100SILEX, de 0 à 100 s: SSL
1522 5 Simple steps to secure TT-RSS reader
secure tt-rss, tt-rss security 5 Simple steps to secure TT-RSS reader July 27, 2015 by Anand Leave a Comment secure-tt-rss-ft Share: share htpcBeginner We recently presented Tiny Tiny RSS to you as a great alternative to Google reader, which is one more way you can extend the functionality of your home server or your hosting space. Hopefully, you already exported your data from Google Reader. In this post, we will show you how to secure TT-RSS reader to prevent unauthorized access. Tiny Tiny RSS is an open source web-based news feed (RSS/Atom) reader and aggregator, designed to allow you to read news from any location, while feeling as close to a real desktop application as possible. As we previously explained, it makes an ideal candidate to replace Google Reader. While there are services like Feedly and Newsblur grabbing the crowd Google Reader, which some of you may prefer, there are a group of people who would like to run a RSS reader on their own server and keep things private. Assuming that you have already installed Tiny Tiny RSS on your alternative to Google reader or hosting space, we will now show you how to secure TT-RSS reader. Secure TT-RSS Reader One of the main reasons to move to an RSS aggregator like TT-RSS is maintaining your privacy. So if you do not secure TT-RSS reader well you are not only making your data available public but also making your system vulnerable to potential attacks. Choosing a strong username and password while setting your TT-RSS is the first basic thing that you can do to secure TT-RSS reader. Listed below are few more ways you can increase TT-RSS reader’s security. 1. Rename TT-RSS Folder One of the first lines of defense is to not use tt-rss in your URL to access your TT-RSS reader. To do this on your hosting account, use a folder name other than tt-rss while installing TT-RSS. On your Linux home server, edit /etc/tt-rss/apache.conf and change the first /tt-rss to something else. An example is shown below. TT-RSS Rename URL TT-RSS Rename URL After making the change, restart your TT-RSS and Apache to apply the changes: sudo service tt-rss restart sudo serivce apache2 reload Your TT-RSS reader is now available through the new URL (example: http://mydomain.com/myreader) only. Amazon Kindle Fire HDX 2. Enable SSL Accessing TT-RSS through http sends all information as unencrypted data. This could mean less privacy due to potential sniffing. The solution is to encrypt the data during transfer, which makes sniffing by hackers harder. To enable and enforce HTTPS access on Linux servers with Apache, install the following run-time libraries: sudo apt-get install libssl0.9.8 libpam0g openssl Restart your Apache server as shown above. You should now be able to access your TT-RSS reader with HTTPS. Note that you may have to have a SSL certificate generated. Refer to Apache documentation if you want to generate your own certificate. By default, the system will install self-signed certificates for you. These certificates are likely to raise warnings when you point your browser to the site. 3. Disable Single User Mode By default the single user mode is already disabled (in /etc/tt-rss/config.php). Enabling single user mode will also disable TT-RSS login system. Therefore, keep the single user mode disabled. Disable Single User Mode Disable Single User Mode A better way to make it a single user system is by limiting the number of registrations to 1 as described below. For whatever reason, you still want to enable single user mode, make sure you implement Apache Authentication method described below. 4. Self Registrations Self registrations allow a visitor to register themselves, which could reduce TT-RSS security. If your TT-RSS will be for personal use only, then you may want to disable user registration by setting “ENABLE_REGISTRATION” to “false”. TT-RSS Self Registrations TT-RSS Self Registrations To further secure TT-RSS Reader, uou may also want to change “REG_MAX_USERS” to “1” to make your account the only account on TT-RSS. asus n66uASUS RT-N66U Dual-Band Wireless-N900 Gigabit Router asus n66u reviewsFind out why it is rated the best wireless router in its class. 5. Apache Authentication Last but not the least, enable Authentication. This is even more important if you have enabled “Single User Mode” describe above. Every time you access TT-RSS, you will be asked for a username and password as shown in the picture below: Secure TT-RSS Reader On your hosting account this equivalent to password protecting a directory, in this case the TT-RSS directory. To do this on your Ubuntu server, you will have to create a .htpasswd file. More information is available in Apache documentation. But the easiest way to achieve this is to use one of the htpasswd generators available online. After you enter the username and password two code blocks will be generated. Copy the contents of the .htpasswd code block and save it to /etc/apache2/.htpasswd_ttrss. Next, copy the contents of the .htaccess code block and add it to /etc/tt-rss/apache.conf as shown below: TT-RSS Apache Authentication TT-RSS Apache Authentication Save and exit. Restart both TT-RSS and Apache previous shown above. You should be prompted for a password every time you try to access TT-RSS. Some may think that this double authentication method is an extra inconvenience. But I would rather be safe than sorry. Go ahead, secure Tiny Tiny RSS Reader and enjoy reading articles on your private secure RSS Reader.
http://www.htpcbeginner.com/secure-tt-rss-reader/

1108 RICOH GRD chasseur d'images
RICOH GRD Photo, Photim, Chasseur, Images, Forum, Nature, Argus, Occasion, Annonces, Numerique, Tests, Review, APN, Scanner, Canon, Nikon, Sony, Pentax, Olympus, Leica, Epson, HP, DXO, Datacolor, Colorvision, Spyder3, Pioneer
http://www.chassimages.com/forum/index.php?PHPSESSID=2e75f8j09jrbksib3ssl9i28g7&topic=138602.625

740 Voir le sujet - Ré-édition française "Le paysage sonore" Murray S :: Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numérique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothÚque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingénieur,ingénieur du son,opérateur,opérateur du son,compositeur,réalisateur,réalisateur sonore,réalisation sonore,multimédia,MIDI,acoustique,création,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinéma,vidéo,télévision,radio,musique,publicité,studio,forums,news,chat,articles,bancs d'essai,liens,téléchargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave Une nouvelle Ă©dition en français d'un livre classique et incontournable pour un sounddesigner qui se respecte ... Vient de paraitre chez l'Ă©diteur Wildproject Domaine Sauvage, au prix de 20 euros, 411 pages. ISBN 978-2-918490-05-0 Postfaces de Christian Huggonet. Nicolas Misdariis & patrick Susini, Ircam. Cet ouvrage Ă©tait indisponible depuis une quinzaine d'annĂ©es. Raymond Murray Schafer est un compositeur, thĂ©oricien et pĂ©dagogue canadien. NĂ© dans l'Ontario en 1933, il est cofondateur du World Soundscape Project Ă  l'universitĂ© Simon-Fraser. Les recherches menĂ©es dans le cadre de ce projet, et la parution du Paysage sonore lui valent une reconnaissance internationale. "Pour la premiĂšre fois, on entre dans la vie sonore de notre monde". Louis Dandrel, ancien directeur de France Musique. "Schafer est le premier Ă  avoir proposĂ© une Ă©cologie sonore - rien moins qu'une nouvelle philosophie de la musique et du son". Jean-Claude Risset, compositeur. Extrait de la 4Ăšme de couverture : "Nous proposons d'Ă©couter le monde comme une vaste composition musicale - une composition dont nous serions en partie les auteurs". Murray Schafer a forgĂ© la notion de paysage sonore pour dĂ©signer notre environnement acoustique, la gamme incessante de sons au milieu desquels nous vivons. Depuis l'apparition du tout premier bruit - celui de la mer - le paysage sonore n'a cessĂ© de s'enrichir des sons du monde vivant : oiseaux, insectes, langages, musique ... ... Dans une langue simple et claire, accessible Ă  tous, Schafer propose ici une histoire et une philosophie du monde sonore qui ont marquĂ© l'histoire de la thĂ©orie musicale. Et qui promet Ă  ses lecteurs de ne plus jamais entendre le monde de la mĂȘme façon. Ouvrez grand vos oreilles.
http://www.sounddesigners.org/index.php?name=PNphpBB2&file=viewtopic&t=8030

739 Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numĂ©rique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothĂšque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingĂ©nieur,ingĂ©nieur du son,opĂ©rateur,opĂ©rateur du son,compositeur,rĂ©alisateur,rĂ©alisateur sonore,rĂ©alisation sonore,multimĂ©dia,MIDI,acoustique,crĂ©ation,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinĂ©ma,vidĂ©o,tĂ©lĂ©vision,radio,musique,publicitĂ©,studio,forums,news,chat,articles,bancs d'essai,liens,tĂ©lĂ©chargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave Le PrĂ©-Mastering audio est une Ă©tape situĂ©e aprĂšs l’enregistrement et le mixage, en fin de la chaĂźne de production audio, c’est la derniĂšre optimisation du projet. NĂ©anmoins, c’est la partie du processus la moins connue tant par les professionnels que par les artistes. Le manque de connaissances Ă  ce sujet peut amener Ă  se poser plusieurs questions : « Quelle est son utilitĂ© ? Pourquoi un individu appelĂ© ingĂ©nieur de Mastering toucherait Ă  mon travail que je considĂšre comme Ă©tant abouti ? 
 » De plus si les personnes agissant en amont de la production audio et plus particuliĂšrement au niveau du mixage ne connaissent pas de quelle façon et dans quelle direction sera finalisĂ© leur projet, des erreurs ne pourront ĂȘtre Ă©vitĂ©s et les bĂ©nĂ©fices apportĂ©s par une Ă©tape de finalisation ne seront pas optimaux. On peut aussi dĂ©duire qu’une activitĂ© mal connue est inĂ©vitablement victime de prĂ©jugĂ©s et de fausses interprĂ©tations. Dans ce mĂ©moire, je porterai mon attention sur les moyens d’optimiser la transition entre le mixage et le PrĂ©-Mastering. En effet, lors d’une sĂ©ance d’enregistrement, les techniciens concernĂ©s agissent toujours en pensant Ă  l’étape suivante, c'est-Ă -dire celle du mixage. La dĂ©marche Ă  suivre devrait ĂȘtre la mĂȘme au moment de mixer Ă  l’attention du PrĂ©-Mastering. De cette façon, chacun remplit son rĂŽle de façon optimale et le produit peut prendre toute son ampleur. Pour ce faire il faut donc Ă©claircir les moyens et les logiques utilisĂ©es dans les studios de Mastering et mettre en Ă©vidence les bĂ©nĂ©fices qu’on en retire. AprĂšs un bref historique, pour « planter le dĂ©cor », je commencerai par mettre en avant les diffĂ©rents avantages que l’on peut tirer du PrĂ©-Mastering et pourquoi il est indispensable dans la chaĂźne de production audio. Puis j’expliquerai les moyens utilisĂ©s pour perfectionner le projet sonore en faisant un aperçu des outils[1] et de la maniĂšre dont s’en servent les ingĂ©nieurs de Mastering. Enfin, je mettrai en Ă©vidence les efforts qui peuvent ĂȘtre fait dĂ©s le mixage afin de faciliter et de profiter pleinement des amĂ©liorations pouvant ĂȘtre apportĂ©es lors de la finalisation. Le PrĂ©-Mastering n’est Ă  priori praticable que par des techniciens dotĂ©s d’une longue expĂ©rience. Le propos de ce mĂ©moire est de dĂ©couvrir et d’éclairer une activitĂ©, tout en dĂ©veloppant les bĂ©nĂ©fices qu’elle peut engendrer. Je prendrai aussi position sur les attitudes et les pratiques Ă  adopter en amont de la production audio[2] pour profiter pleinement du PrĂ©-Mastering. Le sujet choisi est le reflet de ma curiositĂ© et de la volontĂ© de travailler en harmonie avec les diffĂ©rents acteurs du milieu de la production audio.
http://www.sounddesigners.org/index.php?module=Articles&func=viewpage&pageid=23

612 dictée magique Bend me I'm famous
Speak and Spell Posted in Speak and spell, circuit bending with tags bent, circuit bending, dictĂ©e magique, LFO, speak and pell, trigger in on May 5, 2010 by bendmeimfamous Ma dictĂ©e magique anglaise, dans un boitier français
. Un trigger in permettait de la faire jouer grace au sĂ©quenceur anaologique de l’atari punk bassline. Maintenant elle est en midi avec un kit highly liquid, midispeak 2. Une LFO casper electronics, a Ă©tĂ© montĂ©. Pour les deux sorties jack en façade, la premiĂšre est pour l’audio la seconde est pour l’entrĂ©e trigger in.
http://bendmeimfamous.wordpress.com/tag/dictee-magique/

596 Eventide
Accessories Eventide PitchFactor Support Links â€șDocumentation â€șSoftware Updates â€șPitchFactor Support â€șKnowledge Base â€șForum Find a Dealer No Comparison Nothing Sounds Like an Eventide Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, PitchFactor fits on your pedalboard or in your gigbag. Features Specifications Photos Media Studio Quality Effects at Your Feet Top recording studios worldwide use Eventide effects on hit after hit. PitchFactor includes Eventide's best pitch-changing effects from the past 39 years without compromising quality OR flexibility. Flexibility Built-In Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals. Obsolescence is so 20th Century Easy to upgrade; download new software from the Internet and install via USB. Features 10 of Eventide’s signature stereo or mono pitch+delay effects: Diatonic PitchFlexℱ Quadravoxℱ Octaverℱ HarModulatorℱ Crystalsℱ MicroPitch HarPeggiatorℱ H910 / H949 Synthonizerℱ Up to 4 voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay Studio quality sound Guitar or bass compatible Built-in Tuner Software upgradeable via USB 2.0 MIDI control via USB or MIDI in, out/thru Instant program change Real-time control with 10 knobs, MIDI, or expression pedal Tap tempo and MIDI clock sync 100 factory presets, unlimited through MIDI True analog bypass Rugged cast metal construction Reliable metal footswitches for instant preset access Mono or stereo operation Guitar or line level inputs and outputs
http://www.eventide.com/AudioDivision/Products/StompBoxes/PitchFactor.aspx

474 Why Intelligent People Fail
Why Intelligent People Fail Content from Sternberg, R. (1994). In search of the human mind. New York: Harcourt Brace. 1. Lack of motivation. A talent is irrelevant if a person is not motivated to use it. Motivation may be external (for example, social approval) or internal (satisfaction from a job well-done, for instance). External sources tend to be transient, while internal sources tend to produce more consistent performance. 2. Lack of impulse control. Habitual impulsiveness gets in the way of optimal performance. Some people do not bring their full intellectual resources to bear on a problem but go with the first solution that pops into their heads. 3. Lack of perserverance and perseveration. Some people give up too easily, while others are unable to stop even when the quest will clearly be fruitless. 4. Using the wrong abilities. People may not be using the right abilities for the tasks in which they are engaged. 5. Inability to translate thought into action. Some people seem buried in thought. They have good ideas but rarely seem able to do anything about them. 6. Lack of product orientation. Some people seem more concerned about the process than the result of activity. 7. Inability to complete tasks. For some people nothing ever draws to a close. Perhaps it’s fear of what they would do next or fear of becoming hopelessly enmeshed in detail. 8. Failure to initiate. Still others are unwilling or unable to initiate a project. It may be indecision or fear of commitment. 9. Fear of failure. People may not reach peak performance because they avoid the really important challenges in life. 10. Procrastination. Some people are unable to act without pressure. They may also look for little things to do in order to put off the big ones. 11. Misattribution of blame. Some people always blame themselves for even the slightest mishap. Some always blame others. 12. Excessive self-pity. Some people spend more time feeling sorry for themselves than expending the effort necessary to overcome the problem. 13. Excessive dependency. Some people expect others to do for them what they ought to be doing themselves. 14. Wallowing in personal difficulties. Some people let their personal difficulties interfere grossly with their work. During the course of life, one can expect some real joys and some real sorrows. Maintaining a proper perspective is often difficult. 15. Distractibility and lack of concentration. Even some very intelligent people have very short attention spans. 16. Spreading oneself too think or too thick. Undertaking too many activities may result in none being completed on time. Undertaking too few can also result in missed opportunities and reduced levels of accomplishment. 17. Inability to delay gratification. Some people reward themselves and are rewarded by others for finishing small tasks, while avoiding bigger tasks that would earn them larger rewards. 18. Inability to see the forest for the trees. Some people become obsessed with details and are either unwilling or unable to see or deal with the larger picture in the projects they undertake. 19. Lack of balance between critical, analytical thinking and creative, synthetic thinking. It is important for people to learn what kind of thinking is expected of them in each situation. 20. Too little or too much self-confidence. Lack of self-confidence can gnaw away at a person’s ability to get things done and become a self-fulfilling prophecy. Conversely, individuals with too much self-confidence may not know when to admit they are wrong or in need of self-improvement.
http://www.acceleratingfuture.com/michael/works/intelligentfailure.htm

461 Yamaha CS-30 Modifications - Gearslutz.com
Hey all you Yamaha CS-30 owners. I'm looking for advice. I'm purchasing a CS-30 from a tech in Japan. If there are any useful modifications that can Yamaha,CS,30,Modifications, Yamaha CS-30 Modifications, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/463088-yamaha-cs-30-modifications.html

456 Korg MS-20 Highpass Filter not working - Gearslutz.com
Just Joined GS and this is my first post. I recently purchased a Korg MS-20 and have discovered that the Peak or resonance pot seems a bit faulty on Korg,MS,20,Highpass,Filter,not,working, Korg MS-20 Highpass Filter not working, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/450964-korg-ms-20-highpass-filter-not-working.html

445 Doug Kaufman's Web Site - DOS ports LYNX
This site exists primarily to distribute DOS ports of programs in which I have taken an interest. This consists primarily of the text-mode web browser "lynx", the network file retrievers "wget" and "curl", the file compressor "bzip2" and the URL extractor "urlview". Running programs originally designed for unix in DOS is not necessarily easy. If you download these programs, please read the text files which explain how to set up these programs in DOS and which functional problems may be present. The latest DOS port of lynx is 2.8.5rel.1. You can download it here (2463576 bytes, 18 April 2004). This version is compiled with openssl-0.9.7d to give SSL support. This means that it can now access https:// URLs. This can now be distributed because of the easing of US export controls on encryption. Please note, however, that US regulations still prohibit export to Cuba, Iran, Iraq, Libya, North Korea, Sudan, or Syria. Do not download the file if you are from any of these countries. Please check your own country's regulations on the use of strong cryptography before using or redistributing this file.
http://www.rahul.net/dkaufman/

428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name. Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojo—one needed only leave home to buy more tapes. Says Neffe, “I could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front 
 if the buyer didn’t like the music, he or she could wipe it out and record something else on it.” Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wanking—that coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugs’ A Safe Substitute and Colin Potter’s The Ghost Office. In Japan, 1980 saw the release of Merzbow’s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Bender’s Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands. Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message. Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes. Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffe’s own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffe’s artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousness–not even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates. For this retrospective (4 LPs + a 7” 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French. BeNe GeSSeRiT was not the first of Mr. Neffe’s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as “texts” or “photographs”, or as he puts it, “potlatch music”. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the text’s subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Étant DonnĂ©s, or Nurse with Wound in the UK. Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track “Langsam” is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track “Sons of God?” is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera. The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectors’ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Music’s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
http://www.timesquotidian.com/2010/05/28/alain-neffe-and-the-home-taped-electronic-music-revolution/

384 Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numérique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothÚque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingénieur,ingénieur du son,opérateur,opérateur du son,compositeur,réalisateur,réalisateur sonore,réalisation sonore,multimédia,MIDI,acoustique,création,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinéma,vidéo,télévision,radio,musique,publicité,studio,forums,news,chat,articles,bancs d'essai,liens,téléchargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave
http://www.sounddesigners.org/index.php?module=htmlpages&func=display&pid=1

381 Andromeda spare parts - Gearslutz.com
You can find them here: Alesis A6 Andromeda Spare Parts If anyone knows another site, please share. I am trying to locate the modulation wheel and its Andromeda,spare,parts, Andromeda spare parts, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/498119-andromeda-spare-parts.html

359 AMAZONA.de - Vintage Synths > Blue Box: Korg PS-3200
AMAZONA.de Online Magazin Synthesizer, Keyboards, Expander, Sampler, EffektgerÀte, Masteringtools, Produktionseqipment, Software, Plugins, Standalonesoftware, Microphone, Lautsprecher, Mischpulte AnlĂ€sslich der Jean Michel Jarre Tour 2008 ist es angebracht, einen seiner treuen Wegbegleiter im BĂŒhnensetup vorzustellen: Den Korg PS-3200. Dieses semi-modulare Instrument kam 1978 – ein Jahr nach ‘Start’ der Serie in Form von PS-3100 bzw. PS-3300 – auf den Markt. Obwohl sich in diesem einen Jahr technisch gesehen viel getan hat (der PS-3200 verfĂŒgt als Einziger ĂŒber Programmspeicher, stufenlosen Chorus und andere Besonderheiten), und das Instrument bis weit in die 80er Jahre in Produktion bzw. im Angebot war, wurden nur 500 StĂŒck davon hergestellt. Das entspricht jedoch in etwa der ‘PS-Tradition’, denn auch vom kleinen PS-3100 wurden nicht mehr als 600 StĂŒck verkauft. Der große PS-3300 (von dem Jean Michel Jarre seinerzeit ĂŒbrigens zwei StĂŒck im Studio hatte) fĂ€llt bekanntlich noch deutlicher aus dem Rahmen, brachte er es doch nur auf ca. 50 gebaute Exemplare.
http://www.amazona.de/index.php?page=26&file=2&article_id=1734

358 RĂ©sultats Google Recherche d'images correspondant Ă  http://www.amazona.de/media/articles/article_images/article_1734/1_ps3200.jpg
AnlĂ€sslich der Jean Michel Jarre Tour 2008 ist es angebracht, einen seiner treuen Wegbegleiter im BĂŒhnensetup vorzustellen: Den Korg PS-3200. Dieses semi-modulare Instrument kam 1978 – ein Jahr nach ‘Start’ der Serie in Form von PS-3100 bzw. PS-3300 – auf den Markt. Obwohl sich in diesem einen Jahr technisch gesehen viel getan hat (der PS-3200 verfĂŒgt als Einziger ĂŒber Programmspeicher, stufenlosen Chorus und andere Besonderheiten), und das Instrument bis weit in die 80er Jahre in Produktion bzw. im Angebot war, wurden nur 500 StĂŒck davon hergestellt. Das entspricht jedoch in etwa der ‘PS-Tradition’, denn auch vom kleinen PS-3100 wurden nicht mehr als 600 StĂŒck verkauft. Der große PS-3300 (von dem Jean Michel Jarre seinerzeit ĂŒbrigens zwei StĂŒck im Studio hatte) fĂ€llt bekanntlich noch deutlicher aus dem Rahmen, brachte er es doch nur auf ca. 50 gebaute Exemplare.
http://www.google.com/imgres?imgurl=http://www.amazona.de/media/articles/article_images/article_1734/1_ps3200.jpg&imgrefurl=http://www.amazona.de/index.php%3Fpage%3D26%26file%3D2%26article_id%3D1734&usg=__6h2_oYoRdhSJm3vSnU-6f5BQE4Y=&h=600&w=800&sz=106&hl=fr&start=11&sig2=2YGw0U429tB19AJ_m6tg5g&um=1&itbs=1&tbnid=VZYyV__Lfq7npM:&tbnh=107&tbnw=143&prev=/images%3Fq%3Dkorg%2Bps%2B3300%26um%3D1%26hl%3Dfr%26client%3Dopera%26sa%3DN%26rls%3Dfr%26tbs%3Disch:1&ei=khIETIfhJZiP4gbphZzqDQ

203 What does an Andromeda do better? - Gearslutz.com
Roland Jupiter 8 does its thing better than any other. Oberheim OBxa has its sound. Arp 2600 is unparalled. Prophet 5 set the bar. Moog Model D a What,does,Andromeda,do,better, What does an Andromeda do better?, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/473535-what-does-andromeda-do-better.html

183 Gearslutz.com - Powered by vBulletin
recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
http://www.gearslutz.com/board/

74 The RayographsBlog MySpace de |
The Rayographs are Astrud Steehouder on guitar and vocals, Jessamine Tierney on bass and vocals and Amy Hurst on drums and occasional vocals. The motivation that glues this band together has been the attempt to create a sound that satifies a combined aesthetic; the intention to write songs that resonate. The songs are ideas-based: cropped observational narratives, stark impressions of strange histories, dark blue cinematic lynchian atmospherics cut with sharp drums and curious basslines.
http://blogs.myspace.com/therayographs

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