View allAll Photos Tagged modulation
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.
Bluetooth Keyboard For iPad 2 with Black Aluminum Docking.The aluminum bluetooth keyboard case for the iPad 2 has a thin, eye-catching design.Made from aluminum with a high-grade finish, matching the design, look and feel of today's hottest tablets. A built-in physical keyboard allows for fast, responsive typing.
Sleek and stylish design with unique and useful features makes it an essential accessory to buy for your iPad2.Special function keys for music control, volume control, slideshow, home, search, etc.
Please note, this is an after-market item, it is not manufactured by Apple.
Feature:
Bluetooth standard: V2.0
Type: 82 keys
Operating distance: 10m
Modulation system: GFSK
Operation voltage: 3.0-5.0V
Working current: <5mA
Standby current: 2.5mA
Sleeping current: <200uA
Charging current: ≥100mA
Standby time: 60 days
Charging time: 4-5 hours
Charging input: DC 5V mini USB
Battery capacity: 1600mAh
Battery life: 3 years
Continuous working time: 55 hours
Key strength: 80 +/-10g
Key life: 5 million times
Operating temperature: -10-55℃
Size: 24.5cm (9.6") x 19cm (7.5") x 1.3cm (0.45")
Weight: 298g
Two colors to choose, Black and White ( Review White Bluetooth keyboard for iPad 2)
Package Content:
1 x Bluetooth iPad 2 keyboard
1 x Charging cable
1 x English manual
Note: Last 100pcs at this promotion price, pls confirm your order soon before it out of stock!
www.dealmelody.com/bluetooth-keyboard-for-ipad-2-with-bla...
The 3.6-liter V6 is the base engine in the 2016 Ram 1500. Rated at 305 horsepower and 269 pound-feet of torque, it has sufficient power for hauling and is EPA-rated 17/25 mpg, or 18 mpg city on HFE models, making it the most effective pickup in its class. The 8-speed automatic works well with this engine. To boost fuel efficiency, the Ram has a lightweight frame that utilizes high-strength steel, aerodynamic grille shutters, low rolling resistance tires, pulse width modulation for the alternator and power accessories, and thermal management system. Its tow rankings are a few hundred pounds less than that of the V6 types of the Ford F-150, Chevy Silverado and GMC Sierra, but if you are doing a lot of hauling you are likely looking at the 5.7-liter V8. thecarspecs.com/2016-ram-1500-review/
+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
Shown here is an image from the exhibit "Open Minds: An Exhibit of Psychology Department Faculty Publications," on display in the Bright Gallery on the second floor of Swem Library at the College of William and Mary. The exhibit features publications from faculty in the College of William and Mary's Department of Psychology. The exhibit is on display from March 26, 2012-January 18, 2013.
The following is a transcription of the label text presented on this label:
Selected Publications
Professor Burk
Fadel, James and Joshua A. Burk. (2010). Orexin/hypocretin
modulation of the basal forebrain cholinergic system: Role in
attention. Brain Research 1314, 112-123.
Burk, Joshua A., Matthew W. Lowder, and Kathleen E. Altemose.
(2008). Attentional demands for demonstrating deficits
following intrabasalis infusions of 192 IgG-Saporin. Behavioural
Brain Research 195(2), 231-238.
Professor Galano
Galano, Joseph and Lee Huntington. (2011). Healthy families
Virginia FY 2007-2011: Statewide evaluation executive report.
Richmond: Prevent Child Abuse Virginia.
Galano, Joseph. (2007). The healthy families America initiative:
Integrating research, theory and practice. New York: Haworth
Press.
Galano, Joseph. (1989). Poetry. Journal of Primary Prevention 10(1),
63-65.
Professor Barnet
Spaeth, Andrea M., Robert C. Barnet, Pamela S. Hunt, and Joshua A.
Burk. (2010). Adolescent nicotine exposure disrupts context
conditioning in adulthood in rats. Pharmacology, Biochemistry
and Behavior 96(4), 501-506.
Barnet, Robert C. and Pamela S. Hunt. (2006). The expression of
fear-potentiated startle during development: Integration of learning and response systems. Behavioral Neuroscience
120(4), 861-872.
From the Special Collections Research Center, Earl Gregg Swem Library at the College of William and Mary. See swem.wm.edu/scrc/ for further information and assistance.
+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
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0281 Concha.JPG
Record ID: WB2010-0281
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Home: amok.ix-o.com/poorcat
[Scroll down for english text]
Musikvideo 01:30 min. [1982–2008]
POOR CAT – Die erstaunliche Verlagerung einer künstlerischen Perspektive
Die Flash-Animation »Poor Cat« (1982–2008) synthetisiert unterschiedlichste künstlerische Ansätze der digitalen Produktion zum audiovisuellen, siteübergreifenden Webclip.
Zur Mechanik des Clips:
Eine Lead Story – die »Lyrix« des Songs – wird grafisch comixartig und textbasierend rhythmisch dargestellt. Neben der Musik erhält der Clip durch Wiederholung und Modulation der reduzierten Zeichen– und Schriftsymbolik seine eigenständige visuelle Grundstruktur. Die primäre, lineare Erzählerebene – durchaus poetisch – wird durch das Anlegen einer zweiten, kontroversiellen Kommunikationsebene inhaltlich und emotional gebrochen. Die Kombination von Zeichen/Körper/Schrift/Text/Bild/Zeichnung/Symbol/Stimme des audiovisuellen Primärstreams – die persönliche Zeichensetzung – wird einer distanziert geführten (medien)theoretischen Auseinandersetzung gegenübergestellt. Auf dieser Ebene werden Aussage, formale Gestaltung und Anordnung des audiovisuellen Hauptstrings subversiv kritisiert, persifliert und mittels dynamisierter bildlicher und interaktiver Versprechung wird zum Verlassen des aktuellen Geschehens aufgefordert und auf andere, interessantere Themen und Sites (auf ein ganzes Universum) verwiesen.
Texte und Anweisungen im Clip:
POOR CAT – die erstaunliche verlagerung einer künstlerischen perspektive
der weg zur kunst
variation über selbstreferenzielle systeme
keine philosophische theorie?
nur leere und abstraktheit
keine politische wahrheit?
nur mathematische struktur
sozial nicht relevant?
nur ein synästhetisches kontinuum
nur eine visuelle erfahrung?
elegant
charmant
präzise
erregend – spektakulär
nicht korrupt?
nicht elitär?
ein kleines lied
zu einfach?
zu wenig action?
ein kurzer film
ein blauer himmel
less action?
analogie : kontrast
nur die erinnerung
an freundschaft
fast wie im richtigen leben
tricky world
eine metapher für den träumenden sozialen geist
zu wenig visionär?
dann
wählen sie amok
die geschichte über eine reise in die anonymität des leeren raums
tableau [1] japan eins
tableau [2] cluster der panik
tableau [3] museum of private arts
tableau [4] der schlaefer
tableau [5] translokation
ein ganzes universum?
wähle amok
oder bleib!
amok – schnelle server leben im geist der dekonstruktion
poor cat
1982-2008
interested in another space?
if it?
do it
now!
click!
verpasst!
Text, Grafik, Animation, Video, Performance, Komposition, Instrumente, Stimmen, Programmierung, Produktion und © GRAF+ZYX – Wien : all rights reserved.
POOR CAT : WEBCLIP
Home: amok.ix-o.com/poorcat
video clip 01:30 min. [1982–2008]
POOR CAT – the prodigious shift of an artistic perspective
Different artistic approaches to digital production are synthesised in the Flash animation “Poor Cat” (1982–2008), an audiovisual and interlinked webclip.
On the mechanics of the clip:
A comix-like graphic design and text-adapted rhythms make up the storyline – the “lyrix” of the song: Next to music it is the composition and repetition of a minimised symbolism of signs and characters which constitute the clip's individual visual structure. The primary – rather poetical – narrative level is emotionally broken and disrupted in content by a second controversial communication level. The audiovisual storyline – the personal message – a combination of sign/body/text/image/drawing/symbol/voice is confronted with a conceptional media-theoretical examination. Statement, formal design, and composition of the audiovisual narrative are subversively criticised and satirised. It is the clip's dynamic visual and interactive assurance which prompts the viewer to leave the actual storyline, and refers to more interesting issues and sites (a whole universe).
The clip's script and directives:
POOR CAT – the prodigious shift of an artistic perspective
a path to art
variations on self-referential systems
no philosophical theory?
only emptiness and abstractness
no political truth?
only mathematical structure
not socially relevant?
only a synaesthetic continuum
a visual experience only?
elegant
charming
precise
exciting – spectacular
not corrupt?
not élitist?
a little song
too simple?
too few action?
a short movie
a blue sky
less action?
analogy : contrast
only a memory of friendship
almost like real life
tricky world
a metaphor for the dreaming social mind
not visionary enough?
then
they choose amok
the story of a voyage into the anonymity of empty space
tableau [1] Japan one
tableau [2] cluster of panic
tableau [3] museum of private arts
tableau [4] the sleeper
tableau [5] translocation
a whole universe?
choose amok
or stay!
amok – fast server live in the spirit of deconstruction
poor cat
1982–2008
interested in another space?
if it?
do it
now!
click!
missed!
Script, graphic design, animation, video, performance, composition, instruments, voices, programming, production © GRAF+ZYX, Vienna : all rights reserved
(translation: Simone von der Geest)
Crown XLS2000 DriveCore Series 2100W Amplifier Description:
Crown's XLS 2000 power amplifier is a premiere portable PA system with unmatched performance, technology and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, the Crown XLS2000 power amp is much easier to set up and move from show to show.
A Power Amp with Integrated DriveCore Technology
Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into developing this technology resulting in truly remarkable benefits. The DriveCore Technology in this Crown power amp provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the XLS2000 power amplifier will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc. In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low frequencies at high-power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
This advanced power supply in the Crown XLS2000 power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies.
PureBand Crossover System
The PureBand Crossover System in the Crown XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provide steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Crown power amp's Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters
XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
Minimum Guaranteed Power per channel, both channels driven: 1050W, Stereo, 2 Ohms (per ch.); 650W, Stereo, 4 Ohms (per ch.); 375W, Stereo, 8 Ohms (per ch.); 1300W, Bridge-Mono, 8 Ohms; 2100W, Bridge-Mono, 4 Ohms
Sensitivity (for full rated power at 4 ohms): 1.4 Vrms
Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB
Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS2000 > 103 dB
Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200
Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB
Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced
Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono
AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz
Ventilation: Flow-through ventilation from front to back
Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation
Air Volume Requirements (per minute per unit): 80.15 ft (2.27 m )
Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers
Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)
Dimensions: 19"W x 3-1/2"H x 10-3/4"D
Weight: XLS2000: 10-3/4 lb.
+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
modulations
a history of electronic music - throbbing words on sound
edited by peter shapiro
published by: caipirinha productions inc. (2000)
Book courtesy of: GMA
Domenichino (eigentlich/aka Domenico Zampieri) , Bologna 1581 - Neapel 1641)
Sibylle, Ausschnitt / Sibyl, Detail / Sibilla, dettaglio (1616 - 17)
Galleria Borghese, Rom
Chromatic modulations characterize the Sibyl by Domenichino, who was also an expert in music. The figure is depicted with a viola da gamba and a music book, because traditionally in antiquity sibyls sang their prophecies to the accompaniment of musical instruments.
Source: Web Gallery of Art
Grant Petersen once waxed poetic about these brakes for their smooth modulation and ever since I had to have 'em. I must say that mated to the Tektro RX4 Inverse Levers, this is some of the most pleasant and intuitive braking I have ever felt on any bike. Superior to the Shimano Ultegra 9-speed STI brake levers and V-brakes on my Cannondale T1000 touring bike; superior to the Cane Creek SCR-5 levers and Ultegra caliper brakes (BR-R600) with Kool-Stop brakepads on my Rivendell Rambouillet. Seen here on a Velo Orange Campeur singlespeed commuter. Complete build specs are available at this image in the album. Image made at W 19th and 9th Ave, NYC on a rainy summer afternoon.
Virtually pristine condition. This is my second 405 line set. It's a 1956 model.
It was bought in an antique shop in Windsor, London and sent to Australia in a tea chest.
Tuner is 13 channel and superhet receiver is used. Line oscillator has AFC. AGC is mean level from sync separator grid. It's a very 'text book' circuit for a 405 line set.
Normal 300mA heater 7 and 9 pin Philips/Mullard valves are used.
Some of my guitar pedals. Top row is for fuzzes, second row is for distortions and overdrives, third row is for modulation effects (chorus, flanger etc.) and bottom row is for tonal effects.
1950-1970
Naamseingever
morsecode keyer.
indien veelvuldige gespreksdicipline overtredingen zijn geconstateerd
werd deze naamseingever geplaatst in de radiotelefonie zenders van Nederlandse (visserij)schepen
hier met het naamsein " IM " ( .. __ __ ) in morse code.
wanneer de zender in de lucht komt (wordt gesleuteld)
gaat het twee-letter naamsein altijd mee in de uitzending of er gesproken wordt of niet..
identificatie van de zender is daarmee gemakkelijker voor de toezichthouder, de luisterdienst
van de inspectie Kust en Scheepsradio. (PTT/KSR)
fabrikaat:
Centrale Werkplaats PTT te Den Haag
type 3-65 nr. 40
primaire 24V=
output naamsein "I M" in morse code
modulatie toon 2000Hz
This is a performance module designed to be used in a skiff. The module has four gate generators (The arcade buttons) which can be used to trigger oscillators and modulation. The gate generators can then be combined with the 6 attenuators or the 2 waveshapers for great performance controls.
For the latest info on Minimal System Instruments Eurorack Modular Synth Modules please visit our Facebook page and hit the 'Like' button.
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 ]
SST12CP12 Combines High Linear Output Power With Low EVM in Small Package for Longer Range at Maximum Data Rate; Supports MCS8, HT40, Spectrum Mask and OFDM.
Microchip today announced its latest 2.4 GHz RF high-power amplifier—the SST12CP12—which adds support for the 256-QAM ultra-high data rate modulation. With its high linear output power of up to 23 dBm at a dynamic EVM as low as 1.8% and MCS8 40 MHz bandwidth modulation, along with 25 dBm linear power at 3% EVM, this amplifier significantly extends the range of IEEE 802.11b/g/n WLAN systems while providing excellent power at the maximum 256-QAM data rate. It is also spectrum mask compliant up to 28.5 dBm for 802.11b/g communication, and utilizes Orthogonal Frequency-Division Multiplexing (OFDM) to correct severe channel conditions without the need for complex equalization filters. Additionally, the SST12CP12 reduces board space with its small 3x3x0.55 mm, 16-pin QFN package. For more info, visit: www.microchip.com/get/NCPD
Microchip announced its new SST11CP22 5 GHz power amplifier module (PAM) for the IEEE 802.11ac ultra high data rate Wi-Fi® standard. This PAM delivers 19 dBm linear output power at 1.8% dynamic EVM (Error Vector Magnitude) with MCS9 80 MHz bandwidth modulation. Additionally, the SST11CP22 delivers 20 dBm linear power at 3% EVM for 802.11a/n applications, is spectrum mask compliant up to 24 dBm for 802.11a communication, and has less than - 45 dBm/MHz RF harmonic output at this output power, making it easier for the system board to meet FCC regulations. To learn more about Microchip’s RF power amplifiers visit: www.microchip.com/Power-Amps-031715a
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
March 7 - April 9, 2010
Opening reception: March 7, 4-7pm
It is with great pleasure that devening projects + editions announces The Lodger, an exhibition of new work by Peter Otto. The show will feature new paintings, works on paper and editions.
In this exhibition, as throughout most of his career, Otto makes the task of facing untenable cultural truths only slightly easier by persuading us with a system of delivery almost impossible to ignore. Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity—ever tested by social, cultural and political forces—bends, breaks and at times collapses. These paintings and sculptures show a reality emerging from the darkest moments. Evidence of the ways culture and society impose will and exert power is revealed on the surfaces of his verdant canvases and in the sculptures made from clay, plaster and bronze.
The themes are somber; the work though is delicately formed and teeming with graceful facture. It’s a difficult balance to strike, but Otto is able to bring forth stories of how cultural ruptures created by wars, famine, natural and man-made disasters form the basis from which that same culture is ultimately shaped. His paintings and drawings express a highly personal relationship with historical and contemporary events but always leaves the narrative open to evoke sensations interpretable from varied positions.
One thinks of Philip Guston when looking at Otto’s work. An acknowledged influence for the artist, Guston is a model for how to bridge the political and the formal. An example in Otto’s work is a regular use of stacked or hanging objects. Macabre associations are unavoidable, but one can never be sure. These “things” might also suggest built structures raised from a destroyed place or re-presented from an emergent culture. One might consider Guston’s piles of shoes and find a strong link to Otto. The concerns addressed in Otto’s most well-known paintings can also be seen in occasional large-scale public works in Holland such as Twisted Totem in Den Haag. This monumental work is a aggressively fragmented totem made from disparate parts. The sculpture, like the paintings, asks us to face difficult and challenging revelations about our culture and brings awareness to the ways in which we process trauma.
In one of several essays in Votive/Totem, the 2006 book on Otto, Rob Smolders writes: “Peter Otto juxtaposes his own malicious imagination with the imagination of society. He tightens pieces of string, erects crosses and gallows, puts up doors and fences, has a ball with junk he finds in his way: swastikas and Christmas trees, feet and heads, flowers and walking sticks. No dances in this world for it is inhabited by monsters and crutches.”
Of his painting and process, Smolders writes: “… Meanwhile, Peter Otto remained the painter he was. Magician when glazing, alchemist when patinating. The pictorial language of the paintings dating from the past five years is often acrid yet playful. Colors that are sometimes reminiscent of blood, tar or flesh, suddenly give way to the ripe color modulations of overblown flowers in an exuberant representation. References to war and violence that are too literal have been forced back. The tenor of the work is more general, even if the prevailing mood remains somber.”
Otto, who lives in Arnhem, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.
Devening Projects & Editions
3039 West Carroll
Chicago, IL 60612
Tel.: 312-420-4720
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.”
Delaunay explored the developments of Cubist fragmentation more explicitly in his series of paintings of the Eiffel Tower. In these canvases, characteristic of his self-designated “destructive” phase, the artist presented the tower and surrounding buildings from various perspectives. Delaunay chose a subject that allowed him to indulge his preference for a sense of vast space, atmosphere, and light, while evoking a sign of modernity and progress. Like the soaring vaults of Gothic cathedrals, the Eiffel Tower is a uniquely French symbol of invention and aspiration. Many of Delaunay’s images of this structure and the surrounding city are views from a window framed by curtains. In Eiffel Tower (painted in 1911, although it bears the date 1910) the buildings bracketing the tower curve like drapery.
Screature
live at Witch Room in Sacramento
For the last few years, Screature has been one of our city's best bands both live and on record. Singer Liz has imperious command of her voice which she can deepen and flatten with amazing sustainability like a young Grace Slick or Siouxsie Sioux. The all-lady drum-organ rhythm section creates a deep, lush, velvety pocket for Liz's voice and Chris' guitar which achieves a killer mindmeld of Helios Creed's psych-punk snarl and Geordie's deft modulation.
On this night, they scrapped their entire songbook which has been their live staple since their first show, also heard on their excellent and only LP (so far). They debuted an entire batch of new songs, and OMG....they're even better than the first! Now they're about to take 'em on the road. If they come near you, you oughta go!
This was probably their biggest hit with audiences so far...
"Siren"
www.youtube.com/watch?v=rQvFEtRtdj8
8/25 - Salt Lake City, UT - Diabolical Records
8/26 - Denver, CO - Lion's Lair
8/27 - Lawrence, KS - Replay Lounge
8/28 - Des Moines, IA - Vaudeville Mews
8/30 - Cincinnati, OH - Comet Bar
9/1 - New York, NY - Grand Victory
9/2 - New York, NY - Cake Shop
9/4 - Philadelphia, PA - Kung Fu Necktie
9/6 - Raleigh, NC - Hopscotch Festival
9/10 - New Orleans, LA - Mudlark Public Theater
9/11 - Austin, TX - Elysium
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, 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.
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13. M3 has an apparent magnitude of 6.2, 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.
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.
Telescope: WO 110mm Megrez ED Doublet with WO 0.8 FF Ver. II
Mount: Atlas EQ-G controlled with EQMOD
Camera: Canon 350D Modified with Baader-ACF
Filter: Astronomik CLS filter
Guide Telescope: StellarVue AT1010 78mm Achromat
Guide Camera: Orion StarShoot AutoGuider using PHD Guiding software
Lights Frames: 13@120 seconds with in camera noise reduction & 10@300 Seconds ISO800
Calibrated with dark, flat and bias frames and processed using ImagesPlus 3.80
Dragon Skull
This hard rock guitar track features several constrasting sections and fiery lead Stratocasters.
Live lead Stratocaster guitars - Lee Fitzsimmons * Live Stratocaster rhythm guitars - Lee Fitzsimmons * Live Ibanez 5-string bass guitar - Lee Fitzsimmons * Drums and percussion - Lee Fitzsimmons
The track begins with the full instrumentation of the arrangement presenting the background for the first section. This section consists of a basic riff in B that takes advantage of several open strings. The twin leads then begin their dual lines over this first riff as they scream their overdriven melodies in perfect harmony. The second section incorporates a pseudo-modulation to D major as the twin leads switch from a tight harmony of thirds to a wide octave of descending melodic lines. The third and final section features the twin leads cascading down on the G string as the E string is alternately struck. The drum beat in this final section switches from a typical rock pattern to a more tribal rhythm that employs the tom toms in a very dominant manner.
The entire form is repeated and then the bridge is presented. The bridge continues with the tribal tom tom pattern of the final section and then suddenly stops. When the groove starts a few beats later, a fiery guitar solo begins that features some of the faster licks available in Lee's lead guitar tool kit. The piece ends by repeating the first three sections of the track.
This first part of this tune uses the flavor of twin electric leads that use microtones on the blue notes in harmony in order to bring about the intense harmonic flavors that really tickle the inner skull. The raw drum rhythms also express the tribal intensity invoked by this work. This piece is about elevating the primitive elements of rock into more educated realms that use more complex systems of harmonies, yet still retain their tribal essence.
My website is at LeeFitzsimmons.com
2 Highly Accurate VU Power Indicators
The highly accurate VU meters allow you to visually detect the audible signal for each channel. Also contains a built-in over-modulation indicator for each channel, this prevents unwanted distortion during recording
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
This morning we made the valentine cards for her preschool class, and she colored some hearts that Wave Of Modulation gave her.
I did not ask her to pose this way.
Roberto Gutiérrez
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 ]
Microchip announced its new SST11CP22 5 GHz power amplifier module (PAM) for the IEEE 802.11ac ultra high data rate Wi-Fi® standard. This PAM delivers 19 dBm linear output power at 1.8% dynamic EVM (Error Vector Magnitude) with MCS9 80 MHz bandwidth modulation. Additionally, the SST11CP22 delivers 20 dBm linear power at 3% EVM for 802.11a/n applications, is spectrum mask compliant up to 24 dBm for 802.11a communication, and has less than - 45 dBm/MHz RF harmonic output at this output power, making it easier for the system board to meet FCC regulations. To learn more about Microchip’s RF power amplifiers visit: www.microchip.com/Power-Amps-031715a
Perhaps linking a hospital car park with medieval chain mail is not such an outlandish idea, especially if it’s a Cambridge University teaching hospital. It certainly didn’t seem so for Allies and Morrison and Devereux Architects, who were commissioned by Addenbrooke’s to design one on for the expanded Rosie Maternity Hospital’s campus. The D&B proposal they came up with is lavished with playfulness and delight. The twisted yellow-painted aluminium facade that runs the full length and height of the building draws its inspiration from the rape seed fields that used to stretch away on the site, the twist creating a weaving modulation that imposes even while it dematerialises the mass.
The judges pronounced the design vision and detailing excellent throughout, along with rigorous and clear approaches to accessibility and way-finding – all-important in this medical environment.
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 ]
Jamis Cyclocross On/Off Road All Purpose Models Price Drop on These all purpose Gravel Griding Touring bicycles for all round use. Adventure Cycle 2464 Dufferin Street 416 787 4998
Over the barriers, through the mud, to the podium we go. On a Supernova of course. The carbon fiber Team and Elite versions of this perennial CX winner are guaranteed to have you reigning in the wet and muddy stuff. Then there’s our aluminum Nova Pro, Race and Sport, possibly some of the most versatile bikes we’ve ever built. They’re as ready for Monday morning’s asphalt commute as they were at the local gravel race last Saturday. And they’re just as ready to be loaded up with panniers for next month’s adventure tour.
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/cyclo...
2014 Jamis Nova Race $1082 regular price $2899 Gravel Grinder/Cyclocross Red
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/2014-...
2013 Jamis Nova Pro $1994 regular price $4589 Matt Black
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/2013-...
We also have Gravel Grinder Adventure Bicycles- Longer Wheel base and wider tires and rims:
The Renegade is ready for any adventure, no matter which Renegade you ride. The long and tall endurance geometry is designed specifically to ride comfortably all day on the road or in harsh conditions off-road. The smooth ride of the full carbon fiber Expert and Elite bikes set the bar for how we designed the steel Exploit and Expat and aluminum Exile to ride. With disc brakes and the ability to mount up to a 40c tire, these bikes are ready to go just about anywhere. All you need is the desire to push, pedal and explore.
/m_editable
Securing the rear wheel to the frame by threading it into the rear dropouts is not only safer, it's stiffer. Increasing the rear axle diameter from 10mm to 12mm provides a stable platform for the disc braking forces and allows us to tune the rear seat stays for more compliance/comfort
Tubeless and wider rims across the range provide great benefits on any terrain. The tubeless benefits are to help prevent flats with sealant as well as being able to adjust your tire pressure for the perfect ride. For example on dirt roads you may want to reduce the tire pressure to increase your contact patch for better grip without the worry of pinch flatting. The beauty of the 23-24mm wider rims effectively gives you a constant and wide tire surface yielding better handling, stability and confidence with plenty of surface grip for control
Just in case you want to continue to push the boundaries, we added cable routing capability for a 27.2mm dropper post. Carbon-made Elite and Expert models have routing for an internal post while the Exploit is fitted for external.
After two years of testing and research we are able to provide even more comfort by reducing the seat post diameter on the carbon Renegade to 27.2mm. Through the combination of a new frame seat cluster and clamping configuration we were able to accentuate the benefits of top-down 27.2mm seatpost comfort while not compromising on side-to-side flex
Starting with a wide and consistent stack and reach range, we set out to design a frame that could handle on or off road conditions while maintaining a comfortable ride. As you start to review the geo chart you will noticed we have 3 different fork offsets, BB drops and rear center measurements. Add size specific tubing and 2 different sized rear triangles and you have what we feel is the perfect endurance geo for all sized riders. The reason for this is that we wanted the 48 and 61 to fit the rider correctly and make the geo changes needed to provide the perfect ride.
Size Specific Tubing
Size Specific Design (SSD) is the Jamis design philosophy and technique used to create the best possible riding bike for each size rider. Rather than limiting frame size variations to just different length top, seat and head tubes lengths, we take an all-inclusive look at each frame’s total configuration. Every SSD frame will also feature size-specific BB drop, rear center, fork offset/trail and SST technology.
ACE is our Internal Cable Guide System that is companionable with mechanical or Di2 shifting as well as hydraulic or mechanical braking. To keep shifting and braking performing best in any & all conditions, we’ve routed all cables internally on the new Renegade and designed a completely enclosed BB guide to keep cables clean, assuring precise shifts and sure stops in all conditions. And if you want to shift electronically, we’ve got you covered. Incorporated into our internal cable guide system are a few extra cable fittings that make the Renegade Di2 compatible
To make life easier we have repositioned each mount externally in a variety of easy-to-use locations. With a wide collection of fork and frame mounts you can now choose to mount fenders, rear carrier, low-rider front carrier (or two cages for water bottles/ storage) and three front triangle water bottles. This will open up the options wherever and whenever you chose to ride. Bad weather, commuting, trekking, touring – anything is possible.
Disc Brakes
With endurance geometry designed to go anywhere the only choice was disc brakes. Now the Renegade Elite, Expert and Exploit all come with hydraulic brakes. With hydraulic disc brakes you will have the most consistent and confidence-inspiring braking available. Just think about jamming down hill on a rutted out fire road with your hands all over the hoods…the power & modulation benefits of hydraulic disc brakes become readily apparent
Thru Axles
The 12mm Thru-Axle on our Renegades offer the benefit of increased stiffness and a quick release system without any downside. Designed specifically to counter-act the stress and pull of disc brake tourque, these forks won’t drift when brakes are applied.
Jamis 2016 Renegade Exile $883 regular price $1285 Grey Aluminum
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2016 Renegade Expat $1,290 regular price $1877 Black Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2016 Renegade Exploit $1,872 regular price $3,018 Grey Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2017 Renegade Exile $1,171 Blue Aluminum
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2017 Renegade Expat $1,774 Grey Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
www.rbinc-sports.com/jamis-factory-outlet-store/cyclocros...
22nd March 2013 at Jazz Café Posk, London W6 (Maria Muldaur 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 shows (left to right) a Boss Blues Driver BD 2, an Ibanez TD 9 Tube Screamer, a Guyatone VT-X Vintage Tremolo, plus a Boss TU 2 Chromatic Tuner.
This is the vehicular mounted version of the BC-659A Manpack radio set. It looks pretty big to carry on your back, if you ask me. It operated on 27-38.9 MHz with about 2 watts output. The modulation was REALLY wide band FM, +/-75 KHz deviation, the same as used today in hi-fi stereo commercial FM broadcasting. Just for reference, North America is in the process of transitioning to +/- 2.5 KHz modulation for voice communication grade FM, or 1/30th of the bandwith used in WWII military gear. This unit was built by Galvin Manufacturing Company, later known as Motorola.
The altitude motor that does work is driven with a steady roughly-square-wave shape with peaks at +8.5V or -8.5V depending on direction. At full speed you simply get 8.5 V DC. I imagine the pulses are a poor man's way to control the average voltage by controlling how long the level is low or high.
[Looking around the Internet, this is called Pulse-Width Modulation or PWM, which is a standard way to control the speed of a DC electric motor -- The motor can't respond to this 20 kHz oscillation in voltage because its mechanical inertia acts like a low-pass filter so it essentially “sees” a lower constant voltage equivalent to the temporal mean voltage of the signal]
The period of about 51 microseconds suggests the PIC is controlling the motor in periods of 1024 steps at 20 MHz (1024/20000000=51 us). There is a 20 MHz crystal on the PIC circuit board. Alternatively, it might be something like 256 steps at 5 MHz.
In the azimuth motor that doesn't work you see the same pattern, but the teeth of the wave widen over time until the signal is always high (at Rate 1 it takes many seconds, at Rate 9 it immediately jumps to always high). I imagine this happens because the encoder isn't moving, so the PIC thinks it has to raise the average voltage to get the motor up to speed.
I bought one used GT motor on eBay which is already on its way here (visually it looks the same, but I'm not sure it will actually work with the SLT circuitry and mount). I also ordered two new SLT motors, model SLT-F00-1A (instead of SLT-F00-1), from telescopes.net that may take a bit longer to arrive.
Not happy with the centring here, nor with the iffy white balance, but the general idea is sound enough to warrant further investigation.
THWOMP is teaching us about post code modulation. Guitarist Dan Bronson (pictured) is talking about PCM and all the types of sound waves.
Postwar (1946) British radio. Black sides, streamlined two-wood front/top veneer, angled dial.
LW / MW / SW radio
March 7 - April 9, 2010
Opening reception: March 7, 4-7pm
It is with great pleasure that devening projects + editions announces The Lodger, an exhibition of new work by Peter Otto. The show will feature new paintings, works on paper and editions.
In this exhibition, as throughout most of his career, Otto makes the task of facing untenable cultural truths only slightly easier by persuading us with a system of delivery almost impossible to ignore. Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity—ever tested by social, cultural and political forces—bends, breaks and at times collapses. These paintings and sculptures show a reality emerging from the darkest moments. Evidence of the ways culture and society impose will and exert power is revealed on the surfaces of his verdant canvases and in the sculptures made from clay, plaster and bronze.
The themes are somber; the work though is delicately formed and teeming with graceful facture. It’s a difficult balance to strike, but Otto is able to bring forth stories of how cultural ruptures created by wars, famine, natural and man-made disasters form the basis from which that same culture is ultimately shaped. His paintings and drawings express a highly personal relationship with historical and contemporary events but always leaves the narrative open to evoke sensations interpretable from varied positions.
One thinks of Philip Guston when looking at Otto’s work. An acknowledged influence for the artist, Guston is a model for how to bridge the political and the formal. An example in Otto’s work is a regular use of stacked or hanging objects. Macabre associations are unavoidable, but one can never be sure. These “things” might also suggest built structures raised from a destroyed place or re-presented from an emergent culture. One might consider Guston’s piles of shoes and find a strong link to Otto. The concerns addressed in Otto’s most well-known paintings can also be seen in occasional large-scale public works in Holland such as Twisted Totem in Den Haag. This monumental work is a aggressively fragmented totem made from disparate parts. The sculpture, like the paintings, asks us to face difficult and challenging revelations about our culture and brings awareness to the ways in which we process trauma.
In one of several essays in Votive/Totem, the 2006 book on Otto, Rob Smolders writes: “Peter Otto juxtaposes his own malicious imagination with the imagination of society. He tightens pieces of string, erects crosses and gallows, puts up doors and fences, has a ball with junk he finds in his way: swastikas and Christmas trees, feet and heads, flowers and walking sticks. No dances in this world for it is inhabited by monsters and crutches.”
Of his painting and process, Smolders writes: “… Meanwhile, Peter Otto remained the painter he was. Magician when glazing, alchemist when patinating. The pictorial language of the paintings dating from the past five years is often acrid yet playful. Colors that are sometimes reminiscent of blood, tar or flesh, suddenly give way to the ripe color modulations of overblown flowers in an exuberant representation. References to war and violence that are too literal have been forced back. The tenor of the work is more general, even if the prevailing mood remains somber.”
Otto, who lives in Arnhem, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.
Devening Projects & Editions
3039 West Carroll
Chicago, IL 60612
Tel.: 312-420-4720
Microchip announced its new 5 GHz, 50 ohm Matched WLAN Front End Module (FEM)—the SST11LF04—for high data rate mobile device applications. The SST11LF04 features a transmitter power amplifier, a receiver low-noise amplifier with bypass and a low-loss, single-pole two-throw antenna switch for 5 GHz WLAN connectivity into one integrated, compact 2.5x2.5x0.4 mm, 16-pin QFN package, making it ideal for high-data-rate mobile device applications. With its small footprint, high linear output power of up to 16 dBm and 17 dBm, at 3.3V and 5V Vcc respectively—for 1.75% dynamic EVM using MCS9-HT80 modulation and 80 MHz bandwidth along with 18 dBm and 19 dBm linear power for 3% EVM at 3.3V and 5V, respectively—the SST11LF04 extends the range of IEEE 802.11a WLAN system while providing exceptional transmit power at the maximum 11ac high-data–rate modulation. The receiver has a 12 dB gain and a greater than -6 dBm input (1 dB) compression level. In LNA bypass mode, the receiver has a 2.5 dB noise figure and an -6 dBm input compression level. For more info, visit: www.microchip.com/get/K6WW
Nolita, Manhattan, New York City, New York, United States
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report