100SILEX, de 0 ŕ 100 s: mean
1522 5 Simple steps to secure TT-RSS reader
secure tt-rss, tt-rss security
5 Simple steps to secure TT-RSS reader
July 27, 2015 by Anand Leave a Comment
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We recently presented Tiny Tiny RSS to you as a great alternative to Google reader, which is one more way you can extend the functionality of your home server or your hosting space. Hopefully, you already exported your data from Google Reader. In this post, we will show you how to secure TT-RSS reader to prevent unauthorized access. Tiny Tiny RSS is an open source web-based news feed (RSS/Atom) reader and aggregator, designed to allow you to read news from any location, while feeling as close to a real desktop application as possible. As we previously explained, it makes an ideal candidate to replace Google Reader. While there are services like Feedly and Newsblur grabbing the crowd Google Reader, which some of you may prefer, there are a group of people who would like to run a RSS reader on their own server and keep things private. Assuming that you have already installed Tiny Tiny RSS on your alternative to Google reader or hosting space, we will now show you how to secure TT-RSS reader.
Secure TT-RSS Reader
One of the main reasons to move to an RSS aggregator like TT-RSS is maintaining your privacy. So if you do not secure TT-RSS reader well you are not only making your data available public but also making your system vulnerable to potential attacks. Choosing a strong username and password while setting your TT-RSS is the first basic thing that you can do to secure TT-RSS reader. Listed below are few more ways you can increase TT-RSS readerâs security.
1. Rename TT-RSS Folder
One of the first lines of defense is to not use tt-rss in your URL to access your TT-RSS reader. To do this on your hosting account, use a folder name other than tt-rss while installing TT-RSS. On your Linux home server, edit /etc/tt-rss/apache.conf and change the first /tt-rss to something else. An example is shown below.
TT-RSS Rename URL
TT-RSS Rename URL
After making the change, restart your TT-RSS and Apache to apply the changes:
sudo service tt-rss restart
sudo serivce apache2 reload
Your TT-RSS reader is now available through the new URL (example: http://mydomain.com/myreader) only.
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2. Enable SSL
Accessing TT-RSS through http sends all information as unencrypted data. This could mean less privacy due to potential sniffing. The solution is to encrypt the data during transfer, which makes sniffing by hackers harder. To enable and enforce HTTPS access on Linux servers with Apache, install the following run-time libraries:
sudo apt-get install libssl0.9.8 libpam0g openssl
Restart your Apache server as shown above. You should now be able to access your TT-RSS reader with HTTPS. Note that you may have to have a SSL certificate generated. Refer to Apache documentation if you want to generate your own certificate. By default, the system will install self-signed certificates for you. These certificates are likely to raise warnings when you point your browser to the site.
3. Disable Single User Mode
By default the single user mode is already disabled (in /etc/tt-rss/config.php). Enabling single user mode will also disable TT-RSS login system. Therefore, keep the single user mode disabled.
Disable Single User Mode
Disable Single User Mode
A better way to make it a single user system is by limiting the number of registrations to 1 as described below. For whatever reason, you still want to enable single user mode, make sure you implement Apache Authentication method described below.
4. Self Registrations
Self registrations allow a visitor to register themselves, which could reduce TT-RSS security. If your TT-RSS will be for personal use only, then you may want to disable user registration by setting âENABLE_REGISTRATIONâ to âfalseâ.
TT-RSS Self Registrations
TT-RSS Self Registrations
To further secure TT-RSS Reader, uou may also want to change âREG_MAX_USERSâ to â1â to make your account the only account on TT-RSS.
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5. Apache Authentication
Last but not the least, enable Authentication. This is even more important if you have enabled âSingle User Modeâ describe above. Every time you access TT-RSS, you will be asked for a username and password as shown in the picture below:
Secure TT-RSS Reader
On your hosting account this equivalent to password protecting a directory, in this case the TT-RSS directory. To do this on your Ubuntu server, you will have to create a .htpasswd file. More information is available in Apache documentation. But the easiest way to achieve this is to use one of the htpasswd generators available online.
After you enter the username and password two code blocks will be generated. Copy the contents of the .htpasswd code block and save it to /etc/apache2/.htpasswd_ttrss. Next, copy the contents of the .htaccess code block and add it to /etc/tt-rss/apache.conf as shown below:
TT-RSS Apache Authentication
TT-RSS Apache Authentication
Save and exit. Restart both TT-RSS and Apache previous shown above. You should be prompted for a password every time you try to access TT-RSS. Some may think that this double authentication method is an extra inconvenience. But I would rather be safe than sorry.
Go ahead, secure Tiny Tiny RSS Reader and enjoy reading articles on your private secure RSS Reader.
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.
1515 Patternicity: Finding Meaningful Patterns in Meaningless Noise - Scientific American
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
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!
962 25 Abandoned Soviet Monuments that look like they're from the Future | Crack Two
These structures were commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s to commemorate sites where WWII battles took place (like TjentiĹĄte, Kozara and KadinjaÄa), or where concentration camps stood (like Jasenovac and NiĹĄ). They were designed by different sculptors (DuĹĄan DĹžamonja, Vojin BakiÄ, Miodrag Ĺ˝ivkoviÄ, Jordan and Iskra Grabul, to name a few) and architects (Bogdan BogdanoviÄ, Gradimir MedakoviÄ...), conveying powerful visual impact to show the confidence and strength of the Socialist Republic. In the 1980s, these monuments attracted millions of visitors per year, especially young pioneers for their "patriotic education." After the Republic dissolved in early 1990s, they were completely abandoned, and their symbolic meanings were forever lost.
From 2006 to 2009, Kempenaers toured around the ex-Yugoslavia region (now Croatia, Serbia, Slovenia, Bosnia and Herzegovina, etc.) with the help of a 1975 map of memorials, bringing before our eyes a series of melancholy yet striking images. His photos raise a question: can these former monuments continue to exist as pure sculptures? On one hand, their physical dilapidated condition and institutional neglect reflect a more general social historical fracturing. And on the other hand, they are still of stunning beauty without any symbolic significances. I know this may sound schizophrenic if you also read my last post. But maybe there are forms that can transcend meaning...
897 Generic Synth Preset Storage and Conversion
For my synths with preset storage and the ability to dump & load presets via midi sysex, I wanted to be able to feed the sysex of a synth into a software program which can
display the sound parameters in a meaningful form, and
convert the sound into the sysex format of any of my other presets synths
The generic patch storage format must display meaningful values for the parameters (filter envelope amount = 1/2 octave, envelope 1 attack = 50ms, etc) and convert between these values and a given synth's sysex (as much as possible - resolution probably isn't good enough to get envelope attack to exactly 50ms on each and every synth, and envelope shapes vary between synths, etc). The storage format will also store the original parameters, using the "native" value range of each parameter (e.g. filter cutoff frequency between 0 and 127) as well as the original sysex program as an ASCII hex dump.
Since I didn't find any software which could do this, I began writing my own in Java. I am concentrating on converting basic analog components; any on-board effects are not used.
889 IBM - Watson
Watson, the IBM computer that will compete on Jeopardy!, represents an impressive leap forward in analytics and systems design. The underlying DeepQA architecture is designed to find the meaning behind a question posed in natural language and deliver a single, precise answer.
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868 How Facebook Ships Code ÂŤ FrameThink â Frameworks for Thinking People
Iâm fascinated by the way Facebook operates. Itâs a very unique environment, not easily replicated (nor would their system work for all companies, even if they tried). These are notes gathered from talking with many friends at Facebook about how the company develops and releases software.
Itâs been over six months since I assembled these observations and Iâm sure Facebook has continuously evolved its software development practices in the meantime. So these notes are probably a little bit out-of-date. It also seems like Facebookâs developer-driven culture is coming under greater public scrutiny. So Iâm feeling more comfortable now about releasing these notesâŚ HUGE thanks to the many folks who helped put together this view inside of Facebook! Thanks are also due to folks like epriest and fryfrog who have written up corrections and edits.
866 Robert Sutton: The No Asshole Rule: Part 1
I define workplace assholes as people who leave behind a trail of demeaned and de-energized people and lists lots of ways that these creeps do damage to others.
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818 m u s i q u e [ m a c h i n e ]
Musique Machine] is a Multi-Genre Music Magazin. We cover the latest music releases in our weblog, reviews, articles and mp3's. Multi-Genre means no limit!
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812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02â˘ although it was developed independently of Korg Inc.
Korg and MS-02 are the trademarks of Korg Inc.
Among presently available music synthesizers, there are two different types of control system used for controlling devices such as the VCO (voltage controlled oscillator) and VCF (voltage controlled filter). These two systems been: Hertz/Volt (Hz/V) and Octave/Volt (Oct/V).
The graph to the left shows the relationship between the VCO oscillator frequency (pitch) and the control voltage (keyboard output voltage). The straight line on the graph is from a synthesizer in which there is a one octave change for every one volt change in the control voltage (Oct/V). In contrast, the curved line on the graph is the control voltage from a synthesizer in which the VCO frequency is proportional to voltage (Hz/V system).
To allow these systems to work together you will need a module like this ED102. The built-in, fully adjustable log amp and anti-log amp ensure complete system flexibility and compatibility between any presently voltage controlled synthesiser.
The Hz/V system
In the Hz/V system, the VCO oscillator frequency is proportional to the control voltage so that, for example, if the frequency of a VCO increases by 100Hz for every volt applied, then applying 1V, 2V and 3V to this VCO would generate 100Hz, 200Hz and 300Hz respectively.
The Oct/V system
In the Oct/V system the VCO oscillator frequency changes one octave for every one volt change in the control voltage so that, for example, 1V, 2V and 3V to a VCO would generate 200Hz, 400Hz and 800Hz respectively.
Features and Functions
This changes a Hz/V type keyboard CV (control voltage) output into an OCT/V type of CV. Use the Log Amp to change the control signal from, say, a Korg or Yamaha synthesiser into a signal you can use with another type of synthesizer.
This changes an OCT/V type of keyboard CV output into a Hz/V type of CV. Use this Antilog Amp when you want to control, say, a Korg synthesiser by means of a unit that uses the OCT/V system.
776 What Your Web Design Says About You (Infographic)
Infographic that delves into the meanings of fonts and colors in the context of web design.
761 Midi Software - Synth Zone
MIDI Sequencing SoftwareAnvil Studio Anvil Studio is a MIDI and audio sequencer and is free software for Windows users.
Building Blocks Building Blocks for Windows is a multifunctional MIDI application / modular sequencer, that allows you to build custom controller remapping, LFO's, arpeggiators, autochords, drum and note sequences, echoes etc.
Busker A Windows score editor and player that has Yamaha style support. 1000s of Yamaha styles can be downloaded for free. Another great music software tool from Jos Maas.
Cakewalk Sonar Windows & Mac sequencer now with integrated midi and audio. Sonar demo available. For other Cakewalk resources see Synth Zone's Cakewalk Page
Cubase - Steinberg Featuring integrated midi & audio package Cubase VST For more info & related links see Synth Zone's Cubase Links
Cursed Sequencer Open Source sequencer for Windows and Linux.
Digital Performer MOTU presents Digital Performer for the Mac, a complete digital audio and MIDI production environment. Competitive upgrades available. See the new Digital Performer mailing list.
Ditty Ditty is a freeware MIDI sequencer for Windows aimed at assisting piano practice.
Easybeat Mac MIDI sequencing software from Uni Software Plus. Features include a software GM wavetable synth.
Energy XT Energy XT is Windows sequencer/composer software.
Fl Studio Windows application that provides easy to use yet powerful MIDI/digital audio sequencing and looping tools.
Intuem Mac OSX MIDI sequencer that provides a variable-tempo system and a simple way to transform a real, human, performance into a sequence where bars and beats actually have meaning. Time restricted version available to download.
Jammer - Soundtrek Jammer for Windows provides a 256 Track MIDI sequencer with built in studio musicians. A very useful program for creating arrangements & drum tracks with assistance from the software. Also check the Yahoo Jammer Group.
JUMP A highly streamlined Windows MIDI sequencer, designed to help you compose music
Jazzware - Jazz++ Windows & Linux open source MIDI sequencer with audio support. If you need a MIDI sequencer you really should check it out.
Logic Pro Audio Apple's MIDI & audio solution for the Mac. For Emagic product support see the Emagic Legacy pages at Apple. For related information see Emagic Users Page with resources & mailing list for Emagic products, the Logic Users' Net which includes Mac related info, and the Powerkeys "Learning Logic" web site. SwiftKick provides and archive for the Logic Users' Group environments. Editors, MIDI processors etc. are available. Omega Art has Logic info and resources. You can read the History Of Logic at Tweakheadz Lab.
Magix Magix Music Studio incorporates a MIDI sequencer with its digital audio sequencer.
Massiva An audio/MIDI sequencer for Windows users with undo plus plugin support. This is just an archive of an old site. You can still get it from AudioMelody.com. Massiva has now moved on to become Energy XT
Mixcraft Windows software that supports MIDI and audio sequencing..
MU.LAB An alternative, hi-quality music application for Mac OSX and Windows with MIDI and audio support.
MultitrackStudio Window digital audio recorder with VST 2.0 plugin and MIDI support. Freeware version and pro versions available.
Music Master Win sequencing & notation package with a full graphic interface for Roland VS880 control & integration.
Music Master Works A shareware Windows sequencing & accompaniment package. Win95 & Win3.1 versions available. From Aspire software
MusicPhrase XL MusicPhrase for Windows is a creative tool for composing music. Features phrase sequencing and visual groove editing tools.
Music Studio Producer Music Studio Producer is a free Windows MIDI sequencer, DAW which can host VST(i), supports ASIO. From Aspire software
Numerology Numerology is a modular sequencing and audio plugin environment for Mac OS X.
Onyx Onyx by Jasmine Music provides powerful sequencing, harmonizer and MIDI-2-Audio rendering.
Power Chords By Howling Dog Systems - Innovative Windows midi sequencer using onscreen guitar fretboard interface, plus other unique features for creating strum & rhythm patterns. Demo available
PowerTracks Pro Audio PG Music's budget priced sequencer for Windows now features up to 48 tracks of digital audio with effects, EQ, panning etc plus 3rd party plugin support.
Pro Tools Digidesign provide Pro Tools for Windows and Mac with MIDI, multitrack audio and plugin support.
Quartz Audio Master Quartz Audio Master is free Windows multitrack digital recording software and MIDI sequencing software. Provided by DigitalSound Planet
Reaper REAPER is a fully featured Windows multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment. Fully functional evaluation available for download.
Rosegarden Rosegarden is a free MIDI sequencer and notation editor for Unix, and has binary distributions for Linux PCs and SGI IRIX.
SoftStep SoftStep is a Win9x modular step sequencer based on modular analog step sequencers. Features modules, which are math and logic functions that you treat as physical boxes with knobs and sliders.
Style Enhancer Windows MIDI sequencer based on Performance Modeling technology with powerful and intelligent MIDI-data generation and transformation.
SwarShala Midi sequencer package for Windows software that covers both the melodic and rhythmic aspects of Indian music. Featured instruments include Sitar, Sarod, Tanpura, Guitar, Tabla, Pakhawaj, Dholki and Bells. MIDI files and WAV files can be output.
Sweet Sixteen Midi sequencer package for Windows from Roni Music. And check out the Sweet MIDI arpeggiator for Windows, very cool !!
TR-x0x Freeware Windows step sequencer based on the Roland TR-808/909 drum machines.
Tracktion Tracktion from Mackie provides low cost MIDI and audio sequencing.
Tunafish A Windows VSTi MIDI sequencer with sample support. A fully functional ( save disabled ) demo is available to download. Has sample support and provides a built-in sample/drum sequencer.
Xx A multi-track MIDI sequencer for MacOS. It is also an algorithmic compositional tool. Requires OMS.
Midi SoftwareAudible Oddities - Twerk's Tools Audible Oddities is an audio mastering business and Shawn Hatfield also provides some free music composition tools for the Mac featuring sequencing control and algorithmic music generation. Burnt Toast even has a beta version available for Win XP.
Catanya Software pattern arpeggiator VST plugin.
MIDI-OX Win9x/NT midi utility providing sysex handling, diagnostics, filtering & mapping of midi data Streams. All Windows MIDI users should check this out. It is also available from Yamaha UK. Also see MIDI Yoke which allows you to route MIDI between different applications.
vanBasco's Karaoke Player vanBasco's Karaoke Player is freeware Windows software that plays Karaoke (.kar) and standard MIDI (.mid, .midi, .rmi) files. Provides a piano keyboard and lyric display.
Vocal Writer Shareware music & vocal synthesis software for the Power Mac. Not only playback & edit GM midi files, but it will also sing your lyrics (85 voices to choose from)
Zel Zel is an interpretive MIDI programming language for Windows. Version 1.2 includes the Zel Drum Machine, a style based composer and editor which makes it easy to create MIDI drum tracks without having to learn the Zel language. Freeware.
Midi Sequencing Related SitesAtari-MIDI Yahoo Group for Atari computer users to discuss MIDI applications. Also check The Caged Artist Series Page for once commercial MIDI software that is now freeware.
Audio Forums Forums for most major sequencing & digital audio software packages.
Harmony Central Provide an archive of MIDI sequencer and notation applications to download. There is software for all platforms available.
HitSquad Provide links to a number of MIDI sequencers and "tracker" sequencers for Windows, Mac and Linux.
MacMusic.org Macmusic.org have lots of links to Mac specific audio and MIDI sequencing resources. .
Mac OSX MIDI Apps A very useful list of links to Mac OSX MIDI applications with descriptions and direct links to the websites and apps.
Midijoys Freeware Windows program that combines two independent fully programmable joystick controllers, and a Continuous MIDI Controller programmable sliders that can send a wide spectrum of MIDI control parameters.
MidiPlugins.com Links to freeware and commercial MIDI plugins for both Windows and Mac OS9/OSX.
Music-X Amiga University Info on the original Amiga sequencer Music-X including writing sysex protocols. Also see Driptomatic Fairytales for Music-X info and resources. AM/FM also provide disk images containing many Amiga MIDI articles and tools.
Sonic Control Sonic Control provides information and reviews of sequencers for all platforms as well as MIDI hardware.
SourceForge SourceForge provide freeware software for Windows, Mac and Linux platforms and have many MIDI sequencer applications.
Sweetwater Sequencer Forum Sweetwater.com provides forums including one dedicated to MIDI sequencers.
Vintage Sequencers Tweakheadz Lab provides a great rundown on the ancestors of todays sequencers on computers in the 80s. Very interesting and informative reading with screen shots of many sequencers from the early days of MIDI.
748 30 Examples of Big Backgrounds in Web Design | Inspiration
This week we decided to gather a selection of Big Backgrounds in web design and to be honest I thought that I will find way more great examples that I actually found. I mean, as you will see here, that are plenty of nice examples of websites that use photography as their backgrounds, their 'big images backgrounds'.
706 Geometry, Surfaces, Curves, Polyhedra
POV-Ray: A Tool for Creating Engaging Visualisation of Geometry
Various notes on polygons and meshes
Includes Surface (polygon) simplification, Clipping a polygonal facet with an arbitrary plane, Surface Relaxation and Smoothing of polygonal data, Mesh crumpling, splitting polygons, two sided facets, polygon types.
Philosophy is written in this grand book - I mean universe - which stands continuously open to our gaze, but which cannot be understood unless one first learns to comprehend the language in which it is written. It is written in the language of mathematics, and its characters are triangles, circles and other geometric figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrinth. Galileo (1623)
Distance between a point, a line and a plane
The intersection of a line with another line (2D)
The closest line between two lines (3D)
The intersection of a line with a plane
Mathematics describing a plane
The intersection of two planes
The intersection of three planes
Polygon area and centroid calculation
Inside / outside polygon test
Reflection of a ray
Eulers number and closed surfaces
Determining whether a line segment intersects a facet
Coordinate transformations on the plane (2D)
Cartesian, Cylindrical, and Spherical
Euler angles and coordinate transformations
Converting between left and right coordinate systems
Clipping a line with a polygon
Clockwise test for polygons in 2D
Test for concave/convex polygon in 2D
Area of (planar) polygons in 3D
Spheres, equations and terminology
The intersection of a line and a sphere (or a circle)
Equation of the circle through 3 points
Equation of the sphere through 4 points
Intersecting area of circles on a plane
Rotation of a point about an arbitrary axis
Creating a plane/disk perpendicular to a line segment
Intersection of two circles on the plane
Circumference of an ellipse
Intersection of two spheres
Distributing Points on a Sphere
Quadric equations in x and y of degree 2
Fowler angles: Comparing angles without trigonometry
Description of an efficient contouring algorithm as it appeared in Byte magazine. (Byte Magazine, 1987) and a more general approach for arbitrary contour planes and polygonal meshes.
Methods for mapping points on a spherical surface onto a plane, stereographic and cylindrical (including Mercator) projections. Includes Aitoff map projection: Conversion to/from longitude/latitude (spherical map)
Classification of projections from 3D to 2D and specific examples of oblique projections.
A triangle was an improvement to the square wheel. It eliminated one bump. BC comics
Planar (stretching) distortion in the plane
Including Anamorphic projections and Mappings in the Complex Plane (Otherwise known as Conformal maps)
Polygonising a scalar field
Otherwise known as marching cubes and marching tetrahedrons.
A Macintosh 4 dimensional geometry viewer and manual.
Visualizing.org is a community of creative people working to make sense of complex issues through data and designâŚ and itâs a shared space and free resource to help you achieve this goal.
By some estimates, we now create more data each year than in the entirety of prior human history. Data visualization helps us approach, interpret, and extract knowledge from this information. Over the last couple of years, weâve seen government agencies, NGOs, and companies open up their data for the public to see and use. And weâve seen data visualization figure more prominently in design curricula, conference programs, and the media. We created Visualizing.org because we want to help connect the proliferation of public dataâŚ with a community that can help us understand this dataâŚ with the general public.
What is Visualizing.org? What can I do on the site?
Visualizing is a place to showcase your work, get feedback, ensure that your work is seen by lots of people and gets used by teachers, journalists, and conference organizers to help educate the public about various world issues
Visualizing is a free resource to search for data
Use Visualizing to keep up with and be inspired by the latest work from other designers and design schools
Learn about new visualization tools, blogs, books and other resources to help your work
Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share-Alike License
For teachers and schools:
Visualizing is a place to exhibit the collective work of your students, organize assignments and class projects, and help your students find data for their own visualizations
Weâre working on new tools to help you share teaching material with other teachers
As an Academic Partner, your students are eligible to participate in various design competitions â weâre hosting the first Visualizing Marathon in New York in October
To learn more, contact Saira Jesani
For bloggers and journalists:
Visualizing is a resource to find data visualizations about a wide variety of world issues to inform and accompany your own reporting â and itâs easy to embed visualizations and widgets from Visualizing on your own site
For conference organizers:
As a Knowledge Partner, Visualizing allows you to use data visualizations at your conferences under a Creative Commons License
To learn more, contact Saira Jesani
Visualizing is a new and fun online resource to learn more about the world in all its complexity and inter-dependence -- and become more comfortable with data and how it can be visually represented
How does it work?
The site is open and free to use. Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share Alike License. Simply put, this means that anyone can share, copy, remix, or build upon the visualization as long as: (i) it is used non-commercially; and (ii) the visualizationâs creator and source are credited.
551 The Top Idea in Your Mind
I realized recently that what one thinks about in the shower in the morning is more important than I'd thought. I knew it was a good time to have ideas. Now I'd go further: now I'd say it's hard to do a really good job on anything you don't think about in the shower.
Everyone who's worked on difficult problems is probably familiar with the phenomenon of working hard to figure something out, failing, and then suddenly seeing the answer a bit later while doing something else. There's a kind of thinking you do without trying to. I'm increasingly convinced this type of thinking is not merely helpful in solving hard problems, but necessary. The tricky part is, you can only control it indirectly. 
I think most people have one top idea in their mind at any given time. That's the idea their thoughts will drift toward when they're allowed to drift freely. And this idea will thus tend to get all the benefit of that type of thinking, while others are starved of it. Which means it's a disaster to let the wrong idea become the top one in your mind.
What made this clear to me was having an idea I didn't want as the top one in my mind for two long stretches.
Sound synthesis and sound design
Music has brought pleasure and entertainment to mankind throughout the whole of history. Each person is by nature equipped with one of the most elaborate and emotional musical instruments; the human voice. Whenever people feel good music seems to fit the occasion, and it is considered quite natural to hum or sing a song. Musical instruments have brought their own moods to music and at the current moment in human evolution there is an enormous variety of musical instruments available. The twentieth century has seen the development of a range of new and exciting electronic musical instruments. These electronic instruments are very flexible, they can produce a wide range of timbres and can be amplified to whatever loudness level sounds best for the occasion. Most of these electronic instruments are played by a keyboard, but in essence the keyboard can be replaced by any electromechanical device that is able to transform a movement caused by a human interaction into an electrical signal that can drive the sound generating core of the electronic instrument.
All sorts of technical and scientific developments have helped to create electronic instruments and the human interface to play them. Still, music is an art and not really a hard science, although music and sound have for a long time been subject to various scientific research. An important realization is that science can not really explain why much music is such a pleasure to listen to and such a joy to make. Which is not a bad thing, as probably no one is waiting for science to take the fun out of music by applying formalized rules and templates on what is also subject to âfeelâ. So, although this book covers techniques that lean heavily on scientific research, the application of these techniques will in general be aimed at creating fun. There are a lot of professionals working with sound and even more people that make music for their personal enjoyment. Mastery of sound synthesis is valuable to all of them. Still, it wonât be easy to please everyone with one single book, as some people will be more interested in how things work and others might want practical examples that just work. The aim of this book is that it can at least be used as a practical guide in workshops and courses in electronic music, covering some essential basics that are needed to operate the equipment used in sound synthesis in a way that makes some sense. Additionally it can be used to explore techniques to find out how they can help in the development of oneâs own musical style.
Sound synthesis is the art of creating sounds by using suitable electronic means, using either analog or digital electronic devices. Sound design is the art of creating particular sounds using sound synthesis techniques. The definition of sound design as used here might be confusing to some, as the name sound design is also used in the discipline in industrial design that occupies itself with how mass produced objects should sound. Examples are how the sound of cars or ladyshaves are âdesignedâ to sound pleasing while in use. Which of course has nothing to do at all with music or sound synthesizers. This book puts the emphasis on the various synthesis techniques for musical purposes and how to setup sound synthesizers to create a large range of characteristic musical sounds. The art of musical sound design is left to the artist.
486 Ninite Easy PC Setup - Silent Unattended Install Multiple Programs At Once
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445 Doug Kaufman's Web Site - DOS ports LYNX
This site exists primarily to distribute DOS ports of programs in which I have taken an interest. This consists primarily of the text-mode web browser "lynx", the network file retrievers "wget" and "curl", the file compressor "bzip2" and the URL extractor "urlview". Running programs originally designed for unix in DOS is not necessarily easy. If you download these programs, please read the text files which explain how to set up these programs in DOS and which functional problems may be present.
The latest DOS port of lynx is 2.8.5rel.1. You can download it here (2463576 bytes, 18 April 2004). This version is compiled with openssl-0.9.7d to give SSL support. This means that it can now access https:// URLs. This can now be distributed because of the easing of US export controls on encryption. Please note, however, that US regulations still prohibit export to Cuba, Iran, Iraq, Libya, North Korea, Sudan, or Syria. Do not download the file if you are from any of these countries. Please check your own country's regulations on the use of strong cryptography before using or redistributing this file.
440 A List Apart: Articles: Taking Advantage of HTML5 and CSS3 with Modernizr
Today, CSS-based layouts are commonplace and every browser has pretty solid support for them. But now we have CSS3 and HTML5, and the situation is repeating itselfâdifferent browsers demonstrate varying levels of support for these new technologies. Weâve smartened up, however, and no longer employ CSS hacks nor use browser sniffingâan unreliable, poor practice. Weâve also convinced more and more clients that websites donât need to look exactly the same in every browser. So how do we deal with this new but familiar problem? Simple: We use feature detection, which means that we do not ask the browser âwho are you?â and make unreliable assumptions from there on. Instead we ask the browser, âcan you do this and that?â Itâs a simple way to test browser capabilities, but doing all these tests manually all the time gets tiresome. To solve that problem (and others), you can use Modernizr.
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 âŚ 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 DonnĂŠs, 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.
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.
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.
301 Yamaha CS-15 mods: info and modification description (contribution by Don Solaris)
The original CS-15 is a great monophonic synth from the late 70's. It has a specific dual 12 dB multimode filter structure and a dual signal path. However these two filters are permanently set into parallel connection. This can be sometimes limiting, specially when more filter power is required (i.e. 24 dB response). One of the mods here will provide your CS-15 with serial filter connection - the 24dB mode. Of course, switch is included so that you can always bring back the original unmodified parallel filter routing the 12dB + 12 dB mode.
One of the features that make CS-15 specific (next to parallel filters) is the ultra fast LFO that will go all the way up to 100 Hz. There are no many analog synths with LFOs that can go that fast (most end at 10-15 Hz). The potentiometer is used to tune from 0.1 Hz to 100 Hz. If you look at the numbers, this is quite a big range, and we said majority of LFO modulations are performed in up to 10 Hz range. The same is applied on CS-15's LFO potentiometer. That means, you can precisely tune from 0.1 Hz to 10 Hz (over 80% of potentiometer's turn ).
However, going from 30 Hz to 100 Hz occupies only 10% of the potentiometer's turn. So if you were to perform some kind FM or Ring Mod effects, this might become a tricky job, as it requires precise tuning, but instead potentiometer jumps from i.e. 20 Hz into 40, then 70 then 100 Hz. Please note, this doesn't have anything to do with potentiometer's condition (cleaning). No matter how good you clean it, the same problem will exist, simply because this is the physical precision limit of the potentiometer. The only solution is to expand the precision in the high frequency range. In other words, we will expand 10% of potentiometer's turn into some 80% or more. Switch is included to provide the original unmodified version.
297 Synth Finder v5
Find the synth that is right for you!
Now you can easily find the synthesizer that you have been searching for. Simply choose the options from the menu to the left that best describe the types of synthesizers you are looking for and we'll do the rest!
You may choose any options and in any combination. For example, simply choose 'Analog' for a complete list of all analog synths, or get more specific and choose additional options for a more personalized set of results. Note that we only list synths that are featured in our database here at the Vintage Synth Explorer.
For more details and descriptions of what the Synth Finder options mean, click here.
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.
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