100SILEX, de 0 à 100 s: between
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
Hereâs a quick photodoc of how I made a reusable SMT stencil from some aluminum siding I had laying around. Itâs 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 didnât have much to lose if it didnât 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
1380 Versions archivĂ©es de Flash Player
module externeÂ ; ActiveXÂ ; ancienÂ ; testÂ ; dĂ©tectionÂ ; archiveÂ ; lecteursÂ ; tn_14266
1132 Mammoth Modular Synthesizer At MIT Museum
Just got an update from Joe Paradiso on his homebuilt mammoth analog modular synthesizer. Heâs installed it in the MIT Museum and has completed a fairly epic patch which you can listen to (24 hours a day!) here.
Joe will be at the museum this Thursday and Friday (2/23 and 2/24) at 1pm, demoing the synth to visitors, so be sure to stop by if youâre in the neighborhood. Hereâs some info from Joe on the construction and inspiration for the latest patch.
The second patch I made at the MIT Museum is totally done now, and you can hear it live on the stream. Listen to it at http://synth.media.mit.edu, and let me know what you think if youâre inclined â itâs running in physical space in Quad, of course â stereo on the stream. Note that this one has absolutely NO sequencer of any sort on it â all of the patterns you hear were made entirely from hand-patched logic (counters, ands, ors, flip flops, ring counters, rate multipliers, etc.). Itâs an entirely different kind of composition environment from the norm â you really need to simultaneously be an engineer while being an artist and something of a performer. The inspiration for this patch started with the Boredoms â if you donât know who they are, you should (http://www.boredoms.jp/). In particular, I was thinking of SuperRoots 9. The beauty of the patching interface is that you can never exactly nail what you start out to attain, but on the other hand, you get drawn into places you wouldnât have normally gone once you start. The 3 drummers that Yamantaka Eye performs with lay down a compelling rhythm that my hand-patched logic and analog processing canât match, of course. But this patch definitely has a strange jumpy groove once it gets into gear, and the 2-chord pad is archetypical too. Yes, Boredoms rule today! BTW, this patch took every cord I had, plus a good 30 more wires just shoved into the pin jacks â check out the photos here and here â the latter shows the kind of logic section patching complexity you need to build a sonic environment like this one.
Iâm ripping this baby out next Thursday, as Iâll be at the museum next Thursday and Friday (2/23 and 2/24) at 1pm to demonstrate the synthesizer to visitors â doing some very simple patches and showing off what the modules do in case anybody is interested in this. It will run continuously until then.
Otherwise, enjoy the stream â there are moments of introspective drift in-between wild percussion (yes, Boredoms!). I might pull the percussion line back so it doesnât come so often or regularly, but itâs essentially a wrap.
992 Troy Hunt: Whoâs who of bad password practices â banks, airlines and more
Troy Hunt on observations, musings and conjecture about the world of software and technology
Troy Hunt, blog, .NET, Azure, Backup, Bing, Blogger, Career Development, Code Quality, Conference, Database, Design Utopia, DotNetNuke, Enterprise Software Platform, Internet Explorer, iPhone, K2, LinkedIn, Media, NDepend, Online Identity, OWASP, People Management, Personal Development, Product Review, ReSharper, Security, SharePoint, Silverlight, Software Quality, SQL Injection, SQL Server, Subversion, Travel, Twitter, Visual Studio, Windows Mobile, XSS,
Ah, passwords. Love âem or hate âem, theyâre a necessary evil of the digital age. The reality is we all end up with an alphabet soup of passwords spread over dozens of various sites and services across the internet. Whilst we might not always practice it, we all know the theory of creating a good password; uniqueness, randomness and length. The more of each, the better.
Of course we frequently donât do this because of all sorts of human factors such as convenience, memory or simple unawareness of the risks. Still, when itâs a case of individuals electing not to create secure passwords, they really only have themselves to blame.
But what happens when the website wonât allow you to create a secure password? Or at least when they severely constrain your ability to create long, random, unique passwords? And what about when they donât allow you to send it between your computer and their server securely?
Even worse, what happens when our most âsecureâ institutions implement lazy password policies? Unfortunately, all of this is pretty rampant practice.
959 Brian Eno | Drums Between The Bells
New Brian Eno album âDrums Between The Bellsâ forthcoming on Warp Records. Listen to a track now at http://brian-eno.net/drums-between-the-bells/
897 Generic Synth Preset Storage and Conversion
For my synths with preset storage and the ability to dump & load presets via midi sysex, I wanted to be able to feed the sysex of a synth into a software program which can
display the sound parameters in a meaningful form, and
convert the sound into the sysex format of any of my other presets synths
The generic patch storage format must display meaningful values for the parameters (filter envelope amount = 1/2 octave, envelope 1 attack = 50ms, etc) and convert between these values and a given synth's sysex (as much as possible - resolution probably isn't good enough to get envelope attack to exactly 50ms on each and every synth, and envelope shapes vary between synths, etc). The storage format will also store the original parameters, using the "native" value range of each parameter (e.g. filter cutoff frequency between 0 and 127) as well as the original sysex program as an ASCII hex dump.
Since I didn't find any software which could do this, I began writing my own in Java. I am concentrating on converting basic analog components; any on-board effects are not used.
812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02âą although it was developed independently of Korg Inc.
Korg and MS-02 are the trademarks of Korg Inc.
Among presently available music synthesizers, there are two different types of control system used for controlling devices such as the VCO (voltage controlled oscillator) and VCF (voltage controlled filter). These two systems been: Hertz/Volt (Hz/V) and Octave/Volt (Oct/V).
The graph to the left shows the relationship between the VCO oscillator frequency (pitch) and the control voltage (keyboard output voltage). The straight line on the graph is from a synthesizer in which there is a one octave change for every one volt change in the control voltage (Oct/V). In contrast, the curved line on the graph is the control voltage from a synthesizer in which the VCO frequency is proportional to voltage (Hz/V system).
To allow these systems to work together you will need a module like this ED102. The built-in, fully adjustable log amp and anti-log amp ensure complete system flexibility and compatibility between any presently voltage controlled synthesiser.
The Hz/V system
In the Hz/V system, the VCO oscillator frequency is proportional to the control voltage so that, for example, if the frequency of a VCO increases by 100Hz for every volt applied, then applying 1V, 2V and 3V to this VCO would generate 100Hz, 200Hz and 300Hz respectively.
The Oct/V system
In the Oct/V system the VCO oscillator frequency changes one octave for every one volt change in the control voltage so that, for example, 1V, 2V and 3V to a VCO would generate 200Hz, 400Hz and 800Hz respectively.
Features and Functions
This changes a Hz/V type keyboard CV (control voltage) output into an OCT/V type of CV. Use the Log Amp to change the control signal from, say, a Korg or Yamaha synthesiser into a signal you can use with another type of synthesizer.
This changes an OCT/V type of keyboard CV output into a Hz/V type of CV. Use this Antilog Amp when you want to control, say, a Korg synthesiser by means of a unit that uses the OCT/V system.
761 Midi Software - Synth Zone
MIDI Sequencing SoftwareAnvil Studio Anvil Studio is a MIDI and audio sequencer and is free software for Windows users.
Building Blocks Building Blocks for Windows is a multifunctional MIDI application / modular sequencer, that allows you to build custom controller remapping, LFO's, arpeggiators, autochords, drum and note sequences, echoes etc.
Busker A Windows score editor and player that has Yamaha style support. 1000s of Yamaha styles can be downloaded for free. Another great music software tool from Jos Maas.
Cakewalk Sonar Windows & Mac sequencer now with integrated midi and audio. Sonar demo available. For other Cakewalk resources see Synth Zone's Cakewalk Page
Cubase - Steinberg Featuring integrated midi & audio package Cubase VST For more info & related links see Synth Zone's Cubase Links
Cursed Sequencer Open Source sequencer for Windows and Linux.
Digital Performer MOTU presents Digital Performer for the Mac, a complete digital audio and MIDI production environment. Competitive upgrades available. See the new Digital Performer mailing list.
Ditty Ditty is a freeware MIDI sequencer for Windows aimed at assisting piano practice.
Easybeat Mac MIDI sequencing software from Uni Software Plus. Features include a software GM wavetable synth.
Energy XT Energy XT is Windows sequencer/composer software.
Fl Studio Windows application that provides easy to use yet powerful MIDI/digital audio sequencing and looping tools.
Intuem Mac OSX MIDI sequencer that provides a variable-tempo system and a simple way to transform a real, human, performance into a sequence where bars and beats actually have meaning. Time restricted version available to download.
Jammer - Soundtrek Jammer for Windows provides a 256 Track MIDI sequencer with built in studio musicians. A very useful program for creating arrangements & drum tracks with assistance from the software. Also check the Yahoo Jammer Group.
JUMP A highly streamlined Windows MIDI sequencer, designed to help you compose music
Jazzware - Jazz++ Windows & Linux open source MIDI sequencer with audio support. If you need a MIDI sequencer you really should check it out.
Logic Pro Audio Apple's MIDI & audio solution for the Mac. For Emagic product support see the Emagic Legacy pages at Apple. For related information see Emagic Users Page with resources & mailing list for Emagic products, the Logic Users' Net which includes Mac related info, and the Powerkeys "Learning Logic" web site. SwiftKick provides and archive for the Logic Users' Group environments. Editors, MIDI processors etc. are available. Omega Art has Logic info and resources. You can read the History Of Logic at Tweakheadz Lab.
Magix Magix Music Studio incorporates a MIDI sequencer with its digital audio sequencer.
Massiva An audio/MIDI sequencer for Windows users with undo plus plugin support. This is just an archive of an old site. You can still get it from AudioMelody.com. Massiva has now moved on to become Energy XT
Mixcraft Windows software that supports MIDI and audio sequencing..
MU.LAB An alternative, hi-quality music application for Mac OSX and Windows with MIDI and audio support.
MultitrackStudio Window digital audio recorder with VST 2.0 plugin and MIDI support. Freeware version and pro versions available.
Music Master Win sequencing & notation package with a full graphic interface for Roland VS880 control & integration.
Music Master Works A shareware Windows sequencing & accompaniment package. Win95 & Win3.1 versions available. From Aspire software
MusicPhrase XL MusicPhrase for Windows is a creative tool for composing music. Features phrase sequencing and visual groove editing tools.
Music Studio Producer Music Studio Producer is a free Windows MIDI sequencer, DAW which can host VST(i), supports ASIO. From Aspire software
Numerology Numerology is a modular sequencing and audio plugin environment for Mac OS X.
Onyx Onyx by Jasmine Music provides powerful sequencing, harmonizer and MIDI-2-Audio rendering.
Power Chords By Howling Dog Systems - Innovative Windows midi sequencer using onscreen guitar fretboard interface, plus other unique features for creating strum & rhythm patterns. Demo available
PowerTracks Pro Audio PG Music's budget priced sequencer for Windows now features up to 48 tracks of digital audio with effects, EQ, panning etc plus 3rd party plugin support.
Pro Tools Digidesign provide Pro Tools for Windows and Mac with MIDI, multitrack audio and plugin support.
Quartz Audio Master Quartz Audio Master is free Windows multitrack digital recording software and MIDI sequencing software. Provided by DigitalSound Planet
Reaper REAPER is a fully featured Windows multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment. Fully functional evaluation available for download.
Rosegarden Rosegarden is a free MIDI sequencer and notation editor for Unix, and has binary distributions for Linux PCs and SGI IRIX.
SoftStep SoftStep is a Win9x modular step sequencer based on modular analog step sequencers. Features modules, which are math and logic functions that you treat as physical boxes with knobs and sliders.
Style Enhancer Windows MIDI sequencer based on Performance Modeling technology with powerful and intelligent MIDI-data generation and transformation.
SwarShala Midi sequencer package for Windows software that covers both the melodic and rhythmic aspects of Indian music. Featured instruments include Sitar, Sarod, Tanpura, Guitar, Tabla, Pakhawaj, Dholki and Bells. MIDI files and WAV files can be output.
Sweet Sixteen Midi sequencer package for Windows from Roni Music. And check out the Sweet MIDI arpeggiator for Windows, very cool !!
TR-x0x Freeware Windows step sequencer based on the Roland TR-808/909 drum machines.
Tracktion Tracktion from Mackie provides low cost MIDI and audio sequencing.
Tunafish A Windows VSTi MIDI sequencer with sample support. A fully functional ( save disabled ) demo is available to download. Has sample support and provides a built-in sample/drum sequencer.
Xx A multi-track MIDI sequencer for MacOS. It is also an algorithmic compositional tool. Requires OMS.
Midi SoftwareAudible Oddities - Twerk's Tools Audible Oddities is an audio mastering business and Shawn Hatfield also provides some free music composition tools for the Mac featuring sequencing control and algorithmic music generation. Burnt Toast even has a beta version available for Win XP.
Catanya Software pattern arpeggiator VST plugin.
MIDI-OX Win9x/NT midi utility providing sysex handling, diagnostics, filtering & mapping of midi data Streams. All Windows MIDI users should check this out. It is also available from Yamaha UK. Also see MIDI Yoke which allows you to route MIDI between different applications.
vanBasco's Karaoke Player vanBasco's Karaoke Player is freeware Windows software that plays Karaoke (.kar) and standard MIDI (.mid, .midi, .rmi) files. Provides a piano keyboard and lyric display.
Vocal Writer Shareware music & vocal synthesis software for the Power Mac. Not only playback & edit GM midi files, but it will also sing your lyrics (85 voices to choose from)
Zel Zel is an interpretive MIDI programming language for Windows. Version 1.2 includes the Zel Drum Machine, a style based composer and editor which makes it easy to create MIDI drum tracks without having to learn the Zel language. Freeware.
Midi Sequencing Related SitesAtari-MIDI Yahoo Group for Atari computer users to discuss MIDI applications. Also check The Caged Artist Series Page for once commercial MIDI software that is now freeware.
Audio Forums Forums for most major sequencing & digital audio software packages.
Harmony Central Provide an archive of MIDI sequencer and notation applications to download. There is software for all platforms available.
HitSquad Provide links to a number of MIDI sequencers and "tracker" sequencers for Windows, Mac and Linux.
MacMusic.org Macmusic.org have lots of links to Mac specific audio and MIDI sequencing resources. .
Mac OSX MIDI Apps A very useful list of links to Mac OSX MIDI applications with descriptions and direct links to the websites and apps.
Midijoys Freeware Windows program that combines two independent fully programmable joystick controllers, and a Continuous MIDI Controller programmable sliders that can send a wide spectrum of MIDI control parameters.
MidiPlugins.com Links to freeware and commercial MIDI plugins for both Windows and Mac OS9/OSX.
Music-X Amiga University Info on the original Amiga sequencer Music-X including writing sysex protocols. Also see Driptomatic Fairytales for Music-X info and resources. AM/FM also provide disk images containing many Amiga MIDI articles and tools.
Sonic Control Sonic Control provides information and reviews of sequencers for all platforms as well as MIDI hardware.
SourceForge SourceForge provide freeware software for Windows, Mac and Linux platforms and have many MIDI sequencer applications.
Sweetwater Sequencer Forum Sweetwater.com provides forums including one dedicated to MIDI sequencers.
Vintage Sequencers Tweakheadz Lab provides a great rundown on the ancestors of todays sequencers on computers in the 80s. Very interesting and informative reading with screen shots of many sequencers from the early days of MIDI.
706 Geometry, Surfaces, Curves, Polyhedra
POV-Ray: A Tool for Creating Engaging Visualisation of Geometry
Various notes on polygons and meshes
Includes Surface (polygon) simplification, Clipping a polygonal facet with an arbitrary plane, Surface Relaxation and Smoothing of polygonal data, Mesh crumpling, splitting polygons, two sided facets, polygon types.
Philosophy is written in this grand book - I mean universe - which stands continuously open to our gaze, but which cannot be understood unless one first learns to comprehend the language in which it is written. It is written in the language of mathematics, and its characters are triangles, circles and other geometric figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrinth. Galileo (1623)
Distance between a point, a line and a plane
The intersection of a line with another line (2D)
The closest line between two lines (3D)
The intersection of a line with a plane
Mathematics describing a plane
The intersection of two planes
The intersection of three planes
Polygon area and centroid calculation
Inside / outside polygon test
Reflection of a ray
Eulers number and closed surfaces
Determining whether a line segment intersects a facet
Coordinate transformations on the plane (2D)
Cartesian, Cylindrical, and Spherical
Euler angles and coordinate transformations
Converting between left and right coordinate systems
Clipping a line with a polygon
Clockwise test for polygons in 2D
Test for concave/convex polygon in 2D
Area of (planar) polygons in 3D
Spheres, equations and terminology
The intersection of a line and a sphere (or a circle)
Equation of the circle through 3 points
Equation of the sphere through 4 points
Intersecting area of circles on a plane
Rotation of a point about an arbitrary axis
Creating a plane/disk perpendicular to a line segment
Intersection of two circles on the plane
Circumference of an ellipse
Intersection of two spheres
Distributing Points on a Sphere
Quadric equations in x and y of degree 2
Fowler angles: Comparing angles without trigonometry
Description of an efficient contouring algorithm as it appeared in Byte magazine. (Byte Magazine, 1987) and a more general approach for arbitrary contour planes and polygonal meshes.
Methods for mapping points on a spherical surface onto a plane, stereographic and cylindrical (including Mercator) projections. Includes Aitoff map projection: Conversion to/from longitude/latitude (spherical map)
Classification of projections from 3D to 2D and specific examples of oblique projections.
A triangle was an improvement to the square wheel. It eliminated one bump. BC comics
Planar (stretching) distortion in the plane
Including Anamorphic projections and Mappings in the Complex Plane (Otherwise known as Conformal maps)
Polygonising a scalar field
Otherwise known as marching cubes and marching tetrahedrons.
A Macintosh 4 dimensional geometry viewer and manual.
616 Alphabet Soup modular synth
The STS Serge Modular can be a daunting system at first blush, especially for those who come from an "East Coast" modular synth background. My first synthesizers were Moog analogs and my first Analog Modular Synth was an Arrick "Dotcom" system - so I started out with East Coast paradigms that I had to "unlearn" in order to use my Serge Modular to the fullest. For those of you coming from a similar background or those just discovering the Serge Modular for the first time, these "Alphabet Soup" pages are dedicated to you!
The Serge Modular is intuitive and fun to use - especially when you realize the main difference between a Serge Modular and most others has to do with the size of the building blocks, where a Moog or similar modular will have monolithic building blocks like ADSRs and Oscillators, the Serge can be more "low-level" in that you can build ADSRs and oscillators from Serge modules or, more properly, Function Blocks.
These Function Blocks usually come bearing arcane names that have been shortened to an "Alphabet Soup" conglomeration of acronyms. In this series of articles, I'll be talking about some of the ways to approach these Function Blocks to create much more useful, surprising, complex or just simply fun synthesis features.
The first function block we're going to look at is the "DSG", otherwise known as the Dual Universal Slope Generator. This mild-mannered module is in some ways the most powerful one in the entire Serge catalog because it can become so many different things depending on where you place the patch cords...as you'll soon see.
614 digital life - Digicult.it
DIGITAL LIFE, is a project dedicated to the digital future and to the cross-fertilization between technology, new media and contemporary artistic expressions. On the 3 March 2010, this project inaugurates La Pelanda, a new location in the newly refurbished ex-abattoirs in Testaccio for contemporary artistic and cultural productions. These premises have been renovated for the city by the Rome Municipality as part of the Zone attive Project.
Digital Life, Richard Castelli, Romaeuropa, Ryuichi Sakamoto, Shiro Takatani, Jeffrey Shaw, Ulf Langheinrich, Jean Michel BruyĂšre, Erwin Redl, Thomas McIntosh, Emmanuel Madan, Martux-m, Mikko Hynninen, Julien Maire, Christian Partos, digicult, digital culture, culture, digital, electonics arts, arts, elecronics, promotions and circulation, circulation
607 The Difference Between Good Design and Great Design
What's the difference between a good design and a great design? It's all a matter of perspective.
533 The Theory and Technique of Electronic Music
Sinusoids, amplitude and frequency
Measures of Amplitude
Units of Amplitude
Synthesizing a sinusoid
About the Software Examples
Wavetables and samplers
The Wavetable Oscillator
Audio and control computations
The sampling theorem
Converting from audio signals to numeric control streams
Control streams in block diagrams
Audio signals as control
Operations on control streams
Control operations in Pd
Automation and voice management
Linear and Curved Amplitude Shapes
Continuous and discontinuous control changes
Encapsulation in Pd
Taxonomy of spectra
Multiplying audio signals
Frequency and phase modulation
Pulse trains via waveshaping
Pulse trains via wavetable stretching
Movable ring modulation
Phase-aligned formant (PAF) generator
Time shifts and delays
Time shifts and phase changes
Recirculating delay networks
Power conservation and complex delay networks
Variable and fractional shifts
Fidelity of interpolating delay lines
Taxonomy of filters
Low-pass and high-pass filters
Band-pass and stop-band filters
Elementary non-recirculating filter
Non-recirculating filter, second form
Elementary recirculating filter
Real outputs from complex filters
Two recirculating filters for the price of one
One-pole low-pass filter
One-pole, one-zero high-pass filter
Peaking and stop-band filter
Stretching the unit circle with rational functions
Butterworth band-pass filter
Impulse responses of recirculating filters
Single Sideband Modulation
Fourier analysis and resynthesis
Fourier analysis of periodic signals
Periodicity of the Fourier transform
Fourier transform as additive synthesis
Properties of Fourier transforms
Fourier transform of DC
Shifts and phase changes
Fourier transform of a sinusoid
Fourier analysis of non-periodic signals
Fourier analysis and reconstruction of audio signals
Timbre stamping (classical vocoder)
Phase relationships between channels
Symmetries and Fourier series
Sawtooth waves and symmetry
Dissecting classical waveforms
Fourier series of the elementary waveforms
Square and symmetric triangle waves
General (non-symmetric) triangle wave
Predicting and controlling foldover
Sneaky triangle waves
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 couldnât 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 âscrappyâ 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
âPeter 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 (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme 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 (by Keith Rabois, former Executive Vice President of Paypal)
âDedication 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 âavoids imposing on othersâ time, e.g. scheduling unnecessary meetings.â (by Keith Rabois, former Executive Vice President of Paypal)
âRefusal 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 âcome to work every day willing to be fired, to circumvent any order aimed at stopping your dream.â 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 couldnât solve the problem, someone else would be soon assigned to do it.â (by Keith Rabois, former Executive Vice President of Paypal)
âDriven 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 heâd approached things âtraditionallyâ, 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 (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal)
âSelf-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 didnât wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didnât wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didnât wait for a content writer.â (by Yee Lee, former Product & BU GM of Paypal)
On Culture & Ideology
âExtreme 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 (by Yee Lee, former Product & BU GM of Paypal)
âWillingness to try â even in a data-driven culture, youâll always run in to folks who either donât believe you have collected the right supporting data for a given decision or who just arenât 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 (by Yee Lee, former Product & BU GM of Paypal)
âData-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 âI feel like itâs a problem that our users canât do Xâ, instead youâd do your homework first and then come to the table with â35% of our [insert some key metric here] are caused by the lack of X functionalityâŠâ (by Yee Lee, former Product & BU GM of Paypal)
âRadical 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 (by Keith Rabois, former Executive Vice President of Paypal)
âVigorous 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 âbabyâ to Max for the first time.â (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme 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 (by Keith Rabois, former Executive Vice President of Paypal)
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 itâs 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 personâs 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.
376 Foobar2000:Title Formatting Reference - Hydrogenaudio Knowledgebase
This article contains information about built-in titleformatting functions and field references with special meaning. References to documentation about fields and function which can only be used in specific components or which are provided by specific components can be found at the end of this article.
A field reference is a field name enclosed in percent signs, for example %artist%. A function call starts with a dollar sign, followed by the function name and the parameter list. A parameter list can either be empty - denoted as () - or contain one or more parameters separated by commata, for example $abbr(%artist%). Note that there must be no whitespace between the dollar sign and the function name, or the function name and the opening parenthesis of the parameter list.
Please see Title Formatting Introduction for a presentation of titleformat syntax in general. For details of the query syntax, which uses these fields, see: Query Syntax.
347 Pixelh8 - Multidisciplinary Artist and Techno Anthropologist Â» Software
The Pixelh8 Music Tech Master Stroke DS is a real time synthesizer for the Nintendo DS system it allows for extensive sound design and is the natural evolution of the Music Tech Series allowing for the classic chip tune sound on a modern device.
The new system allows for keyboard style play by pressing âXâ to bring up the 2 Ocatve Xylophone or classic Music Tech mode by using the directional pad to control the sounds in the same way as the Music Tech Game Boy and Pro Performer Game Boy Advance.
Loads of new combinations are possible as you can now combine interval settings with time based effects as well as using the noise channel instead of tone and the easy change between menus allow for quick change during performance.
All sounds are produced via the on board sound chip and no samples or sample manipulation is used, this is a real time chip tune synth for the DS.
229 Typography Is Important - Well-Made Magazine - Techmic Studios
Typography is the art of arranging type and type design. The arrangement of type involves the selection of typefaces, point size, line length, line spacing, and the adjustment of spaces between groups of letters (tracking) and between pairs of letters (kerning). Typography comes from the Greek words typos, which means âmark, figureâ and grapho, which means âI write.â It is basically the discipline of shaping written information; thus it can be applied to anything which has to do with text, including web design. Authors write the text, designers and typographers manage the typography, and users read through it.
226 International Trade Comparison By Country |
We always hear about how trade imbalance between nations is becoming more and more of a problem. Now you can see for yourself just how bad the situation has become.
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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