100SILEX, de 0 100 s: final
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 MEMBRANE’s waveforms can be scanned through automatically by the wavescanner’s 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 Machine’s 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.

1398 Wiard: Ten-Year Plan : un album sur Flickr
Finally after a decade of planning and scheming, my dream synth is coming together.

1056 über x0xSh0p.de
XOXBOX the x0xSh0p offers everything you need to construct your own x0xb0x. begun with the simple transistor, over really rare components like the AN6562 OP Amp, or the very rare 2SC1583 transistor those your x0xb0x to that make what it represents them later: the best 303 replica in the world! on the following pages you’ll find informations about the old TB-303 and naturally to the x0xb0x… therefore you’re finally here!

QU’EST-CE QUE L’ARGENT ? par Marc-Alain DESCAMPS L’argent nous le manions tous les jours. Tout le monde en veut plus et on ne peut rien faire sans lui, mais nous ne savons même pas ce que c’est. C’est le processus final d’une longue histoire qui nous réserve bien des surprises. A. Résumons les principales étapes de l’histoire logique de la monnaie.

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.

986 Arduino Blog » Blog Archive » CHEAP, FAT and OPEN
synth Jacob Remin, at CIID will present on August 27th, his Arduino-compatible sound synth. There are many projects out there aiming musicians that use Arduino’s IDE as a programming platform, but Jacob’s wins them all when it comes to the PCB’s shape. Take a look at the picture here and explore his thesis’ blog for more information and videos where he shows the system at its full power. (c) 2009 Cheap, Fat, and Open by J. Remin As for today he hasn’t published the videos using the final PCB, yet. However you can get a sneak preview to how it will be to play with it at the prototype he hand-wired using bits and pieces from a Stylophone, an LCD, some buttons, and other parts.

817 Coil : Colour Sound Oblivion : DVD 15 & 16 : Peter Christopherson/Coil : Free Download & Streaming : Internet Archive
Coil's 16 DVD box set Colour Sound Oblivion featured many live shows. The final two discs featured the projections used in the live shows, these were published...

767 The 5 types of programmers « Steven Benner's Blog
In my code journeys and programming adventures I’ve encountered many strange foes, and even stranger allies. I’ve identified at least five different kinds of code warriors, some make for wonderful comrades in arms, while others seem to foil my every plan. However they all have their place in the pantheon of software development. Without a healthy mix of these different programming styles you’ll probably find your projects either take too long to complete, are not stable enough or are too perfect for humans to look upon. The duct tape programmer The code may not be pretty, but damnit, it works! This guy is the foundation of your company. When something goes wrong he will fix it fast and in a way that won’t break again. Of course he doesn’t care about how it looks, ease of use, or any of those other trivial concerns, but he will make it happen, without a bunch of talk or time-wasting nonsense. The best way to use this person is to point at a problem and walk away. The OCD perfectionist programmer You want to do what to my code? This guy doesn’t care about your deadlines or budgets, those are insignificant when compared to the art form that is programming. When you do finally receive the finished product you will have no option but submit to the stunning glory and radiant beauty of perfectly formatted, no, perfectly beautiful code, that is so efficient that anything you would want to do to it would do nothing but defame a masterpiece. He is the only one qualified to work on his code. The anti-programming programmer I’m a programmer, damnit. I don’t write code. His world has one simple truth; writing code is bad. If you have to write something then you’re doing it wrong. Someone else has already done the work so just use their code. He will tell you how much faster this development practice is, even though he takes as long or longer than the other programmers. But when you get the project it will only be 20 lines of actual code and will be very easy to read. It may not be very fast, efficient, or forward-compatible, but it will be done with the least effort required. The half-assed programmer What do you want? It works doesn’t it? The guy who couldn’t care less about quality, that’s someone elses job. He accomplishes the tasks that he’s asked to do, quickly. You may not like his work, the other programmers hate it, but management and the clients love it. As much pain as he will cause you in the future, he is single-handedly keeping your deadlines so you can’t scoff at it (no matter how much you want to). The theoretical programmer Well, that’s a possibility, but in practice this might be a better alternative. This guy is more interested the options than what should be done. He will spend 80% of his time staring blankly at his computer thinking up ways to accomplish a task, 15% of his time complaining about unreasonable deadlines, 4% of his time refining the options, and 1% of his time writing code. When you receive the final work it will always be accompanied by the phrase “if I had more time I could have done this the right way”. Where do you fit? Personally, I’d have to classify myself as the perfectionist. So, which type of programmer are you? Or perhaps you know another programming archetype that is missing from my list? Post a comment below and I’ll add it to a new updated list.

746 40 Essential CSS Templates, Resources and Downloads | Speckyboy Design Magazine
Every web developer should have in their toolbox a collection of CSS tools and resources like the ones outlined in this article. A set of techniques that you rely on and that are always at the ready to cover any possible eventuality. You will find not a selection of the latest innovative CSS techniques (there are some) in this article, merely a collection of tools, resources and downloads that can be used by web designers for solutions to everyday CSS design and coding solutions. The resources below have been split into four categories: CSS Download Packages (all of the CSS resources offer multiple variations of each technique), Downloadable CSS Tools (the resources within this category offers specialized templates), Web, Mobile & Form Frameworks (+ tools and templates to help you get started with each); Feature-Rich and Outstanding Mobile & Web Templates and finally, a selection of tools to help with cross browser compatibility. We don’t presume that this is an ultimate collection, merely a selection of resources we have found to be indispensable. We are positive we have missed a few, and would love to hear about the tools and resources you rely upon.

739 Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numérique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothèque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingénieur,ingénieur du son,opérateur,opérateur du son,compositeur,réalisateur,réalisateur sonore,réalisation sonore,multimédia,MIDI,acoustique,création,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinéma,vidéo,télévision,radio,musique,publicité,studio,forums,news,chat,articles,bancs d'essai,liens,téléchargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave Le Pré-Mastering audio est une étape située après l’enregistrement et le mixage, en fin de la chaîne de production audio, c’est la dernière optimisation du projet. Néanmoins, c’est la partie du processus la moins connue tant par les professionnels que par les artistes. Le manque de connaissances à ce sujet peut amener à se poser plusieurs questions : « Quelle est son utilité ? Pourquoi un individu appelé ingénieur de Mastering toucherait à mon travail que je considère comme étant abouti ? … » De plus si les personnes agissant en amont de la production audio et plus particulièrement au niveau du mixage ne connaissent pas de quelle façon et dans quelle direction sera finalisé leur projet, des erreurs ne pourront être évités et les bénéfices apportés par une étape de finalisation ne seront pas optimaux. On peut aussi déduire qu’une activité mal connue est inévitablement victime de préjugés et de fausses interprétations. Dans ce mémoire, je porterai mon attention sur les moyens d’optimiser la transition entre le mixage et le Pré-Mastering. En effet, lors d’une séance d’enregistrement, les techniciens concernés agissent toujours en pensant à l’étape suivante, c'est-à-dire celle du mixage. La démarche à suivre devrait être la même au moment de mixer à l’attention du Pré-Mastering. De cette façon, chacun remplit son rôle de façon optimale et le produit peut prendre toute son ampleur. Pour ce faire il faut donc éclaircir les moyens et les logiques utilisées dans les studios de Mastering et mettre en évidence les bénéfices qu’on en retire. Après un bref historique, pour « planter le décor », je commencerai par mettre en avant les différents avantages que l’on peut tirer du Pré-Mastering et pourquoi il est indispensable dans la chaîne de production audio. Puis j’expliquerai les moyens utilisés pour perfectionner le projet sonore en faisant un aperçu des outils[1] et de la manière dont s’en servent les ingénieurs de Mastering. Enfin, je mettrai en évidence les efforts qui peuvent être fait dés le mixage afin de faciliter et de profiter pleinement des améliorations pouvant être apportées lors de la finalisation. Le Pré-Mastering n’est à priori praticable que par des techniciens dotés d’une longue expérience. Le propos de ce mémoire est de découvrir et d’éclairer une activité, tout en développant les bénéfices qu’elle peut engendrer. Je prendrai aussi position sur les attitudes et les pratiques à adopter en amont de la production audio[2] pour profiter pleinement du Pré-Mastering. Le sujet choisi est le reflet de ma curiosité et de la volonté de travailler en harmonie avec les différents acteurs du milieu de la production audio.

701 How To Convince The Client That Your Design Is Perfect - Smashing Magazine
As designers who deal with clients, we all have to face one situation, no matter how difficult and uncomfortable, and that is guiding the client to accept that your design is perfect. Now, you already have the project, so this is not a matter of convincing them to pick you for the job. This is about getting them to see that your design satisfies their requirements and contains everything they want. We all have to take on this role of virtual tour guide and lead them through the project’s twists and turns, ensuring that the best interests of the client and website are served. We have to be the lighthouse, guiding the clients to shore. (Image credit) In the end, the final decision falls to the client, but there are times — and most of us have experienced them — when the client’s lack of expertise in the field affect the quality of the design. In such times, we have a responsibility to do everything in our power to convince the client that the design is perfect as it is, and that any further alteration would impair the website’s ability to communicate everything it needs to. This confrontation is not welcome by either party, but it is certainly necessary. Many designers want to avoid conflict and, as a result, cave to their clients at the slightest sign of disagreement, rather than spend time trying to convince them that they stand on the right side of the design decision. This is often a mistake and does not serve the design, which should be the paramount consideration. We owe it to our creative work to argue for whatever serves the design beyond all else, even though the client is footing the bill. We may end up having to give in to the client, but at least we tried. Below is an overview of some tips and techniques you can employ when you find yourself butting heads with a client. These approaches might work individually or in combination, but they all at least offer a launching point to help you put your best foot forward and lead the client exactly where they need to go.

679 Trevor Marshall's ETI3600, ETI4600 International Music Synthesisers and Maplin 3800 and Maplin 5600s Stereo Synthesisers
Many years ago the Australian magazine "Electronics Today International" published my designs for two partly digital, mostly analog, Electronic Music Synthesisers. the ETI 3600 and ETI 4600. Both were made available as kits of components Barry Wilkinson at ETI was responsible for the final packaging and kitting coordination. Maplin Electronics Ltd.(in the UK) subsequently picked up the designs, which they marketed as as the Maplin models 3800 and 5600s Electronic Music Synthesisers At the time I held two Australian provisional patents for the technologies I used in the Synthesiser designs. One related to the method for generating sawtooth waveforms, the other was for the method of using commutated resistors in voltage controlled filters. I never made any money out of the designs, or the patents, which have long ago been allowed to lapse. But it was fun! The original constructional articles for the ETI 3600/4600 can be found in these PDFs: October 1973, December 1973, January 1974, Feb 1974, March 1974, April 1974, July 1974, March 1975, April 1975, May 1975, August 1975 Although the earliest (4004) microprocessors were available at that time, it was not until the late-70's that I first started programming fully digital (Signetics 2650 based) Microcomputer systems. Consequently my early digital designs were hardware, and not firmware, based. Of course, these days, everything in my hardware and firmware is based on software designs - even the interconnections are controlled by the software in the EPLDs and PALs, instead of by wires. So many things have changed over the years.... Here is a mug shot of the Maplin 3800:

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 protégé 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

395 The Ultimate CSS3 Toolbox: 50+ Resources, Tutorials and Articles | CreativeFan
The ultimate CSS3 toolbox, with introductory articles, then tutorials, then see what's possible with inspiration and finally some more resources. css3, css, resources, tutorials, tips, tricks, techniques, css3 tips, css3 tutorials, css3 tutorial, css3 tip, css techniques, css3 techniques Last week, I published a massive roundup of HTML5 resources, articles, tips and techniques, and it was a big hit within the design and development community. Since HTML5 is only of the upgrades that is being rolled out, I thought it would be appropriate and helpful to assemble a set of CSS3 resources. This post serves as the ultimate CSS3 toolbox. You’ll start with a few introductory articles, then jump right in with tutorials, then see what’s possible with inspiration and finally some more resources. If you have any resources to add to the list, please, let us know in the comments!

370 Welcome, WebM <video>
In February 2007, 1177 days ago to be exact, Opera proposed the <video> element and we published a manifesto for video on the Web. When proposing <video>, we knew there would be two challenges. The first was easy: to get consensus around the syntax. We wanted <video> to be as easy to use as <img>. The second was harder: to find an open and freely-usable high quality video format. The web has always been open and freely-usable; Tim didn’t patent HTML, I didn’t patent CSS and Brendan didn’t patent JavaScript. The big news today is that WebM will join the list of open and freely usable Web formats, and video will finally become a first-class citizen of the Web. This is a big deal, and the day will be remembered in the history of the Web. At Opera, we’re proud to add support for WebM into a Labs build — you can download this build for:

363 45 Photoshop Actions To Enhance Your Photos And Stand Out | Graphic and Web Design Blog
In this article you’re going to find 45 sets of actions that help you enhance the colors and the main look of the photo. photoshop,action,automate,photography,photo,enhance,tutorials Actions come really handy when you have a need to enhance your photos, but you just don’t have a time for it or necessary skills. Photoshop actions contain various adjustment layers, filters, effects, who are originally recorded by author and you can play them back again. You can create actions yourself or you can just download professional ones here and get amazing results with just once click! Explore how the action is built, choose which adjustments you want to apply and finally just enjoy great results. In this article you’re going to find 45 sets of actions that help you enhance the colors and change the main look of Your photo.

357 LiVES Video Editing System - Because the media should be open
LiVES - Open media and free video editing and VJ software for Linux media lives video editor linux BSD IRIX OpenMosix music multimedia free open source gnu GPL h264 x264 edition instal final cut premier ’´±’æ¦ ’´±’Êý’榒ãë ‘ÊӑƵ‘±à‘¼­’´ï 官网 官方网站 ‘ÊӑƵ ‘±à‘¼­ ’¼«’ͳ’Ū ‘Èí’·ï ‘µç’±Æ ’²È ’À¸‘²ú ’¿’ÇޒÂÎ OSX darwin hdv snow xvid FOSS FLOSS jack clip resize resample home capture display convert audio production dvd mp3 solaris ogg wav editing software freeware avi vcd svcd anime film movie divx mpeg matroska ubuntu debian mandriva redhat slackware fedora suse gentoo unix codec logiciel grab merge trim dvgrab dv hdv studio vob asf mpeg2 crop montaggio modificare dirac theora vorbis best good newest fastest sourceforge stream download project site professional quality pro powerful frame descargar feature multitrack simple composite composer real time realtime server encode encoder plugin effect tool nonlinear linear non-linear program animated gif jpeg png vj OSC sound control remote network sex porn pr0n

316 100 Fresh And Free xHTML Templates Of Year 2010
If you remember some long time at 1stwebdesigner we published huge 2-part article (part 1, part 2) with 202 free HTML templates there, time has been passed and this is follow-up articles. This time you will find here just really new templates, mostly created in this year 2010! Hopefully this article will be good success as well, because I think these templates can really help if you need to complete any fast project, see how things work and finally get inspired! Enjoy!

228 Solargraphs - How to create 6 month exposures.
Please have a look at Tarja Trygg's www.solargraphy.com for more examples. Much of pinhole photography relates to the use of time and being creative with the light from the sun, similar wonders to that found in astronomy. A 6-month exposure will enable you to image the arc of the sun as it rises or sinks throughout 6 months of the year. As well as this you will get some foreground detail and a camera to look at with awe as a small hole etches its 6-month exposure from your window ledge, garden shed, lamp post, tree etc. Being able to capture a period of time far beyond our own vision is incredible enough, but even more amazing is how simple it is to do. The final camera gives an extreme wide angle of view of 160 degrees.

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