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Highlights from NPR (Neighborhood Public Radio) at MOCA's Engagment Party. "IN YOUR CAR" Day 2 of 3
While MOCA generally encourages green transportation, NPR asks that visitors bring their cars to this event. FREE parking will be available in public lot 7; entry is accessible from Judge John Aiso Street.
In Your Car will feature two concurrent sound projects broadcasting on local frequencies, Park Park Revolution and Ping Modulation.
Park Park Revolution will be a composition “played” by cars parked in the lot surrounding the Geffen Contemporary. NPR will divide the Geffen lot into four sections, with each assigned to its own broadcast frequency. Directed into parking spaces, drivers will be instructed to tune in their radios and turn up their volumes to create a quadraphonic matrix of sound.
Under the canopy located at the Geffen entrance, Ping Modulation will pay homage to artist Robert Rauschenberg’s Open Score. For this project, NPR will outfit ping-pong tables with contact microphones and sound processors; as visitors match off in games of table tennis, the noise of their play will be fed to radio broadcasts that will transform their participation into sound art.
Published on May 2, 2011
by MOCA
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 ]
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 ]
Dub~STEP~ARCADE
a cross between a dub siren and atari punk console with A/D gen and LFO modulation
KITS NOW AVAILABLE
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.
With the EBS UniChorus you can choose between low noise studio quality Chorus, Flange and Pitch Modulation effects. Analog Processing
The pedal is built with the best analog processing circuitry. This gives a smoother, warmer and fatter sounding chorus/flange effect, useful both for live and studio performances.
Manchester Cathedral.
St Mary Window, 1980.
By Antony Hollaway (1928-2000).
In 1963 the stained glass designer and craftsman Tony Hollaway was introduced to the Manchester architect, Harry Fairhurst. Eight years later, after they had worked together on commissions in Cheshire and Liverpool, Fairhurst sought Tony's advice about a plan for five large stained-glass windows in Manchester Cathedral.
Thus was Tony asked to design and make the first window, the St George in the inner south-west aisle. It was completed in 1973. Further windows followed in 1976 and 1980 and the final window, Revelation was installed in 1995.
Detail: The St Mary Window. Designed by Antony Hollaway, 1980. (This is in the Tower.)
The circle, which dominates the window, is the ancient Christian symbol of perfection. It is marred by the death of Jesus in the form of a shart of leight or the sword. This is a direct reference to the prohecy of Simeon to the Blessed Virgin at the time of the Presentation of Jesus in the Temple. (“A sword shall piee through your own Soul also”. Luke 2: 35).
This destoryed the perfection of the circle which is compensated for visually the the arcs of red and yellow. “And there appeared a great wonder in Heaven: a women clother with the sun, the moon under her feet …” (Revelation 12:1). These radii restore the symmetry required for formal and design purposes.
These are seven shades of blue within the circle, blue being a colour traditionally associated with St Mary the Virgin. The circle contains a serpent. This is a multiple image best understood under the following headings:
The circle placed upon these blocks of colour are letter forms both upper and lower case which are essentially to create a pattern. However, they may be re-assembled to read verses from the Magnificate: left to right. The act of re-assembling the letters is intended to concentrate the mine on the text which would not necessarily result from ‘easy reading’.
The above details are intended to present:
1. A suitable light modulation for this part of the building.
2. A relationship with the two adjoining windows.
3. A monumentality and dignity appropriate to the Architecture and to the special place of this window in the Scheme, and of the Virgin Mary among the Patron Saints of the Cathedral.
All the teaching elements of the window are subordinate to the formal design requirements expressed in (3).
Class 4 antennas such as Sentinel® from CommScope diminish the
risk of interference to the microwave link (see graph), providing a marked improvement of the
carrier-to-interference (C/I) ratio. This allows radios to operate at higher modulation levels for
longer, thereby increasing total traffic and, hence, revenue over the link.
Additionally, Class 4 antennas with their low side lobe levels allow better reuse of the same
frequency channel, thus requiring fewer channels. This more efficient use of spectrum offers
significant advantages: The repeated reuse of the same frequencies substantially reduces
spectrum costs; alternatively, where required, the spectrum freed by using Class 4 antennas
allows wider channels to be used, thus increasing capacity in the network.
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 ]
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 ]
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 ]
Edison was a pioneer of sound recording and reproduction. He founded the Edison Phonograph Company in 1888 and began the production of the first phonograph cylinders.
The first mass-produced cylinders were made of brown wax. They wore out very quickly—often after being played only a few dozen times. Over time, the materials were improved: brown wax was replaced by hard black wax, which could withstand several hundred plays, and this was later replaced by Blue Amberol material.
- Edison Blank Record (1888 - 1906) - an unrecorded brown wax cylinder. Sound could be recorded directly using a phonograph, and after re-shaving the surface of the cylinder with an Edison Shaving Machine, it could be reused for recording multiple times.
- Edison Gold-Moulded Record (1902 - 1912) - a cylinder made of hard black wax, produced using a gold-coated master cylinder, with a playing time of about 2 minutes.
- Edison Amberol Record (1908 - 1912) - an improved technology with more grooves per inch and a playing time of approximately 4 minutes.
- Edison Blue Amberol Record (1912 - 1929) - offering the same playing time, but made of reinforced celluloid, which was significantly more durable.
- Edison Diamond Disc Record (1912 - 1929) - a 10-inch disc with approximately 5 minutes of playing time per side. Instead of the side-to-side movement used by modern records, these discs employed vertical (up-and-down) groove modulation and rotated at a speed of 80 RPM.
period doubling (frequency halving) in an RF pulse using a 5 pence diode. The interesting behaviour here is how rapidly the frequency-halving follows modulations. Thus it can be used for frequency translation of fast signals.
BOSS OC-3 Octaver > Digitech Whammy
Whammy Dry: BOSS TU-2 Chromatic Tuner (doubling as a mute) > Line 6 DL4 Delay Modeler (x3)
Whammy Wet: Electro-Harmonix Big Muff Pi > Boss DD-3 > Boss DD-7 > Line 6 MM4 Modulation Modeler
Orange Rocker 30 > Orange 2x10
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”
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 ]
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 ]
SMS303's Ultra Rare Dutch
Tidal Quad Modular Filter
Only 15-20 are build
Back rear controls, in-outputs
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.
DSP-based drumcomputer. Very versatile. Offers 4 different algorithms to create drums with: an emulation of the Roland TR-series, Frequency Modulation, Physical Modelling and 12bit samples. Love it for being an allrounder.
White Sands Missile Range Museum
Telemetry is the science of measuring something in one place and reporting the results in another.
A simple example of telemetry is the automobile speedometer, which measures the wheels' rotation and presents it in miles per hour on the dashboard.
Most telemetry used in missile testing is Radio Frequency (RF) transmitted from a missile to a ground receiver. NASA uses telemetry to keep tabs on the functioning of space equipment. Telemetry has been one of the most important data sources used for testing at WSMR.
This telemetry package was discovered in an old missile assembly building in the mid-1980s. Shipping documents indicate that it was shipped to Douglas Aircraft Company at White Sands Proving Ground in 1956 and 1957.
These Commutator/ Transmitter sets are believed to have been utilized in the Honest John rocket.
Especially noteworthy is the fact that this Commutator was a motor driven, mechanical device and the VCO/Transmitter package used vacuum tubes. Today's packages are completely solid state.
How did this circa-1957 telemetry package work?
COMMUTATOR
Analog voltages representing a number of functions such as elevon, rudder and seeker head positions pressure, and battery voltages were sequentially sampled and converted to a voltage pulse temperature, train (commutated data) and sent to a VCO
VCO (Voltage Controlled Oscillator)
The voltage pulse train (commutated data) was used to drive a VCO to vary the oscillator's center frequency (called FM or frequency modulation)
TRANSMITTER
This FM (frequency modulated) signal from the VCO was then sent to a RF Transmitter (radio frequency amplifier) that transmitted the data through an onboard antenna to a ground station receiver
RECEIVER
The ground station received this transmitted data signal and sent it through an FM discriminator that changed the data signal back to a voltage pulse train.
DECOMMUTATOR
The decommutator converted the voltage pulse train data back to the original set of analog functions that were then recorded on media such as strip charts or analog tapes.
Hauraki’s Pirate Radio Transmission
By Peter McQuarrie and Ross Jowitt
The human interest story of Radio Hauraki has been told in a number of TV documentaries, radio programs and books. But until now very little has been written about the technical aspects of the pirate radio station and some of the information which has been given is incorrect.
For example, we are told that the Radio Hauraki transmitter was built from a VLF transmitter that had seen service on a US Navy submarine in WWII and that it had an output power of 500 Watts. But as we will show here, all of those things are incorrect. We will describe the transmitting equipment, its history, and give some of its technical specifications. The story does involve a Navy transmitter and that’s where we will begin.
US Navy TBL Transmitters
The TBL series was a US Navy design, manufactured by Westinghouse Electric for installation on submarines, cruisers and other ships requiring a medium-power transmitter. The TBL transmitters were constructed so as to be easily disassembled into three units, each small enough for easy passage through small openings into ships or submarines.
All units could fit through a hatch opening of 25 by 20 inches. There were several different versions of the TBL, designed primarily for ship-board installations and also available with power supply modules suitable for shore stations. The basic performance specifications were identical for all models; the differences were with the auxiliary units such as power supplies, remote control units, speech amplifiers etc. All TBL’s had two frequency bands, a LF/MF band of 175 – 600 kHz and an HF band of 2 – 18 MHz. There was no VLF band. The maximum output power was 200 Watts (CW), 100 Watts (MCW) and 50 Watts (AM), not 500 Watts as sometimes stated.
Radio Hauraki’s TBL Transmitter
The TBL used by Radio Hauraki as a basis for building their transmitter was a TBL-13 (Serial No: 2201). It was purchased from a surplus military equipment supplier in Ellerslie, for approximately 100 pounds ($200). The suffix 13 meant that it was suitable for British ships with 440-volt AC or 230-volt DC power and was supplied to America’s British allies under a lend-lease arrangement. This could explain how it arrived in New Zealand. It seems unlikely that it was ever installed in a US submarine.
During WWII, TBL-4 and TBL-5 transmitters were commonly installed on American vessels. In New Zealand the TBL-13 could have been used on a ship or at a shore station, or perhaps in aviation communications. It is also possible that it saw service as a MW NDB navigation beacon. To say that Radio Hauraki modified a TBL to make it into a broadcast transmitter would be a gross understatement. Hauraki’s director of engineering, Denis (Doc) O’Callahan, designed a completely new transmitter. Denis had started his career as a trainee engineer with the Electricity Department. He was an amateur radio operator with a real interest in radio and electronics and had moved to a job with Plessey, manufacturing radio transceivers. He built the new transmitter into the aluminium frame of the old TBL. Some of the TBL was salvaged and reused but most was discarded.
The Transmitter that Radio Hauraki Built
The original RF power amplifier which had used two 803 valves and produced 50 Watts was replaced with something much more powerful. Two parallel 833A power triodes in class C mode were used to produce a maximum carrier output of 2 kilowatts (usually run at 1.75kW by Radio Hauraki). To achieve this output the PA valves needed forced-air cooling and so suitable blowers with air ducting were installed. The TBL had been powered by a motor-generator that produced 2000 volts H.T. This was abandoned and a new 3-phase mains power supply, providing 3000 volts, was made. This used all solid-state rectifier diodes and suitable filter circuits. To apply adequate RF drive to the PA valves a 4-125A power tetrode valve was used. The variable capacitor in the antenna coupling and tuning circuit had been intended for the lower power of the original transmitter and tended to ‘arc-over’ on peak modulation. This occurred frequently when the song ‘Mellow Yellow’ by Donovan was played. A new capacitor was constructed with a larger air-gap between the plates.
Modulator & RF Power Amplifier
The original modulator had been an external speech amplifier unit driving a modulation transformer inside the transmitter. This transformer had modulated the carrier by varying a negative bias voltage applied to the suppressor grids of the PA valves. A completely new modulator was designed and constructed. For this another two 833A valves were used in class B, push-pull, driving a new modulation transformer made by the Auckland Transformer Company.
A new audio driver board was made for the new modulation system with two 6146 valves used as push-pull drivers. An audio level compression circuit was included to raise the average modulation level. This had the effect of improving the average signal/noise ratio of the received signal. A commercially made, Altec 436C compression amplifier was used. This provided automatic level control which had adjustable compression over a range from zero to 30dB. Apparently, Radio Hauraki was the first broadcaster in New Zealand to use audio compression, the down side of which was audio distortion if too much compression was applied. And at times listeners did notice distortion of Hauraki’s modulation.
One part of the original transmitter that was retained was the master oscillator (MO) VFO. This was a Colpitts oscillator with a variable inductor of the variometer type. The VFO was housed in a temperature-controlled box with vibration-proof mountings. Hauraki had decided on the frequency of 1480kHz for its transmission and so the frequency range of the VFO had to be extended to cover this. The frequency of 1480kHz had been decided on as it was higher than all known Australian and NZ broadcast stations and so could not cause interference to existing stations. One reason the VFO facility was kept instead of using a crystal-controlled oscillator, was because they were afraid that the NZ authorities might try to jam their signal and they needed to be able to change frequency. However, jamming never occurred and later the oscillator was converted to crystal control.
Eight of the original meters on the front panel were retained; these were for monitoring antenna current, PA anode current, PA grid current and 1st and 2nd buffer stages anode current. A further group of three meters near the bottom of the cabinet were moved higher up to make room for the new power supply. These meters were for PA anode volts, filament volts and MO anode volts. A number of high-voltage capacitors and RF chokes were also salvaged from the original transmitter and reused. The new transmitter was built in secret at the Hauraki premises in Anzac Avenue and tested in the basement of a house in Mt. Eden.
Antenna System
A vertical radiator, one-quarter wavelength or longer, is required for groundwave propagation for MW broadcasting. The small size of the ship, M.V. Tiri, was a constraint in constructing an antenna large enough but a good result was achieved by using a 30-metre-tall section of lattice mast, topped with a further 10 metres of telescopic whip. This came close to a quarter wavelength at the selected frequency of 1480kHz. Spreaders were fitted at the top of the lattice section which allowed for some “capacity top” to be added to increase the electrical length of the antenna system. Some series inductance was also added, as base loading. A vertical antenna of this length has a radiation resistance which is large compared with the losses in the system and so an acceptable antenna efficiency was obtained. Losses are caused by the resistive losses in the feeder cable, the antenna coupling coils and capacitors, the antenna, and the earth electrode. Both the Tiri and the Tiri II were wooden hulled ships so they could not take advantage of metal hulls which provide a large surface area with low resistance contact to the sea, a high degree of capacitive coupling and involve a large volume of seawater around the ship. This would have minimized the voltage gradients produced by the earth currents flowing near the ship. Radio Hauraki used a wire earth electrode over the side into the sea. It is estimated that the overall efficiency of the antenna system was around 60%.
At times the antenna was blown over during storms; it was completely destroyed at least once and needed to be rebuilt. So, its configuration changed slightly over time. To produce, install and maintain such an antenna on a small ship was really quite an achievement under the circumstances.
Coverage Area
The target coverage area was primarily Auckland City and suburbs and then the greater surrounding area. The main portion of the transmission path was therefore over seawater of the Hauraki Gulf and Auckland Harbour. The requirement was for groundwave propagation but of course at night there was also skywave produced, which sometimes took the signal over much greater distances. In the 1960’s, Radio Hauraki technicians did not have access to instruments which could accurately measure radiated power or field strengths. Favourable reception reports kept them informed about the strength of their transmission. We can however make some estimates using international standards for calculating groundwave field strengths (Rec. ITU-R P.368-7).
The minimum usable field strength standard for MF broadcast service in New Zealand is 66dBuV/m (day) and 74dBuV/m (night). If we accept that the radiated power from the Tiri’s antenna was 1kW at 1480kHz (60% of 1.75kW), this would have produced a daytime coverage area over seawater within a circle of 120km radius around the ship. For the higher nighttime requirement of 74dBuV/m the radius would have been 55km. The distance between the Tiri and downtown Auckland was 75km, where the received signal would have been 4dB higher than the minimum requirement. So, although there would have been good signal strength for day coverage over much of the greater Auckland area, there was little excess signal to provide a fading margin. (For those listening on car radios there was not enough signal strength to overcome the high level of noise interference when driving beneath trolley bus wires). The path over seawater extended down into the Firth of Thames, bringing reasonably strong groundwave signal on to the Hauraki Plains. The signal would have been quite a bit below the standard strength for good night time reception even in Auckland, but how well it was actually received at night would have depended on the receiving location and the degree to which the groundwave was affected by interfering skywaves, from Radio Hauraki’s own transmission and from other transmitters. Good reports of skywave reception were sent in from listeners in the South Island. Overall it was a valiant effort by Radio Hauraki. With NZ government bureaucrats against them and with limited resources available to them, they devised and constructed a transmission system that met their objectives. The transmitter was valve equipment operating on high voltages in a marine atmosphere, yet it worked well and was fairly reliable. Even after the Tiri sank and the transmitter was submerged in seawater, it was recovered and repaired and put back into service on Tiri II.
Acknowledgements
With many thanks to past Hauraki radio engineers: Denis O’Callahan and Chris Prouse and technician Stephen Hilliar.
Just in time for some potentially wet Bike Polo in Asheville, "Allwrong" is yet again equipped with a front disc brake. This time with a cheap-assed 700c disc wheel which replaced the broken race wheel and a 160mm rotor intstead of a 180mm. Yay modulation!
Age management medicine is not anti-aging medicine because aging will still occur, but the synergy of nutrition with appropriate supplementation, physical activity and hormone modulation constitute the steps to a more enjoyable life and disease prevention.
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
ASM Hydrasynth Desktop
The HYDRASYNTH Desktop / Rack has the same great sound engine as the HYDRASYNTH Keyboard. The sound engine is a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.
Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.
As for the performance capabilities, The Hydrasynth Desktop / Rack has 24 polyphonic pressure touch pads so that you can play the unit without needing to connect a keyboard or other controller. Using multiple pad layout modes as well as quick to access scale modes, the Hydrasynth Desktop / Rack is easy to make music on.
The Hydrasynth Desktop / Rack comes with rack ears so that you can mount it in a standard 19" rack.
Polytouch™ pads
One problem with many desktop or rack synths is that you usually have to connect them to an external controller to play them. The idea behind having a rack or desktop unit you can put anywhere is that it is out of the way. This is fine until you want to start doing some sound editing or adjusting it in real-time. Then you want a way to play it.
We have included 24 polyphonic pressure sensitive pads that allow you to actually play the synth. With multiple pad layouts to choose from as well as multiple scales, playing the Hydrasynth Desktop is its own musical experience.
Oscillators
The tone generation capability is the heart of any synthesizer.
The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.
Wavemorphing is a feature usually found on synths with preset wavetables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another.
mutators
Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new
(and old) ways.
Each MUTANT allows you to choose from the following processes:
FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.
Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount.
Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.
Pulse Width - This will pulse width modulate ANY input sound.
PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.
PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.
Harmonic Sweep - this will sweep the harmonics of the incoming sound.
PhazDiff - this takes the input signal, shifts the phase and then creates a difference result with the original signal
The Mutants can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator... Of course, the routing is flexible so you can choose the other oscillators as mod sources if you like.
Mixer/ filter routing
The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.
The Mixer allows you to mix levels as well as pan the input source.
There is a balance control that allows you to choose how much signal of each source is routed to filters1 and 2.
The filters can be set to be parallel or series for ultimate flexibility.
filters
If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.
The Hydrasynth has two filters that can be configured in series or parallel.
The first filter has 16 different filter models, giving you multiple options for tailoring your sound.
The second filter is a 12db per octave has a continuous sweep from either low pass > bandpass >high pass or low pass > notch > high pass, similar to the way the classic SEM filter worked.
LFO's
5 Low-Frequency Oscillators…YES, 5.
Much like our sound engine, the LFO’s are not ordinary by any means.
The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 64 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound.
Of course, there are also 10 standard waveforms to choose from.
The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync.
envelopes
5 DAHDSR Envelopes……YES 5.
An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.
The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song.
You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix.
The envelopes have the added ability to be triggered from multiple sources as of the 1.5 update.
MODULATION MATRIX
The modulation capabilities on the Hydrasynth are endless.
With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155
modulation destinations.
Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.
The Modulation matrix points themselves can also become modulation destinations.
Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s.
ARPEGGIATOR
The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance.
You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time.
CV/GATE - MIDI - USB
There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world.
It supports the standard voltages for Eurorack modulars, the 1.2V per octave Buchla standard, as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities.
Main Controls
The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen.
Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button.
Pressing the HOME button returns you to navigating patches in a simple and easy way.
master controls
The Master Control section is where all parameter editing, patch naming, and Macro performing is done.
Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on.
The VOICE parameters give you access to play modes, analog feel, voice panning and many other features.
macros
The patch MACROS are designed to allow the user deep control over the engine in live performance.
The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob.
patches
The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches.
Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future.
effects
The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound.
The delays and reverbs were modeled on some of the most popular effects on the market.
The effects are the perfect way to complete your sound, in the box.
لطلب شراء المنتج و الشحن اتصل بنا على الارقام التالية
☎01006237502
☎01227545903
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☎01095518233
✅ضمان ضد عيوب الصناعه
لو حابب تعرف أكتر عن المنتجات أو تشوف أكتر تقدر تزور موقعنا الرسمي 👇
ومن خلاله تقدر تعمل أوردر يوصلك لحد باب البيت في أسرع وقت أو تشرفنا بفرع الشركة :
217 شارع احمد زكي - المعادي ميدان فايدة كامل امام سنتر الهدي والنور
تقدر تدخل علي صفحاتنا الرسمية علي فيسبوك وتعرف أكتر عن المنتجات من خلال الروابط👇
www.facebook.com/mfmusicalinstrumentsegypt/
طرق الدفع لدينا:
متوفر دفع بالفيزا كارد و الماستر كارد مع ميزة انك تقدر تقسط اي منتج مع البنك الاهلي المصري بدون فوائد لمدة 6 شهور
و خدمة QR و المحفظة الذكية و فودافون و اورانج كاش
هدفنا: الثقة - التميز - الأبداع - العمل علي راحة العميل
The spillway of the water reservoir "Lacul Morii" (Mill's Lake) was commissioned in 1986. The reservoir is the largest lake in Bucharest, with an area of 246 ha. It was built for flood protection and for flow modulation of Dambovita river. Making a lake near an urban area required decommissioning of existing uses, including demolition and decommissioning of a church.
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
Dub~STEP~ARCADE REAR VIEW has both 9v battery and 9vdc supply socket- board has a LM3809 9v regulator on board
a cross between a dub siren and atari punk console with A/D gen and LFO modulation
KITS NOW AVAILABLE
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.
Species of Melosira from the salt pond site NS-1 in Heron's Head Park, San Francisco, on San Francisco Bay. This was taken with Hoffman Modulation Contrast Optics at 1,000x, from a wet mount slide. This shows the barrel structure of a single cell of this colonial diatom.
Features:
1.Built-in Wireless Bluetooth 3.0 keyboard
2.Desighned with the 7.9 inch iPad in mind
3.7.9 inch iPad display stand for convenient viewing
4.Built-in Rechargeable Polymer lithium battery with lasts for approximately 55 hours
percharge
5.Touch screen interface with multiple uses
6.Light weight,quiet keystrokes,water and dust-proof
Specifications
1.Bluetooth 3.0 standard interface
2.Operating distance of 10 meters
3.Modulation System:GFSK
4.Operating Voltage:3.0-5.0v
5.Working Current:<5.0mA
6.Standby Current:2.2.5mA
7.Charge Time:4-5 hours
8.Standby Time:60days
9.Charging Time:4-5 hours
10.Polymer Lithium Battery Capacity:200mA
11.Uninterrupted Working Time:55 hours
12.Polymer Lithium Bttery life-span:3 years
13.Plymer Lithium Battery Specifications:25mmx16mmx4mm
14.Key Strength:80g
15.Key Life -span:5 million strokes
16.Operating Temperature Range:-10-+55℃
17.Keyboard Dimensions:205x146.5x21mm
18.Keyboard NW:350g
Includes:
1.Wireless/wired keyboard
2.USB Charger
3.User Guide
Order here now: www.casesinthebox.com/wireless-bluetooth-keyboard-for-7-9...
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the north facade, with the outdoor shower and spa area by the beachfront pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
Plants
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0279 Concha.JPG
Record ID: WB2010-0279
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
From Don Edwards San Francisco Bay National Wildlife Reserve, near Drawbridge, the Weep Site, north "connector", on Feb. 18, 2008. Salinity = 52-PPT. Photomicrograph taken at 1,000x magnification, oil immersion, with Hoffman Modulation optics. This Cyanobacterial filament lacked a sheath, but was motile, resembling "Oscillatoria" species found elsewhere in the salt marsh. These motile filaments were in the minority on this date at this site, most similar filaments showing a sheath and no motility. By May, as the Weep Site evaporated and the salinity went up above 100-PPT, the Cyanobacteria vanished, to be replaced by a community of Dinoflagellates.
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 ]
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
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
Escalinata Ryerson
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
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.
Closeup of the parts in the box, including my homebrew Pulse-Width Modulation controller. It didn't work as well as I had hoped. The idea was to give full current to the motor, but with pulses so that it didn't start too quickly and lift itself off the track. In theory, it would have given me quite an edge over the rheostat type controllers that are normally used.