100SILEX, de 0 ŕ 100 s: limited
1184 Safecast X Kickstarter Geiger Counter by Sean Bonner â€” Kickstarter
Sean Bonner is raising funds for Safecast X Kickstarter Geiger Counter on Kickstarter!
Safecast launched a year ago thanks in part to Kickstarter. We're making an awesome limited edition geiger counter to say thanks!
1043 Monotribe, MIDI and me
When I heard about the monotribe, I had my doubts. Mostly that thereâ€™s only one pattern, which is 8 steps long. Well, there are 8 extra steps for the drums, as well as a â€śflux modeâ€ť which records your movements on the ribbon continuously. In that sense, it is limited, and is an instrument made to be played with your hands, rather than be programmed. But as it turned out, this was a design choice, and not a technical limitation. I can easily imagine why. They wanted it to seem as analog and playful as possible.
Same thing with MIDI. Officially, the monotribe doesnâ€™t support MIDI. It does however offer a sync pulse output and input. This allows it to be synced to other monotribes, modular synthesizers or even Korgâ€™s own virtual iMS-20/iElectribe, using a special sync app on a second iPhone/Pod/Pad. However, the lack of MIDI is still a slight limitation.
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.
608 Stories In Flight | HTML5/CSS3 Cheatsheet
Here are some simple cut-and-paste examples of HTML5/CSS3 features that are currently (mid-2010) usable across a number of web browsers, chief among them Firefox, Safari, Chrome and Opera.
For many of the CSS3 examples, Internet Explorer is the lone holdout with a limited number of workarounds, however these features degrade gracefully and may still be useful on new projects as long as this limitation is kept in mind.
Please note: With the exception of SVGWeb, no Internet Explorer workarounds have been included on this page - most of the examples will therefore not work in IE6, IE7 or IE8.
And if you want to discuss any of the code below or leave a correction or suggestion, you can leave comments below and here is also The Web We Should Have on my blog. Thanks!
On this page:
Rounded Corners Redux: Circles
Canvas Text Rotate
Some more complex subjects are also discussed in these separate pages:
Multiple Background Images
HTML5 Audio Data API - Spectrum Visualizer
Google Font API and Font Loading Behavior
...and don't forget to leave some comments below!
Find a Dealer
Nothing Sounds Like an Eventide
Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, PitchFactor fits on your pedalboard or in your gigbag.
Studio Quality Effects at Your Feet
Top recording studios worldwide use Eventide effects on hit after hit. PitchFactor includes Eventide's best pitch-changing effects from the past 39 years without compromising quality OR flexibility.
Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.
Obsolescence is so 20th Century
Easy to upgrade; download new software from the Internet and install via USB.
10 of Eventideâ€™s signature stereo or mono pitch+delay effects:
H910 / H949
Up to 4 voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay
Studio quality sound
Guitar or bass compatible
Software upgradeable via USB 2.0
MIDI control via USB or MIDI in, out/thru
Instant program change
Real-time control with 10 knobs, MIDI, or expression pedal
Tap tempo and MIDI clock sync
100 factory presets, unlimited through MIDI
True analog bypass
Rugged cast metal construction
Reliable metal footswitches for instant preset access
Mono or stereo operation
Guitar or line level inputs and outputs
428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâ€”one needed only leave home to buy more tapes. Says Neffe, â€śI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front â€¦ if the buyer didnâ€™t like the music, he or she could wipe it out and record something else on it.â€ť
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâ€”that coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ€™ A Safe Substitute and Colin Potterâ€™s The Ghost Office. In Japan, 1980 saw the release of Merzbowâ€™s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâ€™s Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâ€™s own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâ€™s artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessâ€“not even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â€ť 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâ€™s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as â€śtextsâ€ť or â€śphotographsâ€ť, or as he puts it, â€śpotlatch musicâ€ť. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâ€™s subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ă‰tant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track â€śLangsamâ€ť is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track â€śSons of God?â€ť is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ€™ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâ€™s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
240 SoundClick - Free MP3 music download and much, much more.
SoundClick - the best free artist music community. Exclusive top stars and unsigned bands. Free member pages including unlimited free webspace, free MP3 download and hosting, streaming audio, personalized news, charts, tour calendar, auctions, ecommerce, music greeting cards, and tons more. Join Now!!
Free MP3, MP3, Music, Bands, Unsigned, Record Deal, Download, Download MP3, Indie, Hip Hop, Beats, Beatz, Instrumentals, Lyrics, Social Network, mySpace
219 Top 10 Most Expensive Turntables - Born Rich
Cruise to the luxury lifestyle
Auction, Auctions, bathroom, blogger, Carbon Fiber, Cars, CES 2008, Chair, Christies, christmas, coffee table, cool geek, design, diamond, diamonds, ebay, Ferrari, fireplace, furniture, gold, HDTV, Home Theater, Horology, India, interview, iPhone, ipod, kitchen, lcd tv, Lifestyle, limited edition, Loudspeakers, luxury, luxury car, Luxury Cars, luxury phones, Luxury Speakers, luxury watches, luxury yacht, luxury yachts, Music, Robot, sothebys, spa, Speakers, swarovski, Table, Technology, workstation, yacht
152 News [NAMM] Une ProCo RAT vintage - Audiofanzine
News ProCo Sound Limited Edition '85 Whiteface RAT (le 16/01/2010) - Audiofanzine
actualitĂ©s, news, limited edition '85 whiteface rat, proco sound, distorsions/overdrives/fuzz guitare
101 - 201