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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.
1408 Â» Cut simple SMT Stencil from common aluminum flashing on your CNC Animodule.com
Cut simple SMT Stencil from common aluminum flashing on your CNC
Hereâs a quick photodoc of how I made a reusable SMT stencil from some aluminum siding I had laying around. Itâs very simple to assemble and works great. Dirt cheap too.
I had picked up a roll of aluminum flashing a few years ago to flash some chimneys I rebuilt/repointed and was curious to see how it would hold up as an SMT stencil.
To buy an SMT stencil frame is near $1000 so I didnât have much to lose if it didnât work out.
I cut the frame out of some birch plywood since I had some handy. Really any sturdy frame would do the trick. You could easily glue one together out of some 1x or trim board.
I put a thicker sheet of aluminum down underneath the flashing to give the CNC endmill something sturdy to cut against and clamped it down stretched and tight. My thought there was that If I cut straight on the MDF it might push on the flashing and bend it before it cut through.
A 1mm endmill did the trick. Each pass was .05mm deep.
I pulled the Flashing tight and stapled it to the frame. No rocket science here. I taped up the inside edges so no solderpaste could squeeze between the frame and the stencil.
I had some old screen print hinge boards so I just attached this frame the same way I would a screen print stencil.
The only fiddly part was aligning the first PCB. You have to push around a little and lift the stencil and fiddle with it a little bit. Once I get all the pads lined up correctly I hold it in place and trace around it with a thin tip sharpie marker.
Then you place the PCB in the outline. If you have the height adjusted correctly the stencil is sturdy enough to hold the PCB in place while you print the Solderpaste on it. just hold the stencil frame down and it pushes down on the PCB.
I used a flexible putty knife as a squeegee. It worked fine.
Cleanup was a breeze. Just scrape it off, unscrew the stencil frame from the hingeboard and stick it in the corner till you are ready to do another run.
1386 Retro Synth Ads: Sound Master Memory Rhythm SR-88, Keyboard 1982
Sound Master Memory Rhythm SR-88 drum machine 1-page advertisement from page 67 in Keyboard Magazine August 1982.
Hmmm. Not sure how I feel about this ad. There just seems to be a lot going on.
For example, am I supposed to know who "The Rhythm Section" is? The fact that they include themselves in an already long ad title suggests they must be some kind of a big deal. And then you find their name again in the bottom left-hand corner:
"The SR-88. Another innovative product from The Rhythm Section by Sound Master Distributed exclusively by JTG of Nashville."
So, let me get this straight. JTG of Nashville is the distributor of the SR-88 which was created by The Rhythm Section which is somehow owned or operated by Sound Master.
That is waaaaay to much information. Sounds like something political is going on there, and readers unfortunately get stuck in the middle of it.
There also seems to be a lot of ad-copy which actually doesn t give me much information. Reason #4 gives readers the most info including instant stop/start, variable tone and output switches, and a write/play mode indicator. The most I glean out of the four other reasons put together is: 16 rhythms, clock pulse and a price of under $200.
The actual specs that are probably most important to potential buyers are inexplicably shoved into the bottom right-hand corner.
Luckily for me, there are a few resources on the Web with more information about this beast. Unluckily for blog readers, as soon as I started looking for more info, I got swept up in a certain SR-88/Boss DR-55 controversy.
Comparing the SR-88 and Boss DR-55
One of the first Web sites I hit while looking for info on the SR-88 was Dubsounds.com. The site includes a great little write-up on the SR-88, but, more interesting was finding out about a little controversy about whether the SR-88 or the very similar Boss DR-55 came out first.
The two do seem mighty similar in functionality. For comparison purposes, I did a quick search on MATRIXSYNTH to find more photos. . A great photo of a gray SR-88 can be found in this December 2005 SR-88 MATRIXSYNTH auction post and the less common, but definitely more cool, blue SR-88 can be seen in this January 2011 MATRIXSYNTH auction post.
Comparing the two to the Amdek RMK-100
Interestingly, it s not just these two machines that look and function similarly. In this May 2009 MATRIXSYNTH SR-88 auction post commenter "PAC" notices:
"Interesting. I have an Amdek RMK-100 (sold as kit), very similar!"
Never heard of it, so I Googled "Amdek RMK-100" to see just how similar it was to both the DR-55 and the SR-88. Turns out (according to the Internet) that Amdek products were made by Boss/Roland back in 80s, and, not only that, but that the RMK-100 is actually the kit version of the Boss DR-55. Makes sense on why it would also be similar to the SR-88.
I found an ebay auction for an Amdek RMK-100 going on right now with a great photo of the front panel (see below), and indeed it does share a lot with the DR-55 and SR-88 - but definitely not identical to either one.
For example, it looks like the Amdek and SR-88 share a similar filler function that as far as I can tell is not available on the DR-55. And the DR-55 and the RMK-100 share a similar accent function that I don t see on the SR-88.
Now where does the Electro Dynamics Corporation Programmable Rhythm SR-99 fit in?
I also came across another machine with similar features - the Programmable Rhythm SR-99. No - not manufactured by Sound Master, but by Electro Dynamics Corporation. And, it too resembles the others in functionality, and especially the SR-88 in design also.
I ve included a row of photos below to help make the comparison between the two. The SR-88 photo is from the 2005 MATRIXSYNTH auction post and the EDC SR-99 photo is from the excellent BigBlueWave.co.uk site. I ve also thrown in a photo from another recent E-bay listing that included both - plus boxes and manuals! Sick!
Obviously, Sound Master and EDC are somehow connected, although I can t find any info on the Internet concerning these two companies. I do know that they were both advertising separately in Keyboard Magazine in late 1983, making it unlikely that one of the companies changed their name to the other. Anyone know anything?
And then there is the Clef Master Rhythm...
Now, I m going to throw in a late entry. It s Sunday night, and I just came across this August 2010 MATRIXSYNTH auction post for the Clef Master Rhythm. It not only shares part of the name of one of the other units ("Master"), it too has many features of the other rhythm machines, and identical innards as the DR-55, but is expanded to include even more sounds:
"This is essentially a fully expanded Boss DR-55 feature-wise and tone-wise. The circuits are identical (schematically and tonally) to the Boss DR-55, but the Clef Master Rhythm gives you way more instruments than the Boss DR-55..."
Interestingly, according to the post, it pre-dates the Boss DR-55 - and also came in a kit form like the Amdek.
"The Clef Master Rhythm came out a little before the Boss DR-55 in late 1979/early 1980. It was sold in two versions and available in greater quantities in Europe than in the United States. One version was a kit that the user put together and another one was a prebuilt machine."
A photo from the MATRIXSYNTH post really helps show the similarities in functions with the others:
What does it all mean?
So, looking at all five machines, its almost like there was a rhythm machine salad bar of some sort in Japan, and each company stepped up to it and picked out which features they wanted to include in their product.
And that begs the question - since we know there was a kit form available and there are claims that the Clef Master even has the same circuits as the DR-55, could all five products (and probably others) have used the exact same internal parts - each company choosing which features to include and then customizing in their respective rhythm machine? And if so, were those parts supplied by Amdek, or did all five get their internal parts from some other manufacturer?
And if that is the case, then the question of whether the SR-88 or DR-55 came first doesn t really matter much, since it is likely that the kit components would have been available first. Plus, we have that one auction post with the claim that the Clef Master came out before the DR-55 - making it all even more confusing to figure out.
Or, am I totally off the mark on all this? Were they all created separately? Maybe I ve just been fixated on this a little too much...
I ll keep on looking for more info on these companies and any connection they might have, but if anyone want to buy all four and open them up to take a look - it would be muchly appreciated. :D
Posted by RetroSynthAds at 12:05 PM
Labels: 1982, amdek, clef master, dr-55, drum machine, electro dynamics corporation, keyboard magazine, rmk-100, Sound Master, sr-88, sr-99
Here s a funny thing - I seem to remember Clef in the early 1980s as a British company that made electronic pianos (touch-sensitive ones!) in kit form. Deep in the back of my mind I recall seeing them at a music fair in London with a couple of their pianos and some drum machines including a prototype drum/bass/chord sequencer called something like a "Band-Box". But it WAS a long time ago.
February 12, 2012 at 12:36 PM
Looks like (for once) my memory didn t fail me. Here is a 1982 ad for Clef Electronics showing all the products I mentioned, plus a natty-looking little monosynth! BTW, I owned an EDC SR99 drum machine in the mid-1980s, but replaced it with a Yamaha RX-21 a couple of years later.
February 12, 2012 at 12:46 PM
1381 COLLIN CUNNINGHAM / NARBOTIC INSTRUMENTS
COLLIN CUNNINGHAM / NARBOTIC INSTRUMENTS
MidiVox CV sketch update
The MidiVox CV sketch has been updated to work with Arduino 1.0 - grab it here
Also be sure to use the new version of the Midi Library as well!
Also, also: Some previous comments on earlier posts seem to have been lost in a recent Disqus migration - apologies to previous commenters.
Updated Midi Library & site changes
Perhaps you noticed narbotic.com looks different? It is different!
A big thanks to everyone who picked up a MidiVox kit - you are now the proud owner of a rare piece of electronics.
Though the kit is no longer in production, there is now a new version of the Midi Libray which has been updated to work with the Arduino 1.0 IDE.
In addition to an aesthetic reboot, this site will now serve as your premiere destination for all things Collin Cunningham on the web. (and I vow that will be the one & only time I refer to myself in the third-person)
New things are in the works - more to come
1333 Download OpenStreetMap data OSM
Commonly Used Formats
europe-latest.osm.pbf, suitable for Osmium, Osmosis, imposm, osm2pgsql, mkgmap, and others. This file was last modified 19 hours ago and contains all OSM data up to 2013-05-28T18:59:04Z. File size: 10.3 GB; MD5 sum: c97ac9a7c90bc7791893f19fe9e7e3a3.
europe-latest.shp.zip is not available for this region; try one of the sub-regions.
Other Formats and Auxiliary Files
europe-latest.osm.bz2, yields OSM XML when decompressed; use for programs that cannot process the .pbf format. This file was last modified 5 days ago. File size: 14.9 GB; MD5 sum: 087b5f040c89d6d64ea18503b2723d61.
.poly file that describes the extent of this region.
.osc.gz files that contain all changes in this region, suitable e.g. for Osmosis updates
raw directory index allowing you to see and download older files
1322 Hard Soft Synth 3 There are some HSS3s for sale in my shop.scripts:- HSS3S01V...
Hard Soft Synth 3 There are some HSS3s for sale in my shop.
- HSS3S01V38 (HSS3a, HSS3b, HSS3c)
- HSS3S02V20 (only audio and optimized for the HSS3f)
- HSS3S02V21 (HSS3g)
- HSS3S02V33 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e)
- HSS3S03V23 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e)
- HSS3S03V29 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e)
- Modding a HSS3?
- assembling instructions
- the parts
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1276 10 Quick and Easy Lightroom Tricks Every User Should Know
PhotoTuts+ author Ivaylo Gerchev recently published a series of in-depth tutorials aimed at taking you from beginner to pro in Lightroom in only one week. Today
1247 Les commandes dos de Windows
Panneau de configuration
* ACCESS.CPL : ouvre les options d'accessibilitĂ© (Pour XP uniquement)
* APPWIZ.CPL : ouvre l'outil Ajouter/Supprimer un programme
* AZMAN.MSC : ouvre le gestionnaire d'autorisations (Pour Vista uniquement)
* CERTMGR.MSC : ouvre les certificats pour lâutilisateur actuel
* CLICONFG : ouvre la configuration des clients SQL
* COLLAB.CPL : ouvre le voisinage immĂ©diat (Pour Vista uniquement)
* COMEXP.MSC ou bien DCOMCNFG : ouvre l'outil services et composants (Pour Vista uniquement)
* COMPMGMT.MSC : ouvre l'outil de gestion de l'ordinateur
* COMPUTERDEFAULTS : ouvrir lâoutil des programmes par dĂ©faut (Pour Vista uniquement)
* CONTROL /NAME MICROSOFT.BACKUPANDRESTORECENTER : ouvre le centre de sauvegarde et de restauration (Pour Vista uniquement). Tutoriel ICI
* CONTROL ADMINTOOLS : ouvre les outils d'administrations
* CONTROL COLOR : ouvre les paramĂštres de l'apparence
* CONTROL FOLDERS : ouvre les options de dossiers
* CONTROL FONTS : ouvre le gestionnaire de polices
* CONTROL INTERNATIONAL ou bien INTL.CPL : ouvre les options rĂ©gionales et linguistiques
* CONTROL KEYBOARD : ouvre les propriĂ©tĂ©s du clavier
* CONTROL MOUSE ou bien MAIN.CPL : ouvre les propriĂ©tĂ©s de la souris
* CONTROL PRINTERS : ouvre les imprimantes et les fax disponibles
* CONTROL USERPASSWORDS : ouvre lâĂ©diteur des comptes utilisateurs
* CONTROL USERPASSWORDS2 ou bien NETPLWIZ : contrĂŽle les utilisateurs et leurs accĂšs<
* CONTROL : ouvre le panneau de configuration
* CREDWIZ : ouvre lâoutil de sauvegarde et restauration des mots de passe des utilisateurs (Pour Vista uniquement)
* DESK.CPL : ouvre les paramĂštres d'affichage
* DEVMGMT.MSC : ouvre les gestionnaire de pĂ©riphĂ©riques. Tutoriel ICI
* DRWTSN32 : ouvre Dr. Watson (Pour XP uniquement)
* DXDIAG : ouvre l'outil de diagnostic DirectX
* EVENTVWR ou bien EVENTVWR.MSC : ouvre l'observateur d'Ă©vĂšnements
* FSMGMT.MSC : ouvre les dossiers partagĂ©s
* GPEDIT.MSC : ouvre lâĂ©diteur des stratĂ©gies de groupe (Pour les Ă©ditions professionnelles et plus de Windows)
* HDWWIZ.CPL : ouvre l'assistant ajout de matĂ©riels
* INFOCARDCPL.CPL : ouvre l'assistant compatibilitĂ© des programmes
* IRPROPS.CPL : ouvre le gestionnaire d'infrarouge
* ISCSICPL : ouvre l'outil de configuration de l'initiateur ISCI Microsoft (Pour Vista uniquement)
* JOY.CPL : ouvre l'outil de contrĂŽleur de jeu
* LPKSETUP : ouvre lâassistant dâinstallation et dĂ©sinstallation des langues dâaffichage (Pour Vista uniquement)
* LUSRMGR.MSC : ouvre lâĂ©diteur des utilisateurs et groupes locaux
* MDSCHED : ouvre l'outil de diagnostics de la mĂ©moire Windows (Pour Vista uniquement)
* MMC : ouvre une nouvelle console vide
* MMSYS.CPL : ouvre les paramĂštres de sons
* MOBSYNC : ouvre le centre de synchronisation
* MSCONFIG : ouvre l'outil de configuration du systĂšme
* NAPCLCFG.MSC : ouvre l'outil de configuration du client NAP (Pour Vista uniquement)
* NTMSMGR.MSC : ouvre le gestionnaire des supports de stockage amovibles
* NTMSOPRQ.MSC : ouvre les demandes de l'opĂ©rateur de stockage amovible
* ODBCAD32 : ouvre l'administrateur de sources de donnĂ©es ODBC
* OPTIONALFEATURES : ouvre lâoutil Ajouter/Supprimer des composants Windows (Pour Vista uniquement)
* PERFMON ou bien PERFMON.MSC : ouvre le moniteur de fiabilitĂ© et de performances Windows.
* POWERCFG.CPL : ouvre le gestionnaire des modes dâalimentation (Pour Vista uniquement)
* REGEDIT ou bien REGEDT32 (Pour Vista uniquement) : ouvre l'Ă©diteur de registre
* REKEYWIZ : ouvre le gestionnaire des certificats de chiffrement de fichiers (Pour Vista uniquement)
* RSOP.MSC : ouvre le jeu de stratĂ©gie rĂ©sultant
* SECPOL.MSC : ouvre les paramĂštres de sĂ©curitĂ©s locales
* SERVICES.MSC : ouvre le gestionnaire de services
* SLUI : ouvre lâassistant dâactivation de Windows (Pour Vista uniquement)
* SYSDM.CPL : ouvre les propriĂ©tĂ©s systĂšme
* SYSEDIT : ouvre lâĂ©diteur de configuration systĂšme (Attention, Ă manipuler avec prudence)
* SYSKEY : ouvre lâutilitaire de protection de la base de donnĂ©es des comptes Windows (Attention, Ă manipuler avec extrĂȘme prudence !)
* SYSPREP: ouvre le dossier contenant l'outil de prĂ©paration du systĂšme (Pour Vista uniquement)
* TABLETPC.CPL : ouvre les paramĂštres pour Tablet pc (Pour Vista uniquement)
* TASKSCHD.MSC ou bien CONTROL SCHEDTASKS : ouvre le planificateur de tĂąches (Pour Vista uniquement)
* TELEPHON.CPL : ouvre l'outil de connexion tĂ©lĂ©phonique
* TIMEDATE.CPL : ouvre les paramĂštres de l'heure et de la date
* TPM.MSC : ouvre l'outil gestion de module de plateforme sĂ©curisĂ©e sur l'ordinateur local (Pour Vista uniquement)
* UTILMAN : ouvre les options dâergonomie (Pour Vista uniquement)
* VERIFIER : ouvre le gestionnaire de vĂ©rification des pilotes
* WMIMGMT.MSC : ouvre Windows Management Infrastructure
* WSCUI.CPL : ouvre le centre de sĂ©curitĂ© Windows
* WUAUCPL.CPL : ouvre le service de mise Ă jour Windows (Pour XP uniquement)
Programmes et outils Windows
* %WINDIR%\SYSTEM32\RESTORE\RSTRUI.EXE : ouvre lâoutil de restauration de systĂšme (Pour XP uniquement). Tutoriel ICI
* CALC : ouvre la calculatrice
* CHARMAP : ouvre la table des caractĂšres
* CLIPBRD : ouvre le presse papier (Pour XP uniquement, pour l'ajouter Ă Vista voir ICI)
* CMD : ouvre l'invite de commandes
* DIALER : ouvre le numĂ©rateur tĂ©lĂ©phonique de Windows
* DVDPLAY : ouvre votre lecteur DVD
* EUDCEDIT : ouvre lâĂ©diteur de caractĂšres privĂ©s
* EXPLORER : ouvre l'explorateur Windows
* FSQUIRT : Assistant transfert Bluetooth
* IEXPLORE : ouvre Internet explorer
* IEXPRESS : ouvre lâassistant de crĂ©ation des archives auto-extractibles. Tutoriel ICI
* JOURNAL : ouvre un nouveau journal (Pour Vista uniquement)
* MAGNIFY : ouvre la loupe
* MBLCTR : ouvre le centre de mobilitĂ© de Windows (Pour Vista uniquement)
* MIGWIZ : ouvre l'outil de transfert de fichiers et de paramĂštres Windows (Pour Vista uniquement)
* MIGWIZ.EXE : ouvre l'outil de transfert de fichiers et de paramĂštres Windows (pour XP uniquement)
* MOVIEMK : ouvre Windows Movie Maker
* MRT : lance lâutilitaire de suppression de logiciel malveillant. Tutoriel ICI
* MSDT : ouvre lâoutil de diagnostics et support Microsoft
* MSINFO32 : ouvre les informations systĂšme
* MSPAINT : ouvre Paint
* MSRA : ouvre l'assistance Ă distance Windows
* MSTSC : ouvre l'outil de connexion du bureau a distance
* NOTEPAD : ouvre le bloc-notes
* OSK : ouvre le clavier visuel. Tutoriel ICI
* PRINTBRMUI : ouvre l'assistant de migration d'imprimante (Vista uniquement)
* RSTRUI : ouvre l'outil de restauration du systĂšme (Pour Vista uniquement)
* SIDEBAR : ouvre le volet Windows (Pour Vista uniquement)
* SIGVERIF : ouvre l'outil de vĂ©rification des signatures de fichiers
* SNDVOL : ouvre le mĂ©langeur de volume
* SNIPPINGTOOL : ouvre l'outil capture d'Ă©cran (Pour Vista uniquement). Tutoriel ICI
* SOUNDRECORDER : ouvre le magnĂ©tophone
* STIKYNOT : ouvre le pense-bĂȘte (Pour Vista uniquement)
* TABTIP : ouvre le panneau de saisie Tablet PC (Pour Vista uniquement)
* TASKMGR : ouvre le gestionnaire des tĂąches Windows
* WAB : ouvre les contacts (Pour Vista uniquement)
* WERCON : ouvre l'outil de rapports et de solutions aux problĂšmes (Pour Vista uniquement)
* WINCAL : ouvre le calendrier Windows (Pour Vista uniquement)
* WINCHAT : ouvre le logiciel Microsoft de chat en rĂ©seau (Pour Windows XP uniquement)
* WINDOWSANYTIMEUPGRADE : permet la mise Ă niveau de Windows Vista
* WINVER : ouvre la fenĂȘtre pour connaĂźtre votre version Windows
* WINWORD: ouvre Word (s'il est installĂ©)
* WMPLAYER : ouvre le lecteur Windows Media
* WRITE ou bien Wordpad : ouvre Wordpad
Gestion des disques
* CHKDSK : effectue une analyse de la partition prĂ©cisĂ©e dans les paramĂštres de la commande (Pour plus dâinformations, tapez CHKDSK /? dans lâinvite de commande CMD)
* CLEANMGR : ouvre l'outil de nettoyage de disque
* DEFRAG: DĂ©fragmente le disque dur (pour savoir comment utiliser, c'est ici )
* DFRG.MSC : ouvre lâoutil de dĂ©fragmentation de disque
* DISKMGMT.MSC : ouvre le gestionnaire de disques
* DISKPART : ouvre lâoutil de partitionnement (un peu lourd Ă manipuler)
Gestion des rĂ©seaux et Internet
* CONTROL NETCONNECTIONS ou bien NCPA.CPL : ouvre les connexions rĂ©seau
* FIREWALL.CPL : ouvre le pare-feu Windows
* INETCPL.CPL : ouvre les propriĂ©tĂ©s internet
* IPCONFIG : affiche les configurations des adresses IP sur lâordinateur (Pour plus dâinformations, tapez IPCONFIG /? dans lâinvite de commande CMD)
* NETSETUP.CPL : ouvre lâassistant configuration rĂ©seau (Pour XP uniquement)
* WF.MSC : ouvre les fonctions avancĂ©es du pare-feu Windows (Pour Vista uniquement). Tutoriel ICI
* Ă VOIR ĂGALEMENT : Commandes IP relatives aux rĂ©seaux sous Windows
Commandes IP relatives aux rĂ©seaux sous Windows
Il est parfois trĂšs utile de connaĂźtre les commandes IP, pour analyser voire configurer ses rĂ©seaux TCP/IP.
Voici la liste de ces commandes Ă utiliser dans une fenĂȘtre DOS :
PING : Teste la connexion rĂ©seau avec une adresse IP distante
ping -t [IP ou host]
ping -l 1024 [IP ou host]
* Lâoption -t permet de faire des pings en continu jusquâĂ Ctrl-C.
o Si vous avez prĂ©cisĂ© l'option -t vous pouvez Ă tout moment avoir des statistiques sans interrompre les requĂȘtes ping en appuyant sur Ctrl+Attn (aussi nommĂ© Ctrl+Pause)
Cette commande est aussi utile pour gĂ©nĂ©rer une charge rĂ©seau en spĂ©cifiant la taille du paquet avec lâoption -l et la taille du paquet en octets.
TRACERT : Affiche toutes les adresses IP intermĂ©diaires par lesquelles passe un paquet entre la machine locale et lâadresse IP spĂ©cifiĂ©e.
tracert [@IP ou nom du host]
tracert -d [@IP ou nom du host]
Cette commande est utile si la commande ping ne donne pas de rĂ©ponse, afin d'Ă©tablir Ă quel niveau la connexion est dĂ©faillante.
IPCONFIG : Affiche ou rafraĂźchit la configuration rĂ©seau TCP/IP
ipconfig /all [/release [carte]] [/renew [carte]] /flushdns /displaydns /registerdns [-a] [-a] [-a]
Cette commande, exĂ©cutĂ©e sans option, affiche lâadresse IP en cours, le masque rĂ©seau ainsi que la passerelle par dĂ©faut au niveau des interfaces rĂ©seau connues sur la machine locale.
* /all: Affiche toute la configuration rĂ©seau, y compris les serveurs DNS, WINS, bail DHCP, etc ...
* /renew [carte]: Renouvelle la configuration DHCP de toutes les cartes (si aucune carte n'est spĂ©cifiĂ©e) ou d'une carte spĂ©cifique avec le paramĂštre carte. Le nom de carte est celui qui apparaĂźt avec ipconfig sans paramĂštre.
* /release [carte]: Envoie un message DHCPRELEASE au serveur DHCP pour libĂ©rer la configuration DHCP actuelle et annuler la configuration d'adresse IP de toutes les cartes (si aucune carte n'est spĂ©cifiĂ©e) ou d'une carte spĂ©cifique avec paramĂštre carte. Ce paramĂštre dĂ©sactive TCP/IP pour les cartes configurĂ©es de maniĂšre Ă obtenir automatiquement une adresse IP.
* /flushdns: Vide et rĂ©initialise le cache de rĂ©solution du client DNS. Cette option est utile pour exclure les entrĂ©es de caches nĂ©gatives ainsi que toutes les autres entrĂ©es ajoutĂ©es de faĂ§on dynamique.
* /displaydns: Affiche le cache de rĂ©solution du client DNS, qui inclut les entrĂ©es prĂ©chargĂ©es Ă partir du fichier des hĂŽtes locaux ainsi que tous les enregistrements de ressources rĂ©cemment obtenus pour les requĂȘtes de noms rĂ©solues par l'ordinateur. Le service Client DNS utilise ces informations pour rĂ©soudre rapidement les noms frĂ©quemment sollicitĂ©s, avant d'interroger ses serveurs DNS configurĂ©s.
* /registerdns: Actualise tous les baux DHCP et rĂ©inscrit les noms DNS.
NETSTAT : Affiche lâĂ©tat de la pile TCP/IP sur la machine locale
NETSTAT [-a] [-e] [-n] [-s] [-p proto] [-r] [intervalle]
* -a Affiche toutes les connexions et ports d'Ă©coute (Les connexions cĂŽtĂ© serveur sont normalement inhibĂ©es).
* -e Affiche les statistiques Ethernet. Peut ĂȘtre combinĂ©e avec l'option -s.
* -n Affiche les adresses et les numĂ©ros de port sous forme numĂ©rique.
* -p proto Affiche les connexions pour le protocole spĂ©cifiĂ© par proto; proto peut ĂȘtre TCP ou UDP. UtilisĂ© avec l'option -s pour afficher des statistiques par protocole, proto peut ĂȘtre TCP, UDP, ou IP.
* -r Affiche le contenu de la table de routage.
* -s Affiche les statistiques par protocole. Par dĂ©faut, des statistiques sur TCP, UDP et IP sont visualisĂ©es; l'option -p peut ĂȘtre utilisĂ©e pour spĂ©cifier un sous-ensemble du dĂ©faut.
* intervalle: RĂ©affiche les statistiques sĂ©lectionnĂ©es, avec une pause de "intervalle" secondes entre chaque affichage. Appuyez sur Ctrl+C pour arrĂȘter l'affichage des statistiques.
* -abnov Affiche les processus qui utilisent la connexion internet (Adresse IP local, port, adress IP distante et le PID du processus qui utilise la connexion ainsi que son nom).
ROUTE : Affiche ou modifie la table de routage
ROUTE [-f] [commande [destination] [MASK masque rĂ©seau] [passerelle]
* -f Efface les tables de routage de toutes les entrĂ©es de passerelles. UtilisĂ© conjointement Ă une des commandes, les tables sont effacĂ©es avant l'exĂ©cution de la commande.
* -p Rend rĂ©manente lâentrĂ©e dans la table aprĂšs le reboot de la machine
* commande SpĂ©cifie une des quatre commandes :
o DELETE: Efface un itinĂ©raire.
o PRINT: Affiche un itinĂ©raire.
o ADD: Ajoute un itinĂ©raire.
o CHANGE: Modifie un itinĂ©raire existant.
* destination: SpĂ©cifie l'hĂŽte.
* MASK: Si le mot clĂ© MASK est prĂ©sent, le paramĂštre suivant est interprĂ©tĂ© comme le paramĂštre masque rĂ©seau.
* masque rĂ©seau: Fourni, il spĂ©cifie la valeur de masque de sous-rĂ©seau Ă associer Ă cette entrĂ©e d'itinĂ©raire. Non spĂ©cifiĂ©, il prend la valeur par dĂ©faut 255.255.255.255.
* passerelle: SpĂ©cifie la passerelle.
* METRIC: SpĂ©cifie le coĂ»t mĂ©trique pour la destination
ARP : RĂ©solution des adresses IP en adresses MAC. Affiche et modifie les tables de traduction des adresses IP en adresses physiques utilisĂ©es par le protocole de rĂ©solution d'adresses ARP.
ARP -s adr_inet adr_eth [adr_if]
ARP -d adr_inet [adr_if]
ARP -a [adr_inet] [-N adr_if]
* -a Affiche les entrĂ©es ARP actives en interrogeant le protocole de donnĂ©es actif. Si adr_inet est spĂ©cifiĂ©, seules les adresses IP et physiques de l'ordinateur spĂ©cifiĂ© sont affichĂ©es. Si plus d'une interface rĂ©seau utilise ARP, les entrĂ©es de chaque table ARP sont affichĂ©es.
* -g Identique Ă -a.
* adr_inet SpĂ©cifie une adresse internet.
* -N adr_if Affiche les entrĂ©es ARP pour l'interface rĂ©seau spĂ©cifiĂ©e par adr_if.
* -d Efface l'hĂŽte spĂ©cifiĂ© par adr_inet.
* -s Ajoute l'hĂŽte et associe l'adresse Internet adr_inet avec l'adresse physique adr_eth. L'adresse physique est donnĂ©e sous forme de 6 octets hexadĂ©cimaux sĂ©parĂ©s par des tirets. L'entrĂ©e est permanente.
* adr_eth SpĂ©cifie une adresse physique.
* adr_if PrĂ©cisĂ©e, elle spĂ©cifie l'adresse Internet de l'interface dont la table de traduction des adresses devrait ĂȘtre modifiĂ©e. Non prĂ©cisĂ©e, la premiĂšre interface applicable sera utilisĂ©e.
NBTSTAT : Mise Ă jour du cache du fichier Lmhosts. Affiche les statistiques du protocole et les connexions TCP/IP actuelles utilisant NBT (NetBIOS sur TCP/IP).
NBTSTAT [-a Nom Distant] [-A adresse IP] [-c] [-n] [-r] [-R] [-s] [S] [intervalle]
* -a (Ă©tat carte) Liste la table de noms de la machine distante (nom connu).
* -A (Ă©tat carte) Liste la table de noms de la machine distante (adresse IP).
* -c (cache) Liste le cache de noms distants y compris les adresses IP.
* -n (noms) Liste les noms NetBIOS locaux.
* -r (rĂ©solus) Liste les noms rĂ©solus par diffusion et via WINS.
* -R (Recharge) Purge et recharge la table du cache de noms distantes.
* -S (Sessions) Liste la table de sessions avec les adresses destination IP.
* -s (sessions) Liste la table de sessions convertissant les adresses de destination IP en noms d'hĂŽtes via le fichier hĂŽtes.
Un Exemple :
nbtstat -A @IP
Cette commande renvoie le nom NetBIOS, nom du systĂšme, les utilisateurs connectĂ©s ...de la machine distante.
La commande telnet permet d'accĂ©der en mode Terminal (Ecran passif) Ă un host distant. Elle permet Ă©galement de vĂ©rifier si un service quelconque TCP tourne sur un serveur distant en spĂ©cifiant aprĂšs lâadresse IP le numĂ©ro de port TCP. Câest ainsi que lâon peut tester si le service SMTP, par exemple, tourne sur un serveur Microsoft Exchange en utilisant lâadresse IP du connecteur SMTP et puis 25 comme numĂ©ro de port. Les ports les plus courants sont :
* ftp (21),
* telnet (23),
* smtp (25),
* www (80),
* kerberos (88),
* pop3 (110),
* nntp (119)
* et nbt (137-139).
HOSTNAME : Affiche le nom de la machine
FTP: Client de tĂ©lĂ©chargement de fichiers
* -s cette option permet de lancer des FTP en mode batch : spĂ©cifie un fichier textuel contenant les commandes FTP.
NsLookUp: envoie des requĂȘtes DNS sur un serveur DNS au choix
nslookup [domaine] [serveur dns]
La commande NsLookUp permet d'envoyer des requĂȘtes DNS Ă un serveur. Par dĂ©faut, si vous ne mettez pas le serveur DNS, la commande utilisera celui qui est configurĂ© pour votre interface rĂ©seau (celui que vous utilisez pour naviguer sur internet, par exemple) mais vous pouvez forcer l'utilisation d'un autre serveur.
Par exemple, pour demander au serveur DNS 10.0.0.3 l'adresse IP correspondante Ă l'adresse www.commentcamarche.net:
nslookup www.commentcamarche.net 10.0.0.3
* Si vous ne prĂ©cisez aucun paramĂštre pour nslookup, un shell s'ouvrira en attente de requĂȘtes de votre part.
Netsh (network shell : shell rĂ©seau) est un utilitaire en ligne de commande inclus dans la gamme des systĂšmes d'exploitation Windows NT (NT, 2000, XP, 2003 Serveur, Vista) Ă partir de Windows 2000. Il permet la configuration du rĂ©seau, localement ou Ă distance.
Une utilisation classique de netsh est la rĂ©initialisation de la pile TCP/IP Ă ses paramĂštres d'origines (Sous Windows 98, cette opĂ©ration nĂ©cessitait la rĂ©installation de l'adaptateur TCP/IP). Dans ce mode, vous devez fournir Ă la commande un fichier journal (log). Celui-ci sera rempli avec les valeurs affectĂ©es par netsh.
Netsh permet aussi (entre autres) de changer l'adresse IP de la machine.
Exemples d'utilisations :
- RĂ©initialisation de la pile TCP/IP :
netsh interface ip reset C:\resetlog.txt
- Adresse IP statique :
netsh interface ip set address local static 18.104.22.168 255.255.255.0
- Adresse IP dynamique :
netsh interface ip set address name="Connexion au rĂ©seau local" source=dhcp
- Netsh et IPv6 :
Netsh peut Ă©galement ĂȘtre utilisĂ© pour lire des informations provenant de la pile IPv6, cette commande est plus facile Ă utiliser que la commande IPv6.exe et fournit quasiment le mĂȘme niveau d'information.
Pour afficher votre adresse IPv6 en utilisant netsh :
netsh interface ipv6 show address
* %HOMEDRIVE% : ouvre l'explorateur sur la partition ou le systĂšme d'exploitation est installĂ©
* %HOMEPATH% : ouvre le dossier d'utilisateur connectĂ© actuellement C:\Documents and settings\[nom d'utilisateur]
* %PROGRAMFILES% : ouvre le dossier dâinstallation dâautres programmes (Program Files)
* %TEMP% ou bien %TMP% : ouvre le dossier temporaire
* %USERPROFILE% : ouvre le dossier du profil de l'utilisateur connectĂ© actuellement
* %WINDIR% ou bien %SYSTEMROOT% : ouvre le dossier dâinstallation de Windows
* %WINDIR%\system32\rundll32.exe shell32.dll,Control_RunDLL hotplug.dll : affiche la fenĂȘtre "Supprimer le pĂ©riphĂ©rique en toute sĂ©curitĂ©"
* AC3FILTER.CPL : ouvre les propriĂ©tĂ©s du filtre AC3 (Si installĂ©)
* FIREFOX : lance Mozilla FireFox (Si installĂ©)
* JAVAWS : Visualise le cache du logiciel JAVA (Si installĂ©)
* LOGOFF : ferme la session actuelle
* NETPROJ : autorise ou pas la connexion Ă un projecteur rĂ©seau (Pour Vista uniquement)
* VĂ©rificateur des fichiers systĂšme (NĂ©cessite un CD de Windows si le cache nâest pas disponible): (Tutoriel ICI)
o SFC /SCANNOW : scanne immĂ©diatement tous les fichiers systĂšme et rĂ©pare les fichiers endommagĂ©s
o SFC /VERIFYONLY : scanne seulement les fichiers systĂšme
o SFC /SCANFILE="nom et chemin de fichier" : scanne le fichier prĂ©cisĂ©, et le rĂ©pare sâil est endommagĂ©
o SFC /VERIFYFILE="nom et chemin de fichier" : scanne seulement le fichier prĂ©cisĂ©
o SFC /SCANONCE : scanne les fichiers systĂšme au prochain redĂ©marrage
o SFC /REVERT : remet la configuration initiale (Pour plus dâinformations, tapez SFC /? dans lâinvite de commande CMD.
* SHUTDOWN : Ă©teint Windows
* SHUTDOWN âA : interrompe lâarrĂȘt de Windows
* VSP1CLN : supprime le cache d'installation du service pack 1 de Vista (Tutoriel ICI)
CrĂ©er votre propre commande
Pour ceux qui aiment tout faire avec le clavier, il est possible de crĂ©er vos propres commandes exĂ©cutables dans Menu dĂ©marrer > ExĂ©cuter.
Nous allons prendre l'exemple de la commande netnavig qui exĂ©cutera Mozilla FireFox.
* Ouvrez la base de registre.
* Allez vers la clĂ© HKEY_LOCAL_MACHINE puis les sous-clĂ©s successives \SOFTWARE\Microsoft\Windows\CurrentVersion\App Paths
* Allez dans le menu Ădition > Nouveau > ClĂ© et donnez-lui le nom netnavig.exe
* Faites un double-clic sur la valeur que vous venez de crĂ©er, puis allez de nouveau dans le menu Ădition > Nouveau > Valeur ChaĂźne et donnez-lui le nom Path
* Faites encore un double-clic sur la valeur crĂ©Ă©e et entrez le chemin complet de l'application que vous voudrez lancer, dans notre exemple c'est C:\Program Files\Mozilla Firefox, puis validez. Il est possible de copier ce chemin Ă partir de la barre d'adresse de l'explorateur directement.
* Un autre double-clic sur la valeur (par dĂ©faut) et entrez l'exĂ©cutable de l'application avec son chemin complet : C:\Program Files\Mozilla Firefox\firefox, dans notre exemple. Ensuite, validez et fermez l'Ă©diteur de registre.
Ainsi vous pouvez exĂ©cuter Mozilla Firefox juste en faisant: Menu dĂ©marrer > ExĂ©cuter > taper netnavig et valider.
Vous pouvez faire la mĂȘme chose pour toutes les applications auxquelles vous voulez un accĂšs rapide avec le clavier.
1090 Nord Modular Index
The Nord Modular patch archive. All patches ordered by author
Patches catagorized by Kristof Middendorf
Patches catagorized by 'sound' or 'style'. Most of these patches can also be found in the regular archive.
Patches catagorized by Tony Smyth
Patches catagorized by 'sound' or 'style'. Most of these patches can also be found in the regular archive.
This folder holds the .ZIP-ed archives of the patches and interesting threads. These archives are updated every day, so all recent patches can be found here too.
A growing collection of interesting articles from the Nord Modular mailing list.
Here we keep everything that doesn't fit elsewhere
This folder contains patches that are extracted from the Nord Modular mailinglist automaticly. These files are not manually checked and might be broken, copyrighted or might contain doubles. Here you can find the latest patches only posted minutes ago !
FAQ stands for Frequently Asked Questions. Here you can find answers on subjects that arise frequently on the mailinglist.
1078 The Modular Synth
A long time ago, in a galaxy far away, before your local music shop was packed with the latest digital synths, even before the early analogue monosynths, if you wanted a synthesizer you had to make it yourself. Modular synthesis is not in itself a different type of synthesis, but refers to the fact that a synth would be built up from individual components (modules) , which would be linked together (patched) in a configuration decided by the person doing the building.
Compared with today's 'plug and play' synths which come with 100's of presets, GM soundsets, etc, this has the obvious disadvantage that 'recalling' a preset can only be done if your synth is patched together in exactly the same way every time and every controller has to be manually set to the same parameter.
However, the big advantage of Modular synthesis, of course, is that, providing you have the right components, you can build practically anything you want, without being constrained by the 'hardwired' configurations of modern factory built synthesizers.
The Pulsar/Scope Modular synth, like any other Modular 'soft synth' brings together the advantages of both Modular synths and modern factory built synths. Modular configurations can be saved as patches for total recall later on, and each patch can contain any number of presets, again for later recall. Furthermore, with a software modular, you can re-use each component as many times as you wish within one patch, you never run out of cables, you don't have to dedicate a whole room to the synth and the modules never suffer from physical damage. What's more, each parameter can be controlled by MIDI so parameter changes can be recorded into your sequencer in real-time.
1043 Monotribe, MIDI and me
When I heard about the monotribe, I had my doubts. Mostly that thereâs only one pattern, which is 8 steps long. Well, there are 8 extra steps for the drums, as well as a âflux modeâ 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 doesnât 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 Korgâs 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.
1014 Nord Modular Tips & Tricks
Nord Modular & Micro Modular V3.03 tips & tricks
Welcome to the Nord Modular and Micro Modular 'tips and tricks' section! The workshops of this section are created by a very skilled Nord Modular user: Rob Hordijk.
On the 'tips and tricks' pages you will find various information regarding sound synthesis techniques. With every topic comes a workshop where you can follow the practical, non-mathematical, musician-oriented examples. The patches are kept as simple as possible showing only the basic connections. So it's up to you to color the tone to your liking, add modulation, etc., thus turning them into musically useful patches. Occasionally there might be a 'professional' patch as a bonus.
If you have a Nord Modular or Nord MicroModular synthesizer you can download the example patches directly from the workshops into the Modular Editor V3.03 program and your synth and play with them. Just click on the patch image to download the actual patch to your Modular. If you do not have a Nord Modular you can download the Modular Editor V3.03 software here and check out the patches visually.
Another very skilled Nord Modular/G2 user - Roland Kuit - has made the E-Book "SoundLab". This book covers synthesis techniques from A-Z, history of electronic music and composing techniques. For more info about the SoundLab E-Book, please visit: http://rolandkuit.blogspot.com/Topics available:
Basics of sound synthesis on the Nord Modular
This extensive section describes the basics of synthesis.
(By Rob Hordijk) Basic synthesis
This topic covers hardsync, softsync, FM-sync and VOSIM, a special application of sync.
(By Rob Hordijk)
This topic covers different types of FM, like linear FM, Phase Modulation and fixed formant FM.
(By Rob Hordijk)
Using the delay module
It's too short for echos, but it's a valuable tool that can be used in a variety of ways, creating both sound effects as well as physical models of plucked string sounds and resonant bodies.
(By Rob Hordijk)
Delay Module Workshop
Using logic modules
Mastering those yellow connections.
(By Rob Hordijk)
992 Troy Hunt: Whoâs who of bad password practices â banks, airlines and more
Troy Hunt on observations, musings and conjecture about the world of software and technology
Troy Hunt, blog, .NET, Azure, Backup, Bing, Blogger, Career Development, Code Quality, Conference, Database, Design Utopia, DotNetNuke, Enterprise Software Platform, Internet Explorer, iPhone, K2, LinkedIn, Media, NDepend, Online Identity, OWASP, People Management, Personal Development, Product Review, ReSharper, Security, SharePoint, Silverlight, Software Quality, SQL Injection, SQL Server, Subversion, Travel, Twitter, Visual Studio, Windows Mobile, XSS,
Ah, passwords. Love âem or hate âem, theyâre a necessary evil of the digital age. The reality is we all end up with an alphabet soup of passwords spread over dozens of various sites and services across the internet. Whilst we might not always practice it, we all know the theory of creating a good password; uniqueness, randomness and length. The more of each, the better.
Of course we frequently donât do this because of all sorts of human factors such as convenience, memory or simple unawareness of the risks. Still, when itâs a case of individuals electing not to create secure passwords, they really only have themselves to blame.
But what happens when the website wonât allow you to create a secure password? Or at least when they severely constrain your ability to create long, random, unique passwords? And what about when they donât allow you to send it between your computer and their server securely?
Even worse, what happens when our most âsecureâ institutions implement lazy password policies? Unfortunately, all of this is pretty rampant practice.
963 4 synth geeks ONLY!! thom yorke style beats 100% modular..no seq's, computers,...
4 synth geeks ONLY!! thom yorke style beats 100% modular..no seq's, computers, plugins, fx...just pure analogue!
878 Paul's Extreme Sound Stretch
This is a program for stretching the audio. It is suitable only for extreme sound stretching of the audio (like 50x) and for applying special effects by "spectral smoothing" the sounds. It can transform any sound/music to a texture. The program is Open-Source and it's released under the version 2 of the General Public License. You can download the source code for Linux or the Windows binaries.
Please note that this is suitable only for extreme time stretching (e.g. if have a melody of 3 minutes and you want to listen it in 3 hours). If you want "less extreme" time stretching, you can use a program which contains the SoundTouch library.
What an amazing instrument! The DSI Evolver has the signature "old school" timbre down pat as well as being able to provide digital timbres reminiscent of the Waldorf Q. There's certainly a "rougher" side available as well with all the feedback implementation and controled distortion. Being able to make PM type plucked and blown sounds is just icing on the cake. Dave Smith should be commended for a job well done. Just have a look at the Panel Layout to get a taste of what this beauty can dish out - the controls are pretty much laid out in the form of a signal path graphic. Be sure to visit Dave Smith's Website!
Evolver Sound Examples
There are a lot of demos of the Evolver on the web showcasing the gutsy harsh sounds of this beast so I decided to post demos of some of my own patches as examples of the "softer" more "vintage" side of the Evolver's timbre. I make no apologies for these unpolished recordings - these are merely sound samples ;)
Resonant Plucked Pad
This pad shows some of the rich resonant nature of the filter.
This is a simple analog brass lead patch.
A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below.
A nice bland-vanilla pad ^_^
What can I say? I love pads...
For more MP3 demos showing the full gamut of sounds the Evolver and Polyevolver are capable of, please visit the excellent website of Stefan Trippler!
The Definitive Guide to Evolver
This rather in-depth guide to the Evolver goes places and does things a mere manual can't. This labor-of-love was crafted by Anu Kirk and with his kind permission, I am offering this fantastic resource right here in PDF format!
A much smaller version (400K) is here but it dosen't have internal hyperlinks.
Here's a fun repository of programming tips for the Evolver in all its incarnations. Please email me if you would like to add some.
Fingered Wave Sequence
Submitted by Dave Bryce. This brilliant technique has to be heard to be believed! Plus, its one of those cool things unique to the Evolver! This particular tip is so full of detailed information that it gets its own page!
Audio-rate Filter FM
Submitted by James Maier. Use the "Audio Mod" parameter in the Filter section to frequency-modulate the cutoff with the analog oscillator. Add resonance until the filter is just on the edge of oscillation then mod the cutoff with just a little triangle LFO set at a very slow speed. Amazing moving chorusing pad and lead sounds can be made this way.
Fatter Bass/Pad Sounds
Submitted by Mike Peake. Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.
Submitted by James Maier. The Evolver can make many ultra-bright and buzzy sounds due to its extensive feedback and distortion stages but sometimes people miss the subtler side of the beast. For a warmer sound use little or no distortion, close the filter just a bit and turn off the feedback and delay lines. I've managed to get dead-on Prophet5 timbres this way.
Submitted by Mike Peake. Set the envelopes to linear, and use a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).
This is of course fun on the filter envelopes as well.
More Vintage Character
Submitted by Mike Peake. Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.
Don't miss out on the 12dB filter setting
Submitted by Mike Peake. The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.
DSI Evolver Waveshape Charts
Below are charts I've assembled of the digital waveforms and their spectra as currently used in the DSI Evolver synthesizers. Originally these waves were unique to the SCI ProphetVS vector synth.
I find these waveform/spectra graphics really usefull when programming sounds - maybe you will as well. Pay special attention to the spectra as this info is sometimes much more useful than waveshape in determining actual timbre - even before you hear what the waveform sounds like.
These are designed to be downloaded (right-click & "save target as"), and printed at 300dpi on 8.5" x 11" pages - don't resize these images before printing or you will lose useful detail. Use them as a handy refrence. This information was cobbled together from various scattered sources (with very special thanks to Achim Gratz!).
Any errors or omissions are my own. ^_^
As far as the origin of these waves is concerned, one of the original VS engineers, Chris Meyer, said:
"The original waves for the VS were created three ways - extracting single-cycles from sampled sounds, using a custom additive synthesis program, and using a program Josh (Josh Jeffe, another VS engineer) slapped together called "Hacker" where you could draw the waveshape. These were fed straight from the computer through the filter and VCA of a Pro-One to figure out what they might sound like in a patch. And by the way, no PPG waveforms appear inside the VS - we had access to them, but in the end our consciences got the better of us. We did steal some waveforms from the Korg DW6000, but only by looking at the harmonic drawings on the front panel and trying to imitate them in our additive synthesis program."
Modulation Matrix "Cheat Sheet"
This chart shows all the modulation routing available on the Evolver. This same info is available in the manual but this can be printed on a single sheet of paper as a handy refrence!
These I created just for fun and desktop "beautification" ;)
1280 X 1024
1024 X 768
800 X 600
777 SPERRZONE: [ K E Y C H A I N S ]: Zazzle.com Store
About Beat Hauser, SPERRZONE
Beat Hauser is interested in industrial archaeology and history of Europe. His special area is the brewing industry of Switzerland and the former German Democratic Republic. Since 2003 he is taking pictures of industrial areas and abandoned places within all Europe. On his web site SPERRZONE (www.sperrzone.net) he does not only present his own pictures, but also some information about the related factories and places as well as historical photo post cards, old letter heads, labels, advertisings to document the history of the factories.
Most pictures are taken in abandoned factories. Abandoned places and industrial ruins are generally seen as ĂąÂÂspots of dirtĂąÂÂ and people feel uncomfortable around them. Often such places have a very long and interesting history, which seems almost forgotten today. Instead of the activity of former days there is nothing but silence and emptiness. Instead of windows, black holes are staring out of the walls. But very often the architecture of elapsed eras is attractive and astonishing. In combination with the emptiness and beginning decay, such places often spread the impression of a dream world. Decay and nature give new structures to strictly geometric forms and lines, e.g. in production halls. Moisture, moss and rust give new colors to gray halls. Beat Hauser tries to capture these impressions with his photographs. Aesthetics of decay is illustrated in its huge variety from huge industrial plants to small details.
10 Jun ĂąÂÂ 1 Jul 2007 3Fotografen3, Alte evangelische Kirche Kirchzarten
(Exhibition of the 3 winners of the ĂąÂÂKirchzARTener FOTOsalons 2006ĂąÂÂ)
2 Dec ĂąÂÂ 3 Dec 2006 KirchzARTener FOTOsalon 2006, Kurhaus Kirchzarten
(Photo contest with 54 participants, 1. rank)
20 Nov ĂąÂÂ 21 Nov 2004 KirchzARTener FOTOsalon 2004, Kurhaus Kirchzarten
(Photo contest with 46 participants, 11. rank)
Several beamer shows at party events of ĂąÂÂRigor MortisĂąÂÂ and ĂąÂÂSolanaceaeĂąÂÂ in Basle, Aarau, Pratteln and Reinach (all Switzerland)
sperrzone, industry, industrial, archaeology, industrie, industriekultur, zerfall, decay, architektur, architecture
767 The 5 types of programmers Â« Steven Benner's Blog
In my code journeys and programming adventures Iâve encountered many strange foes, and even stranger allies. Iâve 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 youâll probably find your projects either take too long to complete, are not stable enough or are too perfect for humans to look upon.
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 wonât break again. Of course he doesnât 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.
You want to do what to my code?
This guy doesnât 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.
Iâm a programmer, damnit. I donât write code.
His world has one simple truth; writing code is bad. If you have to write something then youâre 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.
What do you want? It works doesnât it?
The guy who couldnât care less about quality, thatâs someone elses job. He accomplishes the tasks that heâs 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 canât scoff at it (no matter how much you want to).
Well, thatâs 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 âif I had more time I could have done this the right wayâ.
Personally, Iâd 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 Iâll add it to a new updated list.
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.
756 Matmos - Supreme Balloon
The arcs of rising and falling pitches that start this song reminded us of a rainbow, and the title stuck: any resemblance to fluttering symbols of homo-nationalist pride are side effects. People have asked us about the Latin kitsch aspect of the song, and we plead guilty to a great love of the Richard Hayman "The Genuine Electric Latin Love Machine" Moog novelty LP from 1969. Having lived in the Mission District of San Francisco for seven years up until our recent move to Baltimore, we have had enough casual exposure to actual Mexican and Salvadorean music to know that this bears only the faintest relation to the real thing. Keith Fullerton Whitman contributed some tasty squelches and zaps from his Doepfer modular synth to brighten the corners, but not everything on here is that high-tech. Consider the lowly stylophone, a handheld novelty instrument popular with British schoolkids that was immortalized during the rave era in the cheesy techno banger "Stylophonia" by the fabulously named UK crew Two Little Boys. The stylophone that is played on this record was sent to us in the mail by a well-wisher and we thank him for this unexpected present. We are even more grateful to Safety Scissors, who forgave us when M. C. Schmidt broke his MS-20 filter knob by tweaking it too vigorously while recording the "horn" part of this song. It's all been patched up now.
720 Common Security Mistakes in Web Applications - Smashing Magazine
Web application developers today need to be skilled in a multitude of disciplines. Itâs necessary to build an application that is user friendly, highly performant, accessible and secure, all while executing partially in an untrusted environment that you, the developer, have no control over. I speak, of course, about the User Agent. Most commonly seen in the form of a web browser, but in reality, one never really knows whatâs on the other end of the HTTP connection.
There are many things to worry about when it comes to security on the Web. Is your site protected against denial of service attacks? Is your user data safe? Can your users be tricked into doing things they would not normally do? Is it possible for an attacker to pollute your database with fake data? Is it possible for an attacker to gain unauthorized access to restricted parts of your site? Unfortunately, unless weâre careful with the code we write, the answer to these questions can often be one weâd rather not hear.
Weâll skip over denial of service attacks in this article, but take a close look at the other issues. To be more conformant with standard terminology, weâll talk about Cross-Site Scripting (XSS), Cross-Site Request Forgery (CSRF), Phishing, Shell injection and SQL injection. Weâll also assume PHP as the language of development, but the problems apply regardless of language, and solutions will be similar in other languages.
667 There is no Plan B: why the IPv4-to-IPv6 transition will be ugly
The Internet is running out of IPv4 addresses—not at some point in the future, but right now. But the only solution to the problem, IPv6, is just now really starting to be deployed. That's why we're all in for some tough times ahead.
660 What's Next: fully ergonomic laptops? | VentureBeat
When the first laptops were created around 1979 â laptops like the Grid Compass â ergonomics was not exactly a core concern. The screens were only 2-4 inches, RAM was a few hundred kilobytes, and batteries were huge. The Osbourne 1 weighed 24 pounds, perhaps making it the first portable computer and dumbbell. Hooray for convergence!
Modern clamshell and tablet designs have solved many of these issues: screen sizes exceed 17â, RAM can be several gigabytes, and weight can be less than three pounds, deservedly earning names like the Air. What hasnât been solved is ergonomics, and thatâs a costly problem.
The U.S. Department of Labor reported 650,000 cases of work-related muscular disorders, costing businesses an estimated $20 billion in medical claims and lost productivity. An ergonomically ideal computer setup aligns the top of the screen with our eye level, lets our arms and wrists straighten, and allows our shoulders to relax.
Because laptop screens are attached to their keyboards, they require a damaging trade-off: place the laptop at eye level and hunch our shoulders, or place the keyboard at arm level and bend our neck. Most laptop keyboards are also rectangles, requiring wrist twisting. The result is chronic neck, shoulder, and wrist pain, and with laptop use increasing, this problem will only get worse.
565 Inside Alesis A6 Andromeda | Ibsendesign blog
Inside Alesis A6 Andromeda
Here are some pics Iâve shot during the reconnaissance inside my A6 (taking some measures before pimping it with some custom made wooden cheeks). Itâs quite surprising that its guts are not that complicated as it may seem looking at itâs interface. Very clean layout and good engineering (with tons of silicone glue, WTF?). The only con is that in order to remove those original cheeks I have to disassemble all the PCBâs attached to the front panel â and probably all the pots! Teh drama.
553 Gearjunkies.com - Comprehensive resource for music production and DJ equipment
New gear in this Category
Digital Pianos Drum computers Drum modules
Expansion and effect boards Modulair synths Sampler workstations
Samplers Sequencers Sound modules
Synthesizer filters Synthesizer modules Synthesizer workstations
Synthesizers Vintage Exotics
Roxy Music consider releasing new material as downloads only on 21/07/2010
Continuum Fingerboard version 4.08 released on 21/07/2010
Teenage Engineering OP-1 featured in a music video on 17/07/2010
Get closer to the music with Producer Sessions Live on 16/07/2010
Moogfest 2010 will be held in Asheville from October 29-31 on 16/07/2010
The Fingerist keytar for iPhone or iPad on 15/07/2010
New gear at Deadmau5 studio: Modular Mau5 on 15/07/2010
Next Generation M-Audio Axiom Keyboard Controller Series unveiled on 13/07/2010
Click here for more news!
Ableton Denver User Group - Site for Ableton users and electronic music producers, based around Denver Indaba Music - Online musicians community
SoftSynthForum review page (dutch) - Our dutch SoftSynth forum review page Collabs - Seek electronic musician partners (dutch)
EMS Synthi - Everything EMS! 440 TV - Audio en music video\'s
Digital Audio Service - German gear blog SoftSynthForum - Dutch softsynth forum
Lydmaskinen - Audio forum from Denkmark Wrongroom - Blog about adventurous projects in the world of audio-electronics.
Click here for a complete list of hyperlinks
Roland Lucina AX-09
Dave Smith Mopho Keyboard
Analogue Solutions Europa
Evol Audio Fucifier
Clavia Nord Piano
Kawai ES 6
Akai Pro MINIAK
Clavia Nord C2
Dave Smith Tetr4
Roland Juno Di
Yamaha S90 XS
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.
523 Yamaha CS-01 Resonance Mod
Just to get this up here. I hope to make this clearer soon...
This shows how you can modify the Yamaha CS-01 Mk1 to:
1) have variable resonance control, by hijacking the Breath Control VCF potentiometer
a) remove the 10k resistor near the VCF chip.
b) cut the traces (or lift the pins) of the Breath Control VCF pot that connect it to GND and the Breath Control jack. I lifted the pins just to avoid cutting PCB traces
c) remove the 39k resistor tied to the wiper of the VCF pot.
d) solder wires from one side of the pot and the pot wiper and run these wires over to the holes that used to contain the 10k resistor near the VCF chip
e) I'd suggest adjusting the resonance trimmer that's near the VCF chip to make your new Resonance control self-oscillate near the end of the rotation. why? because this filter gets out of control in a very loud and dramatic way. I don't think this VCF chip was designed for stable self-oscillation - that may explain why, in the CS-01 Mk2, when they gave you analog control of the resonance, they used a different 24dB VCF chip.
2) have variable VCA "drone" by hijacking the Breath Control VCA potentiometer.
a) remove the 1k resistor that grounds usually-closed terminal of the breath control jack to GND
b) solder a 47k resistor from the ungrounded, non-wiper terminal of the pot to -9V.
c) when the VCA drone pot is now fully on, you'll always get a DCO-VCF signal running to the power amp. this mod keeps the VCA only partially open, and you can still superimpose the EG over the drone. I did this because I don't have a spec sheet on the VCA chip and I didn't want to risk having the EG slamming the VCA while the drone was going full on (basically, I don't know the max CV that the VCA chip can tolerate). so if you just use the drone, you'll have to increase the volume at the power amp. But now the front-panel VCA slider actually becomes useful, since if you don't want the EG to affect the drone, just turn that down to nothing!
Sorry I don't have actual pics of the mod up! Perhaps someday soon...
484 Why did so many successful entrepreneurs and startups come out of PayPal? Answered by Insiders
Why did so many successful entrepreneurs and startups come out of PayPal? I long have been fascinated by the extraordinary achievement from the ex-Paypal team and wonder about the reasons behind their success. In the past, mass media tried to answer this question several times but still couldnât give us a clear answer.
I once asked David Sacks the same question during an event in Los Angeles. He told me the secret is that Paypal has built a âscrappyâ culture. No matter what problems they faced, they would find a way to solve them. I kind of got the idea, but was still confused about the execution details.
So when I saw some of the past Paypal employees answering this question on Quora, I was super excited! After all, they should be the only ones who can tell people the inside stories.
Below are some highlights of their answers. *If you want to check out the sources or leave your comments, please go to here and here.
On Talent Management
âPeter and Max assembled an unusual critical mass of entrepreneurial talent, primarily due to their ability to recognize young people with extraordinary ability (the median age of *execs* on the S1 filing was 30). But the poor economy allowed us to close an abnormal number of offers, as virtually nobody other than eBay and (in part) google was hiring in 2000-02.â (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme Focus (driven by Peter): Peter required that everyone be tasked with exactly one priority. He would refuse to discuss virtually anything else with you except what was currently assigned as your #1 initiative. Even our annual review forms in 2001 required each employee to identify their single most valuable contribution to the company.â (by Keith Rabois, former Executive Vice President of Paypal)
âDedication to individual accomplishment: Teams were almost considered socialist institutions. Most great innovations at PayPal were driven by one person who then conscripted others to support, adopt, implement the new idea. If you identified the 8-12 most critical innovations at PayPal (or perhaps even the most important 25), almost every one had a single person inspire it (and often it drive it to implementation). As a result, David enforced an anti-meeting culture where any meeting that included more than 3-4 people was deemed suspect and subject to immediate adjournment if he gauged it inefficient. Our annual review forms in 2002 included a direction to rate the employee on âavoids imposing on othersâ time, e.g. scheduling unnecessary meetings.â (by Keith Rabois, former Executive Vice President of Paypal)
âRefusal to accept constraints, external or internal:We were expected to pursue our #1 priority with extreme dispatch (NOW) and vigor. To borrow an apt phrase, employees were expected to âcome to work every day willing to be fired, to circumvent any order aimed at stopping your dream.â Jeremy Stoppelman has relayed elsewhere the story about an email he sent around criticizing management that he expected to get him fired and instead got him promoted. Peter did not accept no for answer: If you couldnât solve the problem, someone else would be soon assigned to do it.â (by Keith Rabois, former Executive Vice President of Paypal)
âDriven problem solvers: PayPal had a strong bias toward hiring (and promoting / encouraging, as Keith mentions) smart, driven problem solvers, rather than subject matter experts. Very few of the top performers at the company had any prior experience with payments, and many of the best employees had little or no prior background building Internet products. I worked on the fraud analytics team at PayPal, and most of our best people had never before done anything related to fraud detection. If heâd approached things âtraditionallyâ, Max would have gone out and hired people who had been building logistic regression models for banks for 20 years but never innovated, and fraud losses would likely have swallowed the company.â (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal)
âSelf-sufficiency â individuals and small teams were given fairly complex objectives and expected to figure out how to achieve them on their own. If you needed to integrate with an outside vendor, you picked up the phone yourself and called; you didnât wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didnât wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didnât wait for a content writer.â (by Yee Lee, former Product & BU GM of Paypal)
On Culture & Ideology
âExtreme bias towards action â early PayPal was simply a really *productive* workplace. This was partly driven by the culture of self-sufficiency. PayPal is and was, after all, a web service; and the company managed to ship prodigious amounts of relatively high-quality web software for a lot of years in a row early on. Yes, we had the usual politics between functional groups, but either individual heroes or small, high-trust teams more often than not found ways to deliver projects on-time.â (by Yee Lee, former Product & BU GM of Paypal)
âWillingness to try â even in a data-driven culture, youâll always run in to folks who either donât believe you have collected the right supporting data for a given decision or who just arenât comfortable when data contradicts their gut feeling. In many companies, those individuals would be the death of decision-making. At PayPal, I felt like you could almost always get someone to give it a *try* and then let performance data tell us whether to maintain the decision or rollback.â (by Yee Lee, former Product & BU GM of Paypal)
âData-driven decision making â PayPal was filled with smart, opinionated people who were often at logger-heads. The way to win arguments was to bring data to bear. So you never started a sentence like this âI feel like itâs a problem that our users canât do Xâ, instead youâd do your homework first and then come to the table with â35% of our [insert some key metric here] are caused by the lack of X functionalityâŠâ (by Yee Lee, former Product & BU GM of Paypal)
âRadical transparency on metrics: All employees were expected to be facile with the metrics driving the business. Otherwise, how could one expect each employee to make rational calculations and decisions on their own every day? To enforce this norm, almost every all-hands meeting consisted of distributing a printed Excel spreadsheet to the assembled masses and Peter conducting a line by line review of our performance (this is only a modest exaggeration).â (by Keith Rabois, former Executive Vice President of Paypal)
âVigorous debate, often via email: Almost every important issue had champions and critics. These were normally resolved not by official edict but by a vigorous debate that could be very intense. Being able to articulate and defend a strategy or product in a succinct, compelling manner with empirical analysis and withstand a withering critique was a key attribute of almost every key contributor. I still recall the trepidation I confronted when I was informed that I needed to defend the feasibility of my favorite âbabyâ to Max for the first time.â (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme Pressure â PayPal was a very difficult business with many major issues to solve. We were able to see our colleagues work under extreme pressure and hence we learned who we could rely on and trust.â (by Keith Rabois, former Executive Vice President of Paypal)
481 50 Powerful Time-Savers For Web Designers - Smashing Magazine
Being a web designer is not easy. Not only do we need to have a good understanding about visual design, typography, information architecture, psychology and a plethora of other disciplines; in our work, we need to take care of so many details, so that our job becomes more and more time-consuming, requiring dozens of tools, attention span and an effective workflow for beautiful, timely and functional results.
And this is where small time-savers become handy. Be it a handy checklist, batch installer, dummy image generator or converter from Excel spreadsheet to HTML â all these things can save us a couple of minutes every day, making our work easier and more efficient. And this is why we keep collecting them for Smashing Magazineâs readers. Whether you like lists or not: this one will probably help you find those little nuggets out there that will help you avoid headaches and stress. Below we present useful time-savers for web designers.
464 Ksplice Â» Attack of the Cosmic Rays! - System administration and software blog
Itâs a well-documented fact that RAM in modern computers is susceptible to occasional random bit flips due to various sources of noise, most commonly high-energy cosmic rays. By some estimates, you can even expect error rates as high as one error per 4GB of RAM per day! Many servers these days have ECC RAM, which uses extra bits to store error-correcting codes that let them correct most bit errors, but ECC RAM is still fairly rare in desktops, and unheard-of in laptops.
For me, bitflips due to cosmic rays are one of those problems I always assumed happen to âother peopleâ. I also assumed that even if I saw random cosmic-ray bitflips, my computer would probably just crash, and Iâd never really be able to tell the difference from some random kernel bug.
A few weeks ago, though, I encountered some bizarre behavior on my desktop, that honestly just didnât make sense. I spent about half an hour digging to discover what had gone wrong, and eventually determined, conclusively, that my problem was a single undetected flipped bit in RAM. I canât prove whether the problem was due to cosmic rays, bad RAM, or something else, but in any case, I hope you find this story interesting and informative.
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 âŠ if the buyer didnât like the music, he or she could wipe it out and record something else on it.â
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâthat coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ A Safe Substitute and Colin Potterâs The Ghost Office. In Japan, 1980 saw the release of Merzbowâs first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâs Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâs own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâs artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessânot even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâs projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as âtextsâ or âphotographsâ, or as he puts it, âpotlatch musicâ. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâs subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ătant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track âLangsamâ is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track âSons of God?â is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâs CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
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. Youâll start with a few introductory articles, then jump right in with tutorials, then see whatâs 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!
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.
366 How to Track Down Anyone Online
When you're trying to find someone online, Google's not the only game in town. In the last two years, a handful of new people search engines have come onto the scene that offer better ways to pinpoint people info by name, handle, location, or place of employment. While there's still no killer, one-stop people search, there are more ways than ever to track down a long-lost friend, stalk an ex, or screen a potential date or employee. The next time you wonder, "What ever happened to so-and-so?" you've got a few power people search tools to turn to.
How to Track Down Anyone Online, software, productivity, technology, downloads, life hacks, hacker, lifehacks, computing, lifestyle, timesavers, health, internet, personal technology, DIY, projects, tricks, advice, backup, email, Mac, Windows, Firefox, Google, Yahoo, Gmail, keyboard shortcuts, household, HOWTO, how to's, tutorials
340 7-things-to-stop-doing-now-on-facebook: Personal Finance News from Yahoo! Finance
Using a Weak Password
Avoid simple names or words you can find in a dictionary, even with numbers tacked on the end. Instead, mix upper- and lower-case letters, numbers, and symbols. A password should have at least eight characters. One good technique is to insert numbers or symbols in the middle of a word, such as this variant on the word "houses": hO27usEs!
Leaving Your Full Birth Date in Your Profile
More from ConsumerReports.org:
âą Millions of Users Exposing Personal Information
âą Tested: 119 Laptops, Desktops, Netbooks and iPad
âą Electronics Reviews
It's an ideal target for identity thieves, who could use it to obtain more information about you and potentially gain access to your bank or credit card account. If you've already entered a birth date, go to your profile page and click on the Info tab, then on Edit Information. Under the Basic Information section, choose to show only the month and day or no birthday at all.
Overlooking Useful Privacy Controls
For almost everything in your Facebook profile, you can limit access to only your friends, friends of friends, or yourself. Restrict access to photos, birth date, religious views, and family information, among other things. You can give only certain people or groups access to items such as photos, or block particular people from seeing them. Consider leaving out contact info, such as phone number and address, since you probably don't want anyone to have access to that information anyway.
Popular Stories on Yahoo!:
âą 20 Best Cities to Ride Out the Recession
âą Wealth Ranking: You're Richer Than You Think
âą 7 Expenses You Can Ditch in Retirement
More from Yahoo! Finance
Posting Your Child's Name in a Caption
Don't use a child's name in photo tags or captions. If someone else does, delete it by clicking on Remove Tag. If your child isn't on Facebook and someone includes his or her name in a caption, ask that person to remove the name.
Mentioning That You'll Be Away From Home
That's like putting a "no one's home" sign on your door. Wait until you get home to tell everyone how awesome your vacation was and be vague about the date of any trip.
Letting Search Engines Find You
To help prevent strangers from accessing your page, go to the Search section of Facebook's privacy controls and select Only Friends for Facebook search results. Be sure the box for public search results isn't checked.
Permitting Youngsters to Use Facebook Unsupervised
Facebook limits its members to ages 13 and over, but children younger than that do use it. If you have a young child or teenager on Facebook, the best way to provide oversight is to become one of their online friends. Use your e-mail address as the contact for their account so that you receive their notifications and monitor their activities. "What they think is nothing can actually be pretty serious," says Charles Pavelites, a supervisory special agent at the Internet Crime Complaint Center. For example, a child who posts the comment "Mom will be home soon, I need to do the dishes" every day at the same time is revealing too much about the parents' regular comings and goings.
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.
235 MATRIXSYNTH: Alesis Andromeda A6 Aurora Mod
This was a custom mod. I originally put a post up in August of 05 here. Anyone know the website where more info on this mod is hosted? I accidentally lost the link when mucking around with Blogger's settings a while back.
This image via Photobucket
Update: I found the original site but it is down. Some info and additional shots pulled from the Internet Archive Way Back Machine. You can find some thumbnails there, but most give you a 404 if you click on them for the larger shot. I pulled the large pics below before they are gone forever.
"Alesis made Synthesis History when they released their Alesis Andromeda A6, an analog polysynth bred with new technology and classic analog sound! Sixteen awesome voices with two types of filters, a vast modulation system, and enough bells and whistles to make the Andromeda A6 THE most highly featured analog polysynth in existence. If it only had a sloped panel...
* Take one Andromeda, lightly used (but out of warranty - very important!)
* Add one black on blue BETA Panel - because the pre-production beta panels were lacking the Pre- and Post-Filter Mix VIEW buttons, either the buttoncaps must be pulled off of the switches on the PCBs OR two holes need to be carefully drilled through the panel to accomodate. I drilled the holes after measuring about fifteen times each.
* Tilt that panel at approx. the same slope as the Korg MS-20. Requires the extending of a couple of ribbon cables inside, and some pop-rivetted braces. Not too hard.
* Custom wood endcheeks of nice Oak, plus a wood accent over the keyboard. I chose to go with thick, high quality wood to make Aurora more of a beast.
* Replace all green LEDs with red high-intensity ones. This also required changing some resistor values to increase the brightness.
* Replace the LCD with a Hantronix Blue-on-White display. Also, some resistor changes are needed.
* Have a very agreeable Alesis burn a custom Boot EPROM with the custom-designed bootup screen below.
* Build a custom top panel, complete with several additional controls (two joysticks, several switches and knobs) as well as a full 16-channel mixer with level and pan per channel, one for each of the 16 individual outs on the Andromeda.
* Add lots of careful, hard work and time, and PRESTO - you have the Aurora A6!
The Name: I went with Aurora for a couple of reasons.
1. Alliteration - AurorA - AndromedA - get it?
2. There is some legend/lore as to how the Alesis Andromeda got its name. Could be related to the Greek mythos. Could be related to the Andromeda galaxy. Could be darts thrown at dictionary pages :-) In any case, Aurora fits with the mythology bent because in Roman mythology, Aurora was the goddess of the dawn (Andromeda was rescued and married by Perseus in Greek mythos). Aurora also fits the 'celestial' thing as well, as the Aurora Borealis. Either way, it kept with what might have perhaps been Alesis' reasons for naming the Andromeda.
3. I just liked it.
4. The A6 is kept because this fits with Alesis' naming convention (QS8 = 81-key QuadraSynth, A6 = 61-key Analog). There is some rumor that A6 was a play on ASICs, the custom chips within Andromeda, but I'm assured this is just rumor :-) "
213 All Design Patterns | Open Source Design Pattern Library
Fluid is an open-source software community
Fluid builds user interfaces, designs commonly used interactions, teaches others how to build good user-centred designs, and works with other software projects to integrate our solutions into their applications.
210 What is your most productive shortcut with Vim? - Stack Overflow
I've heard a lot about Vim, both pros and cons. It really seems you should be (as a developer) faster with Vim than with any other editor. I'm using Vim to do some basic stuff and I'm at best 10 times less productive with Vim.
The only two things you should care about when you talk about speed (you may not care enough about them, but you should) are:
Using alternatively left and right hands is the fastest way to use the keyboard.
Never touching the mouse is the second way to be as fast as possible. It takes ages for you to move your hand, grab the mouse, move it, and bring it back to the keyboard (and you often have to look at the keyboard to be sure you returned your hand properly to the right place)
Here are two examples demonstrating why I'm far less productive with Vim.
200 Top 87 Fonts A Designer Should DownloadÂ |Â Design your way
Fonts are very useful for a designer. Only if you would take into consideration the typography mania and you have a great argument for the intelligent use of fonts
download fonts, free fonts, fonts download
140 A.Ruzanov - Flashblock for Opera 9
UserJS-only version: FlashBlock.js (press Ctrl+Shift+F or Ctrl+Alt+F for permanent unblocking on the site; use Ctrl+Click for saving flash-video).
All versions for Opera 8-10: Flashblocker.zip
Replaces Flash objects with a button you can click to view them. Two variants: with text and graphic buttons. And simple variant, without buttons.
Based on Flashblock for FF and GspuSi Flash blocker for Opera 9.
89 Top 20+ MySQL Best Practices
Database operations often tend to be the main bottleneck for most web applications today. It's not only the DBA's (database administrators) that have to worry about these performance issues. We as programmers need to do our part by structuring tables properly, writing optimized queries and better code. Here are some MySQL optimization techniques for programmers.
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