100SILEX, de 0 à 100 s: science
1408 Â» Cut simple SMT Stencil from common aluminum flashing on your CNC Animodule.com
Cut simple SMT Stencil from common aluminum flashing on your CNC
Hereâ€™s a quick photodoc of how I made a reusable SMT stencil from some aluminum siding I had laying around. Itâ€™s very simple to assemble and works great. Dirt cheap too.
I had picked up a roll of aluminum flashing a few years ago to flash some chimneys I rebuilt/repointed and was curious to see how it would hold up as an SMT stencil.
To buy an SMT stencil frame is near $1000 so I didnâ€™t have much to lose if it didnâ€™t work out.
I cut the frame out of some birch plywood since I had some handy. Really any sturdy frame would do the trick. You could easily glue one together out of some 1x or trim board.
I put a thicker sheet of aluminum down underneath the flashing to give the CNC endmill something sturdy to cut against and clamped it down stretched and tight. My thought there was that If I cut straight on the MDF it might push on the flashing and bend it before it cut through.
A 1mm endmill did the trick. Each pass was .05mm deep.
I pulled the Flashing tight and stapled it to the frame. No rocket science here. I taped up the inside edges so no solderpaste could squeeze between the frame and the stencil.
I had some old screen print hinge boards so I just attached this frame the same way I would a screen print stencil.
The only fiddly part was aligning the first PCB. You have to push around a little and lift the stencil and fiddle with it a little bit. Once I get all the pads lined up correctly I hold it in place and trace around it with a thin tip sharpie marker.
Then you place the PCB in the outline. If you have the height adjusted correctly the stencil is sturdy enough to hold the PCB in place while you print the Solderpaste on it. just hold the stencil frame down and it pushes down on the PCB.
I used a flexible putty knife as a squeegee. It worked fine.
Cleanup was a breeze. Just scrape it off, unscrew the stencil frame from the hingeboard and stick it in the corner till you are ready to do another run.
1265 thÃ©orie du complot
Nouvel Ordre Mondial - Alliance spirituelle contre la subversion mondialiste. Forum d'Ã©veil des consciences par le partage des connaissances et l'esprit de sol
1063 FORREST MIMS GETTING STARTED IN ELECTRONICS | BOOKS | ELECTRONICS | SCIENCE FAIR PROJECTS
Forrest Mims Getting Started in Electronics electronic books on electronics basic electronics circuits experimental science tutorial instructional science fair projects,
science fair projects,forrest mims,electronics,electronic,books,radio author, electronic tutorial,radio tutorial,master publishing,w5yi,forrest mims,electronics,electronic,books,radio author, electronic tutorial,radio tutorial,master publishing,w5yi,GETTING STARTED IN ELECTRONICS,basic electronics,circuits,experimental science,forest mims,mims,forrest,science fair projects,
977 modern jewelry inspired by nature by nervoussystem on Etsy
Nervous System works at the intersection of science, art, and technology. We combine generative computer simulations with digital fabrication to
earrings, necklaces, rings, bracelets, brooches
949 simple algorithms
This is a place to find information about some of the more fundamental algorithms used in computer science. This information is widely available on the net, but hopefully the way it's presented and discussed here will resonate with you.
Most of these are things you wouldn't need to write yourself. Modern libraries and languages tend to have quality implementations for all of this. Nonetheless, I truly believe that understanding how things work is key to improving how we work.
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.
944 BBC News - Structure of stars revealed by 'music' they emit
The sounds emitted by stars light years away from Earth have been captured by British astronomers using Nasa's Kepler space telescope.
916 HughLeCaine.com - Bonjour
On a qualifiÃ© le scientifique et compositeur canadien Hugh Le Caine (1914-1977) de "hÃ©ros" de la musique Ã©lectronique. Il a grandi Ã Port Arthur (maintenant Thunder Bay) dans le nord-ouest de l'Ontario. TrÃ¨s tÃ´t, il a commencÃ© Ã construire des instruments de musique et Ã expÃ©rimenter avec des appareils Ã©lectroniques. Dans sa jeunesse, il imaginait des "sonoritÃ©s merveilleuses" qu'il pensait pouvoir rÃ©aliser Ã l'aide de nouvelles inventions Ã©lectroniques.
Hugh Le Caine travaillant dans le laboratoire de physique de l'UniversitÃ© Queen Ã Kingston en Ontario, en 1938
AprÃ¨s l'obtention de son diplÃ´me de maÃ®trise en science Ã l'UniversitÃ© Queen en 1939, il s'est joint au Conseil national de recherche du Canada (CNRC) Ã Ottawa. Il a travaillÃ© au dÃ©veloppement des premiers systÃ¨mes de radar et en physique atomique, se distinguant comme scientifique et publiant d'importants articles dans ces domaines.
Chez lui, il poursuivait ses recherches en musique Ã©lectronique et en gÃ©nÃ©ration de son. Il a montÃ© son studio personnel en 1945 oÃ¹ il a dÃ©butÃ© son travail indÃ©pendant sur la conception d'instruments de musique Ã©lectroniques tels que la sacqueboute Ã©lectronique, un instrument monophonique trÃ¨s Ã©laborÃ© qui est maintenant reconnu comme le premier synthÃ©tiseur contrÃ´lÃ© par tension. Par la suite, Le Caine a dÃ©veloppÃ© des systÃ¨mes de contrÃ´le par tension pour une grande variÃ©tÃ© d'applications.
En 1948, Le Caine est parti en Angleterre pour quatre ans oÃ¹ il a fait des Ã©tudes en physique, poursuivant son travail en musique Ã©lectronique Ã son retour au Canada. GrÃ¢ce aux dÃ©monstrations publiques de ses instruments, il a obtenu la permission de dÃ©placer ses activitÃ©s musicales au CNRC et de s'y consacrer Ã plein temps en 1954. Pendant les vingt annÃ©es qui ont suivi, il a construit plus de vingt-deux nouveaux instruments diffÃ©rents. Il a collaborÃ© au dÃ©veloppement de deux des premiers studios de musique Ã©lectronique Ã l'UniversitÃ© de Toronto (inaugurÃ© en 1959) et Ã l'UniversitÃ© McGill Ã MontrÃ©al (inaugurÃ© en 1964).
Le laboratoire de Le Caine au CNRC a fourni pratiquement Ã lui seul l'Ã©quipement pour ces deux premiers studios. Les composantes de la saqueboute ont Ã©tÃ© sÃ©parÃ©es en unitÃ©s indÃ©pendantes - ou modules - permettant au compositeurs de leur assigner une tÃ¢che spÃ©cifique au sein d'un ensemble. Le Caine a enseignÃ© aux deux universitÃ©s et a influencÃ© toute une gÃ©nÃ©ration de compositeurs de musique Ã©lectroacoustique.
Ses nombreux articles et dÃ©monstrations personnelles ont eu un effet catalyseur dans la communautÃ© canadienne et internationale. Il a exercÃ© une influence indirecte sur le dÃ©veloppement du synthÃ©tiseur modulaire Moog par l'entremise de Gustav Ciamaga, qui Ã©tait familier avec les filtres de Le Caine et qui a par la suite encouragÃ© Robert Moog Ã dÃ©velopper son filtre passe-bas contrÃ´lÃ© par tension.
Un des aspects les plus importants des instruments de Le Caine est sans doute leur efficacitÃ© pour la performance, leur maniabilitÃ©. Son obsession pour le "beau son" l'a conduit Ã concevoir des instruments capables de produire un jeu expressif nuancÃ© caractÃ©ristique de la tradition orchestrale. Il avait un sens aigu des besoins de l'interprÃ¨te afin que celui-ci puisse exÃ©cuter les gestes qui, selon Le Caine, constituent l'essence de la musique.
Ã€ cet Ã©gard, la sensibilitÃ© au toucher a Ã©tÃ© un Ã©lÃ©ment essentiel et a Ã©tÃ© utilisÃ©e pour les claviers, les mixeurs et autres composantes, sous des formes d'application mÃ©canique, Ã©lectronique et au moyen de la sensibilitÃ© Ã la lumiÃ¨re. Sur ce point, les conceptions de Le Caine Ã©taient tellement avancÃ©es que certaines des possibilitÃ©s qu'il a dÃ©veloppÃ©es n'ont connu d'application commerciale que dans les annÃ©es 1980.
IdÃ©alement, un instrument de musique devrait offrir de bonnes qualitÃ©s sonores et une certaine flexibilitÃ© dans son contrÃ´le. Or ces deux objectifs ne sont pas toujours compatibles. Les instruments traditionnels exigent habituellement une longue formation avant que l'interprÃ¨te puisse tirer parti de leurs qualitÃ©s musicales. Dans la conception de ses instruments Ã©lectroniques, Le Caine a tentÃ© de mettre l'accent sur la maniabilitÃ© de l'instrument sans compromettre l'intÃ©gritÃ© de la musique. Chacune de ses crÃ©ations est une Ã©tude unique sur l'Ã©quilibre et le raffinement. Sur le CD, HUGH LE CAINE, COMPOSITIONS, DOMONSTRATIONS 1946-1974, nous pouvons entendre les enregistrements rÃ©alisÃ©s par Le Caine, oÃ¹ il explore et fait la dÃ©monstration des possibilitÃ©s qu'offrent huit de ses instruments.
Dripsody, sa composition de 1955 construite Ã partir du son d'une seule goutte d'eau, compte encore parmi les exemples les plus jouÃ©s de musique concrÃ¨te. MalgrÃ© l'accueil favorable que ses compositions ont Ã juste titre connu, Le Caine a conservÃ© une attitude critique Ã leur Ã©gard : "Je ne me considÃ©rais pas comme un compositeur. Toutefois, j'ai senti que la seule faÃ§on de comprendre l'intÃ©rÃªt du compositeur pour un instrument Ã©tait de l'utiliser moi-mÃªme dans les diffÃ©rentes formes musicales actuelles."
Son humour dÃ©prÃ©ciateur Ã l'Ã©gard de lui-mÃªme est Ã©vident dans certains des titres qu'il a donnÃ©s Ã ses compositions, tel que A Noisome Pestilence (le titre est un calembours : l'anglais "noisome" signifie rÃ©pugnant ou fÃ©tide, mais suggÃ¨re Ã©galement "noise" qui signifie bruit, d'oÃ¹ la traduction adoptÃ©e, "Une peste bruyante"). Lorsqu'on lui a demandÃ© pourquoi il avait nommÃ© sa premiÃ¨re composition Dripsody, il a rÃ©pondu : "Parce qu'elle a Ã©tÃ© Ã©crite par une goutte."
895 Sciences et Technologies Industrielles - AcadÃƒÂ©mie de CAEN
Les Sciences et Technologies Industrielles dans l'AcadÃ©mie de Caen
ressources, enseignement, ressources enseignant
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
648 Amazon.com: Handbook for Sound Engineers, Third Edition (9780240804545): Glen Ballou: Books
Amazon.com: Handbook for Sound Engineers, Third Edition (9780240804545): Glen Ballou: Books
Glen Ballou,Handbook for Sound Engineers, Third Edition,Focal Press,0240804546,Science/Mathematics,Electronics Engineering & Communications Engineering,Sound Systems Engineering,Communications engineering / telecommunications,Music recording & reproduction,Wave mechanics (vibration & acoustics),Technology & Industrial Arts,Technology & Engineering,Electronics - General,Acoustics & Sound,Music / Recording & Reproduction,Reference,Stereo & Audio Equipment,Technology & Engineering / General,Acoustical engineering,Handbooks, manuals, etc.
573 100 Helpful Photography Tutorials for Beginners and Professionals
Photography as both a profession and a hobby is an incredibly expansive topic that covers a remarkably vast range of subjects from science and art. No matter
548 SynthÃ¨se de Fourier (animation Flash)
Figure animÃ©e Cabrijava
Joseph, Fourier, signal pÃ©riodique, spectre, sinus, cosinus, amplitude, phase, Fresnel, animation Flash
Sound synthesis and sound design
Music has brought pleasure and entertainment to mankind throughout the whole of history. Each person is by nature equipped with one of the most elaborate and emotional musical instruments; the human voice. Whenever people feel good music seems to fit the occasion, and it is considered quite natural to hum or sing a song. Musical instruments have brought their own moods to music and at the current moment in human evolution there is an enormous variety of musical instruments available. The twentieth century has seen the development of a range of new and exciting electronic musical instruments. These electronic instruments are very flexible, they can produce a wide range of timbres and can be amplified to whatever loudness level sounds best for the occasion. Most of these electronic instruments are played by a keyboard, but in essence the keyboard can be replaced by any electromechanical device that is able to transform a movement caused by a human interaction into an electrical signal that can drive the sound generating core of the electronic instrument.
All sorts of technical and scientific developments have helped to create electronic instruments and the human interface to play them. Still, music is an art and not really a hard science, although music and sound have for a long time been subject to various scientific research. An important realization is that science can not really explain why much music is such a pleasure to listen to and such a joy to make. Which is not a bad thing, as probably no one is waiting for science to take the fun out of music by applying formalized rules and templates on what is also subject to â€˜feelâ€™. So, although this book covers techniques that lean heavily on scientific research, the application of these techniques will in general be aimed at creating fun. There are a lot of professionals working with sound and even more people that make music for their personal enjoyment. Mastery of sound synthesis is valuable to all of them. Still, it wonâ€™t be easy to please everyone with one single book, as some people will be more interested in how things work and others might want practical examples that just work. The aim of this book is that it can at least be used as a practical guide in workshops and courses in electronic music, covering some essential basics that are needed to operate the equipment used in sound synthesis in a way that makes some sense. Additionally it can be used to explore techniques to find out how they can help in the development of oneâ€™s own musical style.
Sound synthesis is the art of creating sounds by using suitable electronic means, using either analog or digital electronic devices. Sound design is the art of creating particular sounds using sound synthesis techniques. The definition of sound design as used here might be confusing to some, as the name sound design is also used in the discipline in industrial design that occupies itself with how mass produced objects should sound. Examples are how the sound of cars or ladyshaves are â€˜designedâ€™ to sound pleasing while in use. Which of course has nothing to do at all with music or sound synthesizers. This book puts the emphasis on the various synthesis techniques for musical purposes and how to setup sound synthesizers to create a large range of characteristic musical sounds. The art of musical sound design is left to the artist.
521 Audioblogs ARTE Radio
Bienvenue sur la plateforme des audioblogs d'ARTE Radio !
231 Le blog des bruitages
musique d'illustration, Bruitages, technique, son, Sound design, Les astuces du bruiteur, microphone, matÃ©riel prise son, animaux, cartoon, cinÃ©ma, sonothÃ¨que, sciences,
205 CMS Experiment
CMS, Compact Muon Solenoid, CERN, European Organization for Nuclear Research, Physics, Particle, Particles, Laboratory, Science, Accelerators, Accelerator, Collider, Colliders, Large Hadron Collider, LHC, Experiments, outreach, CMS times, detector
65 Maison dÂ’Ailleurs | La vie Ailleurs
MusÃ©e de la science fiction de lÃ‚Â’utopie et des voyages extraordinaires, Museum of Science Fiction Utopia and Extraordinary Journeys, Museum fÃ¼r Science-Fiction Utopien und AussergewÃ¶hnlichen Reisen
musÃ©e, science-fiction, utopie, voyages extraordinaires, Versins, ITSF-ESA, Museum, utopia, extraordinary journeys, Utopien, AussergewÃ¶hnlichen Reisen
58 Appel Ã contributions: Musique et Science Fiction
vintages, analogs, synths, ms20. moog, korg, minimoog, roland, sh101,
101 - 201