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LEE AGUINALDO (1933 - 2007)
Green Circulation #9
Estimate: PHP 4,000,000 - 4,500,000
Signed and dated '1981' (back)
Acrylic on marine plywood
81.2 x 81.2 cm (32 x 32 in)
Literature:
Ma. Victoria Herrera, Clarissa Chikiamco, Cid Reyes, Rod. Paras-Perez, The Life and Art of Lee Aguinaldo, 2011, p. 118
Lee Aguinaldo was a seminal figure in the development of Philippine abstract art in the 20th century. His contributions to the field of minimalism and geometric abstraction are particularly noteworthy, especially with his widely-acclaimed Circulation series. Aguinaldo's innovative approach to reductive art is apparent in these series, particularly in the way he played with gradients, symmetry, and hues to create finely tuned compositions.
The works from the Circulation series are characterized by their adherence to strict geometric shapes and the use of a limited color palette. Here, Aguinaldo explored the possibilities of abstraction and minimalism, creating compositions that were at once strikingly simple and endlessly complex. Aguinaldo's work was marked by his masterful use of color and form, which he used to create a sense of harmony and balance in his compositions.
Green Circulation #9 is a prime example. The piece adheres to the series' signature square frame, which is complemented by two broad vertical bands on either side and a central pane filled with gradated fields of hyper-modulated colors of green and blue. The central pane, in particular, is a tour-de-force of color modulation, as the colors blend seamlessly, creating an otherworldly effect that is simultaneously soothing and mesmerizing.
Aguinaldo's virtuosic brushwork is on full display in this piece, attuned to the modulation of light and hues. He used a series of meticulously applied brushstrokes to create a sense of movement and depth, giving the piece a three-dimensional quality that is rare in abstract art. The result is a work that is both calming and engaging, drawing the viewer in and holding their attention.
Lot 33 of the Salcedo Auctions auction on 18 March 2023. Please see www.salcedoauctions.com for more information.
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
These are 6-element, 4-group apochromatic enlarger lenses, using high-modulation glass elements, designed for critical color rendition and precision industrial applications.
Architects: Sauerbruch Hutton
Location: Cologne, Germany
Client: MEAG MunichErgo Asset Managment
Area: 42,700 sqm
Year: 2010
A pair of free-form volumes responds to the landscape qualities of the site – a former floodplain of the Rhine – as well as to the memory of villas in park-like settings that once occupied this now increasingly densified area. In addition the new buildings acknowledge the sculptural characteristics of the adjacent twelve-storey 1960s high-rise, while their vivid polychromy supports the organic character of the external space.
In each building the office areas are arranged around three compact cores. Primary cores are connected to the main entrance hall, while secondary ones are entered from the more intimate patio spaces. Every floor can be subdivided into three distinct units, each identifiable through its own reception area, sculptural stair and elevator core. The varying depth of plan offers a great number of variations in office layout. The generosity of the windows is echoed in the glazed corridor walls that ensure maximum light throughout the depth of the plan, while giving spectacular views out towards the Rhine and Cologne Cathedral.
One innovative development lies in the series of finger-shaped canopies that were prototyped as an alternative to a suspended ceiling, so as to take advantage of thermal mass and to increase clear height. All necessary services – lighting, air distribution, sprinklers and acoustic modulation – are unobtrusively integrated in these overhead elements. The offices use groundwater from the Rhine as a source of geothermal energy and to supplement the heating and cooling systems, while also carefully building above the 100-year water level and to flood defence specifications.
12 Interlocking Irregular Hyperboloidal Dodecahedra 360 units
3-fold view.
Following an initial prototype with only a singular unit type which attempted a hexahedral symmetry analog of 30 Dodecahedra, I developed this more nuanced version, which has a different exterior weaving pattern and multiple paper proportions. However, as a constraint, I attempted to use only one pocket type for all of the units. This makes some vertices different than others in terms of the dihedral angles of the surrounding units, but the edges shafts are long enough to accommodate modulation between vertices without appreciable difficulty in most cases. This is constructed via scaffolding so that each dodecahedron represents one edge of a cube. The resulting compound is at the time of writing this, the largest interlocking origami cubic symmetry wireframe compound by unit count that I know of.
Designed by me.
Folded out of Cordenons’ Stardream paper.
So I moulded and casted an improved cockpit from my vac-formed master, cleaned it up, and hey, not bad!
All credit for the electronics and programming work goes to my dad, who is just roughing out the sequencing for the micropython system. He assures me the modulation and frequency can be made a lot smoother, but these tests are just to understand what we're trying to acheive
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.
Specification:
‧ Tracks up to 32 satellites
‧ Receiver : L1, 1575.42 MHz
‧ C/A code:1.023 MHz
‧ Update rate : 1 HZ.
‧ Antenna type : Built in patch antenna
‧ Minimum signal tracked : -159dBm
‧ Dimension : 67 × 23 × 16 mm.
‧ Weight : 30g.
‧ On/Off switch : slide switcher
‧ Lithium-ion battery lasts for 23 hours of use
‧ Operation temperature : -10 ℃ to + 60 ℃
‧ Store temperature : -20 ℃ to + 60 ℃
‧ Store temperature : -30 ℃ to + 80 ℃ (Without Lithium-ion battery )
‧ Operation humidity : 5% to 95% no condensing
Position:
‧ Non DGPS (Differential GPS)：
‧ Position : 3.0 m CEP without SA
‧ Velocity : 0.1m. / sec2
‧ Time : 0.1 microsecond. sync GPS time
‧ DGPS(RTCM/EGNOS/WAAS/MSAS)：
‧ Position : < 2.2 m., horizontal 95 % of time < 5 m., vertical 95 % of time
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Acquisition Time:
‧ Reacquisition < 0.1 sec. Average
‧ Hot start 1 sec.
‧ Warm start 33 sec
‧ Cold start 36 sec.
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Protocol & Interface:
‧ Compatible with Bluetooth devices with Serial Port Profile (SPP)
‧ Bluetooth version 1.2 compliant
‧ Bluetooth Class 2 operation (up to 10 meters range in open space)
‧ Frequency : 2.400 to 2.480 GHz
‧ Modulation: FHSS / GFSK
‧ RF channels: 79
‧ Input sensitivity: -85dBm
‧ Output level: +2dB
‧ Output terminal: Mini-USB (CMOS Level)
‧ NMEA protocol output : V 3.01
‧ Baud rate : 38400 bps
‧ Data bit : 8
‧ Parity : N
‧ Stop bit : 1
‧ Output format :
Standard : GPGGA (1time/1 sec), GPGSA (1 time/5 sec.), GPGSV (1time /5 sec.), GPRMC (1time /1 sec.), GPVTG (1 time/1 sec).
‧ Optional : GLL, or MTK NMEA Command.
Dynamic Conditions:
‧ Altitude :Max 18,000 m ( 60,000 feet )
‧ Velocity : Max 515 m./sec ( 1000 knots )
‧ Acceleration : Max 4G
‧ Jerk : 20 m/ second3, max.
3 Led Function:
‧ Bluetooth , navigation update and battery/charger status Indication
The Minilogue. There's still a couple of knobs I haven't got the hang of yet. Cross-modulation depth? Ring modulation?
Jerusalem, Israel: In an outdoor, shopping-mall network of pedestrian streets, an art construction runs overhead like a canopy. It consists of a long series of closely spaced wires, strung with numerous, loosely hanging gold-colored tags. When contemplating this construction attentively, one notices a subtle modulation of light flowing through it continuously, back and forth, from end to end. It isn’t clear to me, however, whether this effect was created, simply, by gentle breezes flowing through the mall’s network of streets, or whether (the more likely case, in my estimation) it was electronically controlled.
(3/4)
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
The fellow I got this from has about 4 of these things. I'm trying to get this one up to snuff for the tandem. Needs cable stops and rubber o ring for axle. They act as more of a drag brake. Feeling much unlike regular disc brakes they have a fair amount of modulation. This can be a nice feature when descending on a tandem. I plan to hook it up to a stem shifter, set it and forget it. Thanks Mike T for that tip.
My first successful attempt to build my own little radio station =)
I used a square wave generator module to produce the carrier wave and modulated it with a simple normal transistor (Circuit diagram will follow though!)
The signal can be received from a distance of one meter with the small antenna, and more than 15 meters (I havent found out the actual range yet, but the radio in our garage receives it quite well =) ) with a very long wire i found laying around in my room.
The experiment is part of our radio station project at school.
My 1/35 scale AFV Club Stryker M1126 8X8 infantry combat vehicle is done! Much to my surprise, this kit went together with only a couple minimal fit issues, self induced! I had expected it to be a bit on the iffy side as the kit has been in my stash for many years now, and older kits tend to be less engineered than recent ones, but it turned out to be an enjoyable build.
I decided to to it as a vehicle that has been in the field for a while during the summer, perhaps on maneuvers in a training facility, so the weathering is not that heavy. I did use burnt sienna oils with mineral spirits (my first use of this thinner with oils as I usually use the less odorous Turpenol) to do some of the filtering and dirtying but the majority of the modulation is done using the usual black undercoat with white accent under main color coat method.
I also used a very light coat of Tamiya buff thinned way down and sprayed on at a foot or so from the model to create a light dusty look as well. That especially worked well on the tires, which are vinyl mounted to plastic hubs (really nicely detailed tires I might add). I did do some panel accenting with Tamiya Black Panel Liner around the raised hull elements. I sanded the tire treads to make them look worn which really brought out that detail, in my opinion.
The decals went on quite easily and released from their carrier sheet with little to no time needed, not like the previous couple of kits i have worked on…a very delightful development! I did use the Micro Set and Sol method to embed them, but the vehicle numbers all silvered on me (think I should have used more gloss under them to relieve this issue). I am still ok with that as you can always weather to compensate after the fact. Prior to weathering, everything was clear coated with Testor’s Dull Coat…still my favorite flat coat.
For once I have few criticisms of the kit and am delighted to add it to my ever growing shelf of diverse armor builds. Definitely a fun build!
We produce this model as “Pick-up Activator” FET design preamp for bass guitar, under “Alen Geere”, our other brand. This is electric guitar version that boost the signal +5dB at maximum volume level. It has improved tone control and a switch for boost/cut between 200-800 Hz of frequencies. This option bring all humbucker-loaded guitars to standard “Tele” side an incredible way. High input and low output impedances are ideal for driving long cables. It’s also suitable with bass.
Kate Beck
Modulation , 2010
Graphite of paper on aluminum
12 x 12 inches
PG# KB.0014
Pelavin Gallery is proud to announce a solo exhibition of recent work by American artist, Kate Beck. This show will include large scale poured oil paintings and graphite drawings on aluminum panel. This will be Beck’s first solo exhibition at the gallery, and in New York City.
In this new body of work, Beck continues her engagement with repetitive tonal rendering as a means of interaction between light and shadow, human thought and consciousness, and the dynamic architectonics of space. This time she takes the essence of form further by using aluminum substrates, allowing modulating marks of graphite and poured oil to accumulate and shift amidst the confines of the geometric shapes. Tension oscillates between formalistic geometry and existential space; an allusion to thought and consciousness, and the passage of time.
For more information, please visit pelavingallery.com
Teisipäev, 14. aprill kell 19.30 ja 21.00
Kanuti Gildi SAAL (Pikk 20)
Pilet 10/7 eelmüügist, 12/7 enne kontserti
KAVAS:
“Rhythmus 21” (1921): Video Hans Richter, muusika Ove-Kuth Kadak (2015, esiettekanne) … 3’10”
“(üle)küllus” (2015, esiettekanne): Muusika ja video Aljona Kastjušina … 7’
“Controcorrente” (2012, Eesti esiettekanne): Muusika ja video Ivan Penov … 7’30″
“Phase Walk” (2015, esiettekanne): Henri Georg Viies … u 7’
“Cross modulation” (2015, esiettekanne): Muusika Ekke Västrik … 7’
“Ghosts and Whispers” (2014, Eesti esiettekanne): Muusika ja video Damiano Marconi … 6’30″
“Merkin” (2015, esiettekanne): Hendrik Tammjärv … u 7’
“Seppie senz’ossa” (2013, Eesti esiettekanne): Video Paolo Pachini, muusika Roberto Doati … 10’
“Rhythmus 21” (1921): Video Hans Richter, muusika Giovanni Tancredi (2015, esiettekanne) … 3’10”
Audiovisuaalsed kompositsioonid, versioon 1.2: visuaalne väljendus muusikalise mõtte laiendusena.
Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna audiovisuaalse kompositsiooni kontsert toob kokku selle valdkonna ajaloo olulise repertuaari ja EMTA audiovisuaalse kompositsiooni tudengite loomingu. Sel aastal esitleb EMTA muuhulgas rahvusvaheliselt tuntud heliloojate Paolo Pachini ja Roberto Doati audiovisuaalse kompositsiooni “Seppie senz’ossa” (2013) Eesti esiettekannet.
Kontserdi kunstiline juht on Paolo Girol.
Kestus: umbes 1 tund.
Saadaval piiratud hulk pileteid (kontsert kantakse ette kaks korda, igal kontserdil ainult 50 istekohta patjadel). Hilinejaid sisse ei lubata!
Koostöös Eesti Muusika- ja Teatriakadeemia kompositsiooniosakonna ja festivaliga “Saksa kevad”
1. IR LED is driven at DC (No modulation in this version)
2. A high-gain transimpedance amplifier converts the photocurrent to a voltage.
3. High-pass filter to strip out the DC component and get the audio only
4. Gain stage: non-inverting amplifier with 1/2 Vcc reference voltage
5. Another high-pass capacitor, to remove the DC reference voltage.
More on this project at:
Camera Axe and supplementary electronics now all installed though alignment and much tidying remains to be done. Sensitivity with the opamp-based ac-coupled amplifier and diode peak-to-peak detector is remarkable. The camera is reliably triggered by a piece of wire about 0.3mm in diameter at 50cms. The small changes to the shutter mechanism - a larger diameter (8mm) thinner (1.5mm) and stronger magnet (N52) combined with moving the pivot point of the armature closer to the coil) have resulted in open times of ~5mS. Closing times are little longer. I hope to improve these using a highly elastic "bumper". The supplementary electronics to enable the Camera Axe to control the rig are; the amplifier mentioned above, a 555 timer-based power supply that enables the modulation of the 3.2V 980nm laser at about 5kHz, and a MosFet-based switch that gates the power to the shutter coil. Despite being a 3.2V device, the laser is currently driven by 5.8V pulses. This may or may not kill the laser. At ~50% duty cycle, and driven at a frequency at which the electronics in the laser module never reach full power, may mean this is OK ..... or not! We will see.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
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.
Ion introduced the iDiscovery keyboard for the iPhone at CES 2010.
The iDiscovery iPhone keyboard features pitch and modulation wheels and variety of other controls which interface directly with the keyboard tutor application the board is designed to operate with.
No word on how this may or may not work with other apps - but this could be cool.
Pricing is TBA.
This my version of the Tellun Neural Agonizer, a maxed out version of a reverb unit. It drives and controls 2 reverb tanks, and adds quite a few controls and alternative modulations to the mix. The front panel is from the Bridechamber.
Camera: Polaroid SX-70 Land Camera PolaSonic Model2. Film: Impossible Project PX 70 Cool Color Shade.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
[9:27] Quentin Morrisey leans in and whispers to Dazy.
[9:27] Bailey Dazy stands perfectly still.
[9:27] Saj Zenovka cocks his head
[9:27] Quentin Morrisey whispers without modulation "You're quite beautiful."
[9:28] Bailey Dazy blinks and her head jerks back. She says nothing.
[9:28] Quentin Morrisey: "Not a word to the others?"
[9:28] Bailey Dazy nods.
[9:29] Quentin Morrisey smiles and speaks again modulated. "I'm glad we have an understanding Miss Dazy."
[9:29] Q says OOCly: crotch gazer.
[9:29] (OOC) Dazy the Pink Wrath of Doom: stoooopit!
[9:29] Bailey Dazy nods and watches the bird until he's out of sight.
Specification:
‧ Tracks up to 32 satellites
‧ Receiver : L1, 1575.42 MHz
‧ C/A code:1.023 MHz
‧ Update rate : 1 HZ.
‧ Antenna type : Built in patch antenna
‧ Minimum signal tracked : -159dBm
‧ Dimension : 67 × 23 × 16 mm.
‧ Weight : 30g.
‧ On/Off switch : slide switcher
‧ Lithium-ion battery lasts for 23 hours of use
‧ Operation temperature : -10 ℃ to + 60 ℃
‧ Store temperature : -20 ℃ to + 60 ℃
‧ Store temperature : -30 ℃ to + 80 ℃ (Without Lithium-ion battery )
‧ Operation humidity : 5% to 95% no condensing
Position:
‧ Non DGPS (Differential GPS)：
‧ Position : 3.0 m CEP without SA
‧ Velocity : 0.1m. / sec2
‧ Time : 0.1 microsecond. sync GPS time
‧ DGPS(RTCM/EGNOS/WAAS/MSAS)：
‧ Position : < 2.2 m., horizontal 95 % of time < 5 m., vertical 95 % of time
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Acquisition Time:
‧ Reacquisition < 0.1 sec. Average
‧ Hot start 1 sec.
‧ Warm start 33 sec
‧ Cold start 36 sec.
‧ Above data follows MediaTek Inc. MT3318 chipset specification.
Protocol & Interface:
‧ Compatible with Bluetooth devices with Serial Port Profile (SPP)
‧ Bluetooth version 1.2 compliant
‧ Bluetooth Class 2 operation (up to 10 meters range in open space)
‧ Frequency : 2.400 to 2.480 GHz
‧ Modulation: FHSS / GFSK
‧ RF channels: 79
‧ Input sensitivity: -85dBm
‧ Output level: +2dB
‧ Output terminal: Mini-USB (CMOS Level)
‧ NMEA protocol output : V 3.01
‧ Baud rate : 38400 bps
‧ Data bit : 8
‧ Parity : N
‧ Stop bit : 1
‧ Output format :
Standard : GPGGA (1time/1 sec), GPGSA (1 time/5 sec.), GPGSV (1time /5 sec.), GPRMC (1time /1 sec.), GPVTG (1 time/1 sec).
‧ Optional : GLL, or MTK NMEA Command.
Dynamic Conditions:
‧ Altitude :Max 18,000 m ( 60,000 feet )
‧ Velocity : Max 515 m./sec ( 1000 knots )
‧ Acceleration : Max 4G
‧ Jerk : 20 m/ second3, max.
3 Led Function:
‧ Bluetooth , navigation update and battery/charger status Indication
SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
The Tidal Quad is a 4-channel filterbank with extensive control and modulation possibilities. The filter can be used in High-/ Low-/ or Bandpass with an Envelope follower for each mode. There is also an LFO for each set of 2 Channels which allows complex modulations. Additionally it offers a Waveshaper for each channel. For friends of analog distortion this unit leaves no wish open.
* 4x HP/BP/LP - Filtermodule
* LFO Channel 1+2 (Cutoff)
* LFO Channel 3+4 (Cutoff)
* LFO each channel positive or negative switch
* 1 Waveshaper per Channel
* 4x Sidechain Input with Envelope Follower for Cutoff-Modulation
The resonant filter might be the most important effect in popular music these days. However if you want to insert a filter on multiple channels of your mixer and also would like to have a lot of knobs and modulation possibilities, there was no real solution. That's why Tidal Music Electronics announces it's four channel desktop multimode filter. You can switch the four individual resonant filters between Lowpass, Bandpass and Highpass modus. Each filter can be modulated by an envelope follower, a LFO and an external CV. The envelope follower is specially designed to track percussive sounds without false triggering, a key feature when used with drumcomputers, grooveboxes or guitar.
Maximum Modulation:
Each filterbank has 4 VCFs, 4 Waveshapers, 4 Envelopefollowers and 2 Low Frequency Oscillators (LFOs). The filters are switchable between 3 modes, Lowpass, Bandpass and Highpass. The Low- and Bandpass are 24 dB and the Highpass is 12 dB/Oct. The cutoff of each channel can be modulated by it's own Envelope follower which can be fed by a sidechain input or by the audiosignal itself. This option gives you the possibilities to create very funky filter-effects. Each LFO modulates 2 channels and every channel has it's own depth controller which can be set positive or negative. This can be used to generate cool stereo effects.
The Waveshaper
The waveshaper is one of the components which give the filterbank it's unique sound. It actually is a wavefolder which "folds" the tops of the waveform back instead of clipping. This sounds a bit like an overdrive but also has some characteristics of Frequency Modulation.
To give you a better idea what the waveshaper actually does we'll illustrate what happens with a simple sine wave using different ratio settings for each of the two shaper modes.
Just arrived, Turner Super Sidekick. To replace my 30 year old Turner +3B.
Forget studio mikes, parametric and graphic equalizers or special (Heil) elements.
This is the only mike that gives true BBC quality modulation.
Interesting: www.ericbraun.com/turner/
This is a 1955 model National NC-300 receiver, this 57 year old design was considered the state of the art in its day. It is all tubes/valves. It weighs 50 lbs. I am in the process of restoring its younger sibling the NC-303. It came out in 1957. The two designs are very similar but the NC-303 has selectable sidebands for the newish SSB (Single Sideband) signals that were becoming prominent in the late 1950's. AM (Amplitude Modulation) was also prominent before loosing out to the SSB technology that occupies 1/3 the radio spectrum of AM. There were many battles on the airwaves before SSB won and became the voice standard.
Find Your Inspiration - Joseph
Every year, Joseph’s arrival was highly anticipated. He’s been a part of our gang every summer since he, Aviva, Zoe, and I met at the Spirit of the Mountains Camp 13 years ago. He’s allowed us to dress him up with feather boas and pig tails, he’s been on years of adventures with us singing loud, out of tune Disney songs (and just as enthusiastically joining in, but without the modulations). He's groggily answered 3 am phone calls about college essays and life questions. He has been there without fail since our first summer together. And since then he has always been a source of inspiration. This is because Joseph has an incredible power to give people hope. Before you stop reading because of how cliche that sentence sounded, let me explain: Do you ever put your headphones in, or turn up the volume of a song, because it evokes that indescribable emotion that you can't quite find anywhere else? It fills you up and makes the world that much more beautiful. That feeling is one of the reasons why music has remained such a large part of my life. It is the soundtrack I play in the back of my mind for every important, cheesy, and cliche moment. It’s the sound of my cowboy hat wearing dad playing Happy Trails as the flames of a camp fire start to die down. And since that first year of camp, Joseph has helped to make that sound. The other night, as we all sat in my living room passing around my father's guitar, Joseph added an inescapable beauty to the room. He squinted at Fleet Fox lyrics through Zoe’s broken iPod screen, harmonizing with her effortlessly while we loudly talked to him and each other. Joseph gives me the kind of hope and happiness that I find in music. I know this paragraph barely explains what he means to me, and I know I will never be able to thank him for this.
What I do know is that you will always be a part of my picture, Joseph.
He was given the nickname "Beardyman" because a name was quickly needed for a flyer for an early show, and he had a beard at the time.As well as accomplished solo beatboxing, Beardyman was inspired by MC Xander to use music technology such as the Korg Kaoss Pad 3 in order to loop and sample his vocals. Through his use of looping tools he effectively produces whole DJ sets where the records are constructed live from his vocalisations, as well as live production of original material.His music frequently contains elements of drum and bass, dubstep, breakbeat, trance, techno and other associated forms of electronic dance music. He also incorporates other forms of music into his live sets, including but not limited to reggae and country music, often purely for the purpose of providing a comedic counterpoint to his beatboxing. Virtually all of his music is created using his only his vocal chords to produce sounds, and incorporating music technology such as vocoders and software synthesis to alter the pitch of his voice, or to add various kinds of audio effects such as delays, reverbs or modulation effects. In various YouTube videos various pieces of electronic equipment can be spotted, notably the Korg Kaossilator Pro, the Kaoss Pad 3 (also known as the KP3), a Korg Wavedrum, a microKORG, a Boss GT-8 and a Boss RC-50.As of 2012 he has foregone the usage of Kaoss Pads in favour of proprietary software he has been developing, currently known as the Beardytron 5000 MkII. "Over the past 3 years I have worked tirelessly on the system, overseeing its development and testing, improving and configuring it. I had no choice really, as the shows I want to do are simply not possible using any existing off the shelf gear, existing software or even cobbled together patches using freeware. The system is essentially my life's work and will continue to be what i use for all my future endeavours. The Beardytron 5000 mkII is a work in progress and at some point you'll be able to buy some form of looper/production-system based on the innovations developed to make my shows possible. We've had to invent new paradigms in interface design to make it possible to control this many parameters at one time and at speed, and that's despite using Turnado which takes care of a large proportion of that using its 'within-preset-morphing'; it still took many vastly different iterations of the looper's interface to find the perfect balance of speed, accuracy and controllability. And as for the looper itself, it can do things no other looper in the world can do, small but vital advances which are fundamental to allowing a complex and dynamic looping based live-production performance possible. The looper/VST-host is designed to operate in perfect harmony with the interface and as I have been using the system, I have developed many macro's within the system which have introduced many efficiency gains over the course of this past summer of gigs. As I refine the presets I use within Turnado and Guitar Rig, each of which is an instrument in itself, the system will get more complex, subtler and faster to use." Beardyman further states: "The system is built from the ground up in C++ and objective C by Dave Gamble of DMGAudio and employs 15 instances and counting of a partly bespoke version of Sugarbytes' incredible linear-8-way-morph-engine controlled multi-effect 'Turnado'. Guitar rig is also used along with Rob Papen's delay. The system is controlled using 2 ipads running bespoke programs using a specially developed high definition, self-reconnecting protocol."In a video posted on YouTube on 24 October 2012 Beardyman further explains the conception and use of his new gear.On 29 November 2012 Beardyman posted a live gig performed in October 2012 in Pune, India, which was the first live gig audio revealed online to solely use the Beardytron 5000 MkII. He has stated that the software for the Beardytron 5000 MkII will be available to purchase by the public sometime in 2014.Early lifeForeman was born to a Jewish family in Stanmore, North London. After studying at Queen Elizabeth's Grammar School for Boys, Barnet, Foreman moved to Brighton in 2001 to study at the University of Sussex. Although he started making noises at the age of three by imitating Michael Winslow from the Police Academy movie series, it was seeing Rahzel perform live that convinced Foreman that beatboxing could sustain a whole show rather than simply provide interludes within the context of a broader presentation. Beardyman’s first musical venture was composing a symphony for his school orchestra at the age of ten. At fifteen, an introduction to drum and bass led to his long-standing obsession with music technology.Beatbox championships and other awardsIn 2006 Beardyman battled to become UK Beatbox Champion and retained his title in 2007 making him the first beatboxer in UK history to win two championships in a row. He was on the 2008 judging panel.CollaboratorsHis interest in exploring new musical technology is also evident in the innovative Battlejam club nights he hosts with 2007 DMC champion turntablist JFB. Here the live looping technology is augmented with live sampling of the audience to make the hook of instantly composed tracks and even live video sampling and scratching.He has gigged and recorded with MC Klumzy Tung as part of MC/beatbox duo The Gobfathers. Together, they presented Get Lucky TV's 'The Freestyle Show” in 2005, and also appeared as traffic wardens in a hidden camera show for E4.In 2008 he collaborated with visual artist mr_hopkinson, to produce a video called 'Monkey Jazz' which visually describes the live looping process, which has had over 1 million views on YouTube. Since then they have worked together to produce various multi-camera videos of Beardyman's performances filmed at the Cube Microplex. Beardyman has also appeared on stage for improvised live shows with mr_hopkinson providing visual backdrops from images instantly searched from the internet in response to audience suggestions.Viral videosBeardyman often incorporates humour into his act. He has impersonated Elvis, dressed as a monkey on stage at Bestival and once posed as an Austrian climate change lecturer, "Professor Bernhard Steinerhoff", before breaking into his set, with over 1 million views on YouTube. He also features in the Funky Sage ring tones in which he plays a floating head who beatboxes and gives good advice. His video "Kitchen Diaries" which features him combining beatboxing with cooking has been viewed more than 4 million times on YouTube. "Kitchen Diaries" also makes an appearance in 'South Coast', a Brighton based documentary about Hip Hop in the UK.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
Communication plays a vital role in our day-to-day life. Regardless of a student’s ultimate area of specialization, knowledge of communications concepts and applications is no longer optional, it is essential to understand today’s multidisciplinary applications.
This book is primarily intended to serve as a text book in accordance with the syllabus of digital communication systems, offered by Rajasthan Technical University, Kota. In this a significant effort has been made to find simple ways to develop theoretical aspects of digital communication systems. A strong emphasis has been given on numerical problems and objective questions.
In this covers the mathematical background, Pulse code modulation including DPCM and Delta modulation, Baseband signal Transmission, Digital modulation techniques, etc.
Authors: Tara Birla, Jyoti Sharma.
(declining peony - crop)
I can't put this feeling into words. I have tried over the last week and cannot find the words that will express the significance this has had for me: observing loving mothers with their children, and families together has had such a healing effect on my heart. Thank you.
The ability to be changed by what you feel and see can be a powerful gift. We are changed by what we do. In this way, I am my own mother. I carry my mother within me.
In truth, we are all alone in some way, and in truth, we are never alone. Because we are all our own mothers.
- - - -
When you are alone, when you are weak, try to be a loving mother to yourself. Try to speak to yourself the way you would speak to the people whose heart, growth, future you hold most precious.
Teach your children how to be a loving mother to themselves.
Judgment and shame and guilt radiate from the inside out. So does unconditional love. So does acceptance, forgiveness and encouragement. Start by loving yourself.
After the gift of life, I believe this is the greatest gift.
Happy Mother's Day.
Photomicrograph 1000x Hoffman Modulation Contrast with Nikon Coolpix 885. From Heron's Head Park salt marsh pond, Cyanobacteria and Melosira diatom with bubble.
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
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 ]
Microscopy 400x Hoffman Modulation Contrast. From a salt marsh pond in Heron's Head Park, San Francisco Bay.
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 ]