100SILEX, de 0 à 100 s: sure
1522 5 Simple steps to secure TT-RSS reader
secure tt-rss, tt-rss security 5 Simple steps to secure TT-RSS reader July 27, 2015 by Anand Leave a Comment secure-tt-rss-ft Share: share htpcBeginner We recently presented Tiny Tiny RSS to you as a great alternative to Google reader, which is one more way you can extend the functionality of your home server or your hosting space. Hopefully, you already exported your data from Google Reader. In this post, we will show you how to secure TT-RSS reader to prevent unauthorized access. Tiny Tiny RSS is an open source web-based news feed (RSS/Atom) reader and aggregator, designed to allow you to read news from any location, while feeling as close to a real desktop application as possible. As we previously explained, it makes an ideal candidate to replace Google Reader. While there are services like Feedly and Newsblur grabbing the crowd Google Reader, which some of you may prefer, there are a group of people who would like to run a RSS reader on their own server and keep things private. Assuming that you have already installed Tiny Tiny RSS on your alternative to Google reader or hosting space, we will now show you how to secure TT-RSS reader. Secure TT-RSS Reader One of the main reasons to move to an RSS aggregator like TT-RSS is maintaining your privacy. So if you do not secure TT-RSS reader well you are not only making your data available public but also making your system vulnerable to potential attacks. Choosing a strong username and password while setting your TT-RSS is the first basic thing that you can do to secure TT-RSS reader. Listed below are few more ways you can increase TT-RSS reader’s security. 1. Rename TT-RSS Folder One of the first lines of defense is to not use tt-rss in your URL to access your TT-RSS reader. To do this on your hosting account, use a folder name other than tt-rss while installing TT-RSS. On your Linux home server, edit /etc/tt-rss/apache.conf and change the first /tt-rss to something else. An example is shown below. TT-RSS Rename URL TT-RSS Rename URL After making the change, restart your TT-RSS and Apache to apply the changes: sudo service tt-rss restart sudo serivce apache2 reload Your TT-RSS reader is now available through the new URL (example: http://mydomain.com/myreader) only. Amazon Kindle Fire HDX 2. Enable SSL Accessing TT-RSS through http sends all information as unencrypted data. This could mean less privacy due to potential sniffing. The solution is to encrypt the data during transfer, which makes sniffing by hackers harder. To enable and enforce HTTPS access on Linux servers with Apache, install the following run-time libraries: sudo apt-get install libssl0.9.8 libpam0g openssl Restart your Apache server as shown above. You should now be able to access your TT-RSS reader with HTTPS. Note that you may have to have a SSL certificate generated. Refer to Apache documentation if you want to generate your own certificate. By default, the system will install self-signed certificates for you. These certificates are likely to raise warnings when you point your browser to the site. 3. Disable Single User Mode By default the single user mode is already disabled (in /etc/tt-rss/config.php). Enabling single user mode will also disable TT-RSS login system. Therefore, keep the single user mode disabled. Disable Single User Mode Disable Single User Mode A better way to make it a single user system is by limiting the number of registrations to 1 as described below. For whatever reason, you still want to enable single user mode, make sure you implement Apache Authentication method described below. 4. Self Registrations Self registrations allow a visitor to register themselves, which could reduce TT-RSS security. If your TT-RSS will be for personal use only, then you may want to disable user registration by setting “ENABLE_REGISTRATION” to “false”. TT-RSS Self Registrations TT-RSS Self Registrations To further secure TT-RSS Reader, uou may also want to change “REG_MAX_USERS” to “1” to make your account the only account on TT-RSS. asus n66uASUS RT-N66U Dual-Band Wireless-N900 Gigabit Router asus n66u reviewsFind out why it is rated the best wireless router in its class. 5. Apache Authentication Last but not the least, enable Authentication. This is even more important if you have enabled “Single User Mode” describe above. Every time you access TT-RSS, you will be asked for a username and password as shown in the picture below: Secure TT-RSS Reader On your hosting account this equivalent to password protecting a directory, in this case the TT-RSS directory. To do this on your Ubuntu server, you will have to create a .htpasswd file. More information is available in Apache documentation. But the easiest way to achieve this is to use one of the htpasswd generators available online. After you enter the username and password two code blocks will be generated. Copy the contents of the .htpasswd code block and save it to /etc/apache2/.htpasswd_ttrss. Next, copy the contents of the .htaccess code block and add it to /etc/tt-rss/apache.conf as shown below: TT-RSS Apache Authentication TT-RSS Apache Authentication Save and exit. Restart both TT-RSS and Apache previous shown above. You should be prompted for a password every time you try to access TT-RSS. Some may think that this double authentication method is an extra inconvenience. But I would rather be safe than sorry. Go ahead, secure Tiny Tiny RSS Reader and enjoy reading articles on your private secure RSS Reader.

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

1386 Retro Synth Ads: Sound Master Memory Rhythm SR-88, Keyboard 1982
Sound Master Memory Rhythm SR-88 drum machine 1-page advertisement from page 67 in Keyboard Magazine August 1982. Hmmm. Not sure how I feel about this ad. There just seems to be a lot going on. For example, am I supposed to know who "The Rhythm Section" is? The fact that they include themselves in an already long ad title suggests they must be some kind of a big deal. And then you find their name again in the bottom left-hand corner: "The SR-88. Another innovative product from The Rhythm Section by Sound Master Distributed exclusively by JTG of Nashville." So, let me get this straight. JTG of Nashville is the distributor of the SR-88 which was created by The Rhythm Section which is somehow owned or operated by Sound Master. That is waaaaay to much information. Sounds like something political is going on there, and readers unfortunately get stuck in the middle of it. There also seems to be a lot of ad-copy which actually doesn t give me much information. Reason #4 gives readers the most info including instant stop/start, variable tone and output switches, and a write/play mode indicator. The most I glean out of the four other reasons put together is: 16 rhythms, clock pulse and a price of under $200. The actual specs that are probably most important to potential buyers are inexplicably shoved into the bottom right-hand corner. Luckily for me, there are a few resources on the Web with more information about this beast. Unluckily for blog readers, as soon as I started looking for more info, I got swept up in a certain SR-88/Boss DR-55 controversy. Comparing the SR-88 and Boss DR-55 One of the first Web sites I hit while looking for info on the SR-88 was Dubsounds.com. The site includes a great little write-up on the SR-88, but, more interesting was finding out about a little controversy about whether the SR-88 or the very similar Boss DR-55 came out first. The two do seem mighty similar in functionality. For comparison purposes, I did a quick search on MATRIXSYNTH to find more photos. . A great photo of a gray SR-88 can be found in this December 2005 SR-88 MATRIXSYNTH auction post and the less common, but definitely more cool, blue SR-88 can be seen in this January 2011 MATRIXSYNTH auction post. Comparing the two to the Amdek RMK-100 Interestingly, it s not just these two machines that look and function similarly. In this May 2009 MATRIXSYNTH SR-88 auction post commenter "PAC" notices: "Interesting. I have an Amdek RMK-100 (sold as kit), very similar!" Never heard of it, so I Googled "Amdek RMK-100" to see just how similar it was to both the DR-55 and the SR-88. Turns out (according to the Internet) that Amdek products were made by Boss/Roland back in 80s, and, not only that, but that the RMK-100 is actually the kit version of the Boss DR-55. Makes sense on why it would also be similar to the SR-88. I found an ebay auction for an Amdek RMK-100 going on right now with a great photo of the front panel (see below), and indeed it does share a lot with the DR-55 and SR-88 - but definitely not identical to either one. For example, it looks like the Amdek and SR-88 share a similar filler function that as far as I can tell is not available on the DR-55. And the DR-55 and the RMK-100 share a similar accent function that I don t see on the SR-88. Now where does the Electro Dynamics Corporation Programmable Rhythm SR-99 fit in? I also came across another machine with similar features - the Programmable Rhythm SR-99. No - not manufactured by Sound Master, but by Electro Dynamics Corporation. And, it too resembles the others in functionality, and especially the SR-88 in design also. I ve included a row of photos below to help make the comparison between the two. The SR-88 photo is from the 2005 MATRIXSYNTH auction post and the EDC SR-99 photo is from the excellent BigBlueWave.co.uk site. I ve also thrown in a photo from another recent E-bay listing that included both - plus boxes and manuals! Sick! Obviously, Sound Master and EDC are somehow connected, although I can t find any info on the Internet concerning these two companies. I do know that they were both advertising separately in Keyboard Magazine in late 1983, making it unlikely that one of the companies changed their name to the other. Anyone know anything? And then there is the Clef Master Rhythm... Now, I m going to throw in a late entry. It s Sunday night, and I just came across this August 2010 MATRIXSYNTH auction post for the Clef Master Rhythm. It not only shares part of the name of one of the other units ("Master"), it too has many features of the other rhythm machines, and identical innards as the DR-55, but is expanded to include even more sounds: "This is essentially a fully expanded Boss DR-55 feature-wise and tone-wise. The circuits are identical (schematically and tonally) to the Boss DR-55, but the Clef Master Rhythm gives you way more instruments than the Boss DR-55..." Interestingly, according to the post, it pre-dates the Boss DR-55 - and also came in a kit form like the Amdek. "The Clef Master Rhythm came out a little before the Boss DR-55 in late 1979/early 1980. It was sold in two versions and available in greater quantities in Europe than in the United States. One version was a kit that the user put together and another one was a prebuilt machine." A photo from the MATRIXSYNTH post really helps show the similarities in functions with the others: What does it all mean? So, looking at all five machines, its almost like there was a rhythm machine salad bar of some sort in Japan, and each company stepped up to it and picked out which features they wanted to include in their product. And that begs the question - since we know there was a kit form available and there are claims that the Clef Master even has the same circuits as the DR-55, could all five products (and probably others) have used the exact same internal parts - each company choosing which features to include and then customizing in their respective rhythm machine? And if so, were those parts supplied by Amdek, or did all five get their internal parts from some other manufacturer? And if that is the case, then the question of whether the SR-88 or DR-55 came first doesn t really matter much, since it is likely that the kit components would have been available first. Plus, we have that one auction post with the claim that the Clef Master came out before the DR-55 - making it all even more confusing to figure out. Or, am I totally off the mark on all this? Were they all created separately? Maybe I ve just been fixated on this a little too much... I ll keep on looking for more info on these companies and any connection they might have, but if anyone want to buy all four and open them up to take a look - it would be muchly appreciated. :D Posted by RetroSynthAds at 12:05 PM Labels: 1982, amdek, clef master, dr-55, drum machine, electro dynamics corporation, keyboard magazine, rmk-100, Sound Master, sr-88, sr-99 2 comments: Simon said... Here s a funny thing - I seem to remember Clef in the early 1980s as a British company that made electronic pianos (touch-sensitive ones!) in kit form. Deep in the back of my mind I recall seeing them at a music fair in London with a couple of their pianos and some drum machines including a prototype drum/bass/chord sequencer called something like a "Band-Box". But it WAS a long time ago. February 12, 2012 at 12:36 PM Simon said... Looks like (for once) my memory didn t fail me. Here is a 1982 ad for Clef Electronics showing all the products I mentioned, plus a natty-looking little monosynth! BTW, I owned an EDC SR99 drum machine in the mid-1980s, but replaced it with a Yamaha RX-21 a couple of years later. February 12, 2012 at 12:46 PM

COLLIN CUNNINGHAM / NARBOTIC INSTRUMENTS [BLOG] MidiVox CV sketch update 02.05.2012 The MidiVox CV sketch has been updated to work with Arduino 1.0 - grab it here Also be sure to use the new version of the Midi Library as well! Also, also: Some previous comments on earlier posts seem to have been lost in a recent Disqus migration - apologies to previous commenters. 7 Comments Updated Midi Library & site changes 01.23.2012 Perhaps you noticed narbotic.com looks different? It is different! A big thanks to everyone who picked up a MidiVox kit - you are now the proud owner of a rare piece of electronics. Though the kit is no longer in production, there is now a new version of the Midi Libray which has been updated to work with the Arduino 1.0 IDE. In addition to an aesthetic reboot, this site will now serve as your premiere destination for all things Collin Cunningham on the web. (and I vow that will be the one & only time I refer to myself in the third-person) New things are in the works - more to come 2 Comments

1319 therevox : custom musical instruments
Inspired by the Ondes Martenot s au ruban controller, the ET-4 is controlled by moving a finger along a reference keyboard shaped to provide tactile feedback. Dual pressure sensitive intensity keys control the amplitude of the ET-4 s two independent analog oscillators. Combined with a filter, white noise generator and internal spring reverb the ET-4 is an expressive and versatile performance synthesizer.

1288 Twitter / makenoisemusic : pressure points
Make Noise @makenoisemusic @nihadtule no need for combiner, use multiple or @tiptopaudio stackcables. Pressure Points Gate outs are designed to be combined at input. RĂ©pondre Retweeter Favori Plus 9:41 AM - 28 Mars, 13

1257 CiteSeerX — Eigenrhythms: Drum pattern basis sets for classification and generation
CiteSeerX - Document Details (Isaac Councill, Lee Giles, Pradeep Teregowda): We took a collection of 100 drum beats from popular music tracks and estimated the measure length and downbeat position of each one. Using these values, we normalized each pattern to form an ensemble of aligned drum patterns. Principal Component Analysis on this data set results in a set of basis ñ€˜patterns ñ€™ that can be combined to give approximations and interpolations of all the examples. We use this low-dimension representation of the drum patterns as a space for classification and visualization, and discuss its application to generating continua of rhythms. Our classification results were very modest ñ€“ about 20 % correct on a 10-way genre classification task ñ€“ but we show that the projection into principal component space reveals aspects of the rhythm that are largely orthogonal to genre but are still perceptually relevant. CiteSeerX, Daniel P. W. Ellis, John Arroyo

1244 CiteSeerX — Eigenrhythms: Drum pattern basis sets for classification and generation
CiteSeerX - Document Details (Isaac Councill, Lee Giles, Pradeep Teregowda): We took a collection of 100 drum beats from popular music tracks and estimated the measure length and downbeat position of each one. Using these values, we normalized each pattern to form an ensemble of aligned drum patterns. Principal Component Analysis on this data set results in a set of basis ñ€˜patterns ñ€™ that can be combined to give approximations and interpolations of all the examples. We use this low-dimension representation of the drum patterns as a space for classification and visualization, and discuss its application to generating continua of rhythms. Our classification results were very modest ñ€“ about 20 % correct on a 10-way genre classification task ñ€“ but we show that the projection into principal component space reveals aspects of the rhythm that are largely orthogonal to genre but are still perceptually relevant. CiteSeerX, Daniel P. W. Ellis, John Arroyo

1233 MOTU.com - Calibration
Volta's unique oscillator calibration feature listens to the output of your oscillators and calibrates pitch tracking to ensure precise tuning. VCO calibration

1225 VOLTA MOTU.com - Calibration
Volta's unique oscillator calibration feature listens to the output of your oscillators and calibrates pitch tracking to ensure precise tuning.

1168 support cable synth
Groupe: etriers et supports pour les fils | POMONA POM-2708 // Transfer Multisort Elektronik, ŁódÅÂș, Vente par correspondance de composants électroniques. POMONA, POM-2708, etriers et supports pour les fils, accessoires de mesure, equipement d'atelier

1145 ronflette - symétrique/asymétrique 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 d’une 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 terre, masse, avec, cordons, symĂ©trique, asymĂ©trique, symĂ©triques, entrĂ©es, appareils, cordon, secteur, audio, dans, sans, prise, sont, boucle, asymĂ©triques, nest, mais, entrĂ©e, donc, bruit, cĂąble, pour, sortie, chaque, sorties, relier, extĂ©rieur, problĂšmes, utilise, signal, rapport, peut, entre, synthĂ©, jack, lampli, signaux, prises, ronflette, broches, connecteurs, gĂ©nĂšre, entendu, faut, dune, liaisons, constituĂ©

1132 Mammoth Modular Synthesizer At MIT Museum
Just got an update from Joe Paradiso on his homebuilt mammoth analog modular synthesizer. He’s installed it in the MIT Museum and has completed a fairly epic patch which you can listen to (24 hours a day!) here. Joe will be at the museum this Thursday and Friday (2/23 and 2/24) at 1pm, demoing the synth to visitors, so be sure to stop by if you’re in the neighborhood. Here’s some info from Joe on the construction and inspiration for the latest patch. The second patch I made at the MIT Museum is totally done now, and you can hear it live on the stream. Listen to it at http://synth.media.mit.edu, and let me know what you think if you’re inclined – it’s running in physical space in Quad, of course – stereo on the stream. Note that this one has absolutely NO sequencer of any sort on it – all of the patterns you hear were made entirely from hand-patched logic (counters, ands, ors, flip flops, ring counters, rate multipliers, etc.). It’s an entirely different kind of composition environment from the norm – you really need to simultaneously be an engineer while being an artist and something of a performer. The inspiration for this patch started with the Boredoms – if you don’t know who they are, you should (http://www.boredoms.jp/). In particular, I was thinking of SuperRoots 9. The beauty of the patching interface is that you can never exactly nail what you start out to attain, but on the other hand, you get drawn into places you wouldn’t have normally gone once you start. The 3 drummers that Yamantaka Eye performs with lay down a compelling rhythm that my hand-patched logic and analog processing can’t match, of course. But this patch definitely has a strange jumpy groove once it gets into gear, and the 2-chord pad is archetypical too. Yes, Boredoms rule today! BTW, this patch took every cord I had, plus a good 30 more wires just shoved into the pin jacks – check out the photos here and here – the latter shows the kind of logic section patching complexity you need to build a sonic environment like this one. I’m ripping this baby out next Thursday, as I’ll be at the museum next Thursday and Friday (2/23 and 2/24) at 1pm to demonstrate the synthesizer to visitors – doing some very simple patches and showing off what the modules do in case anybody is interested in this. It will run continuously until then. Otherwise, enjoy the stream – there are moments of introspective drift in-between wild percussion (yes, Boredoms!). I might pull the percussion line back so it doesn’t come so often or regularly, but it’s essentially a wrap.

1001 30 Awesomely Bad Unicorn Tattoos: A Gallery – Holytaco
  You can’t shake a stick these days without hitting someone who has a unicorn tattoo (and I shake a lot of sticks.) I’m not sure why people would get a unicorn tattoo, but it app... bad tattoos, Blog entry, Lists, tattoos, unicorn, unicorn tattoos, worst tattoos,

973 zCover X5
iPod, nano, iAUdio, Samsung, YH820, YH925, Sony, Walkman, MN-HD5, network, Tosiba, Gigabeat, Sony PSP, iPod, iPod G4, iPod mini, iPod Shuffle, iRiver, iRiver H10, PalmOne, Tero600, Tero650, Creative, Zen, Creative Zen Micro, Creative Zen PMC, PMC, Camouflage, Candy, original, silicone, silicon, silicone alliance, case, skin, silicone case, silicone skin, protector Headphone & USB Reset hole Mic hole Power Switch Advanced molding technology and contour design in the latest style allows full access to all controls and connectors. Low Profile removable, rotating Belt Clip can be rotated and locked so that you can wear your iAudio vertically or horizontally when clipped to your belt. Crystal clear Hard Screen Protector with Rubber Ring Pad provides the best protection and vision effect, it won't slid around or scratch your device. Applied SA flipper lid concept, integrated subpack port flipper cover can help to keep dust, dirt and liquids out. Removable Belt clip with a soft landing insert disk, which will not scratch your device.S zCover silicone cases are crafted from non-toxic, durable HealthCare grade silicone rubber. It is safe Washable - you can wash zCover silicone case by hand. Make sure it’s dried out before putting your iAudio into it. Dry it in room temperature. Please avoid direct fire and direct bright sunshine.

948 Pixel Perfection When Rotating, Pasting And Nudging In Photoshop - Smashing Magazine
When creating Web and app interfaces, most designers slave over every single pixel, making sure itñ€™s got exactly the right color, texture and position. If youñ€™re... web design, magazine, html, photoshop, wordpress, wallpaper, icons

940 goike | goike.com
goike modular synthesizer enclosures synth

938 Composant Ă©lectronique GoTronic : catalogue de composants Ă©lectroniques et appareils Ă©lectroniques
GoTronic, vente par correspondance de composants et appareils électroniques : accessoires tv vidéo, alarmes, télécommandes, appareils de mesure, audio, caméras, vidéosurveillance, commutateurs, connectique, fils et cùbles, livres techniques et CD-ROM's, micro-informatique, optoélectronique, refroidisseurs et ventilateurs, robotique, transformateurs, fusibles, accus Accessoire alarme, Accessoire téléphonique, accumulateur, accumulateur chargeur, accumulateur pile électrique, accus, accus batterie, accus chargeur, accus pile, accus rechargeable, Adaptateur secteur, Adhésif, Aérosol, Afficheur, Afficheur à leds, Afficheur alphanumérique, Afficheur de tableau, Afficheur lcd, Aide mémoire, Aimant, alarme, alarme anti intrusion, alarme domestique, alarme habitation, alarme intrusion, alarme maison, alarme sans fil, alarme vidéosurveillance, alarme voiture, Alimentation, alimentation 12 volts transformateur, alimentations, Ampli répartiteur, Amplificateur, Ampoule, Antenne, Antenne active, Appareil de mesure, appareil de mesure électronique, Appareil pour chien, Appareils de mesure, Argent conducteur, Audio, Aurel, Balance digitale, Balance numérique, Ballast, Bargraphe, Barrette de connexion, Barrette sécable, BarriÚre infrarouge, BarriÚre IR, Basic Stamp, batterie d'accumulateur, batterie électronique, Bloc laser, Bloc secteur, Boßte de connexion, Boßtier électronique, Boomer, Borne pour haut parleur, Bornier, Bornier à poussoir, Bornier pour haut parleur, Bouton, Bouton à blocage, Bouton compte tours, Bouton poussoir, Bouton-poussoir, Bracelet antistatique, Brosse antistatique, Brucelle, Buzzer, cùble, cùble coaxial, cùble et connectique, cùble et connectique audio vidéo, cùble peritel, Cadre pour afficheur, caméra, Caméra de recul, caméra de surveillance, caméra vidéo, caméra vidéosurveillance, CapacimÚtre, Capsule à ultrasons, capteur, Capteur à effet Hall, Capteur de courant, Capteur de gaz, Capteur de mesure de distance, capteur de niveau, capteur de pression, 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connecteur circuit imprimé, Connecteur Din41612, Connecteur DIP, Connecteur étanche, Connecteur HE10, Connecteur HE14, Connecteur jack, Connecteur pour ci, Connecteur RCA, Connecteur secteur, Connecteur sub d, Connecteur SUB-D, Connecteur TV, Connecteur USB, Connecteur XLR, Connectique, connectique cùble, Contact magnétique, Convertisseur, Convertisseur audio vidéo usb, Convertisseur de tension, Cordon audio, Cordon BNC, Cordon de mesure, Cordon firewire, Cordon informatique, Cordon modular, Cordon null modem, Cordon spiralé, Cordon usb, Cordon vidéo, Cosse à sertir, Cosse faston, Coupleur de pile, DécibelmÚtre, Del, Détecteur de faux billets, Détecteur de gaz, Détecteur de mouvements, Détecteur de niveau, Détecteur de proximité, Détecteur filaire, Détecteur infrarouge, Digisat, Diode, Diode électroluminescente, diode et transistor, Diode infrarouge, Diode zéner, Dip-switch, disjoncteur et fusibles, Dissipateur, Douille pour halogÚne, Ecouteur, Ecran lcd, Ecran vidéo, Eeprom, électronique et robotique, Enceinte, Enceinte audio, Engrenage, Enregistreur vidéo, Entretoise, Eprom, équipement connecteurs électrique, Etain chimique, Etau, Extracteur de fumées, Fer à dessouder, Fer à souder, Fiche alimentation, Fiche banane, Fiche DIN, Fiche F, Fiche mini-Din, Fiche péritel, Fiche secteur, Fil émaillé, Filtre, Filtre audio, Fin de course, Foret carbure, Foret miniature, Foreuse, FréquencemÚtre, Frigo portable, Fusible, Gaine thermorétractable, Galet presseur, GalvanomÚtre, Générateur de fonction, Gradateur, Graisse molykote, Graisse pour vidéo, Graisse silicone, Graisse thermique, Graveuse, Grignoteuse, Grip-fil, Grippe fil, Harmonique, Haut parleur, Haut parleur étanche, Haut-parleur, Horloge, Humidistance, Inductance variable, Insoleuse, Instrument météo, Inter TV, Interface, Interface PC, Interphone, Interphone sans fil, Interphone vidéo, Interrupteur, Interrupteur à bille, Interrupteur à clé, Interrupteur infrarouge, Interrupteur opto, Interrupteur optoélectronique, Interrupteur secteur, Interrupteur TV, Inverseur, kit alarme, Kit audio, Kit didactique, kit électronique, Kit mécanique, Lampe, Lampe halogÚne, Lampe loupe, Lampe torche, Ldr, Lecteur de carte SIM, Led, Livre pour pc, Loupe, LuxmÚtre, Machine à graver, Machine à insoler, Mandrin à bobiner, matériel électronique, matériel optoélectronique, matériel vidéosurveillance, Mécanisme d'horloge, Mégaphone, Mémoire, Mesureur d'isolement, Micro, Micro électret, Micro multimédia, Microchip, MicrocontrÎleur, MicrocontrÎleur PIC, micro-informatique, Microrupteur, Modulateur, Modulateur audio vidéo, Module graphique, Module hybride, Module laser, Module lcd, Module Peltier, modules HF, Molykote, Moniteur, Moniteur couleur, Moniteur LCD, Moniteur noir et blanc, Moniteur vidéo, Montage didactique, Moteur, Moteur audio, Moteur pas-à-pas, Moto réducteur, MultimÚtre, Optocoupleur, Optoélectronique, Oscillateur à quartz, Oscilloscope, Outil de manipulation, Outillage, Outillage vidéo, Panne à souder, Parlophone, Perceuse, Perchlorure, Perchlorure de fer, Persultate, Persultate de sodium, Photodiode, Photorésistance, Phototransistor, Pied à coulisse, Pile, pile accus, pile électrique et accumulateur, pile et accumulateur, Pince, Pince à dénuder, Pince à sertir, Pince ampÚremétrique, Pince crocodile, Pistolet à colle, Plaque epoxy, Plaque thermoformable, Platine d'expérimentation, PluviomÚtre, Pointe de touche, Pointeur laser, Pompe à dessouder, Pont redresseur, Pont rlc, Portier vidéo, PotentiomÚtre, PotentiomÚtre multitours, Poulie miniature, Pré amplificateur, Pré-amplificateur, Prise anti-surtension, Programmateur, Programmateur de PIC, programmateur électronique, Projecteur halogÚne, Projecteur infrarouge, protection électrique fusibles, Réfrigérateur portable, Régulateur, Relais bistable, Relais miniature, Relais statique, Relais temporisé, Répartiteur mural, Répartiteur péritel, repartiteur tv antenne et accessoire, Résistance, Résistance carbone, Résistance cms, Résistance métal, Résonateur, Révélateur, Robot, Robotique, Rotacteur, roue codeuse, Roue dentée, Satfinder, Sation de dessoudage, Satmeter, Schéma, Scie à chantourner, Scie circulaire, sécurité alarme, Self, Semiconducteur, Semi-conducteur, Servo moteur, Servomoteur, SirÚne, Sonde de température, SonomÚtre, Spot halogÚne, Station de soudage, Station météo, Stylo conducteur, Stylo électronique, Subwoofer, Support, Support à insertion nulle, Support de caméra, Support de fer à souder, Support de relais, Support lyre, Support tulipe, systÚme alarme maison, systÚme d'alarme, systÚme d'alarme intrusion residentiel, Table de mixage, TachymÚtre, Talkie walkie, Tapis antistatique, Tapis de contact, Tapis de réparation, Télécommande, télécommande de télévision, télécommande infrarouge, télécommande radio, télécommande téléviseur, télécommande tv, Télécontrolli, TélémÚtre, Télérupteur, Télérupteur bipolaire, Temporisateur, Temporisation, temporisation type 86, Testeur de réseau, Testeur 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925 Forum Holga, SX70, pinhole,polaroid... canette ou boite Ă  chaussures; tout le cheap est ici ~
Holg4.org ? Ami(e)s photographes, Bienvenue sur h0lg4.org, le portail francophone dĂ©diĂ© aux photographies cheap et aux appareils exotiques. Vous ĂȘtes un fĂ©ru de bidouillage photographique ou un parfait dĂ©butant ? Holga est votre prĂ©nom prĂ©fĂ©rĂ© ? Vous voulez savoir comment prendre des photos avec une simple boĂźte de conserve ? Vous souhaitez expĂ©rimenter des modes photographiques diffĂ©rents, ou tout simplement visualiser ce qu'on obtient avec des appareils cheap ? Vous en pincez pour Diana ? Vous souhaitez partager vos impressions et vos expressions photographiques ? Devenez membre du forum en vous inscrivant, participez aux Ă©changes et crĂ©ez votre propre galerie en ligne. Armez votre bonne humeur, rĂ©glez votre curiositĂ© sur la plus grande ouverture, et dĂ©clenchez !!! Clic, clic, clic !!! Derniers articles € MĂ©thode de DĂ©veloppement C41 avec le kit digibase de Rollei. € DĂ©veloppement au HC-110 de la FP4 exposĂ©e en-dessous de sa sensibitĂ© € DĂ©velopper les films couleurs Ă  la maison (chimie C41) € Agat 18 € Great Wall DF Les derniĂšres interventions » Pavillon d'Aveyron ou une semaine chez mami » HĂŽtel 4 Ă©toiles » Symphonie en UT 18 ... » La boite de bonbon ... » Youkfou a sa flĂȘche... » Les accords d'LĂ©on » Exposition aux Baux de Provence » La grange » Ces inconnus. » apĂ©ro Hitchcockien

915 The DSI Evolvers, Prophet '08, and MoPho forum
The DSI Evolvers, Prophet '08, and MoPho are killer synths, and quite affordable for real analogs. Visit Dave Smith's site at davesmithinstruments.com for additional details. Also be sure to check out the discussion and files at Ravi's Evolver Yahoo group.

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

868 How Facebook Ships Code « FrameThink – Frameworks for Thinking People
I’m fascinated by the way Facebook operates. It’s a very unique environment, not easily replicated (nor would their system work for all companies, even if they tried). These are notes gathered from talking with many friends at Facebook about how the company develops and releases software. It’s been over six months since I assembled these observations and I’m sure Facebook has continuously evolved its software development practices in the meantime. So these notes are probably a little bit out-of-date. It also seems like Facebook’s developer-driven culture is coming under greater public scrutiny. So I’m feeling more comfortable now about releasing these notes
 HUGE thanks to the many folks who helped put together this view inside of Facebook! Thanks are also due to folks like epriest and fryfrog who have written up corrections and edits.

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

812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02ℱ 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 Log Amp: 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. Antilog Amp: 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.

788 Setting Up Your Digital Camera For HDR Shooting
You’ve probably heard of High Dynamic Range (HDR) Photography, it’s made quite an entrance into the world of digital photography. If you haven’t, the HDR process is accomplished by taking multiple exposures of a high contrast scene (usually a landscape or cityscape), at different levels of brightness, and then combining the best light from each exposure into one image. The end result is a stunning image that very closely resembles how the human eye views a scene. This process of digital manipulation has caused a bit of controversy and debate in the world of photography, especially with images that are “over-cooked.” One thing is for sure though, HDR is here to stay. When done right, this unique and in depth processing technique can produce beautiful works of art that mimic the way we view and remember a landscape or scene. The above image is an example of what HDR processing can produce. This image, taken from the Big Island of Hawaii, would not be possible without HDR processing. It was taken around noon, the harshest light of the day. The first image is the best image my camera could produce given the situation. While still beautiful, there are obvious problems. Get ready, this article is going to show you how to take your digital camera and turn it into an HDR shooting machine!

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=EU6d24_eZ08 http://www.youtube.com/watch?v=AvZi-YMvHRE 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. Features 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. Introduction 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.

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

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

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.

714 30 free programming eBooks « citizen428.blog()
Since this post got quite popular I decided to incorporate some of the excellent suggestions posted in the comments, so this list now has more than 40 books in it. [UPDATED: 2010-10-12] Learning a new programming language always is fun and there are many great books legally available for free online. Here’s a selection of 30 of them: Lisp/Scheme: How to Desing Programs Interpreting Lisp (PDF, suggested by Gary Knott) Let Over Lambda On Lisp Practical Common Lisp Programming in Emacs Lisp Programming Languages. Application and Interpretation (suggested by Alex Ott) Structure and Interpretation of Computer Programs Teach Yourself Scheme in Fixnum Days Visual LISP Developer’s Bible (suggested by “skatterbrainz”) Ruby: Data Structures and Algorithms with Object-Oriented Design Patterns in Ruby Learn to Program MacRuby: The Definitive Guide Mr. Neighborly’s Humble Little Ruby Book (suggested by @tundal45) Programming Ruby Read Ruby 1.9 Ruby Best Practices Ruby on Rails Tutorial Book (suggested by @tundal45) Javascript: Building iPhone Apps with HTML, CSS, and JavaScript Eloquent Javascript jQuery Fundamentals Mastering Node Haskell: Learn You a Haskell for Great Good Real World Haskell Erlang: Concurrent Programming in Erlang Learn You Some Erlang for Great Good Python: Dive into Python How to Think Like a Computer Scientist – Learning with Python Smalltalk: Dynamic Web Development with Seaside Pharo by Example (based on the next book in this list, suggested by Anonymous) Squeak by Example Misc: Algorithms The Art of Assembly Language Beginning Perl Building Accessible Websites (suggested by Joe Clark) The C Book C# Yellow Book (suggested by Joe Wyatt) Compiler Construction Dive Into HTML 5 (suggested by @til) Higher-Order Perl The Implementation of Functional Programming Languages (suggested by “Def”) An Introduction to R Learn Prolog Now! Objective-C 2.0 Essentials Programming Scala Of course there are many more free programming eBooks, but this list consists of the ones I read or want(ed) to read. This is far from comprehensive and languages that are completely missing are mostly left out on purpose (e.g. PHP, C++, Java). I’m sure somebody else made a list for them somewhere.

691 visualizing.org
Visualizing.org is a community of creative people working to make sense of complex issues through data and design
 and it’s a shared space and free resource to help you achieve this goal. Why Visualizing.org? By some estimates, we now create more data each year than in the entirety of prior human history. Data visualization helps us approach, interpret, and extract knowledge from this information. Over the last couple of years, we’ve seen government agencies, NGOs, and companies open up their data for the public to see and use. And we’ve seen data visualization figure more prominently in design curricula, conference programs, and the media. We created Visualizing.org because we want to help connect the proliferation of public data
 with a community that can help us understand this data
 with the general public. What is Visualizing.org? What can I do on the site? For designers: Visualizing is a place to showcase your work, get feedback, ensure that your work is seen by lots of people and gets used by teachers, journalists, and conference organizers to help educate the public about various world issues Visualizing is a free resource to search for data Use Visualizing to keep up with and be inspired by the latest work from other designers and design schools Learn about new visualization tools, blogs, books and other resources to help your work Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share-Alike License For teachers and schools: Visualizing is a place to exhibit the collective work of your students, organize assignments and class projects, and help your students find data for their own visualizations We’re working on new tools to help you share teaching material with other teachers As an Academic Partner, your students are eligible to participate in various design competitions – we’re hosting the first Visualizing Marathon in New York in October To learn more, contact Saira Jesani For bloggers and journalists: Visualizing is a resource to find data visualizations about a wide variety of world issues to inform and accompany your own reporting – and it’s easy to embed visualizations and widgets from Visualizing on your own site For conference organizers: As a Knowledge Partner, Visualizing allows you to use data visualizations at your conferences under a Creative Commons License To learn more, contact Saira Jesani For all: Visualizing is a new and fun online resource to learn more about the world in all its complexity and inter-dependence -- and become more comfortable with data and how it can be visually represented How does it work? The site is open and free to use. Everything you upload remains your sole and exclusive property and is licensed under a Creative Commons Attribution Non-Commercial Share Alike License. Simply put, this means that anyone can share, copy, remix, or build upon the visualization as long as: (i) it is used non-commercially; and (ii) the visualization’s creator and source are credited.

587 Leisure Cove: April 2010
modular synth monorocket

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

565 Inside Alesis A6 Andromeda | Ibsendesign blog
Inside Alesis A6 Andromeda Here are some pics I’ve shot during the reconnaissance inside my A6 (taking some measures before pimping it with some custom made wooden cheeks). It’s quite surprising that its guts are not that complicated as it may seem looking at it’s interface. Very clean layout and good engineering (with tons of silicone glue, WTF?). The only con is that in order to remove those original cheeks I have to disassemble all the PCB’s attached to the front panel – and probably all the pots! Teh drama.

533 The Theory and Technique of Electronic Music
Contents Sinusoids, amplitude and frequency Measures of Amplitude Units of Amplitude Controlling Amplitude Frequency Synthesizing a sinusoid Superposing Signals Periodic Signals About the Software Examples Examples Wavetables and samplers The Wavetable Oscillator Sampling Enveloping samplers Timbre stretching Interpolation Examples Audio and control computations The sampling theorem Control Control streams Converting from audio signals to numeric control streams Control streams in block diagrams Event detection Audio signals as control Operations on control streams Control operations in Pd Examples Automation and voice management Envelope Generators Linear and Curved Amplitude Shapes Continuous and discontinuous control changes Muting Switch-and-ramp Polyphony Voice allocation Voice tags Encapsulation in Pd Examples Modulation Taxonomy of spectra Multiplying audio signals Waveshaping Frequency and phase modulation Examples Designer spectra Carrier/modulator model Pulse trains Pulse trains via waveshaping Pulse trains via wavetable stretching Resulting spectra Movable ring modulation Phase-aligned formant (PAF) generator Examples Time shifts and delays Complex numbers Complex sinusoids Time shifts and phase changes Delay networks Recirculating delay networks Power conservation and complex delay networks Artificial reverberation Controlling reverberators Variable and fractional shifts Fidelity of interpolating delay lines Pitch shifting Examples Filters Taxonomy of filters Low-pass and high-pass filters Band-pass and stop-band filters Equalizing filters Elementary filters Elementary non-recirculating filter Non-recirculating filter, second form Elementary recirculating filter Compound filters Real outputs from complex filters Two recirculating filters for the price of one Designing filters One-pole low-pass filter One-pole, one-zero high-pass filter Shelving filter Band-pass filter Peaking and stop-band filter Butterworth filters Stretching the unit circle with rational functions Butterworth band-pass filter Time-varying coefficients Impulse responses of recirculating filters All-pass filters Applications Subtractive synthesis Envelope following Single Sideband Modulation Examples Fourier analysis and resynthesis Fourier analysis of periodic signals Periodicity of the Fourier transform Fourier transform as additive synthesis Properties of Fourier transforms Fourier transform of DC Shifts and phase changes Fourier transform of a sinusoid Fourier analysis of non-periodic signals Fourier analysis and reconstruction of audio signals Narrow-band companding Timbre stamping (classical vocoder) Phase Phase relationships between channels Phase bashing Examples Classical waveforms Symmetries and Fourier series Sawtooth waves and symmetry Dissecting classical waveforms Fourier series of the elementary waveforms Sawtooth wave Parabolic wave Square and symmetric triangle waves General (non-symmetric) triangle wave Predicting and controlling foldover Over-sampling Sneaky triangle waves Transition splicing Examples Index Bibliography

529 SynthesisWorkshops
synth modular Sound synthesis and sound design Music has brought pleasure and entertainment to mankind throughout the whole of history. Each person is by nature equipped with one of the most elaborate and emotional musical instruments; the human voice. Whenever people feel good music seems to fit the occasion, and it is considered quite natural to hum or sing a song. Musical instruments have brought their own moods to music and at the current moment in human evolution there is an enormous variety of musical instruments available. The twentieth century has seen the development of a range of new and exciting electronic musical instruments. These electronic instruments are very flexible, they can produce a wide range of timbres and can be amplified to whatever loudness level sounds best for the occasion. Most of these electronic instruments are played by a keyboard, but in essence the keyboard can be replaced by any electromechanical device that is able to transform a movement caused by a human interaction into an electrical signal that can drive the sound generating core of the electronic instrument. All sorts of technical and scientific developments have helped to create electronic instruments and the human interface to play them. Still, music is an art and not really a hard science, although music and sound have for a long time been subject to various scientific research. An important realization is that science can not really explain why much music is such a pleasure to listen to and such a joy to make. Which is not a bad thing, as probably no one is waiting for science to take the fun out of music by applying formalized rules and templates on what is also subject to ‘feel’. So, although this book covers techniques that lean heavily on scientific research, the application of these techniques will in general be aimed at creating fun. There are a lot of professionals working with sound and even more people that make music for their personal enjoyment. Mastery of sound synthesis is valuable to all of them. Still, it won’t be easy to please everyone with one single book, as some people will be more interested in how things work and others might want practical examples that just work. The aim of this book is that it can at least be used as a practical guide in workshops and courses in electronic music, covering some essential basics that are needed to operate the equipment used in sound synthesis in a way that makes some sense. Additionally it can be used to explore techniques to find out how they can help in the development of one’s own musical style. Sound synthesis is the art of creating sounds by using suitable electronic means, using either analog or digital electronic devices. Sound design is the art of creating particular sounds using sound synthesis techniques. The definition of sound design as used here might be confusing to some, as the name sound design is also used in the discipline in industrial design that occupies itself with how mass produced objects should sound. Examples are how the sound of cars or ladyshaves are ‘designed’ to sound pleasing while in use. Which of course has nothing to do at all with music or sound synthesizers. This book puts the emphasis on the various synthesis techniques for musical purposes and how to setup sound synthesizers to create a large range of characteristic musical sounds. The art of musical sound design is left to the artist.

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

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)

474 Why Intelligent People Fail
Why Intelligent People Fail Content from Sternberg, R. (1994). In search of the human mind. New York: Harcourt Brace. 1. Lack of motivation. A talent is irrelevant if a person is not motivated to use it. Motivation may be external (for example, social approval) or internal (satisfaction from a job well-done, for instance). External sources tend to be transient, while internal sources tend to produce more consistent performance. 2. Lack of impulse control. Habitual impulsiveness gets in the way of optimal performance. Some people do not bring their full intellectual resources to bear on a problem but go with the first solution that pops into their heads. 3. Lack of perserverance and perseveration. Some people give up too easily, while others are unable to stop even when the quest will clearly be fruitless. 4. Using the wrong abilities. People may not be using the right abilities for the tasks in which they are engaged. 5. Inability to translate thought into action. Some people seem buried in thought. They have good ideas but rarely seem able to do anything about them. 6. Lack of product orientation. Some people seem more concerned about the process than the result of activity. 7. Inability to complete tasks. For some people nothing ever draws to a close. Perhaps it’s fear of what they would do next or fear of becoming hopelessly enmeshed in detail. 8. Failure to initiate. Still others are unwilling or unable to initiate a project. It may be indecision or fear of commitment. 9. Fear of failure. People may not reach peak performance because they avoid the really important challenges in life. 10. Procrastination. Some people are unable to act without pressure. They may also look for little things to do in order to put off the big ones. 11. Misattribution of blame. Some people always blame themselves for even the slightest mishap. Some always blame others. 12. Excessive self-pity. Some people spend more time feeling sorry for themselves than expending the effort necessary to overcome the problem. 13. Excessive dependency. Some people expect others to do for them what they ought to be doing themselves. 14. Wallowing in personal difficulties. Some people let their personal difficulties interfere grossly with their work. During the course of life, one can expect some real joys and some real sorrows. Maintaining a proper perspective is often difficult. 15. Distractibility and lack of concentration. Even some very intelligent people have very short attention spans. 16. Spreading oneself too think or too thick. Undertaking too many activities may result in none being completed on time. Undertaking too few can also result in missed opportunities and reduced levels of accomplishment. 17. Inability to delay gratification. Some people reward themselves and are rewarded by others for finishing small tasks, while avoiding bigger tasks that would earn them larger rewards. 18. Inability to see the forest for the trees. Some people become obsessed with details and are either unwilling or unable to see or deal with the larger picture in the projects they undertake. 19. Lack of balance between critical, analytical thinking and creative, synthetic thinking. It is important for people to learn what kind of thinking is expected of them in each situation. 20. Too little or too much self-confidence. Lack of self-confidence can gnaw away at a person’s ability to get things done and become a self-fulfilling prophecy. Conversely, individuals with too much self-confidence may not know when to admit they are wrong or in need of self-improvement.

437 How to Take Extraordinary Photographs, Part 1: Exposure
Ever wonder why your photos are either too dark or overly bright? In this excerpt from SitePointñ€™s latest book: Photogra
Ever wonder why your photos are either too dark or overly bright? In this excerpt from SitePointñ€™s latest book: Photogra


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.

410 PollutionsĂ©lectromagnĂ©tiques : il y a mesures et mesures
à propos de mĂ©trologie et d’appareils dits « demesure » 
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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.

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! Business Lists,Facebook Lists,Lists,Megalists,Mobile Lists,Social Media Lists,Twitter Lists,business,facebook,features,iPhone Resource Lists,social media,twitter,youtube Now you’ve gone and done it. You’ve come across a list so enormous, so useful, and so awesome, our futile attempts to describe it have been lost in the tubes of cyberspace. We’ll just say this: No matter what you’re into — Twitter, Facebook, Mobile Apps, Business Development, or good-old-fashioned YouTube hilarity — you will find it below. So put down your barbeque, send out another huge thanks to our men and women in uniform, and limber up your scrolling finger — it’s a big one. If you dig the uber-list, be sure to send some comments our way down below!

356 The Land List -- SX-70 Cameras
Folding SX-70 Cameras: ALL Folding SX-70 Cameras have the following features in common: 4-element 116mm f/8 glass lens Minimum focus: 10.4 inches Front-cell focusing via geared wheel at top of lens/shutter housing Electronic shutter Programmed automatic exposure-- shutter speeds from >10 sec to 1/175; aperture range f/8- f/22; smaller apertures possible when flash is used. Auto flash exposure based on focus distance; Max flash distance 20ft. Has built-in Flashbar socket for flash. Accessory electronic flashes were also available. Socket for an electrically-actuated remote shutter release.

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 More from ConsumerReports.org: ‱ Millions of Users Exposing Personal Information ‱ Tested: 119 Laptops, Desktops, Netbooks and iPad ‱ Electronics Reviews 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. Popular Stories on Yahoo!: ‱ 20 Best Cities to Ride Out the Recession ‱ Wealth Ranking: You're Richer Than You Think ‱ 7 Expenses You Can Ditch in Retirement More from Yahoo! Finance 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.

321 30 Creative and Unique Free Fonts
Everyone love free fonts. If you want to be a bit different, you can use these creative fonts to make sure that your designs will stand out. free, fonts,resources

311 MATRIXSYNTH: synthorama
Be sure to see the Synthorama and Airböurne labels below for more including video and shots of the Synthorama Synth Museum in Luterbach Switzerland.

299 Downloads - Measurements Using PC
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235 MATRIXSYNTH: Alesis Andromeda A6 Aurora Mod
This was a custom mod. I originally put a post up in August of 05 here. Anyone know the website where more info on this mod is hosted? I accidentally lost the link when mucking around with Blogger's settings a while back. This image via Photobucket Update: I found the original site but it is down. Some info and additional shots pulled from the Internet Archive Way Back Machine. You can find some thumbnails there, but most give you a 404 if you click on them for the larger shot. I pulled the large pics below before they are gone forever. "Alesis made Synthesis History when they released their Alesis Andromeda A6, an analog polysynth bred with new technology and classic analog sound! Sixteen awesome voices with two types of filters, a vast modulation system, and enough bells and whistles to make the Andromeda A6 THE most highly featured analog polysynth in existence. If it only had a sloped panel... SPECS: * Take one Andromeda, lightly used (but out of warranty - very important!) * Add one black on blue BETA Panel - because the pre-production beta panels were lacking the Pre- and Post-Filter Mix VIEW buttons, either the buttoncaps must be pulled off of the switches on the PCBs OR two holes need to be carefully drilled through the panel to accomodate. I drilled the holes after measuring about fifteen times each. * Tilt that panel at approx. the same slope as the Korg MS-20. Requires the extending of a couple of ribbon cables inside, and some pop-rivetted braces. Not too hard. * Custom wood endcheeks of nice Oak, plus a wood accent over the keyboard. I chose to go with thick, high quality wood to make Aurora more of a beast. * Replace all green LEDs with red high-intensity ones. This also required changing some resistor values to increase the brightness. * Replace the LCD with a Hantronix Blue-on-White display. Also, some resistor changes are needed. * Have a very agreeable Alesis burn a custom Boot EPROM with the custom-designed bootup screen below. * Build a custom top panel, complete with several additional controls (two joysticks, several switches and knobs) as well as a full 16-channel mixer with level and pan per channel, one for each of the 16 individual outs on the Andromeda. * Add lots of careful, hard work and time, and PRESTO - you have the Aurora A6! The Name: I went with Aurora for a couple of reasons. 1. Alliteration - AurorA - AndromedA - get it? 2. There is some legend/lore as to how the Alesis Andromeda got its name. Could be related to the Greek mythos. Could be related to the Andromeda galaxy. Could be darts thrown at dictionary pages :-) In any case, Aurora fits with the mythology bent because in Roman mythology, Aurora was the goddess of the dawn (Andromeda was rescued and married by Perseus in Greek mythos). Aurora also fits the 'celestial' thing as well, as the Aurora Borealis. Either way, it kept with what might have perhaps been Alesis' reasons for naming the Andromeda. 3. I just liked it. 4. The A6 is kept because this fits with Alesis' naming convention (QS8 = 81-key QuadraSynth, A6 = 61-key Analog). There is some rumor that A6 was a play on ASICs, the custom chips within Andromeda, but I'm assured this is just rumor :-) "

228 Solargraphs - How to create 6 month exposures.
Please have a look at Tarja Trygg's www.solargraphy.com for more examples. Much of pinhole photography relates to the use of time and being creative with the light from the sun, similar wonders to that found in astronomy. A 6-month exposure will enable you to image the arc of the sun as it rises or sinks throughout 6 months of the year. As well as this you will get some foreground detail and a camera to look at with awe as a small hole etches its 6-month exposure from your window ledge, garden shed, lamp post, tree etc. Being able to capture a period of time far beyond our own vision is incredible enough, but even more amazing is how simple it is to do. The final camera gives an extreme wide angle of view of 160 degrees.

210 What is your most productive shortcut with Vim? - Stack Overflow
I've heard a lot about Vim, both pros and cons. It really seems you should be (as a developer) faster with Vim than with any other editor. I'm using Vim to do some basic stuff and I'm at best 10 times less productive with Vim. The only two things you should care about when you talk about speed (you may not care enough about them, but you should) are: Using alternatively left and right hands is the fastest way to use the keyboard. Never touching the mouse is the second way to be as fast as possible. It takes ages for you to move your hand, grab the mouse, move it, and bring it back to the keyboard (and you often have to look at the keyboard to be sure you returned your hand properly to the right place) Here are two examples demonstrating why I'm far less productive with Vim.

171 Reportages de touslesprix.com : toute l'actualité du Ecommerce en direct
Reportages de touslesprix.com. Toutes les informations sur le E-commerce, Les titres : Cdiscount, reportage exclusif chez le numéro 1 du e-commerce en France, Linvosges, la tradition du beau linge et de la qualité, Mes-souliers.com, la deuxiÚme plus grosse offre de chaussures sur Internet, Rencontre avec Jean-Philippe Guillet, créateur et dirigeant de Ma-papeterie.com

135 all - dj accessories - Turntablelab.com
we started the Lab in 1998, our first year out of college. Turntable Lab was established in 1998 by Anthony Cattarina, Jasper Goggins, and Peter Hahn. The trio formed the idea for the Lab based on numerous negative experiences at stores that sold dj equipment: both big musical instrument chains and shady Canal Street stereo stores. Turned off by haggling, uninformed salesmen, and questionable product, Turntable Lab built its business on fair pricing, informed reviews, and a well researched selection of “Lab approved” items. Most of the Lab's employees are working djs / producers / musicians, which helps to ensure this high standard. The business model was an immediate success, establishing rapid growth and a dedicated customer base. Turntable Lab soon applied their business model to other areas including recorded music, production equipment, clothing, and books. Each expansion has been met with success, and today Turntable Lab is a recognized tastemaker in all those areas. To bring the Turntable Lab experience directly to consumers, Turntable Lab opened its first retail location in 2001. In December of 2005, Turntable opened its flagship store in Hollywood, California. Currently the Turntable Lab headquarters is located in Brooklyn, New York.

95 Help & Advice
The Horsforth Physiotherapy and Sports Injury Clinic offers a range of physiotherapy treatments for both sports injuries and general musculoskeletal conditions. Also available are chiropody,podiatry,acupuncture, Chinese acupressure and nutritional advice. Both sports and traditional massage are offered and rehabilitation programmes for recovery after both general and sports related injuries are a speciality. The proprietor, Pam Smith has consulted for 11 Olympic, Commonwealth,European and World championship teams. PhysioWorld,physiotherapy,physiotherapist,physiotherapists,osteopath,osteopathy,chiropody,chiropodist,podiatry,acupuncture,nutrition,nutrition advice,Chinese acupressure,sports injury,sports injuries,fitness training,rehabilitation,back pain,back injury,spinal pain,back injuries,anatomy,physiology,massage,Horsforth,Leeds,West Yorkshire,professional physiotherapy,sports physiotherapy,general physiotherapy,sports physiotherapists,PhysioFirst,The Organisation of Chartered Physiotherapists in Private Practice,lower back pain,azbycx

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