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1460 "Fields of battle", la beauté des paysages pacifiés de la Grande Guerre


1161 body rock tv fitness
I have a non-fitness related life situation that I wanted to run by you guys
. I wanted to talk to you guys today about not always having to say your sorry. Are you one of those people who finds yourself apologizing for things just to smooth things over or avoid a confrontation? This ability is admirable in certain low-key non-crucial situations. It’s when we apologize for our beliefs and principles – or in the face of being bullied that we pay the high price of compromising ourselves. I have a friend who is being treated badly by certain members of her family. It really comes down to her not living her life exactly the way they think she should be living it. My friend is not endangering herself or others, she is kind hearted and generous to the extreme, but because she is not pulling the line and placing the needs of others before her own basic needs and happiness she is taking a lot of undeserved heat bordering on emotional abuse. Her strategy to this point has been to apologize left and right in an attempt to smooth it over and reset everything. It hasn’t worked and if anything it has given the people giving her a hard time more of a license to push it even further. I think there comes a time when you just have to say enough and stop apologizing. I think that there is more strength and balance in believing in yourself and respectfully staying firm in your truth. From this position I think both sides have the best chance of talking it through and resolving it. What do you guys think? Do you find yourself constantly apologizing to certain people in your life? Is it helping or making the relationship more challenging? Any advice for my friend?

1141 CYBERGUERRE - Conseils pour l'infiltration des forums. par Le Vicomte
Vendredi dernier, je dßnais au chùteau avec la Comtesse et sa famille et la conversation roulait autour des misérables que nous payons assez cher pour ce qu'ils font, à savoir infiltrer les forums des sites de gauche. Certains de ces mercenaires ne durent en effet pas longtemps sur ces forums, et le Comte a déploré qu'ils ne soient pas toujours assez formés à des techniques de communication qui sont pourtant bien maßtrisées a l'heure actuelle. Le fils de la Comtesse, qui dirige un service commercial (...)

1113 Mes amis les cyber arnaqueurs, la page de Julia Brandeau la croque escrocs - Accueil
Mes amis les cyber arnaqueurs. Escrocs et arnaqueurs sur Internet, se font croquer par Julia Brandeau, la premiÚre croque escrocs française. Des statistiques sur les escrocs francophones actifs et toute l'info concernant les arnaques paypal, ebay et autres. escrocs,escroc,arnaque,\\\\\\"cyber fraude\\\\\\",scam,419,\\\\\\"Julia Brandeau\\\\\\",\\\\\\"mail frauduleux\\\\\\"

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

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

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.

732 Oscilloscope 372 Radio Centrad, Éts; Annecy
Oscilloscope 372 Radio Centrad, Éts; Annecy Pays: France Fabricant / Marque: Centrad, Éts; Annecy AnnĂ©e: 1954 ?? Type: Appareils de mesure et de dĂ©pannage (Lab Equipment) Lampes / Tubes 6: 6AU6 6AU6 6AU6 6X4 6X4 DG7-6 Gammes d'ondes - sans Tension / type courant Alimentation Courant Alternatif (CA) / 110-220 Volt Haut-parleur - - No sound reproduction output. De Radiomuseum.org Model: Oscilloscope 372 Forme ModĂšle de table de forme quelconque, profil pas prĂ©cisĂ©s. Remarques Appareil Ă  commandes simplifiĂ©es.

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)

428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name. Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojo—one needed only leave home to buy more tapes. Says Neffe, “I could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front 
 if the buyer didn’t like the music, he or she could wipe it out and record something else on it.” Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wanking—that coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugs’ A Safe Substitute and Colin Potter’s The Ghost Office. In Japan, 1980 saw the release of Merzbow’s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Bender’s Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands. Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message. Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes. Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffe’s own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffe’s artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousness–not even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates. For this retrospective (4 LPs + a 7” 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French. BeNe GeSSeRiT was not the first of Mr. Neffe’s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as “texts” or “photographs”, or as he puts it, “potlatch music”. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the text’s subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Étant DonnĂ©s, or Nurse with Wound in the UK. Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track “Langsam” is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track “Sons of God?” is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera. The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectors’ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Music’s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.

397 Oscilloscope TO-3 Radio Tech; Tokyo?
Oscilloscope TO-3 Radio Tech; Tokyo? Pays: Japon Fabricant / Marque: Tech; Tokyo? Année: 1968 ?? Type: Appareils de mesure et de dépannage (Lab Equipment) Lampes / Tubes 9: 12AT7 12AT7 12AU7 12AU7 12AU7 6U8 6X4 1X2B 3KP1F Nous avons besoin de ce schéma! Principe de réception non indiqué Gammes d'ondes - sans Tension / type courant Alimentation Courant Alternatif (CA) / 110; 220 Volt Haut-parleur / Puissance - - No sound reproduction output. De Radiomuseum.org Model: Oscilloscope TO-3 MatiÚre Boitier métallique Forme ModÚle de table de forme quelconque, profil pas précisés. Dimensions 140 x 220 x 325 mm / 5.5 x 8.7 x 12.8 inch Remarques Runde Kathodenstrahl-Röhre. Y-VerstÀrker: Ablenkempfindlichkeit: 0,1Vss/cm Frequenzbereich: 1,5Hz...1,5MHz Eingangsimpedanz: 2MOhm, 25pF X-VerstÀrker: Ablenkempfindlichkeit: 1Vss/cm Frequenzbereich: 1,5Hz...800kHz Eingangsimpedanz: 2MOhm, 20pF Zeitablenkung: 5 Bereiche: 10-100-1k-10k-80k-300kHz Synchronisation: intern, extern, Netz.

328 Negative Space in Webpage Layouts: A Guide
This guide discusses what negative space is and how to effectively use it to analyze and improve your designs. negative space, white space, whitespace, web design,web design Negative space is often misunderstood as a tool to implement in certain designs that call for a simple aesthetic. However, it is in fact something you should pay attention to and carefully structure in every design you create. This guide discusses what negative space is and how to effectively use it to analyze and improve your designs.

238 15 Uniform Payment Options Icon Sets for Ecommerce Design - Speckyboy Design Magazine
A small but often overlooked aspect of most ecommerce sites designs are the flat and bland payment options icons (Visa, Mastercard, Paypal...). From a usability free icons,icon design,web design

222 Sonatura audioblog
Sonatura, sonatura, Sons, son, Nature, nature, Chants, chant, Oiseaux, oiseau, Insectes, insecte, MammifÚres, mammifÚre, Enregistrements, enregistrement, Paysages sonores, paysage sonore, Prise de son, prise de son, Soundscape, soundscape, Natural sounds, natural sounds, Wildlife sounds, wildlife sounds, Sound recordist, sound recordist, Bioacoustique, bioacoustique, Audionaturalistes, audionaturalistes, Phonographies, phonographie, animal sounds, phonography, field recording, nature recording

196 PayPal - Horror Stories, Lawsuits, PayPal Problems & Information - PayPal Account
paypal, pay pal, ebay paypal, paypal account, paypal.com, paypal coupon, paypal shopping cart, paypal review, paypal credit card, paypal lawsuit, paypal visa, buying paypal, paypal web site, making money with paypal, paypal alternative, paypal class action, paypal settlement, paypal search, paypal fraud, paypal suck, paypal problems

191 Frais Ebay Paypal 2xmoinscher et Priceminister, calculez les !
Caculette pour estimer et comparer les frais et commissions prélevés par les sites de vente entre particuliers vendre, ebay, 2xmoinscher, priceminister, vente-frais, paypal

141 Débloquer votre portable Sony Ericsson gratuitement « Web Interdit
S’il y a bien un truc Ă©nervant avec les opĂ©rateurs telecom, c’est leur manie de bloquer les tĂ©lĂ©phones achetĂ©s chez eux sur leur rĂ©seau. Ainsi un portable Orange n’est pas utilisable chez SFR et vice-versa. Une manie bien mesquine qui fait le beurre de nombreuses officines, dans la rue comme sur le web. Une recherche sur « DĂ©bloquer Sony Ericsson » ou « Unlock Sony Ericsson » vous donnera un aperçu, avec des offres de 15 Ă  plus de 100€ ! PossĂ©dant un Sony Ericsson C905 (remplacĂ© par un iPhone 3GS), et souhaitant le donner, je ne voulais pas payer pour ce service. Mais en cherchant bien, j’ai trouvĂ© une solution gratuite qui fonctionne pour les modĂšles Sony Ericsson suivants : C510, C702, C901, C902, C903, C905, G502, G705, K630, K660, K850, K858, T700, TM506, V640, W595, W705, W715, W760, W890, W902, W908, W910, W980, Z750, Z770, Z780, C510C702, C901, C902, C903, C905, G905, G705, K630, K660, K850, K858, T700, TM506, V640W595, W705, W715, W760, W890, W902, W908, W910, W980, Z750, Z770 et Z780. Donc si vous ĂȘtes l’heureux propriĂ©taire d’un de ces modĂšles et souhaitez le dĂ©bloquer, suivez le guide

134 Forums de discussion: Comment vendre Ă  l'Ă©tranger ? ...
Bonjour, Si je désire vendre un objet unique dans deux pays (ex. en France et en Allemagne) et que je dépose une annonce sur ces deux sites eBay,(j'ai vu sur turboLister que c'est possible) 1) Comment signaler qu'il n'existe qu'un seul exemplaire de cet objet ? 2) les enchÚres de ces deux sites seront-elles centralisées ?

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