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Basic breakout board for FTDI’s popular USB to UART IC. Now with internal oscillator and EEPROM, the FT232RL is an impressive IC!
VCCIO is now tied to 3.3V through a solder jumper. You have the option of clearing this jumper and tying the VCCIO pin to 5V or any other IO voltage you need. For more information on how to wire VCCIO for 5V, checkout this mini-tutorial on the SparkFun forum.
Available soon!
Our installation for No Soul for Sale at Tate Modern, London. Visitors were invited to play electronic music through our plant-controlled oscillators.
Aurochs is a program for technical analysis with the following features:
- Access to the EOD-data for more than 40 exchanges in the world, supported by Yahoo;
- Automatic recognition of many candle patterns;
- A wide range of built-in indicators: Chaikin Oscillator, Accumulation/Distribution, Advance/Decline, ADX, DMI, etc.
- The ability to develop custom indicators and experts using the JavaScript language;
- A simulator which allows to test your trading strategy step by step;
- Instant access to the information about a company on the multiple web sources;
- The filters which help you to find the right shares;
- The lists of companies included in the most popular indices (NASDAQ, Dow Jones, etc.);
- Import of the data from MetaTrader
and many more that will be useful to all traders - from beginners to professionals.
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
The MSI 001 Signal Processor is an all in one utility center for Eurorack Modular Synthesisers. Containing 5 standard attenuators (Both CV and Audio rates), 2 switched output attenuators (Audio and CV rates), 3 x 4 jack multiples, and finally a cross system audio interface.
For the latest info on Minimal System Instruments Eurorack Modular Synth Modules please visit our Facebook page and hit the 'Like' button.
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Vargas Zamora, Fernando Rodolfo de Jesus (22 September 1928 – 20 February 1989)
Raised a Catholic, Vargas renounced Catholicism when as a teenager he left Costa Rica. The co-founder of Variety Recording Studio in New York City, Vargas was a significant figure in show business from the late 1950s until his death in 1989.
Vargas was the son of Manuel Elias Vargas Cordero, a department store owner, and Elena Zamora Paniagua. Their children were Aura Vargas de Moreno, Eugenia Vargas Zamora, Nery Vargas Zamora, Elena Vargas Zamora, and Otto Vargas Zamora. Fernando was the last-born.
When 16 and a student at Colegio Los Angeles in San José, Vargas earned his best grades in biology and history, his weakest in religion and English. His father owned a large department store, in which he worked and was allowed to handle money. His youth was spent excelling in sports, riding a bicycle, visiting relatives in Cartago, Heredia, and Alajuela, and spending time near Teatro Melico Salazar and the Parque Central, the park on Calle 14 that he knew the best.
His hard-working mother supervised several servants and looked after her large family. When her husband died, a big tomb was erected at Cementerio Obreros, for he was an important person who once had dreams of becoming President. MANUEL ELIAS VARGAS CORDERO was written on the tomb, which had an angel atop. Later, members of the family were to be buried there next to Father and Mother.
On 3 May 1946, at the passport office Fernando received his passport and on 22 May 1946 he, his sister Elena, and his mother arrived in Miami. His Alien Registration Receipt Card was #6312922. Quickly, Selective Service on 3 Dec 1946 gave him a registration card that showed he had green eyes, was white, had brown hair, was 5' 7", and weighed 132.
When he was 8 months older than 17, Vargas arrived at 175 Claremont Avenue, New York City. His mother, sister, and he lived in a one-bedroom apartment between 123rd and 125th Street near the International House and the Manhattan School of Music. It was just west of Harlem, and he and his sister were not allowed to walk in the neighborhood, which their mother thought was dangerous. Little by little, they were allowed to go together around the immediate neighborhood. Much of his time was spent watching TV or going shopping with his sister for groceries or supplies. In the evenings they eventually got tired of supervising him and allowed him to go out alone. He spent lots of time around the corner at Grant’s Tomb, 122nd Street.
Almost every time that he went to Grant’s Tomb and walked around Riverside Park, he found people who were Columbia University professors, students, and professional types. Also, as was the case at Parque Central near his home in San José, he noticed some younger and older males who were looking for sex. Although they were relatively rare at Parque Central, they were quite numerous in that section of Riverside Park. If you sat on a park bench alone here, someone might sit down next to you and if you just sat in a slouched position, your hands clasped behind your head, someone would unzip your pants and play with you.
His first introduction to sex had been when he was an altar boy and a Catholic priest, who pretended it was accidental, touched his crotch. Asking a childhood friend whose family was German and imported toys if the priest had ever pulled his pants down to see his penis, he found that had happened to him, also. The German boy was a best friend, was heavier and easily beaten in races. But on one occasion his friend claimed he had something bigger than Vargas did and, bragging, pulled out his pene and "testículos." Then, his friend had put one of Vargas's hands on his own crotch, which felt good, and he reciprocated. Not knowing whether to tell an older brother or anyone else, he decided he might get in trouble both with the church and his family and said nothing.
Between Riverside Drive and the Hudson River, the park was extensive. There was a tennis court, a skating area, and there was a big sports area before you got as far downtown as 96th Street. Whatever transpired while cruising the area, he had to make sure he got home before 10 p.m.
Harold Bonilla, who was Costa Rica’s consul in the city, accidentally met him in the park and asked him to move in with him nearby on 103rd Street. It was not difficult to obtain his mother's approval, for here was a person who wrote history books, was a Catholic, and mentioned that he might be able to get Fernando a job and schooling.
Now exactly 20, finding no jobs but not having to pay any rent, Vargas moved in. But when "Major" Bonilla was at work, Vargas hung out in the nearby Riverside Park.
Just up from 103rd Street one day in September 1948, he saw a college student sitting alone. The guy was friendly, said hello, and Vargas's response sounded to the stranger as if he were French. What transpired that day, the first week in which the stranger had arrived on the GI Bill to study English at Columbia University, has been described in Warren Allen Smith's biography/autobiography of their 40 years together. Bonilla helped Vargas get a job in Manhattan's Garment District, one in which he used a sewing machine to stitch garments and was paid by the piece.
But in 1949 Vargas moved from Bonilla's place with Smith to a furnished room on 109th Street, where their Austrian landlady, Sophie Likar, liked them so much she allowed them alone of her various renters to share her refrigerator. Smith now had earned his M.A. at Columbia - Vargas took a photo after Eisenhower handed him the sheepskin - and began teaching English at Bentley School on 86th Street. He answered an ad for Vargas that led to his being interviewed by R. E. L. Lab, where he made a favorable impression on Edwin Armstrong after being coached about how to weld a certain item. Hired, he found Armstrong avuncular and confiding his problems. Telling Armstrong he lived on 109th near Columbia, he learned that his boss taught there and in 1913 had discovered regeneration. With talk about amplifiers, feedback, and oscillators, the work turned out to be educational and enjoyable, particularly when Edwin - they soon were on a first-name basis - told of being paid only $1 by Columbia but was earning money from his patents. He allowed the military to use royalty-free his findings about FM - frequency modulation - but when the war ended RCA claimed that they, not he, had invented it and they were suing each other. Edwin complained that he became nearly bankrupt from defending his patents, that his wife had left him in the middle of all this, and in 1953 his licenses and patents would all expire. He did not confide everything all at once, but on some days when agitated he would tell bits and pieces about having made the first portable radio and advanced AM radio and on other days he was like a friendly uncle.
In 1954, Edwin dressed neatly, walked to a 13th story window, and jumped out. His body hit a third story overhang. Vargas was devastated. Later, Armstrong's wife settled with RCA for over a million dollars. Vargas then studied electrical engineering at RCA Labs in Greenwich Village, West 4th and Greenwich Street, receiving a certificate in a year.
When Major Bonilla told them that a 1 1/2 room apartment adjacent to his own on 103rd Street was vacant (and had once been lived in by a mistress of Costa Rican President Rafael Calderón Guardia), the two moved into their first apartment together.
Upon hearing from one of his many gay friends that Audiosonic Recording Studio was looking for someone who knew about electrical engineering, Vargas applied for the job at the Brill Building on Broadway and was hired as a temporary the same day by Bob Guy, the studio's owner.
When one of the engineers mentioned that there was a vacant 2 1/2 room apartment at 425 West 45th in Hell's Kitchen, Vargas and Smith moved into Apartment 3FW where the rent of $194.40/month was only slightly more than the one back on 103rd Street.
By 1961, Audiosonic was floundering. Guy, the bi-sexual owner, was kiting checks and had put a prima donna trick on the payroll, Vargas complained. Fellow engineer Joe Cyr warned that they might all need to look for a job somewhere else. Vargas's and others' paychecks began to bounce and, at a quickly called meeting the owner said, yes, the place was bankrupt, he was sorry the paychecks were no good, and Eaton Factors that was owed money was going to shut the place down.
Cyr and Vargas, explaining this to Smith, suggested the three together might try to salvage the company by working with Eaton Factors. It was agreed that the three would be equal owners of a Sub-Chapter S corporation that would be set up. Space at Variety Arts, a major rehearsal building on 46th Street, became available. With many difficulties, the three not only founded Variety Sound Corporation but also included Guy as a partner because he had contacts with all the clients and would include Ad-Lib, his company that made radio jingles for stations.
In April of 1961, Variety Sound Corporation was formed. Smith and Vargas also started Variety Recording Service, a d/b/a that separated Variety Sound Corporation's recording income from Vargas's wholly owned dub-cutting business. The agreement with Guy included the stipulation that only Smith could sign checks, and eventually it was arranged that Guy would exchange his one-fourth interest in Variety Sound for his entire Ad-Lib company. With Guy no longer associated with the business, Variety continued profitably until Vargas's death in 1989.
Philosopher Corliss Lamont came early one morning to Vargas's 103rd Street Manhattan apartment to speak with Vargas’s roommate, Warren Allen Smith. Finding Vargas in red pajamas, he said, “Oh, your roommate rooms with the Devil?” It was Vargas’s first introduction both to a Columbia University professor and to a bona fide naturalistic humanist.
On another occasion Vargas attended Charles Francis Potter’s humanist “church,” laughing at the lecture on the joys of sex. But astronomy, not religion or academic philosophy, was his major diversion. A nominal member of the Bertrand Russell Society, he was only mildly interested in the various philosophers. For its founding meeting in 1989, he allowed the New York Chapter of Secular Humanists to meet in his recording studio and became its first member.
To have lived a great life, no matter how long, is life’s purpose, he believed. To that end he mastered acetate disks, using his own inventive modification of a Scully lathe and being one of the few in the Greater New York Area who could operate such a machine; recorded Broadway plays, working with Arthur Miller ("After the Fall," 1964), Paddy Chayevsky ("Joseph D," 1964], Robert Whitehead ("Medea," 1982), Hal Prince, "Fiddler on the Roof," 1964; David Amram ("Joseph D," 1964); worked with internationally known songwriters and performers (he recorded Liza Minnelli’s first demo record, at which Marvin Hamlisch was accompanist in 1963); worked with songwriter Jerry Bock on “Fiorello” (1959) and “Fiddler on the Roof” (1964); completed master acetates from 1961 to 1990 for Sun Ra, arguing over wine with him about mysticism; and was well-known among a who’s who of Broadway and Latino musicians and artists.
Vargas produced a collector’s LP of “Costa Rica’s Caruso, "Manuel Salazar."
He sang “I-gotta-be-me” and fearlessly ventured on life’s less-traveled roads.
Vargas, who died six months after being diagnosed with having Kaposi’s sarcoma in the lungs, was resigned to his condition and spent much of his final and painful weeks studying the latest developments in astronomy. Up to 2007, over 25,000,000 had died of AIDS and in 2007 an estimated 33,000,000 adults and children were living with HIV/AIDS.
A portion of his cremains were scattered in the Hell’s Kitchen and Times Square neighborhoods of New York City, where he had spent most of his life. Some ashes were deposited behind the walls of the Variety Recording Studio during a time in which a door was being replaced and they were easily inserted. Another portion was saved to be mixed with the cremains of his companion of forty years, Warren Allen Smith, to be buried at the Spencer Smith plot in Waukee, Iowa. The bulk was returned by Smith to Costa Rica, where his cremains are buried in the family tomb next to his father (Elias) and mother (Elena) at San José’s Central Cemetery. In his honor, an Agua Buena support group was formed in Costa Rica.
A little emf robot that harvest energy from electromagnetic sources through mutual inductance, i.e. wireless energy... Sound is made with a simple oscillator + piezo
Excerpt from the PS-3300 owner's manual showing a PSU-3301 oscillator section, which Korg here calls "signal generator". Read more about the Korg PS-3300 at Wikipedia en.wikipedia.org/wiki/Korg_PS-3300
Symphony #1 for oscillators and internal combustion engine vibrations Live at the Athens Biennale,
June 27th,2009. A Lancia Y10 with a 1000cc f.i.r.e engine was used as the main
instrument. Additional vibration tests were made on a VW Kübelwagen at Kyriakidis
car lab in Athens, May 2009
The performance was part of ¨Live¨ exhibition curated by D.Papaioannou and
Z.Xagoraris for the Athens Biennale
Thanks to Yiorgos Kyriakidis, Kima Bo, Ektor, Nicolas, Anna Varoucha and all
the Biennale crew at Acharnon 8 and at the Esplanada
Performed,Recorded and Mastered by ILIOS
Cut by Peter King
Edition of 25 numbered copies copies,33rpm
Absurd#80
A geenrative Typography using attractors, repellers, oscillators and particles.
Stills from video: vimeo.com/spaghetticoder/genetypo001
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
Doepfer A-110 Oscillator Mod - added a resister in parallel with R5 to increase the tune knob range to over an octave up and down.
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
The photographs should be shared only with permission, and in the form they have been uploaded here, with no cropping or further editing, and the watermark must remain in place. Copyright on all these images remains with the photographer, Neil Fellowes
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
Monophonic analog synth
2 oscillators, 2 filters (hp,bp,lp)
2 vca
3 enveloppes
1 lfo
sequencer
crazy routes possibilities
lot of fun :)
Wonderwerp #58
Studio Loos, Den Haag
I was educated as a classical pianist, as which I had to follow a rigid regime regarding the piano literature I had to practice, the harmonic and melodic framework I exercised, and the physical posture I had to train, whereby I had to focus mainly on the position of my hands in relation to the piano keys. The piano repertoire I became most familiar with includes Bach, Beethoven, Mozart, Liszt, Chopin, Debussy, Webern and Schoenberg. Improvisation was not part of my training, at all. But the urge to create something unique and new in music brought me to explore improvisation. While improvisation typically is not part of a classical instrumental training, it can be a powerful tool to free oneself from any musical dogmas. As an improviser I started a process of deconstructing the deeply embedded classical repertoire within myself, and came to add electronics in a very personal way.
Maia Francisco is a pianist, graphic designer and sound artist. She studied art and design at Barcelona’s Escola Massana Centre d’Art I Disseny and piano at the city’s Conservatory of Music. Maia is currently enrolled as a student of Sonology at the Royal Conservatoire of The Hague, where she researches the use of pure sine waves in music. She is investigating improvisational environments that will allow her to interact with the acoustic piano and sine wave oscillators.
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
This rotary drill rig can be seen excavating dirt from a steel pile casing. Piles in this part of the work zone are called tangent piles, and will be the exterior walls of the main part of the station, down to the platform, nearly a hundred feet down.
A variation on the famed "Atari Punk Console" this is a crude (sort of) FM synth, with body contact points and light control for each oscillator.
The Color Oscillator board has the oval shaped silver 3.58 MHZ Crystal Oscillator which is sent to the Video Output Board that drives the electron guns, and then the Service Board that turns the guns on and off and adjusts the Kine Bias and Pincushion. The High Voltage Assembly sweeps the beams across the screen (way more rapidly than the vertical speed) and also supplies 26,500 Volts to the face of the CRT.
Symphony #1 for oscillators and internal combustion engine vibrations Live at the Athens Biennale,
June 27th,2009. A Lancia Y10 with a 1000cc f.i.r.e engine was used as the main
instrument. Additional vibration tests were made on a VW Kübelwagen at Kyriakidis
car lab in Athens, May 2009
The performance was part of ¨Live¨ exhibition curated by D.Papaioannou and
Z.Xagoraris for the Athens Biennale
Thanks to Yiorgos Kyriakidis, Kima Bo, Ektor, Nicolas, Anna Varoucha and all
the Biennale crew at Acharnon 8 and at the Esplanada
Performed,Recorded and Mastered by ILIOS
Cut by Peter King
Edition of 25 numbered copies copies,33rpm
Absurd#80
‘NODE15 – Forum for Digital Arts’ is gathering designers, creative coders and digital artists for creative explorations of technologies. With the Leitmotif ‘Wrapped in Code – the Future of the Informed Body’, NODE15 is devoted to the negotiation of the body and its fusion with technology. It’s a week long rush with hands-on vvvv workshops, exhibition, symposium, performances and artist talks.
Photo: Nemanja Knežević
The model VFO-62 is a self-powered variable frequency oscillator for 6 and 2 meter operation. Front panel crystal control. The VFO-62 is designed to operate with most equipment using crystal oscillators operating in the 8- to 9-mc region or with most equipment using overtone oscillators in the 25- to 27-mc range. The VFO-62 can be connected directly to the crystal socket of existing commercial transmitters.
Dirty Electronics Mute Synth Mod with single LFO, switchable between either of the 2 oscillator and feedback. Beech ply case, polycarbonate panel.
I built this analog synthesizer, it’s a Sound Lab Mini-Synth Mark II designed by Ray Wilson at Music From Outer Space so I called it "MFOS MINI 2" to make it shorter :)
I added a triangle wave form to each oscillator using the Sawtooth To Triangle Wave Converter also designed by Music From Outer Space, as well as a built-in MIDI converter from MIDImplant.
I designed the front and back panels which are inspired by sndbyte www.flickr.com/photos/sndbyte/4899386667/ and made by Schaeffer AG in 3mm thick black anodized aluminium (texts and signs are engraved, not painted). The case is made of solid walnut wood.
This synthesizer is so interesting, creative and fun to play, thank you Ray for creating such nice devices and allowing everyone to build them!
Check his website : www.musicfromouterspace.com
3 oscillator "synth". One LM556 (salvaged from a rodent deterrent noise maker) provides 2 osc and one LM555 provides the third.
two are running in astable operation and with different ranges of frequencies. the third is running as "pulse position modulator" which i'm really not able to describe right but is in the LM555 datasheet.
each oscillator is adjusted with the potentiometers.
patchbay made from cut up pieces of a coat hanger, bent and patched with alligator clips.
each oscillator has one patch for output, one for CV in and one for "trigger/threshold". So each osc can be used to modulate the others or you can just run them all together into the output.
incorporated ideas from sqarewave parade's Blast Fed Disaster (basically an atari punk console with mods), and the horrible insect synth (on this page www.notbreathing.com/noise.html)
here's an crumby, unnecessarily long clip of it, i'm still getting the hang of it, so this doesn't show everything: drop.io/4kbwfik