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Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
ASM Hydrasynth 49-key
The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.
Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.
As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.
Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever.
Polytouch™ keybed
The new ASM Polytouch® semi-weighted keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch.
In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.
The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly.
Oscillators
The tone generation capability is the heart of any synthesizer.
The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.
Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode.
This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another.
mutators
Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways.
Each MUTANT allows you to choose from the following processes:
FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.
Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount.
Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.
Pulse Width - This will pulse width modulate ANY input sound.
PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.
PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.
Harmonic Sweep - this will sweep the harmonics of the incoming sound.
PhazDiff - this takes the input signal, shifts the phase and then creates a difference result with the original signal
The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.
Mixer/ filter routing
The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.
The Mixer allows you to mix levels as well as pan the input source.
There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2.
The filters can be set to be parallel or series for ultimate flexibility.
filters
If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.
The Hydrasynth has two filters that can be configured in series or parallel.
The first filter has 16 different filter models, giving you multiple options for tailoring your sound.
The second filter is a 12db per octave has a continuous sweep from either low pass > bandpass >high pass or low pass > notch > high pass, similar to the way the classic SEM filter worked.
LFO's
5 Low-Frequency Oscillators…YES, 5.
Much like our sound engine, the LFO’s are not ordinary by any means.
The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 64 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound.
Of course, there are also 10 standard waveforms to choose from.
The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync.
envelopes
5 DAHDSR Envelopes……YES 5.
An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.
The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in
sync to your song.
You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix.
The envelopes have the added ability to be triggered from multiple sources as of the 1.5 update.
MODULATION MATRIX
The modulation capabilities on the Hydrasynth are endless.
With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations.
Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.
The Modulation matrix points themselves can also become modulation destinations.
Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s
ARPEGGIATOR
The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance.
You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time.
CV/GATE - MIDI - USB
There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world.
It supports the standard voltages for Eurorack modulars, the 1.2V per octave Buchla standard, as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities.
Main Controls
The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen.
Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button.
Pressing the HOME button returns you to navigating patches in a simple and easy way.
master controls
The Master Control section is where all parameter editing, patch naming, and Macro performing is done.
Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on.
The VOICE parameters give you access to play modes, analog feel, voice panning and many other features.
macros
The patch MACROS are designed to allow the user deep control over the engine in live performance.
The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob.
patches
The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches.
Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future.
effects
The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound.
The delays and reverbs were modeled on some of the most popular effects on the market.
The effects are the perfect way to complete your sound, in the box.
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هدفنا: الثقة - التميز - الأبداع - العمل علي راحة العميل
Arduino UNO does PWM (pulse width modulation) – 16mm scale.
This test board has a UNO configured to provide 6 PWM servo outputs as a microcontroller for points (turnouts) and/or signals on my 16mm scale narrow gauge exhibit. Two vero strip boards incorporate the required crossovers to provide Futaba/Hitec/etc format servo pinouts on the UNO’s digital output sockets.
Each of the UNO’s analogue inputs is held at intermediate potential by a pair of 1 Kohm resistors. The remote commander has a 20 foot wander lead and its four momentary push buttons short out one or other 1 Kohm resistor to take the analogue input to LOW or HIGH potential as a tri-state switch. The UNO picks up the change in potential and moves the corresponding servo through the number of degrees pre-programmed in the sketch, via the selected PWM output.
This basic setup will enable the option of automated signal and point control on the 16mm scale exhibition layout by linking the UNO's analogue inputs to other sensors.
Antonello da Messina (Messina, 1430 - Messina, February, 1479) was an Italian painter of the Italian Renaissance. He was deeply influenced by Early Netherlandish and Venetian painting. He served as apprentice in Messina and in Palermo before studying under Niccolò Colantonio in Naples, one of the most lively centres of Renaissance art. In 1457, he received his first commission as an independent painter, a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria. The first work to be signed and dated by him, the Salvator Mundi, was created in 1470. Among his most famous paintings are the Annunciation and Saint Jerome in His Study, which he painted in 1474.
Antonello's style is remarkable for its fusion of Italian simplicity with a Flemish concern for detail. He exercised an important influence on Italian painting due to his introduction and dissemination of Flemish painterly styles. His portraits are characterised by their modulation of light and shadow, as seen in this painting.
[Oil on walnut, 20.4 x 14.5 cm]
gandalfsgallery.blogspot.co.uk/2012/07/antonello-da-messi...
I added more yellow-green and sprayed some soft (not masked, but sprayed at an angle) highlights.
Not sure if I was daring enough as it's not very visible.
I've also touched in the road wheels in different greens, and sprayed a few in hull red for primer.
Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.
Here's some specs, for the statophiles out there:
Frame size C54cm
Frame tubing Dedacciai COM 12.5 Butted Cromoly
Fork Kona P2 700c TB Disc w/Lowrider
Headset TH
Crankarms FSA Gossamer MegaExo Chainrings 30/39/50
B/B FSA MegaExo
Pedals Shimano PD-M520 SPD - Silver
Chain Shimano HG53 --> Shimano HG93 XT
Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd)
F/D Shimano Tiagra Triple
R/D Shimano XT Shadow
Shifters Shimano Bar-Con
Handlebar FSA RD30 0S
Stem FSA OS-190LX
Grips Velo Wrap with Gel
Brakes Avid BB7 Road Disc Brake
Levers Shimano BLR-600
Front Hub Shimano M525 Disc
Rear Hub Shimano M525 Disc
Spokes DT Stainless 14g
Tyres Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c
Rims Mavic A 317 Disc
Saddle Selle Italia XO SE --> Brooks B17
Seatpost FSA SL-280
Seat Clamp Kona Clamp
Rear Rack Tubus Logo
Panniers Bikebins
Computer Sigma DTS 1606 L
Fenders SKS Chromoplastic
My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speed-bumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!
The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.
Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, although I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.
Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.
I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.
The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the Sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.
The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.
In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.
I GOD OF ALL SUPREME FORCE UNIVERSE WERE TAUGHT LESSONS BY THE INDIAN THIRTY OFFICERS OF THE IPS.REQUESTING WE TO GIVE A FEW THOUSAND CRORES NOT JUST A CRORE FOR THE DEVELOPMENT OF THE POLICE TRAINING IN THE POLICE TRAINING COLLEGE PHILLAUR.P.S.PASRICHA THE PRINCIPAL OF THE COLLEGE WAS A VERY NICE PERSON ON PHONE.NO MEETING WAS.IT ALL WAS DUE A FAMILY MEMBER WHO BECAME A REAL DEATH IN ALL ASPECTS.WHO WAS SENT BY THE WE THE SENDER SAINT SHRI S.S.KOHLI NOT AS IT WAS NOT HIS PROPERTY.HE WE SAW WERE SENT BY THE SOLE LANDOWNER EARTH MISTER M.S.KOHLII WHO HAD BEEN TAKING INTEREST IN THE INTERNATIONAL ARENA AT THE LEVEL OF THE WORLD PRESIDENTS AND WAS A ONE IN THEM BEING PRESIDENT OF . THIRTY SIX COUNTRIES OTHER THAN INDIA OF WHICH TOO HE WAS OVER ABOVE ELECTED PRESIDENT BEING OWNER OF INDIA..WHICH HE WAS GIVEN IN PURCHASE OF HIS TECHNOLOGIES OF THE RAIL INVENTED TILL 1.1.1948.ANY GIVEN THEREAFTER WE CONSIDE WITH THE AGENTS OF THEY TRYING TO DEVIATE HIS WEALTH..TO ENGLAND ON COMMISSIONS OR SEX ALLURES OF THE WHITE WOMEN BEING LOOSE IN SEX AND OF NO VALUE BEING ABSOLUTELY INEFFICIENT WHO STOPPED THEMSELVES THE CONFIDENTIAL REPORT SYSTEM.IN 1948 THE WE CONSIDER WE AS A TIRED AS..THE WE ON THE 2 OF IT THE WE THE OWNER OF INDIA.ACCEPTABLE TO NEHRU..WHO AND GANDHI WANTED WE NOT TO OPT FOR A ROYALTY OF TEN PERCENT ON THE SLAE OF THE RAIL SERVICES..AROUND THE WORLD AND INSTEAD BUY THEM THE OUR TO ACCEPT AS A LEADERS OF SOME LEVEL IN THE OUR DRIVEN FREEDOM MOVEMENT.WE WERE THERE IN THE MURAL ORIGINAL DEPICTING THE LEADERS OF THE FREEDOM MOVEMENT IN WHICH PATEL WAS THIRD TO OUR KULLAN DEVI RENAMED LATER KULWANT KOHLI WHOP WERRE THE FIRST LEADER TO BE IN THE SCULPTURE OF THIRTY NINE FEET AND TEN FEET TILL IN THE SIDE OF THE ROAD SORING THE SOME WHO POLICERS RAPED HER REPEATEDLY FOR IT SAYING WERE GIVING REGARDS NOT BUT TELLING WHO WAS SHE TO BE A WOMAN AND NOT KNOWN AND STILL IN THE LEAD PHOTO TO THE SCULPTURE NAMED THEN A MURAL THERE ON THE ROADSIDE BEHIND THE PRESIDENT HOUSE DELHI ON THE ROAD BEHIND IT ADJACENT TO IT AND IRVIN HOSPITAL NEAR.THEY ALSO PUT HER MOTHER IN THE PROSTITUTE--A SPECIAL AREA AFTER SEEING HER ALL ALONE NOT BUT MADE HER SO.DECLARING HER DEAD AND GETTING ANOTHER BODY IN THE CLOTHES GETTING IT BURNT BY A RELATIVE.BUT PUTTING HER THROUGH THE NAKED TREATMENT MEANT IN THE SOME COUNTRIES OF THE PLANET AGAINST THE WILL OF THE SOLE LANDOWNER WORLD WE..THE GOD OF ALL HERE ON THE EARTH AS THEIR SON AND GRANDSON.MAHARANI JHANSI BAI WAS THE MOTHER OF THE KULLAN IN NAME PUNJAB SAID LACHCHMI..INSTEAD OF LAXMI OF HINDI BELT BTO WHICH SHE BELONGED..FROM JHANSI IN MADHYA PRADESH..WHO SOUGHT REFUGE IN THE HUSBAND AT AGE SIX OF THE THEN THE GURU OF THE PLANET------THE ELECTED MASTER OF THE STATE.AS WHICH HE WAS FOR THREE HUNDRED YEARS. WE CAME TO LIVE HIM AS WE ARE LIVING THE HIS GRANDSON A SUPER SUPERIOR TO HIM..IN MANY MANY SCIENCES,ARTS,CULTURES AND HAS OWNED THE EARTH BY PURCHASING IT FROM THE JOINT OWNER TWENTY SIX COUNTRY WESTREN ALLY..WHO TOO OWNED INDIA AND HAD TAKEN WE AS THE GOD IDENTIFIED ON THE OBSERVATIONS AND TESTS OF THE THIRTY FOUR SONS OF A BITCH SAID BY MISTER J.L.NEHRU WE REGRET.AS A MAN OF LOW.MORAL.CHARACT MAN NOT BUT A BHAINGA LIKE MAHATMA GANDHI CAUGHT IN RAPING TWO OF THESE CITED .POLICE PAHARGUNJ PUT A CASE WE SAW CORRECTLY DECIDED CORRECTLY IN WHICH NEHRU GOT HE SHOT.PUTTING BLAME ON THE HINDU MAHASABHA..WE BOTH GOD BROUGHT FORTH IN THE YEAR WE THE THREE YEAR OLDIE AS NOT BUT AS A SIXTEEN PLUS WELL ESTABLISHED ASSESSED INTERNATIONALLY AS NUMBER ONE IN THE WORLD AS THE ADMINISTRATOR..BY THE INTERNATIONAL INTELLIGENCE.WE REFER TO THE NOTE TO THE PARLIAMENT OF INDIA OF THE INTELLIGENCE INDIA DATED THREE OF THE TWO OF THE NINETEEN SIXTY FOUR NOT THREE.IN THE MATTER AT THE NUMBER FOUR OF THE THEN IN THE MATTER TAKEN UP BY OUR FRIEND RAM MANOHAR LOHIA WITH WHO WE HAD A ONE NOT THREE TALKS ON THE WE AS A CONSTITUTION IN THE DELHI..WHICH WAS BEREFT OF SECURITY FOR THE SIKH GIRLS.SPECIALLY ORGANISED BY SOME.WE WERE THE SIKH GURU WHO WROTE GURU GRANTH FOLLOWED TILL NOW BY THE SIKHS.WE ONLY PUT OUR CREDIT TO ARJAN DEVE FIFTH GURU FICTIOUSLY CARVED BY WE TO WARD OFF THE HINDU ONSLAUGHT ON US.WHICH HAS BEEN CONTINUOUS SINCE THEN I GOD CERTIFY THAT THIS HAS BEEN SO. AND I HAVE BEEN TIME AND AGAIN SAID WE WILL CONTROL THE COUNTRY COME WHAT MAY TAKING OVER THE ENTIRE EARTH.AS IT IS OF ONE OF THE INDIA AND HE A MILD MAN NICE ENOUGH TO BE CONTROLLED..ASD WE DID IN USSR KILLING THE COUNTRY AND ECONOMY COMPLETELY SHOWING AS IUF THE USA WAS DOING IT CONTROLLING THE TWO THE RONALD REGAN COUPLE THROUGH THE HARJIT'S CHOTA RAJAN GANG SINCE THE WHITE HOUSE CAPTURE KILLING PRESIDENT LYNDON B. JOHNSON BY A BULLET IN THE CHEST TO SLOW DEATH AND MAKE HIM CRY WHILE K.PAUL WAS ASKED BY TWO A.S. BRAR AND HARJIT SINGH AND A D.I.S.KOHLI NOT BUT PRESENT SAID IN THE RAW RECORD NOW BEING MADE IN PUT IN IS BY THEY THREE THESE HERE CITED.K.K.PAUL DID DRINK TWO FULL SLUSH OUT OF HIS CHEST BEFORE THE FEMALE SHRIEKED PRESIDENT AND A GUARD RUSHED IN TOO TO BE SHOT BY THE THEY TWO NOT HIM...TOO TOOK THE THEIR ATOMIC MISSILE SYSTEM ON CONTROL AS PLOTTED BY THE TWO NOT FOUR INCLUDING A RPK.PRESIDENT L.B.JOHNSON SEEING CARD OF GOD HAD STARTED A CONVERSATION WITH THE GOD MARKED BY HE AND HIS TEAM WE HERE IN INDIA CHANDIGARH G-3,SECTOR 14,CHANDIGARH IN PANJAB UNIVERSITY WHILE WE IN THEIR HEARING PUT TO CONFERENCE IN SEE REACTIONS CLEARED WE NEVER CAME TO READ CARD SENT TO WE AND WERE SNATCHED OF THESE BY MISS RAJPAL KAUR KOHLI BEFORE HER MARRIAGE TO DIS KOHLI WHO TOO WERE WITH THEY IN THE WHITE HOUSE WE HAD PROHIBITED IN THE LISTEN OF THE C.I.A. STAFF IN THE WHITE HOUSE WHEN DIS KOHLI PHONED FROM THERE HE WAS IN TROUBLE AND NEEDED HELP SOME WANT TO SEE PRESIDENT AMERICA AND I BE HELPING BY ASKING THE WHITE HOIUSE STAFF TO LET THEM SEE HIM THEY WANT AT LEAST A SINGLE MAN TO DO SO...AT WHICH WE ASKED THEY GIVE PHONE TO THE STAFF AND STARTED DETAILED CONVERSATION ALERTING THEY AND THE WHITE HOUSE.BUT WE THE GOD OF ALL FROM HEAVENS SAW WHAT OUR AVTAR COULD NOT SEE BEING IN CHANDIGARH.EXCEPT IMAGINE WHAT WAS HAPPENING MUCH MORE SUPERIORLY THAN THESE ALL AND THEIR OTHER LEADERS TILL WHICH HE SERVED OPPOSING THESE AND IS TILL TODAY OPPOSED TOTALLY BY THESE DOERS OFD DISGRACE TOP HE THE THEIR OWNER LAND,FREEDOM GIVER WHICH NEVER WAS TILL IOTA DUE NEHRU GANDHI OR HINDUS OR SIKHS IN GENERAL OR DUE THEIR EFFORT TO RISE FOR THE COUNTRY. WE CORRECT IT TILL INFINITY TOO IN SAYING THE FREEDOM WERE ONLY DUE THIS FAMILY.WE DO NOT INCLUDE DIS KOHLI IN IT BECAUSE OF SANSI YADWINDRA SINGH SAYING HE IS THEIR SPERM IN GIVEN IN RAPES TOO TO HIS MOTHER SO TOO WILL KILL HER TOO FATHER TOO BROTHER TOO IN IT IF HE DOES NOT SERVE THEM.THAY THE PRESIDENT JOHNSON IN CONVERSATIONS LASTING TOTAL THAT DAY THIRTY FIVE MINUTES FOUND M.S. THE GOD DID NOT APPROVE THEIR REACHING HE EVEN TO HIS STAFF BECAUSE OF MODULATIONS AND LANGUAGE OF THEY ALL WHO TALKED TO HE FROM A PHONE IN WHITE HOUSE GROUND PROVIDED TO TOURISTS INTERESTED IN CALLING ON THE STAFF TELLING PROBABLY C.I.A. STAFF HERE TO ASK THEY SEE OUTSIDE AND MEET AT MOST A RECEPTIONIST TO ENQUIRE ANY POINT EVEN THEY CAN ANSWER IF FIND ANY THEY FEEL THEY SHOULD BE FROM ANOTHER APPLY THEMSELVES AND NO RECOMMENDATION HIS IOS LISTENING TO MATTER IN TONES NOT DESIRABLE.............I CERTIFY THAT THIS WAS CLEAR BEFORE AMRINDER SINGH BRAR ASKED THE TWO CARRYING GUN ASKED TO DEPOSIT CARRYING IN STILL INSISTED ON SHOWING THREE CARDS OF GOD .DIS DID NOT CARRY IT .THE THREE WE DESIRE BE INN BTHE PRISON NOW BUT ARE EVADING OUR ORDERS.INSTEAD ARE TRYING TO KILL ME. . WHEN THEY SEEING ARE CAUGHT SHOT HIM WHILE TAKING OVER ECONOMY OF AMERICA IN TELLING WE ARE THE GOD SO BE LET DOING OUR GOD WORK IN SHOOTING IN NO ACTION BE AS THE CARD ASKED BE AS A PERMIT TO HE WE THE ACTUAL GOD WHO ALONE COULD BE EXERCISING IT THE CARD.WE ASK WHERE DOES THE CARD PROVIDE ANY TO CARRY OR WE TO GIVE.MORE THAN WE HOW THE CARDS OTHER BE THERE EXCEPT BY A PROCESS OF IT.THEY EXPLAIN......IF IT IS DUE THEIR ASKING THE INTERNATIONAL COURT OF JUSTICE OR OTHER HAVING OUR FILE WHY DID THEY. IF THEY GOT IT REPEATEDLY TO THE THEIR PRESIDENT WHY THE THEIR PRESIDENT KEPT THEM AND NOT PASS ON THESE TO WE THE SENIOR TO HIM BY TWO BILLION OF TIMES...IF HIS JUNIOR STAFF PASSED ON WHY IT.WHY IT TO POLICE.WHO MISLED THEM WHEN WE ARE FILE NUMBER ONE EVEN NOW AND FOR LIFE AND OTHERWISE BEING NEVER IN SELLING LAND.AS OWNER OF THEY AS WELL ALL ON EARTH ASKED TO BE IT BECAUSE OF OUR NOT BEING ATTACHED TO A COUNTRY OR PERSON OR RELIGION BEING THE GODLY THAT HE WE SON M.S.KOHLII WAS. WHY HAVE MANY PERSONS JOINED AS KOHLI SAHEB.I TELL OUR SEEN WE SAW A POLICER K.K.PAUL FELL TO THINK AS A D.S.P. HEADING A POLICE STATION DEFENCE COLONY IN DELHI REQUESTING POSITIONS FROM HEAD U.N. AND SOLE LANDOWNER WORLD M.S.KOHLII THROUGH HIS NEXT DOOR NEIGHBOURER MRS. BIMLA PAUL HIS OWN MOTHER WHICH HE DID A NUMBER OF TIMES IS ON C.I.A.,U.N.,KGB AND THIRTY SIX OTHER COUNTRY RECORD.FORGETFULNESS AND IRRESPONSIBILITY OF THAT ORDER TO EAT A POSITION TWELVE BILLION TIMES HIGHER HOW IT BE PERMITTED BY WE TO EVEN A PRESIDENT ELECTED BY PEOPLE SO WE FIRE THEY ALL OF THE HINDU AND SIKH. THE WE ARE READY WITH THE DATA ON THE THEY.ANY CAN CALL ON WE FROM AMONGST THE REPORTERS.U.N. STAFF TOO WE DO NOT SEE ANY MORE ERLIER IT WAS. SO TOO NATO PLANES PASSING DAILY OVER MY HOUSE AS A ROUTINE. NO MORE SAYING THEY THROUGH TRUMP A ILLICIT RELATION OF THE THEY IN RAPING THE WISE QUEEN WITH THEY THIRTY OFFICERS OF THE MASONS CLUB NOT BUT THEY TOO IN IT.WE NEVER KNEW WHAT WAS GOING ON AS THE THEY ALL IN THE IT INCLUDING THE THEIR TOURISM DEVELOPMENT DEPARTMENTS WERE IN TAKING WE OFF HOME IN CAGES TO PLUCK OUR RIGHTS LIKE A SLAVE'S. THIS IS THE HIGHEST INJUSTICE WE HAVE SEEN.
RCA model 1-XF-4 "Filteramic" AM/FM radio receiver, c. 1955.
Many people began bringing radio receivers into their homes in the 1920s. By the early 1960s most homes had at least one radio and often more. At that time amplitude modulation, or AM, served as the primary mode of broadcasting, but a newer mode that used frequency modulation, or FM, was becoming increasingly popular. Well-known industrial designer John Vassos created this radio for RCA in the 1950s.
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).
'Anniyan' was more of a challenge for Vikram as an actor, as he had to play three radically different roles in this Shankar movie.Thiraipattarai also teach a multiple personality acting courses. It means actors act a different role in one movie.Thiraipattarai conducting a number of courses like multiple personality acting,cinemas workshop,classical acting,yoga,monoacting,mime,silambam,thappattam,story telling,dialogue modulation,body language etc… In Dec Christmas offers going grab yours soon…
CONTACT NO:7338907008
This steampunk or Victorian necklace started with a bit of Victorian ceiling tin with a pebbled pattern. I shaped it to resemble a honeycomb section before riveting on the over-sized bee. The bee was previously treated to a patina to create the color modulations. He appears to be holding an antique watch works wearing its own time-induced patina. A retaining ring was riveted behind the bee and fishing gear was added to provide movement in the piece. All this steamy delight hangs from an 18" section of chain that once supported a pendulum in a cuckoo clock. I am a trained, if somewhat buggy, silversmith and have built this piece to last.
Zeiss 135/2.0 shot with D810 in RAW and developed in Lightroom 6.4 to Adobe Standard except sharpening at 35/0.5/36/10 and NR=OFF.
And obviously converted to b&w ;-)
The Synthex is a massive sounding and classic analog 8 voice synthesizer. This one in particular has the added MIDI feature. First off, It's interface is a dream to program. It has 30 knobs, 6 sliders, 80 switches and a joystick. Powerful sounds with 2 oscillators per voice, separate envelope generators, chorus and even a sequencer! The use of stable DCO's (digitally controlled analog oscillators) and oscillator cross modulation of Pulse Width and a multimode filter! The filter is based on the CEM3396 chip which was also featured in e.g. Oberheim's Matrix line of synthesizers.
There is a cool joystick that replaces traditional pitch/mod wheels and allows for greater variable real-time control over the two LFOs, oscillator and filter modulation. The 6 sliders beside the joystick assign what (LFO, osc and filter) goes to the joystick. Voices can also be layered or split across the keyboard. Other great features include the onboard digital Ring-Modulator, Chorus effect and Dual or Layer modes available. And also a four-track sequencer rounds out this synths host of features. The four different sequencer tracks can have different length, and sounds (Upper/Lower can be allocated to different tracks). Also it is possible to insert rests between notes as well as length of notes. Sequences and patches could be dumped to analog cassette tape through an audio interface. Two of it's tracks can output MIDI data.
The Synthex has three keyboard modes. 8 voice single sound (both Lower/Upper voices), Split with user selected split point (4 voices Lower/4 voices Upper) or Double which reduce the polyphony to four voices. Later versions implemented basic MIDI functions. Voices can also be layered or split across the keyboard.
Polyphony - 8 Voices
Oscillators - 16
Sequencer - 4-Track
Filter - Curtis Chips: 24dB LowPass, 12dB HiPass, 12dB & 6dB BandPass
VCA - ADSR
Keyboard - 61 keys
Memory - 40 preset/40 user
Control - MIDI
Date Produced - 1981 - 1984
I wanted to create an image that was a bit haunting, with some sensuality. The glow of the light and the darkness of the hands play well together by creating depth and mystery. Freeman mentions how black and white allows more expression in the modulation of tone, in conveying texture, the modeling of form, and in defining shape. I enhanced this photo with a levels adjustment, noise reduction, hue, and saturation.
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.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
The insert panel allows DJs to mix in their laptop computers or MP3 players, and the oscilloscope tells us whether or not we are "in phase" - a technical term for whether the recordings played are in proper stereo modulation, which is another technical term meaning does it sound good or not.
If you would like to adopt a Fixture, please make a paid-in-full pledge of $180 or more to WFMU's 2025 Marathon by 11:59pm on March 16th, 2025, and then send an email via this page to stake your claim. Make sure that you specify in the email that you'd like The WFMU Oscilloscope and Insert Panel!
First come, first served!
I think Hitachi succeeded in their attempt to make a "serious" radio with this 10 transistor KH-1002S.
Very hefty, well built, solid performer on all bands and good tone. This one may end up being a regular player in my basement radio room.
This radio utilizes Automatic Frequency Control. (AFC)
taken from the internet
Automatic Frequency Control. (AFC) - method or device to keep a radio or television receiver automatically tuned to a desired frequency or channel. Assuming that the receiver is at least approximately tuned to the desired frequency, a circuit in the receiver develops an error voltage proportional to the degree to which the receiver is mistuned. This error voltage is then fed back to the tuning circuit in such a way that the tuning error is reduced. In most frequency modulation (FM) detectors an error voltage of this type is easily available. In an FM receiver, automatic frequency control (AFC) may make it difficult to receive a weak signal located near in frequency to a strong one.
I had a Coleco when I was a little boy, and I absolutely loved this stupid game, and its screeching theme music, which is not the "tra LAAA la-laaa la la" music from the show. I'd find myself whistling this digital tune set all the time. Each section of the world had its own music that would cut in replacing the last bit whenever you switched backgrounds, which occurred every 2 screens or so. The musical bits were constructed of short, roughly 10-second loops, and so could conceivably annoy the crap out of parents if you played too long.
I had Donkey Kong there, too, but none of the other few on the table. One of the cool things about the Coleco was their Atari adapter, which they were eventually sued over. There's a port on the front of the Coleco, centered horizontally in front of the cartridge hole into which you could plug the wedge-shaped Atari adapter, and then you could stick Atari 2600 games into that, and it had its own reset buttons, etc. As such, I never actually had an Atari 2600, though I had original joysticks, and several of the games. It's weird, because I've ended up with strong nostalgic feelings for this other system I never actually owned.
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.”
+BEST BEFORE UNU +
¬Best Before Unu
UNU (Antonis Anissegos)
and BESTBEFORE (Andreas Karaoulanis) met in March 2010 on stage at a Festival in Thessaloniki, following the invitation of the festival director to perform together.
The match was instant and after the success of their performance, they decided to form the duo best before unu.
Since then they produced together many short audio/visual pieces, and performed often in Greece and in Germany.
The intensive electronics of unu found a visual counterpoint in the moving images of bestbefore, generating complex sonic-visual formations. While audio frequencies are analyzed and passed into image motions, which in turn feed back to the music, a never ending circulation of influence travels in both directions.
As an enrichment of the collaboration, best before unu appears also with live piano, adding an acoustic dimension to the creative process. A journey through morphing landscapes and imaginary organisms, stimulating the audience to continuously perceive new associations.
vimeo.com/channels/bestbeforeunu/
bestbefore.gr/blog/category/best-before-unu/
+PARABELLES+
Its a jodeling nonjodeling elektronic duo .
+JAGUAR+
Jaguar is a collective formed by Oscar Martin (noish) and Constanza Piña (corazón de robota) focused on noise exploration and creative electronics sound devices. Jaguar is devoted to ride by bike around the city and look for old TVs to transform them into spices synthesizers and no logic machines.
+AME ZEK+
Ame Zek is an electronic musician, sound artist, and composer based in Berlin. To electronic music enthusiasts, he is a producer of sound waves and an LFO modulator. The music of Ame Zek is constructed from modulation chains to create a platform for building evolving sound structures.
+ ANACONDA BOY+
AnacondaBoy
Am Electronic music producer from Bangladesh
∆∆condadrums∆∆
Cracked voices, broken noises and the realm of the stage provokes the transformation of a human electronic music producer into the electronic beast that is Anacondaboy Using synthesizers, analog recordings and crash sounds the anaconda boy is in love with beats and broken noises. Crash melodies catch the attention of the audience taking their attention and bringing them into a land of pop metal beat music that is like a flash. This transformation from human to electronic beast brings a stroboscopic, psychedelic music where the voice can be analog and the audience can dance.
+PANI K.+
Visuals and electronic cakes. Origin coming from video and filmart, she studied in Poland, Pani K. is also interested to let a kitchen sing and performs her own language of beautiful music.
+YVES YANOMAMI+
+ DJ KIM KONG-IL
Founding member and keyboardist of Pink Floyd, he passed away yesterday after a brief fight against cancer. This morning, in celebration of his life and his timeless contributions to the music world, I'm playing a few of the Pink Floyd classics he wrote, co-wrote or sang on. RIP Rick, thanks for all the music.
Dave Gilmour's website comments on Rick's passing
No one can replace Richard Wright. He was my musical partner and my friend.
In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten.
He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound.
I have never played with anyone quite like him. The blend of his and my voices and our musical telepathy reached their first major flowering in 1971 on 'Echoes'. In my view all the greatest PF moments are the ones where he is in full flow. After all, without 'Us and Them' and 'The Great Gig In The Sky', both of which he wrote, what would 'The Dark Side Of The Moon' have been? Without his quiet touch the Album 'Wish You Were Here' would not quite have worked.
In our middle years, for many reasons he lost his way for a while, but in the early Nineties, with 'The Division Bell', his vitality, spark and humour returned to him and then the audience reaction to his appearances on my tour in 2006 was hugely uplifting and it's a mark of his modesty that those standing ovations came as a huge surprise to him, (though not to the rest of us).
Like Rick, I don't find it easy to express my feelings in words, but I loved him and will miss him enormously.
David Gilmour
Monday 15th September 2008
Nick Mason's comments on Rick's passing;
Losing Rick is like losing a family member - in a fairly dysfunctional family. He's been in my life for 45 years, longer than my children and longer than my wife. It brings one's own mortality closer. I'll remember Rick with great affection. He was absolutely the non-contentious member of the band and probably suffered for it. I wouldn't say he was easy-going, but he certainly never pushed to any aggravation. It made life a lot easier.
I first met Rick at the Regent Street College of Architecture. And I think Rick was always pretty much that same character I met in 1962. Rock'n'roll is a Peter Pan existence; no one ever grows up. Over a period, we gravitated towards the people who were less interested in architecture and more in going to the pictures and making music. The band happened a couple of years later. We all had very different ways of working. He always knew what he wanted to do and had a unique approach to playing. I saw an interview he did on TV, and he said it clearly: "Technique is so secondary to ideas." Roger [Waters] said the more technique you have, the more you can copy. Despite having some training, Rick found his own way.
To some extent, I think, the recognition for what he did in the band was a bit light. He was a writer as well as a keyboard player, and he sang. The keyboard in particular creates the sound of a band. By definition, in a rock'n'roll band people remember the guitar solo, the lead vocal or the lyric content. But a lot of people listen to our music in a different way. The way Rick floats the keyboard through the music is an integral part of what people recognise as Pink Floyd. He wrote "The Great Gig in the Sky" and the music for "Us and Them".
We were a very close-knit band and one always has the memory of that. We spent a lot of time together between 1967 and the mid-1970s. Rick was a very gentle soul. My image of Rick would be him sitting at the keyboard playing when all the fireworks were going on around him. That's the main quality one remembers, in a band where Roger and David [Gilmour] were more strident about what they believed should be done.
If there's something that feels like a legacy, it's Live 8 [July 2005, Hyde Park] and the fact that we did surmount any disagreements and managed to play together. It was the greatest occasion.
Roger Waters comment on Rick's passing;
"I was very sad to hear of Rick's premature death, I knew he had been ill, but the end came suddenly and shockingly. My thoughts are with his family, particularly [his daughters] Jamie and Gala and their mum Juliet, who I knew very well in the old days, and always liked very much and greatly admired.
"As for the man and his work, it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s. The intriguing, jazz influenced, modulations and voicings so familiar in 'Us and Them' and 'Great Gig in the Sky,' which lent those compositions both their extraordinary humanity and their majesty, are omnipresent in all the collaborative work the four of us did in those times. Rick's ear for harmonic progression was our bedrock.
"I am very grateful for the opportunity that Live 8 afforded me to engage with him and David [Gilmour] and Nick [Mason] that one last time. I wish there had been more."
ECHOES...
"Overhead the albatross hangs motionless upon the air
And deep beneath the rolling waves
In labyrinths of coral caves
The echo of a distant time
Comes willowing across the sand
And everything is green and submarine.
And no-one called us to the land
And no-one knows the wheres or whys
But something stirs and something tries
And starts to climb towards the light
Strangers passing in the street
By chance two separate glances meet
And I am you and what I see is me
And do I take you by the hand
And lead you through the land
And help me understand the best I can
And no-one calls us to move on
And no-one forces down our eyes
And no-one speaks and no-one tries
And no-one flies around the sun
Cloudless everyday you fall upon my waking eyes
inciting and inviting me to rise
And through the window in the wall
Come streaming in on sunlight wings
A million bright ambassadors of morning
And no-one sings me lullabies
And no-one makes me close my eyes
And so I throw the windows wide
And call to you across the sky..."
This projector is made of casette player and walkman parts, some mirors and cheap chinese laser pointer. Everything is positioned freehand and glued in place with hotglue. This is work in progress. Still comming, separate speed and direction regulation for both motors, and sound to laser modulation.
please visit
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Sansui Solid State Stereophonic AU 999
Specifications
Year 1970
Power amplifier part
Effective output 70W/70W (4ohm)
80W/80W (8ohm)
Music power (IHF) 180W (4ohm)
140W (8ohm)
THD 0.4%
Cross modulation distortion 0.4%
Power Band Width (IHF) 10Hz - 30kHz
Frequency characteristic 5Hz - 100kHz
Stereo separation 50dB
A hum and a noise 100dB
Input sensitivity/impedance 1V/40kohm
Load impedance 4ohm-16ohm
Dumping factor 45 (8ohm)
Preamplifier part
Output power 1V
THD 0.1%
Frequency characteristic 15Hz - 70kHz
A hum and a noise (IHF) Phono1, 2:80dB
Mic:80dB
Tuner, Aux: 85dB
Input sensitivity Phono1, 2:2mV
Mic:3mV
Tuner, Aux, Tape mon (Pin/Din): 200mV
Sound-recording output Tape rec(Pin):200mV
Tape rec(Din):30mV
Tone control Bass: +12dB--8dB (20Hz)
Midrange: ±5dB (1kHz, 2kHz)
Treble: +12dB--8dB (20kHz)
Tone selector Bass:Defeat, 200Hz, 400Hz
Midrange:Defeat, 1kHz, 2kHz
Treble:Defeat, 6kHz, 3kHz
A low filter -20dB(20Hz)
A high filter -18dB(20kHz)
Muting −20dB
Miscellaneous
Power consumption 370W
Dimensions
Width 461.5x height 155x depth of 316mm
Weight 17.5kg
Option Wood case C-17
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/ .
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
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.
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.
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 ]
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)
This is a garage door opener based on an ultra-simple multi-protocol low frequency RFID reader design of mine. It's mounted behind the front wall of the house. Hold your wallet (with ID card) up to the front of the house, and it opens the door.
The hardware for this project consists of a Parallax Propeller microcontroller and only passive analog components. Some fancy firmware handles all modulation, demodulation, and A/D conversion.
Firmware (with schematics in the comments) at svn.navi.cx/misc/trunk/propeller/rfid/
Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”
The artist’s attraction to windows and window views, linked to the Symbolists’ use of glass panes as metaphors for the transition from internal to external states, culminated in his Simultaneous Windows series. (The series derives its name from the French scientist Michel-Eugène Chevreul’s theory of simultaneous contrasts of color, which explores how divergent hues are perceived at once.) Delaunay stated that these works began his “constructive” phase, in which he juxtaposed and overlaid translucent contrasting complementary colors to create a synthetic, harmonic composition. Guillaume Apollinaire wrote a poem about these paintings and coined the word Orphism to describe Delaunay’s endeavor, which he believed was as independent of descriptive reality as was music (the name derives from Orpheus, the mythological lyre player). Although Simultaneous Windows (2nd Motif, 1st Part) contains a vestigial green profile of the Eiffel Tower, it is one of the artist’s last salutes to representation before his leap to complete abstraction.
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)
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).
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles