100SILEX, de 0 ŕ 100 s: prior
1033 "I'm a technical lead on the Google+ team. Ask me anything."
I helped design and build a lot of the circles model and sharing UI for Google+. I was recruited to Google to work on "getting social right" in early 2010. Prior to that, I was CTO of Plaxo, and also its first employee (since March 2002). I've also spent many years working on open standards for the social web (OpenID, OAuth, Portable Contacts, WebFinger, etc.) Since I work for a big/public company (albeit a pretty cool one), I can't provide specific stats, dates for future features, or details of confidential code/algorithms. But I will do my best to be "refreshingly frank" about everything else. :)
772 16 Step Sequencer (With improved PCB) (+/-9V to +/-15V)
Article by Ray Wilson
Back to "Music From Outer Space" Analog Synth Pages
Watch Thomas White's Excellent
Sequencer Videos on YouTube
http://www.youtube.com/watch?v=s5cx6Z7wDOg Thomas White used the MFOS sequencer boards to produce this incredible rotary sequencer. Visit his site to keep up with his latest awesome projects.
Improved PC board (far less kludging).
Produces sequences of 4 to 16 steps in length
Modes include stop at count, reverse at count,
reset at count and random 16 mode
Each step has coarse tune, fine tune, and switchable gate
Accepts external clock and external start pulse.
Simultaneous outputs with and without portamento.
Forward, Back, and Reset controls ease sequence set up.
Please see the pages at 16 Step Analog Sequencer Circuit for details regarding circuit descriptions etc. This page is here soley as a vehicle to present the new PC boards and support board purchases. The schematic and PCBs presented here incorporate all of the improvements and modifications shown on the previous sequencer pages. Panel to board wiring is presented here. Please browse the entire page before ordering board to ensure you understand the circuit and there is enough information provided here for you to successfully complete the project prior to purchasing PC boards. Thanks.
745 Things You Should Do Immediately After Launching a Website
A few things you should do right after launching a website (and if you can, do them prior to launching your website publicly).
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,sonothĂ¨que,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 aprĂ¨s lâ€™enregistrement et le mixage, en fin de la chaĂ®ne de production audio, câ€™est la derniĂ¨re optimisation du projet. NĂ©anmoins, câ€™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 :
Â« Quelle est son utilitĂ© ? Pourquoi un individu appelĂ© ingĂ©nieur de Mastering toucherait Ă mon travail que je considĂ¨re comme Ă©tant abouti ? â€¦ Â»
De plus si les personnes agissant en amont de la production audio et plus particuliĂ¨rement au niveau du mixage ne connaissent pas de quelle faĂ§on et dans quelle direction sera finalisĂ© leur projet, des erreurs ne pourront ĂŞtre 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 quâ€™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 dâ€™optimiser la transition entre le mixage et le PrĂ©-Mastering.
En effet, lors dâ€™une sĂ©ance dâ€™enregistrement, les techniciens concernĂ©s agissent toujours en pensant Ă lâ€™Ă©tape suivante, c'est-Ă -dire celle du mixage. La dĂ©marche Ă suivre devrait ĂŞtre la mĂŞme au moment de mixer Ă lâ€™attention du PrĂ©-Mastering. De cette faĂ§on, chacun remplit son rĂ´le de faĂ§on 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 quâ€™on en retire.
AprĂ¨s un bref historique, pour Â« planter le dĂ©cor Â», je commencerai par mettre en avant les diffĂ©rents avantages que lâ€™on peut tirer du PrĂ©-Mastering et pourquoi il est indispensable dans la chaĂ®ne de production audio. Puis jâ€™expliquerai les moyens utilisĂ©s pour perfectionner le projet sonore en faisant un aperĂ§u des outils et de la maniĂ¨re dont sâ€™en servent les ingĂ©nieurs de Mastering.
Enfin, je mettrai en Ă©vidence les efforts qui peuvent ĂŞtre fait dĂ©s le mixage afin de faciliter et de profiter pleinement des amĂ©liorations pouvant ĂŞtre apportĂ©es lors de la finalisation.
Le PrĂ©-Mastering nâ€™est Ă priori praticable que par des techniciens dotĂ©s dâ€™une longue expĂ©rience. Le propos de ce mĂ©moire est de dĂ©couvrir et dâ€™Ă©clairer une activitĂ©, tout en dĂ©veloppant les bĂ©nĂ©fices quâ€™elle peut engendrer. Je prendrai aussi position sur les attitudes et les pratiques Ă adopter en amont de la production audio 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.
Visualizing.org is a community of creative people working to make sense of complex issues through data and designâ€¦ and itâ€™s a shared space and free resource to help you achieve this goal.
By some estimates, we now create more data each year than in the entirety of prior human history. Data visualization helps us approach, interpret, and extract knowledge from this information. Over the last couple of years, weâ€™ve seen government agencies, NGOs, and companies open up their data for the public to see and use. And weâ€™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 dataâ€¦ with a community that can help us understand this dataâ€¦ with the general public.
What is Visualizing.org? What can I do on the site?
Visualizing is a place to showcase your work, get feedback, ensure that your work is seen by lots of people and gets used by teachers, journalists, and conference organizers to help educate the public about various world issues
Visualizing is a free resource to search for data
Use Visualizing to keep up with and be inspired by the latest work from other designers and design schools
Learn about new visualization tools, blogs, books and other resources to help your work
Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share-Alike License
For teachers and schools:
Visualizing is a place to exhibit the collective work of your students, organize assignments and class projects, and help your students find data for their own visualizations
Weâ€™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 â€“ weâ€™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 â€“ and itâ€™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
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 visualizationâ€™s creator and source are credited.
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 couldnâ€™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 â€śscrappyâ€ť 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
â€śPeter and Max assembled an unusual critical mass of entrepreneurial talent, primarily due to their ability to recognize young people with extraordinary ability (the median age of *execs* on the S1 filing was 30). But the poor economy allowed us to close an abnormal number of offers, as virtually nobody other than eBay and (in part) google was hiring in 2000-02.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śExtreme Focus (driven by Peter): Peter required that everyone be tasked with exactly one priority. He would refuse to discuss virtually anything else with you except what was currently assigned as your #1 initiative. Even our annual review forms in 2001 required each employee to identify their single most valuable contribution to the company.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śDedication 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 â€śavoids imposing on othersâ€™ time, e.g. scheduling unnecessary meetings.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śRefusal 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 â€ścome to work every day willing to be fired, to circumvent any order aimed at stopping your dream.â€ť 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 couldnâ€™t solve the problem, someone else would be soon assigned to do it.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śDriven 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 heâ€™d approached things â€śtraditionallyâ€ť, Max would have gone out and hired people who had been building logistic regression models for banks for 20 years but never innovated, and fraud losses would likely have swallowed the company.â€ť (by Mike Greenfield, former Sr. Fraud R&D Scientist of Paypal)
â€śSelf-sufficiency â€“ individuals and small teams were given fairly complex objectives and expected to figure out how to achieve them on their own. If you needed to integrate with an outside vendor, you picked up the phone yourself and called; you didnâ€™t wait for a BD person to become available. You did (the first version of) mockups and wireframes yourself; you didnâ€™t wait for a designer to become available. You wrote (the first draft of) site copy yourself; you didnâ€™t wait for a content writer.â€ť (by Yee Lee, former Product & BU GM of Paypal)
On Culture & Ideology
â€śExtreme bias towards action â€“ early PayPal was simply a really *productive* workplace. This was partly driven by the culture of self-sufficiency. PayPal is and was, after all, a web service; and the company managed to ship prodigious amounts of relatively high-quality web software for a lot of years in a row early on. Yes, we had the usual politics between functional groups, but either individual heroes or small, high-trust teams more often than not found ways to deliver projects on-time.â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śWillingness to try â€“ even in a data-driven culture, youâ€™ll always run in to folks who either donâ€™t believe you have collected the right supporting data for a given decision or who just arenâ€™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.â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śData-driven decision making â€“ PayPal was filled with smart, opinionated people who were often at logger-heads. The way to win arguments was to bring data to bear. So you never started a sentence like this â€śI feel like itâ€™s a problem that our users canâ€™t do Xâ€ť, instead youâ€™d do your homework first and then come to the table with â€ś35% of our [insert some key metric here] are caused by the lack of X functionalityâ€¦â€ť (by Yee Lee, former Product & BU GM of Paypal)
â€śRadical transparency on metrics: All employees were expected to be facile with the metrics driving the business. Otherwise, how could one expect each employee to make rational calculations and decisions on their own every day? To enforce this norm, almost every all-hands meeting consisted of distributing a printed Excel spreadsheet to the assembled masses and Peter conducting a line by line review of our performance (this is only a modest exaggeration).â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śVigorous 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 â€śbabyâ€ť to Max for the first time.â€ť (by Keith Rabois, former Executive Vice President of Paypal)
â€śExtreme Pressure â€“ PayPal was a very difficult business with many major issues to solve. We were able to see our colleagues work under extreme pressure and hence we learned who we could rely on and trust.â€ť (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 mojoâ€”one needed only leave home to buy more tapes. Says Neffe, â€śI 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 â€¦ if the buyer didnâ€™t like the music, he or she could wipe it out and record something else on it.â€ť
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 wankingâ€”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 Bugsâ€™ A Safe Substitute and Colin Potterâ€™s The Ghost Office. In Japan, 1980 saw the release of Merzbowâ€™s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâ€™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. Neffeâ€™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, Neffeâ€™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 consciousnessâ€“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 7â€ť 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. Neffeâ€™s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as â€śtextsâ€ť or â€śphotographsâ€ť, or as he puts it, â€śpotlatch musicâ€ť. 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 textâ€™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 Ă‰tant 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 â€śLangsamâ€ť 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 â€śSons of God?â€ť is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ€™ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâ€™s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
136 Chimera Synthesis
Les anglais de Chimera Synthesis prĂ©sentent un synthĂ© modulaire pas plus grand qu'un boitier de CD : le bC16.
Ce mini synthĂ© Ă patchs dispose d'un VCO, d'un LFO, d'un ADSR, d'un VCA, d'un VCF, d'un gĂ©nĂ©rateur de bruit, et d'un modulateur en anneau.
Niveau contrĂ´les, il embarque 16 potentiomĂ¨tres et une connectique CV.
Il peut fonctionner sur pile 9V ou via le secteur.
Vendu 229$ Ă partir du 9 ou 11 janvier 2008, uniquement aux USA Ă priori.
A noter que sont prĂ©vus un sĂ©quenceur analogique CV/MIDI (SM16) et un module de basses typĂ©es Acid (pH303).
101 - 201