100SILEX, de 0 à 100 s: say
1502 Phone-Reluctant Introverts, There is Nothing Wrong With You
As I sit down to write this blog post there is the dreaded sound of a prolonged vibration as my phone skids, bouncing and sporadically across my desk. This is perfectly ideal and ironic distraction that actually befits the very thing I am thinking about and from which it is distracting meâŠ Itself!
I have always had an absolute detest for talking on the phone. And Iâll say now that it has nothing whatsoever to do with the person at the other end, I just find it a horrible tool for communicating with.
I think I probably am, and always have been worse than most people when it comes to using the phone (in the traditional sense, ie speaking to people) but if you can identify with any of this then read on. If youâre thinking, âwhat are you on about, I love the phoneâ then youâll probably just get confused, but if you also have friends who ânever answer the phoneâ then this might help you to understand them a bit better.
I canât sum it up any better than Sophia Dembling in her article, 9 Signs that You Might Be an Introvert:
1297 Gadgets, Presents, Geek Shirts and more in the Geek Shop for Nerds - getDigital
This online shop offers everything that makes a real geek happier: Geek wear with ingenious sayings, the newest gadgets and hand-picked toys for computerfreaks.
Geek, Nerd, Geek Shirts, Nerd Shirts, Geek Wear, Geek Stuff, Computerfreak, Gadgets, USB Gadgets
1184 Safecast X Kickstarter Geiger Counter by Sean Bonner â 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!
1161 body rock tv fitness
I have a non-fitness related life situation that I wanted to run by you guysâŠ. I wanted to talk to you guys today about not always having to say your sorry. Are you one of those people who finds yourself apologizing for things just to smooth things over or avoid a confrontation? This ability is admirable in certain low-key non-crucial situations. Itâs when we apologize for our beliefs and principles â or in the face of being bullied that we pay the high price of compromising ourselves. I have a friend who is being treated badly by certain members of her family. It really comes down to her not living her life exactly the way they think she should be living it. My friend is not endangering herself or others, she is kind hearted and generous to the extreme, but because she is not pulling the line and placing the needs of others before her own basic needs and happiness she is taking a lot of undeserved heat bordering on emotional abuse. Her strategy to this point has been to apologize left and right in an attempt to smooth it over and reset everything. It hasnât worked and if anything it has given the people giving her a hard time more of a license to push it even further. I think there comes a time when you just have to say enough and stop apologizing. I think that there is more strength and balance in believing in yourself and respectfully staying firm in your truth. From this position I think both sides have the best chance of talking it through and resolving it. What do you guys think? Do you find yourself constantly apologizing to certain people in your life? Is it helping or making the relationship more challenging? Any advice for my friend?
1145 ronflette - symĂ©trique/asymĂ©trique cable
Qui n'a jamais eu de problĂšme de bruit dans une installation audio ?
Je ne prĂ©tends pas tout connaĂźtre, mais j'espĂšre Ă©claircir les idĂ©es.
On va essayer de faire le point, en restant dans le cadre dÂune installation home studio, voire sono.
1) Alimentation secteur
Sur les cordons d'alimentation, il existe des prises secteur Ă 2 ou 3 broches.
Celles Ă 3 broches comportent une "terre".
Cette terre relie le chĂąssis de l'appareil Ă la terre de l'alimentation du local.
Elle assure la
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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."
1071 Musiques Incongrues - Mutantswing Radio : de nouveaux copains on dirait !
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945 BBC News - 'Music of the stars' now louder
The Kepler space telescope is significantly better at measuring the age and sizes of stars by measuring the sounds they make, say researchers at the AAAS conference.
927 YouTube Ucreate Music Toy Review
Title says it all.
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909 5 Things You Should Never Say While Negotiating
5 Things You Should Never Say While Negotiating: If you're new to small business negotiating or find deal-making to be difficult, here are some missteps to avoid.
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What an amazing instrument! The DSI Evolver has the signature "old school" timbre down pat as well as being able to provide digital timbres reminiscent of the Waldorf Q. There's certainly a "rougher" side available as well with all the feedback implementation and controled distortion. Being able to make PM type plucked and blown sounds is just icing on the cake. Dave Smith should be commended for a job well done. Just have a look at the Panel Layout to get a taste of what this beauty can dish out - the controls are pretty much laid out in the form of a signal path graphic. Be sure to visit Dave Smith's Website!
Evolver Sound Examples
There are a lot of demos of the Evolver on the web showcasing the gutsy harsh sounds of this beast so I decided to post demos of some of my own patches as examples of the "softer" more "vintage" side of the Evolver's timbre. I make no apologies for these unpolished recordings - these are merely sound samples ;)
Resonant Plucked Pad
This pad shows some of the rich resonant nature of the filter.
This is a simple analog brass lead patch.
A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below.
A nice bland-vanilla pad ^_^
What can I say? I love pads...
For more MP3 demos showing the full gamut of sounds the Evolver and Polyevolver are capable of, please visit the excellent website of Stefan Trippler!
The Definitive Guide to Evolver
This rather in-depth guide to the Evolver goes places and does things a mere manual can't. This labor-of-love was crafted by Anu Kirk and with his kind permission, I am offering this fantastic resource right here in PDF format!
A much smaller version (400K) is here but it dosen't have internal hyperlinks.
Here's a fun repository of programming tips for the Evolver in all its incarnations. Please email me if you would like to add some.
Fingered Wave Sequence
Submitted by Dave Bryce. This brilliant technique has to be heard to be believed! Plus, its one of those cool things unique to the Evolver! This particular tip is so full of detailed information that it gets its own page!
Audio-rate Filter FM
Submitted by James Maier. Use the "Audio Mod" parameter in the Filter section to frequency-modulate the cutoff with the analog oscillator. Add resonance until the filter is just on the edge of oscillation then mod the cutoff with just a little triangle LFO set at a very slow speed. Amazing moving chorusing pad and lead sounds can be made this way.
Fatter Bass/Pad Sounds
Submitted by Mike Peake. Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.
Submitted by James Maier. The Evolver can make many ultra-bright and buzzy sounds due to its extensive feedback and distortion stages but sometimes people miss the subtler side of the beast. For a warmer sound use little or no distortion, close the filter just a bit and turn off the feedback and delay lines. I've managed to get dead-on Prophet5 timbres this way.
Submitted by Mike Peake. Set the envelopes to linear, and use a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).
This is of course fun on the filter envelopes as well.
More Vintage Character
Submitted by Mike Peake. Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.
Don't miss out on the 12dB filter setting
Submitted by Mike Peake. The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.
DSI Evolver Waveshape Charts
Below are charts I've assembled of the digital waveforms and their spectra as currently used in the DSI Evolver synthesizers. Originally these waves were unique to the SCI ProphetVS vector synth.
I find these waveform/spectra graphics really usefull when programming sounds - maybe you will as well. Pay special attention to the spectra as this info is sometimes much more useful than waveshape in determining actual timbre - even before you hear what the waveform sounds like.
These are designed to be downloaded (right-click & "save target as"), and printed at 300dpi on 8.5" x 11" pages - don't resize these images before printing or you will lose useful detail. Use them as a handy refrence. This information was cobbled together from various scattered sources (with very special thanks to Achim Gratz!).
Any errors or omissions are my own. ^_^
As far as the origin of these waves is concerned, one of the original VS engineers, Chris Meyer, said:
"The original waves for the VS were created three ways - extracting single-cycles from sampled sounds, using a custom additive synthesis program, and using a program Josh (Josh Jeffe, another VS engineer) slapped together called "Hacker" where you could draw the waveshape. These were fed straight from the computer through the filter and VCA of a Pro-One to figure out what they might sound like in a patch. And by the way, no PPG waveforms appear inside the VS - we had access to them, but in the end our consciences got the better of us. We did steal some waveforms from the Korg DW6000, but only by looking at the harmonic drawings on the front panel and trying to imitate them in our additive synthesis program."
Modulation Matrix "Cheat Sheet"
This chart shows all the modulation routing available on the Evolver. This same info is available in the manual but this can be printed on a single sheet of paper as a handy refrence!
These I created just for fun and desktop "beautification" ;)
1280 X 1024
1024 X 768
800 X 600
812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02âą although it was developed independently of Korg Inc.
Korg and MS-02 are the trademarks of Korg Inc.
Among presently available music synthesizers, there are two different types of control system used for controlling devices such as the VCO (voltage controlled oscillator) and VCF (voltage controlled filter). These two systems been: Hertz/Volt (Hz/V) and Octave/Volt (Oct/V).
The graph to the left shows the relationship between the VCO oscillator frequency (pitch) and the control voltage (keyboard output voltage). The straight line on the graph is from a synthesizer in which there is a one octave change for every one volt change in the control voltage (Oct/V). In contrast, the curved line on the graph is the control voltage from a synthesizer in which the VCO frequency is proportional to voltage (Hz/V system).
To allow these systems to work together you will need a module like this ED102. The built-in, fully adjustable log amp and anti-log amp ensure complete system flexibility and compatibility between any presently voltage controlled synthesiser.
The Hz/V system
In the Hz/V system, the VCO oscillator frequency is proportional to the control voltage so that, for example, if the frequency of a VCO increases by 100Hz for every volt applied, then applying 1V, 2V and 3V to this VCO would generate 100Hz, 200Hz and 300Hz respectively.
The Oct/V system
In the Oct/V system the VCO oscillator frequency changes one octave for every one volt change in the control voltage so that, for example, 1V, 2V and 3V to a VCO would generate 200Hz, 400Hz and 800Hz respectively.
Features and Functions
This changes a Hz/V type keyboard CV (control voltage) output into an OCT/V type of CV. Use the Log Amp to change the control signal from, say, a Korg or Yamaha synthesiser into a signal you can use with another type of synthesizer.
This changes an OCT/V type of keyboard CV output into a Hz/V type of CV. Use this Antilog Amp when you want to control, say, a Korg synthesiser by means of a unit that uses the OCT/V system.
776 What Your Web Design Says About You (Infographic)
Infographic that delves into the meanings of fonts and colors in the context of web design.
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
fĂȘte de la musique
oĂč trouver de la musique
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 Ćuvres 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 Ćuvres de qualitĂ©.
d. Pour pouvoir essayer la musique avant de l'acheter.
Une bonne faĂ§on de se prĂ©munir des singles qui pourraient permettent d'Ă©couler des albums bĂąclĂ©s.
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
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602 Free Music Friday â Circuit Ben Â« GetLoFi â Circuit Bending Synth DIY
Circuit Ben is Killing Music Album now is free to download. Enjoy great catchy tunes and top notch production. This is a very good example melodic composition with circuit bent toys.
Bent Stuff used: Casio sk1, Casio sk5, Casio sk100, Casio pt-20, Casio ks-03, Yamaha pss-11, Yamaha pss460, Hing Hon EK-001, Cheburashka!, Jim Bowen/Al Pacino dub siren, Super ultra mega, Fun-box (orgasm toy), Toy Koran (Quran), Cheap Chinese phone toys, Kung Fu toy, Captain Scarletâs car, âPound Shopâ keyboard (cost ÂŁ1 new.), Dragonball Z keyrings, Barbie keyboard, Fisher-price tape recorder (now dirty,dirty guitar amp.), George W Bush
and probably about fifty circuits with a soldered output that were bent/killed while recording â auto-destruct!
Non Bent Stuff: Mini Kaoss pad, Gameboy with Nanoloop, Melodica, 5-litre oil can guitar, Acoustic bass, Casio kx-101, Stylophone, Voice
Ben Says that in general songs are as vague as possible and about nothing â thatâs the story he is sticking to
The Lyrics for âAllenâ are from âCocaine Bluesâ by Allen Ginsberg.
All this was written and performed by Circuit Ben and produced by Lee Gregory â www.myspace.com/randomleeaudio
552 Highly Liquid: MIDI Retrofits: MIDISpeak: Speak & Spell MIDI Retrofit
Talking Toy MIDI Retrofit $42.95 - MIDISpeak 2
In Stock. Assembly Service: $29.95 Qty:
Support Forum - Blog Entries
For installation service, contact Class A Electronics or Alien-Devices.
Use MIDI to trigger thousands of soundsâwords, word fragments, garbled speech, percussion and bizarre sound effects
Trigger sounds in a controlled, repeatable manner
Works with Speak & Spell (American or British), Speak & Read, Speak & Math, La DictĂ©e Magique (French), Grillo Parlante (Italian), and Buddy (German)
Use toy's headphone jack or speaker for audio output
User-selected MIDI input channel
Assembly service optional
Sounds triggered from Speak & Math using a midi keyboard
Speak & Math percussion loop
Speak & Math loop repeated at increasing tempo
Speak & Math sounds
The phrase "say it", looped repeatedly at decreasing tempo
The word "answer", using normal synthesis, then slow synthesis
Trigger synthesis with MIDI notes. 128 banks of sounds.
MIDI notes 50-89 control keypad buttons; notes 90-92 control "glitch" triggers.
Printed circuit board
All required components
Standard MIDI jack & mounting screws
Adhesive foam pad
551 The Top Idea in Your Mind
I realized recently that what one thinks about in the shower in the morning is more important than I'd thought. I knew it was a good time to have ideas. Now I'd go further: now I'd say it's hard to do a really good job on anything you don't think about in the shower.
Everyone who's worked on difficult problems is probably familiar with the phenomenon of working hard to figure something out, failing, and then suddenly seeing the answer a bit later while doing something else. There's a kind of thinking you do without trying to. I'm increasingly convinced this type of thinking is not merely helpful in solving hard problems, but necessary. The tricky part is, you can only control it indirectly. 
I think most people have one top idea in their mind at any given time. That's the idea their thoughts will drift toward when they're allowed to drift freely. And this idea will thus tend to get all the benefit of that type of thinking, while others are starved of it. Which means it's a disaster to let the wrong idea become the top one in your mind.
What made this clear to me was having an idea I didn't want as the top one in my mind for two long stretches.
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428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâone needed only leave home to buy more tapes. Says Neffe, âI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front âŠ if the buyer didnât like the music, he or she could wipe it out and record something else on it.â
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâthat coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ A Safe Substitute and Colin Potterâs The Ghost Office. In Japan, 1980 saw the release of Merzbowâs first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâs Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâs own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâs artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessânot even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâs projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as âtextsâ or âphotographsâ, or as he puts it, âpotlatch musicâ. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâs subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ătant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track âLangsamâ is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track âSons of God?â is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâs CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
362 90+ Essential Social Media Resources
Check out our extensive list of social media, business, mobile and tech resources. No matter what you're into, you're sure to find it here!
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340 7-things-to-stop-doing-now-on-facebook: Personal Finance News from Yahoo! Finance
Using a Weak Password
Avoid simple names or words you can find in a dictionary, even with numbers tacked on the end. Instead, mix upper- and lower-case letters, numbers, and symbols. A password should have at least eight characters. One good technique is to insert numbers or symbols in the middle of a word, such as this variant on the word "houses": hO27usEs!
Leaving Your Full Birth Date in Your Profile
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It's an ideal target for identity thieves, who could use it to obtain more information about you and potentially gain access to your bank or credit card account. If you've already entered a birth date, go to your profile page and click on the Info tab, then on Edit Information. Under the Basic Information section, choose to show only the month and day or no birthday at all.
Overlooking Useful Privacy Controls
For almost everything in your Facebook profile, you can limit access to only your friends, friends of friends, or yourself. Restrict access to photos, birth date, religious views, and family information, among other things. You can give only certain people or groups access to items such as photos, or block particular people from seeing them. Consider leaving out contact info, such as phone number and address, since you probably don't want anyone to have access to that information anyway.
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Posting Your Child's Name in a Caption
Don't use a child's name in photo tags or captions. If someone else does, delete it by clicking on Remove Tag. If your child isn't on Facebook and someone includes his or her name in a caption, ask that person to remove the name.
Mentioning That You'll Be Away From Home
That's like putting a "no one's home" sign on your door. Wait until you get home to tell everyone how awesome your vacation was and be vague about the date of any trip.
Letting Search Engines Find You
To help prevent strangers from accessing your page, go to the Search section of Facebook's privacy controls and select Only Friends for Facebook search results. Be sure the box for public search results isn't checked.
Permitting Youngsters to Use Facebook Unsupervised
Facebook limits its members to ages 13 and over, but children younger than that do use it. If you have a young child or teenager on Facebook, the best way to provide oversight is to become one of their online friends. Use your e-mail address as the contact for their account so that you receive their notifications and monitor their activities. "What they think is nothing can actually be pretty serious," says Charles Pavelites, a supervisory special agent at the Internet Crime Complaint Center. For example, a child who posts the comment "Mom will be home soon, I need to do the dishes" every day at the same time is revealing too much about the parents' regular comings and goings.
338 Web Design Trends for 2010 | Webdesigner Depot
Purists will say that great design is timeless. Yes, in an ideal world, we should ignore trends. Pragmatically speaking, though, there is a lot of value in
332 Web Design Trends for 2010 | Webdesigner Depot
Purists will say that great design is timeless. Yes, in an ideal world, we should ignore trends.
Pragmatically speaking, though, there is a lot of value in monitoring and incorporating design trends, especially with regard to websites.
Letâs face it: the web changes at a rapid pace. Unlike in other media, design trends on the web are not just driven by aesthetics.
Technology is changing that can drastically alter the capabilities of the medium.
In 2010, weâre seeing designers continuing to push the boundaries of web design, setting the following clear trendsâŠ
303 View topic - Yamaha CS30 modifications ? help needed :D
Instruments - Yamaha CS30 modifications ? help needed :D
radek tymecki - Thu Oct 08, 2009 7:14 pm
Post subject: Yamaha CS30 modifications ? help needed :D
I've found this site:
I've made mod in my CS30 - faster LFO speed... anyway?
I know circuit in cs30 is diffrent. anyway i was wonderin howto get 24db lopass?
JarreYuri - Thu Oct 08, 2009 8:05 pm
I don't know... yet.
But I just wanted to say that I would soooo much want to have that synth You have.
Which version do You have?
radek tymecki - Thu Oct 08, 2009 8:22 pm
I had 3 versions:
- Yamaha CS30L
- Yamaha CS30 with sequencer 6 or 8 steps
- Yamaha CS30 with sequencer 1 to 8 steps
sold first two
285 2010 Trends article on LogoLounge.Com
logo, logos, corporate identity, branding, brand, competition, graphic, design, graphic design, drawing, sketch, rendering, sketch, search, cross referenced, trade mark, word, word mark, typographic, designer, design firm, mark, logo lounge, lounge, submit, book, margo chase, john sayles, hornall anderson, art chantry, rudiger goetz, michael vanderbyl, chermayeff & geismar inc, cronan group, liska associates, werner design, werks bird design, sandstrom design, simon & goetz, jay vigon, wink, landor and associates, mires, willoughby design group
282 Guide d'autodĂ©fense numĂ©rique
[âŠ] nous n'avons pas envie d'ĂȘtre contrĂŽlables par quelque Â« Big Brother Â» que ce soit. Qu'il existe dĂ©jĂ ou que l'on anticipe son Ă©mergence, le mieux est sans doute de faire en sorte qu'il ne puisse pas utiliser, contre nous, tous ces merveilleux outils que nous offrent â ou que lui offrent â les technologies numĂ©riques. [âŠ]
MĂȘme si l'on choisit de ne pas les utiliser directement, d'autres le font pour nous. Alors, autant essayer de comprendre ce que Ă§a implique. [âŠ]
Face Ă ces constats, la seule voie praticable semble ĂȘtre de devenir capables dâimaginer et de mettre en place des politiques de sĂ©curitĂ© adĂ©quates. Tout lâenjeu de ce guide est de fournir cartes, sextant et boussole Ă quiconque veut cheminer sur cette route.
Un guide Ă lire, relire, pratiquer, en solitaire ou Ă plusieurs, Ă faire dĂ©couvrir et Ă partagerâŠ ou comment affiner l'art de la navigation dans les eaux troubles du monde numĂ©rique.
280 How-To Permanently Delete Your Facebook Account
143 Granular Synthesis: Resource Site
This web site has been designed as a major reference site for the sound synthesis technique known as granular synthesis. It contains some software, music, essays, publications and lots of other information
130 --- Alan Marcero Â· Web Developer Â· Music Producer ---
Alesis A6 Andromeda Trance Patches v1.0
If you are lucky enough to own one of these instruments, today is certainly a lucky one. A first of its kind release for this megalo-hemath analog dream machine. 128 trance-oriented patches ready to take your Andromeda where few dare to bring. Who say's there such thing as too much adrenaline?
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