100SILEX, de 0 à 100 s: part
1517 THE MUTANT MACHINE Dynamic Analog Percussion Engine
MICROCONTROLLER FREE ANALOG PERCUSSION SYNTHESIS unique Inverter Core oscillators form the MEMBRANE. Each analog oscillator has three waveforms to select from capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion the SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility 13 control voltage and audio inputs, for a fully modular drum experience 7 audio and CV/gate outputs for maximum integration with other modules dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion WAVEFORM SCANNING FEATURE GENERATES COMPLEX TIMBRES the MEMBRANE’s waveforms can be scanned through automatically by the wavescanner’s voltage controlled clock generator, or an external clock or VCO can be used SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output the ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal ARCHITECTURE OF THE MACHINE The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis. The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture. The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created. Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machine’s core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.
http://www.hexinverter.net/mutant-machine

1469 RADIO KNOBS (knobs.htm)
radio knobs, old vintage radios, antique radios, Play Things Of Past
http://www.oldradioparts.com/knobs.htm

1408 » Cut simple SMT Stencil from common aluminum flashing on your CNC Animodule.com
Cut simple SMT Stencil from common aluminum flashing on your CNC Here’s a quick photodoc of how I made a reusable SMT stencil from some aluminum siding I had laying around. It’s 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 didn’t have much to lose if it didn’t 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.
http://www.animodule.com/diy-2/cut-simple-smt-stencil-from-common-aluminum-flashing-on-your-cnc/

1399 Les pneus d une voiture protĂšgent de la foudre - Tatoufaux.com
Réfléchissons un pneu ! Quand l orage gronde fortement dehors et qu on est à l abri dans sa voiture, il existe une idée reçue qui rassure ses occupants et se répand de pÚre en fils disant que les pneus du véhicule protégeraient le conducteur et ses passagers de la foudre. En réalité, c est ce qui est au-dessus des pneus qui fait toute la différence. Car un véhicule complÚtement fermé en métal est sûr du moment qu on ne touche pas aux parties métalliques (...) orage , foudre , voiture
http://www.tatoufaux.com/?Les-pneus-d-une-voiture-protegent

1393 Top 25 Fantastic Soviet Buildings | English Russia
Interesting news from Russia in English language. Russia, Moscow, Russian news, Moscow news, Russian newspaper, daily news, independent news, reliable news, USSR, Soviet Union, CIS, Russian politics, Russian business, Russian culture, Russian opinion, St Petersburg, Saint Petersburg, oligarch, Kremlin, Berezovsky, Khodorkovsky, Abramovich, Putin, Yeltsin, Kursk, KGB, FSB, russia, news, russia news, finance, business, weather, sports, map of russia, newspapers, vladimir putin, prime minister, russia, russian, putin, government, post, journal, pravda, moscow times, rosbalt news agency, soccer, russes, spartak, lokomotiv, torpedo, cska, hockey, russia map, hotels, airlines, travel, government, soviet, union, russian, foreign currency rates, russian ruble, ruble, russia, news, russian news, russia journal, journal, latest news, russia weather, russia politics, russia daily news, norasco, russia journal news network, russia international, russia economy, russia business, russia moscow putin hotels flights visa to russia moscow st.petersburg translation business in russia, real estate russia, hotels russia, dating russia, brides russia
http://englishrussia.com/2013/11/19/top-25-fantastic-soviet-buildings/

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 2 comments: Simon said... 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 Simon said... 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
http://retrosynthads.blogspot.fr/2011/08/sound-master-memory-rhythm-sr-88.html

1327 dictionnaire céline
L objectif de ce travail est de restituer l ensemble des usages de la langue de CĂ©line Ă  partir de son lexique. Il a Ă©galement pour but de tisser un rĂ©seau de rĂ©ferences en matiĂšre de critique cĂ©linienne quand celle-ci s interroge sur la langue. La prĂ©sente version ce projet n en est qu Ă  son dĂ©but. Elle sera complĂ©tĂ©e le plus rĂ©guliĂšrement possible. BientĂŽt, un moteur de recherche permettra d accĂ©der directement Ă  la dĂ©finition d un mot et Ă  ses occurrences. Ce travail part du principe selon lequel on ne peut comprendre l oeuvre de CĂ©line que si l on se penche sur les notions les plus Ă©videntes de la lecture, Ă  savoir la comprĂ©hension des mots qui forment une syntaxe elle-mĂȘme particuliĂšre, au service d un style qui souvent manie l ellipse et le sous-entendu. Cette dimension de la lecture, Ă©vidente pour beaucoup, l est moins pour ceux qui parlent une langue maternelle autre que le français. C est essentiellement Ă  eux qu est destinĂ© ce dictionnaire qui regroupe l ensemble des nĂ©ologismes et des termes argotiques les moins connus aujourd hui. Je me rĂ©fĂšre, chaque fois que possible, Ă  l Ă©dition de la PlĂ©iade, qui comprend Ă  ce jour quatre volumes (on annonce un cinquiĂšme de correspondance pour dans quelques annĂ©es). Il est bien entendu que le Vocabulaire populaire et argotique de Catherine ROUAYRENC de chaque volume, quoique lacunaire, constitue la rĂ©fĂ©rence principale. Toute reprise est indiquĂ©e comme telle. Autre ouvrage utile : le Dictionnaire du français non conventionnel paru chez Larousse, et dont Alain Rey est l un des rĂ©dacteurs. Un travail systĂ©matique permettra, d ici quelque temps, de multiplier les rĂ©fĂ©rences aux Ă©tudes dĂ©jĂ  publiĂ©es (notamment celles de A. Juilland, de l UniversitĂ© de Stanford). a b c d e f g h i j k l m n o p q r s t u v x y z a> [accueil] [ateliers] [culture Ă  cluj] [lectorat] [Ă©crivez-nous] A ABIBOCHER (S ) vb. pron. NĂ©ologisme formĂ© Ă  partir de rabibocher (rĂ©concilier quelqu’un avec quelqu’un d’autre). Signifie dont se lier d amitiĂ©. Le glossaire de la PlĂ©iade indique qu en emploi transitif, veut dire Ă©galement mettre en Ă©tat . ‘Se mettre bien avec la mort, qu’elle leur fasse pas de mal Ă  eux, leur cher ‘eux’, le moment venu
 leur moment
 s’abibocher avec elle !
’ FI, 11. Ça m abiboche pour La Villette. PlĂ©iade IV, App. II, 616. * ABÎMER vb. tr. D aprĂšs le glossaire de la PlĂ©iade IV, maltraiter quelqu un en paroles. Il m a abĂźmĂ©, hein ? Jules ? FII, 183. * ACHARNERIE n. f. NĂ©ologisme Ă  partir de acharnement. Une acharnerie d intempĂ©rie! rarissime! F1, 17.
http://duclos.tripod.com/Dictiona.htm

1322 Hard Soft Synth 3 There are some HSS3s for sale in my shop.scripts:- HSS3S01V...
Hard Soft Synth 3 There are some HSS3s for sale in my shop. scripts: - HSS3S01V38 (HSS3a, HSS3b, HSS3c) - HSS3S02V20 (only audio and optimized for the HSS3f) - HSS3S02V21 (HSS3g) - HSS3S02V33 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e) - HSS3S03V23 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e) - HSS3S03V29 (works with HSS3j, HSS3i, HSS3g, and probably also HSS3e) midi lib: - Midi.zip modding: - Modding a HSS3? files: - HSS3i030_etch_bottom.pdf - HSS3i030_etch_top.pdf kit: - assembling instructions - the parts bibliography: - credits gijs gieskes, instruments, circuitbending, music, visula equipment, 1-bit, 4-bit, 8-bit, 16-bit, gameboymusic, lsdj, nanoloop, sequencer, drumcomputer, tr-707, casio, roland, nintendo, sega
http://gieskes.nl/instruments/?file=hard-soft-synth-3

1282 Lotus Notes/Domino - Tools and utilities for Administrators and Users.
VirtualObjectives provides IT consulting services for Microsoft SQL Server administration, Tools and utilities for Windows environments, and Lotus Notes/Domino databases/utilities for system administrators. virtual,objectives,lotus,notes,domino,database,utility,utilities,program,application,free,freeware,windows,development,john buoro,notes.ini,notesini,killnotes,stopnotes,moontool,log analyser,log analyzer,analyser,analyzer,sendsmtp,mail box cleaner,notesrepair,repair notes,repair lotus notes,repair,compact,desktop,workspace,desktop6.ndk,error code,text formatting,text tools,csv,col2csv,col2tab,csv2tab,tab2csv,csv2html,html2csv,csv2xml,xml2csv,epolicy,policy,netware quota,user registration,id store,partcopy,stopnotes,killnotes,recover,password,mame,frontend,mamerunner,emulator,partcopy,sql server,clean drive pro,clean drive,dts,dts package,sql,sql server,script,rconsole
http://www.virtualobjectives.com.au/notesdomino/notesdomino-index.htm

1265 théorie du complot
Nouvel Ordre Mondial - Alliance spirituelle contre la subversion mondialiste. Forum d'Ă©veil des consciences par le partage des connaissances et l'esprit de sol
http://novusordoseclorum.discutforum.com/f1-nouvel-ordre-mondial

1247 Les commandes dos de Windows
Panneau de configuration * ACCESS.CPL : ouvre les options d'accessibilitĂ© (Pour XP uniquement) * APPWIZ.CPL : ouvre l'outil Ajouter/Supprimer un programme * AZMAN.MSC : ouvre le gestionnaire d'autorisations (Pour Vista uniquement) * CERTMGR.MSC : ouvre les certificats pour l’utilisateur actuel * CLICONFG : ouvre la configuration des clients SQL * COLLAB.CPL : ouvre le voisinage immĂ©diat (Pour Vista uniquement) * COMEXP.MSC ou bien DCOMCNFG : ouvre l'outil services et composants (Pour Vista uniquement) * COMPMGMT.MSC : ouvre l'outil de gestion de l'ordinateur * COMPUTERDEFAULTS : ouvrir l’outil des programmes par dĂ©faut (Pour Vista uniquement) * CONTROL /NAME MICROSOFT.BACKUPANDRESTORECENTER : ouvre le centre de sauvegarde et de restauration (Pour Vista uniquement). Tutoriel ICI * CONTROL ADMINTOOLS : ouvre les outils d'administrations * CONTROL COLOR : ouvre les paramĂštres de l'apparence * CONTROL FOLDERS : ouvre les options de dossiers * CONTROL FONTS : ouvre le gestionnaire de polices * CONTROL INTERNATIONAL ou bien INTL.CPL : ouvre les options rĂ©gionales et linguistiques * CONTROL KEYBOARD : ouvre les propriĂ©tĂ©s du clavier * CONTROL MOUSE ou bien MAIN.CPL : ouvre les propriĂ©tĂ©s de la souris * CONTROL PRINTERS : ouvre les imprimantes et les fax disponibles * CONTROL USERPASSWORDS : ouvre l’éditeur des comptes utilisateurs * CONTROL USERPASSWORDS2 ou bien NETPLWIZ : contrĂŽle les utilisateurs et leurs accĂšs< * CONTROL : ouvre le panneau de configuration * CREDWIZ : ouvre l’outil de sauvegarde et restauration des mots de passe des utilisateurs (Pour Vista uniquement) * DESK.CPL : ouvre les paramĂštres d'affichage * DEVMGMT.MSC : ouvre les gestionnaire de pĂ©riphĂ©riques. Tutoriel ICI * DRWTSN32 : ouvre Dr. Watson (Pour XP uniquement) * DXDIAG : ouvre l'outil de diagnostic DirectX * EVENTVWR ou bien EVENTVWR.MSC : ouvre l'observateur d'Ă©vĂšnements * FSMGMT.MSC : ouvre les dossiers partagĂ©s * GPEDIT.MSC : ouvre l’éditeur des stratĂ©gies de groupe (Pour les Ă©ditions professionnelles et plus de Windows) * HDWWIZ.CPL : ouvre l'assistant ajout de matĂ©riels * INFOCARDCPL.CPL : ouvre l'assistant compatibilitĂ© des programmes * IRPROPS.CPL : ouvre le gestionnaire d'infrarouge * ISCSICPL : ouvre l'outil de configuration de l'initiateur ISCI Microsoft (Pour Vista uniquement) * JOY.CPL : ouvre l'outil de contrĂŽleur de jeu * LPKSETUP : ouvre l’assistant d’installation et dĂ©sinstallation des langues d’affichage (Pour Vista uniquement) * LUSRMGR.MSC : ouvre l’éditeur des utilisateurs et groupes locaux * MDSCHED : ouvre l'outil de diagnostics de la mĂ©moire Windows (Pour Vista uniquement) * MMC : ouvre une nouvelle console vide * MMSYS.CPL : ouvre les paramĂštres de sons * MOBSYNC : ouvre le centre de synchronisation * MSCONFIG : ouvre l'outil de configuration du systĂšme * NAPCLCFG.MSC : ouvre l'outil de configuration du client NAP (Pour Vista uniquement) * NTMSMGR.MSC : ouvre le gestionnaire des supports de stockage amovibles * NTMSOPRQ.MSC : ouvre les demandes de l'opĂ©rateur de stockage amovible * ODBCAD32 : ouvre l'administrateur de sources de donnĂ©es ODBC * OPTIONALFEATURES : ouvre l’outil Ajouter/Supprimer des composants Windows (Pour Vista uniquement) * PERFMON ou bien PERFMON.MSC : ouvre le moniteur de fiabilitĂ© et de performances Windows. * POWERCFG.CPL : ouvre le gestionnaire des modes d’alimentation (Pour Vista uniquement) * REGEDIT ou bien REGEDT32 (Pour Vista uniquement) : ouvre l'Ă©diteur de registre * REKEYWIZ : ouvre le gestionnaire des certificats de chiffrement de fichiers (Pour Vista uniquement) * RSOP.MSC : ouvre le jeu de stratĂ©gie rĂ©sultant * SECPOL.MSC : ouvre les paramĂštres de sĂ©curitĂ©s locales * SERVICES.MSC : ouvre le gestionnaire de services * SLUI : ouvre l’assistant d’activation de Windows (Pour Vista uniquement) * SYSDM.CPL : ouvre les propriĂ©tĂ©s systĂšme * SYSEDIT : ouvre l’éditeur de configuration systĂšme (Attention, Ă  manipuler avec prudence) * SYSKEY : ouvre l’utilitaire de protection de la base de donnĂ©es des comptes Windows (Attention, Ă  manipuler avec extrĂȘme prudence !) * SYSPREP: ouvre le dossier contenant l'outil de prĂ©paration du systĂšme (Pour Vista uniquement) * TABLETPC.CPL : ouvre les paramĂštres pour Tablet pc (Pour Vista uniquement) * TASKSCHD.MSC ou bien CONTROL SCHEDTASKS : ouvre le planificateur de tĂąches (Pour Vista uniquement) * TELEPHON.CPL : ouvre l'outil de connexion tĂ©lĂ©phonique * TIMEDATE.CPL : ouvre les paramĂštres de l'heure et de la date * TPM.MSC : ouvre l'outil gestion de module de plateforme sĂ©curisĂ©e sur l'ordinateur local (Pour Vista uniquement) * UTILMAN : ouvre les options d’ergonomie (Pour Vista uniquement) * VERIFIER : ouvre le gestionnaire de vĂ©rification des pilotes * WMIMGMT.MSC : ouvre Windows Management Infrastructure * WSCUI.CPL : ouvre le centre de sĂ©curitĂ© Windows * WUAUCPL.CPL : ouvre le service de mise Ă  jour Windows (Pour XP uniquement) Programmes et outils Windows * %WINDIR%\SYSTEM32\RESTORE\RSTRUI.EXE : ouvre l’outil de restauration de systĂšme (Pour XP uniquement). Tutoriel ICI * CALC : ouvre la calculatrice * CHARMAP : ouvre la table des caractĂšres * CLIPBRD : ouvre le presse papier (Pour XP uniquement, pour l'ajouter Ă  Vista voir ICI) * CMD : ouvre l'invite de commandes * DIALER : ouvre le numĂ©rateur tĂ©lĂ©phonique de Windows * DVDPLAY : ouvre votre lecteur DVD * EUDCEDIT : ouvre l’éditeur de caractĂšres privĂ©s * EXPLORER : ouvre l'explorateur Windows * FSQUIRT : Assistant transfert Bluetooth * IEXPLORE : ouvre Internet explorer * IEXPRESS : ouvre l’assistant de crĂ©ation des archives auto-extractibles. Tutoriel ICI * JOURNAL : ouvre un nouveau journal (Pour Vista uniquement) * MAGNIFY : ouvre la loupe * MBLCTR : ouvre le centre de mobilitĂ© de Windows (Pour Vista uniquement) * MIGWIZ : ouvre l'outil de transfert de fichiers et de paramĂštres Windows (Pour Vista uniquement) * MIGWIZ.EXE : ouvre l'outil de transfert de fichiers et de paramĂštres Windows (pour XP uniquement) * MOVIEMK : ouvre Windows Movie Maker * MRT : lance l’utilitaire de suppression de logiciel malveillant. Tutoriel ICI * MSDT : ouvre l’outil de diagnostics et support Microsoft * MSINFO32 : ouvre les informations systĂšme * MSPAINT : ouvre Paint * MSRA : ouvre l'assistance Ă  distance Windows * MSTSC : ouvre l'outil de connexion du bureau a distance * NOTEPAD : ouvre le bloc-notes * OSK : ouvre le clavier visuel. Tutoriel ICI * PRINTBRMUI : ouvre l'assistant de migration d'imprimante (Vista uniquement) * RSTRUI : ouvre l'outil de restauration du systĂšme (Pour Vista uniquement) * SIDEBAR : ouvre le volet Windows (Pour Vista uniquement) * SIGVERIF : ouvre l'outil de vĂ©rification des signatures de fichiers * SNDVOL : ouvre le mĂ©langeur de volume * SNIPPINGTOOL : ouvre l'outil capture d'Ă©cran (Pour Vista uniquement). Tutoriel ICI * SOUNDRECORDER : ouvre le magnĂ©tophone * STIKYNOT : ouvre le pense-bĂȘte (Pour Vista uniquement) * TABTIP : ouvre le panneau de saisie Tablet PC (Pour Vista uniquement) * TASKMGR : ouvre le gestionnaire des tĂąches Windows * WAB : ouvre les contacts (Pour Vista uniquement) * WERCON : ouvre l'outil de rapports et de solutions aux problĂšmes (Pour Vista uniquement) * WINCAL : ouvre le calendrier Windows (Pour Vista uniquement) * WINCHAT : ouvre le logiciel Microsoft de chat en rĂ©seau (Pour Windows XP uniquement) * WINDOWSANYTIMEUPGRADE : permet la mise Ă  niveau de Windows Vista * WINVER : ouvre la fenĂȘtre pour connaĂźtre votre version Windows * WINWORD: ouvre Word (s'il est installĂ©) * WMPLAYER : ouvre le lecteur Windows Media * WRITE ou bien Wordpad : ouvre Wordpad Gestion des disques * CHKDSK : effectue une analyse de la partition prĂ©cisĂ©e dans les paramĂštres de la commande (Pour plus d’informations, tapez CHKDSK /? dans l’invite de commande CMD) * CLEANMGR : ouvre l'outil de nettoyage de disque * DEFRAG: DĂ©fragmente le disque dur (pour savoir comment utiliser, c'est ici ) * DFRG.MSC : ouvre l’outil de dĂ©fragmentation de disque * DISKMGMT.MSC : ouvre le gestionnaire de disques * DISKPART : ouvre l’outil de partitionnement (un peu lourd Ă  manipuler) Gestion des rĂ©seaux et Internet * CONTROL NETCONNECTIONS ou bien NCPA.CPL : ouvre les connexions rĂ©seau * FIREWALL.CPL : ouvre le pare-feu Windows * INETCPL.CPL : ouvre les propriĂ©tĂ©s internet * IPCONFIG : affiche les configurations des adresses IP sur l’ordinateur (Pour plus d’informations, tapez IPCONFIG /? dans l’invite de commande CMD) * NETSETUP.CPL : ouvre l’assistant configuration rĂ©seau (Pour XP uniquement) * WF.MSC : ouvre les fonctions avancĂ©es du pare-feu Windows (Pour Vista uniquement). Tutoriel ICI * À VOIR ÉGALEMENT : Commandes IP relatives aux rĂ©seaux sous Windows Commandes IP relatives aux rĂ©seaux sous Windows Il est parfois trĂšs utile de connaĂźtre les commandes IP, pour analyser voire configurer ses rĂ©seaux TCP/IP. Voici la liste de ces commandes Ă  utiliser dans une fenĂȘtre DOS : * Ping * Tracert * IpConfig * NetStat * Route * Arp * NbtStat * Telnet * Hostname * Ftp * NsLookUp * NetSh ------------------------------------------------------------------------------------------------------------------------------------------------ PING : Teste la connexion rĂ©seau avec une adresse IP distante ping -t [IP ou host] ping -l 1024 [IP ou host] * L’option -t permet de faire des pings en continu jusqu’à Ctrl-C. o Si vous avez prĂ©cisĂ© l'option -t vous pouvez Ă  tout moment avoir des statistiques sans interrompre les requĂȘtes ping en appuyant sur Ctrl+Attn (aussi nommĂ© Ctrl+Pause) Cette commande est aussi utile pour gĂ©nĂ©rer une charge rĂ©seau en spĂ©cifiant la taille du paquet avec l’option -l et la taille du paquet en octets. --------------------------------------------------------------------------------------------------------------------------------------------------- TRACERT : Affiche toutes les adresses IP intermĂ©diaires par lesquelles passe un paquet entre la machine locale et l’adresse IP spĂ©cifiĂ©e. tracert [@IP ou nom du host] tracert -d [@IP ou nom du host] Cette commande est utile si la commande ping ne donne pas de rĂ©ponse, afin d'Ă©tablir Ă  quel niveau la connexion est dĂ©faillante. -------------------------------------------------------------------------------------------------------------------------------------------------------------- IPCONFIG : Affiche ou rafraĂźchit la configuration rĂ©seau TCP/IP ipconfig /all [/release [carte]] [/renew [carte]] /flushdns /displaydns /registerdns [-a] [-a] [-a] Cette commande, exĂ©cutĂ©e sans option, affiche l’adresse IP en cours, le masque rĂ©seau ainsi que la passerelle par dĂ©faut au niveau des interfaces rĂ©seau connues sur la machine locale. * /all: Affiche toute la configuration rĂ©seau, y compris les serveurs DNS, WINS, bail DHCP, etc ... * /renew [carte]: Renouvelle la configuration DHCP de toutes les cartes (si aucune carte n'est spĂ©cifiĂ©e) ou d'une carte spĂ©cifique avec le paramĂštre carte. Le nom de carte est celui qui apparaĂźt avec ipconfig sans paramĂštre. * /release [carte]: Envoie un message DHCPRELEASE au serveur DHCP pour libĂ©rer la configuration DHCP actuelle et annuler la configuration d'adresse IP de toutes les cartes (si aucune carte n'est spĂ©cifiĂ©e) ou d'une carte spĂ©cifique avec paramĂštre carte. Ce paramĂštre dĂ©sactive TCP/IP pour les cartes configurĂ©es de maniĂšre Ă  obtenir automatiquement une adresse IP. * /flushdns: Vide et rĂ©initialise le cache de rĂ©solution du client DNS. Cette option est utile pour exclure les entrĂ©es de caches nĂ©gatives ainsi que toutes les autres entrĂ©es ajoutĂ©es de façon dynamique. * /displaydns: Affiche le cache de rĂ©solution du client DNS, qui inclut les entrĂ©es prĂ©chargĂ©es Ă  partir du fichier des hĂŽtes locaux ainsi que tous les enregistrements de ressources rĂ©cemment obtenus pour les requĂȘtes de noms rĂ©solues par l'ordinateur. Le service Client DNS utilise ces informations pour rĂ©soudre rapidement les noms frĂ©quemment sollicitĂ©s, avant d'interroger ses serveurs DNS configurĂ©s. * /registerdns: Actualise tous les baux DHCP et rĂ©inscrit les noms DNS. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ NETSTAT : Affiche l’état de la pile TCP/IP sur la machine locale NETSTAT [-a] [-e] [-n] [-s] [-p proto] [-r] [intervalle] * -a Affiche toutes les connexions et ports d'Ă©coute (Les connexions cĂŽtĂ© serveur sont normalement inhibĂ©es). * -e Affiche les statistiques Ethernet. Peut ĂȘtre combinĂ©e avec l'option -s. * -n Affiche les adresses et les numĂ©ros de port sous forme numĂ©rique. * -p proto Affiche les connexions pour le protocole spĂ©cifiĂ© par proto; proto peut ĂȘtre TCP ou UDP. UtilisĂ© avec l'option -s pour afficher des statistiques par protocole, proto peut ĂȘtre TCP, UDP, ou IP. * -r Affiche le contenu de la table de routage. * -s Affiche les statistiques par protocole. Par dĂ©faut, des statistiques sur TCP, UDP et IP sont visualisĂ©es; l'option -p peut ĂȘtre utilisĂ©e pour spĂ©cifier un sous-ensemble du dĂ©faut. * intervalle: RĂ©affiche les statistiques sĂ©lectionnĂ©es, avec une pause de "intervalle" secondes entre chaque affichage. Appuyez sur Ctrl+C pour arrĂȘter l'affichage des statistiques. * -abnov Affiche les processus qui utilisent la connexion internet (Adresse IP local, port, adress IP distante et le PID du processus qui utilise la connexion ainsi que son nom). ------------------------------------------------------------------------------------------------------------------------------------------------------------------- ROUTE : Affiche ou modifie la table de routage ROUTE [-f] [commande [destination] [MASK masque rĂ©seau] [passerelle] * -f Efface les tables de routage de toutes les entrĂ©es de passerelles. UtilisĂ© conjointement Ă  une des commandes, les tables sont effacĂ©es avant l'exĂ©cution de la commande. * -p Rend rĂ©manente l’entrĂ©e dans la table aprĂšs le reboot de la machine * commande SpĂ©cifie une des quatre commandes : o DELETE: Efface un itinĂ©raire. o PRINT: Affiche un itinĂ©raire. o ADD: Ajoute un itinĂ©raire. o CHANGE: Modifie un itinĂ©raire existant. * destination: SpĂ©cifie l'hĂŽte. * MASK: Si le mot clĂ© MASK est prĂ©sent, le paramĂštre suivant est interprĂ©tĂ© comme le paramĂštre masque rĂ©seau. * masque rĂ©seau: Fourni, il spĂ©cifie la valeur de masque de sous-rĂ©seau Ă  associer Ă  cette entrĂ©e d'itinĂ©raire. Non spĂ©cifiĂ©, il prend la valeur par dĂ©faut 255.255.255.255. * passerelle: SpĂ©cifie la passerelle. * METRIC: SpĂ©cifie le coĂ»t mĂ©trique pour la destination ---------------------------------------------------------------------------------------------------------------------------------------------------------------------- ARP : RĂ©solution des adresses IP en adresses MAC. Affiche et modifie les tables de traduction des adresses IP en adresses physiques utilisĂ©es par le protocole de rĂ©solution d'adresses ARP. ARP -s adr_inet adr_eth [adr_if] ARP -d adr_inet [adr_if] ARP -a [adr_inet] [-N adr_if] * -a Affiche les entrĂ©es ARP actives en interrogeant le protocole de donnĂ©es actif. Si adr_inet est spĂ©cifiĂ©, seules les adresses IP et physiques de l'ordinateur spĂ©cifiĂ© sont affichĂ©es. Si plus d'une interface rĂ©seau utilise ARP, les entrĂ©es de chaque table ARP sont affichĂ©es. * -g Identique Ă  -a. * adr_inet SpĂ©cifie une adresse internet. * -N adr_if Affiche les entrĂ©es ARP pour l'interface rĂ©seau spĂ©cifiĂ©e par adr_if. * -d Efface l'hĂŽte spĂ©cifiĂ© par adr_inet. * -s Ajoute l'hĂŽte et associe l'adresse Internet adr_inet avec l'adresse physique adr_eth. L'adresse physique est donnĂ©e sous forme de 6 octets hexadĂ©cimaux sĂ©parĂ©s par des tirets. L'entrĂ©e est permanente. * adr_eth SpĂ©cifie une adresse physique. * adr_if PrĂ©cisĂ©e, elle spĂ©cifie l'adresse Internet de l'interface dont la table de traduction des adresses devrait ĂȘtre modifiĂ©e. Non prĂ©cisĂ©e, la premiĂšre interface applicable sera utilisĂ©e. --------------------------------------------------------------------------------------------------------------------------------------------------------------------- NBTSTAT : Mise Ă  jour du cache du fichier Lmhosts. Affiche les statistiques du protocole et les connexions TCP/IP actuelles utilisant NBT (NetBIOS sur TCP/IP). NBTSTAT [-a Nom Distant] [-A adresse IP] [-c] [-n] [-r] [-R] [-s] [S] [intervalle] * -a (Ă©tat carte) Liste la table de noms de la machine distante (nom connu). * -A (Ă©tat carte) Liste la table de noms de la machine distante (adresse IP). * -c (cache) Liste le cache de noms distants y compris les adresses IP. * -n (noms) Liste les noms NetBIOS locaux. * -r (rĂ©solus) Liste les noms rĂ©solus par diffusion et via WINS. * -R (Recharge) Purge et recharge la table du cache de noms distantes. * -S (Sessions) Liste la table de sessions avec les adresses destination IP. * -s (sessions) Liste la table de sessions convertissant les adresses de destination IP en noms d'hĂŽtes via le fichier hĂŽtes. Un Exemple : nbtstat -A @IP Cette commande renvoie le nom NetBIOS, nom du systĂšme, les utilisateurs connectĂ©s ...de la machine distante. -------------------------------------------------------------------------------------------------------------------------------------------------------------------- TELNET telnet telnet La commande telnet permet d'accĂ©der en mode Terminal (Ecran passif) Ă  un host distant. Elle permet Ă©galement de vĂ©rifier si un service quelconque TCP tourne sur un serveur distant en spĂ©cifiant aprĂšs l’adresse IP le numĂ©ro de port TCP. C’est ainsi que l’on peut tester si le service SMTP, par exemple, tourne sur un serveur Microsoft Exchange en utilisant l’adresse IP du connecteur SMTP et puis 25 comme numĂ©ro de port. Les ports les plus courants sont : * ftp (21), * telnet (23), * smtp (25), * www (80), * kerberos (88), * pop3 (110), * nntp (119) * et nbt (137-139). --------------------------------------------------------------------------------------------------------------------------------------------------------------------- HOSTNAME : Affiche le nom de la machine Ftp FTP: Client de tĂ©lĂ©chargement de fichiers ftp –s: * -s cette option permet de lancer des FTP en mode batch : spĂ©cifie un fichier textuel contenant les commandes FTP. --------------------------------------------------------------------------------------------------------------------------------------------------------------------- NsLookUp: envoie des requĂȘtes DNS sur un serveur DNS au choix nslookup [domaine] [serveur dns] La commande NsLookUp permet d'envoyer des requĂȘtes DNS Ă  un serveur. Par dĂ©faut, si vous ne mettez pas le serveur DNS, la commande utilisera celui qui est configurĂ© pour votre interface rĂ©seau (celui que vous utilisez pour naviguer sur internet, par exemple) mais vous pouvez forcer l'utilisation d'un autre serveur. Par exemple, pour demander au serveur DNS 10.0.0.3 l'adresse IP correspondante Ă  l'adresse www.commentcamarche.net: nslookup www.commentcamarche.net 10.0.0.3 * Si vous ne prĂ©cisez aucun paramĂštre pour nslookup, un shell s'ouvrira en attente de requĂȘtes de votre part. -------------------------------------------------------------------------------------------------------------------------------------------------------------------- Netsh (network shell : shell rĂ©seau) est un utilitaire en ligne de commande inclus dans la gamme des systĂšmes d'exploitation Windows NT (NT, 2000, XP, 2003 Serveur, Vista) Ă  partir de Windows 2000. Il permet la configuration du rĂ©seau, localement ou Ă  distance. Une utilisation classique de netsh est la rĂ©initialisation de la pile TCP/IP Ă  ses paramĂštres d'origines (Sous Windows 98, cette opĂ©ration nĂ©cessitait la rĂ©installation de l'adaptateur TCP/IP). Dans ce mode, vous devez fournir Ă  la commande un fichier journal (log). Celui-ci sera rempli avec les valeurs affectĂ©es par netsh. Netsh permet aussi (entre autres) de changer l'adresse IP de la machine. Exemples d'utilisations : - RĂ©initialisation de la pile TCP/IP : netsh interface ip reset C:\resetlog.txt - Adresse IP statique : netsh interface ip set address local static 123.123.123.123 255.255.255.0 - Adresse IP dynamique : netsh interface ip set address name="Connexion au rĂ©seau local" source=dhcp - Netsh et IPv6 : Netsh peut Ă©galement ĂȘtre utilisĂ© pour lire des informations provenant de la pile IPv6, cette commande est plus facile Ă  utiliser que la commande IPv6.exe et fournit quasiment le mĂȘme niveau d'information. Pour afficher votre adresse IPv6 en utilisant netsh : netsh interface ipv6 show address Autres commandes * %HOMEDRIVE% : ouvre l'explorateur sur la partition ou le systĂšme d'exploitation est installĂ© * %HOMEPATH% : ouvre le dossier d'utilisateur connectĂ© actuellement C:\Documents and settings\[nom d'utilisateur] * %PROGRAMFILES% : ouvre le dossier d’installation d’autres programmes (Program Files) * %TEMP% ou bien %TMP% : ouvre le dossier temporaire * %USERPROFILE% : ouvre le dossier du profil de l'utilisateur connectĂ© actuellement * %WINDIR% ou bien %SYSTEMROOT% : ouvre le dossier d’installation de Windows * %WINDIR%\system32\rundll32.exe shell32.dll,Control_RunDLL hotplug.dll : affiche la fenĂȘtre "Supprimer le pĂ©riphĂ©rique en toute sĂ©curitĂ©" * AC3FILTER.CPL : ouvre les propriĂ©tĂ©s du filtre AC3 (Si installĂ©) * FIREFOX : lance Mozilla FireFox (Si installĂ©) * JAVAWS : Visualise le cache du logiciel JAVA (Si installĂ©) * LOGOFF : ferme la session actuelle * NETPROJ : autorise ou pas la connexion Ă  un projecteur rĂ©seau (Pour Vista uniquement) * VĂ©rificateur des fichiers systĂšme (NĂ©cessite un CD de Windows si le cache n’est pas disponible): (Tutoriel ICI) o SFC /SCANNOW : scanne immĂ©diatement tous les fichiers systĂšme et rĂ©pare les fichiers endommagĂ©s o SFC /VERIFYONLY : scanne seulement les fichiers systĂšme o SFC /SCANFILE="nom et chemin de fichier" : scanne le fichier prĂ©cisĂ©, et le rĂ©pare s’il est endommagĂ© o SFC /VERIFYFILE="nom et chemin de fichier" : scanne seulement le fichier prĂ©cisĂ© o SFC /SCANONCE : scanne les fichiers systĂšme au prochain redĂ©marrage o SFC /REVERT : remet la configuration initiale (Pour plus d’informations, tapez SFC /? dans l’invite de commande CMD. * SHUTDOWN : Ă©teint Windows * SHUTDOWN –A : interrompe l’arrĂȘt de Windows * VSP1CLN : supprime le cache d'installation du service pack 1 de Vista (Tutoriel ICI) CrĂ©er votre propre commande Pour ceux qui aiment tout faire avec le clavier, il est possible de crĂ©er vos propres commandes exĂ©cutables dans Menu dĂ©marrer > ExĂ©cuter. Nous allons prendre l'exemple de la commande netnavig qui exĂ©cutera Mozilla FireFox. * Ouvrez la base de registre. * Allez vers la clĂ© HKEY_LOCAL_MACHINE puis les sous-clĂ©s successives \SOFTWARE\Microsoft\Windows\CurrentVersion\App Paths * Allez dans le menu Édition > Nouveau > ClĂ© et donnez-lui le nom netnavig.exe * Faites un double-clic sur la valeur que vous venez de crĂ©er, puis allez de nouveau dans le menu Édition > Nouveau > Valeur ChaĂźne et donnez-lui le nom Path * Faites encore un double-clic sur la valeur crĂ©Ă©e et entrez le chemin complet de l'application que vous voudrez lancer, dans notre exemple c'est C:\Program Files\Mozilla Firefox, puis validez. Il est possible de copier ce chemin Ă  partir de la barre d'adresse de l'explorateur directement. * Un autre double-clic sur la valeur (par dĂ©faut) et entrez l'exĂ©cutable de l'application avec son chemin complet : C:\Program Files\Mozilla Firefox\firefox, dans notre exemple. Ensuite, validez et fermez l'Ă©diteur de registre. Ainsi vous pouvez exĂ©cuter Mozilla Firefox juste en faisant: Menu dĂ©marrer > ExĂ©cuter > taper netnavig et valider. Vous pouvez faire la mĂȘme chose pour toutes les applications auxquelles vous voulez un accĂšs rapide avec le clavier.
http://www.artup-concept.com/commandes-dos-de-windows.html

1236 Chapelier Fou présente "Protest" : une fiction musicale / a musical fiction — KissKissBankBank
KissKissBankBank est une plateforme de financement participatif dĂƒÂƒĂ‚Â©diĂƒÂƒĂ‚Â©e aux projets crĂƒÂƒĂ‚Â©atifs et innovants !
http://www.kisskissbankbank.com/fr/projects/protest-une-fiction-musicale-a-musical-fiction

1220 Accessoires - Bagues d'adaptation - Optique - red Dot Photo Video
Cette catégorie regroupe toutes les bagues d'adaptation qui peuvent être requises pour pouvoir adapter vos objectifs avec des matériels disposant de montures différentes. En particulier, l'adaptation des optiques photo sur un caméscope nécessite un bague spécifique.
http://www.reddotphotovideo.com/77-bagues-d-adaptation

1201 Jean-Louis MURAT - Le blog de Guy Forgeois
Nous faisions partie de la mÃÂȘme mouvance rock dans les années 80 à Clermont-Ferrand. Il était déjà flagrant que son groupe Clara sortait du lot et avait un truc en plus que le commun des groupesñ€© Hébergé par OverBlog
http://forgeois-roughman.over-blog.com/pages/JeanLouis_MURAT-996724.html

1189 polaroid impossible
Flickr est certainement le meilleur service de gestion et de partage de photos en ligne au monde. Exposez vos photos préférées au monde entier. Partagez, en toute sécurité et en toute confidentialité, vos photos à vos amis et à votre famille. Et publiez les photos de votre mobile sur un blog.
http://www.flickr.com/groups/polapremium/discuss/

1184 Safecast X Kickstarter Geiger Counter by Sean Bonner — Kickstarter
Sean Bonner is raising funds for Safecast X Kickstarter Geiger Counter on Kickstarter! Safecast launched a year ago thanks in part to Kickstarter. We're making an awesome limited edition geiger counter to say thanks!
http://www.kickstarter.com/projects/seanbonner/safecast-x-kickstarter-geiger-counter

1167 How to Solder an SMD LED | eHow.com
How to Solder an SMD LED. The small size of the SMD (Surface Mount Device) component and the confined workspace of the PCB (Printed Circuit Board) are the challenging parts of SMD soldering. The best approach is to obtain the proper equipment and to plan out the process, before you actually begin. Working with an LED (Light Emitting Diode) is no...
http://www.ehow.com/how_7502674_solder-smd-led.html

1146 Glaucus atlanticus
Glaucus atlanticus, parfois appelĂ© glaucus atlantique ou francisĂ© en glauque dans les Ă©crits anciens, est une petite espĂšce de nudibranche de la famille des GlaucidĂ©s. C'est un mollusque gastĂ©ropode dĂ©crit comme Ă©lĂ©gant par ses formes et ses couleurs, mĂȘlant le blanc et le gris perle Ă  diffĂ©rents tons de bleu. Il vit dans toutes les eaux tempĂ©rĂ©es ou tropicales, oĂč il flotte Ă  la surface des eaux parmi le pleuston, la face ventrale tournĂ©e vers la surface. Il se nourrit principalement d'hydrozoaires dont il tire son pouvoir urticant, y compris pour l'Homme, en conservant certains nĂ©matocystes. Glaucus atlanticus est hermaphrodite et pond des chapelets d'Ɠufs laissĂ©s Ă  la dĂ©rive ou fixĂ©s sur les cadavres des proies des adultes. Au cours du XIXe siĂšcle, plusieurs grands naturalistes, pour une bonne part français, l'ont dĂ©crit Ă  plusieurs reprises, en dĂ©signant par de nombreux noms scientifiques diffĂ©rents chacune des formes, mais les Ă©tudes plus rĂ©centes ont conclu Ă  la synonymie de l'ensemble de ces noms. G. atlanticus est trĂšs proche de Glaucus marginatus, l'unique autre espĂšce du genre Glaucus et de la famille — dans l'acception la plus stricte de cette derniĂšre — et qui Ă©tait autrefois placĂ©e dans un genre monotypique sĂ©parĂ©, Glaucilla.
http://fr.wikipedia.org/wiki/Glaucus_atlanticus

1133 Shutterdown Blog: General Archives
Meeting: Pittsburgh Modular By Antisa on September 30, 2011 12:37 AM | No Comments Tonight we got to play in the basement studio of Pittsburgh's very own modular synth Stradivari - tucked away on unassuming Pocusset Street in Squirrel Hill. Headed by local Richard Nicol, Pittsburgh Modular is fast becoming a contender in the world market of modular synthesizers - supplying analog enthusiasts in the US, Europe and Australia (and possibly elsewhere, but I got too distracted by the beautiful glowing oscillators)... Interest in Pittsburgh Modular is picking up speed - and it's no wonder. The modules are as pretty as they are solidly built. Nicol, who now shares design and manufacturing duties with Thomas O'Connor (Australia) and Scott Swartz (USA), had moved away from producing electronic sounds digitally, in part, because analog is more fun. "The key to modular synthesis is that its captivatingly fun," he says. "After playing with it for 5 minutes, you get sucked into its world... and the next thing you know, you've created something new."
http://shutterdownmusic.com/a/archive/general/

1132 Mammoth Modular Synthesizer At MIT Museum
Just got an update from Joe Paradiso on his homebuilt mammoth analog modular synthesizer. He’s 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 you’re in the neighborhood. Here’s 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 you’re inclined – it’s running in physical space in Quad, of course – stereo on the stream. Note that this one has absolutely NO sequencer of any sort on it – all of the patterns you hear were made entirely from hand-patched logic (counters, ands, ors, flip flops, ring counters, rate multipliers, etc.). It’s an entirely different kind of composition environment from the norm – 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 – if you don’t 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 wouldn’t 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 can’t 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 – check out the photos here and here – the latter shows the kind of logic section patching complexity you need to build a sonic environment like this one. I’m ripping this baby out next Thursday, as I’ll be at the museum next Thursday and Friday (2/23 and 2/24) at 1pm to demonstrate the synthesizer to visitors – 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 – there are moments of introspective drift in-between wild percussion (yes, Boredoms!). I might pull the percussion line back so it doesn’t come so often or regularly, but it’s essentially a wrap.
http://synth.media.mit.edu/

1122 Disk Wiping - One Pass is Enough - Part 2 (this time with screenshots) | Anti-Forensics
Demonstration of what happens to data with a single pass wipe using EnCase, WinHex and the HDD Wipe tool. disk wiping, erase data, erase hard drive, encase, winhex, magnetic force microscopy
http://www.anti-forensics.com/disk-wiping-one-pass-is-enough-part-2-this-time-with-screenshots

1110 Miniatures : un album sur Flickr
Flickr est certainement le meilleur service de gestion et de partage de photos en ligne au monde. Exposez vos photos prĂƒÂƒĂ‚Â©fĂƒÂƒĂ‚Â©rĂƒÂƒĂ‚Â©es au monde entier. Partagez, en toute sĂƒÂƒĂ‚Â©curitĂƒÂƒĂ‚Â© et en toute confidentialitĂƒÂƒĂ‚Â©, vos photos à vos amis et à votre famille. Et publiez les photos de votre mobile sur un blog.
http://www.flickr.com/photos/danmcp/sets/72157594294355299/with/416065792/

1103 NC10 LCD HARNESS BA39-00766A [BA39-00766A] - notebookrepair.co.uk
NC10 LCD HARNESS BA39-00766A This is the most common part to fail on this netbook.
http://notebookrepair.co.uk/product_info.php?cPath=420_1624&products_id=9394&osCsid=35034c1d9d7903d3719a385f810907e9

1093 Disk Wiping - One Pass is Enough - Part 2 (this time with screenshots) | Anti-Forensics
Demonstration of what happens to data with a single pass wipe using EnCase, WinHex and the HDD Wipe tool. disk wiping, erase data, erase hard drive, encase, winhex, magnetic force microscopy
http://www.anti-forensics.com/disk-wiping-one-pass-is-enough-part-2-this-time-with-screenshots

1084 Erthenvar Products
Eurorack Modules: Erthenvar: Patch Chord PulpLogic: Exit Strategy PulpLogic: Entry Point Eurorack Power: freelunch: -12 to +5V Eurorack Regulator Ribbon Cable (16 to 16) Eurorack DIY Parts: PJ-301B Vertical Mount Jack with Hex Nut Vector T-Strut Rail: Cut To Length Square Rail Nut
http://www.erthenvar.com/products.html

1071 Musiques Incongrues - Mutantswing Radio : de nouveaux copains on dirait !
http://www.mixcloud.com/mutantswing/mutantswing-radio-1-fail-part-2/#utm_source=redirect&utm_medium=shorturl&utm_campaign=cloudcast Torgny & Happy Joe 1 Curt Lazers Saxparty Buy 2 Curt Lazers Kurtz Buy 3 Torgny & Happy Joe 4 Gangpol & Mit Effet Kazoo Buy 5 Aelters Idworldnite Buy 6 The Bran Flakes Hey Wont Somebody Come And Play Buy 7 Neros Day At Disneyland Untitled Buy 8 Torgny & Happy Joe 9 Shit On The Pitt Hallou Torso Buy 10 Roger Species Donkey Says Hello Buy 11 Silverlink Drunk Girls Buy 12 Torgny & Happy Joe 13 Wevie Stonder Egg-Nition Buy 14 Roger Species Fuck Off Buy 15 Los Kinkos Girls To Watch Music By Buy 16 Dan Deacon I Have musiques incongrues, da ! heard it records, the brain, egotwister
http://www.musiques-incongrues.net/forum/discussion/4759/mutantswing-radio-de-nouveaux-copains-on-dirait-/#Item_1

1058 x0x:rareparts [AdaWiki]
x0x,rareparts xoxbox
http://www.ladyada.net/wiki/x0x/rareparts

1057 x0xb0x Build Manual - Parts list
XoXBOX
http://www.ladyada.net/make/x0xb0x/fab/parts.html

1055 View topic - *** All x0xb0x 'Rare' Parts with 2SA733(AP)'s $55 *** ‱ adafruit industries ‱ Customer Support Forums, DIY Electronics, Open Source Hardware, Arduino

http://forums.adafruit.com/viewtopic.php?f=29&t=5526&start=120

1046 La musique dans la Gaule antique
Dans la Gaule antique, la musique faisait partie de la vie quotidienne, tant pour les cérémonies publiques que privées. CONTEXTES MUSICAUX Vie quotidienne : Dur
http://druuidiacto.forumculture.net/t135-la-musique-dans-la-gaule-antique

1011 Atomic Synth Inspired By Buchla, Future Retro Revolution » 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 Sequencer: 16 step sequencer in a circular design with 3 rows: seminotes, velocity and gate. 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 LFO’s and step modulators to control external vst’s or hardware. Synth: 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 rate. Comprehensive mod matrix. Effects 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.
http://www.synthtopia.com/content/2008/04/15/atomic-synth-inspired-by-buchla-future-retro-revolution/

1009 Digital Watch Library
Website for Vintage Digital watch Enthusiasts, featuring vintage watches, manuals and information about digital watches from 1970 to 1995 manufacturers include Alba, Armitron, Casio, Citizen, Ingersoll, Innovative Time, JuVintage pico, Kessel, national semiconductor, NOVUS, OMEGA, Pular, Sanyo, Seiko, Solarwa, Sunrex, TA Partner, TAG HEUER, TEXAS INSTRUMENTS, TIMEX, Trafalgar, Yema, Zeon at ttime of writing the meta tags I will add new content all the time. Hope you enjoy the site
http://www.digitalwatchlibrary.com/

1004 MIDISTATION - ANALOG, VINTAGE OUTBOARD, SAMPLER
synth parts
http://www.crazyanalog.com/index.html

1003 goth in green | Flickr : partage de photos !
Lady Amaranth by Ara Maye gothic, goth, ladyamaranth, photographie, photos, photo
http://www.flickr.com/photos/lady_amaranth/3237456430/in/photostream

993 Bach MIDI Files - Download for free :: MIDIWORLD.COM
Biography | Recommended Recordings | Books and Printed Music MIDI Files 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] Air Allemande in Amin [BWV.835] Brandenburg Concerto No. 2. 1st. Movement 2nd. Movement 3rd. Movement Brandenburg Concerto No. 3. Brandenburg Concerto No. 4. 1st. Movement 2nd. Movement 3rd. Movement Brandenburg Concerto No. 5. Brandenburg Concerto No. 6. - David Siu, M.D. 1st. Movement 2nd. Movement 3rd. Movement Cantatas 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 Allegro Adagio Allegro 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] Goldberg Variations Goldberg Variations Italian Air with Variations [BWV 989] Italian Concerto [BWV 971] Italian Concerto - 1st movement Jesu Joy of Man’s Desiring Little Fugue in G minor Mass in Bmin. - David Siu, M.D. Kyrie Eleison Christe Eleison Kyrie Eleison Gloria Laudamus te Gratias agimus tibi Domine Deus Qui tolis Qui sedes Quoniam Cum sancto Credo in unum Deum Patrem omnipotentem Et in unum Et incarnatus & Crucifixus Et resurrexit Et in spiritum Confiteor Sanctus Osanna Benedictus Agnus Dei 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] Scherzo [BWV.844] Sheep May Safely Graze St. Matthew Passion [BWV 244] Bass Aria "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 "Können 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 Adagio Fugue Siciliano Presto Partita No. 1 in B minor for Solo Violin [BWV 1002] - David J. Grossman Allemande Double(Allemande) Courante Double: Presto (Courante) Sarabande Double (Sarabande) Tempo di Borea Double (Tempo di Borea) Sonata No. 2 in A minor for Solo Violin [BWV 1003] - David J. Grossman Grave Fugue Andante Allegro Partita No. 2 in D minor for Solo Violin [BWV 1004] - David J. Grossman Allemande Courante Sarabande Gigue Chaconne Sonata No. 3 in C major for Solo Violin [BWV 1005] - David J. Grossman Adagio Fugue Largo Allegro assai Partita No. 3 in E major for Solo Violin [BWV 1006] - David J. Grossman Prelude Loure Gavotte en Rondeau Menuet I/II Bouree Gigue Suite No. 1 in G major for Solo Cello [BWV 1007] - David J. Grossman Prelude Allemande Courante Sarabande Menuet I/II Gigue Suite No. 2 in D minor for Solo Cello [BWV 1008] - David J. Grossman Prelude Allemande Courante Sarabande Menuet I/II Gigue Suite No. 3 in C major for Solo Cello [BWV 1009] - David J. Grossman Prelude Allemande Courante Sarabande Bouree I/II Gigue Suite No. 4 in Eb major for Solo Cello [BWV 1010] - David J. Grossman Prelude Allemande Courante Sarabande Bouree I/II Gigue Suite No. 5 in C minor for Solo Cello [BWV 1011] - David J. Grossman Prelude Allemande Courante Sarabande Gavotte I/II Gigue Suite No. 6 in D major for Solo Cello [BWV 1012] - David J. Grossman Prelude Allemande Courante Sarabande Gavotte Gigue Sonata - BWV 1032 (Arr. for recorder and harpsichord) Michael Beckenkamp Vivace Largo e dolce Allegro Suite No.3 in D, BWV.1068 Air Gigue 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 Vivace Lento Allegro Triosonata for 2 flutes, harpsichord and continuo - Eduardo Moreno Adagio Allegro ma non presto Adagio 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 Prelude II Prelude XII Fugue XII
http://midiworld.com/bach.htm

989 Blog de Hugues Truttmann: Entretien d'embauche et intelligence émotionnelle : la méthode I.D.E.A.L.
Entretien d'embauche et intelligence Ă©motionnelle : la mĂ©thode I.D.E.A.L. Pour un candidat, quelle est la diffĂ©rence entre un entretien d’embauche rĂ©ussi et un entretien d’embauche ratĂ© ? Partons de l’hypothĂšse que 2 candidats de formation et d’expĂ©rience Ă©quivalente passent un entretien pour un mĂȘme poste. Tous les 2 ont eu un entretien avec le mĂȘme recruteur. Pour le premier, le recruteur donne une suite favorable, pour le 2Ăšme, cela n’ira malheureusement pas plus loin, le candidat Ă©tait dans un mauvais jour certainement... Ayant fait passer des entretiens Ă  des centaines de candidats, j’ai constatĂ© que j’ai systĂ©matiquement donnĂ© une suite favorable Ă  ceux qui ont rĂ©ussi Ă  me faire “passer Ă  l’action”, c’est-Ă  dire qu’ils ont suscitĂ© chez moi l’intĂ©rĂȘt, puis le dĂ©sir qui m’a motivĂ© Ă  parler positivement et avec enthousiasme de leur candidature Ă  mes clients. Le candidat qui rĂ©ussit est donc celui qui est capable de transfĂ©rer de la sincĂ©ritĂ©, de l’intĂ©rĂȘt, de la motivation, de l’enthousiame ou toute autre Ă©motion positive. Le candidat qui rate a quant Ă  lui transfĂ©rĂ© des Ă©motions nĂ©gatives (dĂ©sintĂ©rĂȘt, peur, tristesse, ennui, etc...). Une Ă©motion positive fait passer Ă  l’action, une Ă©motion nĂ©gative, jamais. RĂ©ussir un entretien consiste donc Ă  utiliser efficacement son intelligence Ă©motionnelle. Voici une dĂ©finition de l’intelligence Ă©motionnelle : “HabiletĂ© Ă  percevoir et Ă  exprimer les Ă©motions, Ă  les intĂ©grer pour faciliter la pensĂ©e, Ă  comprendre et Ă  raisonner avec les Ă©motions, ainsi qu’à rĂ©guler les Ă©motions chez soi et chez les autres.” Une des composante de cette forme d’intelligence est l’empathie qui est la “capacitĂ© Ă  partager les Ă©motions avec autrui, sans confusion entre soi et l’autre”. Comment activer son intelligence Ă©motionnelle et motiver un recruteur ? En appliquant la mĂ©thode I.D.E.A.L : Cette mĂ©thode n’est pas une technique, mais plutĂŽt une attitude Ă  adopter. Avant chaque entretien dites - vous ceci et APPLIQUEZ - LE ! I Decide to act with Empathy by Asking questions and Listening Soit “Je dĂ©cide d’agir avec empathie en posant des questions et en Ă©coutant” Poser des questions (sincĂšres et honnĂȘtes) permet de garder le contrĂŽle d’un entretien, Ă©couter (sans faire semblant) permet de diriger une conversation et de montrer que l’on s’intĂ©resse Ă  son interlocuteur. Le meilleur des candidats n’est pas celui qui parle le plus, mais celui qui saura vĂ©hiculer une bonne Ă©nergie et des Ă©motions positives dans ses paroles et son attitude. Motiver un recruteur ne consiste pas Ă  savoir se vendre en faisant l’étalage de tous les avantages que l’on peut avoir. Ne faites pas comme ce (mauvais) vendeur de voiture qui vous prĂ©sente toutes les caractĂ©ristiques et superbes options d’une voiture SAUF celle qui va vous faire passer Ă  l’action, c’est - Ă  - dire vous engager en signant un bon de commande ! Posez donc LA question que jamais personne ne pose, mais qui vous fera obligatoirement ressortir du lot : Candidat : “Monsieur le Recruteur, pour ce poste, pourriez-vous me dĂ©crire quel est selon vous le candidat IDEAL ?” > ECOUTE Recruteur : “Pour ce poste le candidat IDEAL doit avoir les qualitĂ©s suivantes :” QualitĂ© A QualitĂ© B QualitĂ© C Etc... Candidat : “De toutes ces qualitĂ©s, quelle est selon vous LA PLUS IMPORTANTE ?" > ECOUTE Recruteur : “Sans AUCUN DOUTE, la qualitĂ© B” Candidat : “J’ai la qualitĂ© B, parce que (prouvez par des FAITS, expĂ©rience, formation, vĂ©cu) et d’autre part j’ai Ă©galement la qualitĂ© A, parce que...... et la qualitĂ© C, parce que...... > PASSAGE A L’ACTION Candidat : “Monsieur le Recruteur, dans ce cas, comment pouvons - nous envisager la suite des Ă©vĂšnements ? Testez, c’est puissant et cela fonctionne !
http://truttmann.blogspot.com/2011/02/entretien-dembauche-et-intelligence.html

986 Arduino Blog » Blog Archive » CHEAP, FAT and OPEN
synth Jacob Remin, at CIID will present on August 27th, his Arduino-compatible sound synth. There are many projects out there aiming musicians that use Arduino’s IDE as a programming platform, but Jacob’s wins them all when it comes to the PCB’s shape. Take a look at the picture here and explore his thesis’ blog for more information and videos where he shows the system at its full power. (c) 2009 Cheap, Fat, and Open by J. Remin As for today he hasn’t published the videos using the final PCB, yet. However you can get a sneak preview to how it will be to play with it at the prototype he hand-wired using bits and pieces from a Stylophone, an LCD, some buttons, and other parts.
http://arduino.cc/blog/2009/08/25/cheap-fat-and-open/

972 cowon iaudio X5 [topic unique]
pourquoi les balladeurs cowon sont biens ?et le X5 en particulier... -son irrĂ©prochable et puissant (trop pour la lĂ©gislation francaise d'ailleurs, il peut dĂ©passer les 100db, evidemment avec un casque c'est trĂšs mauvais entre les mains de crĂ©tins qui le poussent Ă  fond, mais avec des petites enceintes non-amplifiĂ©es ca peut ĂȘtre utile ) -pas cher du tout par rapport au matos -veritablement UMS et mĂȘme usb on the go -coque entiĂšrement en alu, et design sympa je trouve, qui donne une bonne impression de "plein" -autaunomie! surtout les modĂšles L en quoi ca vaut le coup un L chez cowon? ca sert simplement Ă  passer de 14 heures non-stop Ă  35! -radio FM intĂ©grĂ©e -enregistreur numĂ©rique/dictaphone intĂ©grĂ© -egaliser 5 bandes personalisables, et effets psychoacoustiques -un ecran TFT de qualitĂ© , pas trĂšs grand (160x128), mais il permet un bon bonus, lire des videos, pour de vrai! le X5 n'est pas un video player, (et cowon sort un video player bientĂŽt alors ca aurait pas Ă©tĂ© dans leur intĂ©rĂȘt ) mais pour le mĂȘme prix voire moins cher qu'un sur-populaire ipod, ca peut ĂȘtre sympa quand mĂȘme -capacitĂ© de 20, 30, et bientĂŽt 60Go ; et des modĂšles 30L (alors que les M3L par exemple sont limitĂ©s Ă  20Go) et attention le meilleur sur la fin, support OGG, MP3, WMA,ASF et mĂȘme FLAC, ce qui est dĂ©jĂ  plus rare,ainsi que JPEG et MPEG4!, mais il ne supporte pas les DRM avec le firmware actuel je crois (quelqu'un confirme?) mais Ă©tant assez puissant pour lire des videos, le support de codecs variĂ©s n'est donc limitĂ© que par le firmware en accessoire, -la telecommande la plus complĂšte qui existe sur un player MP3 (la mĂȘme qu'avec un M3 simplement) -une station dock (cradle) -une houssette iaudio sympathique donc pour moi , c'est un balladeur ultime, d'un fabricant corĂ©en encore mĂ©connu des masses, mais jugez par vous mĂȘme la critique unanime: LES REVIEWS >>>prise en main par spaceturtle<<<, avec photos et tĂ©lĂ©commande, ici mĂȘme! http://forum.hardware.fr/forum2.ph [...] w=0&nojs=0 akihabara news (plein de photos) http://www.akihabaranews.com/revue_48.html ZDnet http://www.zdnet.fr/produits/mater [...] m?tab=test generationMP3 http://www.generationmp3.com/forum [...] ntry242882 et encore http://www.generationmp3.com/forum [...] 22069.html DAPreview (in english) http://www.dapreview.net/content.php?review.201 200 photos dans la gallerie iaudiophile (in english) http://www.iaudiophile.net/content.php?review.24.0 bon test avec benchs et tout mp3.com (in english) http://www.mp3.com/tech/players_31447897_review.php sondage X5 vs Ipod, mais qui gagne donc? et de combien? http://reviews.cnet.com/4520-3000_7-6245404.html les commentaires des ipodiens sont hilarants ("si je voulais des fonctions qui servent Ă  rien et 2 heures d'autonomie j'acheterai un archos!" )
http://forum.hardware.fr/hfr/VideoSon/Materiel/unique-iaudio-x5-sujet_85395_132.htm

967 Anarchestra: www.anarchestra.net
Anarchestra is a group of exerimental musical instruments and the people who play them. The instruments, built by Alex Ferris, are predominantly steel with a few adapted parts, such as tuning machines and mouthpieces. The instruments were built to encourage non-musicians to explore the making of sound, to allow experienced musicians to make sound unconstricted by their technical habits and preconceptions, and to provide an alternative vocabulary of musical sounds. Musical Instrument Construction,Musical Instrument Design,Experimental Musical Instruments,Experimental Music,New Music,New Musical Instruments,Avant-Garde Music,Improvisation,Collective Improvisation,Free Jazz,Anarchist Music,Anarchist composition,Anarchist Aesthetics,Aesthetics of music,Music theory,Alternative Music,Alternative Tuning,Steel Musical Instruments,Welded Musical Instruments,Punk,Noise,Noyz,21st century music,post-modern music
http://www.anarchestra.net/

966 Le COSMICCAGIBI d'Olivier BÉGUÉ !
Le COSMICCAGIBI d'Olivier Bégué... Un passionné de musique électronique qui n'aime rien tant que de faire partager sa passion... La musique est un perpetuel mouvement, un incessant renouvellement. Depuis la nuit des temps et au delà de la fin de ce monde, les sons seront crées assemblés et mis "en suite" pour notre plus grand bonheur. La musicalité d'un son régénÚre nos souvenirs et c'est ce qui nous fait nous sentir puissants ou faibles suivant ceux retenus ou reconnus. DerniÚrement de nouvelles compositions sonores et musicales sont sorties à la vente et de nombreuses sont à venir. Plongez-vous dans l'univers attrayant de la musique électronique qui est en réalité une histoire sans fin... Cosmiccagibi, Olivier Bégué, musique électronique, musique planante, Klaus Schulze, Rubycon, Tangerine Dream, Manuel Göttsching, Ash Ra Tempel, Popop Vuh, Florian Fricke, Libourne, Dominique Roux, Pascal Lamon, Olivier Briand, Bertrand Loreau, Christian Richet, Nightbirds Hervé et Thierry Chausson, Jean-Christophe Allier, holophonie, Paul Caillot, musea, krautrock, rock allemand, Berlin School
http://www.cosmiccagibi.org/

946 docs synth
- 360 SYSTEMS DIGITAL KEYBOARD brochure / prix / pub 1983 - 360 SYSTEMS MIDI BASS user manual - ACCESS VIRUS catalogue été 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 numéra - 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 février 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 série banc essai sono (10D 15F, 20A) - AKAI ME série banc essai guitare claviers janvier 1986 (10D, 15F, 20A) - AKAI ME série 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 - AKAI S900 banc essai sono - AKAI S900 brochure (avril 1986) - AKAI S900 carte marion system - import numéra - AKAI S1000 banc essai sono - AKAI S1100 user manual - AKAI SG01P user manual - AKAI SG01V user manual - AKAI U4 phrase trainer brochure - AKAI VX90 brochure (avril 1986) - AKAI VX90 banc essai sono - AKAI XR 10 brochure - AKAI PEQ6 - MB76 banc essai sono - AKAI pub - AKAI catalogue gamme 86 - ARP AVATAR brochure publicitaire / modulaire façon 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 - BALDWIN 88 (KUSTOM) electronique piano brochure - BOHM digidrums banc essai disc international décembre 1983 - BOHM digidrums pub1 / pub2 - BOHM soundlab user manual - BOHM soundlab service manual - 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 série - BOSS banc essai sono sur 8 pédales - CASIO 401 banc essai claviers aout 1981 / pub fiche technique / - CASIO 701 pub janvier 1982 - CASIO 1000P pub 1983 - CASIO CZ101 pub - CASIO CZ1000 banc essai guitares claviers décembre 1985 - CASIO DH 100 user manual - CASIO DH 500 service manual - 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 - CASIO VZ1 banc essai disc international janvier 1989 - CASIO VZ1 pub disc international janvier 1989 - CASIO pub gamme 201 à 401/MT30&40 1981 - CASIO catalogue gamme COUVERTURES (cliquer pour agrandir) - DJET 004 banc essai disc international decembre 1979 - EXAGONE XM 64 banc essai disc international - EXAGONE 64 pub - REGGY synthétiseur de percussions banc essai sono - CHEETAH pub distribution music land - CHEETAH MS6 user manual - CREAMWARE B4000 user manual - CREAMWARE MINIMAX user manual - CREAMWARE PRO12 user manual - CREAMWARE PRODYSSEY user manual - CREAMWARE MINMAX/PROFIT5 brochure - BIT99 user manual - BIT99 brochure - BIT99 pub / banc essai sono 01 - BIT99 / BIT01 banc essai sono 2 - 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 - CRUMAR MULTIMAN brochure - CRUMAR MULTIMAN schematics - CRUMAR MULTIMAN ORCHESTRATOR pub - CRUMAR PERFORMER service manual - CRUMAR série T pub - CRUMAR T3 banc essai claviers février 1982 - CRUMAR TRILOGY STRATUS pub CASIOTONE 202 CASIOTONE 301 MATTEL SYNSONICS DRUMS YAMAHA SY77 MP3 MP3 MP3 MP3 MP3 - POLYEVOLVER rack banc essai recording musicien septembre 2004 - DOEPFER MAQ 16/3 banc essai sono - DOEPFER MCV1-MCV8 user manual - DREAM SAM XR pub 1989 / banc essai disc international 1989 - DYNACORD ADS / ADS K brochure - DYNACORD DRS 78 banc essai sono - DYNACORD DC 200 leslie brochure / pub 1976 - DYNACORD EMINENT 100A user manual - DYNACORD EMINENT 100A service manual - DYNACORD SRV 66 vocoder user manual / schematics / MP3 demo - DYNACORD catalogue drum computer - SYNERGY banc essai sono - SYNERGY digital keyboards brochure - SYNERGY I & II+ test keyboard US COUVERTURES (cliquer pour agrandir) - ELECTRO HARMONIX DIGITAL LOOPING RECORDER 64 Sec - ELECTRO HARMONIX EH300 VOCODER manual / schematics - ELECTRO HARMONIX HARMONIC OCTAVE GENERATOR user manual - ELECTRO HARMONIX MICRO SYNTHESIZER user manual / schematics - ELECTRO HARMONIX 8 pédales 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 - ELKA MICROPIANO 16 brochure / pub 1983 - ELKA OMB5 pub - ELKA OMB3 C92 X35 user manual - ELKA SOLIST 505 pub 1978 - ELKA X50 banc essai claviers mars 1982 - ELKA X50/TWIN 51 pub - ELKA X50 & 61P banc essai sono janvier 1982 - ELKA pub gamme - EMS SYNTHI E banc essai sono - EMS SYNTHI AKS banc essai disc international juillet-aout 1977 - VCS 3 / AKS article keyboard US novembre 1990 - AKS / VCS3 / Keyboard DK1/KS brochure - EMS SYNTHI HI-FLI brochure - EMS SYNTHI HI-FLI tarifs février 1977 revendeurs Gamme - EMS VOCODER 2000 banc essai disc international mai 1979 - EMS tarifs gamme janvier 1976 electrone / piano center - 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 série F30 à F50 pub 1976 - GEM orgue gamme portable (rodéo 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 pédale effets 1981 pub - JEN caroussel C390 banc essai disc décembre 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 électrique banc essai claviers octobre 1981 - HH P73 pub disc international 1981 - HELPINSTILL piano électro-accoustique banc essai claviers 1981 - HELPINSTILL piano électro-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 mélodica catalogue Millet - HOHNER extrait gamme 1975 / 1977 - JMS CGX interface midi in cv/gate - import numéra - JMS midi master synchronizer - import numéra - 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 français - 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 série 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 décembre 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 synthétiseurs disc international décembre 1978 - KORG POLY 800 user manual francais / banc essai sono - KORG POLYSIX banc essai disc international aout 1982 - KORG PSS50 banc essai guitares claviers février 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 annotées d'Eric.G pour modularisation du X911 / voir son site - KORG catalogue gamme 1981 - KORG catalogue gamme 1982 - KORG article disc international arrivée série ms Francfort Synthesizer Bionic Orchestra - Francis rimbert Joop Stokkermans - The Magic of the ARP-Synthesizer MP3 - 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 polyséquenceur 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 séquenceur 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 Numéra 1985 / article retro family tree-future music OSCAR oxford - 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 numéra 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 décembre 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 été 1986 - DRUMTRACKS banc essai sono - DRUMTRACKS brochure - DRUMTRACKS banc essai guitare claviers (basse res) - PRO ONE banc essai claviers décembre 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 décembre 1981 - SOLTON live series pub 1988 - SOLTON ARRANGER PLUS pub 1987 - SOLTON MS40 user manual - SOLTON MS 50/60 user manual - SOLTON orgue synthé P500 C pub - STYLOPHONE DUBREQ user manual 1+ boite - STYLOPHONE DUBREQ user manual 2 + boite/vinyl - STYLOPHONE 350S PUB SYNTON - SYRINX banc essai sono - SYRINX patch sheet - SYRINX brochure - SYNTOVOX SPX216 extrait catalogue music land - SYNTOVOX 222 banc essai disc international décembre 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 février 1983 - YAMAHA série 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 Série 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 AMPLIFICATION - 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 Stéphane Bredel - LES CABINES LESLIE modÚles,achat, cablage, accessoires, entretien ECHO BANDES - LES CHAMBRES D'ECHO et REVERBERATION A BANDES mécanisme disc janvier 1976 - BANC ESSAI CHAMBRES ECHO à BANDES disc janvier 1976 VOCODER - 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 décembre 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 décembre 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 intégrale DIVERS MODULAIRE - EUROPAC rational/ SCHROFF catalogue DIVERS SYNTHE - Les synthétiseurs de A à Z sono (article en 2 parties) - Les synthétiseurs hifi stéréo septembre 1976 de E.Lemery - SynthÚse sonore 1Úre partie - SynthÚse sonore 2Úme partie - SynthÚse sonore 3Úme partie - SynthÚse sonore 4Úme 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 apprivoisé (claviers) - Le modulateur de J.P. Verpeaux (claviers) - 10 ans de synthétiseur J.Sanjuan Hifi stéréo 1978 - 2éme disco forum matériel tournée F.Rimbert/korg - History of electronic sound modification H.Bode - La synthÚse du son de E.Lemery - disc international novembre 1979 - Vangelis, victoire sur les vibrations - Alain dister - claviers mai 1981 - Onze nouveaux synthétiseurs mis en fiches - claviers mars 1982 - 120 years of electronic music - Les instruments de musique électronique (E.Lemery - hifi stéréo mai 1976) - Les principes de base piezo électricité, magnétisme et électrostatique (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 démonstrateur korg (au début...) - 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 décembre 1979 DIVERS ORGUES - ELEX gamme pub 1976 - GIBSON G101 user manual / service manual - GIBSON P2 service manual - KUSTOM ORGAN brochure - RIHA JUPITER 2 pub 1977 - RIHA gamme variété pub 1978 - RIHA ORCHESTRA pub 1979 - Evolution de l'orgue électronique disc international décembre 1978 - Répertoire midi : les orgues - MILTON les orgues pub disc international - L'orgue photoélectronique FOTOSONOR - Anatomie de l'orgue électronique Hifi Stéréo juin 1976 de E.Lemery DIVERS PEDALES EFFETS - ARIA pub gamme effets 1983 - DOD pub gamme effets 1979 - REDSON 7pédales effets banc essai sono janvier 1982 DIVERS EFFETS - 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 DIVERS ENREGISTREMENT - AKAI 4000 DS MKII user manual - AKAI 4000 DS brochure et banc essai hifi stéréo 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 DIVERS INCLASSABLE - DIGITAR CHARLIE LAB brochure - MARANTZ pianocorder brochure distribution hamm DIVERS BOUTIQUE / CATALOGUES / PRIX - SOMMAIRE SONO magazine du 1 au 95 - PHONORGAN pub DIVERS LIVRES - HISTOIRE DE LA MUSIQUE - Casterman - 1972 - CLAVIERS - Edts J.M.G - 1989 - LE MONDE DU POP ROCK - HATIER - 1977 - CATALOGUE Studio Robert Schroeder LIENS - User & service manual sur le site de pharmacon : http://www.cem3374.com/archive.htm - Les pubs sur :http://retrosynthads.blogspot.com/
http://www.studio250.fr/accueildocs.html

942 Buy obsolete, discontinued, hard-to-find, long lead time, components
Chip Sale - Electronic Component Sourcing. Buy obsolete, discontinued electronic components, hard to find ICs, and long lead time semiconductors buy, obsolete, electronic, ic, aircraft, military, avionic, nsn, national stock number, mil, spec, supplies, device, semiconductor, spares, part, stock, stocking distributor,
http://chip-sale.com/catalog9/cat/2982.php

938 Composant Ă©lectronique GoTronic : catalogue de composants Ă©lectroniques et appareils Ă©lectroniques
GoTronic, vente par correspondance de composants et appareils électroniques : accessoires tv vidéo, alarmes, télécommandes, appareils de mesure, audio, caméras, vidéosurveillance, commutateurs, connectique, fils et cùbles, livres techniques et CD-ROM's, micro-informatique, optoélectronique, refroidisseurs et ventilateurs, robotique, transformateurs, fusibles, accus Accessoire alarme, Accessoire téléphonique, accumulateur, accumulateur chargeur, accumulateur pile électrique, accus, accus batterie, accus chargeur, accus pile, accus rechargeable, Adaptateur secteur, Adhésif, Aérosol, Afficheur, Afficheur à leds, Afficheur alphanumérique, Afficheur de tableau, Afficheur lcd, Aide mémoire, Aimant, alarme, alarme anti intrusion, alarme domestique, alarme habitation, alarme intrusion, alarme maison, alarme sans fil, alarme vidéosurveillance, alarme voiture, Alimentation, alimentation 12 volts transformateur, alimentations, Ampli répartiteur, Amplificateur, Ampoule, Antenne, Antenne active, Appareil de mesure, appareil de mesure électronique, Appareil pour chien, Appareils de mesure, Argent conducteur, Audio, Aurel, Balance digitale, Balance numérique, Ballast, Bargraphe, Barrette de connexion, Barrette sécable, BarriÚre infrarouge, BarriÚre IR, Basic Stamp, batterie d'accumulateur, batterie électronique, Bloc laser, Bloc secteur, Boßte de connexion, Boßtier électronique, Boomer, Borne pour haut parleur, Bornier, Bornier à poussoir, Bornier pour haut parleur, Bouton, Bouton à blocage, Bouton compte tours, Bouton poussoir, Bouton-poussoir, Bracelet antistatique, Brosse antistatique, Brucelle, Buzzer, cùble, cùble coaxial, cùble et connectique, cùble et connectique audio vidéo, cùble peritel, Cadre pour afficheur, caméra, Caméra de recul, caméra de surveillance, caméra vidéo, caméra vidéosurveillance, CapacimÚtre, Capsule à ultrasons, capteur, Capteur à effet Hall, Capteur de courant, Capteur de gaz, Capteur de mesure de distance, capteur de niveau, capteur de pression, capteur de température, capteur robotique, Carillon sans fil, Casque audio, Casque multimédia, Casque stéréo, cellule optoélectronique, Cellule photorésistive, Cellule solaire, Chargeur, Chargeur accu, chargeur accus, Chùssis à insoler, Chien de garde électronique, ChronomÚtre, circuit électronique, Circuit epoxy, circuit imprimé, Circuit intégré, circuit intégré électronique, Circuit linéaire, Circuit logique, Clavier, Clavier alarme, Clixon, Coffret, Coffret électronique, Collier à sertir, Colliers anti-aboiement, Colliers de dressage, Colonnette, Commande à distance, Commutateur, Commutateur à clé, Commutateur quad, Commutateur rotatif, Commutateur vidéo, Composant, composant actif, composant actif passif, composant électronique, Composants HF, Composants opto, Condensateur, Condensateur céramique, Condensateur chimique, ondensateur de démarrage, Condensateur électrolytique, Condensateur polyester, Condensateur tantale, Connecteur BNC, Connecteur carte à puce, Connecteur cinch, connecteur circuit imprimé, Connecteur Din41612, Connecteur DIP, Connecteur étanche, Connecteur HE10, Connecteur HE14, Connecteur jack, Connecteur pour ci, Connecteur RCA, Connecteur secteur, Connecteur sub d, Connecteur SUB-D, Connecteur TV, Connecteur USB, Connecteur XLR, Connectique, connectique cùble, Contact magnétique, Convertisseur, Convertisseur audio vidéo usb, Convertisseur de tension, Cordon audio, Cordon BNC, Cordon de mesure, Cordon firewire, Cordon informatique, Cordon modular, Cordon null modem, Cordon spiralé, Cordon usb, Cordon vidéo, Cosse à sertir, Cosse faston, Coupleur de pile, DécibelmÚtre, Del, Détecteur de faux billets, Détecteur de gaz, Détecteur de mouvements, Détecteur de niveau, Détecteur de proximité, Détecteur filaire, Détecteur infrarouge, Digisat, Diode, Diode électroluminescente, diode et transistor, Diode infrarouge, Diode zéner, Dip-switch, disjoncteur et fusibles, Dissipateur, Douille pour halogÚne, Ecouteur, Ecran lcd, Ecran vidéo, Eeprom, électronique et robotique, Enceinte, Enceinte audio, Engrenage, Enregistreur vidéo, Entretoise, Eprom, équipement connecteurs électrique, Etain chimique, Etau, Extracteur de fumées, Fer à dessouder, Fer à souder, Fiche alimentation, Fiche banane, Fiche DIN, Fiche F, Fiche mini-Din, Fiche péritel, Fiche secteur, Fil émaillé, Filtre, Filtre audio, Fin de course, Foret carbure, Foret miniature, Foreuse, FréquencemÚtre, Frigo portable, Fusible, Gaine thermorétractable, Galet presseur, GalvanomÚtre, Générateur de fonction, Gradateur, Graisse molykote, Graisse pour vidéo, Graisse silicone, Graisse thermique, Graveuse, Grignoteuse, Grip-fil, Grippe fil, Harmonique, Haut parleur, Haut parleur étanche, Haut-parleur, Horloge, Humidistance, Inductance variable, Insoleuse, Instrument météo, Inter TV, Interface, Interface PC, Interphone, Interphone sans fil, Interphone vidéo, Interrupteur, Interrupteur à bille, Interrupteur à clé, Interrupteur infrarouge, Interrupteur opto, Interrupteur optoélectronique, Interrupteur secteur, Interrupteur TV, Inverseur, kit alarme, Kit audio, Kit didactique, kit électronique, Kit mécanique, Lampe, Lampe halogÚne, Lampe loupe, Lampe torche, Ldr, Lecteur de carte SIM, Led, Livre pour pc, Loupe, LuxmÚtre, Machine à graver, Machine à insoler, Mandrin à bobiner, matériel électronique, matériel optoélectronique, matériel vidéosurveillance, Mécanisme d'horloge, Mégaphone, Mémoire, Mesureur d'isolement, Micro, Micro électret, Micro multimédia, Microchip, MicrocontrÎleur, MicrocontrÎleur PIC, micro-informatique, Microrupteur, Modulateur, Modulateur audio vidéo, Module graphique, Module hybride, Module laser, Module lcd, Module Peltier, modules HF, Molykote, Moniteur, Moniteur couleur, Moniteur LCD, Moniteur noir et blanc, Moniteur vidéo, Montage didactique, Moteur, Moteur audio, Moteur pas-à-pas, Moto réducteur, MultimÚtre, Optocoupleur, Optoélectronique, Oscillateur à quartz, Oscilloscope, Outil de manipulation, Outillage, Outillage vidéo, Panne à souder, Parlophone, Perceuse, Perchlorure, Perchlorure de fer, Persultate, Persultate de sodium, Photodiode, Photorésistance, Phototransistor, Pied à coulisse, Pile, pile accus, pile électrique et accumulateur, pile et accumulateur, Pince, Pince à dénuder, Pince à sertir, Pince ampÚremétrique, Pince crocodile, Pistolet à colle, Plaque epoxy, Plaque thermoformable, Platine d'expérimentation, PluviomÚtre, Pointe de touche, Pointeur laser, Pompe à dessouder, Pont redresseur, Pont rlc, Portier vidéo, PotentiomÚtre, PotentiomÚtre multitours, Poulie miniature, Pré amplificateur, Pré-amplificateur, Prise anti-surtension, Programmateur, Programmateur de PIC, programmateur électronique, Projecteur halogÚne, Projecteur infrarouge, protection électrique fusibles, Réfrigérateur portable, Régulateur, Relais bistable, Relais miniature, Relais statique, Relais temporisé, Répartiteur mural, Répartiteur péritel, repartiteur tv antenne et accessoire, Résistance, Résistance carbone, Résistance cms, Résistance métal, Résonateur, Révélateur, Robot, Robotique, Rotacteur, roue codeuse, Roue dentée, Satfinder, Sation de dessoudage, Satmeter, Schéma, Scie à chantourner, Scie circulaire, sécurité alarme, Self, Semiconducteur, Semi-conducteur, Servo moteur, Servomoteur, SirÚne, Sonde de température, SonomÚtre, Spot halogÚne, Station de soudage, Station météo, Stylo conducteur, Stylo électronique, Subwoofer, Support, Support à insertion nulle, Support de caméra, Support de fer à souder, Support de relais, Support lyre, Support tulipe, systÚme alarme maison, systÚme d'alarme, systÚme d'alarme intrusion residentiel, Table de mixage, TachymÚtre, Talkie walkie, Tapis antistatique, Tapis de contact, Tapis de réparation, Télécommande, télécommande de télévision, télécommande infrarouge, télécommande radio, télécommande téléviseur, télécommande tv, Télécontrolli, TélémÚtre, Télérupteur, Télérupteur bipolaire, Temporisateur, Temporisation, temporisation type 86, Testeur de réseau, Testeur électronique, Testeur infrarouge, TÃÂȘte LNB, Thermistance, ThermomÚtre, Thermostat, THT, Thyristor, Tore, Tore de ferrite, Touche, Tranfo torique, Transducteur à ultrasons, Transducteur piézo, Transducteur piézoélectrique, Transfo moulé, Transfo THT, transformateur, transformateur 12v 220v, transformateur 12v 230 v, transformateur 12v 230v, transformateur 12v électricité, transformateur 220 12 volts, transformateur 220v en 12v, transformateur de tension, transformateur électrique, Transformateur FI, transformateur monophase, Transformateur moulé, Transformateur THT, Transformateur torique,
http://www.gotronic.fr/index.htm

933 L'intervention de mouammar Kadhafi - l'integrale, enfin presque, en 9 vidéos - Fred-Lille sur LePost.fr
La plupart, si ce n'est toutes, des chaßnes ont décroché avant la fin du discours. l'info en live, Mouammar Kadhafi, Libye, vidéo, Faits-divers
http://www.lepost.fr/article/2011/02/22/2414492_l-intervention-de-mouammar-kadhafi-l-integrale-enfin-presque-en-9-videos.html

925 Forum Holga, SX70, pinhole,polaroid... canette ou boite Ă  chaussures; tout le cheap est ici ~
Holg4.org ? Ami(e)s photographes, Bienvenue sur h0lg4.org, le portail francophone dĂ©diĂ© aux photographies cheap et aux appareils exotiques. Vous ĂȘtes un fĂ©ru de bidouillage photographique ou un parfait dĂ©butant ? Holga est votre prĂ©nom prĂ©fĂ©rĂ© ? Vous voulez savoir comment prendre des photos avec une simple boĂźte de conserve ? Vous souhaitez expĂ©rimenter des modes photographiques diffĂ©rents, ou tout simplement visualiser ce qu'on obtient avec des appareils cheap ? Vous en pincez pour Diana ? Vous souhaitez partager vos impressions et vos expressions photographiques ? Devenez membre du forum en vous inscrivant, participez aux Ă©changes et crĂ©ez votre propre galerie en ligne. Armez votre bonne humeur, rĂ©glez votre curiositĂ© sur la plus grande ouverture, et dĂ©clenchez !!! Clic, clic, clic !!! Derniers articles € MĂ©thode de DĂ©veloppement C41 avec le kit digibase de Rollei. € DĂ©veloppement au HC-110 de la FP4 exposĂ©e en-dessous de sa sensibitĂ© € DĂ©velopper les films couleurs Ă  la maison (chimie C41) € Agat 18 € Great Wall DF Les derniĂšres interventions » Pavillon d'Aveyron ou une semaine chez mami » HĂŽtel 4 Ă©toiles » Symphonie en UT 18 ... » La boite de bonbon ... » Youkfou a sa flĂȘche... » Les accords d'LĂ©on » Exposition aux Baux de Provence » La grange » Ces inconnus. » apĂ©ro Hitchcockien
http://h0lg4.org/

919 Passion Carré
J'ai depuis toujours une attirance certaine pour les coupes au carrĂ©, passion que je partage avec mon Ă©pouse qui se prĂȘte au jeu pour mon plus grand plaisir. Je souhaite au travers de ce blog vous proposer des idĂ©es, des modĂšles de coiffures, partager des coups de coeur, et vous donner envie pourquoi pas, d'aller voir votre coiffeur. N'hĂ©sitez pas Ă  me faire parvenir vos clichĂ©s 'Avant / AprĂšs' afin que je puisse les publier en respectant au mieux votre vie privĂ©e bien entendu. Bonne visite.
http://www.passioncarre.net/

916 HughLeCaine.com - Bonjour
Biographie On a qualifiĂ© le scientifique et compositeur canadien Hugh Le Caine (1914-1977) de "hĂ©ros" de la musique Ă©lectronique. Il a grandi Ă  Port Arthur (maintenant Thunder Bay) dans le nord-ouest de l'Ontario. TrĂšs tĂŽt, il a commencĂ© Ă  construire des instruments de musique et Ă  expĂ©rimenter avec des appareils Ă©lectroniques. Dans sa jeunesse, il imaginait des "sonoritĂ©s merveilleuses" qu'il pensait pouvoir rĂ©aliser Ă  l'aide de nouvelles inventions Ă©lectroniques. Hugh Le Caine travaillant dans le laboratoire de physique de l'UniversitĂ© Queen Ă  Kingston en Ontario, en 1938 AprĂšs l'obtention de son diplĂŽme de maĂźtrise en science Ă  l'UniversitĂ© Queen en 1939, il s'est joint au Conseil national de recherche du Canada (CNRC) Ă  Ottawa. Il a travaillĂ© au dĂ©veloppement des premiers systĂšmes de radar et en physique atomique, se distinguant comme scientifique et publiant d'importants articles dans ces domaines. Chez lui, il poursuivait ses recherches en musique Ă©lectronique et en gĂ©nĂ©ration de son. Il a montĂ© son studio personnel en 1945 oĂč il a dĂ©butĂ© son travail indĂ©pendant sur la conception d'instruments de musique Ă©lectroniques tels que la sacqueboute Ă©lectronique, un instrument monophonique trĂšs Ă©laborĂ© qui est maintenant reconnu comme le premier synthĂ©tiseur contrĂŽlĂ© par tension. Par la suite, Le Caine a dĂ©veloppĂ© des systĂšmes de contrĂŽle par tension pour une grande variĂ©tĂ© d'applications. En 1948, Le Caine est parti en Angleterre pour quatre ans oĂč il a fait des Ă©tudes en physique, poursuivant son travail en musique Ă©lectronique Ă  son retour au Canada. GrĂące aux dĂ©monstrations publiques de ses instruments, il a obtenu la permission de dĂ©placer ses activitĂ©s musicales au CNRC et de s'y consacrer Ă  plein temps en 1954. Pendant les vingt annĂ©es qui ont suivi, il a construit plus de vingt-deux nouveaux instruments diffĂ©rents. Il a collaborĂ© au dĂ©veloppement de deux des premiers studios de musique Ă©lectronique Ă  l'UniversitĂ© de Toronto (inaugurĂ© en 1959) et Ă  l'UniversitĂ© McGill Ă  MontrĂ©al (inaugurĂ© en 1964). Le laboratoire de Le Caine au CNRC a fourni pratiquement Ă  lui seul l'Ă©quipement pour ces deux premiers studios. Les composantes de la saqueboute ont Ă©tĂ© sĂ©parĂ©es en unitĂ©s indĂ©pendantes - ou modules - permettant au compositeurs de leur assigner une tĂąche spĂ©cifique au sein d'un ensemble. Le Caine a enseignĂ© aux deux universitĂ©s et a influencĂ© toute une gĂ©nĂ©ration de compositeurs de musique Ă©lectroacoustique. Ses nombreux articles et dĂ©monstrations personnelles ont eu un effet catalyseur dans la communautĂ© canadienne et internationale. Il a exercĂ© une influence indirecte sur le dĂ©veloppement du synthĂ©tiseur modulaire Moog par l'entremise de Gustav Ciamaga, qui Ă©tait familier avec les filtres de Le Caine et qui a par la suite encouragĂ© Robert Moog Ă  dĂ©velopper son filtre passe-bas contrĂŽlĂ© par tension. Un des aspects les plus importants des instruments de Le Caine est sans doute leur efficacitĂ© pour la performance, leur maniabilitĂ©. Son obsession pour le "beau son" l'a conduit Ă  concevoir des instruments capables de produire un jeu expressif nuancĂ© caractĂ©ristique de la tradition orchestrale. Il avait un sens aigu des besoins de l'interprĂšte afin que celui-ci puisse exĂ©cuter les gestes qui, selon Le Caine, constituent l'essence de la musique. À cet Ă©gard, la sensibilitĂ© au toucher a Ă©tĂ© un Ă©lĂ©ment essentiel et a Ă©tĂ© utilisĂ©e pour les claviers, les mixeurs et autres composantes, sous des formes d'application mĂ©canique, Ă©lectronique et au moyen de la sensibilitĂ© Ă  la lumiĂšre. Sur ce point, les conceptions de Le Caine Ă©taient tellement avancĂ©es que certaines des possibilitĂ©s qu'il a dĂ©veloppĂ©es n'ont connu d'application commerciale que dans les annĂ©es 1980. IdĂ©alement, un instrument de musique devrait offrir de bonnes qualitĂ©s sonores et une certaine flexibilitĂ© dans son contrĂŽle. Or ces deux objectifs ne sont pas toujours compatibles. Les instruments traditionnels exigent habituellement une longue formation avant que l'interprĂšte puisse tirer parti de leurs qualitĂ©s musicales. Dans la conception de ses instruments Ă©lectroniques, Le Caine a tentĂ© de mettre l'accent sur la maniabilitĂ© de l'instrument sans compromettre l'intĂ©gritĂ© de la musique. Chacune de ses crĂ©ations est une Ă©tude unique sur l'Ă©quilibre et le raffinement. Sur le CD, HUGH LE CAINE, COMPOSITIONS, DOMONSTRATIONS 1946-1974, nous pouvons entendre les enregistrements rĂ©alisĂ©s par Le Caine, oĂč il explore et fait la dĂ©monstration des possibilitĂ©s qu'offrent huit de ses instruments. Dripsody, sa composition de 1955 construite Ă  partir du son d'une seule goutte d'eau, compte encore parmi les exemples les plus jouĂ©s de musique concrĂšte. MalgrĂ© l'accueil favorable que ses compositions ont Ă  juste titre connu, Le Caine a conservĂ© une attitude critique Ă  leur Ă©gard : "Je ne me considĂ©rais pas comme un compositeur. Toutefois, j'ai senti que la seule façon de comprendre l'intĂ©rĂȘt du compositeur pour un instrument Ă©tait de l'utiliser moi-mĂȘme dans les diffĂ©rentes formes musicales actuelles." Son humour dĂ©prĂ©ciateur Ă  l'Ă©gard de lui-mĂȘme est Ă©vident dans certains des titres qu'il a donnĂ©s Ă  ses compositions, tel que A Noisome Pestilence (le titre est un calembours : l'anglais "noisome" signifie rĂ©pugnant ou fĂ©tide, mais suggĂšre Ă©galement "noise" qui signifie bruit, d'oĂč la traduction adoptĂ©e, "Une peste bruyante"). Lorsqu'on lui a demandĂ© pourquoi il avait nommĂ© sa premiĂšre composition Dripsody, il a rĂ©pondu : "Parce qu'elle a Ă©tĂ© Ă©crite par une goutte."
http://www.hughlecaine.com/fr/

910 Electronics Plus - Hard to find parts and accessories, available and ready to ship!

http://www.electronicplus.com/search-return.asp?search=knob&Submit=Search

907 RĂ©paration des boutons d'une Roland CR-5000 CompuRhythm
AudioBusters.com,MAO,Home-Studio,Musique,Plug-in,VST,Instruments,Synthes,Claviers,Guitares,Effets,basses,batteries,logiciels,interfaces,audionumerique,MIDI,samplers,synthes,boites a rythmes,DJ des, est, bouton, vous, les, sur, une, boutons, ça, contact, pour, contacts, qui, support, avec Vous trouverez plein de tutoriaux sur Internet pour réparer des CR5000 mais vous devrez les suivre dans une salle blanche en vous mordant le bout de la langue, avec une goutte de sueur qui perle sur votre tempe gauche, et surtout vous endetter auprÚs de vendeurs de piÚces d'occasion de machines vintage. Pas de ça ici, on a droit à des essais, des erreurs, à des outils de type pince coupante. Mais attention, ça fonctionne, et la CR 5000 que je me propose de remettre en état marchera comme au premier jour. Les boutons de la CR 5000, la fierté du département ingénierie psycho-pathologique de chez Roland Quand vous chillez tranquillement avec votre bar, que le groove vous habite et que vous lancez un fill, vous souhaitez que le fill se déclenche. Idem quand vous voulez rajouter des doubles croches de hi hat ou bien switcher entre bossa nova et grind core. Sur la CR5000, les changements de rythme se méritent. Il faut appuyer fort, ou de biais ou plusieurs fois en tapotant. Car contrairement aux CR78 et aux TR, les CR 5000 disposent de boutons cauchemardesques.
http://audiobusters.com/reparations-bidouilles/boutons-roland-cr-5000

900 VINTAGE PLANET - Synthesizer Service & Parts
Specialized in synthesizer accessories, rare parts, books, manuals, sounds, software, etc. for vintage analog electronic musical instruments. Expertise in special projects, applications, restoration and modification. Information and consultancy. Amsterdam Vintageplanet, Vintage Planet, Synthesizer, Parts, Manuals, Sequential, Sequential Circuits, SCI, Prophet, Schematics, Service, Spares, SSM, CEM, Curtiss, Curtis, IC, Roland, Yamaha, Simmons, SDS, EMS, Moog, Korg, Commodore, MSX, Atari, Korg, Oberheim, Books, Obsolete, Components, Interface, MIDI, Sample, Akai, Anatek, Casio, Ensoniq, Jen, Kawai, Linne, MPC, Pro One, Claptrap, Analog, Analogue, Synth, Music, Musical, Instruments, Electronic,
http://www.vintageplanet.nl/

884 jh_polykorg_clone
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.
http://jhaible.de/polykorg/jh_polykorg_clone.html

877 Musique électronique - Wikipédia
La musique Ă©lectronique est un type de musique qui a Ă©tĂ© conçue Ă  partir des annĂ©es 1950 avec des gĂ©nĂ©rateurs de signaux et de sons synthĂ©tiques. Avant de pouvoir ĂȘtre utilisĂ©e en temps rĂ©el, elle a Ă©tĂ© primitivement enregistrĂ©e sur bande magnĂ©tique, ce qui permettait aux compositeurs de manier aisĂ©ment les sons, par exemple dans l'utilisation de boucles rĂ©pĂ©titives superposĂ©es. Ses prĂ©curseurs ont pu bĂ©nĂ©ficier de studios spĂ©cialement Ă©quipĂ©s ou faisaient partie d'institutions musicales prĂ©-existantes. La musique pour bande de Pierre Schaeffer, Ă©galement appelĂ©e musique concrĂšte, se distingue de ce type de musique dans la mesure oĂč son matĂ©riau primitif Ă©tait constituĂ© des sons de la vie courante. La particularitĂ© de la musique Ă©lectronique de l'Ă©poque est de n'utiliser que des sons gĂ©nĂ©rĂ©s par des appareils Ă©lectroniques.
http://fr.wikipedia.org/wiki/Musique_Ă©lectronique

870 How I Use Visualization To Drive Creativity
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. 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. I’ve always believed it’s been one of the most important attributes of business success yet something very few business leaders talk about. So I thought I’d write a post about how I drive my personal creativity. As a practitioner of creativity rather than as an instructor of it I’m 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. It’s 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.
http://techcrunch.com/2011/01/17/how-i-use-visualization-to-drive-creativity/

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
http://www.huffingtonpost.com/robert-sutton/the-no-asshole-rule-part-_b_49678.html

865 Evolver.html
Just Beautiful! 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. Soft Lead This is a simple analog brass lead patch. FM Pad A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below. Warm Pad 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. Programming Tips 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. "Warmer" Sounds 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. Adding "Punch" 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. ^_^ HAVE FUN!!! Page 1 Page 2 Page 3 Page 4 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! Evolver Wallpaper These I created just for fun and desktop "beautification" ;) 1280 X 1024 1024 X 768 800 X 600
http://www.carbon111.com/evolver.html

853 Petites annonces - Yakaz France
IIñ–ÂșAvec Yakaz, recherchez parmi plus de 3 millions de PETITES ANNONCES trouvées sur 500 sites : Auto, Moto, Immobilier, Emploi... annonces gratuites, annonces de professionnels et annonces entre particuliers.
http://www.yakaz.fr/

845 SnipSnip.It - Share the Good Parts
Crop & Share Your Favorite Youtube Content. crop youtube videos, slice youtube videos, cut online videos
http://snipsnip.it/

797 Clé USB bootable
Clé USB bootable en DOS clé, cle, key, USB, bootable http://www.aidewindows.net/pratique/delpart.zip
http://jphdupre.chez-alice.fr/win_xp/usbkey/usbkey.html

791 A la découverte des pionniÚres électroniques « Global Techno
Alice Shields, Daphne Oram, Laurie Anderson, Laurie Spiegel, Les femmes dans la musique Ă©lectronique, Pauline Oliveros, Women in electronic music Texte : Jean-Yves Leloup Version longue (mais alors vraiment trĂšs longue) de l’article publiĂ© dans le magazine Tsugi de DĂ©cembre 2009. IgnorĂ©es, mĂ©connues ou parfois mĂȘme mĂ©prisĂ©es, de nombreuses femmes ont participĂ© depuis le dĂ©but du 20e siĂšcle Ă  la grande aventure de la musique Ă©lectronique. A l’heure oĂč l’on redĂ©couvre les Ɠuvres des Britanniques Delia Derbyshire et Daphne Oram, ainsi qu’une grande partie de l’électronique primitive des annĂ©es 50 Ă  70, voici l’histoire de quelques artistes injustement oubliĂ©es.
http://globaltechno.wordpress.com/2009/12/21/a-la-decouverte-des-pionnieres-electroniques/

780 The 6 Creepiest Places on Earth (Part 2) | Cracked.com
Whether it's due to their bizarre histories, suspicious coincidences or good ol' human insanity, these are the locations even the die-hardest of atheists wouldn't venture into without a crucifix and a Super Soaker full of Pope-blessed water.
http://www.cracked.com/article_18830_the-6-creepiest-places-earth-part-2_p2.html

777 SPERRZONE: [ K E Y C H A I N S ]: Zazzle.com Store
About Beat Hauser, SPERRZONE Beat Hauser is interested in industrial archaeology and history of Europe. His special area is the brewing industry of Switzerland and the former German Democratic Republic. Since 2003 he is taking pictures of industrial areas and abandoned places within all Europe. On his web site SPERRZONE (www.sperrzone.net) he does not only present his own pictures, but also some information about the related factories and places as well as historical photo post cards, old letter heads, labels, advertisings to document the history of the factories. Most pictures are taken in abandoned factories. Abandoned places and industrial ruins are generally seen as ñ€œspots of dirtñ€ and people feel uncomfortable around them. Often such places have a very long and interesting history, which seems almost forgotten today. Instead of the activity of former days there is nothing but silence and emptiness. Instead of windows, black holes are staring out of the walls. But very often the architecture of elapsed eras is attractive and astonishing. In combination with the emptiness and beginning decay, such places often spread the impression of a dream world. Decay and nature give new structures to strictly geometric forms and lines, e.g. in production halls. Moisture, moss and rust give new colors to gray halls. Beat Hauser tries to capture these impressions with his photographs. Aesthetics of decay is illustrated in its huge variety from huge industrial plants to small details. Past exhibitions 10 Jun ñ€“ 1 Jul 2007 3Fotografen3, Alte evangelische Kirche Kirchzarten (Exhibition of the 3 winners of the ñ€žKirchzARTener FOTOsalons 2006ñ€œ) 2 Dec ñ€“ 3 Dec 2006 KirchzARTener FOTOsalon 2006, Kurhaus Kirchzarten (Photo contest with 54 participants, 1. rank) 20 Nov ñ€“ 21 Nov 2004 KirchzARTener FOTOsalon 2004, Kurhaus Kirchzarten (Photo contest with 46 participants, 11. rank) Several beamer shows at party events of ñ€žRigor Mortisñ€œ and ñ€žSolanaceaeñ€œ in Basle, Aarau, Pratteln and Reinach (all Switzerland) sperrzone, industry, industrial, archaeology, industrie, industriekultur, zerfall, decay, architektur, architecture
http://www.zazzle.com/sperrzone/gifts?cg=196119980926265824

773 Tactile Switches | bustedgear.com TRITON
Menu of tactile switches for musical instrument keyboards, for sale using PayPal BUY NOW buttons. These switch replacements fix worn-out or broken buttons on instruments manufactured by Korg, Roland, Kurzweil, and Yamaha
http://www.bustedgear.com/part_switch_tactile.html#SWTAP2

766 [WS001] Circuit-Bending – Initiation « Gasol
Introduction Le Circuit-Bending ou Circuitage dĂ©signe l’activitĂ© qui consiste Ă  volontairement court-circuiter un appareil Ă©lectronique (gĂ©nĂ©ralement sonore) afin de provoquer des comportements inattendus pour le dĂ©tourner de son usage d’origine. Par exemple, un jouet sonore pour enfant ou une console de jeu gĂ©nĂ©reront des sons ou des images plus ou moins alĂ©atoires et imprĂ©visibles. Ce terme Ă  Ă©tĂ© introduit par Reed Ghazala dans les annĂ©e 60 lorsqu’il court-circuita accidentellement l’un de ses instruments. Mais des mĂ©thodes similaires ont Ă©tĂ© utilisĂ©es auparavant par d’autres musiciens et ingĂ©nieurs. Cette activitĂ© peut ĂȘtre assimilĂ©e Ă  une certaine forme d’art, de part le dĂ©tournement, l’appropriation et la personnalisation de ces appareils ainsi que leurs usages lors de performances audiovisuelles. C’est l’art du court-circuit. On rencontrera souvent les termes Circuit-Bender ou Bender pour dĂ©signer la personne qui effectue ces modifications et on parlera de Bends pour toutes modifications apportĂ©es Ă  l’appareil. Attention: Ne jamais tenter ces manipulations sur des appareils alimentĂ©s par une tension supĂ©rieure Ă  12V, risque d’électrocution. Ne pas torturer des appareils trop onĂ©reux ou auxquels on tient, en effet il existe un haut risque de casse irrĂ©versible qui transformera le jouet en un joli presse papier. Un peu de thĂ©orie Le Circuitage ne demande pas de grandes connaissances en Ă©lectronique, mais quelques bases sont nĂ©cessaires Ă  l’apprĂ©hension de cette activitĂ©. Notamment la reconnaissance des divers composants Ă©lectroniques qui seront utilisĂ©s ou court-circuitĂ©s. RĂ©sistances La rĂ©sistance est surement le composant le plus rĂ©pandu. Sa principale caractĂ©ristique est d’opposer une plus ou moins grande rĂ©sistance Ă  la circulation du courant Ă©lectrique. Sa valeur (mesurĂ©e en ohms) peut ĂȘtre dĂ©terminĂ©e par un code couleur ou lue sur le boĂźtier des composants les plus rĂ©cents. PotentiomĂštres Un potentiomĂštre n’est autre qu’une rĂ©sistance ajustable. Il possĂšde 3 pattes ainsi qu’un systĂšme mĂ©canique permettant la variation de la rĂ©sistance. Photo-rĂ©sistances Une photo-rĂ©sistance est Ă©galement une rĂ©sistance dont la valeur varie en fonction de l’intensitĂ© lumineuse. On peut Ă©galement le nommer rĂ©sistance photo-dĂ©pendante (light-dependent resistor (LDR)) ou photoconducteur. Condensateurs Un condensateur est un composant Ă©lectronique ou Ă©lectrique Ă©lĂ©mentaire qui a pour propriĂ©tĂ© principale de pouvoir stocker des charges Ă©lectriques opposĂ©es sur ses armatures. Il est utilisĂ© principalement pour stabiliser une alimentation Ă©lectrique, traiter des signaux pĂ©riodiques, sĂ©parer le courant alternatif du courant continu, stocker de l’énergie. Diodes La diode est principalement utilisĂ©e comme convertisseur de courant alternatif vers du courant continu ou comme multiplicateur ou rĂ©gulateur de tension. C’est un composant polarisĂ©, ce qui signifie que le sens de branchement a une importance sur le fonctionnement du montage. Diodes Electro-Luminescentes (DEL / LED) La LED possĂšde la particularitĂ© de gĂ©nĂ©rer de la lumiĂšre lorsqu’elle est parcourue par un courant. De la mĂȘme maniĂšre que la diode, ce composant est polarisĂ©. Transistors Le transistor est le composant actif utilisĂ© principalement comme interrupteur commandĂ© ou pour l’amplification, mais aussi pour stabiliser une tension ou moduler un signal. Circuits intĂ©grĂ©s Le circuit intĂ©grĂ© (CI), aussi appelĂ© puce Ă©lectronique, est un composant Ă©lectronique reproduisant une ou plusieurs fonctions Ă©lectroniques plus ou moins complexes, intĂ©grant souvent plusieurs types de composants Ă©lectroniques de base dans un volume rĂ©duit, rendant le circuit facile Ă  mettre en Ɠuvre. Il existe une trĂšs grande variĂ©tĂ© de ces composants divisĂ©s en deux grandes catĂ©gories : analogique et numĂ©rique. Interrupteurs Un interrupteur est un dispositif permettant d’interrompre ou d’autoriser le passage d’un flux. Boutons poussoirs Le bouton poussoir est une touche tactile qui permet de faire une liaison Ă©lectrique momentanĂ©e le temps que l’on appuie dessus ou, sur certains modĂšles inversĂ©s, d’ouvrir temporairement le contact Ă©lectrique. Connecteurs Jack Format de connecteur mĂąle et femelle gĂ©nĂ©ralement utilisĂ© pour les connexions audio de types casques et micros. Le mini Jack fait 3,5 mm de diamĂštre, le jack normal fait 6,35 mm. MatĂ©riel et compĂ©tences Pour mener Ă  bien ces projets et en plus de certains composants citĂ©s ci-dessus, il faudra ĂȘtre Ă©quipĂ© du matĂ©riel basique (tournevis, fer Ă  souder, Ă©tain, pompe Ă  dessouder, cĂąblage, pinces coupantes, pinces croco, perceuse, dremel 
) De plus, il faudra un minimum de compĂ©tences en soudage, mais tout le monde se souvient des cours de technologies au collĂšge et dans tous les cas, ces compĂ©tences s’acquiĂšrent vite aprĂšs quelques essais. Il faudra simplement veiller Ă  ne pas dĂ©poser la panne du fer trop longtemps sur un composant pour ne pas l’endommager et ne pas faire baver l’étain au risque de crĂ©er un court-circuit non souhaitĂ©. Il faudra Ă©galement s’armer de patience, c’est la qualitĂ© premiĂšre et la plus haute compĂ©tence d’un Bender. En effet, un jouet nĂ©cessite gĂ©nĂ©ralement entre 4 Ă  12h pour ĂȘtre modifiĂ© (dont les 3/4 de ce temps sont consacrĂ©s Ă  la recherche des Bends). Avec l’expĂ©rience ce temps sera considĂ©rablement rĂ©duit. Beaucoup de pratique Victimes potentielles Pour dĂ©buter, l’idĂ©al est de s’attaquer Ă  des appareils peu couteux tels que des jouets sonores rĂ©cupĂ©rĂ©s dans votre cave ou lors de vide-greniers. Les plus rĂ©putĂ©s Ă©tant les jouets vintages du type DictĂ©e Magique et dĂ©rivĂ©s (Speak&Spell/Math/Learn), les insupportables Furby, les petits synthĂ©tiseurs type Casio SK-1 
 Tout ce qui possĂšde un haut-parleur, fonctionne sur piles ou en dessous de 12V. Plus particuliĂšrement les appareils fabriquĂ©s durant les annĂ©es 80/90 qui ne sont pas encore Ă©quipĂ©s de composants Ă©lectroniques sophistiquĂ©s ou de circuits entiĂšrement numĂ©riques. Les constructeurs les plus connus sont: Texas Instruments, Casio, Vtech, Coleco, Creatoy. Il est Ă©videmment possible d’élargir les domaines de recherches Ă  des appareils plus Ă©laborĂ©s mais gare Ă  l’irrĂ©versible court-circuit meurtrier qui mettra dĂ©finitivement la machine hors-service. Recherche Il faut tout d’abord dĂ©sosser votre cible pour mettre Ă  nu le circuit Ă©lectronique. Ensuite, on allume le jouet pour lui faire Ă©mettre un son et on test simplement sa rĂ©activitĂ© en posant plusieurs doigts simultanĂ©ment sur diffĂ©rents endroits du circuit. GĂ©nĂ©ralement, un effet de « pitch » se fait entendre (baisse/augmentation de la tonalitĂ©), on comprend alors que la machine est sensible au Circuitage et les choses sĂ©rieuses peuvent donc commencer (toutes les machines ne sont pas forcement sensibles au toucher, mais c’est une bonne technique d’approche). Afin de ne pas avoir Ă  mĂ©moriser tous les endroits sensibles, l’idĂ©al est de prendre une photo du circuit, de la transferer sur un ordinateur et ainsi noter pas Ă  pas Ă  l’aide d’un logiciel de dessin type MSPaint ou Photoshop tous les Bends dĂ©couverts. Certains les notent directement sur le circuit Ă  l’aide d’un stylo ou d’un feutre, mais l’encre contenant gĂ©nĂ©ralement du carbone et le carbone Ă©tant conducteur, il existe un risque de court-circuit non dĂ©sirĂ© dont on pourra difficilement se dĂ©faire. La premiĂšre et la plus simple des modifications Ă  apporter Ă  son appareil est le raccordement Ă  un ampli ou une console de mixage. Il sera alors possible d’enregistrer les sons de la machine ou de l’utiliser lors de performances live. Pour ce faire, on repĂšre gĂ©nĂ©ralement le haut-parleur et on le remplace ou on installe en parallĂšle un connecteur Jack. Dans le second cas, l’ajout d’un interrupteur pourra servir Ă  basculer entre la sortie audio ou le haut-parleur. On peut maintenant commencer Ă  parcourir mĂ©thodiquement ou au hasard le circuit Ă  l’aide d’un testeur. Le plus simple est d’utiliser des pinces croco que l’on raccordera Ă  deux petits tournevis d’horloger. On place la pointe du premier tournevis qui restera stationnaire sur un point du circuit et avec le second on parcourt diffĂ©rents autres points en Ă©coutant les changements de sons intĂ©ressants que l’on note au fur et Ă  mesure sur notre photo. On poursuit ensuite en dĂ©plaçant le premier tournevis sur un autre point et en recommençant notre parcours avec le second. On rĂ©pĂšte cette procĂ©dure jusqu’à ce que la totalitĂ© du circuit ait Ă©tĂ© parcouru ou lorsque nous estimons avoir trouvĂ© toutes les modifications souhaitĂ©es. Les Bends les plus courants sont gĂ©nĂ©ralement: la sortie audio permettant l’amplification, le volume, l’overdrive/distortion, les glitches, les boucles, le bouton reset. Dans certains cas, les Bends ne sont pas compatibles entre-eux. La machine plantera irrĂ©mĂ©diablement dĂšs lors qu’on activera plusieurs Bends simultanĂ©ment. On peut alors dĂ©cider de continuer la quĂȘte des modifications compatibles ou bien Ă©viter d’en activer plusieurs Ă  la fois. CĂąblage et placement des composants La prochaine Ă©tape est le raccordement des diffĂ©rents points du circuit trouvĂ©s prĂ©cĂ©demment. On les relie entre eux en soudant un fin cĂąble de cuivre sur chaque point. On placera ensuite, par exemple, un interrupteur entre deux de ces cĂąbles allant de paires, de maniĂšre Ă  (dĂ©s)activer notre court-circuit. Il est aussi possible dans certains cas de remplacer ou coupler l’interrupteur Ă  un potentiomĂštre ou une photo-rĂ©sistance qui appliquera une plus ou moins grande rĂ©sistance au passage du courant, attĂ©nuant ou accentuant ainsi l’effet du court-circuit (trĂšs utile pour les effets de pitch/volume/overdrive). Il est prĂ©fĂ©rable de ne pas souder le composant avant de l’avoir montĂ© sur le chĂąssis de la machine, de maniĂšre Ă  ne pas le dessouder par inadvertance lors de son placement. Utile aussi pour connaitre la bonne longueur des cĂąbles et leur cheminement et ainsi Ă©viter les surplus qui empĂȘcheraient la fermeture du boitier. Pour percer le chĂąssis, on utilisera une petite perceuse ou un Dremel. Le positionnement des composants est libre mais attention Ă  choisir un emplacement qui ne gĂȘnera ni la fermeture, ni l’ergonomie du boitier. En effet, un composant mal placĂ© et difficilement accessible pourrait compromettre la spontanĂ©itĂ© de la performance. Afin de ne pas trop endommager le chĂąssis, il est aussi possible de raccorder tous les composants sur un boitier externe qui servira de contrĂŽleur. Dans ce cas, l’utilisation d’un cĂąble nappe tel que l’on trouve dans un ordinateur peut ĂȘtre trĂšs pratique pour ne pas avoir des dizaines de fils qui sortent du chĂąssis (un cĂąble SCSI est parfait pour ce type de montage). Tests Il est maintenant l’heure de tester notre nouveau jouet ! Liens utiles http://www.anti-theory.com : Reed Ghazala, pĂšre du Circuit-Bending http://www.casperelectronics.com : Peter Edwards, grand maĂźtre Bender http://gieskes.nl : Gijs Gieskes, un extra-terrestre http://bitcrusher.free.fr : Mon cher ami Bitcrusher, grand Bender francophone http://www.dataglitch.org : Label associatif regroupant des amoureux des technologies Lo-Fi http://www.getlofi.com : Astuces et ressources pour dĂ©butants ou vĂ©tĂ©rans http://www.sailormouth.org : Des infos et des schĂ©mas trĂšs utiles http://www.datamath.org : MusĂ©e des produits Texas-Instruments http://www.miniorgan.com : Base de donnĂ©es de jouets plus ou moins rares CrĂ©ations personnelles Screaming Teacher aka Talking Teacher – Coleco Le Livre Tragique aka Le Livre Magique – TI Speak’n'Glitch’n'Bleep’n'Math aka Speak’n'Math – TI La Tortu(r)e aka Tortue Musicale – Carrefour LoFi Mic aka TĂ©lĂ©phone Ă  cadran – Socotel
http://www.gasol.fr/2010/06/30/5/

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.
http://www.synthzone.com/midiseq.htm

756 Matmos - Supreme Balloon
The arcs of rising and falling pitches that start this song reminded us of a rainbow, and the title stuck: any resemblance to fluttering symbols of homo-nationalist pride are side effects. People have asked us about the Latin kitsch aspect of the song, and we plead guilty to a great love of the Richard Hayman "The Genuine Electric Latin Love Machine" Moog novelty LP from 1969. Having lived in the Mission District of San Francisco for seven years up until our recent move to Baltimore, we have had enough casual exposure to actual Mexican and Salvadorean music to know that this bears only the faintest relation to the real thing. Keith Fullerton Whitman contributed some tasty squelches and zaps from his Doepfer modular synth to brighten the corners, but not everything on here is that high-tech. Consider the lowly stylophone, a handheld novelty instrument popular with British schoolkids that was immortalized during the rave era in the cheesy techno banger "Stylophonia" by the fabulously named UK crew Two Little Boys. The stylophone that is played on this record was sent to us in the mail by a well-wisher and we thank him for this unexpected present. We are even more grateful to Safety Scissors, who forgave us when M. C. Schmidt broke his MS-20 filter knob by tweaking it too vigorously while recording the "horn" part of this song. It's all been patched up now.
http://www.brainwashed.com/common/htdocs/discog/ole799.php?site=matmos

755 Lotus Notes/Domino 7 application performance: Part 2: Optimizing database views
In part two of this article series, we explain how you can build views that are optimized for performance in your Notes/Domino applications. lotus notes, lotus domino, view performance, application performance, view indexing, reader names field, dddlsca
http://www.ibm.com/developerworks/lotus/library/notes7-application-performance2/

740 Voir le sujet - Ré-édition française "Le paysage sonore" Murray S :: Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numérique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothÚque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingénieur,ingénieur du son,opérateur,opérateur du son,compositeur,réalisateur,réalisateur sonore,réalisation sonore,multimédia,MIDI,acoustique,création,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinéma,vidéo,télévision,radio,musique,publicité,studio,forums,news,chat,articles,bancs d'essai,liens,téléchargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave Une nouvelle Ă©dition en français d'un livre classique et incontournable pour un sounddesigner qui se respecte ... Vient de paraitre chez l'Ă©diteur Wildproject Domaine Sauvage, au prix de 20 euros, 411 pages. ISBN 978-2-918490-05-0 Postfaces de Christian Huggonet. Nicolas Misdariis & patrick Susini, Ircam. Cet ouvrage Ă©tait indisponible depuis une quinzaine d'annĂ©es. Raymond Murray Schafer est un compositeur, thĂ©oricien et pĂ©dagogue canadien. NĂ© dans l'Ontario en 1933, il est cofondateur du World Soundscape Project Ă  l'universitĂ© Simon-Fraser. Les recherches menĂ©es dans le cadre de ce projet, et la parution du Paysage sonore lui valent une reconnaissance internationale. "Pour la premiĂšre fois, on entre dans la vie sonore de notre monde". Louis Dandrel, ancien directeur de France Musique. "Schafer est le premier Ă  avoir proposĂ© une Ă©cologie sonore - rien moins qu'une nouvelle philosophie de la musique et du son". Jean-Claude Risset, compositeur. Extrait de la 4Ăšme de couverture : "Nous proposons d'Ă©couter le monde comme une vaste composition musicale - une composition dont nous serions en partie les auteurs". Murray Schafer a forgĂ© la notion de paysage sonore pour dĂ©signer notre environnement acoustique, la gamme incessante de sons au milieu desquels nous vivons. Depuis l'apparition du tout premier bruit - celui de la mer - le paysage sonore n'a cessĂ© de s'enrichir des sons du monde vivant : oiseaux, insectes, langages, musique ... ... Dans une langue simple et claire, accessible Ă  tous, Schafer propose ici une histoire et une philosophie du monde sonore qui ont marquĂ© l'histoire de la thĂ©orie musicale. Et qui promet Ă  ses lecteurs de ne plus jamais entendre le monde de la mĂȘme façon. Ouvrez grand vos oreilles.
http://www.sounddesigners.org/index.php?name=PNphpBB2&file=viewtopic&t=8030

739 Sound Designers.Org :: Le son qui a du sens
Le son qui a du sens sound design,sounddesign,sound designer,sounddesigner,audio,numĂ©rique,sound,design,montage,montage son,design sonore,son,mixage,enregistrement,habillage,doublage,synchro,composition,prise de son,bruitage,bruit,mastering,sonothĂšque,dolby,DTS,surround,multicanal,multi-canal,5.1,SR,MAO,M.A.O.,ingĂ©nieur,ingĂ©nieur du son,opĂ©rateur,opĂ©rateur du son,compositeur,rĂ©alisateur,rĂ©alisateur sonore,rĂ©alisation sonore,multimĂ©dia,MIDI,acoustique,crĂ©ation,sonore,production,postproduction,post production,audiovisuel,audiovisuelle,film,cinĂ©ma,vidĂ©o,tĂ©lĂ©vision,radio,musique,publicitĂ©,studio,forums,news,chat,articles,bancs d'essai,liens,tĂ©lĂ©chargements,captures,RSS,newsfeed,biblio,AES,EBU,OMF,AAF,VST,VSTi,RTAS,TDM,HTDM,AU,MAS,DX,DXi,Pro Tools, Digital Performer, Nuendo, Cubase, Logic, Pyramix, Samplitude, Wavelab, SoundForge, Cool Edit, Fairlight, Euphonix, Neve, SSL,Yamaha,Mackie,MOTU,Steinberg,Digidesign,Merging,AVID,soundminer,twistedwave Le PrĂ©-Mastering audio est une Ă©tape situĂ©e aprĂšs l’enregistrement et le mixage, en fin de la chaĂźne de production audio, c’est la derniĂšre optimisation du projet. NĂ©anmoins, c’est la partie du processus la moins connue tant par les professionnels que par les artistes. Le manque de connaissances Ă  ce sujet peut amener Ă  se poser plusieurs questions : « Quelle est son utilitĂ© ? Pourquoi un individu appelĂ© ingĂ©nieur de Mastering toucherait Ă  mon travail que je considĂšre comme Ă©tant abouti ? 
 » De plus si les personnes agissant en amont de la production audio et plus particuliĂšrement au niveau du mixage ne connaissent pas de quelle façon et dans quelle direction sera finalisĂ© leur projet, des erreurs ne pourront ĂȘtre Ă©vitĂ©s et les bĂ©nĂ©fices apportĂ©s par une Ă©tape de finalisation ne seront pas optimaux. On peut aussi dĂ©duire qu’une activitĂ© mal connue est inĂ©vitablement victime de prĂ©jugĂ©s et de fausses interprĂ©tations. Dans ce mĂ©moire, je porterai mon attention sur les moyens d’optimiser la transition entre le mixage et le PrĂ©-Mastering. En effet, lors d’une sĂ©ance d’enregistrement, les techniciens concernĂ©s agissent toujours en pensant Ă  l’étape suivante, c'est-Ă -dire celle du mixage. La dĂ©marche Ă  suivre devrait ĂȘtre la mĂȘme au moment de mixer Ă  l’attention du PrĂ©-Mastering. De cette façon, chacun remplit son rĂŽle de façon optimale et le produit peut prendre toute son ampleur. Pour ce faire il faut donc Ă©claircir les moyens et les logiques utilisĂ©es dans les studios de Mastering et mettre en Ă©vidence les bĂ©nĂ©fices qu’on en retire. AprĂšs un bref historique, pour « planter le dĂ©cor », je commencerai par mettre en avant les diffĂ©rents avantages que l’on peut tirer du PrĂ©-Mastering et pourquoi il est indispensable dans la chaĂźne de production audio. Puis j’expliquerai les moyens utilisĂ©s pour perfectionner le projet sonore en faisant un aperçu des outils[1] et de la maniĂšre dont s’en servent les ingĂ©nieurs de Mastering. Enfin, je mettrai en Ă©vidence les efforts qui peuvent ĂȘtre fait dĂ©s le mixage afin de faciliter et de profiter pleinement des amĂ©liorations pouvant ĂȘtre apportĂ©es lors de la finalisation. Le PrĂ©-Mastering n’est Ă  priori praticable que par des techniciens dotĂ©s d’une longue expĂ©rience. Le propos de ce mĂ©moire est de dĂ©couvrir et d’éclairer une activitĂ©, tout en dĂ©veloppant les bĂ©nĂ©fices qu’elle peut engendrer. Je prendrai aussi position sur les attitudes et les pratiques Ă  adopter en amont de la production audio[2] pour profiter pleinement du PrĂ©-Mastering. Le sujet choisi est le reflet de ma curiositĂ© et de la volontĂ© de travailler en harmonie avec les diffĂ©rents acteurs du milieu de la production audio.
http://www.sounddesigners.org/index.php?module=Articles&func=viewpage&pageid=23

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. Supplies ‱ Mirrored glass or plexiglass. Due to the type of paint applied to the reflective coating, inexpensive, craft-store mirror works wonderfully. ‱ Latex or other gloves for hand protection. ‱ Paint stripper. Most types work fine. For a less toxic product, Citristrip works well. ‱ Plastic putty spreader or putty knife. ‱ 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. ‱ 1” chip brush (or similar brush). ‱ Silver paint of choice. Steps 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.
http://www.apartmenttherapy.com/dc/how-to/how-to-create-an-antique-mirror-effect-127227

725 Alesis A6 Andromeda Spare Parts
Alesis A6 Andromeda Spare Parts synth
http://www.instrumentalparts.com/ala6ansppa.html

720 Common Security Mistakes in Web Applications - Smashing Magazine
Web application developers today need to be skilled in a multitude of disciplines. It’s 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 what’s 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 we’re careful with the code we write, the answer to these questions can often be one we’d rather not hear. We’ll 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, we’ll talk about Cross-Site Scripting (XSS), Cross-Site Request Forgery (CSRF), Phishing, Shell injection and SQL injection. We’ll also assume PHP as the language of development, but the problems apply regardless of language, and solutions will be similar in other languages.
http://www.smashingmagazine.com/2010/10/18/common-security-mistakes-in-web-applications/

718 Musiques - H O R S N O R M E
Dossier : OĂč trouver de la musique sur internet ? Par Ed End le samedi, mai 29 2010, 10:07 albums apprendre audio comment complet dossier efficace exhaussif fĂȘte de la musique gratuites guide illĂ©gal internet libre lĂ©gal meilleurs sites mp3 musiques oĂč trouver de la musique recherche simple son trouver tĂ©lĂ©chargement tĂ©lĂ©charger I. Pourquoi chercher de la musique sur internet ? Pour rĂ©pondre Ă  cette question on peut se poser une autre question : OĂč trouver de la musique en dehors d'internet ? A part quelques exceptions Ă  Paris, la plupart des disquaires indĂ©pendants ont disparus. Les supermarchĂ©s ont trĂšs peu de choix. Les magasins spĂ©cialisĂ©s, par exemple la Fnac ont un nombre limitĂ© de rĂ©fĂ©rences disponibles Ă  des prix pas toujours accessibles. Cependant il reste des solutions intĂ©ressantes : le marchĂ© de l'occasion, acheter les albums lors des concerts Ă  des prix plus abordables ou encore moins onĂ©reux les emprunter Ă  des mĂ©diathĂšques. Convertir en mp3 les anciens supports, k7, cd, vinyles et Ă©changer des albums numĂ©risĂ©s dont on dĂ©tient les originaux, lĂ©galement, dans le cadre de la copie privĂ©. Si malgrĂ© cela tant de personnes cherchent de la musique sur internet, c'est : a. Parce qu'il y a beaucoup plus de choix. A l'heure actuelle, par exemple, le dĂ©veloppement de la musique libre est tel qu'il est impossible de suivre l'intĂ©gralitĂ© des Ɠuvres qui sont publiĂ©es. b. Parce que le coĂ»t est quasi nul. - Soit en raison de la disparition du support, il n'y a plus de coĂ»t de diffusion, plus de coĂ»t de fabrication, juste Ă©ventuellement un coup de crĂ©ation. MalgrĂ© cela dans le domaine commercial les magasins en ligne (Itune et autres consorts) sont loin de rĂ©percuter la disparition des coups sur leurs tarifs. - Soit en raison de ce que les lobbys et le gouvernement appĂšlent piratage, pour ma part je considĂšre qu'ils font une faute d'orthographe et prĂ©fĂšre parler de partage. Un exemple flagrant de leur mauvaise foie, contrairement Ă  ce qu'a prĂ©tendu un jour un patron de la Fnac, un album n'est pas une baguette de pain, passer l'Ă©tape de crĂ©ation du premier exemplaire, il est duplicable Ă  l'infini, ni farine, ni travail supplĂ©mentaire, autrement dit, je ne connais aucune baguette de pain qui puisse nourrir toute la planĂšte. c. Parce que la dĂ©couverte est facilitĂ©e. Depuis que les majors ont pris le contrĂŽle des mĂ©dias radio et tĂ©lĂ©, Ă  part dans de rares mĂ©dias papiers spĂ©cialisĂ©s, et certains gratuits culturels, c'est trĂšs difficile de faire des dĂ©couvertes. ConcrĂštement avec un logiciel de peer to peer, on Ă©tend trĂšs rapidement la diversitĂ© des musiques que l'on apprĂ©cie. DĂ©jĂ  pour la simple raison que dans tous les genres, au-delĂ  du mainstream des majors il existe des Ɠuvres de qualitĂ©. d. Pour pouvoir essayer la musique avant de l'acheter. Une bonne façon de se prĂ©munir des singles qui pourraient permettent d'Ă©couler des albums bĂąclĂ©s.
http://hors.norme.blog.free.fr/index.php?category/L-internet-pour-les-nuls/Ressources-culturelles/Musique

705 Ethno-différencialisme - Wikipédia
L’ethno-diffĂ©rencialisme (ou diffĂ©rencialisme) est un concept thĂ©orisĂ© par la Nouvelle droite et ses adversaires (afin de dĂ©signer les positions de celle-ci relativement Ă  la diffĂ©rence). AntithĂšse de l'universalisme abstrait qui s'oppose aux diffĂ©rences et aux particularismes, il prĂŽne la reconnaissance d'un hĂ©ritage culturel propre Ă  chaque peuple (ethnie) qui mĂ©rite d'ĂȘtre reconnu et prĂ©servĂ© par les institutions politiques.
http://fr.wikipedia.org/wiki/Ethno-diff%C3%A9rencialisme

701 How To Convince The Client That Your Design Is Perfect - Smashing Magazine
As designers who deal with clients, we all have to face one situation, no matter how difficult and uncomfortable, and that is guiding the client to accept that your design is perfect. Now, you already have the project, so this is not a matter of convincing them to pick you for the job. This is about getting them to see that your design satisfies their requirements and contains everything they want. We all have to take on this role of virtual tour guide and lead them through the project’s twists and turns, ensuring that the best interests of the client and website are served. We have to be the lighthouse, guiding the clients to shore. (Image credit) In the end, the final decision falls to the client, but there are times — and most of us have experienced them — when the client’s lack of expertise in the field affect the quality of the design. In such times, we have a responsibility to do everything in our power to convince the client that the design is perfect as it is, and that any further alteration would impair the website’s ability to communicate everything it needs to. This confrontation is not welcome by either party, but it is certainly necessary. Many designers want to avoid conflict and, as a result, cave to their clients at the slightest sign of disagreement, rather than spend time trying to convince them that they stand on the right side of the design decision. This is often a mistake and does not serve the design, which should be the paramount consideration. We owe it to our creative work to argue for whatever serves the design beyond all else, even though the client is footing the bill. We may end up having to give in to the client, but at least we tried. Below is an overview of some tips and techniques you can employ when you find yourself butting heads with a client. These approaches might work individually or in combination, but they all at least offer a launching point to help you put your best foot forward and lead the client exactly where they need to go.
http://www.smashingmagazine.com/2010/10/06/how-to-convince-the-client-that-your-design-is-perfect/

691 visualizing.org
Visualizing.org is a community of creative people working to make sense of complex issues through data and design
 and it’s a shared space and free resource to help you achieve this goal. Why Visualizing.org? 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, we’ve seen government agencies, NGOs, and companies open up their data for the public to see and use. And we’ve 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 data
 with a community that can help us understand this data
 with the general public. What is Visualizing.org? What can I do on the site? For designers: 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 We’re 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 – we’re 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 – and it’s 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 For all: 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 visualization’s creator and source are credited.
http://www.visualizing.org/

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:
http://www.trevormarshall.com/eti.htm

675 9 Ways to Instantly Code Faster | Nettuts+
Doesn't the title say it all? There are a wide variety of tools and techniques which can drastically improve the speed at which we code. Particularly during code,code faster,coding tips,tips,tools
http://net.tutsplus.com/articles/general/9-ways-to-instantly-code-faster/

669 AudioPorn Central - » The Ultimate Gear Porn – 2010 calendar by APC
international music blog about cutting edge music and hot sweaty juicy sounds and toys music, mashup, bootleg, remix, tools, software, hardware, VS, party, mp3, DJ, download, art, concert, live,
http://audioporncentral.com/2009/10/the-ultimate-gear-porn-2010-calendar-by-apc.html

660 What's Next: fully ergonomic laptops? | VentureBeat
When the first laptops were created around 1979 — laptops like the Grid Compass — ergonomics was not exactly a core concern. The screens were only 2-4 inches, RAM was a few hundred kilobytes, and batteries were huge. The Osbourne 1 weighed 24 pounds, perhaps making it the first portable computer and dumbbell. Hooray for convergence! Modern clamshell and tablet designs have solved many of these issues: screen sizes exceed 17”, RAM can be several gigabytes, and weight can be less than three pounds, deservedly earning names like the Air. What hasn’t been solved is ergonomics, and that’s a costly problem. The U.S. Department of Labor reported 650,000 cases of work-related muscular disorders, costing businesses an estimated $20 billion in medical claims and lost productivity. An ergonomically ideal computer setup aligns the top of the screen with our eye level, lets our arms and wrists straighten, and allows our shoulders to relax. Because laptop screens are attached to their keyboards, they require a damaging trade-off: place the laptop at eye level and hunch our shoulders, or place the keyboard at arm level and bend our neck. Most laptop keyboards are also rectangles, requiring wrist twisting. The result is chronic neck, shoulder, and wrist pain, and with laptop use increasing, this problem will only get worse.
http://venturebeat.com/2009/08/14/whats-next-fully-ergonomic-laptops/

657 MATRIXSYNTH: Spunk 0.11
"Granular synthesis using a particle system. Desktop app for Mac OS X from The Strange Agency. Early prototype."
http://matrixsynth.blogspot.com/2010/09/spunk-011.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Matrixsynth+%28MATRIXSYNTH+Atom%29

652 50 Great Web Alternatives to Desktop Software
Even without the help of the ground breaking features in HTML5, web apps have come of age. While not all web apps rival their desktop counterparts, some clearly apps,desktop,software,web
http://web.appstorm.net/roundups/50-great-web-alternatives-to-desktop-software/

645 [Le bon coin] SystĂšme d'alerte (2/3)
Discussion du forum « Hors sujet » : [Le bon coin] SystÚme d'alerte - 20 réponses - Page 2 sur 3. Stimy → Le 3 juin Ă  15:51 # Bonjour, Moi j'ai dĂ©veloppĂ© une page pour gĂ©nĂ©rer des flux RSS Ă  partir d'une URL de recherche sur leboncoin.fr C'est encore en dĂ©veloppement mais pour les nĂ©ophytes je mettrai une doc en ligne plus tard et je dĂ©velopperai aussi un gadget pour iGoogle et Netvibes. C'est par ici : http://alertes-leboncoin.appspot.com
http://www.sur-la-toile.com/discussion-163054-10-%5BLe-bon-coin%5D-Systeme-d-alerte.html

643 Akai MPC 1000 Spare Parts from MPCstuff.com

http://www.mpcstuff.com/mpc.html

630 Push-Pull :: Synthés + Prod musicale en tous genres...
Mes dĂ©mos "monomachines" Principe: le morceau est rĂ©alisĂ© avec uniquement des sons du synthĂ© en question. Pas d'effets Ă  part un peu de delay ping-pong et un peu de reverb. Pour les synthĂ©s monophoniques, les parties poly sont enregistrĂ©es voix aprĂšs voix, Ă  l'ancienne ! Une technique un peu "lourde" mais qui en vaut la peine. Sauf remarque, les parties de batteries sont rĂ©alisĂ©es avec des sons du synthĂ© concernĂ©. Parfois jouĂ©s sur le synthĂ© (JP6) ou samplĂ©s pour plus de souplesse (MS20, Yusynth). Korg: MS10 - Fade To Grey La rythmique vient d'une TR606, le vocoder est celui du microkorg. MS20 for Couch Potatoes Ma premiĂšre dĂ©mo monomachine. MS20 sur une plage bretonne MS20 by Night MS20 - Tribute to Sergei MS20 - Introspection MS20 passĂ© dans le delay Spacebug d'Eowave. MS20 - J'ai froid MS20 - Nazareth EnregistrĂ© un 25 dĂ©cembre, avec un controleur de souffle BC2 Yamaha pour moduler le lead. MS50 - The Last Oscillator Les sons de drum sont des samples d'une Oberheim DX. Roland: SH09 - Solarize JP6 - From Io to Callisto JP8 - La prise de Carthage Les parties de percussions et batteries proviennent de divers softs. Yamaha: CS30 - Hamamatsu Les sons de drum sont issus de divers samples. CS30 - Hamamatsu (drumless) Le mĂȘme, sans la piste de drum. DX7 - At Night in the Cuyabeno Jungle La nappe de strings discrĂšte qui apparait depuis le millieu du morceau vient d'un Korg Z1. Divers: Clavia micromodular - Face nord Exercice d'imitation d'un MS20. OSCar - From Oxford With Love Les sons de drum sont issus de divers samples. Yusynth/DotCom - Modular Snow Les nappes viennent du Yamaha D85. Yusynth/DotCom - Little Bear Les nappes viennent du Yamaha D85.
http://www.pushpull.ch/demos.htm

626 Korg Electronic parts
synth
http://www.dlse.nl/webshop01/korg/korg001.html

614 digital life - Digicult.it
DIGITAL LIFE, is a project dedicated to the digital future and to the cross-fertilization between technology, new media and contemporary artistic expressions. On the 3 March 2010, this project inaugurates La Pelanda, a new location in the newly refurbished ex-abattoirs in Testaccio for contemporary artistic and cultural productions. These premises have been renovated for the city by the Rome Municipality as part of the Zone attive Project. Digital Life, Richard Castelli, Romaeuropa, Ryuichi Sakamoto, Shiro Takatani, Jeffrey Shaw, Ulf Langheinrich, Jean Michel BruyĂšre, Erwin Redl, Thomas McIntosh, Emmanuel Madan, Martux-m, Mikko Hynninen, Julien Maire, Christian Partos, digicult, digital culture, culture, digital, electonics arts, arts, elecronics, promotions and circulation, circulation
http://www.digicult.it/en/2010/digitallife.asp

585 Bidouilles. Hacking. Expériences. Découvertes.: [Circuit Bending] Dictée Magique 1 - Silence 0
La naissance d'un joli monstre plutĂŽt bruyant ou le bidouillage illustrĂ© d'un French Speak&Spell rebaptisĂ© dans notre contrĂ©e "La dictĂ©e magique"! Pour le moment j'en suis toujours Ă  me balader sur le circuit et j'en ai rapportĂ© ces quelques petits trucs ci-dessous. D'autres modifs ne sauraient tarder! Pour le sens du circuit prenez votre dictĂ©e magique clavier Ă  terre et compartiment Ă  piles vers vous. Attention! Le circuit d'un Speak&Spell autre que français n'est pas le mĂȘme, mais bon testez! Certains effets peuvent trĂšs bien marcher tout de mĂȘme!
http://abstraktive.blogspot.com/2007/07/circuit-bending-dicte-magique-1-silence.html

576 55 Excellent Examples of Websites Using HTML5 | Inspiration
Html 5 is the new and updated version of the web standard and famous HTML. The HTML 5 has tons of new features, techniques and elements that allow designers to create new and beautiful stuff in short line codes. The new standard incorporates features like video playback and drag-and-drop that have been previously dependent on third-party browser plug-ins such as Adobe Flash, Microsoft Silverlight, and Google Gears. With HTML5 you can add some really nice effects to your website without loosing your head to do it... it's for sure a nice way to go. html,html5,inspiration,web design
http://webdesignledger.com/inspiration/55-excellent-examples-of-websites-using-html5/

563 Top 20 Sites To Improve Your Twitter Experience
We compiled a list of the top 20 third-party websites for making your Twitter experience more useful and easier to manage. twitter, hootsuite, brizzly, seesmic, polldaddy, klout, twitpic, list, wefollow, yfrog,Channels,Lists,Productivity Lists,Social Media Lists,Twitter Lists,Web Apps,features,mashable,social media
http://mashable.com/2010/07/25/improve-twitter-experience/

555 Partitions 101

http://www.partitions101.net/

553 Gearjunkies.com - Comprehensive resource for music production and DJ equipment
New gear in this Category Categories Digital Pianos Drum computers Drum modules Expansion and effect boards Modulair synths Sampler workstations Samplers Sequencers Sound modules Synthesizer filters Synthesizer modules Synthesizer workstations Synthesizers Vintage Exotics Latest news Roxy Music consider releasing new material as downloads only on 21/07/2010 Continuum Fingerboard version 4.08 released on 21/07/2010 Teenage Engineering OP-1 featured in a music video on 17/07/2010 Get closer to the music with Producer Sessions Live on 16/07/2010 Moogfest 2010 will be held in Asheville from October 29-31 on 16/07/2010 The Fingerist keytar for iPhone or iPad on 15/07/2010 New gear at Deadmau5 studio: Modular Mau5 on 15/07/2010 Next Generation M-Audio Axiom Keyboard Controller Series unveiled on 13/07/2010 Click here for more news! Hyperlinks Ableton Denver User Group - Site for Ableton users and electronic music producers, based around Denver Indaba Music - Online musicians community SoftSynthForum review page (dutch) - Our dutch SoftSynth forum review page Collabs - Seek electronic musician partners (dutch) EMS Synthi - Everything EMS! 440 TV - Audio en music video\'s Digital Audio Service - German gear blog SoftSynthForum - Dutch softsynth forum Lydmaskinen - Audio forum from Denkmark Wrongroom - Blog about adventurous projects in the world of audio-electronics. Click here for a complete list of hyperlinks New gear Roland Lucina AX-09 Dave Smith Mopho Keyboard MFB Nanozwerg MFB Urzwerg Analogue Solutions Europa Hardsid UPlay Evol Audio Fucifier Clavia Nord Piano Kawai ES 6 Korg SV-1 Roland V-Piano Kurzweil PC3LE6 GotharMusic deMOON Roland SP-404SX Akai Pro MINIAK Clavia Nord C2 Dave Smith Tetr4 Roland Juno Di Yamaha S90 XS MFB Schlagzwerg Jomox MBase11
http://www.gearjunkies.com/default.php?cPath=2

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. [1] 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.
http://www.paulgraham.com/top.html

534 Synth Secrets: Links to All Parts
This page contains links to every part of Gordon Reid's hugely popular SYNTH SECRETS series which ran for over five years in Sound On Sound magazine (May 1999 to July 2004). Synthesizers, Synthesisers, synthesis, sound synthesis, analogue synthesis, FM synthesis, digital synthesis, yamaha synth, Roland synth, ARP syths, Prophet synthesizers, Moog synths, sound manipulation, Gordon Reid,
http://www.soundonsound.com/sos/allsynthsecrets.htm

529 SynthesisWorkshops
synth modular 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 ‘feel’. 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 won’t 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 one’s 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 ‘designed’ 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.
http://www.xs4all.nl/~rhordijk/G2Pages/

523 Yamaha CS-01 Resonance Mod
Just to get this up here. I hope to make this clearer soon... This shows how you can modify the Yamaha CS-01 Mk1 to: 1) have variable resonance control, by hijacking the Breath Control VCF potentiometer a) remove the 10k resistor near the VCF chip. b) cut the traces (or lift the pins) of the Breath Control VCF pot that connect it to GND and the Breath Control jack. I lifted the pins just to avoid cutting PCB traces c) remove the 39k resistor tied to the wiper of the VCF pot. d) solder wires from one side of the pot and the pot wiper and run these wires over to the holes that used to contain the 10k resistor near the VCF chip e) I'd suggest adjusting the resonance trimmer that's near the VCF chip to make your new Resonance control self-oscillate near the end of the rotation. why? because this filter gets out of control in a very loud and dramatic way. I don't think this VCF chip was designed for stable self-oscillation - that may explain why, in the CS-01 Mk2, when they gave you analog control of the resonance, they used a different 24dB VCF chip. 2) have variable VCA "drone" by hijacking the Breath Control VCA potentiometer. a) remove the 1k resistor that grounds usually-closed terminal of the breath control jack to GND b) solder a 47k resistor from the ungrounded, non-wiper terminal of the pot to -9V. c) when the VCA drone pot is now fully on, you'll always get a DCO-VCF signal running to the power amp. this mod keeps the VCA only partially open, and you can still superimpose the EG over the drone. I did this because I don't have a spec sheet on the VCA chip and I didn't want to risk having the EG slamming the VCA while the drone was going full on (basically, I don't know the max CV that the VCA chip can tolerate). so if you just use the drone, you'll have to increase the volume at the power amp. But now the front-panel VCA slider actually becomes useful, since if you don't want the EG to affect the drone, just turn that down to nothing! Sorry I don't have actual pics of the mod up! Perhaps someday soon...
http://home.earthlink.net/~kerrybradley/id11.html

520 Lintronics Advanced Memorymoog Modification
Upgrades, repairs and special parts for Memorymoog and Minimoog synthesizer from Lintronics, Germany. Moog, Memorymoog, LAMM, Minimoog, MIDI interface, upgrades, Lintronics, Rudi Linhard, Moogmusic, Big Briar, Bob Moog, synthesizer, Musikinstrumente
http://www.lintronics.de/lamm.html

518 LA MUSIQUE INDUSTRIELLE
QU’EST-CE QUE LA MUSIQUE INDUSTRIELLE ? Vous trouverez chez les disquaires bien achalandĂ©s un coin rĂ©servĂ© aux albums d’ " indus ", souvent mĂ©langĂ©s au gothique, Ă  la cold ou encore aux indĂ©pendants. Les couleurs noire et grise dominent les pochettes et les noms des groupes sont souvent longs et imprononçables, Ă  consonance allemande ou anglaise. Pour continuer dans le clichĂ©, on peut dĂ©crire la musique industrielle comme un style basĂ© sur des percussions mĂ©talliques qui martĂšlent, accompagnĂ©es de bruits agressifs souvent dissonants et de voix trafiquĂ©es, criĂ©es plus que chantĂ©es. En fait, l’indus est pour beaucoup une musique suspecte, apprĂ©ciĂ©e par d’étranges mĂ©lomanes qui n’auraient pas compris que la musique moderne est faite pour distraire, pour danser ou encore adoucir les mƓurs. Peu de gens savent en fait ce qu’est l’industriel Ă  proprement parler. Pourtant ce style a Ă©tĂ© trĂšs productif et une partie de la musique actuelle s’en inspire. A la base, l’industriel est un mouvement de contestation sociale et artistique. Il rejette le contrĂŽle de la musique populaire par les businessmen, les mĂ©dias et tous les hommes de pouvoir. Son essor est marquĂ© par la crĂ©ation d’Industrial Records, Ă  Londres, Ă  la fin des annĂ©es 1970 par le groupe Throbbing Gristle. C’est un des premiers labels indĂ©pendants, une entreprise de production et de diffusion de cassettes audio et de 33 tours, qui laisse ses musiciens s’exprimer sans contrainte, ni censure, ni souci de rentabilitĂ©. Il dĂ©veloppe une " stratĂ©gie de guĂ©rilla " contre les major company, ces entreprises qui soumettent la musique populaire aux lois du marchĂ©. Plus gĂ©nĂ©ralement, le mouvement industriel vomit l’industrie des loisirs orchestrĂ©e par les grands mĂ©dias. Il cherche Ă  faire rĂ©flĂ©chir sur la propagande et le marketing, sur l’utilisation de l’art et des diverses techniques de communication pour convaincre et dominer. L’ambition est de crĂ©er une alternative Ă  la culture de masse afin de lutter contre l’uniformisation des esprits. Pape de l’industriel, Genesis P-Orridge (alias Neil Megson) explique qu’au dĂ©part le but est de "savoir jusqu’oĂč on pouvait mĂ©tamorphoser et coller le son, prĂ©senter des sons complexes et non-divertissants dans une situation de culture populaire, afin de convaincre et de convertir. Nous voulions rĂ©investir la musique rock avec un contenu, une motivation et un risque. " Apparu en mĂȘme temps que le punk, l’industriel se veut plus radical, plus rĂ©flĂ©chi et surtout plus novateur en matiĂšre musicale. Il milite pour l’éclatement des codes musicaux qu’ils soient rock, jazz, classique ou pop. Recherchant l’imprĂ©vu, fuyant le formatage, il puise dans diffĂ©rents styles. Par ailleurs, de nouveaux instruments sont incorporĂ©s Ă  la musique. Les membres d’EinstĂŒrzende Neubauten utilisent des perceuses, de l’eau, des tĂŽles, ou mĂȘme leurs dents pour produire des sons originaux. DĂšs le dĂ©part, les instruments Ă©lectroniques ont Ă©tĂ© privilĂ©giĂ©s : boites Ă  rythme, synthĂ©tiseurs et les tout premiers Ă©chantillonneurs (sampleurs), dĂšs le dĂ©but des annĂ©es 1980. Ces instruments Ă©lectroniques aidant, l’indus a Ă©tĂ© produit par des non-musiciens et a dĂ©veloppĂ© la rĂ©pĂ©titivitĂ© (utilisation des sĂ©quenceurs). C’est dans ce sens que l’industriel est pour une bonne part Ă  l’origine de la techno. L’industriel ne se limite pas au dĂ©part Ă  un courant musical, c’est une tentative d’art total. Soit les musiciens indus sont des touches Ă  tout en matiĂšre artistique (Genesis P-Orridge, Jim Thirlwell), soit ils collaborent frĂ©quemment avec des cinĂ©astes, des troupes de thĂ©Ăątre ou de danse contemporaine. Pour les disques, le graphisme des pochettes compte parfois autant que la musique elle-mĂȘme. Dans toutes ses expressions artistiques, l’industriel recherche la provocation la plus radicale, le choc et la confusion. Les thĂšmes dĂ©veloppĂ©s sont autant de tabous : le totalitarisme sous toutes ses formes (propagande, uniformes militaires, symboles paĂŻens, plus ou moins fascistes ou nazis) ; le sado-masochisme, bouffonnerie spectaculaire parodiant les rapports humains ; la mort. C’est un constat froid des horreurs du monde, l’irruption de la laideur sous toutes ses formes dans la musique populaire. Mais attention, l’humour, le sarcasme et le cynisme sont essentiels dans l’indus. L’ironie et l’ambiguĂŻtĂ© sont fondatrices : la musique qui se proclame industrielle s’oppose Ă  l’industrie de la musique et aux valeurs de la sociĂ©tĂ© industrielle. Les membres de Throbbing Gristle troquaient volontiers leurs uniformes pour des chemises hawaĂŻennes, Current 93 s’est pris de passion pour le hĂ©ros enfantin Oui-Oui (Noddy), Laibach a parodiĂ© pompeusement les Beatles, Clair Obscur a chantĂ© les cours de la bourse, aprĂšs avoir smurfĂ© au goulag, et Foetus s’est fait connaĂźtre par une parodie de disco en l’honneur du marquis de Sade (avant MylĂšne Farmer !). Tous les musiciens qui se prĂ©tendent industriels mais s’expriment sans cette ironie fondatrice ou sans vĂ©ritable recherche musicale utilisent le terme abusivement. DĂšs 1981, Throbbing Gristle se sĂ©pare. Genesis P-Orridge explique : " nous avons quitter un milieu envahi par des idĂ©es et des gens malsains, parce que ces gens ont choisi de ne pas comprendre ce que nous disions. C’est devenu une surenchĂšre de provocation ". On a assistĂ© en effet Ă  une dĂ©rive et un appauvrissement musical. L’industriel est devenu un style parmi les autres. Comme tout mouvement contestataire, il a Ă©tĂ© rĂ©cupĂ©rĂ©e ; Ă  la fois par les mĂ©dias et par des mouvements d’extrĂȘme droite. Ainsi on a pu entendre, dans des publicitĂ©s tĂ©lĂ©visĂ©es, des percussions mĂ©talliques pour vanter les mĂ©rites de slips trĂšs masculins, ou bien des bruits de mĂ©canique qui dĂ©raille sortant d’un autoradio, pour vendre une voiture Ă  la mĂ©canique irrĂ©prochable. Les liens avĂ©rĂ©s avec l’extrĂȘme-droite ne concernent que quelques uns : en particulier Boyd Rice (du groupe NON) et plusieurs pĂąles ersatz du groupe de folk industriel Death in June, engluĂ©s dans une soupe europĂ©aniste nausĂ©abonde, oĂč se mĂȘlent rĂ©volution conservatrice, paganisme nordique ou celtique, thĂšmes guerriers et romantisme noir. Ces connivences ont jetĂ© le discrĂ©dit sur tout le mouvement industriel. C’est oublier que les artistes d’Industrial records refusaient de s’exprimer sur le terrain politique traditionnel, que des groupes se sont engagĂ©s Ă  gauche (Test Dept), tandis que d’autres ont affirmĂ© leur rejet de l’extrĂȘme-droite (Front 242). Beaucoup cependant rĂ©pugnent Ă  se justifier et continuent de jouer le jeu dangereux de la provocation fasciste. Il y a peu le groupe allemand Substanz t. a Ă©chantillonnĂ© la phrase suivante dans un morceau : " if you don’t like fascism, don’t play industrial music " (compilation teknoir, 1998).
http://nksinternational.free.fr/indus.html

509 A List Apart: Articles: Supersize that Background, Please!
With an advertising world keen to use every inch of a medium for brand or product experience, it is becoming increasingly popular to design websites with full-browser backgrounds. Using CSS, this can be achieved quite easily. Just drop a huge background image in a page with one line of code (Line wraps marked » —Ed.): body { background: #000 url(myBackground_1280x960.jpg) » center center fixed no-repeat; }
http://www.alistapart.com/articles/supersize-that-background-please/

505 Alesis A6 Andromeda Spare Parts

http://www.instrumentalparts.com/ala6ansppa.html

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 couldn’t 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 “scrappy” 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 “Peter 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.” (by Keith Rabois, former Executive Vice President of Paypal) “Extreme 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.” (by Keith Rabois, former Executive Vice President of Paypal) “Dedication 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 “avoids imposing on others’ time, e.g. scheduling unnecessary meetings.” (by Keith Rabois, former Executive Vice President of Paypal) “Refusal 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 “come to work every day willing to be fired, to circumvent any order aimed at stopping your dream.” 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 couldn’t solve the problem, someone else would be soon assigned to do it.” (by Keith Rabois, former Executive Vice President of Paypal) “Driven 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 he’d approached things “traditionally”, 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.” (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal) “Self-sufficiency – 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 didn’t wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didn’t wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didn’t wait for a content writer.” (by Yee Lee, former Product & BU GM of Paypal) On Culture & Ideology “Extreme bias towards action – 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.” (by Yee Lee, former Product & BU GM of Paypal) “Willingness to try – even in a data-driven culture, you’ll always run in to folks who either don’t believe you have collected the right supporting data for a given decision or who just aren’t 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.” (by Yee Lee, former Product & BU GM of Paypal) “Data-driven decision making – 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 “I feel like it’s a problem that our users can’t do X”, instead you’d do your homework first and then come to the table with “35% of our [insert some key metric here] are caused by the lack of X functionality
” (by Yee Lee, former Product & BU GM of Paypal) “Radical 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).” (by Keith Rabois, former Executive Vice President of Paypal) “Vigorous 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 “baby” to Max for the first time.” (by Keith Rabois, former Executive Vice President of Paypal) “Extreme Pressure – 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.” (by Keith Rabois, former Executive Vice President of Paypal)
http://primitus.com/blog/why-did-so-many-successful-entrepreneurs-and-startups-come-out-of-paypal-answered-by-insiders/

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