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Specification
Coach Model MAN 18.350 HOCL/R
Chassis Length 11,850 mm
Chassis Width 2,526 mm
GVW 18,200 kg
Engine Type
Vertical, Water Cooled 6-cylinder 4-stroke Diesel Engine
With Common Rail Injection,
Exhaust Turbocharger and Intercooler
ECR, Replaceable Cylinders Liners
Engine Model MAN D2066 LUH13 Euro 4
Displacement 10,518 c.c
Maximum Output 257 kW (350 hp) @ 1,700 rpm
Maximum Torque 1,750 Nm @ 1,000-1,400 rpm
Bore 120 mm
Stroke 155 mm
Fuel Capacity 300 dm³
Transmission ZF 6S 1900 BO 6-speed Synchromesh Manual Transmission
ZF 6 HP 504C 6-speed Automatic Transmission
Voith D864.5 4-speed Automatic Transmission
Drive Axle MAN HY-1336-B
Suspension Capacity 13,000 kg
Front Axle MAN V9-82 SL
Suspension Capacity 8,200 kg
Brake
Dual Circuit Air Brake System to ADR Directives by Wabco
Front and Rear Axle Disc Brakes
Electronic brake system EBS (ABS, TCS)
Auxiliary Brake Manual Transmission: Engine Brake Valve (EBV)
Automatic Transmission: Integrated Retarder and
Water Cooled with Electric Pressure Modulation
Suspension
Air suspension with 6 identical rolling seals
With Integrated Elastic Stroke Limiter
Electronically Controlled Constant Entrance Height
Suspension Characteristics Under All Load Conditions
Front Suspension 2 x Air Bellows
2 x Shock Absorbers
1 x Level Control Values
1 x Stabilizers
Rear Suspension 4 x Air Bellows
4 x Shock Absorbers
2 x Level Control Values
1 x Stabilizers
... simplified block diagram ... A.M. transmitter ...
... the 'Q Type’ transmitter was an evolution of that designed by Marconi's Wireless Telegraph Company Limited for the experimental station MZX and broadcasting station 2MT. These designs were, in turn, based on earlier telephony transmitters that used amplitude modulation (A.M.) dating back to the first world war.
The 'Q Type’ was designed by Captain Henry Joseph Round MC, assisted by C. S. Franklin, and incorporated enhancements over the earlier design used for 2MT. These included a higher rated output power of approximately 1 kW and the elimination of some single points of failure to increase the system's availability. The first 'Q' type transmitter was used in November 1922 as an upgrade for station 2LO, located in London. The subsequent British Broadcasting Company stations, including 6BM at Bournemouth, also used the 'Q' type transmitter.
The designers could have chosen to modulate the grid of the Modulated Amplifier triode but the valve had a non-linear gain characteristic. This method would therefore have introduced too much distortion. They instead selected direct 'plate' or anode modulation to optimise the quality of the modulated signal, even though this needed four MT7B high power triodes to generate the necessary audio frequency power.
A large iron-cored ‘speech choke’ ensured that the amplified audio frequency signal was impressed on the Modulated Amplifier’s EHT plate supply and reflected away from the EHT supply smoothing filter. This enabled the radio frequency signal to become amplitude modulated, with a modulation factor of nearly 100%.
The high power triode valves were developed by Marconi's and manufactured at the Osram Lamp Works (Marconi-Osram Valves or MOV). These large air-cooled valves were fairly primitive triodes:
MT4 - medium power triode, 80 watts anode dissipation. Maximum cathode current: 0.3 amps. Filament: 12.5 volts, 6.3 amps. Used for the Sub-Modulator at audio frequency.
MT7B - high power triode, 500 watts maximum anode dissipation. Four MT7B's were used in parallel for the Modulator at audio frequency.
MT2 - medium power triode, 300 watts continuous anode dissipation. Maximum cathode current: 1.0 amps. Filament: 17 volts, 15 amps. The MT2's were used for the Master Oscillator and the Modulated Amplifier at radio frequency.
Unlike most of the other BBC stations commissioned in 1923, Bournemouth had a purpose-built transmitter hut with a battery room, motor room, transmitter room and office.
Reference: 'The Saga of Marconi-Osram Valves' by Barry Vyse and George Jessop.
Reference: Description of 2LO Transmitter, by Rod Viveash, Appendix A to ‘From Hidden Technology to Exhibition Showpiece: The Journey of 2LO, the BBC’s First Radio Transmitter, 1922-2012’ by Dr. Alison Hess, Royal Holloway, University of London.
Engineers assigned to 6BM included:
L. A. V. Everitt
A. Walker
R. Haworth
R. G. ‘Tiny’ Durham
Get It From: www.24freepostage.com/
Blue Aluminum Bluetooth (White Keyboard) Wireless Thinnest Slim Case Cover For iPad 2 3 Gen
Feather:
Blue Background Aluminum Faceplate (White Keyboard)
1.The Bluetooth keyboard of ipad is the world's thinnest, and it is just 16.5mm after the merger with ipad. single thickness of Bluetooth keyboard of ipad is only 11mm. The machine weighs just 280 grams, so that it is the world's best carry-on performance Bluetooth keyboard.
2.Maximum Scissor keyboard is designed for ipad, the keyboard pitch to 16.6mm. Chocolate-style keycap's design allows users to experience a more good sense compared to other Bluetooth keyboard. Undoubtedly, the experience of mobile Bluetooth keyboard is the best.
3.Enclosure made of aluminum alloys is used to make the machine more attractive, fashionable, and more integration with ipad native.
4.The Bluetooth keyboard of ipad can be used just by a movement to place ipad on the slot of machine, and is the world's most convenient to use
Description:
Function:
1.Bluetooth 2.0 interface standard
2.Operating Distance to 10 meters.
3.Modulation System:GFSK
4.Lithium Battery Capacity:160mA
5.Uninterrupted Working Time:55hours
6.Operatin Voltage:3.0-5.0V
7.Standby Time:60days
8.Charging Time:4-5hours
Material:Aluminum & Electronic Components
Package:1 x Wireless Keyboard (iPad 2/3 & Support is not include)
1 x USB Power Charger Cable
Compatible:
iPad 2/3 Gen
Heading: 1-2 business day
www.quizyourprofile.com/guessyournumber.swf
OK. Try this out. The computer knows what number you have chosen! Every time!
My first thought was that the government had progressed to being able to listen in to our conversations via computer....so I did the exercise using a silent count.....to my amazement the machine was able to predict my number......so...i knew something was up.....I knew that in order for the government to be able to use our computers in this way (without a simple listening device) they had to have an outside source which would bombard us with microwaves...out computers alone could not bring about the results that I was seeing, so what was the source of these waves?
of course, with an RF signal detector I knew I would probably be able to find the signal that the government was using in conjunction with a home computer, in order to either read our minds or cause us to do or think certain things....sxo i made some phone calls.....
Using a microwave signal strength meter, I borrowed from W.P.I. I have made several objective observations about these signals:
1. they tend to be beamed through the window of a room where one spends the most time, usually the window facing the front street
2. they are specifically directed to target and track a person inside his home
3. the tracking speed is slow, and when the target moves, the signal takes several seconds or minutes to search and find the target at his new location.
4. when the target enters an area in his home that the signal cannot reach, the signal goes on a wide search mode, thinking the target has left his home and is traveling about town.
5. when the primary window is blocked off, within days the signal finds another window or thin wall to penetrate
6. one can feel the effects of this signal, which may induce a dull headache or pressure in the temples
I now believe cell phone towers are used to generate these signals by triangulating hotspots on selected tracked targets. our own home computers perform the calculations necessary to alter the signal of each of three cell phone towers so as to triangulate a hotspot of signal at the target’s location. When the target moves, new calculations have to be made, which takes several seconds. Maybe something else generates the beams, like satellites.
These signals must consist of microwave carriers with ELF modulation, and perhaps with audio or text encoded messages. Some possibilities:
1. the microwaves resonate with DNA, can penetrate flesh and bone, pass through some walls and windows, and are already in use by cell phones.
2. these signals entrain brainwaves into a high-beta state, which causes aggression and stress, or an alpha level that induces hypnotic states and can induce one to think of a specific number.
3. besides the ELF waves that entrain brain states, the carrier may also convey audio messages. I have not verified what these messages are, but they could be something along the lines of “You are angry, You cannot think, You give up, You have no energy, or of course pick number 8…” These audio messages could be modulated into the microwave carrier via frequency modulation, while the ELF brain-entrainment signals could be amplitude modulated.
4. there may also be emotional signatures frequency-modulated into the carrier. These can induce anger, frustration, sadness, or essentially any human emotion into susceptible targets
so after much consideration there are two things I believe you can do. First, you can learn to better cope with these signals. The more you are in control of your own mind and emotions, and the more observant you are about your own behavior, the less influence these signals have upon your thoughts, feelings, and behavior. Knowing is half the battle.
Second, you can take additional steps to reduce the level of EM radiation in your home, by blocking these signals.Standard methods of blocking microwave mind programming signals consist of Faraday cages, but Faraday cages are difficult and expensive to build.
but by using this simple to construct hat you can block most but not all of the signals.....If you need assistance I can help you construct a hat of the right height. When using the hat the machine was only able to predict my number 3 out of the ten tries. One of the times the hat had slid down on my head so we can discount that as a false positive....
So,there you have it! Anybody need a hat?
Jamis DXT Dual Sport Bicycles ON/OFF road hybrids: What are they? This is a hybrid with a mountain bike position but with road wheel 29” 700c wheels that are a bit wider then road hybrids so they are great for all round use: roads, dirt roads, a bit of mud as well. You can put wider tires with bigger tread as well if you want to go hard core off roading. They also have suspension forks and mountain bike gears so they are like a light weight fast mountain bike.
The dual-sport DXT’s are pumped-up, go-anywhere/do-anything versions of our Allegro fitness bikes. With more gearing range to take on steeper hills and tougher terrain. Wider tires with a trail-capable tread for access to more riding areas, both paved and packed. And disc brakes and suspension forks for real off-road exploration and off-pavement adventure.
Fast Tires: The advantage of large diameter wheels is getting a lot of press these days with all the noise and news about 29’er mountain bikes. We like to think that the DXT is one of the original 29’ers. With big 700c hoops (same as a 29’er) that roll over bumps & holes better than smaller diameter 26” or 27.5” wheels, and with a bigger contact patch for greater traction and control. But in the case of the DXT, with a smaller 40c width & smoother tread that significantly reduces rolling resistance over fatter, knobbier mountain bike tires for faster sailing on streets and paths.
Absolute versatility: Every DXT offers a full complement of eyelets and rack mounts to simplify installation of carriers and fenders. We even include bosses on the underside of the seatstays for installation of a ring lock. Ring locks are tremendously popular in Europe. A simple turn of the key immobilizes the rear wheel and prevents someone from riding off with your bike.
Go Anywhere. Do Anything: The drivetrains on our DXT bikes feature long cage ATB rear derailleurs, full-size triple chainring cranksets and big 11-34 or 32T cassette blocks. This gives you the dual advantage of having high road bike gearing for controlled pedaling at speed on descents and low mountain bike gearing for easier pedaling uphill.
Full Shimano Shift Systems: Fully integrated shifting systems offer the most precise and reliable performance. That’s why every DXT offers Shimano shifters, Shimano front and rear derailleurs, Shimano cranksets and Shimano cassettes.
Awesome brakes: The advantages of disc brakes over rim brakes on a versatile bike like the DXT far exceed their sole disadvantage, weight gain. Besides their incredible power and modulation, they’re just plain safer, especially in the rain. Once rims get wet or muddy, using friction to stop the wheel at its circumference is less efficient than using friction to stop a less wet or muddy small diameter disc near the center of the wheel from rotating. And eliminating the rim from braking surface duties results in a longer lasting wheel
Suspension When you need it, Lock out when you don’t: The advantage of a suspension fork should be intuitively clear: hit a bump and absorb it. Hit a bump and stay in control of your bike. But suspension isn’t always desirable. When riding on smooth pavement or climbing, pedaling energy and power can be absorbed and dissipated by the movement (bobbing) of the fork. Enter lockout. With a flip of a knob on the top of the fork, the fork’s travel can be locked from movement, allowing the bike to be 100% responsive to pedaling input .
Adjustable Cockpit height (stem adjustment): Proper fit on your bike is critical for maximum performance and comfort. That’s why we offer the patented ATS adjustable threadless steering system on the Allegro Elite and Comp models. Whether you want to fine tune your ride and establish the perfect fit, or change it regularly to suit different terrain, with this stem, adjusting your handlebar height is as easy as adjusting your seat post height. You can even adjust it quickly while out on a ride.
2016 DXT Sport $586 WAS $853
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT SPORT STEP THROUGH $599 WAS $955
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2015 DXT COMP $817 WAS $1279
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT COMP $699 WAS $1069
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2016 DXT ELITE $899 WAS $1459
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
2017 DXT SPORT FEMME $771
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/catalog/bikes/jamis-bikes/street/dua...
www.rbinc-sports.com/jamis-factory-outlet-store/jamis-dxt...
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
As if I needed another large, unwieldy vintage organ...I found this awesome Hammond B-3 clone for $100 in a local store. It's an Italian-made Crumar T2. I've seen them go for $300-$500 with a dead key..there's no foot pedal for swells, and I don't think the fold down legs were still on the case body (it's one that stays "in" the case when you take the lid off....but I have total Stereolab delusions I'm seriously considering indulging.
Untitled
2009
Mica acrylic
Rosana Castrillo Díaz, Spanish, born 1971
Commissioned through a gift of Robert and Claudia Allen and the Mary Heath Keesling Fund, 2009.85
"I was very interested in exploring how the light would act with the mica. I knew there was going to be a lot of light, even though the space was not created yet. When I think about light, I always think about marble sculptures. The modulation of light in the Renaissance sculptures by Michelangelo and Bernini fascinates me. I was looking at the drapery in these works, and made some drawings. That was a reference for the conception of this work." -- Rosana Castrillo Díaz, interview with the SFMOMA Education Department, 2010
The San Francisco Museum of Modern Art (SFMoMA) was opened in 1935 under director Grace L. McCann Morley as the San Francisco Museum of Art, the first museum on the West Coast devoted solely to 20th-century art. For its first sixty years, the museum occupied upper floors of the War Memorial Veterans Building in the Civic Center. Under director Henry T. Hopkins, the museum added "Modern" to its title in 1975, and established an international reputation. In 1995 the museum moved to its current location, a large cubistic building designed by Mario Botta Architetto of Hellmuth, Obata & Kassabaum at 151 Third Street.
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
The mess of today's experiment of generating DC signals in Reason and routing them to moogerfoogers -> Like a ReVolta!
After lots of research into Fine Art giclée printing and artwork reproduction capture I am pleased to announce the arrival of my new print, 'If They Were Bunnies'. With this print I worked closely with the amazing Mark Parry, of The Artist's Print Room, whose eye for detail spot on. I was so impressed with Mark's work that I also commissioned him to photograph the artwork that I produced for the new Scaramanga Six album.
Aside from Mark's unparalleled photographic and reproduction skills, one of the major selling points for me, in using The Artist's Print Room, is his use of cutting edge Epson® HDX Ultrachrome archival pigments inks, as opposed to ordinary dye-base inks, which are more prone to fading over prolonged exposure to UV light.
At this point I'd like to interject an apology for the white balance on the photograph (which you see here) that I took of the finished 'If They Were Bunnies' print. In the actual print, the bunnies and border are the pure white of the paper, as opposed to the off white that you see here. My Bad!
I created the original image for 'If They Were Bunnies' by first selecting a newspaper image of British police officers attacking demonstrators. I then placed a clear animation cell over the image, and painted out the protestors - replacing them with my own cartoon rabbits. After scanning the image I then tidied up a few bits on my laptop to heighten the contrast between the crisp graphic line work of the bunnies and the just about perceptible halftone modulations of the newspaper image.
As well as the archival pigment inks, that I previously mentioned, 'If They Were Buinnies' is printed on Hahnemuhle Bright White 310 gsm; an acid-free, premium heavy-weight archival paper. The image is 45.5 x 33 cm, and the paper size is 50.5 x 39.3 cm. Each print is signed and editioned (being from a limited edition of 100). The prints are also embossed with an authentication stamp in the lower left corners of the border.
For a limited period I'll be offering 'If They Were Bunnies' at the reduced price of £120 (usual price £150) to members of my mailing list, or to anyone wishing to join the list. So, if you are interested in one of the new prints, or just in joining my mailing list, please feel free to drop me a line at waynechisnall@yahoo.co.uk
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
From VintageSynth.com: The GR-700 is a stomp-box guitar synth with the same synth engine as the JX-3P. The G-707 is the flashy guitar controller which connects to the 700 via 24 pin cable. On the 707 guitar are knobs for the cut-off edit and LFO modulation! So now you can play synth sounds with the guitar instead of a keyboard. Sound-wise it's a pretty good synth. You will need the PG-200 programmer if you want to edit patches more easily. Recall patches by stomping on the foot pedals.
The GR-700 is a six voice polyphonic with two DCO's per voice which means analog oscillators and sounds with digital stability and control. The typical assortment of a resonant lowpass filter, ADSR envelope, LFO and oscillator sections are here with easy and straight-forward programming. The GR-700 and G-707 are used by Cirrus, Tim Skold with MDFMK, Amir Derakh of Orgy, Charlie Singleton of Cameo, T.G.Noyes, King Crimson, Sigue Sigue Sputnik, and Andy Summers of the Police.
There really is no such thing as a single LED that glows purple. To make purple LED lights, they make each bulb with one red LED and one blue LED inside it.
But if both LEDs were fully on all the time, the color would be too "blue", and not "purple" enough. (Blue LEDs are brighter than red ones, and they'd outshine the red ones and make the mix look too indigoish.)
And LEDs cannot really be "dimmed"; either they're on full blast or they're off.
So to mix just the right color purple, each tiny bulb keeps its red LED on all the time (100%), but then it pulses the blue LED on and off and on and off, so that overall it's only lit a fraction of the time, and thus appears dimmer. After all, if its only on half of the time, it's only putting out half of the light in a given period of time.
If the flashing of the blue is fast enough -- faster than the steady eye can see -- you don't even notice.
BUT! If you move your eyes or your head (or your camera) quickly past the bulbs, the secret of the on-off-on-off blue LEDs is revealed!
You could even just take a ruler and measure the length of the bright blue "on" streaks compared to the red parts on this picture, and figure out the exact proportion of red and blue that the manufacturer mixed to make this color of purple.
Science. It works, _.
This is a side view of the model R/C tank I am designing on a gearbox + Tracks & wheels from Tamiya. The radio is Hitec and two receiver servo outputs feed my microcontroller-based Pulse Position Modulation to PWM converter power output to the two motors.
Full details at www.5volt.eu
Inner panel: the famous 24db filters.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Accompaying our March 2013 cover story on electronic music producer Junkie XL, here's a trove of gear pics he sent us personally! The SE MIDImoogs and MIDIminis featured a lot of control and modulation options not found on the original Moogs.
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
Equipped with sophisticated Enhanced Capture/Compare/PWM (ECCP) peripheral the Microchip PIC18F14K50 microcontroller could produce up to four PWM channel outputs. The enhanced PWM (Pulse Width Modulation) mode in ECCP peripheral is capable to drive the full bridge DC Motor circuit directly both in forward or reverse direction. It also could generate single PWM output on the selectable PIC18F14K50 pins when it configured in pulse steering mode. For more information you could visit www.ermicro.com/blog/?p=1461
Static
a. inactive, not in physical motion
b. of or relating to bodies at rest or forces in equilibrium
c. a crackling or hissing noise caused by electrical interference
Pulse
a. rhythmical beating, vibrating, or sounding
b. a transient variation of a quantity whose value is normally constant
c. an electromagnetic wave or modulation thereof of brief duration
Shot in Tokyo with Canon 350D and 5D DSLRs, processed with Lightroom (raw files color adjustment and resizing)/VirtualDub (deshaker/deflicker filters)/Sony Vegas (editing). Original rendered in full 1080 HD@30p.
Music : Edge to Life by Recoil on "Bloodline". Available from all major music outlets.
All rights reserved to their respective owners.
Please go on the Getty Images website if you wish to license the time lapse sequences: www.gettyimages.com/Search/Search.aspx?contractUrl=2&...
Watch this video on Vimeo. Video created by Samuel Cockedey.
Cheap ass way to create an analog signal from digital output. Pulse width modulation from Arduino used to control the brightness of the led.
This triangle wave is the residual PWM signal (originally a square wave) after filtering through a simple RC network. The resistor is 1kΩ and the capacitor is 68nF. Amplitude of the 31.25kHz signal is about 0.6V. This seems a bit much to me, so I propose to try a more sophisticated active filter circuit. The scope is a rather beaten-up Philips PM3335.
UPDATE: This is the type of filter that I'm thinking of:
interface.khm.de/index.php/lab/experiments/arduino-dds-si...
BW Neurochemistry Neuroscience Senior Benjamin Brown '15, has been working with Case Western Reserve University School of Medicine professor Bradley T. Lang on modulation of the proteoglycan receptor PTPσ promotes recovery after spinal cord injury. Their work was published this week 12/3/14 in the international weekly journal of science, Nature. He is seen here in the Neurochemistry lab in Wilker Hall room 234 where he worked on parts of the research for the scientific discovery.
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
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
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Orange Juice Drive is in a classical RAT type circuit and sounding topolgy. We add extra switch for select between symmetric or asymmetric clipping. Not operable with battery.
"Architecture is a chained and fettered art. Far from being "frozen music," it is an art constantly attempting to realize in solid, stable form those effects which music is able to conjure up in an instant—effects which succeed each other rapidly during the progress of a musical work. Music can attain the colossal in a way which, in architecture, only the rarest opportunities render even remotely possible. Music can, in a few moments, admit us through vast portals into avenues, courts and halls of infinite extent and variety. Music can suddenly raise up an entire structure and, by the device of modulation, lift it on to a podium, abruptly recess its facades and turn them bodily into the sunshine. Music can etch silhouettes ten times more intricate than those of Dresden or London City, repeat them, increase or reduce them, hurl them into the distance or bring them before us in precise detail. Most of the essentials of architecture—mass, rhythm, texture, outline—are within music's power. Almost, the two arts are the same art, the one able to express nearly everything which the imagination is capable of conceiving, the other bound by the rigours of economy and use."
~ John Newenham Summerson, Heavenly Mansions and Other Essays on Architecture, ch. 5, AMS Press (1949)
With bivalve flange compression ratings heretofore unthinkable, this low-cost reengineering of the workhorse Tremulant Coraline TX12 is guaranteed to provide the ultimate in steam sequestration and harmonic regulation, providing superior memetic boost and reduced Blaylock emissions. And with the new Rosencranz-Hugyens Mach V zero-point phase-shift gasket locks, modulation breakdown is a relic of the past!
320x480@160 for iphone wallpaper goodness!
The title “Unitxt” could be read as “unit extended” referring to a unit of a rhythmic grid or universal text referring to a universal language, e.g. mathematics: units, constants, measurements, prefix-, SI-system of units and is represented in spoken word and by codes in sound itself.
In collaboration with derivative’s touch designer software the original visuals, which are based on real-time manipulation/modulation of software-generated test patterns, has been expanded to a multi-screen set-up with a highly elaborated visual outfit to form an installation of an almost immersive quality.
This special set-up has been developed for more large scale venues and festivals of high demand. So far it has had presentations at Transmediale Berlin, followed by shows at Mutek Montréal and Sonár Barcelona.
credit: rubra
SELL $ 40.00
RETAIL PRICE $57.98
Speed and Range with Internet Security
•Good for surfing the Internet, email and online chat
•Simple and secure way to share your high-speed Internet connection
•Easy set-up with Smart Wizard® installation CD
•Works with computers with internal Wi-Fi adapter
•Automatically upgrades to the latest router firmware during installation
Features
•Internet sharing broadband router and 4-port switch
•Automatically upgrades to the latest router firmware during installation
•Configurable for private networks and public hotspots
•Double firewall protection from external hackers attacks
•Touchless WiFi Security makes securing your network easy
•Second internal antenna improves range
•Broadband (cable, DSL) Internet service and modem with Ethernet connection
•2.4 GHz wireless adapter or Ethernet adapter and cable for each computer
•Microsoft® Windows® Vista™, XP, 2000, NT, 98, Me, and any other operating system running a TCP/IP network
•Microsoft Internet Explorer™ 5.0 or Netscape® 7.0 or higher
Physical Specifications
•Dimensions: 28 x 175 x 118 mm (1.1 x 6.9 x 4.7 in)
•Weight: 0.26 kg (0.57 lb)
Routing Protocols
•Static routing with TCP/IP, VPN pass-through (IPsec, L2TP), NAT, PPTP, PPPoE, DHCP (client & server)
Application Support
•Works with most Internet gaming and instant messaging applications
Functions
•Automatically detects your ISP type, exposed host (DMZ), MAC address authentication, URL content filtering, logs of Internet activity
Physical Interfaces
•Internet/WAN: 10/100 Mbps (auto-sensing) Ethernet, RJ-45
•LAN: 4 ports 10/100 Mbps (auto-sensing) Ethernet, RJ-45
Wireless
•Network Speeds: 1, 2, 5.5, 6, 9, 11, 12, 18, 24, 36, 48, & 54 Mbps (auto rate capable)
•Modulation Type: 802.11b: DSSS, CCK, DBPSK, DQPSK, 802.11g: BPSK, QPSK, 16QAM, 64QAM
Features
•Parental control
•Double firewall protection
•Denial-of-service (DoS) attack prevention
•Wi-Fi Protected Access™ (WPA2-PSK, WPA-PSK) and WEP
Antenna
•2 dBi
Power Adapter
•12.0V DC, 1.0A; plug is localized to country of sale
Warranty
•NETGEAR 1-year Warranty
Package Contents
•Wireless-G Router (WGR614v9)
•Smart Wizard installation CD
•Power adapter, localized to country of sale
•Ethernet cable
•Vertical stand
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 upcoming Hertz Donut by The Harvestman. Its a dual oscillator design (primary/modulation), kinda like a digital Buchla 259. From the Harvestman site (www.theharvestman.org/9791.htm): "Voltage-controlled waveform discontinuity, internal pitch tracking with several lag settings. Dedicated square wave outputs, as well as the Cleanest Sine in Town." 17 HP in size, price to be announced, available sometime in May. LINK to mp3: soundcloud.com/harvestman/hzdfmtest1 .
Radio station promo record for the 1955 MGM movie, "Jupiter's Darling" in transparent red vinyl. The periodic modulation patterns are clearly visible. I need haul out the turntable and see if the disk even fits without hitting the tonearm plinth. The patterns are so regular I can't help but imagine the sounds are nearly pure tones.
Inner panel: the oscillators
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Type I - Sensory Modulation Disorder (SMD). Over, or under responding to sensory stimuli or seeking sensory stimulation. This group may include a fearful and/or anxious pattern, negative and/or stubborn behaviors, self-absorbed behaviors...
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
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 ]
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 ]
Evil Twin : Circuit Bent Twin Neck Toy Guitar.
Each neck has a range of sounds, top one are leads, bottom one, riffs and rhythms.
The 2 necks can be pitched independently of each other and have their own volume controls and an LFO for modulation, with speed and depth controls. The original toy was a hideous orange colour with tiger stripes so I gave it a nice hazard warning stripes paint job.
www.drosophila-images.org/2015.shtml
This image shows the nutritional plasticity of a terminal tracheal cell (visualised in green using DSRF>mCD8GFP) populating the larval hindgut (highlighted in blue with an actin staining). In well fed larvae, the enteric tracheal terminal cells are profusely branched (top panel). A mild dietary restriction that does not affect growth rate or the size of other organs results in preferentially reduced branching of these enteric tracheal cells (bottom panel), but not other tracheal subsets.
Our study further showed that tracheal branching is controlled by nutrient responsive-neurons through their release of insulin-like and Pigment-dispersing factor (Pdf) neuropeptides. It also demonstrated that the plasticity of enteric trachea plays a key role in driving adaptations to malnutrition. Together, our findings uncovered a new mechanism by which nutritional cues modulate neuronal activity to give rise to organ-specific, long-lasting changes in tracheal architecture.
Linneweber GA, Jacobson J, Busch KE, Hudry B, Christov CP, Dormann D, Yuan M, Otani T, Knust E, de Bono M, et al. (2014). ”Neuronal Control of Metabolism through Nutrient-Dependent Modulation of Tracheal Branching.” Cell 156, 69-83.
Emmett Louis Hardy (June 12, 1903 – June 16, 1925)[1] was an American jazz cornet player during the early 1900s.
Career
Hardy was born in the New Orleans suburb of Gretna, Louisiana, United States, and lived much of his life in the Algiers neighborhood, on the west bank of New Orleans. Hardy was a child prodigy, described as already playing marvelously in his early teens.[1] Some New Orleans musicians remembered as a musical highlight of their lives, a 1919 cutting contest where, after long and intense struggle, Hardy succeeded in outplaying Louis Armstrong. (It is likely that Armstrong, although two years older than Hardy, had not yet hit his full stride at that time.)
In Hardy's early teens, he was a member of Papa Jack Laine's band,[1] then worked in the Carlisle Evans Band and Norman Brownlee's Orchestra of New Orleans.[2] He belonged to a small band that supported singer Bee Palmer.[2] After moving to Chicago, he became a member of the New Orleans Rhythm Kings.[1] For a time during its Friar's Inn residency/ the NORK used a two-cornet format – Paul Mares, leader and first cornet, and Emmett Hardy as second. As with other New Orleans jazz bands of that time (such as King Oliver's Creole Jazz Band and The Original Tuxedo Orchestra), the more creative player played the second part, with the first cornet staying closer to the lead line. Hardy did not appear on any of the Rhythm Kings recording sessions, never making any commercial recordings before his early death.[1]
After returning to New Orleans in the early 1920s, he led his own band and played in the band of Norman Brownlee.
Hardy's playing is described as being more lyrical than many of his New Orleans contemporaries, but with a driving rhythm. His tone was much admired. "Emmet...always preferred playing in some screwy, plenty tough keys like B-natural, F-sharp, C-sharp, D-flat, and E-natural, using all those keys on one tune and making his own modulations into and out of choruses. His tone was pure and wonderful and it sorta rolled forth, except with a drive like I've never heard anyone else get."—Monk Hazel, Down Beat magazine, May 15, 1940[3] Hardy was an important influence on Bix Beiderbecke,[1] [3] and Monk Hazel pointed out that Beiderbecke on the Wolverines records sounded very much like Hardy.[4][5]
"It’s no wonder that later, after the Wolverine era when Bix was forging ahead with Goldkette and Whiteman, Beiderbecke modestly paid tribute to Hardy as his greatest inspiration, and that he even wrote Emmet’s mother late in 1925 saying 'Emmet was the greatest musician I have ever heard. If ever I can come near your son’s greatness I'll die happy.'"—Dave Dexter Jr., Down Beat, June 1, 1940[4]
Hardy also did metal work, made his own mouthpieces for his horn, and modified his cornet to add an additional spit-valve. A relative remembered Hardy as being somewhat shy and unassuming, with a good dry sense of humor; that he was easily frightened by sudden loud noises, and superstitious about passing by graveyards.
When advancing tuberculosis started to make his breathing difficult, Hardy taught himself banjo so he could continue playing music.
Hardy and some of his musician friends made some home recordings on wax phonograph cylinders for their own amusement. As Hardy's tuberculosis worsened and his death seemed inevitable, the friends decided to preserve the cylinders as a memento of Hardy's playing. At least one cylinder survived to the start of the 1950s; the relative who heard it then said Hardy's playing reminded him of Sharkey Bonano. When Tulane University's Jazz Archive was established in the late 1950s, however, a diligent search failed to turn up any of these recordings, which are presumed lost forever.
Hardy died of tuberculosis in New Orleans, just four days after his 22nd birthday,[1] and was buried in Gretna, Louisiana.[2]
References
Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (First ed.). Guinness Publishing. p. 189. ISBN 0-85112-580-8.
Chadbourne, Eugene. "Emmett Hardy". AllMusic. Retrieved December 31, 2018.
Dexter, Dave (May 15, 1940). "Story of Emmet Hardy Told by New Orleans Musicians". Down Beat.
Dexter, Dave (June 1, 1940). "Hardy Welcomed Death By Playing the Blues!". Down Beat.
Raeburn, Bruce Boyd (July 2012). "Bix Beiderbecke and New Orleans". crj-online.org.
en.wikipedia.org/wiki/Emmett_Hardy accessed 8/12/2022 rvs
Captured 5 May 2021, 23:00 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f/6.2, exposure 14 sec, gain 20, bin 1, stack of 50 light frames, dark and flat frames subtracted, no filter.
Clouds: clear
Seeing: 30, good
Transparency: 30, good
Moon phase: 33%
FOV: 44 x 34 arcmin before crop
Resolution: 0.8 arcsec/pixel
Orientation: Up is South
Apparent magnitude: +6.2
Apparent size: 18 arcmin
Appearance: Beautiful rich star cluster.
From Wikipedia:
Messier 3 (M3 or NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered on May 3, 1764, and was the first Messier object to be discovered by Charles Messier himself. Messier originally mistook the object for a nebula without stars. This mistake was corrected after the stars were resolved 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 found by looking almost exactly halfway along the north-west line that would join Arcturus (α Boötis) to Cor Caroli (α Canum Venaticorum). 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 double that.
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 11.4 billion years old. It is centered at 32,615.64 light-years (10 kpc) away from Earth.
Messier 3 is quite isolated as is 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 most 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.
Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.
The Moisturizer was developed with the help of Jason Willett (Half Japanese, Leperchaun Catering), Martin Schmidt (Matmos, Instant Coffee), Joshua Atkins (Polygons, Major Powers), mom & dad and many more