100SILEX, de 0 à 100 s: call
1517 THE MUTANT MACHINE Dynamic Analog Percussion Engine
MICROCONTROLLER FREE ANALOG PERCUSSION SYNTHESIS
unique Inverter Core oscillators form the MEMBRANE. Each analog oscillator has three waveforms to select from
capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
the SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
WAVEFORM SCANNING FEATURE GENERATES COMPLEX TIMBRES
the MEMBRANEâs waveforms can be scanned through automatically by the wavescannerâs voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
the ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal
ARCHITECTURE OF THE MACHINE
The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis.
The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture.
The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created.
Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machineâs core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.
1502 Phone-Reluctant Introverts, There is Nothing Wrong With You
As I sit down to write this blog post there is the dreaded sound of a prolonged vibration as my phone skids, bouncing and sporadically across my desk. This is perfectly ideal and ironic distraction that actually befits the very thing I am thinking about and from which it is distracting meâŠ Itself!
I have always had an absolute detest for talking on the phone. And Iâll say now that it has nothing whatsoever to do with the person at the other end, I just find it a horrible tool for communicating with.
I think I probably am, and always have been worse than most people when it comes to using the phone (in the traditional sense, ie speaking to people) but if you can identify with any of this then read on. If youâre thinking, âwhat are you on about, I love the phoneâ then youâll probably just get confused, but if you also have friends who ânever answer the phoneâ then this might help you to understand them a bit better.
I canât sum it up any better than Sophia Dembling in her article, 9 Signs that You Might Be an Introvert:
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
1176 CommunityWiki: Tags Vs Mnemonics
This page argues that âtagsâ as found in typical 2007 SocialBookmarking software should more properly called âmnemonics.â
Then true âtagsâ, tags that are assigned in efforts to identify EmergentStructure, are introduced, and differentiated from mnemonics.
1125 MTN - Liste des codes USSD
SERVICES CODES USSD
COMMENT DESACTIVER LA MESSAGERIE VOCALE OU ANNULER TOUS LES RENVOIS?
Pour dĂ©sactiver la messagerie vocale ou annuler tous les renvois Taper ##002#
COMMENT TRANSFĂRER LES APPELS VERS SA MESSAGERIE ? COMMENT TRANSFĂRER LES APPELS VERS UN AUTRE NUMĂRO ? COMMENT FAIRE UN RENVOI D'APPEL DE SON MOBILE ?
Pour configurer et activer le renvoi systĂ©matique Taper **21*numĂ©ro#
Pour consulter l'Ă©tat de renvoi systĂ©matique Taper *#21#
Pour dĂ©sactiver le renvoi systĂ©matique Taper #21#
Pour activer le renvoi systĂ©matique Taper *21#
DĂ©sactiver et dĂ©configurer Renvoi systĂ©matique Taper ##21#
Pour configurer et activer le renvoi si non accessible Taper **62*numĂ©ro#
Pour consulter l'Ă©tat de renvoi si non accessible Taper *#62#
Pour dĂ©sactiver le renvoi si non accessible. Taper #62#
Pour activer le renvoi si non accessible Taper *62#
Pour dĂ©sactiver et dĂ©configurer le renvoi si non accessible Taper ##62#
Pour configurer et activer le renvoi si occupĂ©. Taper **67*numĂ©ro#
Pour consulter l'Ă©tat du renvoi si occupĂ© Taper *#67#
Pour dĂ©sactiver le renvoi si occupĂ© Taper #67#
Pour activer le renvoi si occupĂ© Taper *67#
Pour dĂ©sactiver et dĂ©configurer le renvoi si occupĂ© Taper ##67#
Pour configurer et activer le renvoi si non rĂ©ponse (avec dĂ©lai par dĂ©faut) Taper **61*numĂ©ro#
Pour configurer et activer le renvoi si non rĂ©ponse (dĂ©lai : de 1 Ă 30 secondes) Taper **61*numĂ©ro**dĂ©lai#
Pour consulter l'Ă©tat du renvoi si non rĂ©ponse Taper *#61#
Pour dĂ©sactiver le renvoi si non rĂ©ponse Taper #61#
Pour activer le renvoi si non rĂ©ponse Taper *61#
Pour dĂ©sactiver et dĂ©configurer le renvoi si non rĂ©ponse Taper ##61#
Pour dĂ©sactiver tous les renvois Taper ##002#
Pour dĂ©sactiver les renvois conditionnels Taper ##004#
COMMENT DEBLOQUER SON CODE PIN AVEC SON CODE PUK ? COMMENT MODIFIER SON CODE PIN ? OĂč TROUVER SON CODE PUK ?
Pour changer le code PIN Taper **04*ancienPIN*nouveauPIN*nouveauPIN#
Pour Changer le code PIN 2 Taper **042*ancienPIN2*nouveauPIN2*nouveauPIN2#
Pour dĂ©bloquer le code PIN Taper **05*PUK*nouveauPIN*nouveauPIN#
Pour dĂ©bloquer le code PIN 2 Taper **052*PUK2*nouveauPIN2*nouveauPIN2#
Pour activer le double appel Taper *43#
Pour dĂ©sactiver le double appel Taper #43#
Pour consulter l'Ă©tat Taper *#43#
COMMENT TROUVER SON CODE IMEI ?
Pour afficher l'IMEI Taper *#06#
Pour avoir le solde. Taper *555#
Pour avoir le cumul de consommation Taper *557#
Pour recharger le compte Taper *556* [les 14 chiffres de la carte de recharge] # valider par Ok / Yes
Pour ajouter un numĂ©ro Libota Taper *777*1* [NumĂ©ro Ă ajouter] puis # valider par la touche Ok / Yes
Pour supprimer un numĂ©ro Libota Taper *777*0 [NumĂ©ro Ă supprimer] puis # valider par la touche Ok / Yes
Pour consulter sa liste Libota Taper *777# puis valider par la touche Ok / Yes
Pour envoyer un Call Me Taper *199* [NumĂ©ro du destinataire] puis # valider par Ok / Yes
Pour creer un compte Me2u Taper *444*9999*[Nouveau code PIN Ă 4 chiffres] # puis valider par la touche Ok / Yes
Pour envoyer du crĂ©dit Ă un abonnĂ© Taper *444*[montant Ă transfĂ©rer]*[NumĂ©ro du destinataire] *[Code PIN] # puis valider par Ok / Yes
Pour changer un code PIN Taper *444*[Ancien code PIN]*[Nouveau code PIN] # puis valider par la touche Ok / Yes
Pour connaitre votre bonus en crĂ©dit d'appel Taper *555*1#
Pour connaitre votre bonus en SMS Taper *555*2#
1086 Ninite - Install or Update Multiple Apps at Once
The easiest, fastest way to update or install software. Ninite downloads and installs programs automatically in the background.
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.
1052 Lab Overview
Not that I recommend this level of excitement to everyone, but this is my lab. It is my basement, and as you may note from the disheveled ceiling tiles up above, having this much equipment has actually forced me to purchase a separate AC unit for the basement. So my trendy two-zone AC house has now magically become a three-zone AC house. Fortunately, I didn't need a furnace for down here. Equipment is great in the winter to heat your house!
The lab has taken on a life of it's own over time... It started out as a single standard 7-foot 19" rack. Then it grew to two standard racks... Then it changed into three Ortronics Mighty-Mo 19" rack systems (because those are cool). As seen now, it has changed yet again into four separate rack cabinets. The cabinets are a bit pricey, so they aren't all the same vendor. Note to all, even if you find a really good price on Ebay, be aware that you still have to ship them, and they weigh a LOT! (This means, have lots of friends and lots of pizza/beer!)
Nov'04 -- Well, things have moved even more! The equipment was beating the AC unit that ran for the basement. So instead of being a three-level, three-zone house, we had to upgrade to being a four-zone house. Go figure. As noted above, I would not recommend this path to anyone unless you have a good amount of business to drive it! All of the equipment here is used for testing and lab purposes, but easily serves as Proof of Concept lab for many consulting clients of mine. The recent change was that the crawlspace area under the kitchen area was excavated out and had a concrete floor poured making an enclosed little room. In addition, a large air handler (AKA Mongo AC Unit) was put into that specific room and a door was installed for access and physical separation! While all a very interesting project, it is a pain to move any equipment that you amass, so definitely plan ahead for this sort of activity!
1017 Auction Sniper: eBay Sniper and eBay Bidding snipe, bid sniping for eBay
Auction Sniper is a free ebay sniper that automates the process of placing your bid at the auction closing. Place eBay auction bidding snipe automatically.
auction sniper, auction bid, ebay, snipe, sniper, ebay sniper, bid sniping, auction sites, auction sniping software, auction software, auto auctions, bid snipe, bidding, bidding software, canada ebay, e snipe, ebay software
1014 Nord Modular Tips & Tricks
Nord Modular & Micro Modular V3.03 tips & tricks
Welcome to the Nord Modular and Micro Modular 'tips and tricks' section! The workshops of this section are created by a very skilled Nord Modular user: Rob Hordijk.
On the 'tips and tricks' pages you will find various information regarding sound synthesis techniques. With every topic comes a workshop where you can follow the practical, non-mathematical, musician-oriented examples. The patches are kept as simple as possible showing only the basic connections. So it's up to you to color the tone to your liking, add modulation, etc., thus turning them into musically useful patches. Occasionally there might be a 'professional' patch as a bonus.
If you have a Nord Modular or Nord MicroModular synthesizer you can download the example patches directly from the workshops into the Modular Editor V3.03 program and your synth and play with them. Just click on the patch image to download the actual patch to your Modular. If you do not have a Nord Modular you can download the Modular Editor V3.03 software here and check out the patches visually.
Another very skilled Nord Modular/G2 user - Roland Kuit - has made the E-Book "SoundLab". This book covers synthesis techniques from A-Z, history of electronic music and composing techniques. For more info about the SoundLab E-Book, please visit: http://rolandkuit.blogspot.com/Topics available:
Basics of sound synthesis on the Nord Modular
This extensive section describes the basics of synthesis.
(By Rob Hordijk) Basic synthesis
This topic covers hardsync, softsync, FM-sync and VOSIM, a special application of sync.
(By Rob Hordijk)
This topic covers different types of FM, like linear FM, Phase Modulation and fixed formant FM.
(By Rob Hordijk)
Using the delay module
It's too short for echos, but it's a valuable tool that can be used in a variety of ways, creating both sound effects as well as physical models of plucked string sounds and resonant bodies.
(By Rob Hordijk)
Delay Module Workshop
Using logic modules
Mastering those yellow connections.
(By Rob Hordijk)
987 Alesis Micron
This is one of the cutest, smallest, yet most powerful synths I've ever put my hands on! The Micron is the sequel to the popular Ion, and while it can be considered as the Ion's younger brother, it actually has a few enhancements that are absent on the big bro.
This is a very clean, precise, sparkly and definitely virtual analog (or analog modeled) sounding synth. Eight voices of polyphony are plenty for these types of units, but we would always want more. The synth engine is the same as the Ion though, but extra and welcome features include sequencing, arpeggio, and great on board percussion, and the ability to build patterns.
The Micron really sounds bigger than it looks: while personally I feel that the character of its synth engine leans on the more digitally precise DSP side of virtual analog technology, it's certainly capable of huge, warm and fat sounds.
The main panel is logically laid out and easy to understand. At the very left, a big red knob offers volume control; the two "m1" and "m2" sliders provide useful modulation control, typically (but not always) vibrato and filter cutoff. The three knobs labeled "x", "y" and "z" also offer way of modulating sounds, and can (ought to) be assigned to your favorite parameters. Two octave buttons, and other useful commands such as tap (tempo) and latch (sustains the notes) occupy the space at the left of the two-line backlit green display. Finally, a multi-function matrix with push-down knob serve as the central nerve system of the machine, letting you easily access programs, setups, configurations, patterns and rhythms. You do the programming by turning the knob to view the various editing pages. In all, it's simple to program, and the manual does a fantastic job of being easy to follow and easy to understand.
980 Fake Synths Process Post Â« Shout Out Out Out Out
For our Coming Home video we needed some burnable synths. Being a handy guy with a skill saw and plumb bob I whipped up three fake keyboards based on the Sequential Prophet 5, The Moog Voyager and a large 5U modular. It nearly destroyed my mind and I ended up basically pulling 3 all-nighters to finish in time. Anyway, the plan was to make them look as authentic as possible and to that end, I think we succeeded. Here are some pics of the processâŠ
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
Power Switch Advanced molding technology and contour design in the latest style allows full access to all controls and connectors.
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 itâs dried out before putting your iAudio into it. Dry it in room temperature. Please avoid direct fire and direct bright sunshine.
I have started to build a (slightly) updated version of the Korg PS-3200 synthesizer.
The PS-3200 was the last of three fully polyphonic, semi-modular analogue synthesizers offered by Korg in the late 70's. (See Ben Ward's excellent Korg PS site for detailed information, including user manuals.)
The concept of the PS-Synthesizers was different from other manufacturer's early polyphonic instruments. Instead of using a small number of voices and a clever keyboard assigning circuit, the "PolyKorgs" had a complete synthesizer circuit, hard wired to each key. That makes a total of 48 VCFs, 48 VCAs and 48 voltage controlled ADSRs even for the smallest of the range, the PS-3100. The largest of the range, PS-3300, even had 144 of these circuits.
The sheer number of synthesizer circuits called for an extremly economic circuit design, and it's a joy to look at Korg's design ideas which led to building blocks that almost did the same as in the better known "classic" synthesizers. And after many years of engineering and reverse-engineering electronic music circuits, I have learned to look at odd solutions not as "substandard", but as a source of creativity an individual character. Here's a list of some highlights:
Function Implementation Side effects
Single-Transistor Waveform Converter creates triangle, saw, pulse and PWM from saw input, using one (!) transistor, one diode and two resistors per voice, plus two global control voltages Pulse height also changes with pulse width
5-Transistor-VCF (Korg-35) A Voltage controlled 2-pole (Sallen&Key) LPF built from 5 transistors rather high CV feedthru
Single-Diode VC Resonance The dynamic resistance of a simple diode is used to alter the feedback gain of the VCF limited range of Q
"Expand" function instead of VCF Envelope modulation depth Instead of scaling down the ADSR with a VCA, the a variable portion of the Envelope is just clipped with a single diode. It's so remarkably close to ordinary VCA function that apparently nobody takes notice. At least I have not read about it anywhere.
At slow Atack times, the Envelope appears delayed at the VCF (no effect until th eclipping point is reached). Usefull for Brass sounds, and not easy to emulate with conventional synthesizers.
Minimum parts count Voltage Controlled ADSR Three transistors, 1/2 of a LM324 and one CD4007 per voice. Plus some more involved control circuit, shared by several voices Transistors must be selected in 13-tuples, not just in pairs.
ADSR detail (1):
One-opamp control logic 1/4 LM324 is used as Flipflop, which is dynamically set by Gate-ON, dynamically reset by Gate-OFF, statically reset when the attack peak voltage is reached, and whose set/reset sensitivity is altered by a CV Very odd "Hold" function, depending on the "Attack"-value. But very useful in practise.
ADSR detail (2):
Single-Transistor, exponential slope VC-Decay Using a single transistor per voice for VC Attack and Release is remarkable already, even though the A and R slopes are linerar. But the Decay slope is exponential, and this is achieved with a single transistor and two resistors per voice! The Decay time range is rather limited. No ultra fast Decay, and no ultra slow Decay either.
Single-Transistor VCA That's the "Korg standard" VCA, well known from other instruments like the MS-10.
882 Dave Smith Evolver
Dave Smith, creator of the Prophet 5 and Wavestation, moved into software synthesis in the '90s, but now he's back with what he calls 'the ultimate dongle' — a hardware analogue and digital synth. We find out if he's still evolving...
Dave Smith Sequential
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
722 Making AJAX Applications Crawlable - Google Code
If you're running an AJAX application with content that you'd like to appear in search results, we have a new process that, when implemented, can help Google (and potentially other search engines) crawl and index your content. Historically, AJAX applications have been difficult for search engines to process because AJAX content is produced dynamically by the browser and thus not visible to crawlers. While there are existing methods for dealing with this problem, they involve regular manual maintenance to keep the content up-to-date.
Learn why search engines don't see the content you see and what needs to happen to fix this.
Getting started guide
Get started in making your AJAX application visible to search engines. If you are in a hurry, you can start here, but AJAX crawling is a complex topic, so we recommend reading all the documentation.
Creating HTML snapshots
Learn more about creating HTML snapshots, and which technique might be best suited for your application.
Frequently asked questions
Having trouble? Check out the frequently asked questions.
Get the details.
675 9 Ways to Instantly Code Faster | Nettuts+
Doesn't the title say it all? There are a wide variety of tools and techniques which can drastically improve the speed at which we code. Particularly during
code,code faster,coding tips,tips,tools
660 What's Next: fully ergonomic laptops? | VentureBeat
When the first laptops were created around 1979 â laptops like the Grid Compass â ergonomics was not exactly a core concern. The screens were only 2-4 inches, RAM was a few hundred kilobytes, and batteries were huge. The Osbourne 1 weighed 24 pounds, perhaps making it the first portable computer and dumbbell. Hooray for convergence!
Modern clamshell and tablet designs have solved many of these issues: screen sizes exceed 17â, RAM can be several gigabytes, and weight can be less than three pounds, deservedly earning names like the Air. What hasnât been solved is ergonomics, and thatâs a costly problem.
The U.S. Department of Labor reported 650,000 cases of work-related muscular disorders, costing businesses an estimated $20 billion in medical claims and lost productivity. An ergonomically ideal computer setup aligns the top of the screen with our eye level, lets our arms and wrists straighten, and allows our shoulders to relax.
Because laptop screens are attached to their keyboards, they require a damaging trade-off: place the laptop at eye level and hunch our shoulders, or place the keyboard at arm level and bend our neck. Most laptop keyboards are also rectangles, requiring wrist twisting. The result is chronic neck, shoulder, and wrist pain, and with laptop use increasing, this problem will only get worse.
630 Push-Pull :: SynthĂ©s + Prod musicale en tous genres...
Mes dĂ©mos "monomachines"
Principe: le morceau est rĂ©alisĂ© avec uniquement des sons du synthĂ© en question. Pas d'effets Ă part un peu de delay ping-pong et un peu de reverb.
Pour les synthĂ©s monophoniques, les parties poly sont enregistrĂ©es voix aprĂšs voix, Ă l'ancienne ! Une technique un peu "lourde" mais qui en vaut la peine.
Sauf remarque, les parties de batteries sont rĂ©alisĂ©es avec des sons du synthĂ© concernĂ©. Parfois jouĂ©s sur le synthĂ© (JP6) ou samplĂ©s pour plus de souplesse (MS20, Yusynth).
MS10 - Fade To Grey La rythmique vient d'une TR606, le vocoder est celui du microkorg.
MS20 for Couch Potatoes Ma premiĂšre dĂ©mo monomachine.
MS20 sur une plage bretonne
MS20 by Night
MS20 - Tribute to Sergei
MS20 - Introspection MS20 passĂ© dans le delay Spacebug d'Eowave.
MS20 - J'ai froid
MS20 - Nazareth EnregistrĂ© un 25 dĂ©cembre, avec un controleur de souffle BC2 Yamaha pour moduler le lead.
MS50 - The Last Oscillator Les sons de drum sont des samples d'une Oberheim DX.
SH09 - Solarize
JP6 - From Io to Callisto
JP8 - La prise de Carthage Les parties de percussions et batteries proviennent de divers softs.
CS30 - Hamamatsu Les sons de drum sont issus de divers samples.
CS30 - Hamamatsu (drumless) Le mĂȘme, sans la piste de drum.
DX7 - At Night in the Cuyabeno Jungle La nappe de strings discrĂšte qui apparait depuis le millieu du morceau vient d'un Korg Z1.
Clavia micromodular - Face nord Exercice d'imitation d'un MS20.
OSCar - From Oxford With Love Les sons de drum sont issus de divers samples.
Yusynth/DotCom - Modular Snow Les nappes viennent du Yamaha D85.
Yusynth/DotCom - Little Bear Les nappes viennent du Yamaha D85.
523 Yamaha CS-01 Resonance Mod
Just to get this up here. I hope to make this clearer soon...
This shows how you can modify the Yamaha CS-01 Mk1 to:
1) have variable resonance control, by hijacking the Breath Control VCF potentiometer
a) remove the 10k resistor near the VCF chip.
b) cut the traces (or lift the pins) of the Breath Control VCF pot that connect it to GND and the Breath Control jack. I lifted the pins just to avoid cutting PCB traces
c) remove the 39k resistor tied to the wiper of the VCF pot.
d) solder wires from one side of the pot and the pot wiper and run these wires over to the holes that used to contain the 10k resistor near the VCF chip
e) I'd suggest adjusting the resonance trimmer that's near the VCF chip to make your new Resonance control self-oscillate near the end of the rotation. why? because this filter gets out of control in a very loud and dramatic way. I don't think this VCF chip was designed for stable self-oscillation - that may explain why, in the CS-01 Mk2, when they gave you analog control of the resonance, they used a different 24dB VCF chip.
2) have variable VCA "drone" by hijacking the Breath Control VCA potentiometer.
a) remove the 1k resistor that grounds usually-closed terminal of the breath control jack to GND
b) solder a 47k resistor from the ungrounded, non-wiper terminal of the pot to -9V.
c) when the VCA drone pot is now fully on, you'll always get a DCO-VCF signal running to the power amp. this mod keeps the VCA only partially open, and you can still superimpose the EG over the drone. I did this because I don't have a spec sheet on the VCA chip and I didn't want to risk having the EG slamming the VCA while the drone was going full on (basically, I don't know the max CV that the VCA chip can tolerate). so if you just use the drone, you'll have to increase the volume at the power amp. But now the front-panel VCA slider actually becomes useful, since if you don't want the EG to affect the drone, just turn that down to nothing!
Sorry I don't have actual pics of the mod up! Perhaps someday soon...
510 How Social Media Has Radically Altered Advertising
Social Media started out as a bit of a novelty -- a playground for the geekerati. But it has taken hold as a game changing force that will reshape advertising at its very core.
Business Lists,Channels,Lists,Social Media Lists,business,contributor,features,social media
486 Ninite Easy PC Setup - Silent Unattended Install Multiple Programs At Once
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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)
470 The Web Strategy Pyramid: A Well-balanced Web Strategy
Let's take a look at what I call the The Web Strategy Pyramid.
web, content, strategy,content strategy
468 The Complete Web Design Style Series (700 Designs in 14 Categories) - Speckyboy Design Magazine
Over the past year or so we have periodically published web design collections and inspirational showcases from the most popular and important design
2009,2010,404,agency,app,application,apps,art,best,black,blog,clean,collection,color,company,corporate,design,design style,designer,developer,ecommerce,effect,form,free,freelance,graphic design,gui,headline,illustration,inspiration,large background,layout,logo,magazine,minimal,nav,navigation,photo,photography,proposal,retro,showcase,text,typography,vector,vintage,web app,web design,web designer,wp,css,design style series,illustrator,web apps
433 The Beauty Of Typography: Writing Systems And Calligraphy, Part 2 - Smashing Magazine
The beauty of writing systems is that each has something unique from which to draw inspiration. Two weeks ago, in the first part of this article, we covered Arabic
web design, magazine, html, photoshop, wordpress, wallpaper, icons
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 mojoâone needed only leave home to buy more tapes. Says Neffe, âI 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 âŠ if the buyer didnât like the music, he or she could wipe it out and record something else on it.â
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 wankingâthat 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 Potterâs The Ghost Office. In Japan, 1980 saw the release of Merzbowâs first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâs 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. Neffeâs 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, Neffeâs 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 consciousnessânot 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 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. Neffeâs projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as âtextsâ or âphotographsâ, or as he puts it, âpotlatch musicâ. 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 textâs 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 Ătant 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 âLangsamâ 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 âSons of God?â 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 Musicâs CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
423 MACBETH STUDIO SYSTEMS
Welcome to MacBeth Synthesizers!
LATEST NEWS: 20/07/09 please scroll down for infoOver the last year and half or so, more products have been developed. Work has gone into the design of a new modular
synthesizer system shared by two formats- the 3U format and the 5U format. The designs are relatively new but still
retain the inherant qualities of the M3X, M5 and M5N synthesizers. The system is called the X-Series Modular Synthesizer
after the popular M3X and its protĂ©gĂ© keyboard synthesizer the X-Factor. This fully analogue keyboard is still under
serious development and there will be more information to follow on that one.
As a refreshing change from making the large scale semi modular M5 and M5N, I am now delving into the production of
smaller, free for all systems that will probably grow large! I'm taking into it all my experience of designing both large and
small analogue synthesizers as well as a few new ideas too. Please take the time to look around this website. In each
catagory there is product information, sounds, tracks and links to other related media on the internet.
Currently the 3U X-Series Dual Oscillator and 'Backend' Filter Combo are in production. I expect delivery of the
Dual Oscillator within the next two weeks- shortly after that the 'Backend' Filter Combo will roll out of production.
Please contact any of the Distributers listed to get your modules.
I intend to produce a short run of the 5U modules soon, so once again- stay tuned for that...
...anyway! I have uploaded quite a few demo sounds on here- maybe not to everyones taste- but at least they make
you think of what these modules could do in the right hands, i.e. you!
- after all- I'm an engineer, not a muscian as such!...Well you decide!
All MacBeth Products are built to exacting standards- from materials selection to the physical build.
The PCBs and Sheet Metalwork are fabricated by Zot Engineering from Musselburgh, Scotland http://www.zot.co.uk
and final assembly is performed by Diatron Assembly Systems from Norwich, England http://www.diatron.co.uk
Both companies also manufacture equipment for the medical, military and aerospace sectors of industrial engineering
418 RAISERROR (Transact-SQL)
Generates an error message and initiates error processing for the session. RAISERROR can either reference a user-defined message stored in the sys.messages catalog view or build a message dynamically. The message is returned as a server error message to the calling application or to an associated CATCH block of a TRYâŠCATCH construct.
402 Do It Yourself eBooks | Carsonified
In this article, I'll introduce you to the exciting world of eBooks, specifically the ePub format in regards to Apple's new iBookstore, but much of the same
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.
365 15 Best And Useful Websites For Graphic Designers
Graphic designing is always been a challenging part for designers as it is the most important part of any design project. So every designer try hard to make themselves strong in graphic designing. Fonts, Icons, Logos, Typography, Textures, Vectors etc. are the part of graphic designing.
For any website designing, graphic designers always think about the logo design and choosing the right font to make any website graphically attractive and appealing.
So, in this article, we are providing 15 best websites for graphic designer which are very useful for designers to take inspiration on different aspects of graphic designing.
356 The Land List -- SX-70 Cameras
Folding SX-70 Cameras:
ALL Folding SX-70 Cameras have the following features in common:
4-element 116mm f/8 glass lens
Minimum focus: 10.4 inches
Front-cell focusing via geared wheel at top of lens/shutter housing
Programmed automatic exposure-- shutter speeds from >10 sec to 1/175; aperture range f/8- f/22; smaller apertures possible when flash is used.
Auto flash exposure based on focus distance; Max flash distance 20ft.
Has built-in Flashbar socket for flash. Accessory electronic flashes were also available.
Socket for an electrically-actuated remote shutter release.
338 Web Design Trends for 2010 | Webdesigner Depot
Purists will say that great design is timeless. Yes, in an ideal world, we should ignore trends. Pragmatically speaking, though, there is a lot of value in
332 Web Design Trends for 2010 | Webdesigner Depot
Purists will say that great design is timeless. Yes, in an ideal world, we should ignore trends.
Pragmatically speaking, though, there is a lot of value in monitoring and incorporating design trends, especially with regard to websites.
Letâs face it: the web changes at a rapid pace. Unlike in other media, design trends on the web are not just driven by aesthetics.
Technology is changing that can drastically alter the capabilities of the medium.
In 2010, weâre seeing designers continuing to push the boundaries of web design, setting the following clear trendsâŠ
328 Negative Space in Webpage Layouts: A Guide
This guide discusses what negative space is and how to effectively use it to analyze and improve your designs.
negative space, white space, whitespace, web design,web design
Negative space is often misunderstood as a tool to implement in certain designs that call for a simple aesthetic.
However, it is in fact something you should pay attention to and carefully structure in every design you create.
This guide discusses what negative space is and how to effectively use it to analyze and improve your designs.
325 Electronic_a # 11: Jeudi 29 avril 2010
Ben Edwards est un humble artisan amoureux de lâanalogique, archĂ©ologue des temps prĂ©-Ă©lectroniques. "la musique synthĂ©tique", comme on lâappelait alors. Ben collectionne les synthĂ©tiseurs et en a accumulĂ© une quantitĂ© invraisemblable. Si les noms suivants ne vous disent rien, Korg Modular, Oberheim SEM, Roland 100 M âŠ souvenez-vous de Abbey Road ou de Blade Runner. C'est tout un pan de la musique pop qui fut irriguĂ© des vibrations quasi cosmiques de ces machines et câest une Ăąme singuliĂšre et poĂ©tique que nous retrouverons ainsi ce soir.
Ce que la presse en dit:
Â« De son vrai nom Ben Edwards, Benge dĂ©veloppe depuis ses premiers pas musicaux une passion peu commune pour les synthĂ©tiseurs, passion qui lâa conduit Ă amasser au fil du temps une collection de machines qui ferait baver dâenvie bien des aficionados de la chose. ObsĂ©dĂ© par cette famille dâinstruments aux possibilitĂ©s infinies et compositeur stakhanoviste si il en est, Benge passe sa vie Ă dissĂ©quer les algorithmes abscons de chacune de ses machines quâil connaĂźt jusquâau plus profond de leur process Ă©lectroniques Â» - A dĂ©couvrir absolument
Â« Album concept que ce Twenty Systems puisquâil sâagit, en vingt pistes plutĂŽt courtes, de prĂ©senter vingt synthĂ©tiseurs diffĂ©rents, un par annĂ©e de 1968 Ă 1988. Dans un esprit didactique, le disque est accompagnĂ© dâun livret cartonnĂ© de 52 pages dĂ©taillant les caractĂ©ristiques de chaque synthĂ©tiseur tandis que les morceaux portent le nom de lâinstrument ayant Ă©tĂ© utilisĂ© pour chacun et lâannĂ©e correspondante (utilisation unique et solitaire dâailleurs, Ben Edwards indiquant nâavoir employĂ© aucun autre effet ou appareil en dehors de ces synthĂ©tiseurs). Â» - Etherreal
Â« Avec ce disque poĂ©tique, Ă la naĂŻvetĂ© parfois dĂ©sarmante (Yamaha CS30) mais toujours trĂšs inspirĂ©, Benge nous fait voyager Ă travers les Ă©poques et rend un bel hommage Ă ces machines pleines de chaleur (qui sont pour certaines de vĂ©ritables antiquitĂ©s !) et Ă leurs gĂ©niaux crĂ©ateurs. Rarement une leĂ§on d'histoire aura Ă©tĂ© aussi dĂ©licieuse que celle-ci. Â» - Pop News
Â« La musique de Ben Edwards est en effet bien plus et bien moins qu'un impossible catalogue de sons ou une ode technopositiviste : c'est un rĂ©enchantement viscĂ©ral du son Ă©lectronique. Â» - Chronicâart
Â« A brilliant contribution to the archaeology of electronic music Â» - Brian Eno
Â« Indicates what a deliriously desirable thing the synthesis of sound has historically been Â» - The Wire
Â« Absolutely cast iron irrefutable proof that synthesisers are better than guitars Â» - Vice Magazine
312 12 Applications to Make Your Facebook Page More Engaging
Currently, there are more than three million active Facebook Pages on the top ranked site, with the typical Page boasting an average of less than 1,000 fans â oops, I mean âlikesâ (seriously, that just doesnât roll off your tongue quite the same way). Standing out from the static requires you to dress up your Page and make it more interesting and fun for your âlikersâ. Thatâs where Facebook applications come in. Theyâre basically like plugins for your Page and there are tens of thousands of them available. Deciding what apps youâd like to incorporate depends on how youâd like to engage with your peeps (thatâs an even better word than âlikersâ).
Hereâs a compilation of some must have applications for any Page. Theyâre great additions to the the basic layout that Facebook provides and they can be used in interesting ways to move your âlikesâ into action.
252 Top 10 Sites To Make National And International Phone Calls For Free
When we talk about making phone calls from our PC through internet, we think of ĂÂ instant messaging services like Yahoo Messenger and Google Talk which provides
how to make free international phone calls, free international calls online, online free national and international calls, websites proving free phone calls ,resources,softwares
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.
207 The State of the Internet Operating System - O'Reilly Radar
Ask yourself for a moment, what is the operating system of a Google or Bing search? What is the operating system of a mobile phone call? What is the operating system of maps and directions on your phone? What is the operating system of a tweet?
cloud computing, internet operating system, location, social networking, speech recognition, web 2.0
78 Mandelbulb: The Unravelling of the Real 3D Mandelbrot Fractal
TIMESTAMP 08/11/2009. The original Mandelbrot is an amazing object that has captured the public's imagination for 30 years with its cascading patterns and hypnotically colourful detail. It's known as a 'fractal' - a type of shape that yields (sometimes elaborate) detail forever, no matter how far you 'zoom' into it (think of the trunk of a tree sprouting branches, which in turn split off into smaller branches, which themselves yield twigs etc.).
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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