr. McNair also taught karate as a fifth-degree black belt and was a performing jazz saxophonist.
In 1978, the National Aeronautics and Space Administration (NASA) selected Dr. McNair as an astronaut candidate. He completed his training the following year, and became eligible as a mission specialist astronaut on Space Shuttle flight crews. He first flew as a mission specialist on Mission STS-41-B on February 3, 1984, which featured the first untethered spacewalk. Serving as a mission specialist on Mission STS-51-L, his life was tragically cut short when the space shuttle exploded one minute and 13 seconds into the launch. After his death, the Dr. Ronald E. McNair Foundation for Science, Technology & Space Education was established in Atlanta, Georgia.
When this monument was dedicated on June 14, 1994, family, friends, former colleagues, community representatives, city officials and hundreds of school children gathered in memory of Dr. McNair’s legacy. The monument and the park, which was renovated at the time of the sculpture’s installation, evoke a mood in keeping with Dr. McNair’s wish inscribed on the pedestal. It reads, “that we should allow this planet to be the beautiful oasis that she is, and allow ourselves to live more in the peace she generates.”
7.365 // Y3 // 05.03.2010
'He had a way of entering I shall never forget: offering a casual greeting and sometimes not even taking off his hat and coat, he would walk straight to the piano, his face strained with concentration, as if this had been the real point on his having come, and then with a strong attack would sound knotted chords and, his eyebrows raised high as he emphasized each modulating note, try out the preparations and resolutions he might have been considering on his way there. But this rush for the piano also had about it something of a yearning to find some hold, some shelter, as if the room and those filling it frightened him and he were seeking refuge there – and in himself as well, really – from the confusing and alien world into which he had strayed.'
-- Thomas Mann (spoken by Serenus Zeitblom, in Doctor Faustus)
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
X100S vs. X100 comparison. See www.flickr.com/photos/25805910@N05/sets/72157632958348638/ for the full set.
Click here for my regular X100S sample set: www.flickr.com/photos/25805910@N05/sets/72157632954030903...
JPEG SOOC Provia, NR -2, Shadow Tone +1.
Is the X100S Lens Modulation Optimizer (LMO) positively affecting IQ at small apertures?
Murray Perahia KBE (born April 19, 1947) is an American concert pianist and conductor.
Murray Perahia was born in the Bronx borough of New York City to a family of Sephardi Jewish origin. According to the biography on his Mozart piano sonatas CD, his first language was Judaeo-Spanish, or Ladino. The family came from Thessaloniki, Greece. His father moved to the United States in 1935.
Perahia began studying the piano at age four with a teacher he says was "very limiting" because she made him play a single piece until it was perfect. He says his musical interests blossomed at age 15 for reasons he can't explain, and he began to practice seriously. At 17, Perahia attended Mannes College, where he studied keyboard, conducting, and composition with his teacher and mentor Mieczysław Horszowski. During the summer, he also attended Marlboro, where he studied with musicians Rudolf Serkin, Alexander Schneider, and Pablo Casals, among others. He played duets for piano four hands with Serkin, who later made Perahia his assistant at the Curtis Institute in Philadelphia, a position he held for over a year.
In 1965, Perahia won the Young Concert Artists International Auditions. In 1972, he was the first North American to win first prize at the Leeds Piano Competition, helping to cement its reputation for advancing the careers of young pianistic talent. Dame Fanny Waterman recalls anecdotally (in Wendy Thompson's book Piano Competition: The Story of the Leeds) that Mieczysław Horszowski had phoned her prior to the competition, announcing that he would be the winner.
In 1973, he worked with Benjamin Britten and Peter Pears at the Aldeburgh Festival, and with fellow pianist Radu Lupu. He was co-artistic director of the Festival from 1981 to 1989.
In the 1980s, Perahia was invited to work with Vladimir Horowitz, an admirer of his art. Perahia says this had a defining influence on his pianism. He became close to Horowitz whom he visited to play for during the elder pianist's last four years.
From 1973 - 2010, Perahia recorded exclusively for Columbia Masterworks, now Sony Classical. His first major recording project was Mozart's 27 piano concertos, conducted from the keyboard with the English Chamber Orchestra. In the 1980s, he also recorded Beethoven's five piano concertos, with Bernard Haitink and the Royal Concertgebouw Orchestra. In 2016, Perahia signed with Deutsche Grammophon.
Perahia resides in London. He is married and the father of two adult children.
In 1990, Perahia suffered a cut to his right thumb, which became septic. He took antibiotics for this condition, but they affected his health. In 1992, his career was threatened by a bone abnormality in his hand causing inflammation requiring several years away from the keyboard, and a series of operations. During that time, he says, he found solace through studying the music of Johann Sebastian Bach. After recovering, he produced a series of award-winning recordings of Bach's keyboard works in the late 1990s, most notably a cornerstone rendition of the Goldberg Variations.
In early 2005, Perahia's hand problem recurred, prompting him to withdraw from the concert stage on the advice of his doctors. He cancelled several appearances at Barbican Centre, as well as a 10-city national tour of the United States, but returned with recitals in German cities in 2006 and at the Barbican in April 2007.
In autumn of 2007, he completed a triumphant 10-city tour of the United States. Owing to his hand problem, and on the advice of his doctor, Perahia cancelled a February 2008 solo recital at Barbican Centre[7] and a tour in the United States with the Academy of St. Martin in the Fields (March and April 2008). He returned to the platform in August 2008, touring with the Royal Concertgebouw Orchestra under the direction of Bernard Haitink, and had an Asian recital tour in October and November.
Perahia has recorded Chopin's études, and Schubert's late piano sonatas. He is currently editing a new Urtext edition of Beethoven's piano sonatas.
Besides his solo career, he is active in chamber music and appeared regularly with the Guarneri and Budapest String Quartets. He is also Principal Guest Conductor of the Academy of St Martin in the Fields, with which he records and performs.[9]
Since his return at the 2008 Proms season, Perahia has been continually active on the concert scene.
On 1 April 2014, Perahia appeared on Sir Neville Marriner's 90th birthday concert, playing Mozart's Piano Concerto No. 20 in D minor, K 466 alongside the Academy of St Martin in the Fields conducted by Marriner.
After 43 years (1973-2016) with Sony Classical (and its predecessor, Columbia Masterworks), Perahia has signed with the German label Deutsche Grammophon. His first release for the label, Bach's French Suites, came out in October, 2016.
Perahia's performance of Beethoven's magnum opus the Hammerklavier Sonata elicited this review from the Los Angeles Times:
Perahia threw himself into everything with a ferocious concentration. The opening left-hand leap to the fugue's landing on a triumphant final cadence 40 minutes later felt like a single gesture, a life passing by during a fall and safe landing off a cliff. The epic Adagio was exceptional. Beethoven is in a black mood. The twisted harmonies and endless melodic lines keep shifting, trying to go one way and then the next, never finding resolution or solace. For Perahia this was inescapable pain, but not to be dwelt upon. His ability to find the life in each note proved intensely moving.
In January 2009, Murray Perahia was appointed president of the Jerusalem Music Center established by violinist Isaac Stern. In an interview with Haaretz newspaper he said: "Music represents an ideal world where all dissonances resolve, where all modulations —that are journeys— return home, and where surprise and stability coexist." (Wikipedia).
X100S vs. X100 comparison. See www.flickr.com/photos/25805910@N05/sets/72157632958348638/ for the full set.
Click here for my regular X100S sample set: www.flickr.com/photos/25805910@N05/sets/72157632954030903...
JPEG SOOC Provia, NR -2.
Is the X100S Lens Modulation Optimizer (LMO) positively affecting IQ at small apertures?
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
Puente Calle Primera -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Hope this setting will help those who had trouble setting it up :)
Open your Internet browser and navigate to "192.168.1.1".
For new router, the user name should be "admin" and password also "admin".
Then, go to "Setup", click "Basic Setup". You should be able to see similar page like the above.
ASDL
RFC 2364 PPPoA
Multiplexing: VC
QoS Type: UBR
Autodetect: Disable
Virtual Circuit: VPI=0; VCI=100
DSL Modulation: MultiMode
User Name: [your_singnet_username]@singnet
Password: [Enter your singnet broadband password or call singnet to reset it]
Keep Alive: 30 seconds
Host Name: singnet.com.sg
Domain Name: singnet.com.sg
MTU: Auto
IP Address: 192.168.1.1
Subnet Mask: 255.255.255.0
DHCP Server: Enabled
Start IP Address: 192.168.1.100
Maximum Number of Users: [up to you, 50 is default]
(Accept the rest of the settings as default)
This is the motor and control circuit for my setup.
The main function here is to provide super-slow motion to the dolly. This is achieved with both a gear box and a pulse width modulation (PWM) circuit.
I used a Tamiya gearbox for my gearing ($15). My particular gearbox allows for 6 different speeds by swapping out gears. In practice however, the speed is more or less fixed as it means taking apart the whole thing to change out the gears. I have mine set on the lowest speed (using all six gears that came with the kit). This gave me the slowest output, and great torque. Further speed control was achieved through the PWM circuit.
The PWM circuit helps reduce the motor speed even more and provides speed control through the knob on the left. The circuit slows down the motor by breaking up the voltage into short pulses. By changing the width (or duration) of those pulses, you can change the average voltage to the motor, thus changing the speed. All the PWM parts were picked up from Radio Shack for about $20. Eventually this should all probably be soldered down, but for now it still on the breadboard.
I learned about PWM circuits from the following video (nerd-alert warning): www.youtube.com/watch?v=YmPziPfaByw
The pen on the right is used to wind up my string. It is not very high tech, but it was free and has served me very well thus far.
You can also see the aluminum guides I have mounted on track edges to keep my dolly inline. These were home depot items and cost me about $10. Most of the wood here is scrap, but I did spend around $12 for a 6' length of 1x8 for the track itself.
in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make. [roy lichtenstein quote]
[droid-a-day keeps the doctor away... ]
High-power components in the smoothing enclosure of the recently de-commissioned Sender 61 at Skelton. A high-level modulated device, the HT to the RF valve anodes was augmented and detracted by the HT at the secondary of the modulation transformer (not shown), in accordance with the level of programme applied to the primary via the modulator valves.
Note the silica-gel desiccant breather on the speech reactor, the 'Metrosil' surge-diverters on the 3-phase secondary terminals of the rectifier transformer, and the conservator tanks - with gauge-glasses - and Buchholz protection relays beneath. A CO2 fire-quenching horn can just be made out at the top of the picture.
Join our 200-hour yoga teacher training course in Thailand and feel the difference. #JULY2020
One of the unique training programs offered by us revolves around our 200-hour yoga teacher training course in Thailand that is ideal for the beginners as well as middle-level learners.
It includes the followings – - Various asanas, kriyas, and mudras in different types of yoga forms
- The basic art of sequencing and improvising in the class making the learner an ideal yoga teacher
- Learning about the right postures in yoga
- Improving the command through voice modulation
- Breathing control and exercises that form an integral and important part of 200-hour yoga teacher training in Thailand
-Skill development through practical courses
- Basics of anatomic structures in human beings and their psychic forms and conglomerating with principles of Ayurveda
- Learning to use the healing powers of yoga in universal service
.
.
.
Join our yoga teacher training courses in the best yoga school in Thailand and embark on the path of a successful career as a yoga teacher. Also, feel the transformation in yourself after the course.
Check more about the course - sanskaryogashala.com/200-hour-yoga-teacher-training-in-kr...
Upcoming Course Date:
05/Jul/2020 - 25th/Jul/2020
.
.
.
GET DIRECTLY IN TOUCH -
WhatsApp: +91-9736746396
Email: sanskaryogashala@gmail.com
Line Id: sanskaryogashala
.
.
.
#yogattcinthailand #thailand
#hatha #ashtanga #kundalini
#yogawithnaveen #traditionalyoga
another victory on ebay. it was museum quality, as mint as I could imagine from this era. it weighs a ton and is so full of metal, it rivals the HP funct generator that I also recently bought.
the only thing wrong with this one was that the top 'a' segment of the leds were intermittant. 2 hours of troubleshooting led me to the cause: the one controller chip inside was in a very cheap IC socket and some pins were not making good contact (after all these decades). I could not get the socket to spring back BUT there was enough clearance inside to let me stack another machine-pin socket on top of the cheap one. this mated well with both the chip and the old socket. problem solved!
the display is a bit of fun; I was playing with the AM modulation and the scop triggering and I could get the display to show some of the amplitude modulated waves, in an interesting super-imposed way.
also, the SIZE of that function generator! its about the same width AND depth as the scope! what a monster ;)
My Zorki 1/Industar-22 is a joy to use. It's fun, small and operates like a Swiss watch. Only trouble is, it doesn't always take the best of photos. After some comparative shots of identical scenes between the Industar-22, Industar 26M and Industar-61 L/D, and some peering through the lenses with the Mk 1 eyeball, I've come to the conclusion that the lens is probably not generally useable. Although the I-22 is slightly sharper than the other two lenses, it produces flat, dull images.
The photo above, of Rutland Square in Edinburgh, shows what's wrong. The cast iron detail in the bench seat is accuragely rendered, but the white car above has a halo around it, visible against the dark stonework behind. The problem seems to be due to scratches and hazing on the surface of the lens elements which is scattering light from other parts of the scene onto the image plane --- producing flaring around bright objects and generally giving a noise-like background glow over the whole image. I guess in MTF terms the scratches attenuate the curve right across the frequency range.
The Zorki has also given me a few scratches on the surface of my (old) glasses. When I look at a bright white patch through the scratched area I see the same halo effect seen in this photo.
In part the scratches are cleaning marks on the front and rear, but also I think they are due to the cement in the rear doublet breaking down.
It's still a fun camera, but I think I'll have to start using a different lens.
This is a close-up shot of the circuit layout.
This project uses an Arduino to drive a miniature "segway" balancing robot.
A pair of Lego Mindstorm NXT motors are used to drive the robot wheels. An Arduino is used to control the motors. An ADXL335 3-axis accelerometer is used to determine robot orientation. An L293D H-Bridge is used to allow the Arduino to interface with the Lego NXT motors using pulse-width modulation signals. A proportional-integral-derivative (PID) algorithm was used to determine the logic for wheel movement. Programmed in C++.
Unfortunately, the robot required "human assistance" to stand up on its own for any length of time. I wish I had a bit more time on this project to continue tweaking the PID algorithm to improve this.
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
X100S vs. X100 comparison. See www.flickr.com/photos/25805910@N05/sets/72157632958348638/ for the full set.
Click here for my regular X100S sample set: www.flickr.com/photos/25805910@N05/sets/72157632954030903...
JPEG SOOC Provia, NR -2, Shadow Tone +1.
Is the X100S Lens Modulation Optimizer (LMO) positively affecting IQ at small apertures?
Parkway 1961
Review by Joe Viglione
Your Twist Party is an interesting and fun album from Chubby Checker, starting off with his classic rendition of Hank Ballard's "The Twist," and continuing with "twist"-style arrangements of popular tunes of the era. Fats Domino's "Blueberry Hill" gets the same treatment as Bill Haley's "Rock Around the Clock" — sung "Twist around the clock" here. Picture the Ramones giving their trademark power-chord treatment to cover songs their fans could identify with, and you get the spirit at play on Your Twist Party. "Whole Lotta Shakin' Goin' On" gets a "twist" mutation, while Chubby adds some Big Bopper/Jerry Lee Lewis ad libs to Kal Mann's "Mister Twister." Elvis Presley's "Hound Dog" receives a nice modulation — and an adaption as well — "You ain't nothing but a hound dog/twistin' all the time/little sister you're a twister and you ain't no friend of mine." Mann & Appell create the "Mexican Hat Twist" out of the "Mexican Hat Dance," just as Kal Mann may have inspired the Beach Boys with his "Twistin' U.S.A." (years before the Fat Boys brought a common denominator to both camps by charting on separate occasions with Chubby and the Beach Boys ). Lerner & Loewe's "I Could Have Danced All Night" works remarkably well in this format, and is a highlight of this collection. Though the obsession with the dance craze may be a bit much, this is also the record's charm, and the album features three of Checker's biggest songs with "Let's Twist Again," "The Hucklebuck," and "The Twist," while giving a sly nod to the singer's first hit from 1959, "The Class," where he imitated some of the people he covers here.
Messier 3 (also known as M3 or NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered by Charles Messier on May 3, 1764,[7] and resolved into stars by William Herschel around 1784. Since then, it has become one of the best-studied globular clusters. Identification of the cluster's unusually large variable star population was begun in 1913 by American astronomer Solon Irving Bailey and new variable members continue to be identified up through 2004.[8]
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13.[1] M3 has an apparent magnitude of 6.2,[4] making it a difficult naked eye target even with dark conditions. With a moderate-sized telescope, the cluster is fully defined. It can be a challenge to locate through the technique of star hopping, but can be found by looking almost exactly halfway along an imaginary line connecting the bright star Arcturus to Cor Caroli. Using a telescope with a 25 cm (9.8 in) aperture, the cluster has a bright core with a diameter of about 6 arcminutes and spans a total of 12 arcminutes.[1]
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 8 billion years old. It is located at a distance of about 33,900 light-years away from Earth.
Messier 3 is located 31.6 kly (9.7 kpc) above the Galactic plane and roughly 38.8 kly (11.9 kpc) from the center of the Milky Way. It contains 274 known variable stars; by far the highest number found in any globular cluster. These include 133 RR Lyrae variables, of which about a third display the Blazhko effect of long-period modulation. The overall abundance of elements other than hydrogen and helium, what astronomers term the metallicity, is in the range of –1.34 to –1.50 dex. This value gives the logarithm of the abundance relative to the Sun; the actual proportion is 3.2–4.6% of the solar abundance. Messier 3 is the prototype for the Oosterhoff type I cluster, which is considered "metal-rich". That is, for a globular cluster, Messier 3 has a relatively high abundance of heavier elements.[9]
50 subs at 25 seconds using ISO 3200 using full frame (43 used)
Captured in Images Plus V5.0
Processed in Images Plus V5.0
EDGE-11 @ f/10
HyperTuned by Ed Thomas Deep Space Products CGEM mount
FeatherTouch auto back focuser / Micro Touch SCT focuser Starizona.com
Modified by Hap Griffin Canon T1i
Hutech IDAS P2
AutoGuiding: Orion Solitaire stand alone