View allAll Photos Tagged oscillator
A chain of oscillators creating a transverse wave. The oscillator at each peak is coloured differently, so the phase speed of the wave can be visualized.
An original Interactive Art Sculpture designed and created by MRISAR’s R&D Team, New Leipzig, North Dakota.
Photonic Pentiductor Sculpture is an upgraded version of our Pentiductor that we designed & fabricated in 1993. This features both light and sound attributes. It is an exciting educational exhibit that delights both young and old. It features a touch sensitive oscillator, which also produces light patterns in relation to how the touch plates are operated. The five-sided design makes it adaptable to fill inner floor spaces and to work with both single users and groups.
To operate it, touch the metal circle of the Large Touch Plate with one hand and a metal circle on one of the Small Touch Plates with the other hand at the same time. Figuratively in electrical terms, think of the Large Touch Plate as its positive terminal, its Small Touch Plates as its negative terminal and your body as its conductive wire. Optionally many people can use the device together in a number of ways such as having one person touch the large plate and another person touch a small plate and then in turn touch their remaining hands together. Additional people can be added to form a chain between the two users who are touching the large and small plates. The key is to make sure you are touching each other’s skin for conductivity to take place. The device is also able to work with single arm operation should a user have a disability that prevents two-hand use or even with amputee limbs.
A version of MRISAR's Super Pentiductor is part of Popnology.
The MRISAR Team of New Leipzig, ND collaborated with Stage Nine by creating the robotics, interactive components and landscape for 6 Interactive Exhibits (Mars Probe Rover, Super Pentiductor, Cybermatrix-robotic tic tac toe, Challenge the Robot, a 5 finger Robot Arm Exhibit and a 3 Finger Robot Arm Exhibit) that are part of Popnology, which opened at the Los Angeles Fair in 2015. From there Popnology went to the Arizona Science Center in 2016. See links below for more information.
Popnology; from Science Fiction to Science Fact, is a new interactive exhibition that seeks to awe, enlighten and educate its visitors with outstanding displays of technological advances inspired by pop culture. It’s about how technological advances and pop culture have influenced each other. Other exhibitions are: the original DeLorean from “Back to the Future”; The Batmobile from “Batman Forever”; The iconic “Time Machine”; the “Terminator”; replicas of three different Mars rovers from JPL; and the HAL 9000 computer from “2001: A Space Odyssey.”
MRISAR is the most versatile Robotics R & D Team in the world. Team members are John and Victoria Siegel and their daughters Autumn and Aurora Siegel who joined the team as preschoolers. All four members are inventors and artists. Everything that MRISAR creates is designed and fabricated in their shops and labs by their team of family members.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
MRISAR website is www.mrisar.com.
Links:
Featured Exhibition - Arizona Science Center. azscience.org/popnology POPnology offers a riveting, memorable exploration of popular culture’s impact on technology – past, present and future – and its direct effect on how we live and work, how we move, how we connect and how we play.
Tickets for the Gala opening were from $500 to $50,000 depending on the seating. azscience.org/Donate/galaxy-gala
www.youtube.com/watch?v=BjYNBZZF_oQ This is a shop test of our Interactive Technological Sculpture “Super Pentiductor” prior to the Popnology installation.
Click this link to see images of Popnology including our robotics. The 3rd image down the page is our 5 Finger Robot Arm. www.raisingarizonakids.com/2016/02/popnology-exhibit-ariz...
Click this link to see images of Popnology including the Mars Probe Rover Robotics and landscape we created. downtowndevil.com/2016/02/11/77425/arizona-science-center...
Click this link to see images of Popnology including our robotics. cronkitenews.azpbs.org/2016/02/05/arizona-science-center-...
Click this link to see images of Popnology including our robotics. www.azcentral.com/picture-gallery/entertainment/kids/2016...
Click this link to see images of Popnology including our robotics. www.abc15.com/entertainment/events/popnology-exhibit-brin...
www.lacountyfair.com/learn/popnology . There are images of our robotics on this page as well as a video at the bottom showing some of our work.
www.dailybulletin.com/lifestyle/20150904/popnology-exhibi...
www.youtube.com/watch?v=YQwc3rKbmPM This video catches a glimpse of our 3 finger robot arm moving dino eggs, our super pentiductor being used, our 5 finger robot arm and the telepresence control council for our 3 finger robot arm to make it move dino eggs.
Completed and powered. The ring oscillator makes the LEDs light in sequence. The uranium-glass marble fluoresces green in the UV light, producing a swirling and flickering green glow in the center of the device.
This series of 3 photos is from an audio experiment. Direct-Stream Digital, DSD, is the digital audio format that is the basis for the SACD. The Tascam DA-3000 is a new recorder which uses this format. An artifact of this recording method is ultrasonic distortion. These images provide an idea of what this distortion looks like.
A 1 kHz sine wave was generated by the internal oscillator in an Otari 5050 at a level of 0 dBVU. This signal was applied to a Hewlett-Packard 120B oscilloscope setup for a vertical displacement of 10 mV/cm and horizontal sweep of 250 u-sec/cm. The crest of the sine wave is shown. Note how clean this sine wave appears. The distortion as measured on a Hewlett-Packard 130B distortion analyzer was about 0.3 %. This signal was then digitized using DSD 2X on the Tascam DA-3000 and converted back to analog on the Tascam DA-3000. Note how there is now high frequency ultrasonic distortion of about 10 mv peak-to-peak being carried by the 1 kHz sine wave. A distortion measurement gave a value of about 2 %. A Krohn-Hite 3202R low pass filter was swept down to a cutoff of 70 kHz to bring the sine wave reasonably back to the shape of the straight analog signal. This cutoff is consistent with filters used for this purpose.
These measurements were performed on antique instrumentation I have restored as shown in the photo of the relay rack. The 120B and 130B are both vacuum tube instruments. I can not say these measurements of of high quantitative quality. However, it does illustrate the presence of the expected ultrasonic distortion present in this recording method. I will be checking to see if this distortion finds its way through the power amplifier to the speakers and if so, will consider using an audio shelving filter during playback.
Photographed using a Sony A7S with a Micro Nikkor 105 f/2.8 lens.
"Carcinotron" - backward wave oscillator (BWO), also called backward wave tube, unknown brand
author: Jan Helebrant
license CC0 Public Domain Dedication
"Carcinotron" - backward wave oscillator (BWO), also called backward wave tube, unknown brand
author: Jan Helebrant
license CC0 Public Domain Dedication
A very old (1966ish) Moog modular that my friend is restoring. I'm not a huge fan of Moogs in general , but i like the way the old oscillators sound :)
Ernesto Padilla and Don Browning, left to right seated, and Gaylen Erbert, standing, of Lawrence Livermore National Laboratory attend to the control console of the Master Oscillator Room (MOR) at the National Ignition Facility. NIF laser pulses are generated in the MOR from a compact laser oscillator cavity made of ytterbium-doped optical fiber laser. This laser generates low-energy laser pulses of just a few nanojoules (billionths of a joule) with a beam diameter of a few micrometers. The oscillator pulse is first frequency modulated to broaden its bandwidth (the number of colors making up the laser is increased) by a prescribed amount. This prevents damage to NIF's large optics, and in conjunction with a grating in the preamplifier module, smooths the intensity of the focused beam on the ignition target. This pulse is then split and amplified using fiber splitters and fiber amplifiers similar to those used in the telecommunications industry. After several stages of splitting and amplification, 48 individual pulses are generated. Each pulse is then individually shaped in time per the target experimental requirements and transported in separate fiber-optic cables to each of the 48 preamplifier modules for further amplification and beam shaping. NIF's master oscillator room has been in continuous operation since October 2001 and has operated for more than 6,000 hours. Special high-contrast pulses have been successfully generated on the master oscillator system, demonstrating that the pulse shaping system meets NIF's requirements for achieving ignition.
ASM Hydrasynth 49-key
The HYDRASYNTH keyboard is both 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 keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.
Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever.
Polytouch™ keybed
The new ASM Polytouch® semi-weighted keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch.
In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.
The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly.
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 wave tables. 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 Mutant's 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 filters 1 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.
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An original Interactive Art Sculpture designed and created by MRISAR’s R&D Team, New Leipzig, North Dakota.
Photonic Pentiductor Sculpture is an upgraded version of our Pentiductor that we designed & fabricated in 1993. This features both light and sound attributes. It is an exciting educational exhibit that delights both young and old. It features a touch sensitive oscillator, which also produces light patterns in relation to how the touch plates are operated. The five-sided design makes it adaptable to fill inner floor spaces and to work with both single users and groups.
To operate it, touch the metal circle of the Large Touch Plate with one hand and a metal circle on one of the Small Touch Plates with the other hand at the same time. Figuratively in electrical terms, think of the Large Touch Plate as its positive terminal, its Small Touch Plates as its negative terminal and your body as its conductive wire. Optionally many people can use the device together in a number of ways such as having one person touch the large plate and another person touch a small plate and then in turn touch their remaining hands together. Additional people can be added to form a chain between the two users who are touching the large and small plates. The key is to make sure you are touching each other’s skin for conductivity to take place. The device is also able to work with single arm operation should a user have a disability that prevents two-hand use or even with amputee limbs.
A version of MRISAR's Super Pentiductor is part of Popnology.
The MRISAR Team of New Leipzig, ND collaborated with Stage Nine by creating the robotics, interactive components and landscape for 6 Interactive Exhibits (Mars Probe Rover, Super Pentiductor, Cybermatrix-robotic tic tac toe, Challenge the Robot, a 5 finger Robot Arm Exhibit and a 3 Finger Robot Arm Exhibit) that are part of Popnology, which opened at the Los Angeles Fair in 2015. From there Popnology went to the Arizona Science Center in 2016. See links below for more information.
Popnology; from Science Fiction to Science Fact, is a new interactive exhibition that seeks to awe, enlighten and educate its visitors with outstanding displays of technological advances inspired by pop culture. It’s about how technological advances and pop culture have influenced each other. Other exhibitions are: the original DeLorean from “Back to the Future”; The Batmobile from “Batman Forever”; The iconic “Time Machine”; the “Terminator”; replicas of three different Mars rovers from JPL; and the HAL 9000 computer from “2001: A Space Odyssey.”
MRISAR is the most versatile Robotics R & D Team in the world. Team members are John and Victoria Siegel and their daughters Autumn and Aurora Siegel who joined the team as preschoolers. All four members are inventors and artists. Everything that MRISAR creates is designed and fabricated in their shops and labs by their team of family members.
In 2010 MRISAR, (a business that has Designed, Fabricated & Marketed the Earth’s Largest Selection of “Internationally Renowned & Awarded, World-Class Robotics Exhibits & Devices”; and “Hands On” Scientific, Technological & Interactive Art Exhibits), purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
MRISAR website is www.mrisar.com.
Links:
Featured Exhibition - Arizona Science Center. azscience.org/popnology POPnology offers a riveting, memorable exploration of popular culture’s impact on technology – past, present and future – and its direct effect on how we live and work, how we move, how we connect and how we play.
Tickets for the Gala opening were from $500 to $50,000 depending on the seating. azscience.org/Donate/galaxy-gala
www.youtube.com/watch?v=BjYNBZZF_oQ This is a shop test of our Interactive Technological Sculpture “Super Pentiductor” prior to the Popnology installation.
Click this link to see images of Popnology including our robotics. The 3rd image down the page is our 5 Finger Robot Arm. www.raisingarizonakids.com/2016/02/popnology-exhibit-ariz...
Click this link to see images of Popnology including the Mars Probe Rover Robotics and landscape we created. downtowndevil.com/2016/02/11/77425/arizona-science-center...
Click this link to see images of Popnology including our robotics. cronkitenews.azpbs.org/2016/02/05/arizona-science-center-...
Click this link to see images of Popnology including our robotics. www.azcentral.com/picture-gallery/entertainment/kids/2016...
Click this link to see images of Popnology including our robotics. www.abc15.com/entertainment/events/popnology-exhibit-brin...
www.lacountyfair.com/learn/popnology . There are images of our robotics on this page as well as a video at the bottom showing some of our work.
www.dailybulletin.com/lifestyle/20150904/popnology-exhibi...
www.youtube.com/watch?v=YQwc3rKbmPM This video catches a glimpse of our 3 finger robot arm moving dino eggs, our super pentiductor being used, our 5 finger robot arm and the telepresence control council for our 3 finger robot arm to make it move dino eggs.
"Carcinotron" - backward wave oscillator (BWO), also called backward wave tube, unknown brand
author: Jan Helebrant
license CC0 Public Domain Dedication
Finished! Now this is one that we've been waiting for.
Shown here is a production version of the Eurorack Polivoks VCG, aka the oscillator section of the semi-famous Soviet synthesizer of the same name. The module is made via collaboration with the Polivoks' original designer Vladimir Kuzmin and it uses vintage Soviet parts where possible.
Photo credit: Juliana Jaeger.
LINK to more Harvestman-related build content: www.mobypicture.com/user/julianajaeger/ .
The module is now shipping from stock. LINK for more info: www.analoguehaven.com/theharvestman/polivoksvcg/ .
A few days ago I found out about a plasma effect that turned out to be easy to duplicate (since I had most of the parts needed). Basically the globe is a low pressure xenon globe (with some oxygen contamination ie green). The circuit driving the loop of wire is a ~10MHz oscillator running at about 19V and 3 amps.
The oscillator sets up a field that is not enough to ionize the xenon. I used a HV vacuum leak coil to ionize the globe. The mystery is why it forms a stable toroid. In this video the loop is at the top of the globe. The ionized ring is hot, rises to the top of the globe and sits there. I am changing the bias on the 10MHz to lower the power until the toroid decays.
Why the toroid forms in the first place is not something I can explain. I also like the little noises it makes as I change the bias.
Cheers.
NIKON F-801 (1988)
Set of photos taken with this camera
SPECIFICATIONS (from the instructions manual)
Type of camera - Integral-motor autofocus 35mm single-lens reflex
Picture format - 24mm x 36mm (standard 35mm film format)
Lens mount - Nikon F mount
Lens - AF Nikkor lenses, and other Nikon lenses with Nikon F mount (with limitation) available
Focus modes - Autofocus, and manual focus with electronic rangefinder
Autofocus Autofocus detection system - TTL phase detection system using Nikon advanced AM200 autofocus module
Autofocus detection range - Approx. EV minus I to EV 19 (at ISO100)
Autofocus actuation method - Single servo and continuous servo
Autofocus lock - Possible by lightly pressing shutter release button in Single Servo AF mode or by using AF Lock button
Electronic rangefinder - Available in manual focus mode with an AF Nikkor and other Ai-type Nikkor lenses with a maximum aperture of f/5.6 or faster
Exposure metering - Two types of exposure metering systems - Matrix Metering and Centre-Weighted
Exposure meter switch - Activated by lightly pressing shutter release button; stays on for approx. 8 sec. after lifting finger from button
Metering range - EV 0 to EV 21 (at ISO 100 with f/1.4 lens) f
Exposure modes - Programmed auto (PD, P, PH), shutter-priority auto (S), aperture-priority auto (A) and manual (M) modes
Programmed auto exposure control - Both shutter speed and aperture are set automatically; flexible program in one EV step possible
Shutter-priority auto exposure control - Aperture automatically selected to match manually set shutter speed
Aperture-priority auto exposure control - Shutter speed automatically selected to match manually set aperture
Manual exposure control - Both aperture and shutter speed are set manually
Shutter - Electro magnetically controlled vertical-travel focal-plane shutter
Shutter release - Electromagnetic shutter by motor trigger
Shutter speeds - Lithium niolbate oscillator-controlled speeds from 1/8000 to 30 sec.; electro-magnetically controlled long exposure at B setting
Viewfinder - Fixed eye level pentaprism High-eyepoint type; 0.75X magnification with 50mm lens set at infinity; 92% frame coverage
Eye point - Approx. 19mm
Eyepiece cover - Model DK-8 prevents stray light from entering viewfinder
Focusing screen - Nikon advanced B-type Briteview screen with central focus brackets for autofocus operation
Viewfinder information - The following LCD indications appear: focus indicators, exposure modes, shutter speeds/film speeds, aperture/ exposure compensation value, electronic analogue display, exposure compensation mark; ready-light LED; viewfinder display is illuminated automatically or by pressing the viewfinder illumination button
LCD information - The following indications appear: exposure modes, metering types, exposure compensation, electronic analogue display, shutter speeds/film speeds, aperture/exposure compensation value, film speed setting, DX-coded film speed setting, film advance mode, film installation, film advance and rewind, self-timer, multiple exposure, frame counter/ self-timer duration/number of multiple exposure
Electronic beeper - With power switch in beeper position, beeper sounds in the following cases: operation signals; (1) at end of film roll: (2) when film rewinding is complete; (3) during self-timer operation; alert signals; (1) for over- or underexposure and possible picture blur in PD, P, PH or A mode; (2) when lens is not set to the smallest aperture setting in PD, P, PH or S mode; (3) when non-DX-coded film, damaged film or film with an unacceptable DX code is loaded; (4) such as torn or damaged film during film advance
Auto exposure lock - Available via sliding the AE Lock lever while the meter in on
Film speed range - ISO 25 to 5000 for DX-coded film; ISO 6 to 6400 for manual setting
Film speed setting - At DX position, automatically set to ISO speed of DX-coded film used; with non-DX-coded film, ISO speed is set manually
Film loading - Film automatically advances to first frame when shutter release button is depressed once
Film advance - In S (Single-frame) shooting mode, film automatically advances one frame when shutter is released; in CH (Continuous High) or CL (Continuous Low) shooting mode, shots are taken as long as shutter release button is depressed; in CH mode, shooting speed is approx. 3.3fps, and in CL, approx., 2.0 fps (in Continuous Servo Autofocus or manual focus mode, with new batteries at normal temperatures, and a shutter speed faster than 1/125 sec. in manual exposure mode).
Frame counter - Accumulative type: counts back while film is rewinding
Film rewind - Automatically rewinds by pressing film rewind button and multiple exposure film rewind button; approx. 10 sec. per 24-exposure roll; stops automatically when film is rewound
Self-timer;- Electronically controlled; timer duration can be selected between 2 to 30 sec. in one sec. increments; blinking LED indicates self-timer operation; two-shot self-timer is possible; cancelable
Exposure compensation - Possible using exposure compensation button within ±5 EV range in 1/3 EV steps
Multiple exposure - Up to 9 exposures can be set
Depth of Field preview button;- Provides visual verification of depth of field; can be previewed in A or M mode
Reflex mirror - Automatic, instant-return type
Camera back - Hinged back; exchangeable with Nikon Multi-Control Back MF-21 or Data Back MF-20
Accessory shoe - Standard ISO-type hot-shoe contact; ready-light contact, TTL flash contact, monitor contact
Flash synchronization - 1/60 to 1/250 sec. in PD, P, PH or A mode; in S or M mode, shutter fires at speed set, and when set from /250 to 1/8000 sec., shutter is automatically set to 1/250 sec.; down to 30 sec. shutter is available by using SB-24 in rear-curtain sync
Flash ready-light - Viewfinder LED lights up when Nikon dedicated speedlight is ready to fire; links to warn of poor camera/speedlight connection or insufficient light for correct exposure
Autofocus flash photography - Possible with Nikon Autofocus speedlights SB-24, SB-23, SB-22 or B-20 etc.
Power source - Four AA-type batteries
Lens displayed - AF Nikkor 85 mm 1:1.8
I Invite you to visit my blog at Classic Cameras
Because most of Stanford University buildings don’t rise much above the tree-line, there is just one prominent landmark visible from a distance – the Hoover Tower.
This houses the Hoover Institution on War, Revolution and Peace, a university-affiliated public policy research center founded by Herbert Hoover, a member of the University's pioneer class of 1895 and the 31st president of the United States.
The lobby of the tower houses the Herbert Hoover and Lou Henry Hoover exhibits, which feature memorabilia from the careers and lives of the thirty-first U.S. president and his wife, both of whom were Stanford alumni.
At the top of the tower is a carillon of 48 bells cast in Tournai, Belgium, a gift of the Belgian-American Education Foundation. The largest bell is inscribed, "For Peace Alone Do I Ring."
There is an observation platform on the fourteenth story from where you can see various Stanford University landmarks and, on a clear day, a view around the San Francisco Bay Area.
If there is a geographic epicenter where Silicon Valley erupted, this is probably it. To the left of the photographer lies the headquarters campus of Hewlett-Packard and to right lies the headquarters campus of the company that started life as Varian Associates. The birth of both of these two companies can be traced directly to Stanford University students. These companies in turn can be said to have triggered the critical mass that subsequently created the environment that attracted the talent that enabled the birth and growth of other “hi-tech” industries culminating in today’s wider Silicon Valley
Stanford classmates Bill Hewlett and Dave Packard founded HP in 1939. The company's first product, built in a Palo Alto garage, was an audio oscillator - an electronic test instrument used by sound engineers. One of HP's first customers was Walt Disney Studios, which purchased eight oscillators to develop and test an innovative sound system for the movie Fantasia. Soon thereafter it established the company headquarters near the current site.
Varian Associates was founded in the late 1940s by a group of scientists also with strong connections to the university. The company’s founders included brothers Russell and Sigurd Varian, inventors of the klystron tube, a high-frequency amplifier for generating microwaves. This became the founding component of Radar, X-Rays, the Microwave oven, and the many modern medical devices that this company is now famous for.
The fact remains that the alternating current electrical system now used worldwide was his conception, and among other inventions he perfected a remote controlled boat in 1897; only a few years after the discovery of radio waves. This device was publicly demonstrated at Madison Square Garden the next year to capacity crowds.
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In 1896, Tesla had been in the United States for 11 years after emigrating from his native Croatia. After a disastrous fire in his former laboratory, he moved to more amenable quarters at 46 Houston St. in Manhattan. For the past few years, he had pondered the sigificance of waves and resonance, thinking that along with the AC system, there were other untapped sources of power waiting to be exploited. The oscillators he designed and built were originally designed to provide a stable source for the frequencies of alternating current; accurate enough to "set your watch by."
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He constructed a simple device consisting of a piston suspended in a cylinder, which bypassed the necessity of a camshaft driven by a rotating power source, such as a gasoline or steam engine. In this way, he hoped to overcome loss of power through friction produced by the old system. This small device also enabled Tesla to try out his experiments in resonance. Every substance has a resonant frequency which is demonstrated by the principle of sympathetic vibration; the most obvious example is the wine glass shattered by an opera singer (or a tape recording for you couch potatoes.) If this frequency is matched and amplified, any material may be literally shaken to pieces.
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A vibrating assembly with an adjustable frequency was finally perfected, and by 1897, Tesla was causing trouble with it in and near the neighborhood around his loft laboratory. Reporter A.L. Besnson wrote about this device in late 1911 or early 1912 for the Hearst tabloid The World Today. After fastening the resonator ("no larger than an alarm clock") to a steel bar (or "link") two feet long and two inches thick:
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He set the "flicker" in "tune" with the link. For a long time nothing happened; vibrations of machine and link did not seem to coincide, but at last they did and the great steel began to tremble, increased its trembling until it dialated and contracted like a beating heart; and finally broke. Sledge hammers could not have done it; crowbars could not have done it, but a fusillade of taps, no one of which would have harmed a baby, did it. Tesla was pleased.
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But not pleased enough it seems:
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He put his little "flicker" in his coat-pocket and went out to hunt a half-erected steel building. Down in the Wall Street district, he found one; ten stories of steel framework without a brick or a stone laid around it. He clamped the "flicker" to one of the beams, and fussed with the adjustment until he got it.
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Tesla said finally the structure began to creak and weave and the steel-workers came to the ground panic-stricken, believing that there had been an earthquake. Police were called out. Tesla put the "flicker" in his pocket and went away. Ten minutes more and he could have laid the building in the street. And, with the same "flicker" he could have dropped the Brooklyn Bridge into the East River in less than an hour.
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Tesla claimed the device, properly modified, could be used to map underground deposits of oil. A vibration sent through the earth returns an "echo signature" using the same principle as sonar. This idea was actually adapted for use by the petroleum industry, and is used today in a modified form with devices used to locate objects at archaelogical digs.
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Even before he had mentioned the invention to anyone he was already scaring the local populace around his loft laboratory. Although this story may be apocryphal, it has been cited in more than one biography: Tesla happened to attach the device to an exposed steel girder in his brownstone, thinking the foundations were built on strudy granite. As he disovered later, the subtrata in the area consisted of sand; an excellent conductor and propogator of ground vibrations.
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After setting the little machine up, he proceeded to putter about the lab on other projects that needed attention.
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Meanwhile, for blocks around, chaos reigned as objects fell off shelves, furniture moved across floors, windows shattered, and pipes broke.
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The pandemonium didn't go unnoticed in the local precinct house where prisoners panicked and police officers fought to keep coffee and donuts from flying off desks.
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Used as they were to the frequent calls about diabolical noises and flashes from Mr. Tesla's block, they hightailed it over.
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Racing up the stairs and into the lab, they found the inventor smashing the "flicker" to bits with a sledgehammer.
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Turning to them with accustomed old-world aplomb, he apoligized calmly: " Gentlemen, I am sorry.
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You are just a trifle too late to witness my experiment.
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I found it necessary to stop it suddenly and unexpectedly in an unusual way.
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However, If you will come around this evening,
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I will have another oscillator attached to a platform and each of you can stand on it.
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You will I am sure find it a most interesting and pleasurable experience.
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Now, you must leave, for I have many things to do. Good day.
(Actually, another story is related of Tesla's good friend Mark Twain, a regular visitor to the laboratory, standing on the vibrating platform to his great surprise and pleasure, extoling its theraputic effects while repeatedly ignoring the inventor's warnings to get down. Before long, he was made aware of its laxative effects and ran stiffly to the water closet.)
One source has it that the device "bonded to the metal on an atomic level" and Tesla was unable to get at the controls, but it seems more likely that the wild movements of the girder, combined with the panic that he might bring the neigborhood down, moved Tesla to this unsubtle action.
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He later mused to reporters that the very earth could be split in two given the right conditions. The detonation of a ton of dynamite at intervals of one hour and forty-nine minutes would step up the natural standing wave that would be produced until the earth's crust could no longer contain the interior.
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He called his new science "tele-geodynamics." Newspaper artists of the time went nuts with all manner of fanciful illustrations of this theory.
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Tesla's fertile imagination posited a series of oscillators attached to the earth at strategic points that would be used to transmit vibrations to be picked up at any point on the globe and turned back in to usable power.
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Since no practical application of this idea could be found at the time that would make money for big investors or other philanthropic souls, (one can't effectively meter and charge for power derived in this way) the oscillators fell into disuse.
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In the 1930s, Tesla revived the idea of tele-geodynamics to create small, realtively harmless temblors to relieve stress, rather than having to wait in fear for nature to take it's course.
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Perhaps this idea did not remain the idle speculation of a scientist whose star had never been on the ascendant since the turn of the century, and we occasionally experience the devious machinations of invisible "earthquake merchants" at the behest of the unseen hands who wish to experiment on and control the populace.
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Date difference from the the Sep 24, 2010 flicker upload and description of this photo describing the Mar 11, 2011 Tsunami that hit Japan 168 days later or 24 weeks exactly.
The total number of days between Friday, September 24th, 2010 and Friday, March 11th, 2011 is 168 days.
This is equal to exactly 5 months and 15 days.
Great little oscillator in the low distortion mode at 100Hz +/- 0.5%, hum and noise less than 0.01% of 2.5Vrms into a100kHz BW. A bit out of calibration:signal is 3.0kHz, knob is a bit before the 3-mark.
Crews with Sound Transit’s contractor begin drilled shaft construction using an oscillator to rotate the first steel casing, outfitted with carbon teeth, into the ground.
The Synthex is a massive sounding and classic analog 8 voice synthesizer. This one in particular has the added MIDI feature. First off, It's interface is a dream to program. It has 30 knobs, 6 sliders, 80 switches and a joystick. Powerful sounds with 2 oscillators per voice, separate envelope generators, chorus and even a sequencer! The use of stable DCO's (digitally controlled analog oscillators) and oscillator cross modulation of Pulse Width and a multimode filter! The filter is based on the CEM3396 chip which was also featured in e.g. Oberheim's Matrix line of synthesizers.
There is a cool joystick that replaces traditional pitch/mod wheels and allows for greater variable real-time control over the two LFOs, oscillator and filter modulation. The 6 sliders beside the joystick assign what (LFO, osc and filter) goes to the joystick. Voices can also be layered or split across the keyboard. Other great features include the onboard digital Ring-Modulator, Chorus effect and Dual or Layer modes available. And also a four-track sequencer rounds out this synths host of features. The four different sequencer tracks can have different length, and sounds (Upper/Lower can be allocated to different tracks). Also it is possible to insert rests between notes as well as length of notes. Sequences and patches could be dumped to analog cassette tape through an audio interface. Two of it's tracks can output MIDI data.
The Synthex has three keyboard modes. 8 voice single sound (both Lower/Upper voices), Split with user selected split point (4 voices Lower/4 voices Upper) or Double which reduce the polyphony to four voices. Later versions implemented basic MIDI functions. Voices can also be layered or split across the keyboard.
Polyphony - 8 Voices
Oscillators - 16
Sequencer - 4-Track
Filter - Curtis Chips: 24dB LowPass, 12dB HiPass, 12dB & 6dB BandPass
VCA - ADSR
Keyboard - 61 keys
Memory - 40 preset/40 user
Control - MIDI
Date Produced - 1981 - 1984
Nikon F-501/N2020
Integral-motor autofocus 35mm single lens reflex.
Picture Format 24 x 36mm DX coded 35mm (135) film format
Dual autofocus modes (Single servo and Continuous servo) focus assist and manual focusing.
Autofocus Lock Single Servo AF
Focus Assist Available in manual focus mode with an AF Nikkor, Nikkor or Series E lens with a maximum aperture of f:4.5 or faster
Exposure Metering Light intensity feedback measurement (for P DUAL, P HI and A), TTL full aperture centerweighted measurement (for manual exposure) employs one silicone photo diode (SPD).
Metering Range (at ISO 100 with f/1.4 lens) EV 1 to EV19
Exposure Modes Three Programs (dual, normal and high speed) auto exposure modes, Auto, Aperture-Priority Auto and Manual
Shutter Electromagnetically controlled vertical-travel focal-plane shutter
Electromagnetic shutter Release.
Shutter Speeds Stepless from 1/2000 to 1 sec. in P DUAL, P, P HI and A auto exposure modes. Lithium niobate oscillator-controlled speeds from 1/2000 to 1 sec on manual; electromagnetically controlled Bulb setting is provided
Viewfinder Fixed eyelevel pentaprism high-eyepoint type; 0.85X magnification with 50mm lens set at infinity; approx. 92% frame coverage
Focusing Screen Nikon type B clear matte with central focus brackets, 12 mm circle denotes centre weighted metering area; changeable with type E or J focusing screens.
Film Speed Range ISO 25 to 5000 for DX-coded film; ISO 12 to 3200 can be manually set for non-DX coded film.
Motorised film advance, with automatic film loading and rewind
Frame Counter Additive type; counts back while film is being rewound
Self-timer Electronically controlled 10 sec. delay.
Reflex Mirror Automatic, instant-return type
Data Back MF-19.
Flash Synchronization Up to 1/125 sec.
Power source: Nikon AA battery holder MB-3, f4 1.5V AA batteries
Dimensions (W x H x D) 15 x 10 x 5 cm.
Weight (without batteries) Approx. 600g
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia. em português
Crane lifts clamshell bucket with excavated material from 8 foot drilled shaft. Foreground shows operator positioning oscillator machine over the hole for 8 foot shaft. The oscillator pushes casing down the hole at the same time clamshell bucket mounted on the crane is excavating soil inside the shaft. Courtesy ODOT photo.
Bush DAC90a host with Roberts R500 lw/mw/sw chassis.
14/5/14 updated version with Roberts R500 front end (mixer / oscillator AF117 replaced with AF138) feeding a Hacker IF strip from a RP25 and a Hacker audio amp (Rp25 again.)
Ditched the bluetooth which although worked was a bit of a phaf linking up to my phone and the quality wasnt what i expected. Will probably add the FM side of the Hacker RP25 later.
LCF (inductance, capacitance, frequency) meter using arduino (LCDuino), a local lm311-based oscillator (not shown), a pair of AA batteries and an adafruit dc/dc 5v upconverter and an adafruit xbee hosting board for wireless data logging.
A giant oscillator will drill these metal casings 150 feet down – like a drill bit on steroids – so we can anchor the new NE 139th Street interchange in bedrock.
The process will keep crews occupied for the next few months while they work to build a new interchange at NE 139th Street in Salmon Creek.
A chain of oscillators creating a longitudinal wave. The oscillator at each peak of the wave is coloured differently, so the phase speed of the wave can be visualized.
I got this watch free in a packet of cornflakes (no really, I did!). When it finally stopped working earlier this year, I couldn't resist taking it to bits. See the notes for details of the components.
Compare with this photo of the quartz watch with its components in place.
This is from our article on how quartz watches and clocks work.
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