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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.
1517 THE MUTANT MACHINE Dynamic Analog Percussion Engine
MICROCONTROLLER FREE ANALOG PERCUSSION SYNTHESIS
unique Inverter Core oscillators form the MEMBRANE. Each analog oscillator has three waveforms to select from
capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
the SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
WAVEFORM SCANNING FEATURE GENERATES COMPLEX TIMBRES
the MEMBRANEâs waveforms can be scanned through automatically by the wavescannerâs voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
the ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal
ARCHITECTURE OF THE MACHINE
The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis.
The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture.
The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created.
Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machineâs core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.
1502 Phone-Reluctant Introverts, There is Nothing Wrong With You
As I sit down to write this blog post there is the dreaded sound of a prolonged vibration as my phone skids, bouncing and sporadically across my desk. This is perfectly ideal and ironic distraction that actually befits the very thing I am thinking about and from which it is distracting meâŠ Itself!
I have always had an absolute detest for talking on the phone. And Iâll say now that it has nothing whatsoever to do with the person at the other end, I just find it a horrible tool for communicating with.
I think I probably am, and always have been worse than most people when it comes to using the phone (in the traditional sense, ie speaking to people) but if you can identify with any of this then read on. If youâre thinking, âwhat are you on about, I love the phoneâ then youâll probably just get confused, but if you also have friends who ânever answer the phoneâ then this might help you to understand them a bit better.
I canât sum it up any better than Sophia Dembling in her article, 9 Signs that You Might Be an Introvert:
1452 virtualbox.org âą View topic - Fail: How to move a VM to another disk (same machine)
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
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1363 EMPortal.info - View topic - MARK SHREEVE rarities
A site to discuss electronic music.
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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
1254 SONY TC-D5 Pro II, an impressive machine
I received yesterday a SONT TC-D5 Pro II. I have seen it in photos and read comments about its quality, similar to the D6C.
I liked so much the design with the two VU meters, and it seemed to me that it belongs to an era when build quality was driven by other rules.
1245 Let me google that for you
For all those people who find it more convenient to bother you with their question rather than google it for themselves.
google, search, funny, comedy
Opentape is a free, open-source package that lets you make and host your own mixtapes on the web.
Upload songs (via web or FTP), reorder, rename, customize the style, and share what you like on other sites with an embeddable player.
1164 Liz Lang at The MAP
A cathartic experience. As a composer, musical sound designer, and performer my lifelong passion/goal is to give listeners exactly that. Through works that evoke a sense of mood, mystery, and otherworldliness.
To achieve this, in a given composition I make a landscape of voice and/or instrumentation layered with heavily morphed samples and altered field recordings. The juxtaposition of familiar with supra-familiar gives the listener the experience of melody/harmony as a guiding light while giving voice to sonic geography of forms and energies unable to exist naturally in our matter-based world.
Bel canto voice training, impressionist and futurist composers, glitch and industrial/ambient genres all figure into what comprises my influences.
My professional experience includes composing, musical sound design, scoring, recording foley and dialogue, and creating sound effects for independent film. My work also appears on a number of collaborations on CD and vinyl currently floating around the globe, with works-in-progress slated for near-future release.
1161 body rock tv fitness
I have a non-fitness related life situation that I wanted to run by you guysâŠ. I wanted to talk to you guys today about not always having to say your sorry. Are you one of those people who finds yourself apologizing for things just to smooth things over or avoid a confrontation? This ability is admirable in certain low-key non-crucial situations. Itâs when we apologize for our beliefs and principles â or in the face of being bullied that we pay the high price of compromising ourselves. I have a friend who is being treated badly by certain members of her family. It really comes down to her not living her life exactly the way they think she should be living it. My friend is not endangering herself or others, she is kind hearted and generous to the extreme, but because she is not pulling the line and placing the needs of others before her own basic needs and happiness she is taking a lot of undeserved heat bordering on emotional abuse. Her strategy to this point has been to apologize left and right in an attempt to smooth it over and reset everything. It hasnât worked and if anything it has given the people giving her a hard time more of a license to push it even further. I think there comes a time when you just have to say enough and stop apologizing. I think that there is more strength and balance in believing in yourself and respectfully staying firm in your truth. From this position I think both sides have the best chance of talking it through and resolving it. What do you guys think? Do you find yourself constantly apologizing to certain people in your life? Is it helping or making the relationship more challenging? Any advice for my friend?
1132 Mammoth Modular Synthesizer At MIT Museum
Just got an update from Joe Paradiso on his homebuilt mammoth analog modular synthesizer. Heâs installed it in the MIT Museum and has completed a fairly epic patch which you can listen to (24 hours a day!) here.
Joe will be at the museum this Thursday and Friday (2/23 and 2/24) at 1pm, demoing the synth to visitors, so be sure to stop by if youâre in the neighborhood. Hereâs some info from Joe on the construction and inspiration for the latest patch.
The second patch I made at the MIT Museum is totally done now, and you can hear it live on the stream. Listen to it at http://synth.media.mit.edu, and let me know what you think if youâre inclined â itâs running in physical space in Quad, of course â stereo on the stream. Note that this one has absolutely NO sequencer of any sort on it â all of the patterns you hear were made entirely from hand-patched logic (counters, ands, ors, flip flops, ring counters, rate multipliers, etc.). Itâs an entirely different kind of composition environment from the norm â you really need to simultaneously be an engineer while being an artist and something of a performer. The inspiration for this patch started with the Boredoms â if you donât know who they are, you should (http://www.boredoms.jp/). In particular, I was thinking of SuperRoots 9. The beauty of the patching interface is that you can never exactly nail what you start out to attain, but on the other hand, you get drawn into places you wouldnât have normally gone once you start. The 3 drummers that Yamantaka Eye performs with lay down a compelling rhythm that my hand-patched logic and analog processing canât match, of course. But this patch definitely has a strange jumpy groove once it gets into gear, and the 2-chord pad is archetypical too. Yes, Boredoms rule today! BTW, this patch took every cord I had, plus a good 30 more wires just shoved into the pin jacks â check out the photos here and here â the latter shows the kind of logic section patching complexity you need to build a sonic environment like this one.
Iâm ripping this baby out next Thursday, as Iâll be at the museum next Thursday and Friday (2/23 and 2/24) at 1pm to demonstrate the synthesizer to visitors â doing some very simple patches and showing off what the modules do in case anybody is interested in this. It will run continuously until then.
Otherwise, enjoy the stream â there are moments of introspective drift in-between wild percussion (yes, Boredoms!). I might pull the percussion line back so it doesnât come so often or regularly, but itâs essentially a wrap.
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.
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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.
1020 GnomeActivityJournal - GNOME Live!
GNOME Activity Journal (formerly GNOME Zeitgeist)
GNOME Activity Journal (formerly GNOME Zeitgeist)
Getting in touch
Grouping and Filtering
Long term goals
Mockups And Current Usage
See Zeitgeist for information about the Zeitgeist engine used internally by the GNOME Activity Journal.
The GNOME Activity Journal is a tool for easily browsing and finding files on your computer. It uses Zeitgeist to get information and metadata on what files/websites/contacts/etc. you worked with.
Links: Zeitgeist Website, Zeitgeist on Launchpad, GNOME Activity Journal on Launchpad
The Zeitgeist code is split into two modules:
GNOME Activity Journal (GTK+ interface)
Project page: https://launchpad.net/gnome-activity-journal
Repository: bzr branch lp:gnome-activity-journal
Project page: https://launchpad.net/zeitgeist
Repository: bzr branch lp:zeitgeist
Getting in touch
Mailing list: https://launchpad.net/~gnome-zeitgeist-users
IRC: #zeitgeist @ irc.freenode.net, #gnome-zeitgeist @ irc.gimp.org
John turns on his computer to work on his seminar paper. Instead of digging through his hierarchal file system, he simply opens up GNOME Activity Journal and clicks on the top item in the "Recently Used Files" list. When he realizes that he can't remember the name of the website that he was reading for research yesterday, he simply looks at the list of files related to his paper and clicks on the website.
More at the Zeitgeist Vision page.
Grouping and Filtering
Our goal is to group/filter the data by:
Type of data
Location of use (GPS)
Drag and Drop (not for links)
Filtering by Dataproviders/Time/Tags
Add an actions toolbar to quickly share items by email or instant messaging. (See nautilus-share)
Experiment with Tracker, Soylent, and Empathy.
Long term goals
Better metadata extraction (see some of the sprints above)
Integration with other computers and mobile devices.
Mockups And Current Usage
Some work was done by the City of Largo in the past which replicated some of the features of the Activity Journal. Possibly some of this work can result in ideas for improving the User Interface.
Mockups And Usage.
/BolzanoIdeas /CityOfLargo /Ideas
1018 EZ sniper : Free ebay auction sniper software. Snipe auctions online. Automatic esnipe bid sniping agent.
Online auction sniping software. The most effective unattended esnipe auction sniping. Snipe ebay and others.
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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)
1011 Atomic Synth Inspired By Buchla, Future Retro Revolution Â» Synthtopia
Synthesizer and electronic music news, synth and music software reviews and more!
Atomic is a 16 step sequencer composing tool with a built in synth that also has the ability to control other softsynths or even hardware via its MIDI out function.
The design is circular, inspired by step sequencers such as the Buchla Arbitrary Function Generator and Future Retro Revolution.
You can preview Atomic below:
Strange Atomics [ 0:46 ] Hide Player | Play in Popup | Download
16 step sequencer in a circular design with 3 rows: seminotes, velocity
BPM Rate with 5 modes including random.
Separate rhythm grid.
Advanced arpeggiator with separate rate, 5 modes with gate and octave controls.
Latch mode for continuous play.
MIDI Out for use in modular hosts which also includes LFOâs and
step modulators to control external vstâs or hardware.
2 Oscillators with 14 waveforms including additive partials.
Separate phase controls, detune and octave as well as harmonic tuning mode.
VCF with 4 filter types with velocity control.
2 dedicated envelope generators, one for amp and one for filter.
2 LFOs, Sub Oscillator, Step Modulator, Random Generator and Keyboard control
with zone and mod wheel assign which includes sequencer controls for step and
Comprehensive mod matrix.
X-Y delay with separate multimode filters which can be modulated via mod matrix.
Spacial stereo reverb
Phaser with wide sweeping range.
Master section with volume, pan and tuning
CC map for hardware MIDI knob controllers.
1007 Advanced Programming Techniques for Modular Synthesizers / Nord Modular
1.1 The Purpose of this Document
2 Oscillator Waveform Modification
2.2 Frequency Modulation Techniques
2.3 Wave Shaping
2.4 Vector Synthesis
2.5 Wave Sequencing
2.6 Audio-Rate Crossfading
2.7 Wave Terrain Synthesis
2.9 FOF Synthesis
2.10 Granular Synthesis
3 Filter Techniques
3.1 Resonant Filters as Oscillators
3.2 Serial and Parallel Filter Techniques
3.3 Audio-Rate Filter Cutoff Modulation
3.4 Adding Analog Feel
3.5 Wet Filters
4 Noise Generation
4.1 White Noise
4.2 Brown Noise
4.3 Pink Noise
4.4 Pitched Noise
5.1 Bass Drum Synthesis
5.2 Snare Drum Synthesis
5.3 Synthesis of Gongs, Bells and Cymbals
5.4 Synthesis of Hand Claps
6 Additive Synthesis
6.1 What is Additive Synthesis?
6.3 Group Additive Synthesis
6.7 Which Oscillator to Use
7 Physical Modeling
7.1 Introduction to Physical Modeling
7.2 The Karplus-Strong Algorithm
7.3 Tuning of Delay Lines
7.4 Delay Line Details
7.5 Physical Modeling with Digital Waveguides
7.6 String Modeling
7.7 Woodwind Modeling
7.8 Related Links
8 Speech Synthesis and Processing
8.1 Vocoder Techniques
8.2 Speech Synthesis
8.3 Pitch Tracking
9 Using the Logic Modules
9.1 Complex Logic Functions
9.2 Flipflops, Counters other Sequential Elements
9.3 Asynchronous Elements
10 Algorithmic Composition
10.1 Chaos and Fractal Music
10.2 Cellular Automata
10.3 Cooking Noodles
11 Reverb and Echo Effects
11.1 Synthetic Echo and Reverb
11.2 Short-Time Reverb
11.3 Low-Fidelity Echo and Reverb
12 Distortion Effects
12.1 Distortion using Nonlinearities
12.2 Multiband Distortion
12.3 Polynomial Distortion
12.4 Distortion using Time-Variant Systems
13 Frequency and Pitch Shifting
13.1 Frequency Shifting
13.2 Pitch Shifting
15 Emulating Classic Synths
15.1 General Guidelines
15.2 Yamaha DX7
15.3 Octave Cat
15.4 ARP Odyssey
15.6 Hallsey Mark 1 and 2
15.7 Other Emulations
993 Bach MIDI Files - Download for free :: MIDIWORLD.COM
Biography | Recommended Recordings | Books and Printed Music
2 Part Inventions - John Sankey
Inventio 1 [BWV 772]
Inventio 2 [BWV 773]
Inventio 3 [BWV 774]
Inventio 4 [BWV 775]
Inventio 5 [BWV 776]
Inventio 6 [BWV 777]
Inventio 7 [BWV 778]
Inventio 8 [BWV 779]
Inventio 9 [BWV 780]
Inventio 10 [BWV 781]
Inventio 11 [BWV 782]
Inventio 12 [BWV 783]
Inventio 13 [BWV 784]
Inventio 14 [BWV 785]
Inventio 15 [BWV 786]
3 Part Inventions - John Sankey
Sinfonia 1 [BWV 787]
Sinfonia 2 [BWV 788]
Sinfonia 3 [BWV 789]
Sinfonia 4 [BWV 790]
Sinfonia 5 [BWV 791]
Sinfonia 6 [BWV 792]
Sinfonia 7 [BWV 793]
Sinfonia 8 [BWV 794]
Sinfonia 9 [BWV 795]
Sinfonia 10 [BWV 796]
Sinfonia 11 [BWV 797]
Sinfonia 12 [BWV 798]
Sinfonia 13 [BWV 799]
Sinfonia 14 [BWV 800]
Sinfonia 15 [BWV 801]
Allemande in Amin [BWV.835]
Brandenburg Concerto No. 2.
Brandenburg Concerto No. 3.
Brandenburg Concerto No. 4.
Brandenburg Concerto No. 5.
Brandenburg Concerto No. 6. - David Siu, M.D.
Aria "Es ist vollbracht" from Cantata "Sehet, wir gehn hinauf gen Jerusalem" (BWV159)
Aria from Cantata No. 14.
Aria "Mein Freund ist Mein!" from Cantata No. 140.
Duet from Cantata No. 140.
Sinfonia From Cantata No. 106
Ich will den Kreuzstab gerne tragen, No. 56. - 1st. Movement
Terzetto from Cantata No. 38
Wachet Auf Versus 1. from Cantata No. 140.
Wacht Auf, ruft uns die Stimme from Cantata No.140.
Komm susser Tod [BWV 478]
Capriccio for a Departing Brother [BWV 992]
Capriccio in E [BWV 993]
Chromatic Fantasia & Fugue
Concert for Two Harpshichords and Orchestra [BVW1060] Garrett Van Cleef
Concertos - John Sankey
Keyboard arrangements of concertos by other composers
Concerto in D [BWV 972]
Concerto in G [BWV 973]
Concerto in Dmin. [BWV 974]
Concerto in Gmin. [BWV 975]
Concerto in C [BWV 976]
Concerto in C [BWV 977]
Concerto in F [BWV 978]
Concerto in Bmin. [BWV 979]
Concerto in G [BWV 980]
Concerto in Cmin. [BWV 981]
Concerto in Bb [BWV 982]
Concerto in Gmin. [BWV 983]
Concerto in C [BWV 984]
Concerto in Gmin. [BWV 985]
Concerto in G [BWV 986]
Concerto in Dmin. [BWV 987]
Duets - John Sankey
Duet 1 [BWV.802]
Duet 2 [BWV.803]
Duet 3 [BWV.804]
Duet 4 [BWV.805]
Fantasia and Fugue in Amin. [BWV 561]
English Suites John Sankey
English Suite in A [BWV806]
English Suite in Amin [BWV807]
English Suite in Gmin [BWV808]
English Suite in F [BWV809]
English Suite in Emin [BWV810]
English Suite in Dmin [BWV811]
French Suites John Sankey
French Suite in Dmin [BWV812]
French Suite in Cmin [BWV813]
French Suite in Bmin [BWV814]
French Suite in Eb [BWV815]
French Suite in G [BWV816]
French Suite in E [BWV817]
Fughetta [BWV 902]
Italian Air with Variations [BWV 989]
Italian Concerto [BWV 971]
Italian Concerto - 1st movement
Jesu Joy of Manâs Desiring
Little Fugue in G minor
Mass in Bmin. - David Siu, M.D.
Gratias agimus tibi
Credo in unum Deum
Et in unum
Et incarnatus & Crucifixus
Et in spiritum
Dona nobis pacem
Minuet in G [BWV 841]
Partitas John Sankey
Partita in Bb [BWV 825]
Partita in Cmin [BWV 826]
Partita in Amin [BWV 827]
Partita in D [BWV 828]
Partita in G [BWV 829]
Partita in Emin [BWV 830]
Partita in A [BWV 832]
Prelude & Partita [BWV 833]
Preludes & Fugues - John Sankey
A minor [BWV.894]
A minor [BWV.895]
D minor [BWV.899]
E minor [BWV.900]
F major [BWV.901]
Sonata in D [BWV 963]
Sonata in Amin [BWV 965]
Sonata in C [BWV 966]
Sonata in Amin [BWV 967]
Sheep May Safely Graze
St. Matthew Passion [BWV 244]
"Aus Liebe will mein Heiland sterban" soprano aria
"Gebt mir meinen Jesum weider" bass aria
"Blute nur, du liebes Herz" soprano aria
"Erbarme dicht, mein Gott" alto aria
"Herzliebster Jesu" chorus
"KĂ¶nnen TrĂ€nen meiner Wangen nichts erlangen" alto aria
"Mache dich mein herz" bass aria
"O Haupt voll Blut und Wunden" chorus
"Wir setzen uns mit TrĂ€nen nieder" chorus
Passacaglia & Fugue in C minor
Sonata No. 1 in G minor for Solo Violin [BWV 1001] - David J. Grossman
Partita No. 1 in B minor for Solo Violin [BWV 1002] - David J. Grossman
Double: Presto (Courante)
Tempo di Borea
Double (Tempo di Borea)
Sonata No. 2 in A minor for Solo Violin [BWV 1003] - David J. Grossman
Partita No. 2 in D minor for Solo Violin [BWV 1004] - David J. Grossman
Sonata No. 3 in C major for Solo Violin [BWV 1005] - David J. Grossman
Partita No. 3 in E major for Solo Violin [BWV 1006] - David J. Grossman
Gavotte en Rondeau
Suite No. 1 in G major for Solo Cello [BWV 1007] - David J. Grossman
Suite No. 2 in D minor for Solo Cello [BWV 1008] - David J. Grossman
Suite No. 3 in C major for Solo Cello [BWV 1009] - David J. Grossman
Suite No. 4 in Eb major for Solo Cello [BWV 1010] - David J. Grossman
Suite No. 5 in C minor for Solo Cello [BWV 1011] - David J. Grossman
Suite No. 6 in D major for Solo Cello [BWV 1012] - David J. Grossman
Sonata - BWV 1032 (Arr. for recorder and harpsichord) Michael Beckenkamp
Largo e dolce
Suite No.3 in D, BWV.1068
Suite in Amin [BWV 818]
Suite in Eb [BWV 819]
Suite in F [BWV.820]
Suite in Fmin [BWV 823]
Toccatas John Sankey
bwv910 Toccata in F#
bwv911 Toccata in Cmin
bwv912 Toccata in D
bwv913 Toccata in Dmin
bwv914 Toccata in Emin
bwv915 Toccata in Gmin
bwv916 Toccata in G
Toccata and Fugue in D minor
Toccata and Fugue in D minor MINO
Toccata, Adagio and Fugue in C, BWV 564.
Toccata in D minor: The "Dorian"
Trio Sonata No.6, [BWV 530] - Mauricio Fabbri
Triosonata for 2 flutes, harpsichord and continuo - Eduardo Moreno
Allegro ma non presto
The Art of Fugue - No.1.
The Well-Tempered Klavier John Sankey
Prelude & Fugue No.1 in C [BWV 846]
Prelude & Fugue No.2 in Cmin [BWV 847]
Prelude & Fugue No.3 in C# [BWV 848]
Prelude & Fugue No.4 in C#min [BWV 849]
Prelude & Fugue No.5 in D [BWV 850]
Prelude & Fugue No.6 in Dmin [BWV 851]
Prelude & Fugue No.7 in Eb [BWV 852]
Prelude & Fugue No.8 in Ebmin [BWV 853]
Prelude & Fugue No.9 in E [BWV 854]
Prelude & Fugue No.10 in Emin [BWV 855]
Prelude & Fugue No.11 in F [BWV 856]
Prelude & Fugue No.12 in Fmin [BWV 857]
Prelude & Fugue No.13 in F# [BWV 858]
Prelude & Fugue No.14 in F#min [BWV 859]
Prelude & Fugue No.15 in G [BWV 860]
Prelude & Fugue No.16 in Gmin [BWV 861]
Prelude & Fugue No.17 in Ab [BWV 862]
Prelude & Fugue No.18 in Abmin [BWV 863]
Prelude & Fugue No.19 in A [BWV 864]
Prelude & Fugue No.20 in Amin [BWV 865]
Prelude & Fugue No.21 in Bb [BWV 866]
Prelude & Fugue No.22 in Bbmin [BWV 867]
Prelude & Fugue No.23 in B [BWV 868]
Prelude & Fugue No.24 in Bmin [BWV 869]
Prelude & Fugue No.25 in C [BWV 870]
Prelude & Fugue No.26 in Cmin [BWV 871]
Prelude & Fugue No.27 in C# [BWV 872]
Prelude & Fugue No.28 in C#min [BWV 873]
Prelude & Fugue No.29 in D [BWV 874]
Prelude & Fugue No.30 in Dmin [BWV 875]
Prelude & Fugue No.31 in Eb [BWV 876]
Prelude & Fugue No.32 in Ebmin [BWV 877]
Prelude & Fugue No.33 in E [BWV 878]
Prelude & Fugue No.34 in Emin [BWV 879]
Prelude & Fugue No.35 in F [BWV 880]
Prelude & Fugue No.36 in Fmin [BWV 881]
The Well-Tempered Klavier Book II. Jennifer Weir
987 Alesis Micron
This is one of the cutest, smallest, yet most powerful synths I've ever put my hands on! The Micron is the sequel to the popular Ion, and while it can be considered as the Ion's younger brother, it actually has a few enhancements that are absent on the big bro.
This is a very clean, precise, sparkly and definitely virtual analog (or analog modeled) sounding synth. Eight voices of polyphony are plenty for these types of units, but we would always want more. The synth engine is the same as the Ion though, but extra and welcome features include sequencing, arpeggio, and great on board percussion, and the ability to build patterns.
The Micron really sounds bigger than it looks: while personally I feel that the character of its synth engine leans on the more digitally precise DSP side of virtual analog technology, it's certainly capable of huge, warm and fat sounds.
The main panel is logically laid out and easy to understand. At the very left, a big red knob offers volume control; the two "m1" and "m2" sliders provide useful modulation control, typically (but not always) vibrato and filter cutoff. The three knobs labeled "x", "y" and "z" also offer way of modulating sounds, and can (ought to) be assigned to your favorite parameters. Two octave buttons, and other useful commands such as tap (tempo) and latch (sustains the notes) occupy the space at the left of the two-line backlit green display. Finally, a multi-function matrix with push-down knob serve as the central nerve system of the machine, letting you easily access programs, setups, configurations, patterns and rhythms. You do the programming by turning the knob to view the various editing pages. In all, it's simple to program, and the manual does a fantastic job of being easy to follow and easy to understand.
986 Arduino Blog Â» Blog Archive Â» CHEAP, FAT and OPEN
Jacob Remin, at CIID will present on August 27th, his Arduino-compatible sound synth. There are many projects out there aiming musicians that use Arduinoâs IDE as a programming platform, but Jacobâs wins them all when it comes to the PCBâs shape. Take a look at the picture here and explore his thesisâ blog for more information and videos where he shows the system at its full power.
(c) 2009 Cheap, Fat, and Open by J. Remin
As for today he hasnât published the videos using the final PCB, yet. However you can get a sneak preview to how it will be to play with it at the prototype he hand-wired using bits and pieces from a Stylophone, an LCD, some buttons, and other parts.
962 25 Abandoned Soviet Monuments that look like they're from the Future | Crack Two
These structures were commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s to commemorate sites where WWII battles took place (like TjentiĆĄte, Kozara and KadinjaÄa), or where concentration camps stood (like Jasenovac and NiĆĄ). They were designed by different sculptors (DuĆĄan DĆŸamonja, Vojin BakiÄ, Miodrag ĆœivkoviÄ, Jordan and Iskra Grabul, to name a few) and architects (Bogdan BogdanoviÄ, Gradimir MedakoviÄ...), conveying powerful visual impact to show the confidence and strength of the Socialist Republic. In the 1980s, these monuments attracted millions of visitors per year, especially young pioneers for their "patriotic education." After the Republic dissolved in early 1990s, they were completely abandoned, and their symbolic meanings were forever lost.
From 2006 to 2009, Kempenaers toured around the ex-Yugoslavia region (now Croatia, Serbia, Slovenia, Bosnia and Herzegovina, etc.) with the help of a 1975 map of memorials, bringing before our eyes a series of melancholy yet striking images. His photos raise a question: can these former monuments continue to exist as pure sculptures? On one hand, their physical dilapidated condition and institutional neglect reflect a more general social historical fracturing. And on the other hand, they are still of stunning beauty without any symbolic significances. I know this may sound schizophrenic if you also read my last post. But maybe there are forms that can transcend meaning...
946 docs synth
- 360 SYSTEMS DIGITAL KEYBOARD brochure / prix / pub 1983
- 360 SYSTEMS MIDI BASS user manual
- ACCESS VIRUS catalogue Ă©tĂ© 2004
- ACCESS VIRUS user manual
- ACCESS VIRUS OS4 user manual
- ACCESS VIRUS TI brochure 2004
- ACCESS VIRUS TI user manual os1.0
- ALESIS HR 16-MMT 8 brochure
- ALESIS HR 16-16B-MMT8 user manual
- ALESIS HR16-MMT8 banc essai disc international avril 1988
- ALESIS HR16-MMT8 pub numĂ©ra
- VOCODER X-32 user manual / sons
- XPASS FILTER user manual
- SEMblance banc essai keyboards allemagne 2004
- SEMblance user manual
- FilteredCOFFEE user manual
- DROID 3 brochure
- VOSTOK user manual
- VOSTOK test electronic musician fĂ©vrier 2003
- VOSTOK test keys allemagne
- VOSTOK keyboard japon mai 2003
- AKAI AX73 brochure (avril 1986)
- AKAI AX80 banc essai sono
- AKAI AX80 brochure
- AKAI EVI 1000 user manual
- AKAI EWI 1000-EVI 1000-EVW 2000 banc essai sono
- AKAI EWI 3020 user manual
- AKAI EWI 3030m user manual
- AKAI ME sĂ©rie banc essai sono (10D 15F, 20A)
- AKAI ME sĂ©rie banc essai guitare claviers janvier 1986 (10D, 15F, 20A)
- AKAI ME sĂ©rie brochure (juin 1985)
- AKAI ME20A user manual
- AKAI ME25S brochure
- AKAI ME30P user manual
- AKAI ME30P brochure
- AKAI ME30PII user manual
- AKAI MX73 brochure
- AKAI S612 brochure
- AKAI S612 banc essai sono
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- AKAI S900 brochure (avril 1986)
- AKAI S900 carte marion system - import numĂ©ra
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- AKAI S1100 user manual
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- AKAI U4 phrase trainer brochure
- AKAI VX90 brochure (avril 1986)
- AKAI VX90 banc essai sono
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- AKAI PEQ6 - MB76 banc essai sono
- AKAI pub
- AKAI catalogue gamme 86
- ARP AVATAR brochure publicitaire / modulaire faĂ§on 2600 /
- ARP AXXE banc essai disc international / pub keyboards 1976 / pub keyboards 1977
- ARP CENTAUR article disc international 1978
- ARP CHROMA brochure publicitaire
- ARP EXPLORER service manual / patch book
- ARP ODYSSEY banc essai sono / brochure / pub keyboards 1975 / pub1
- ARP OMNI pub disc 1976 / pub omni 2 1979 / voir atelier chok
- ARP POLARIS brochure
- ARP PRELUDE pub 1983
- ARP PRODGX banc essai sono
- ARP QUADRA banc essai sono / pub
- ARP QUARTET service manual / pub
- ARP LITTLE BROTHER 2950 schematics
- ARP PIANO 16 voies pub
- ARP SEQUENCER pub 1976
- ARP SOLUS banc essai Claviers septembre 1981 / pub Keyboards 1980
- ARP WING I et II modulaire
- ARP catalogue gamme / pub gamme 1977
- ARP catalogue gamme & accessoires
- ARP retro family tree - future music
- The rise and fall of ARP instruments keyboards avril 1983
ARP AVATAR ARP OMNI EMS VOCODER 5000
MP3 MP3 MP3
pub envoi des 2 flexi disc
- BANANA brochure
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- BOHM digidrums banc essai disc international dĂ©cembre 1983
- BOHM digidrums pub1 / pub2
- BOHM soundlab user manual
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- BOHM soundlab pub
- BOSS DR55 user manual+ tips / banc essai sono / service manual
- BOSS DR110 banc essai guitares claviers mai 1984
- BOSS catalogue Micro studio sĂ©rie
- BOSS banc essai sono sur 8 pĂ©dales
- CASIO 401 banc essai claviers aout 1981 / pub fiche technique /
- CASIO 701 pub janvier 1982
- CASIO 1000P pub 1983
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- CASIO DH 100 user manual
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- CASIO FZ1 user manual / banc essai disc international mai 1987 / pub
- CASIO MT40 pub mai 1982
- CASIO PT30 banc essai sono juillet 1983
- CASIOTONE VL1 banc essai disc international juillet 1981 / pub 1 / pub 2 / mod
- CASIO VZ1 user & service manual
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- CASIO pub gamme 201 Ă 401/MT30&40 1981
- CASIO catalogue gamme
COUVERTURES (cliquer pour agrandir)
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- BIT99 user manual
- BIT99 brochure
- BIT99 pub / banc essai sono 01
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- BIT01 voices and midi
- BIT MASTERKEYBOARD user manual
- BIT01 & MASTERKEYBOARD sous UNIQUE DBM test keyboards decembre 1986
- BIT variantes BIT/LEM/UNIQUE
- CRUMAR BABY GRAND pub
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- CRUMAR T3 banc essai claviers fĂ©vrier 1982
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CASIOTONE 202 CASIOTONE 301 MATTEL SYNSONICS DRUMS YAMAHA SY77
MP3 MP3 MP3 MP3 MP3
- POLYEVOLVER rack banc essai recording musicien septembre 2004
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- DREAM SAM XR pub 1989 / banc essai disc international 1989
- DYNACORD ADS / ADS K brochure
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- DYNACORD DC 200 leslie brochure / pub 1976
- DYNACORD EMINENT 100A user manual
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COUVERTURES (cliquer pour agrandir)
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- ELECTRO HARMONIX 8 pĂ©dales d'effets au banc d'essai - sono
- ELKA EK22 / EM22 user manual
- ELKA SYNTHEX banc essai sono / brochure / pub 1983
- ELKA 610 pub Keyboards 1975 / pub keyboards 1978
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- ENSONIQ ASR user manual
- ENSONIQ ASR X user manual
- ENSONIQ ASR pro keyboards juillet 1999
- ENSONIQ EPS banc essai sono
- ENSONIQ EPS 16 plus user manual
- ENSONIQ ESQ1 pub
- ENSONIQ ESQM brochure
- ENSONIQ MIRAGE pub / article sono
- ENSONIQ SPM1 brochure
- ENSONIQ SQ2 banc essai sono
- ENSONIQ SQ80 banc essai sono
- ENSONIQ SQ88 reportage de EPS16 jusqu'au SQ80 keyboards
- ENSONIQ TS10-12 brochure
- ENSONIQ VFX banc essai keyboards aout 1989 / article disc international octobre 1989
- ENSONIQ VFX SD banc essai disc international decembre 1989
- FARFISA POLYCHROME banc essai claviers janvier 1983
- FARFISA SOUNDMAKER service manual
- FARFISA SYNTHORCHESTRA service manual
- FARFISA PRO 110 pub1 / pub2 / banc essai disc international mai 1979
- FARFISA VIP 255 brochure
- FARFISA VIP 345 brochure / service manual
- FARFISA VIP 400 brochure
- FARFISA MINI COMPACT user manual / service manual
COUVERTURES (cliquer pour agrandir)
- RHODES 54 notes pub
- RHODES 54 banc essai sono
- RHODES 73 & 88 notes catalogue
- RHODES Mark catalogue
- RHODES extrait catalogue 1976
- RHODES electronic piano brochure / pub keyboards 1983
- RHODES pub herbie hancock
- RHODES pub disc international
- RHODES MK80/60 brochure
- ORGACOR Fratelli Crosio pub 1979
- ORGACOR PROHONIC SYNTHE pub (1982) / pub 1979
- DOCTOR CLICK user manual
- DOCTOR CLICK 2, MULTI TRIGGER, DRUM DOCTOR, MASTERBEAT extrait catalogue Music Land
- DOCTOR CLICK pub keyboards novembre 1983
- DOCTOR CLICK banc essai keyboards 1983
- MINI DOC, CLOCK DELAY, DOCTOR FLICK, MODULATOR extrait catalogue Music Land
- NANO SERIES pub 1983
- GEM SPRINTER 61 & 49 pub - banc essai
- GEM orgue sĂ©rie F30 Ă F50 pub 1976
- GEM orgue gamme portable (rodĂ©o 61, phantom 61) et meuble (H600, X365, wizard 320) pub
- GEM orgue gamme portable (sprinter 49 & 61) et meuble (H2000, wizard 315 & 321) pub
- IBANEZ mixer RM60 pub (catalogue oscar music)
- IBANEZ AD202 banc essai sono
- IBANEZ DM1000 pub 1983 /
- IBANEZ gamme pĂ©dale effets 1981 pub
- JEN caroussel C390 banc essai disc dĂ©cembre 1978 (orgue incluant JEN SX2000)
- JEN string machine 2007 banc essai sono
- JEN sx1000 brochure
- JEN sx2000 banc essai sono / test + pub disc international / user manual / patch vide et preset
- HAMMOND catalogue gamme 01
- HAMMOND catalogue gamme 02
- HH P73 piano Ă©lectrique banc essai claviers octobre 1981
- HH P73 pub disc international 1981
- HELPINSTILL piano Ă©lectro-accoustique banc essai claviers 1981
- HELPINSTILL piano Ă©lectro-accoustique pub
- HOHNER PIANET test disc international juillet aout 1977
- HOHNER C86 user manual
- HOHNER C86 service manual
- HOHNER C86 banc essai claviers janvier 1982
- HOHNER CLAVINET D6 banc essai sono
- HOHNER MELODICA SOPRANO user manual
- HOHNER MULTIMONICA user manual
- HOHNER orgue soufflerie organa mĂ©lodica catalogue Millet
- HOHNER extrait gamme 1975 / 1977
- JMS CGX interface midi in cv/gate - import numĂ©ra
- JMS midi master synchronizer - import numĂ©ra
- KAWAI 100 F banc essai sono
- KAWAI 100 F brochure
- KAWAI 100F notes disc international
- KAWAI 100F schematics
- KAWAI 100F user manual and patchs
- KAWAI 100F user manual in franĂ§ais
- KAWAI GB1 user manual
- KAWAI GB2 user manual / rythm pattern
- KAWAI K1 banc essai guitares claviers juillet 1988 / pub 1989 / brochure
- KAWAI K4 banc essai keyboards novembre 1989
- KAWAI K5 brochure / sound library
- KAWAI SPECTRA KC10 user manual
- KAWAI MAV8 user manual
- KAWAI MM16 user manual
- KAWAI MX16 user manual
- KAWAI MX8R user manual
- KAWAI R100 service manual / brochure / banc essai disc international
- KAWAI SX210 banc essai sono / brochure / pub keyboards 1983 / pub disc 1983
- KAWAI sĂ©rie EP 308/308S/608 pub1 1983 / pub2 1983
- KAWAI EP608 user manual/schematics / brochure
- KAWAI EP308/308S user manual
- KAWAI ORGAN E550/650 service manual
- KORG 700S user manual
- KORG 900S banc essai sono
- KORG A3 banc essai disc international aout 1989
- KORG BX3 pub1 / pub2
- KORG CX3 banc essai claviers aout 1981 / pub 1981
- KORG DS8 brochure
- KORG EPS1 banc essai sono
- KORG EX800 user manual
- KORG EX800/RK100 brochure
- KORG KMX 8/MM 25 brochure 1983
- KORG KPR77 banc essai disc international dĂ©cembre 1983
- KORG MICROPRESET M500 user manual+service manual / patches
- KORG MICROPRESET M500 banc essai sono
- KORG MONOPOLY - POLYSIX brochure
- KORG MONOPOLY banc essai sono / settings
- KORG MONOTRON schematics
- KORG MS 20/ SQ 10 - YAMAHA CS 30 match synthĂ©tiseurs disc international dĂ©cembre 1978
- KORG POLY 800 user manual francais / banc essai sono
- KORG POLYSIX banc essai disc international aout 1982
- KORG PSS50 banc essai guitares claviers fĂ©vrier 1985 + modif
- KORG TRIDENT banc essai sono mag
- KORG mr multi user manual
- KORG EPS1 banc essai sono
- KORG SDD300 pub 1983
- KORG SYGMA banc essai disc international septembre 1979
- KORG SYGMA user manual
- KORG SYGMA korg magazine winter 2002
- KORG VC10 banc essai disc international mai 1979
- KORG X911 pages annotĂ©es d'Eric.G pour modularisation du X911 / voir son site
- KORG catalogue gamme 1981
- KORG catalogue gamme 1982
- KORG article disc international arrivĂ©e sĂ©rie ms Francfort
Synthesizer Bionic Orchestra - Francis rimbert Joop Stokkermans - The Magic of the ARP-Synthesizer
- KURZWEIL 250 banc essai claviers octobre 1984
- LINN 9000 pub keyboards juillet 1985
- LINNDRUM pub keyboards juin 1983
- MATTEL SYNSONICS DRUMS user manual francais + plan accessory jack
- MATTEL SYNSONICS DRUMS pub keyboards 1983
- MATTEL MAGICAL MUSICAL THING user manual
- M-AUDIO AXIOM user manual
- MDB sortie polysĂ©quenceur 1981
- MDB TRIGGTOM 4 extrait catalogue music land
- MDB WINDOW RECORDER extrait catalogue music land
- POLY-MIDI brochure
- POLY-MIDI vs YAMAHA QX7 banc essai guitares claviers septembre 1985
- S2000 sĂ©quenceur monophonique brochure
- SUPERBAT brochure
- MICROPERFORMANCE encart pub disc international
- MOOG constellation brochure
- MOOG memorymoog brochure
- MOOG micromoog notes disc international
- MOOG le minimoog de 1998 pub
- MOOG polymoog brochure 1 / brochure 2
- MOOG polymoog pub annonce disc international
- MOOG PRODIGY banc essai disc international juin 1980
- MOOG PRODIGY brochure
- MOOG SONIC 6 brochure 1974
- MOOG pub1 1979 /
- MOOG prix 1979
- MOOG catalogue
- MOOG CATALOGUE 1973
- ENCYCLOPEDIA of MOOG ARTISTS
- MXR 15-21 equalizer brochure
- MXR time delay command banc essai disc international aout 1982
- MXR pub gamme effets 1979 / pub 1982
- NOVATION A STATION brochure
- NOVATION BASS STATION brochure
- NOVATION DRUM STATION brochure
- NOVATION KS4-KS5-KS6 brochure
- NOVATION KS4-KS5 user manual
- NOVATION K-STATION brochure
- NOVATION SUPERNOVA banc essai keyboards novembre 1998
- NOVATION SUPERNOVA 2 brochure
- NOVATION X STATION REMOTE brochure
- NOVATION Xio synth brochure
- OBERHEIM MATRIX 6 banc essai sono / brochure
- OBERHEIM DMX banc essai sono juillet 1983 / brochure
- OBERHEIM DPX1 brochure 1897
- OBERHEIM DSX brochure / pub 1981
- OBERHEIM DX brochure 1986
- OBERHEIM MATRIX 6 banc essai sono / brochure
- OBERHEIM MATRIX 12 banc essai sono / brochure / banc essai keyboards juillet 1985
- OBERHEIM MATRIX 1000 patches 1 / schematics / patchesbook 2
- OBERHEIM OB-X pub (piano center)
- OBERHEIM OB-Xa banc essai claviers mai 1981
- OBERHEIM OB-1 brochure / pub 1978
- OBERHEIM OB-8 banc essai keyboards 1983 avec DMX & DSX
- OBERHEIM PROMMER banc essai sono / brochure
- OBERHEIM STRETCH brochure 1987
- OBERHEIM pub gamme mars 1986 / pub 1984
- OBERHEIM prix NumĂ©ra 1985 / article retro family tree-future music
- OSCAR banc essai sono
- OSCAR pub
- OSCAR extrait catalogue Music Land
- OSC ADVANCED SOUND GENERATOR extrait catalogue Music land
- OSC ADVANCED SOUND GENERATOR guitare de "commande" SYNTHAXE
- voir sur le site de jbfairlight
- PPG PRK brochure
- PPG WALDORF retro family tree article future music
- PPG prices list numĂ©ra 1985
- PPG WAVE II banc essai claviers novembre 1981 / article disc international
- PPG pub 1 1984 / pub 2 1984 / pub 3 1984
- QUASIMIDI SIRIUS banc essai keyboards janvier 1999
- QUASIMIDI RAVEOLUTION 909 banc essai keyboards dĂ©cembre 1997
- ROLAND A880 banc essai sono
- ROLAND CR78 banc essai sono
- ROLAND CR1000 pub 1987
- ROLAND DDR 30-PD10-PD20 brochure 1985
- ROLAND GR300 banc essai sono
- ROLAND GR700 banc essai claviers 1985
- ROLAND GR700 user manual
- ROLAND G707 guitar controller user manual
- ROLAND JUNO 6 banc essai sono
- ROLAND JUNO 106 banc essai sono
- ROLAND JUPITER 4 banc essai disc international janvier 1979
- ROLAND JUPITER 6 banc essai sono
- ROLAND JUPITER 8 banc essai sono
- ROLAND JX3P banc essai sono
- ROLAND JX8P banc essai sono
- ROLAND MC202 banc essai sono
- ROLAND MP600 banc essai claviers novembre 1981
- ROLAND MP700 banc essai sono + pub
- ROLAND OCTAPAD pad 8 controller brochure 1985
- ROLAND PIANO PLUS 11 banc essai disc international aout 1982
- ROLAND REVO 250 / 120 pub
- ROLAND SDE 2000 banc essai sono mai 1982
- ROLAND SDE 2500 banc essai sono
- ROLAND SH101 banc essai sono
- ROLAND SH3A banc essai disc international mai 1977
- ROLAND SDP11 brochure 1993
- ROLAND SUPER JX banc essai sono
- ROLAND SVC 350 banc essai sono
- ROLAND TB303 banc essai sono / pub 1983
- ROLAND TR505 banc essai sono
- ROLAND TR707 banc essai sono
- ROLAND TR808 banc essai sono / pub 1981
- ROLAND TR909 banc essai sono
- ROLAND TL12 brochure 1986
- ROLAND VP 330 banc essai disc international juin 1980
- ROLAND pub / pub gamme 1977
- ROLAND catalogue gamme 1981
- ROLAND catalogue volume 5 mai 1984
- ROLAND catalogue news Ă©tĂ© 1986
- DRUMTRACKS banc essai sono
- DRUMTRACKS brochure
- DRUMTRACKS banc essai guitare claviers (basse res)
- PRO ONE banc essai claviers dĂ©cembre 1981
- PRO ONE banc essai sono
- PRO ONE brochure
- PROPHET 5 banc essai sono
- PROPHET 5 banc essai disc international mai 1979
- PROPHET 5 brochure
- PROPHET 5 pub "devenez revendeur" disc international 1981
- PROPHET 600 banc essai sono
- PROPHET 600 brochure
- PROPHET T8 banc essai sono
- PROPHET T8 brochure
- PROPHET T8 user manual (seulement chapitre 7 midi)
- PROPHET 10 pub
- PROPHET VS brochure
- SIXTRAK banc essai guitares claviers mai 1984
- SIXTRAK banc essai sono
- SIXTRAK brochure
- MODEL 700 programmer brochure
- MODEL 800 sequenceur user manual
- POLYSEQUENCEUR pub keyboards juin 1983
- PROPHET 2000 brochure
- PROPHET 2000 user manual
- SPLIT EIGHT user manual
- PRELUDE pub
- PIANO FORTE pub
- SEQUENTIAL TRAKS music system brochure distribution music
- SEQUENTIAL pub 1984 / pub 1982
- SEQUENTIAL prix gamme (1981/1984)
- SEQUENTIAL CIRCUITS brochure gamme (basse res)
- SEQUENTIAL CIRCUITS brochure gamme inclus PRO-FX
- SEQUENTIAL CIRCUITS catalogue wine country novembre 1994
- SIEL OPERA 6 banc essai sono
- SIEL OPERA 6 brochure
- SIEL CRUISE user manual
- SIEL DK600/EXP600 pub
- SIEL MK900 pub keyboards novembre 1984
- SIEL pub disc international 1981
- CLAVIOLINE SELMER livret accompagnement de l'appareil
- SELMER PIANOTRON / ORGUE CAPRI brochure
- SIMONS SILICON MALLET reportage disc international 1987
- SIMMONS MTX9 banc essai disc international avril 1987 / user manual
- SIMMONS SDSV banc essai claviers dĂ©cembre 1981
- SOLTON live series pub 1988
- SOLTON ARRANGER PLUS pub 1987
- SOLTON MS40 user manual
- SOLTON MS 50/60 user manual
- SOLTON orgue synthĂ© P500 C pub
- STYLOPHONE DUBREQ user manual 1+ boite
- STYLOPHONE DUBREQ user manual 2 + boite/vinyl
- STYLOPHONE 350S PUB
- SYRINX banc essai sono
- SYRINX patch sheet
- SYRINX brochure
- SYNTOVOX SPX216 extrait catalogue music land
- SYNTOVOX 222 banc essai disc international dĂ©cembre 1979
- SYNTECHNO TEEBEE mark1 user manual (3.1)
- TEISCO S60F banc essai claviers octobre 1981 / banc essai sono
- TEISCO S60F & S110F banc essai disc international juillet 1981 / pub disc international 1981
- TEISCO brochure gamme
- VOX catalogue incluant Electronic piano
- WALDORF MICROWAVE XT banc essai keyboards juillet 1998
- WELSON GLOBE TROTTER banc essai disc international septembre 1979 & pub
- WELSON METEOR pub
- WELSON CONDOR pub
- WELSON gamme spinet (princess, comet, music love, granfiesta) pub
- WELSON FIESTA & IMPERATIVE 1977 pub
- YAMAHA CE20 banc essai claviers fĂ©vrier 1983
- YAMAHA sĂ©rie DX brochure
- YAMAHA DX5 brochure
- YAMAHA DX7 banc essai sono / brochure
- YAMAHA DX7 II brochure
- YAMAHA DX9 brochure
- YAMAHA DX11 brochure
- YAMAHA DX21 brochure
- YAMAHA FB01 user manual / service manual
- YAMAHA QX5 banc essai disc international janvier 1989
- YAMAHA RX5&17 banc essai disc international
- YAMAHA RX15 user manual fr / brochure (11&15) / banc essai sono / pattern book (11&15)
- YAMAHA REV 100 user manual
- YAMAHA CS30 vs KORG MS 20 disc international
- YAMAHA CS70M pub 1983
- YAMAHA WALKBAND pub 1981 / pub gamme 1983
- YAMAHA GX1 user manual
- YAMAHA YC30 user manual
- YAMAHA YC45D service manual / user manual
- YAMAHA SĂ©rie 100 pub 1989
- YAMAHA catalogue series producer 1983
- YAMAHA catalogue series producer 1985
- YAMAHA catalogue 1984
- YAMAHA brochure gamme 1982 / pub 1982
- YAMAHA pub 1 1979 / pub 2 1979
- LAB series L5 L7 L9 L11 schematics
- LAB L5 pub
AMPLIFICATION LESLIE (ou effet leslie)
- DYNACORD DC200 H pub 1976
- ROTOR-SOUND CSE 80M pub
- POLYTONES electronic rotating sound modulator pub keyboards 1984
- ECHOLETTE M IVE brochure
- LESLIE/CABINES A SON TOURNANT banc essai disc international
- NEO INSTRUMENTS VENTILATOR user manual
- ROLAND REVO 250 / 120 pub
- HUGHES KETTNER/ROTOSPHERE - MOTION SOUND PRO 3 keyboards mai 1997
- LESLIE STORY article de StĂ©phane Bredel
- LES CABINES LESLIE modĂšles,achat, cablage, accessoires, entretien
- LES CHAMBRES D'ECHO et REVERBERATION A BANDES mĂ©canisme disc janvier 1976
- BANC ESSAI CHAMBRES ECHO Ă BANDES disc janvier 1976
- ANALOG LAB VOCODER X-32 user manual / sons
- DYNACORD SRV 66 vocoder user manual / schematics / MP3 demo
- ELECTRO HARMONIX EH300 VOCODER manual / schematics
- EMS VOCODER 2000 banc essai disc international mai 1979
- KORG VC10 banc essai disc international mai 1979
- ROLAND SVC 350 banc essai sono
- SYNTOVOX SPX216 extrait catalogue music land
- SYNTOVOX 222 banc essai disc international dĂ©cembre 1979
- LES VOCODERS disc international mai 1979
DIVERS CONTROLEURS MIDI
- FROSTWAVE FAT CONTROLLER user manual
- J.L.COOPER CS10-2 user manual
- KEYFAX PHATBOY banc essai keyboards dĂ©cembre 1998
- BLUE SKY LOGIC MIXI user manual
- PEAVEY 1600 user manual / Patchs pour 1600
- PEAVEY 1600X user manual / Patchs pour 1600X
- PEAVEY 1600X banc essai keyboards mars 1998
- ZENDRUM ZX user manual
DIVERS MIDI (ACCESSOIRES)
- KENTON ELECTRONICS PRO II intĂ©grale
- EUROPAC rational/ SCHROFF catalogue
- Les synthĂ©tiseurs de A Ă Z sono (article en 2 parties)
- Les synthĂ©tiseurs hifi stĂ©rĂ©o septembre 1976 de E.Lemery
- SynthĂšse sonore 1Ăšre partie
- SynthĂšse sonore 2Ăšme partie
- SynthĂšse sonore 3Ăšme partie
- SynthĂšse sonore 4Ăšme partie
- Le vcf
- Le bruit de J.P.Verpeaux (claviers)
- Le suiveur d'enveloppe de J.P.Verpeaux (claviers)
- Sample hold1 / sample hold2 (1983)
- Mon premier "appareil" clavier octobre 1981
- Le compresseur
- Les sequenceurs (guitares claviers J.P Verpeaux 1985) + le sequenceur apprivoisĂ© (claviers)
- Le modulateur de J.P. Verpeaux (claviers)
- 10 ans de synthĂ©tiseur J.Sanjuan Hifi stĂ©rĂ©o 1978
- 2Ă©me disco forum matĂ©riel tournĂ©e F.Rimbert/korg
- History of electronic sound modification H.Bode
- La synthĂšse du son de E.Lemery - disc international novembre 1979
- Vangelis, victoire sur les vibrations - Alain dister - claviers mai 1981
- Onze nouveaux synthĂ©tiseurs mis en fiches - claviers mars 1982
- 120 years of electronic music
- Les instruments de musique Ă©lectronique (E.Lemery - hifi stĂ©rĂ©o mai 1976)
- Les principes de base piezo Ă©lectricitĂ©, magnĂ©tisme et Ă©lectrostatique (E.Lemery)
- Martin Newcomb, the collector - Future Music
- Rhythmic control of analog sequencer polyphony septembre/octobre 1978
- Introduction aux techniques de synthese du son S.Natkin 2003
- Electronic musical instruments "a survey of the commercial scene" - Pratical electronic supplements novembre 1972
- Francis Rimbert dĂ©monstrateur korg (au dĂ©but...)
- Richard Wright & Pink floyd - Keyboard, synthesizer & electronics equipment - ver 1.56
- ONDIOLINE PUB
- MELLOTRON prix janvier 1976
- MIDI CODE HEX fabricants
- MIDI PITCH - NOTE FREQUENCY
- LAG LE KEY pub et banc essai computer music
- Will systems MAB 303 banc essai keyboards mai 1997
- MULTIVOX pub gamme dĂ©cembre 1979
- ELEX gamme pub 1976
- GIBSON G101 user manual / service manual
- GIBSON P2 service manual
- KUSTOM ORGAN brochure
- RIHA JUPITER 2 pub 1977
- RIHA gamme variĂ©tĂ© pub 1978
- RIHA ORCHESTRA pub 1979
- Evolution de l'orgue Ă©lectronique disc international dĂ©cembre 1978
- RĂ©pertoire midi : les orgues
- MILTON les orgues pub disc international
- L'orgue photoĂ©lectronique FOTOSONOR
- Anatomie de l'orgue Ă©lectronique Hifi StĂ©rĂ©o juin 1976 de E.Lemery
DIVERS PEDALES EFFETS
- ARIA pub gamme effets 1983
- DOD pub gamme effets 1979
- REDSON 7pĂ©dales effets banc essai sono janvier 1982
- ELECTRIX EQ killer user manual
- ELECTRIX filter factory user manual
- ELECTRIX filter factory keyboards juillet 1999
- ELECTRIX filter queen user manual
- ELECTRIX mo fx user manual
- ELECTRIX warp factory user manual
- ELECTRIX repeater user manual
- ELECTRIX banc essai warp/filter /mofx computer music 1999
- EVENTIDE BABY HARMONIZER HM80 banc essai claviers octobre 1981
- DIGITECH DSP128 keyboards juillet 1999
- DBX catalogue 1980 (ou 78 pas sur ...)
- ROCKTRON HUSH IIC banc essai disc international mai 1987
- ROLLING REC5/COSMIC AE 7000/ZOOM ER 200 banc essai sono
- T.C ELECTRONIC 2290 banc essai disc international mai 1987
- PUBLISON DHM 92-B2 banc essai disc international septembre 1979
- PUBLISON RELIEF ENLARGER banc essai sono 1983
- Principe fondamentaux des effets (E.Lemery) 1981
- AKAI 4000 DS MKII user manual
- AKAI 4000 DS brochure et banc essai hifi stĂ©rĂ©o octobre 1975
- AKAI GX 635D service manual
- AKAI GX 646 service manual
- TASCAM 22-2 & 22-4 banc essai sono janvier 1982
- TASCAM 688 user manual
- TASCAM 388 studio8 user manual
- TASCAM A34 service manual
- TEAC 3440 user manual
- OTARI MX 5050 1/2 QXHD - TEAC A 3440 banc essai disc international
- CHOISIR SA TABLE DE MIXAGE disc international novembre 1979
- LES TETES MAGNETIQUES
DIVERS BOITE A RYTHME / PERCUSSION
- RYTHMATIC MARS ou HENCOT brochure / manual
- PEARL DRUMX banc essai guitares claviers
- PEARL SC20/SC40 user manual
- PEARL SYNCUSSION 1 user manual
- SOUNDMASTER STIX ST305 test guitares claviers mai 1984
- SOUDMASTER STIX ST305 pub keyboards novembre 1983
- SYNTOBA RAMEAU
- SYNDRUM test DISC international
- SYNARE pub / banc essai disc international juillet 1981
- SYNARE 3 banc essai disc international
- CAPELLE KLONE KIT 2 banc essai claviers octobre 1984
- DIGITAR CHARLIE LAB brochure
- MARANTZ pianocorder brochure distribution hamm
DIVERS BOUTIQUE / CATALOGUES / PRIX
- SOMMAIRE SONO magazine du 1 au 95
- PHONORGAN pub
- HISTOIRE DE LA MUSIQUE - Casterman - 1972
- CLAVIERS - Edts J.M.G - 1989
- LE MONDE DU POP ROCK - HATIER - 1977
- CATALOGUE Studio Robert Schroeder
- User & service manual sur le site de pharmacon : http://www.cem3374.com/archive.htm
- Les pubs sur :http://retrosynthads.blogspot.com/
897 Generic Synth Preset Storage and Conversion
For my synths with preset storage and the ability to dump & load presets via midi sysex, I wanted to be able to feed the sysex of a synth into a software program which can
display the sound parameters in a meaningful form, and
convert the sound into the sysex format of any of my other presets synths
The generic patch storage format must display meaningful values for the parameters (filter envelope amount = 1/2 octave, envelope 1 attack = 50ms, etc) and convert between these values and a given synth's sysex (as much as possible - resolution probably isn't good enough to get envelope attack to exactly 50ms on each and every synth, and envelope shapes vary between synths, etc). The storage format will also store the original parameters, using the "native" value range of each parameter (e.g. filter cutoff frequency between 0 and 127) as well as the original sysex program as an ASCII hex dump.
Since I didn't find any software which could do this, I began writing my own in Java. I am concentrating on converting basic analog components; any on-board effects are not used.
I have started to build a (slightly) updated version of the Korg PS-3200 synthesizer.
The PS-3200 was the last of three fully polyphonic, semi-modular analogue synthesizers offered by Korg in the late 70's. (See Ben Ward's excellent Korg PS site for detailed information, including user manuals.)
The concept of the PS-Synthesizers was different from other manufacturer's early polyphonic instruments. Instead of using a small number of voices and a clever keyboard assigning circuit, the "PolyKorgs" had a complete synthesizer circuit, hard wired to each key. That makes a total of 48 VCFs, 48 VCAs and 48 voltage controlled ADSRs even for the smallest of the range, the PS-3100. The largest of the range, PS-3300, even had 144 of these circuits.
The sheer number of synthesizer circuits called for an extremly economic circuit design, and it's a joy to look at Korg's design ideas which led to building blocks that almost did the same as in the better known "classic" synthesizers. And after many years of engineering and reverse-engineering electronic music circuits, I have learned to look at odd solutions not as "substandard", but as a source of creativity an individual character. Here's a list of some highlights:
Function Implementation Side effects
Single-Transistor Waveform Converter creates triangle, saw, pulse and PWM from saw input, using one (!) transistor, one diode and two resistors per voice, plus two global control voltages Pulse height also changes with pulse width
5-Transistor-VCF (Korg-35) A Voltage controlled 2-pole (Sallen&Key) LPF built from 5 transistors rather high CV feedthru
Single-Diode VC Resonance The dynamic resistance of a simple diode is used to alter the feedback gain of the VCF limited range of Q
"Expand" function instead of VCF Envelope modulation depth Instead of scaling down the ADSR with a VCA, the a variable portion of the Envelope is just clipped with a single diode. It's so remarkably close to ordinary VCA function that apparently nobody takes notice. At least I have not read about it anywhere.
At slow Atack times, the Envelope appears delayed at the VCF (no effect until th eclipping point is reached). Usefull for Brass sounds, and not easy to emulate with conventional synthesizers.
Minimum parts count Voltage Controlled ADSR Three transistors, 1/2 of a LM324 and one CD4007 per voice. Plus some more involved control circuit, shared by several voices Transistors must be selected in 13-tuples, not just in pairs.
ADSR detail (1):
One-opamp control logic 1/4 LM324 is used as Flipflop, which is dynamically set by Gate-ON, dynamically reset by Gate-OFF, statically reset when the attack peak voltage is reached, and whose set/reset sensitivity is altered by a CV Very odd "Hold" function, depending on the "Attack"-value. But very useful in practise.
ADSR detail (2):
Single-Transistor, exponential slope VC-Decay Using a single transistor per voice for VC Attack and Release is remarkable already, even though the A and R slopes are linerar. But the Decay slope is exponential, and this is achieved with a single transistor and two resistors per voice! The Decay time range is rather limited. No ultra fast Decay, and no ultra slow Decay either.
Single-Transistor VCA That's the "Korg standard" VCA, well known from other instruments like the MS-10.
870 How I Use Visualization To Drive Creativity
This is a guest post by Mark Suster, a 2x entrepreneur turned VC. ĂÂ He sold his second company to Salesforce.com, becoming VP of Product Management. He joined GRP Partners in 2007 as a General Partner focusing on early-stage technology companies. Read more about Suster on his blog atĂÂ Bothsidesofthetable and on Twitter atĂÂ @msuster.
This is a guest post by Mark Suster, a 2x entrepreneur turned VC. He sold his second company to Salesforce.com, becoming VP of Product Management. He joined GRP Partners in 2007 as a General Partner focusing on early-stage technology companies. Read more about Suster on his blog at Bothsidesofthetable and on Twitter at @msuster.
Creativity. Iâve always believed itâs been one of the most important attributes of business success yet something very few business leaders talk about. So I thought Iâd write a post about how I drive my personal creativity.
As a practitioner of creativity rather than as an instructor of it Iâm certain that there are many ways to get the creative juices flowing and how to release more creativity. The one that works best for me is visualization coupled with self talk.
Visualization is so important to help yourself & others conceptualize ideas. Itâs why I always work hard to find images for my blog posts & why all of my keynote presentations are visual rather than bullet points with words.
866 Robert Sutton: The No Asshole Rule: Part 1
I define workplace assholes as people who leave behind a trail of demeaned and de-energized people and lists lots of ways that these creeps do damage to others.
the, no, asshole, rule:, part, 1, business
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
812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02âą although it was developed independently of Korg Inc.
Korg and MS-02 are the trademarks of Korg Inc.
Among presently available music synthesizers, there are two different types of control system used for controlling devices such as the VCO (voltage controlled oscillator) and VCF (voltage controlled filter). These two systems been: Hertz/Volt (Hz/V) and Octave/Volt (Oct/V).
The graph to the left shows the relationship between the VCO oscillator frequency (pitch) and the control voltage (keyboard output voltage). The straight line on the graph is from a synthesizer in which there is a one octave change for every one volt change in the control voltage (Oct/V). In contrast, the curved line on the graph is the control voltage from a synthesizer in which the VCO frequency is proportional to voltage (Hz/V system).
To allow these systems to work together you will need a module like this ED102. The built-in, fully adjustable log amp and anti-log amp ensure complete system flexibility and compatibility between any presently voltage controlled synthesiser.
The Hz/V system
In the Hz/V system, the VCO oscillator frequency is proportional to the control voltage so that, for example, if the frequency of a VCO increases by 100Hz for every volt applied, then applying 1V, 2V and 3V to this VCO would generate 100Hz, 200Hz and 300Hz respectively.
The Oct/V system
In the Oct/V system the VCO oscillator frequency changes one octave for every one volt change in the control voltage so that, for example, 1V, 2V and 3V to a VCO would generate 200Hz, 400Hz and 800Hz respectively.
Features and Functions
This changes a Hz/V type keyboard CV (control voltage) output into an OCT/V type of CV. Use the Log Amp to change the control signal from, say, a Korg or Yamaha synthesiser into a signal you can use with another type of synthesizer.
This changes an OCT/V type of keyboard CV output into a Hz/V type of CV. Use this Antilog Amp when you want to control, say, a Korg synthesiser by means of a unit that uses the OCT/V system.
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.
747 10 Alternative Ways To Access Blocked Sites | TechiFire
Is your favorite website blocked in your school college or office ? Then here are 10 Alternative and innovative Ways To Access Blocked Sites other than proxies .
access blocked site ,access blocked websites,unblock blocked websites ,proxy access blocked websites,internet tricks,tips and tricks
742 M Sequencer MFOS 16-Step Sequencer
Thomas White did another great layout.
See his FPE panel here: http://naturalrhythmmusic.com/mfos.html
But buy it here for less money and a lovely textured paintjob!
Available in 1/4â jack and 1/8â/ banana jack versions.
Shipping for this panel is $10 USA, $20 international. If ordering more than just the panel, shipping is the large order on the order info page.
741 17 Useful Htaccess Tricks and Tips
I have collected 17 htaccess methods in this article which I have used or tested it before, and I think some of them are essential tricks and tips to protect your webserver against malicious attacks and other would able to perform simple tasks efficiently such as redirection and web server optimization.
queness,kevin liew,tips, tools
727 How To Create an Antique Mirror Effect | Apartment Therapy DC
How To Create an Antique Mirror Effect
Mclain Wiesand, a Baltimore-based custom furniture company, has made a name for itself by producing handcrafted pieces that capture the feel of real antiques. One of the techniques they use for aging mirror is wonderfully simple and serves as the inspiration for this how to.
Creating an antique mirror effect is an inexpensive way to revamp a flea market find, or add a new layer of interest and depth to an ordinary wall mirror. Almost any type of mirror can be aged using this technique, including mirrored plexiglass.
âą Mirrored glass or plexiglass. Due to the type of paint applied to the reflective coating, inexpensive, craft-store mirror works wonderfully.
âą Latex or other gloves for hand protection.
âą Paint stripper. Most types work fine. For a less toxic product, Citristrip works well.
âą Plastic putty spreader or putty knife.
âą Modern Masters Metal Effects Black Patina. This patina solution is essentially an acid that eats at the reflective surface of the mirror. There are probably other products that work similarly, but Modern Masters products work well and can be found online or in most art supply stores or specialty paint stores.
âą 1â chip brush (or similar brush).
âą Silver paint of choice.
Step 1: (Image 2, above)
Wearing gloves, place mirror face down on cardboard or other protected surface in a well-ventilated area. Apply stripper generously to back of mirror and allow to sit for a few hours, or until paint can be easily removed with plastic scraper. It is not necessary for all of the paint to be removed; generally speaking, 80-90% should suffice. When paint has been stripped, wash mirror with soap and water and allow to dry.
Step 2: (Images 3 & 4)
Place stripped mirror face down on clean cardboard or other protected surface. Dip chip brush in Modern Masters Metal Patina Solution and gradually apply it to the raw reflective surface of the mirror. As mirror tends to age from the edges inward, it is best to apply patina solution in heavier amounts around the edges of the mirror. In a matter of minutes (or less), the patina solution will begin to eat away at the reflective surface. Other application techniques that produce nice effects are spattering and light directional brushing of patina solution. Continue applying solution until desired level of ageing is achieved. Rinse with water to neutralize the reaction and allow to dry.
Step 3: (photos 5 & 6)
This next step involves reapplying paint to the back of the mirror. The color paint you choose will be visible through the spots created by the patina solution. The dark areas of aged antique mirrors tend to be a dark silver-grey but depending on the silvering technique used, can range from gold to pale silver to black. One method that produced nice results is a combination of dark and light silver paints, applied randomly (per images). Apply paint until the reflective surface is completely covered.
722 Making AJAX Applications Crawlable - Google Code
If you're running an AJAX application with content that you'd like to appear in search results, we have a new process that, when implemented, can help Google (and potentially other search engines) crawl and index your content. Historically, AJAX applications have been difficult for search engines to process because AJAX content is produced dynamically by the browser and thus not visible to crawlers. While there are existing methods for dealing with this problem, they involve regular manual maintenance to keep the content up-to-date.
Learn why search engines don't see the content you see and what needs to happen to fix this.
Getting started guide
Get started in making your AJAX application visible to search engines. If you are in a hurry, you can start here, but AJAX crawling is a complex topic, so we recommend reading all the documentation.
Creating HTML snapshots
Learn more about creating HTML snapshots, and which technique might be best suited for your application.
Frequently asked questions
Having trouble? Check out the frequently asked questions.
Get the details.
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.
719 Facebook owns us â Copy me happy
Facebook has become the event planning system. Itâs the place where you have all your friends (and other people) somewhat sorted and organized. All in all, itâs the organized system in the chaos that is otherwise known as the internets.
This is leading Facebook towards a virtual monopoly. There are lots of issues with monopolies, but one of the more interesting ones when it comes to Facebook is the impact is has on our social lives, online as well as offline.
713 40 Useful Online Generators For Web Designers - Noupe Design Blog
Generators can be a great way to save time in your web design projects. High-quality generators can create graphics or code or even layouts in a matter of seconds or minutes, things that might take an hour or more if done by hand. Below are some useful generators to help you speed up your web design process. Thereâs everything from color scheme tools to complete layout generators included. If you know of other useful generators out there, please share in the comments!
706 Geometry, Surfaces, Curves, Polyhedra
POV-Ray: A Tool for Creating Engaging Visualisation of Geometry
Various notes on polygons and meshes
Includes Surface (polygon) simplification, Clipping a polygonal facet with an arbitrary plane, Surface Relaxation and Smoothing of polygonal data, Mesh crumpling, splitting polygons, two sided facets, polygon types.
Philosophy is written in this grand book - I mean universe - which stands continuously open to our gaze, but which cannot be understood unless one first learns to comprehend the language in which it is written. It is written in the language of mathematics, and its characters are triangles, circles and other geometric figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrinth. Galileo (1623)
Distance between a point, a line and a plane
The intersection of a line with another line (2D)
The closest line between two lines (3D)
The intersection of a line with a plane
Mathematics describing a plane
The intersection of two planes
The intersection of three planes
Polygon area and centroid calculation
Inside / outside polygon test
Reflection of a ray
Eulers number and closed surfaces
Determining whether a line segment intersects a facet
Coordinate transformations on the plane (2D)
Cartesian, Cylindrical, and Spherical
Euler angles and coordinate transformations
Converting between left and right coordinate systems
Clipping a line with a polygon
Clockwise test for polygons in 2D
Test for concave/convex polygon in 2D
Area of (planar) polygons in 3D
Spheres, equations and terminology
The intersection of a line and a sphere (or a circle)
Equation of the circle through 3 points
Equation of the sphere through 4 points
Intersecting area of circles on a plane
Rotation of a point about an arbitrary axis
Creating a plane/disk perpendicular to a line segment
Intersection of two circles on the plane
Circumference of an ellipse
Intersection of two spheres
Distributing Points on a Sphere
Quadric equations in x and y of degree 2
Fowler angles: Comparing angles without trigonometry
Description of an efficient contouring algorithm as it appeared in Byte magazine. (Byte Magazine, 1987) and a more general approach for arbitrary contour planes and polygonal meshes.
Methods for mapping points on a spherical surface onto a plane, stereographic and cylindrical (including Mercator) projections. Includes Aitoff map projection: Conversion to/from longitude/latitude (spherical map)
Classification of projections from 3D to 2D and specific examples of oblique projections.
A triangle was an improvement to the square wheel. It eliminated one bump. BC comics
Planar (stretching) distortion in the plane
Including Anamorphic projections and Mappings in the Complex Plane (Otherwise known as Conformal maps)
Polygonising a scalar field
Otherwise known as marching cubes and marching tetrahedrons.
A Macintosh 4 dimensional geometry viewer and manual.
Visualizing.org is a community of creative people working to make sense of complex issues through data and designâŠ and itâs a shared space and free resource to help you achieve this goal.
By some estimates, we now create more data each year than in the entirety of prior human history. Data visualization helps us approach, interpret, and extract knowledge from this information. Over the last couple of years, weâve seen government agencies, NGOs, and companies open up their data for the public to see and use. And weâve seen data visualization figure more prominently in design curricula, conference programs, and the media. We created Visualizing.org because we want to help connect the proliferation of public dataâŠ with a community that can help us understand this dataâŠ with the general public.
What is Visualizing.org? What can I do on the site?
Visualizing is a place to showcase your work, get feedback, ensure that your work is seen by lots of people and gets used by teachers, journalists, and conference organizers to help educate the public about various world issues
Visualizing is a free resource to search for data
Use Visualizing to keep up with and be inspired by the latest work from other designers and design schools
Learn about new visualization tools, blogs, books and other resources to help your work
Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share-Alike License
For teachers and schools:
Visualizing is a place to exhibit the collective work of your students, organize assignments and class projects, and help your students find data for their own visualizations
Weâre working on new tools to help you share teaching material with other teachers
As an Academic Partner, your students are eligible to participate in various design competitions â weâre hosting the first Visualizing Marathon in New York in October
To learn more, contact Saira Jesani
For bloggers and journalists:
Visualizing is a resource to find data visualizations about a wide variety of world issues to inform and accompany your own reporting â and itâs easy to embed visualizations and widgets from Visualizing on your own site
For conference organizers:
As a Knowledge Partner, Visualizing allows you to use data visualizations at your conferences under a Creative Commons License
To learn more, contact Saira Jesani
Visualizing is a new and fun online resource to learn more about the world in all its complexity and inter-dependence -- and become more comfortable with data and how it can be visually represented
How does it work?
The site is open and free to use. Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share Alike License. Simply put, this means that anyone can share, copy, remix, or build upon the visualization as long as: (i) it is used non-commercially; and (ii) the visualizationâs creator and source are credited.
679 Trevor Marshall's ETI3600, ETI4600 International Music Synthesisers and Maplin 3800 and Maplin 5600s Stereo Synthesisers
Many years ago the Australian magazine "Electronics Today International" published my designs for two partly digital, mostly analog, Electronic Music Synthesisers. the ETI 3600 and ETI 4600. Both were made available as kits of components
Barry Wilkinson at ETI was responsible for the final packaging and kitting coordination.
Maplin Electronics Ltd.(in the UK) subsequently picked up the designs, which they marketed as as the Maplin models 3800 and 5600s Electronic Music Synthesisers
At the time I held two Australian provisional patents for the technologies I used in the Synthesiser designs. One related to the method for generating sawtooth waveforms, the other was for the method of using commutated resistors in voltage controlled filters.
I never made any money out of the designs, or the patents, which have long ago been allowed to lapse.
But it was fun!
The original constructional articles for the ETI 3600/4600 can be found in these PDFs: October 1973, December 1973, January 1974, Feb 1974, March 1974, April 1974, July 1974, March 1975, April 1975, May 1975, August 1975
Although the earliest (4004) microprocessors were available at that time, it was not until the late-70's that I first started programming fully digital (Signetics 2650 based) Microcomputer systems. Consequently my early digital designs were hardware, and not firmware, based.
Of course, these days, everything in my hardware and firmware is based on software designs - even the interconnections are controlled by the software in the EPLDs and PALs, instead of by wires.
So many things have changed over the years....
Here is a mug shot of the Maplin 3800:
651 50 Fresh and Inspiring Dark Web Designs | Inspiration
Back in February we showcased a list of 50 Inspiring Dark Web Designs to show that dark colors are also a really good option when comes to web design. The list was so inspiring and commented that we decided to do a new one with another 50 inspiring dark web designs.
634 50 Free Expedient High-Resolution Fabric Textures | Naldz Graphics
Textures serve a big advantage in making websites and other graphics design projects better looking and efficient. Another great thing about it is that you can find it anywhere,in your town, maybe in streets, or even in your homes. Examples of this are fabric textures from your clothes, linen or any fabric materials you have. After capturing the texture it can help your blog in making it more effective and giving it a nice touch. In our next post, we will be showcasing 50 Free Expedient High-Resolution Fabric Textures. We have collected some of the beautiful fabric textures that have different designs for you to choose from. They all are high-resolution images and best of all, they all come for free. DonĂąÂÂt hesitate to check them out, these showcase may include the texture that will suite your taste. Come, take a peek, and choose your pick.
632 ericmiraglia.com Â» The 2010 Web Application (R)evolution: HTML5 and Beyond (Resources)
Some notes from a recent presentation on HTML5, CSS3, and other current proposals that are starting to see real world browser implementations â serves as a starter linkography for reading up on recent developments.
616 Alphabet Soup modular synth
The STS Serge Modular can be a daunting system at first blush, especially for those who come from an "East Coast" modular synth background. My first synthesizers were Moog analogs and my first Analog Modular Synth was an Arrick "Dotcom" system - so I started out with East Coast paradigms that I had to "unlearn" in order to use my Serge Modular to the fullest. For those of you coming from a similar background or those just discovering the Serge Modular for the first time, these "Alphabet Soup" pages are dedicated to you!
The Serge Modular is intuitive and fun to use - especially when you realize the main difference between a Serge Modular and most others has to do with the size of the building blocks, where a Moog or similar modular will have monolithic building blocks like ADSRs and Oscillators, the Serge can be more "low-level" in that you can build ADSRs and oscillators from Serge modules or, more properly, Function Blocks.
These Function Blocks usually come bearing arcane names that have been shortened to an "Alphabet Soup" conglomeration of acronyms. In this series of articles, I'll be talking about some of the ways to approach these Function Blocks to create much more useful, surprising, complex or just simply fun synthesis features.
The first function block we're going to look at is the "DSG", otherwise known as the Dual Universal Slope Generator. This mild-mannered module is in some ways the most powerful one in the entire Serge catalog because it can become so many different things depending on where you place the patch cords...as you'll soon see.
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Nothing Sounds Like an Eventide
Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, PitchFactor fits on your pedalboard or in your gigbag.
Studio Quality Effects at Your Feet
Top recording studios worldwide use Eventide effects on hit after hit. PitchFactor includes Eventide's best pitch-changing effects from the past 39 years without compromising quality OR flexibility.
Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.
Obsolescence is so 20th Century
Easy to upgrade; download new software from the Internet and install via USB.
10 of Eventideâs signature stereo or mono pitch+delay effects:
H910 / H949
Up to 4 voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay
Studio quality sound
Guitar or bass compatible
Software upgradeable via USB 2.0
MIDI control via USB or MIDI in, out/thru
Instant program change
Real-time control with 10 knobs, MIDI, or expression pedal
Tap tempo and MIDI clock sync
100 factory presets, unlimited through MIDI
True analog bypass
Rugged cast metal construction
Reliable metal footswitches for instant preset access
Mono or stereo operation
Guitar or line level inputs and outputs
588 Korg MS Monophonic Synthesizers - Users Tips and Techniques
Korg MS and PS analogue music synthesizers owners manuals, pictures and other details
Korg, MS, PS, Japan, Japanese, 1970's, polyphonic, monophonic, analogue, analog, synthesizer, synth, sequencer, processor, pedal, keyboard, pop, electronic, music, sound, synthesis, subtractive, manual, manuals, user guide, owners, handbook, MS-01, MS-02, MS-03, MS-04, MS-10, MS-20, MS-50, VC-10, SQ-10, PS-3100, PS-3200, PS-3300
560 10 Free Online Books for Web Designers | Freebies
There's a never ending supply of information out there for us web designers. If there's something we need to learn, we can find it in one form or another.
551 The Top Idea in Your Mind
I realized recently that what one thinks about in the shower in the morning is more important than I'd thought. I knew it was a good time to have ideas. Now I'd go further: now I'd say it's hard to do a really good job on anything you don't think about in the shower.
Everyone who's worked on difficult problems is probably familiar with the phenomenon of working hard to figure something out, failing, and then suddenly seeing the answer a bit later while doing something else. There's a kind of thinking you do without trying to. I'm increasingly convinced this type of thinking is not merely helpful in solving hard problems, but necessary. The tricky part is, you can only control it indirectly. 
I think most people have one top idea in their mind at any given time. That's the idea their thoughts will drift toward when they're allowed to drift freely. And this idea will thus tend to get all the benefit of that type of thinking, while others are starved of it. Which means it's a disaster to let the wrong idea become the top one in your mind.
What made this clear to me was having an idea I didn't want as the top one in my mind for two long stretches.
Sound synthesis and sound design
Music has brought pleasure and entertainment to mankind throughout the whole of history. Each person is by nature equipped with one of the most elaborate and emotional musical instruments; the human voice. Whenever people feel good music seems to fit the occasion, and it is considered quite natural to hum or sing a song. Musical instruments have brought their own moods to music and at the current moment in human evolution there is an enormous variety of musical instruments available. The twentieth century has seen the development of a range of new and exciting electronic musical instruments. These electronic instruments are very flexible, they can produce a wide range of timbres and can be amplified to whatever loudness level sounds best for the occasion. Most of these electronic instruments are played by a keyboard, but in essence the keyboard can be replaced by any electromechanical device that is able to transform a movement caused by a human interaction into an electrical signal that can drive the sound generating core of the electronic instrument.
All sorts of technical and scientific developments have helped to create electronic instruments and the human interface to play them. Still, music is an art and not really a hard science, although music and sound have for a long time been subject to various scientific research. An important realization is that science can not really explain why much music is such a pleasure to listen to and such a joy to make. Which is not a bad thing, as probably no one is waiting for science to take the fun out of music by applying formalized rules and templates on what is also subject to âfeelâ. So, although this book covers techniques that lean heavily on scientific research, the application of these techniques will in general be aimed at creating fun. There are a lot of professionals working with sound and even more people that make music for their personal enjoyment. Mastery of sound synthesis is valuable to all of them. Still, it wonât be easy to please everyone with one single book, as some people will be more interested in how things work and others might want practical examples that just work. The aim of this book is that it can at least be used as a practical guide in workshops and courses in electronic music, covering some essential basics that are needed to operate the equipment used in sound synthesis in a way that makes some sense. Additionally it can be used to explore techniques to find out how they can help in the development of oneâs own musical style.
Sound synthesis is the art of creating sounds by using suitable electronic means, using either analog or digital electronic devices. Sound design is the art of creating particular sounds using sound synthesis techniques. The definition of sound design as used here might be confusing to some, as the name sound design is also used in the discipline in industrial design that occupies itself with how mass produced objects should sound. Examples are how the sound of cars or ladyshaves are âdesignedâ to sound pleasing while in use. Which of course has nothing to do at all with music or sound synthesizers. This book puts the emphasis on the various synthesis techniques for musical purposes and how to setup sound synthesizers to create a large range of characteristic musical sounds. The art of musical sound design is left to the artist.
502 Korg MS-20 Synthesizer - circuit board photos
Korg MS and PS analogue music synthesizers owners manuals, pictures and other details
Korg, MS, PS, Japan, Japanese, 1970's, polyphonic, monophonic, analogue, analog, synthesizer, synth, sequencer, processor, pedal, keyboard, pop, electronic, music, sound, synthesis, subtractive, manual, manuals, user guide, owners, handbook, MS-01, MS-02, MS-03, MS-04, MS-10, MS-20, MS-50, VC-10, SQ-10, PS-3100, PS-3200, PS-3300
486 Ninite Easy PC Setup - Silent Unattended Install Multiple Programs At Once
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484 Why did so many successful entrepreneurs and startups come out of PayPal? Answered by Insiders
Why did so many successful entrepreneurs and startups come out of PayPal? I long have been fascinated by the extraordinary achievement from the ex-Paypal team and wonder about the reasons behind their success. In the past, mass media tried to answer this question several times but still couldnât give us a clear answer.
I once asked David Sacks the same question during an event in Los Angeles. He told me the secret is that Paypal has built a âscrappyâ culture. No matter what problems they faced, they would find a way to solve them. I kind of got the idea, but was still confused about the execution details.
So when I saw some of the past Paypal employees answering this question on Quora, I was super excited! After all, they should be the only ones who can tell people the inside stories.
Below are some highlights of their answers. *If you want to check out the sources or leave your comments, please go to here and here.
On Talent Management
âPeter and Max assembled an unusual critical mass of entrepreneurial talent, primarily due to their ability to recognize young people with extraordinary ability (the median age of *execs* on the S1 filing was 30). But the poor economy allowed us to close an abnormal number of offers, as virtually nobody other than eBay and (in part) google was hiring in 2000-02.â (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme Focus (driven by Peter): Peter required that everyone be tasked with exactly one priority. He would refuse to discuss virtually anything else with you except what was currently assigned as your #1 initiative. Even our annual review forms in 2001 required each employee to identify their single most valuable contribution to the company.â (by Keith Rabois, former Executive Vice President of Paypal)
âDedication to individual accomplishment: Teams were almost considered socialist institutions. Most great innovations at PayPal were driven by one person who then conscripted others to support, adopt, implement the new idea. If you identified the 8-12 most critical innovations at PayPal (or perhaps even the most important 25), almost every one had a single person inspire it (and often it drive it to implementation). As a result, David enforced an anti-meeting culture where any meeting that included more than 3-4 people was deemed suspect and subject to immediate adjournment if he gauged it inefficient. Our annual review forms in 2002 included a direction to rate the employee on âavoids imposing on othersâ time, e.g. scheduling unnecessary meetings.â (by Keith Rabois, former Executive Vice President of Paypal)
âRefusal to accept constraints, external or internal:We were expected to pursue our #1 priority with extreme dispatch (NOW) and vigor. To borrow an apt phrase, employees were expected to âcome to work every day willing to be fired, to circumvent any order aimed at stopping your dream.â Jeremy Stoppelman has relayed elsewhere the story about an email he sent around criticizing management that he expected to get him fired and instead got him promoted. Peter did not accept no for answer: If you couldnât solve the problem, someone else would be soon assigned to do it.â (by Keith Rabois, former Executive Vice President of Paypal)
âDriven problem solvers: PayPal had a strong bias toward hiring (and promoting / encouraging, as Keith mentions) smart, driven problem solvers, rather than subject matter experts. Very few of the top performers at the company had any prior experience with payments, and many of the best employees had little or no prior background building Internet products. I worked on the fraud analytics team at PayPal, and most of our best people had never before done anything related to fraud detection. If heâd approached things âtraditionallyâ, Max would have gone out and hired people who had been building logistic regression models for banks for 20 years but never innovated, and fraud losses would likely have swallowed the company.â (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal)
âSelf-sufficiency â individuals and small teams were given fairly complex objectives and expected to figure out how to achieve them on their own. If you needed to integrate with an outside vendor, you picked up the phone yourself and called; you didnât wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didnât wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didnât wait for a content writer.â (by Yee Lee, former Product & BU GM of Paypal)
On Culture & Ideology
âExtreme bias towards action â early PayPal was simply a really *productive* workplace. This was partly driven by the culture of self-sufficiency. PayPal is and was, after all, a web service; and the company managed to ship prodigious amounts of relatively high-quality web software for a lot of years in a row early on. Yes, we had the usual politics between functional groups, but either individual heroes or small, high-trust teams more often than not found ways to deliver projects on-time.â (by Yee Lee, former Product & BU GM of Paypal)
âWillingness to try â even in a data-driven culture, youâll always run in to folks who either donât believe you have collected the right supporting data for a given decision or who just arenât comfortable when data contradicts their gut feeling. In many companies, those individuals would be the death of decision-making. At PayPal, I felt like you could almost always get someone to give it a *try* and then let performance data tell us whether to maintain the decision or rollback.â (by Yee Lee, former Product & BU GM of Paypal)
âData-driven decision making â PayPal was filled with smart, opinionated people who were often at logger-heads. The way to win arguments was to bring data to bear. So you never started a sentence like this âI feel like itâs a problem that our users canât do Xâ, instead youâd do your homework first and then come to the table with â35% of our [insert some key metric here] are caused by the lack of X functionalityâŠâ (by Yee Lee, former Product & BU GM of Paypal)
âRadical transparency on metrics: All employees were expected to be facile with the metrics driving the business. Otherwise, how could one expect each employee to make rational calculations and decisions on their own every day? To enforce this norm, almost every all-hands meeting consisted of distributing a printed Excel spreadsheet to the assembled masses and Peter conducting a line by line review of our performance (this is only a modest exaggeration).â (by Keith Rabois, former Executive Vice President of Paypal)
âVigorous debate, often via email: Almost every important issue had champions and critics. These were normally resolved not by official edict but by a vigorous debate that could be very intense. Being able to articulate and defend a strategy or product in a succinct, compelling manner with empirical analysis and withstand a withering critique was a key attribute of almost every key contributor. I still recall the trepidation I confronted when I was informed that I needed to defend the feasibility of my favorite âbabyâ to Max for the first time.â (by Keith Rabois, former Executive Vice President of Paypal)
âExtreme Pressure â PayPal was a very difficult business with many major issues to solve. We were able to see our colleagues work under extreme pressure and hence we learned who we could rely on and trust.â (by Keith Rabois, former Executive Vice President of Paypal)
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.
476 Top 15+ Best Practices for Writing Super Readable Code | Nettuts+
Code readability is a universal subject in the world of computer programming. Itâs one of the first things we learn as developers. Readable and maintainable code is something to be proud of in a finished product. We can share it with others, contribute to other projects, and reuse code from applications we wrote months or even years ago.
This article will detail the fifteen most important best practices when writing readable code.
474 Why Intelligent People Fail
Why Intelligent People Fail
Content from Sternberg, R. (1994). In search of the human mind. New York: Harcourt Brace.
1. Lack of motivation. A talent is irrelevant if a person is not motivated to use it. Motivation may be external (for example, social approval) or internal (satisfaction from a job well-done, for instance). External sources tend to be transient, while internal sources tend to produce more consistent performance.
2. Lack of impulse control. Habitual impulsiveness gets in the way of optimal performance. Some people do not bring their full intellectual resources to bear on a problem but go with the first solution that pops into their heads.
3. Lack of perserverance and perseveration. Some people give up too easily, while others are unable to stop even when the quest will clearly be fruitless.
4. Using the wrong abilities. People may not be using the right abilities for the tasks in which they are engaged.
5. Inability to translate thought into action. Some people seem buried in thought. They have good ideas but rarely seem able to do anything about them.
6. Lack of product orientation. Some people seem more concerned about the process than the result of activity.
7. Inability to complete tasks. For some people nothing ever draws to a close. Perhaps itâs fear of what they would do next or fear of becoming hopelessly enmeshed in detail.
8. Failure to initiate. Still others are unwilling or unable to initiate a project. It may be indecision or fear of commitment.
9. Fear of failure. People may not reach peak performance because they avoid the really important challenges in life.
10. Procrastination. Some people are unable to act without pressure. They may also look for little things to do in order to put off the big ones.
11. Misattribution of blame. Some people always blame themselves for even the slightest mishap. Some always blame others.
12. Excessive self-pity. Some people spend more time feeling sorry for themselves than expending the effort necessary to overcome the problem.
13. Excessive dependency. Some people expect others to do for them what they ought to be doing themselves.
14. Wallowing in personal difficulties. Some people let their personal difficulties interfere grossly with their work. During the course of life, one can expect some real joys and some real sorrows. Maintaining a proper perspective is often difficult.
15. Distractibility and lack of concentration. Even some very intelligent people have very short attention spans.
16. Spreading oneself too think or too thick. Undertaking too many activities may result in none being completed on time. Undertaking too few can also result in missed opportunities and reduced levels of accomplishment.
17. Inability to delay gratification. Some people reward themselves and are rewarded by others for finishing small tasks, while avoiding bigger tasks that would earn them larger rewards.
18. Inability to see the forest for the trees. Some people become obsessed with details and are either unwilling or unable to see or deal with the larger picture in the projects they undertake.
19. Lack of balance between critical, analytical thinking and creative, synthetic thinking. It is important for people to learn what kind of thinking is expected of them in each situation.
20. Too little or too much self-confidence. Lack of self-confidence can gnaw away at a personâs ability to get things done and become a self-fulfilling prophecy. Conversely, individuals with too much self-confidence may not know when to admit they are wrong or in need of self-improvement.
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.
463 Combien de fabricants de modules Eurorack ?
I'm mainly compiling this list for my own reference.
If anyone knows of another make, let me know.
Eurorack synthesizer module makers, 2010:
Analogue Solutions (UK)
Analogue Systems (UK)
Cwejman (Sweden by way of Poland)
Elby Designs (Australia)
Encore Electronics (USA)
Endangered Audio (USA)
Flight of Harmony (USA)
Future Sound Systems (UK)
Hinton Instruments (UK)
Macbeth (Scotland & England)
Malekko Heavy Industry (USA)
STG Soundlabs (USA)
Synthesis Technology/MOTM (USA)
Tip Top (USA)
448 HTML Ampersand Character Codes
These are character sequences that may appear in HTML documents; they represent sometimes useful symbols that are not part of the standard ASCII set or that would be difficult or impossible to type otherwise (e.g. the less-than sign, which would always be mistaken for the beginning of an HTML tag). Case is signinficant.
The content of this table has been throughly tested.
If the character that appears in the first column does not fit the description in the third column,
your browser has a screw loose.
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.
435 Free Professional PSD Template: BlueMasters - Smashing Magazine
In this post we release a yet another freebie: BlueMasters, a free PSD template, designed by Wendell Fernandes and released for Smashing Magazine and its readers. As...
web design, magazine, html, photoshop, wordpress, wallpaper, icons
428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâone needed only leave home to buy more tapes. Says Neffe, âI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front âŠ if the buyer didnât like the music, he or she could wipe it out and record something else on it.â
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâthat coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ A Safe Substitute and Colin Potterâs The Ghost Office. In Japan, 1980 saw the release of Merzbowâs first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâs Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâs own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâs artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessânot even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâs projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as âtextsâ or âphotographsâ, or as he puts it, âpotlatch musicâ. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâs subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ătant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track âLangsamâ is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track âSons of God?â is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâs CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
423 MACBETH STUDIO SYSTEMS
Welcome to MacBeth Synthesizers!
LATEST NEWS: 20/07/09 please scroll down for infoOver the last year and half or so, more products have been developed. Work has gone into the design of a new modular
synthesizer system shared by two formats- the 3U format and the 5U format. The designs are relatively new but still
retain the inherant qualities of the M3X, M5 and M5N synthesizers. The system is called the X-Series Modular Synthesizer
after the popular M3X and its protĂ©gĂ© keyboard synthesizer the X-Factor. This fully analogue keyboard is still under
serious development and there will be more information to follow on that one.
As a refreshing change from making the large scale semi modular M5 and M5N, I am now delving into the production of
smaller, free for all systems that will probably grow large! I'm taking into it all my experience of designing both large and
small analogue synthesizers as well as a few new ideas too. Please take the time to look around this website. In each
catagory there is product information, sounds, tracks and links to other related media on the internet.
Currently the 3U X-Series Dual Oscillator and 'Backend' Filter Combo are in production. I expect delivery of the
Dual Oscillator within the next two weeks- shortly after that the 'Backend' Filter Combo will roll out of production.
Please contact any of the Distributers listed to get your modules.
I intend to produce a short run of the 5U modules soon, so once again- stay tuned for that...
...anyway! I have uploaded quite a few demo sounds on here- maybe not to everyones taste- but at least they make
you think of what these modules could do in the right hands, i.e. you!
- after all- I'm an engineer, not a muscian as such!...Well you decide!
All MacBeth Products are built to exacting standards- from materials selection to the physical build.
The PCBs and Sheet Metalwork are fabricated by Zot Engineering from Musselburgh, Scotland http://www.zot.co.uk
and final assembly is performed by Diatron Assembly Systems from Norwich, England http://www.diatron.co.uk
Both companies also manufacture equipment for the medical, military and aerospace sectors of industrial engineering
416 Welcome to the Modular Corner
Welcome to the Modular Corner! This site is intended as a resource for all users of the Pulsar / Scope Modular synth, a software synthesizer which comes with the Scope range of soundcards from Sonic Core (formerly Creamware). Here you will find information about the Modular Synth, it's various components, the many patches that are available for the Synth along with other related documents and links to do with all things Modular.
On the Patches page, you will find information about individual patches that have been created for the Modular. This aims to be a complete listing of all the Modular patches that have become available, with a brief description of the patch. Where possible this will include a more detailed description, mp3 examples, signal flow diagrams, etc, in order to build up a more comprehensive 'manual' for the many patches that are available.
The downloads page has other related resources, such as freeware modules, documents on modular synthesis, etc.
Your contributions are vital - If you made a patch that you're proud of, or if you've downloaded someone else's that you like - let me know. I can't write up every patch on my own.
405 AudioLemon: HOWTO: Build A Steampunk Oscilloscope
AudioLemon is a blog that looks at all things audio related. Synths, samplers, software, effects and a little bit of electronic music and culture.
A steampunk oscilloscope built by Andrew Smith from parts found in a junk box. "Although not intended to be fully functional it does actually work." It's looks so cute... if you have the DIY skills you can read an article over on electronicsweekly detailing the build, components used and a schematic.
"I discovered that I had a really cute little 7cm CRT in the loft, together with several other valves of different types, and it seemed a good idea to make something decorative with them. For me, a lot of the charm of this piece resides in the unconventional layout and design, using a polished wooden box instead of the more usual metal chassis."
403 RhinoSpike : Foreign Language Audio on Demand!
RhinoSpike is an online language learning community tool that lets users around the globe connect and exchange foreign language audio files. Get any foreign language text read aloud for you by a native speaker! Here's how it works:
Submit some text that you want read aloud in a foreign language.
Your submission becomes an Audio Request and will be sent to native speakers.
Record your voice for an Audio Request in your native language.
Recording for other users bumps your submissions ahead in the queue.
Download the audio file for your submission. Learn the language through real, native input!
Load it onto your ipod or add it to your favorite SRS/Flashcard program.
381 Andromeda spare parts - Gearslutz.com
You can find them here: Alesis A6 Andromeda Spare Parts If anyone knows another site, please share. I am trying to locate the modulation wheel and its
Andromeda,spare,parts, Andromeda spare parts, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
375 30 Minimalist Web Designs for Your Inspiration - Web Design Blog â DesignM.ag
Designers love to see variety in styles from one website to the next. Although large images, extravagant backgrounds, video, and other elements have become much more common as the average user's connection speed has increased, many designers are still doing an excellent job of keeping things simple. In this post we'll feature 30 websites that use a minimalist style of design. Skylar Anderson
362 90+ Essential Social Media Resources
Check out our extensive list of social media, business, mobile and tech resources. No matter what you're into, you're sure to find it here!
Business Lists,Facebook Lists,Lists,Megalists,Mobile Lists,Social Media Lists,Twitter Lists,business,facebook,features,iPhone Resource Lists,social media,twitter,youtube
Now youâve gone and done it. Youâve come across a list so enormous, so useful, and so awesome, our futile attempts to describe it have been lost in the tubes of cyberspace.
Weâll just say this: No matter what youâre into â Twitter, Facebook, Mobile Apps, Business Development, or good-old-fashioned YouTube hilarity â you will find it below.
So put down your barbeque, send out another huge thanks to our men and women in uniform, and limber up your scrolling finger â itâs a big one.
If you dig the uber-list, be sure to send some comments our way down below!
353 DIY music from outerspace
Welcome To MFOS, Your Synth-DIY Headquarters.
What is synth-DIY? Synth-DIY is just what the name implies. Synthesizer Do It Yourself. Many people, like me, grew up in the dawn of the analog synthesizer age (Moog, ARP, Oberheim, Buchla, RCA, EMu, Fairlight, PAIA and many others) and although we may have really wanted our very own analog synthesizer with dozens of knobs and switches they were w-a-a-a-y out of our reach financially. Now many people with a modicum of electronic skills and a renewed interest in analog synthesizers are discovering that with a schematic, a PC board and some electronic components they can do it themselves!.
MFOS' mission is to help people realize their synthesizer dreams. We do this by providing analog synthesizer projects with complete schematics, assembly drawings and professionally manufactured PC boards. If you already have electronic skills... welcome! If you would like to learn more about electronics or analog synthesizers then try these links: How can I start learning about electronics?, Analog Synth 101 and/or The MFOS Book Store. It's never to late to develop a new skill, reignite an old passion or exercise your creativity.
Keep imagining, keep inventing, stay ingenious.
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.
332 Web Design Trends for 2010 | Webdesigner Depot
Purists will say that great design is timeless. Yes, in an ideal world, we should ignore trends.
Pragmatically speaking, though, there is a lot of value in monitoring and incorporating design trends, especially with regard to websites.
Letâs face it: the web changes at a rapid pace. Unlike in other media, design trends on the web are not just driven by aesthetics.
Technology is changing that can drastically alter the capabilities of the medium.
In 2010, weâre seeing designers continuing to push the boundaries of web design, setting the following clear trendsâŠ
305 45 Amazing and Free Photoshop Actions | Vandelay Design Blog
Photoshop actions allow designers and photographers to automate common sequences for increased efficiency. There are countless actions available that can be downloaded for free, and in this post we'll feature 45 of them. Some of these are individual actions and others are sets that include multiple actions. Photoshop Action 15
302 Silent Way working with Yamaha CS-30 (Hz/V) | website | Expert Sleepers
Another video from Captain Proton, this time showing Silent Way controlling a Yamaha CS-30 synth. This is using the new Hz/V calibration mode added in v1.1.0.
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.
299 Downloads - Measurements Using PC
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286 The Current State of Web Design: Trends 2010 - Smashing Magazine
Web design is a fickle industry. Just like every other form of artistic expression, Web design has undergone a continuous and surprisingly fast evolution. Once a...
2010, trends, design, magazine, photoshop, wordpress, wallpaper, icons, css, fonts
282 Guide d'autodĂ©fense numĂ©rique
[âŠ] nous n'avons pas envie d'ĂȘtre contrĂŽlables par quelque Â« Big Brother Â» que ce soit. Qu'il existe dĂ©jĂ ou que l'on anticipe son Ă©mergence, le mieux est sans doute de faire en sorte qu'il ne puisse pas utiliser, contre nous, tous ces merveilleux outils que nous offrent â ou que lui offrent â les technologies numĂ©riques. [âŠ]
MĂȘme si l'on choisit de ne pas les utiliser directement, d'autres le font pour nous. Alors, autant essayer de comprendre ce que Ă§a implique. [âŠ]
Face Ă ces constats, la seule voie praticable semble ĂȘtre de devenir capables dâimaginer et de mettre en place des politiques de sĂ©curitĂ© adĂ©quates. Tout lâenjeu de ce guide est de fournir cartes, sextant et boussole Ă quiconque veut cheminer sur cette route.
Un guide Ă lire, relire, pratiquer, en solitaire ou Ă plusieurs, Ă faire dĂ©couvrir et Ă partagerâŠ ou comment affiner l'art de la navigation dans les eaux troubles du monde numĂ©rique.
258 SEOmoz | 30 SEO Problems & the Tools to Solve Them (Part 2 of 2)
Last November, I authored a popular post on SEOmoz detailing 15 SEOÂ Problems and the Tools to Solve Them. It focused on a number of free tools and SEOmoz PROÂ tools. Today, I'm finishing up that project with a stab at another set of thorny issues that continually confound SEOs and how some new ...
246 Ortofon 2M Red >> Ortofon 2M Red MM Phono Cartridge
The Ortofon 2m Red MM Phono Cartridge + Stylus - an excellent cartridge suitable for many makes of tonearm, turntable or record player. Visit Needles & Spins at http://www.needles-and-spins.co.uk/ for great deals on a wide choice of phono cartridge, turntable, record player, tonearm and other vinyl accessories
215 VirtualBox Virtual Appliances | VirtualBoxImages.com
VirtualBox Virtual Appliances
Total Activated Virtual Computers: 30,262
VDI images of pre-installed "Open Source" Operating System distros. Pre-installed virtualbox images ready for you to explore and play with.
VirtualBox runs on SunOS, OpenSolaris, Mac OS X, Windows, OS/2 and Linux.
It's a computer inside your computer.
Looking for OVFAppliances.com
SugarSync Cloud Storage
FREE Virtual Appliances available in the SugarSync Cloud.
Direct HTTP download, no torrent client required. You receive 2Gig of FREE Cloud Storage
Instantly run another operating system on your desktop in a window, on almost any computer.
Implement full Linux functionality on an existing Windows Desktop or server.
Windows XP Tutorial: 7 quick steps to using our VDI's
Need a specific Application? Find an Image using the Pre-Installed Applications Index
A number of Virtual Machines are also available in OVF Appliance" format
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.
203 What does an Andromeda do better? - Gearslutz.com
Roland Jupiter 8 does its thing better than any other. Oberheim OBxa has its sound. Arp 2600 is unparalled. Prophet 5 set the bar. Moog Model D a
What,does,Andromeda,do,better, What does an Andromeda do better?, recording, studio, microphone, mic pre, compressor, equalizer, pro tools, DAW, Nuendo, Cubase, SSL, Neve, Helios, review, reviews
202 How Accessible is Your Website? 8 Tools to Analyze Your Websiteâs Level of Accessibility | Spyre Studios
Designing a website that's as much successful as it is effective takes time, skills, and a lot of testing. Normally, when we're talking about web design and we hear the word testing, the first thing that comes to mind is usability, and that's fine, but when was the last time you sat down to analyze the level of accessibility of your website? Testing on other aspects of your website are important, however, a lot of us seem to neglect our websites accessibility. This can ultimately lead to the loss of a wide range of users and poor elements of design. But not to fear, below we've compiled a set of tools that will help you combat poor accessibility. Every tool is free to use and has been chosen because it's easy to use and offers quality testing.
156 The Andromeda Strain - Wikipedia, the free encyclopedia
The Andromeda Strain (1969), by Michael Crichton, is a techno-thriller novel documenting the efforts of a team of scientists investigating a deadly extraterrestrial microorganism that rapidly and fatally clots human blood while, in other people, inducing insanity that mostly ended in the insane people committing suicide or murder-suicide. It became a New York Times Bestseller. This novel established Michael Crichton as a best-selling genre author.
143 Granular Synthesis: Resource Site
This web site has been designed as a major reference site for the sound synthesis technique known as granular synthesis. It contains some software, music, essays, publications and lots of other information
135 all - dj accessories - Turntablelab.com
we started the Lab in 1998, our first year out of college.
Turntable Lab was established in 1998 by Anthony Cattarina, Jasper Goggins, and Peter Hahn. The trio formed the idea for the Lab based on numerous negative experiences at stores that sold dj equipment: both big musical instrument chains and shady Canal Street stereo stores. Turned off by haggling, uninformed salesmen, and questionable product, Turntable Lab built its business on fair pricing, informed reviews, and a well researched selection of âLab approvedâ items. Most of the Lab's employees are working djs / producers / musicians, which helps to ensure this high standard.
The business model was an immediate success, establishing rapid growth and a dedicated customer base. Turntable Lab soon applied their business model to other areas including recorded music, production equipment, clothing, and books. Each expansion has been met with success, and today Turntable Lab is a recognized tastemaker in all those areas.
To bring the Turntable Lab experience directly to consumers, Turntable Lab opened its first retail location in 2001. In December of 2005, Turntable opened its flagship store in Hollywood, California. Currently the Turntable Lab headquarters is located in Brooklyn, New York.
131 Deep MetaphysicsBlog MySpace de | Deep Metaphysics
Is "real" the thought of it âŠ or just in the mindless being of existence?
Why think if you can just "be"?
And in "being" âŠ why bother?
121 www.setaou.net - RĂ©alisations - YAG: Yet Another Gallery for jQuery
95 Help & Advice
The Horsforth Physiotherapy and Sports Injury Clinic offers a range of physiotherapy treatments for both sports injuries and general musculoskeletal conditions. Also available are chiropody,podiatry,acupuncture, Chinese acupressure and nutritional advice. Both sports and traditional massage are offered and rehabilitation programmes for recovery after both general and sports related injuries are a speciality. The proprietor, Pam Smith has consulted for 11 Olympic, Commonwealth,European and World championship teams.
PhysioWorld,physiotherapy,physiotherapist,physiotherapists,osteopath,osteopathy,chiropody,chiropodist,podiatry,acupuncture,nutrition,nutrition advice,Chinese acupressure,sports injury,sports injuries,fitness training,rehabilitation,back pain,back injury,spinal pain,back injuries,anatomy,physiology,massage,Horsforth,Leeds,West Yorkshire,professional physiotherapy,sports physiotherapy,general physiotherapy,sports physiotherapists,PhysioFirst,The Organisation of Chartered Physiotherapists in Private Practice,lower back pain,azbycx
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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