100SILEX, de 0 ŕ 100 s: before
1408 Â» Cut simple SMT Stencil from common aluminum flashing on your CNC Animodule.com
Cut simple SMT Stencil from common aluminum flashing on your CNC
Hereâ€™s a quick photodoc of how I made a reusable SMT stencil from some aluminum siding I had laying around. Itâ€™s very simple to assemble and works great. Dirt cheap too.
I had picked up a roll of aluminum flashing a few years ago to flash some chimneys I rebuilt/repointed and was curious to see how it would hold up as an SMT stencil.
To buy an SMT stencil frame is near $1000 so I didnâ€™t have much to lose if it didnâ€™t work out.
I cut the frame out of some birch plywood since I had some handy. Really any sturdy frame would do the trick. You could easily glue one together out of some 1x or trim board.
I put a thicker sheet of aluminum down underneath the flashing to give the CNC endmill something sturdy to cut against and clamped it down stretched and tight. My thought there was that If I cut straight on the MDF it might push on the flashing and bend it before it cut through.
A 1mm endmill did the trick. Each pass was .05mm deep.
I pulled the Flashing tight and stapled it to the frame. No rocket science here. I taped up the inside edges so no solderpaste could squeeze between the frame and the stencil.
I had some old screen print hinge boards so I just attached this frame the same way I would a screen print stencil.
The only fiddly part was aligning the first PCB. You have to push around a little and lift the stencil and fiddle with it a little bit. Once I get all the pads lined up correctly I hold it in place and trace around it with a thin tip sharpie marker.
Then you place the PCB in the outline. If you have the height adjusted correctly the stencil is sturdy enough to hold the PCB in place while you print the Solderpaste on it. just hold the stencil frame down and it pushes down on the PCB.
I used a flexible putty knife as a squeegee. It worked fine.
Cleanup was a breeze. Just scrape it off, unscrew the stencil frame from the hingeboard and stick it in the corner till you are ready to do another run.
1386 Retro Synth Ads: Sound Master Memory Rhythm SR-88, Keyboard 1982
Sound Master Memory Rhythm SR-88 drum machine 1-page advertisement from page 67 in Keyboard Magazine August 1982.
Hmmm. Not sure how I feel about this ad. There just seems to be a lot going on.
For example, am I supposed to know who "The Rhythm Section" is? The fact that they include themselves in an already long ad title suggests they must be some kind of a big deal. And then you find their name again in the bottom left-hand corner:
"The SR-88. Another innovative product from The Rhythm Section by Sound Master Distributed exclusively by JTG of Nashville."
So, let me get this straight. JTG of Nashville is the distributor of the SR-88 which was created by The Rhythm Section which is somehow owned or operated by Sound Master.
That is waaaaay to much information. Sounds like something political is going on there, and readers unfortunately get stuck in the middle of it.
There also seems to be a lot of ad-copy which actually doesn t give me much information. Reason #4 gives readers the most info including instant stop/start, variable tone and output switches, and a write/play mode indicator. The most I glean out of the four other reasons put together is: 16 rhythms, clock pulse and a price of under $200.
The actual specs that are probably most important to potential buyers are inexplicably shoved into the bottom right-hand corner.
Luckily for me, there are a few resources on the Web with more information about this beast. Unluckily for blog readers, as soon as I started looking for more info, I got swept up in a certain SR-88/Boss DR-55 controversy.
Comparing the SR-88 and Boss DR-55
One of the first Web sites I hit while looking for info on the SR-88 was Dubsounds.com. The site includes a great little write-up on the SR-88, but, more interesting was finding out about a little controversy about whether the SR-88 or the very similar Boss DR-55 came out first.
The two do seem mighty similar in functionality. For comparison purposes, I did a quick search on MATRIXSYNTH to find more photos. . A great photo of a gray SR-88 can be found in this December 2005 SR-88 MATRIXSYNTH auction post and the less common, but definitely more cool, blue SR-88 can be seen in this January 2011 MATRIXSYNTH auction post.
Comparing the two to the Amdek RMK-100
Interestingly, it s not just these two machines that look and function similarly. In this May 2009 MATRIXSYNTH SR-88 auction post commenter "PAC" notices:
"Interesting. I have an Amdek RMK-100 (sold as kit), very similar!"
Never heard of it, so I Googled "Amdek RMK-100" to see just how similar it was to both the DR-55 and the SR-88. Turns out (according to the Internet) that Amdek products were made by Boss/Roland back in 80s, and, not only that, but that the RMK-100 is actually the kit version of the Boss DR-55. Makes sense on why it would also be similar to the SR-88.
I found an ebay auction for an Amdek RMK-100 going on right now with a great photo of the front panel (see below), and indeed it does share a lot with the DR-55 and SR-88 - but definitely not identical to either one.
For example, it looks like the Amdek and SR-88 share a similar filler function that as far as I can tell is not available on the DR-55. And the DR-55 and the RMK-100 share a similar accent function that I don t see on the SR-88.
Now where does the Electro Dynamics Corporation Programmable Rhythm SR-99 fit in?
I also came across another machine with similar features - the Programmable Rhythm SR-99. No - not manufactured by Sound Master, but by Electro Dynamics Corporation. And, it too resembles the others in functionality, and especially the SR-88 in design also.
I ve included a row of photos below to help make the comparison between the two. The SR-88 photo is from the 2005 MATRIXSYNTH auction post and the EDC SR-99 photo is from the excellent BigBlueWave.co.uk site. I ve also thrown in a photo from another recent E-bay listing that included both - plus boxes and manuals! Sick!
Obviously, Sound Master and EDC are somehow connected, although I can t find any info on the Internet concerning these two companies. I do know that they were both advertising separately in Keyboard Magazine in late 1983, making it unlikely that one of the companies changed their name to the other. Anyone know anything?
And then there is the Clef Master Rhythm...
Now, I m going to throw in a late entry. It s Sunday night, and I just came across this August 2010 MATRIXSYNTH auction post for the Clef Master Rhythm. It not only shares part of the name of one of the other units ("Master"), it too has many features of the other rhythm machines, and identical innards as the DR-55, but is expanded to include even more sounds:
"This is essentially a fully expanded Boss DR-55 feature-wise and tone-wise. The circuits are identical (schematically and tonally) to the Boss DR-55, but the Clef Master Rhythm gives you way more instruments than the Boss DR-55..."
Interestingly, according to the post, it pre-dates the Boss DR-55 - and also came in a kit form like the Amdek.
"The Clef Master Rhythm came out a little before the Boss DR-55 in late 1979/early 1980. It was sold in two versions and available in greater quantities in Europe than in the United States. One version was a kit that the user put together and another one was a prebuilt machine."
A photo from the MATRIXSYNTH post really helps show the similarities in functions with the others:
What does it all mean?
So, looking at all five machines, its almost like there was a rhythm machine salad bar of some sort in Japan, and each company stepped up to it and picked out which features they wanted to include in their product.
And that begs the question - since we know there was a kit form available and there are claims that the Clef Master even has the same circuits as the DR-55, could all five products (and probably others) have used the exact same internal parts - each company choosing which features to include and then customizing in their respective rhythm machine? And if so, were those parts supplied by Amdek, or did all five get their internal parts from some other manufacturer?
And if that is the case, then the question of whether the SR-88 or DR-55 came first doesn t really matter much, since it is likely that the kit components would have been available first. Plus, we have that one auction post with the claim that the Clef Master came out before the DR-55 - making it all even more confusing to figure out.
Or, am I totally off the mark on all this? Were they all created separately? Maybe I ve just been fixated on this a little too much...
I ll keep on looking for more info on these companies and any connection they might have, but if anyone want to buy all four and open them up to take a look - it would be muchly appreciated. :D
Posted by RetroSynthAds at 12:05 PM
Labels: 1982, amdek, clef master, dr-55, drum machine, electro dynamics corporation, keyboard magazine, rmk-100, Sound Master, sr-88, sr-99
Here s a funny thing - I seem to remember Clef in the early 1980s as a British company that made electronic pianos (touch-sensitive ones!) in kit form. Deep in the back of my mind I recall seeing them at a music fair in London with a couple of their pianos and some drum machines including a prototype drum/bass/chord sequencer called something like a "Band-Box". But it WAS a long time ago.
February 12, 2012 at 12:36 PM
Looks like (for once) my memory didn t fail me. Here is a 1982 ad for Clef Electronics showing all the products I mentioned, plus a natty-looking little monosynth! BTW, I owned an EDC SR99 drum machine in the mid-1980s, but replaced it with a Yamaha RX-21 a couple of years later.
February 12, 2012 at 12:46 PM
1167 How to Solder an SMD LED | eHow.com
How to Solder an SMD LED. The small size of the SMD (Surface Mount Device) component and the confined workspace of the PCB (Printed Circuit Board) are the challenging parts of SMD soldering. The best approach is to obtain the proper equipment and to plan out the process, before you actually begin. Working with an LED (Light Emitting Diode) is no...
1161 body rock tv fitness
I have a non-fitness related life situation that I wanted to run by you guysâ€¦. I wanted to talk to you guys today about not always having to say your sorry. Are you one of those people who finds yourself apologizing for things just to smooth things over or avoid a confrontation? This ability is admirable in certain low-key non-crucial situations. Itâ€™s when we apologize for our beliefs and principles â€“ or in the face of being bullied that we pay the high price of compromising ourselves. I have a friend who is being treated badly by certain members of her family. It really comes down to her not living her life exactly the way they think she should be living it. My friend is not endangering herself or others, she is kind hearted and generous to the extreme, but because she is not pulling the line and placing the needs of others before her own basic needs and happiness she is taking a lot of undeserved heat bordering on emotional abuse. Her strategy to this point has been to apologize left and right in an attempt to smooth it over and reset everything. It hasnâ€™t worked and if anything it has given the people giving her a hard time more of a license to push it even further. I think there comes a time when you just have to say enough and stop apologizing. I think that there is more strength and balance in believing in yourself and respectfully staying firm in your truth. From this position I think both sides have the best chance of talking it through and resolving it. What do you guys think? Do you find yourself constantly apologizing to certain people in your life? Is it helping or making the relationship more challenging? Any advice for my friend?
1102 Samsung NC10 LCD Problem white screen cable
We are wondering if anyone else are having the same issues as us and have seen this problem before. We currently have over 200 Samsung NC10 Netbooks
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1078 The Modular Synth
A long time ago, in a galaxy far away, before your local music shop was packed with the latest digital synths, even before the early analogue monosynths, if you wanted a synthesizer you had to make it yourself. Modular synthesis is not in itself a different type of synthesis, but refers to the fact that a synth would be built up from individual components (modules) , which would be linked together (patched) in a configuration decided by the person doing the building.
Compared with today's 'plug and play' synths which come with 100's of presets, GM soundsets, etc, this has the obvious disadvantage that 'recalling' a preset can only be done if your synth is patched together in exactly the same way every time and every controller has to be manually set to the same parameter.
However, the big advantage of Modular synthesis, of course, is that, providing you have the right components, you can build practically anything you want, without being constrained by the 'hardwired' configurations of modern factory built synthesizers.
The Pulsar/Scope Modular synth, like any other Modular 'soft synth' brings together the advantages of both Modular synths and modern factory built synths. Modular configurations can be saved as patches for total recall later on, and each patch can contain any number of presets, again for later recall. Furthermore, with a software modular, you can re-use each component as many times as you wish within one patch, you never run out of cables, you don't have to dedicate a whole room to the synth and the modules never suffer from physical damage. What's more, each parameter can be controlled by MIDI so parameter changes can be recorded into your sequencer in real-time.
973 zCover X5
iPod, nano, iAUdio, Samsung, YH820, YH925, Sony, Walkman, MN-HD5, network, Tosiba, Gigabeat, Sony PSP, iPod, iPod G4, iPod mini, iPod Shuffle, iRiver, iRiver H10, PalmOne, Tero600, Tero650, Creative, Zen, Creative Zen Micro, Creative Zen PMC, PMC, Camouflage, Candy, original, silicone, silicon, silicone alliance, case, skin, silicone case, silicone skin, protector
Headphone & USB
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Low Profile removable, rotating Belt Clip can be rotated and locked so that you can wear your iAudio vertically or horizontally when clipped to your belt.
Crystal clear Hard Screen Protector with Rubber Ring Pad provides the best protection and vision effect, it won't slid around or scratch your device.
Applied SA flipper lid concept, integrated subpack port flipper cover can help to keep dust, dirt and liquids out. Removable Belt clip with a soft landing insert disk, which will not scratch your device.S
zCover silicone cases are crafted from non-toxic, durable HealthCare grade silicone rubber. It is safe
Washable - you can wash zCover silicone case by hand. Make sure itâ€™s dried out before putting your iAudio into it. Dry it in room temperature. Please avoid direct fire and direct bright sunshine.
962 25 Abandoned Soviet Monuments that look like they're from the Future | Crack Two
These structures were commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s to commemorate sites where WWII battles took place (like TjentiĹˇte, Kozara and KadinjaÄŤa), or where concentration camps stood (like Jasenovac and NiĹˇ). They were designed by different sculptors (DuĹˇan DĹľamonja, Vojin BakiÄ‡, Miodrag Ĺ˝ivkoviÄ‡, Jordan and Iskra Grabul, to name a few) and architects (Bogdan BogdanoviÄ‡, Gradimir MedakoviÄ‡...), conveying powerful visual impact to show the confidence and strength of the Socialist Republic. In the 1980s, these monuments attracted millions of visitors per year, especially young pioneers for their "patriotic education." After the Republic dissolved in early 1990s, they were completely abandoned, and their symbolic meanings were forever lost.
From 2006 to 2009, Kempenaers toured around the ex-Yugoslavia region (now Croatia, Serbia, Slovenia, Bosnia and Herzegovina, etc.) with the help of a 1975 map of memorials, bringing before our eyes a series of melancholy yet striking images. His photos raise a question: can these former monuments continue to exist as pure sculptures? On one hand, their physical dilapidated condition and institutional neglect reflect a more general social historical fracturing. And on the other hand, they are still of stunning beauty without any symbolic significances. I know this may sound schizophrenic if you also read my last post. But maybe there are forms that can transcend meaning...
918 The SOS Guide To Choosing A Modular Synth
No longer the preserve of men in laboratories or capes, the modular synth business is thriving, and its now easier to go modular than ever before. Read on and well show you how...
modular synth. Cwejman, Tiptop Audio, Synthesis Technology, Doepfer, Livewire Electronics, Blacet, Metalbox, Modcan, Cynthia, The Harvestman, Sythesizers.com, Curetronic, Analogue Systems, Analogue Solutions, Technosaurus, PAiA, Plan B, Buchla
What an amazing instrument! The DSI Evolver has the signature "old school" timbre down pat as well as being able to provide digital timbres reminiscent of the Waldorf Q. There's certainly a "rougher" side available as well with all the feedback implementation and controled distortion. Being able to make PM type plucked and blown sounds is just icing on the cake. Dave Smith should be commended for a job well done. Just have a look at the Panel Layout to get a taste of what this beauty can dish out - the controls are pretty much laid out in the form of a signal path graphic. Be sure to visit Dave Smith's Website!
Evolver Sound Examples
There are a lot of demos of the Evolver on the web showcasing the gutsy harsh sounds of this beast so I decided to post demos of some of my own patches as examples of the "softer" more "vintage" side of the Evolver's timbre. I make no apologies for these unpolished recordings - these are merely sound samples ;)
Resonant Plucked Pad
This pad shows some of the rich resonant nature of the filter.
This is a simple analog brass lead patch.
A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below.
A nice bland-vanilla pad ^_^
What can I say? I love pads...
For more MP3 demos showing the full gamut of sounds the Evolver and Polyevolver are capable of, please visit the excellent website of Stefan Trippler!
The Definitive Guide to Evolver
This rather in-depth guide to the Evolver goes places and does things a mere manual can't. This labor-of-love was crafted by Anu Kirk and with his kind permission, I am offering this fantastic resource right here in PDF format!
A much smaller version (400K) is here but it dosen't have internal hyperlinks.
Here's a fun repository of programming tips for the Evolver in all its incarnations. Please email me if you would like to add some.
Fingered Wave Sequence
Submitted by Dave Bryce. This brilliant technique has to be heard to be believed! Plus, its one of those cool things unique to the Evolver! This particular tip is so full of detailed information that it gets its own page!
Audio-rate Filter FM
Submitted by James Maier. Use the "Audio Mod" parameter in the Filter section to frequency-modulate the cutoff with the analog oscillator. Add resonance until the filter is just on the edge of oscillation then mod the cutoff with just a little triangle LFO set at a very slow speed. Amazing moving chorusing pad and lead sounds can be made this way.
Fatter Bass/Pad Sounds
Submitted by Mike Peake. Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.
Submitted by James Maier. The Evolver can make many ultra-bright and buzzy sounds due to its extensive feedback and distortion stages but sometimes people miss the subtler side of the beast. For a warmer sound use little or no distortion, close the filter just a bit and turn off the feedback and delay lines. I've managed to get dead-on Prophet5 timbres this way.
Submitted by Mike Peake. Set the envelopes to linear, and use a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).
This is of course fun on the filter envelopes as well.
More Vintage Character
Submitted by Mike Peake. Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.
Don't miss out on the 12dB filter setting
Submitted by Mike Peake. The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.
DSI Evolver Waveshape Charts
Below are charts I've assembled of the digital waveforms and their spectra as currently used in the DSI Evolver synthesizers. Originally these waves were unique to the SCI ProphetVS vector synth.
I find these waveform/spectra graphics really usefull when programming sounds - maybe you will as well. Pay special attention to the spectra as this info is sometimes much more useful than waveshape in determining actual timbre - even before you hear what the waveform sounds like.
These are designed to be downloaded (right-click & "save target as"), and printed at 300dpi on 8.5" x 11" pages - don't resize these images before printing or you will lose useful detail. Use them as a handy refrence. This information was cobbled together from various scattered sources (with very special thanks to Achim Gratz!).
Any errors or omissions are my own. ^_^
As far as the origin of these waves is concerned, one of the original VS engineers, Chris Meyer, said:
"The original waves for the VS were created three ways - extracting single-cycles from sampled sounds, using a custom additive synthesis program, and using a program Josh (Josh Jeffe, another VS engineer) slapped together called "Hacker" where you could draw the waveshape. These were fed straight from the computer through the filter and VCA of a Pro-One to figure out what they might sound like in a patch. And by the way, no PPG waveforms appear inside the VS - we had access to them, but in the end our consciences got the better of us. We did steal some waveforms from the Korg DW6000, but only by looking at the harmonic drawings on the front panel and trying to imitate them in our additive synthesis program."
Modulation Matrix "Cheat Sheet"
This chart shows all the modulation routing available on the Evolver. This same info is available in the manual but this can be printed on a single sheet of paper as a handy refrence!
These I created just for fun and desktop "beautification" ;)
1280 X 1024
1024 X 768
800 X 600
772 16 Step Sequencer (With improved PCB) (+/-9V to +/-15V)
Article by Ray Wilson
Back to "Music From Outer Space" Analog Synth Pages
Watch Thomas White's Excellent
Sequencer Videos on YouTube
http://www.youtube.com/watch?v=s5cx6Z7wDOg Thomas White used the MFOS sequencer boards to produce this incredible rotary sequencer. Visit his site to keep up with his latest awesome projects.
Improved PC board (far less kludging).
Produces sequences of 4 to 16 steps in length
Modes include stop at count, reverse at count,
reset at count and random 16 mode
Each step has coarse tune, fine tune, and switchable gate
Accepts external clock and external start pulse.
Simultaneous outputs with and without portamento.
Forward, Back, and Reset controls ease sequence set up.
Please see the pages at 16 Step Analog Sequencer Circuit for details regarding circuit descriptions etc. This page is here soley as a vehicle to present the new PC boards and support board purchases. The schematic and PCBs presented here incorporate all of the improvements and modifications shown on the previous sequencer pages. Panel to board wiring is presented here. Please browse the entire page before ordering board to ensure you understand the circuit and there is enough information provided here for you to successfully complete the project prior to purchasing PC boards. Thanks.
741 17 Useful Htaccess Tricks and Tips
I have collected 17 htaccess methods in this article which I have used or tested it before, and I think some of them are essential tricks and tips to protect your webserver against malicious attacks and other would able to perform simple tasks efficiently such as redirection and web server optimization.
queness,kevin liew,tips, tools
687 50 Beautiful and Fresh Free Fonts
As you will already know, there are thousands upon thousands of free fonts available, so choosing that perfect font can be very, very difficult. Its tedious business constantly scouring through countless font directories and foundries to hopefully find what you are looking for.
Hopefully, with this post, we can make your search that little bit easier by rounding up 50 of our favorite fonts that have been released in recent months.
So, whether you design web pages, t-shirts, posters or just seeking some typographical inspiration, we have no doubt that you will the perfect font for your perfect project in this round-up.
Please note, licenses to have a tendency to change so please double check before usage.
565 Inside Alesis A6 Andromeda | Ibsendesign blog
Inside Alesis A6 Andromeda
Here are some pics Iâ€™ve shot during the reconnaissance inside my A6 (taking some measures before pimping it with some custom made wooden cheeks). Itâ€™s quite surprising that its guts are not that complicated as it may seem looking at itâ€™s interface. Very clean layout and good engineering (with tons of silicone glue, WTF?). The only con is that in order to remove those original cheeks I have to disassemble all the PCBâ€™s attached to the front panel â€“ and probably all the pots! Teh drama.
484 Why did so many successful entrepreneurs and startups come out of PayPal? Answered by Insiders
Why did so many successful entrepreneurs and startups come out of PayPal? I long have been fascinated by the extraordinary achievement from the ex-Paypal team and wonder about the reasons behind their success. In the past, mass media tried to answer this question several times but still couldnâ€™t give us a clear answer.
I once asked David Sacks the same question during an event in Los Angeles. He told me the secret is that Paypal has built a â€śscrappyâ€ť culture. No matter what problems they faced, they would find a way to solve them. I kind of got the idea, but was still confused about the execution details.
So when I saw some of the past Paypal employees answering this question on Quora, I was super excited! After all, they should be the only ones who can tell people the inside stories.
Below are some highlights of their answers. *If you want to check out the sources or leave your comments, please go to here and here.
On Talent Management
â€śPeter and Max assembled an unusual critical mass of entrepreneurial talent, primarily due to their ability to recognize young people with extraordinary ability (the median age of *execs* on the S1 filing was 30). But the poor economy allowed us to close an abnormal number of offers, as virtually nobody other than eBay and (in part) google was hiring in 2000-02.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śExtreme Focus (driven by Peter): Peter required that everyone be tasked with exactly one priority. He would refuse to discuss virtually anything else with you except what was currently assigned as your #1 initiative. Even our annual review forms in 2001 required each employee to identify their single most valuable contribution to the company.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śDedication to individual accomplishment: Teams were almost considered socialist institutions. Most great innovations at PayPal were driven by one person who then conscripted others to support, adopt, implement the new idea. If you identified the 8-12 most critical innovations at PayPal (or perhaps even the most important 25), almost every one had a single person inspire it (and often it drive it to implementation). As a result, David enforced an anti-meeting culture where any meeting that included more than 3-4 people was deemed suspect and subject to immediate adjournment if he gauged it inefficient. Our annual review forms in 2002 included a direction to rate the employee on â€śavoids imposing on othersâ€™ time, e.g. scheduling unnecessary meetings.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śRefusal to accept constraints, external or internal:We were expected to pursue our #1 priority with extreme dispatch (NOW) and vigor. To borrow an apt phrase, employees were expected to â€ścome to work every day willing to be fired, to circumvent any order aimed at stopping your dream.â€ť Jeremy Stoppelman has relayed elsewhere the story about an email he sent around criticizing management that he expected to get him fired and instead got him promoted. Peter did not accept no for answer: If you couldnâ€™t solve the problem, someone else would be soon assigned to do it.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śDriven problem solvers: PayPal had a strong bias toward hiring (and promoting / encouraging, as Keith mentions) smart, driven problem solvers, rather than subject matter experts. Very few of the top performers at the company had any prior experience with payments, and many of the best employees had little or no prior background building Internet products. I worked on the fraud analytics team at PayPal, and most of our best people had never before done anything related to fraud detection. If heâ€™d approached things â€śtraditionallyâ€ť, Max would have gone out and hired people who had been building logistic regression models for banks for 20 years but never innovated, and fraud losses would likely have swallowed the company.â€ť (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal)
â€śSelf-sufficiency â€“ individuals and small teams were given fairly complex objectives and expected to figure out how to achieve them on their own. If you needed to integrate with an outside vendor, you picked up the phone yourself and called; you didnâ€™t wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didnâ€™t wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didnâ€™t wait for a content writer.â€ť (by Yee Lee, former Product & BU GM of Paypal)
On Culture & Ideology
â€śExtreme bias towards action â€“ early PayPal was simply a really *productive* workplace. This was partly driven by the culture of self-sufficiency. PayPal is and was, after all, a web service; and the company managed to ship prodigious amounts of relatively high-quality web software for a lot of years in a row early on. Yes, we had the usual politics between functional groups, but either individual heroes or small, high-trust teams more often than not found ways to deliver projects on-time.â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śWillingness to try â€“ even in a data-driven culture, youâ€™ll always run in to folks who either donâ€™t believe you have collected the right supporting data for a given decision or who just arenâ€™t comfortable when data contradicts their gut feeling. In many companies, those individuals would be the death of decision-making. At PayPal, I felt like you could almost always get someone to give it a *try* and then let performance data tell us whether to maintain the decision or rollback.â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śData-driven decision making â€“ PayPal was filled with smart, opinionated people who were often at logger-heads. The way to win arguments was to bring data to bear. So you never started a sentence like this â€śI feel like itâ€™s a problem that our users canâ€™t do Xâ€ť, instead youâ€™d do your homework first and then come to the table with â€ś35% of our [insert some key metric here] are caused by the lack of X functionalityâ€¦â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śRadical transparency on metrics: All employees were expected to be facile with the metrics driving the business. Otherwise, how could one expect each employee to make rational calculations and decisions on their own every day? To enforce this norm, almost every all-hands meeting consisted of distributing a printed Excel spreadsheet to the assembled masses and Peter conducting a line by line review of our performance (this is only a modest exaggeration).â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śVigorous debate, often via email: Almost every important issue had champions and critics. These were normally resolved not by official edict but by a vigorous debate that could be very intense. Being able to articulate and defend a strategy or product in a succinct, compelling manner with empirical analysis and withstand a withering critique was a key attribute of almost every key contributor. I still recall the trepidation I confronted when I was informed that I needed to defend the feasibility of my favorite â€śbabyâ€ť to Max for the first time.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śExtreme Pressure â€“ PayPal was a very difficult business with many major issues to solve. We were able to see our colleagues work under extreme pressure and hence we learned who we could rely on and trust.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
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.
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 mojoâ€”one needed only leave home to buy more tapes. Says Neffe, â€śI 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 â€¦ if the buyer didnâ€™t like the music, he or she could wipe it out and record something else on it.â€ť
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 wankingâ€”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 Bugsâ€™ A Safe Substitute and Colin Potterâ€™s The Ghost Office. In Japan, 1980 saw the release of Merzbowâ€™s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâ€™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. Neffeâ€™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, Neffeâ€™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 consciousnessâ€“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 7â€ť 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. Neffeâ€™s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as â€śtextsâ€ť or â€śphotographsâ€ť, or as he puts it, â€śpotlatch musicâ€ť. 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 textâ€™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 Ă‰tant 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 â€śLangsamâ€ť 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 â€śSons of God?â€ť 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 collectorsâ€™ 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 Musicâ€™s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
400 Akai MPC Forums - View topic - PIMPED OUT MPC1000 PICS (BEFORE & AFTER)
235 MATRIXSYNTH: Alesis Andromeda A6 Aurora Mod
This was a custom mod. I originally put a post up in August of 05 here. Anyone know the website where more info on this mod is hosted? I accidentally lost the link when mucking around with Blogger's settings a while back.
This image via Photobucket
Update: I found the original site but it is down. Some info and additional shots pulled from the Internet Archive Way Back Machine. You can find some thumbnails there, but most give you a 404 if you click on them for the larger shot. I pulled the large pics below before they are gone forever.
"Alesis made Synthesis History when they released their Alesis Andromeda A6, an analog polysynth bred with new technology and classic analog sound! Sixteen awesome voices with two types of filters, a vast modulation system, and enough bells and whistles to make the Andromeda A6 THE most highly featured analog polysynth in existence. If it only had a sloped panel...
* Take one Andromeda, lightly used (but out of warranty - very important!)
* Add one black on blue BETA Panel - because the pre-production beta panels were lacking the Pre- and Post-Filter Mix VIEW buttons, either the buttoncaps must be pulled off of the switches on the PCBs OR two holes need to be carefully drilled through the panel to accomodate. I drilled the holes after measuring about fifteen times each.
* Tilt that panel at approx. the same slope as the Korg MS-20. Requires the extending of a couple of ribbon cables inside, and some pop-rivetted braces. Not too hard.
* Custom wood endcheeks of nice Oak, plus a wood accent over the keyboard. I chose to go with thick, high quality wood to make Aurora more of a beast.
* Replace all green LEDs with red high-intensity ones. This also required changing some resistor values to increase the brightness.
* Replace the LCD with a Hantronix Blue-on-White display. Also, some resistor changes are needed.
* Have a very agreeable Alesis burn a custom Boot EPROM with the custom-designed bootup screen below.
* Build a custom top panel, complete with several additional controls (two joysticks, several switches and knobs) as well as a full 16-channel mixer with level and pan per channel, one for each of the 16 individual outs on the Andromeda.
* Add lots of careful, hard work and time, and PRESTO - you have the Aurora A6!
The Name: I went with Aurora for a couple of reasons.
1. Alliteration - AurorA - AndromedA - get it?
2. There is some legend/lore as to how the Alesis Andromeda got its name. Could be related to the Greek mythos. Could be related to the Andromeda galaxy. Could be darts thrown at dictionary pages :-) In any case, Aurora fits with the mythology bent because in Roman mythology, Aurora was the goddess of the dawn (Andromeda was rescued and married by Perseus in Greek mythos). Aurora also fits the 'celestial' thing as well, as the Aurora Borealis. Either way, it kept with what might have perhaps been Alesis' reasons for naming the Andromeda.
3. I just liked it.
4. The A6 is kept because this fits with Alesis' naming convention (QS8 = 81-key QuadraSynth, A6 = 61-key Analog). There is some rumor that A6 was a play on ASICs, the custom chips within Andromeda, but I'm assured this is just rumor :-) "
29 1001 Albums You Must Hear Before You Die
1001 Albums You Must Hear Before You Die is a musical reference book edited by Robert Dimery, released in 2006. It consists of a list of albums released between 1955 and 2005, part of a series from Quintessence Editions Ltd. The book is arranged chronologically, starting with Frank Sinatra's In the Wee Small Hours and concluding with Myths of the Near Future by Klaxons.
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