100SILEX, de 0 à 100 s: type
1494 Concept Phones
concept phone, phone prototype, phone design, iphone concept, sony ericsson concept
1490 TypeMatrix 2030 - ErgonĂÂ©os
1427 Mettez ĂÂ jour votre navigateur | Facebook
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
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
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
1172 INDEX: Blank Cassettes | Tape Tardis
CASSETTE TYPES The Type I Normal Bias Cassette The Type II Chrome Cassette The Type III Ferro-chrome/Ferrichrome Cassette The Type IV Metal Cassette INDIVIDUAL CASSETTES 1980s White Label High Bias Agfa FeI Ferrocolor HD (1983) Agfa High Engery Low Noise (1976) Akai SX 90 BASF Chromdioxid II (1982) BASF Chromdioxid II (1984) BASF Chromdioxid SuperâŠ
1162 Disc Manufacturing Services Ltd - Vinyl Prices
All our records are produced using virgin vinyl to the highest industry standards at highly competitive prices. Below are some sample prices for our more standard vinyl products to give you a good idea of the type of rates we have to offer. For all orders over 2000 units please email us for a bespoke quotation.
Further optional extras (prices available on request) are listed at the bottom of the page but if you do not see exactly what you are looking for please contact us and we'll be happy to tailor you a quotation. DMS produce vinyl and vinyl packaging in all sizes and formats.
1160 synth museum
Compares synthesizer filters
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1137 CitroĂ«n Karin
Citroen, Concept car, Karin
1078 The Modular Synth
A long time ago, in a galaxy far away, before your local music shop was packed with the latest digital synths, even before the early analogue monosynths, if you wanted a synthesizer you had to make it yourself. Modular synthesis is not in itself a different type of synthesis, but refers to the fact that a synth would be built up from individual components (modules) , which would be linked together (patched) in a configuration decided by the person doing the building.
Compared with today's 'plug and play' synths which come with 100's of presets, GM soundsets, etc, this has the obvious disadvantage that 'recalling' a preset can only be done if your synth is patched together in exactly the same way every time and every controller has to be manually set to the same parameter.
However, the big advantage of Modular synthesis, of course, is that, providing you have the right components, you can build practically anything you want, without being constrained by the 'hardwired' configurations of modern factory built synthesizers.
The Pulsar/Scope Modular synth, like any other Modular 'soft synth' brings together the advantages of both Modular synths and modern factory built synths. Modular configurations can be saved as patches for total recall later on, and each patch can contain any number of presets, again for later recall. Furthermore, with a software modular, you can re-use each component as many times as you wish within one patch, you never run out of cables, you don't have to dedicate a whole room to the synth and the modules never suffer from physical damage. What's more, each parameter can be controlled by MIDI so parameter changes can be recorded into your sequencer in real-time.
1020 GnomeActivityJournal - GNOME Live!
GNOME Activity Journal (formerly GNOME Zeitgeist)
GNOME Activity Journal (formerly GNOME Zeitgeist)
Getting in touch
Grouping and Filtering
Long term goals
Mockups And Current Usage
See Zeitgeist for information about the Zeitgeist engine used internally by the GNOME Activity Journal.
The GNOME Activity Journal is a tool for easily browsing and finding files on your computer. It uses Zeitgeist to get information and metadata on what files/websites/contacts/etc. you worked with.
Links: Zeitgeist Website, Zeitgeist on Launchpad, GNOME Activity Journal on Launchpad
The Zeitgeist code is split into two modules:
GNOME Activity Journal (GTK+ interface)
Project page: https://launchpad.net/gnome-activity-journal
Repository: bzr branch lp:gnome-activity-journal
Project page: https://launchpad.net/zeitgeist
Repository: bzr branch lp:zeitgeist
Getting in touch
Mailing list: https://launchpad.net/~gnome-zeitgeist-users
IRC: #zeitgeist @ irc.freenode.net, #gnome-zeitgeist @ irc.gimp.org
John turns on his computer to work on his seminar paper. Instead of digging through his hierarchal file system, he simply opens up GNOME Activity Journal and clicks on the top item in the "Recently Used Files" list. When he realizes that he can't remember the name of the website that he was reading for research yesterday, he simply looks at the list of files related to his paper and clicks on the website.
More at the Zeitgeist Vision page.
Grouping and Filtering
Our goal is to group/filter the data by:
Type of data
Location of use (GPS)
Drag and Drop (not for links)
Filtering by Dataproviders/Time/Tags
Add an actions toolbar to quickly share items by email or instant messaging. (See nautilus-share)
Experiment with Tracker, Soylent, and Empathy.
Long term goals
Better metadata extraction (see some of the sprints above)
Integration with other computers and mobile devices.
Mockups And Current Usage
Some work was done by the City of Largo in the past which replicated some of the features of the Activity Journal. Possibly some of this work can result in ideas for improving the User Interface.
Mockups And Usage.
/BolzanoIdeas /CityOfLargo /Ideas
1014 Nord Modular Tips & Tricks
Nord Modular & Micro Modular V3.03 tips & tricks
Welcome to the Nord Modular and Micro Modular 'tips and tricks' section! The workshops of this section are created by a very skilled Nord Modular user: Rob Hordijk.
On the 'tips and tricks' pages you will find various information regarding sound synthesis techniques. With every topic comes a workshop where you can follow the practical, non-mathematical, musician-oriented examples. The patches are kept as simple as possible showing only the basic connections. So it's up to you to color the tone to your liking, add modulation, etc., thus turning them into musically useful patches. Occasionally there might be a 'professional' patch as a bonus.
If you have a Nord Modular or Nord MicroModular synthesizer you can download the example patches directly from the workshops into the Modular Editor V3.03 program and your synth and play with them. Just click on the patch image to download the actual patch to your Modular. If you do not have a Nord Modular you can download the Modular Editor V3.03 software here and check out the patches visually.
Another very skilled Nord Modular/G2 user - Roland Kuit - has made the E-Book "SoundLab". This book covers synthesis techniques from A-Z, history of electronic music and composing techniques. For more info about the SoundLab E-Book, please visit: http://rolandkuit.blogspot.com/Topics available:
Basics of sound synthesis on the Nord Modular
This extensive section describes the basics of synthesis.
(By Rob Hordijk) Basic synthesis
This topic covers hardsync, softsync, FM-sync and VOSIM, a special application of sync.
(By Rob Hordijk)
This topic covers different types of FM, like linear FM, Phase Modulation and fixed formant FM.
(By Rob Hordijk)
Using the delay module
It's too short for echos, but it's a valuable tool that can be used in a variety of ways, creating both sound effects as well as physical models of plucked string sounds and resonant bodies.
(By Rob Hordijk)
Delay Module Workshop
Using logic modules
Mastering those yellow connections.
(By Rob Hordijk)
1011 Atomic Synth Inspired By Buchla, Future Retro Revolution Â» Synthtopia
Synthesizer and electronic music news, synth and music software reviews and more!
Atomic is a 16 step sequencer composing tool with a built in synth that also has the ability to control other softsynths or even hardware via its MIDI out function.
The design is circular, inspired by step sequencers such as the Buchla Arbitrary Function Generator and Future Retro Revolution.
You can preview Atomic below:
Strange Atomics [ 0:46 ] Hide Player | Play in Popup | Download
16 step sequencer in a circular design with 3 rows: seminotes, velocity
BPM Rate with 5 modes including random.
Separate rhythm grid.
Advanced arpeggiator with separate rate, 5 modes with gate and octave controls.
Latch mode for continuous play.
MIDI Out for use in modular hosts which also includes LFOâs and
step modulators to control external vstâs or hardware.
2 Oscillators with 14 waveforms including additive partials.
Separate phase controls, detune and octave as well as harmonic tuning mode.
VCF with 4 filter types with velocity control.
2 dedicated envelope generators, one for amp and one for filter.
2 LFOs, Sub Oscillator, Step Modulator, Random Generator and Keyboard control
with zone and mod wheel assign which includes sequencer controls for step and
Comprehensive mod matrix.
X-Y delay with separate multimode filters which can be modulated via mod matrix.
Spacial stereo reverb
Phaser with wide sweeping range.
Master section with volume, pan and tuning
CC map for hardware MIDI knob controllers.
987 Alesis Micron
This is one of the cutest, smallest, yet most powerful synths I've ever put my hands on! The Micron is the sequel to the popular Ion, and while it can be considered as the Ion's younger brother, it actually has a few enhancements that are absent on the big bro.
This is a very clean, precise, sparkly and definitely virtual analog (or analog modeled) sounding synth. Eight voices of polyphony are plenty for these types of units, but we would always want more. The synth engine is the same as the Ion though, but extra and welcome features include sequencing, arpeggio, and great on board percussion, and the ability to build patterns.
The Micron really sounds bigger than it looks: while personally I feel that the character of its synth engine leans on the more digitally precise DSP side of virtual analog technology, it's certainly capable of huge, warm and fat sounds.
The main panel is logically laid out and easy to understand. At the very left, a big red knob offers volume control; the two "m1" and "m2" sliders provide useful modulation control, typically (but not always) vibrato and filter cutoff. The three knobs labeled "x", "y" and "z" also offer way of modulating sounds, and can (ought to) be assigned to your favorite parameters. Two octave buttons, and other useful commands such as tap (tempo) and latch (sustains the notes) occupy the space at the left of the two-line backlit green display. Finally, a multi-function matrix with push-down knob serve as the central nerve system of the machine, letting you easily access programs, setups, configurations, patterns and rhythms. You do the programming by turning the knob to view the various editing pages. In all, it's simple to program, and the manual does a fantastic job of being easy to follow and easy to understand.
986 Arduino Blog Â» Blog Archive Â» CHEAP, FAT and OPEN
Jacob Remin, at CIID will present on August 27th, his Arduino-compatible sound synth. There are many projects out there aiming musicians that use Arduinoâs IDE as a programming platform, but Jacobâs wins them all when it comes to the PCBâs shape. Take a look at the picture here and explore his thesisâ blog for more information and videos where he shows the system at its full power.
(c) 2009 Cheap, Fat, and Open by J. Remin
As for today he hasnât published the videos using the final PCB, yet. However you can get a sneak preview to how it will be to play with it at the prototype he hand-wired using bits and pieces from a Stylophone, an LCD, some buttons, and other parts.
938 Composant Ă©lectronique GoTronic : catalogue de composants Ă©lectroniques et appareils Ă©lectroniques
GoTronic, vente par correspondance de composants et appareils ĂÂ©lectroniques : accessoires tv vidĂÂ©o, alarmes, tĂÂ©lĂÂ©commandes, appareils de mesure, audio, camĂÂ©ras, vidĂÂ©osurveillance, commutateurs, connectique, fils et cĂÂąbles, livres techniques et CD-ROM's, micro-informatique, optoĂÂ©lectronique, refroidisseurs et ventilateurs, robotique, transformateurs, fusibles, accus
Accessoire alarme, Accessoire tĂÂ©lĂÂ©phonique, accumulateur, accumulateur chargeur, accumulateur pile ĂÂ©lectrique, accus, accus batterie, accus chargeur, accus pile, accus rechargeable, Adaptateur secteur, AdhĂÂ©sif, AĂÂ©rosol, Afficheur, Afficheur ĂÂ leds, Afficheur alphanumĂÂ©rique, Afficheur de tableau, Afficheur lcd, Aide mĂÂ©moire, Aimant, alarme, alarme anti intrusion, alarme domestique, alarme habitation, alarme intrusion, alarme maison, alarme sans fil, alarme vidĂÂ©osurveillance, alarme voiture, Alimentation, alimentation 12 volts transformateur, alimentations, Ampli rĂÂ©partiteur, Amplificateur, Ampoule, Antenne, Antenne active, Appareil de mesure, appareil de mesure ĂÂ©lectronique, Appareil pour chien, Appareils de mesure, Argent conducteur, Audio, Aurel, Balance digitale, Balance numĂÂ©rique, Ballast, Bargraphe, Barrette de connexion, Barrette sĂÂ©cable, BarriĂÂšre infrarouge, BarriĂÂšre IR, Basic Stamp, batterie d'accumulateur, batterie ĂÂ©lectronique, Bloc laser, Bloc secteur, BoĂÂźte de connexion, BoĂÂźtier ĂÂ©lectronique, Boomer, Borne pour haut parleur, Bornier, Bornier ĂÂ poussoir, Bornier pour haut parleur, Bouton, Bouton ĂÂ blocage, Bouton compte tours, Bouton poussoir, Bouton-poussoir, Bracelet antistatique, Brosse antistatique, Brucelle, Buzzer, cĂÂąble, cĂÂąble coaxial, cĂÂąble et connectique, cĂÂąble et connectique audio vidĂÂ©o, cĂÂąble peritel, Cadre pour afficheur, camĂÂ©ra, CamĂÂ©ra de recul, camĂÂ©ra de surveillance, camĂÂ©ra vidĂÂ©o, camĂÂ©ra vidĂÂ©osurveillance, CapacimĂÂštre, Capsule ĂÂ ultrasons, capteur, Capteur ĂÂ effet Hall, Capteur de courant, Capteur de gaz, Capteur de mesure de distance, capteur de niveau, capteur de pression, capteur de tempĂÂ©rature, capteur robotique, Carillon sans fil, Casque audio, Casque multimĂÂ©dia, Casque stĂÂ©rĂÂ©o, cellule optoĂÂ©lectronique, Cellule photorĂÂ©sistive, Cellule solaire, Chargeur, Chargeur accu, chargeur accus, ChĂÂąssis ĂÂ insoler, Chien de garde ĂÂ©lectronique, ChronomĂÂštre, 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loupe, Lampe torche, Ldr, Lecteur de carte SIM, Led, Livre pour pc, Loupe, LuxmĂÂštre, Machine ĂÂ graver, Machine ĂÂ insoler, Mandrin ĂÂ bobiner, matĂÂ©riel ĂÂ©lectronique, matĂÂ©riel optoĂÂ©lectronique, matĂÂ©riel vidĂÂ©osurveillance, MĂÂ©canisme d'horloge, MĂÂ©gaphone, MĂÂ©moire, Mesureur d'isolement, Micro, Micro ĂÂ©lectret, Micro multimĂÂ©dia, Microchip, MicrocontrĂÂŽleur, MicrocontrĂÂŽleur PIC, micro-informatique, Microrupteur, Modulateur, Modulateur audio vidĂÂ©o, Module graphique, Module hybride, Module laser, Module lcd, Module Peltier, modules HF, Molykote, Moniteur, Moniteur couleur, Moniteur LCD, Moniteur noir et blanc, Moniteur vidĂÂ©o, Montage didactique, Moteur, Moteur audio, Moteur pas-ĂÂ -pas, Moto rĂÂ©ducteur, MultimĂÂštre, Optocoupleur, OptoĂÂ©lectronique, Oscillateur ĂÂ quartz, Oscilloscope, Outil de manipulation, Outillage, Outillage vidĂÂ©o, Panne ĂÂ souder, Parlophone, Perceuse, Perchlorure, Perchlorure de fer, Persultate, Persultate de sodium, Photodiode, PhotorĂÂ©sistance, Phototransistor, Pied ĂÂ coulisse, Pile, pile accus, pile ĂÂ©lectrique et accumulateur, pile et accumulateur, Pince, Pince ĂÂ dĂÂ©nuder, Pince ĂÂ sertir, Pince ampĂÂšremĂÂ©trique, Pince crocodile, Pistolet ĂÂ colle, Plaque epoxy, Plaque thermoformable, Platine d'expĂÂ©rimentation, PluviomĂÂštre, Pointe de touche, Pointeur laser, Pompe ĂÂ dessouder, Pont redresseur, Pont rlc, Portier vidĂÂ©o, PotentiomĂÂštre, PotentiomĂÂštre multitours, Poulie miniature, PrĂÂ© amplificateur, PrĂÂ©-amplificateur, Prise anti-surtension, Programmateur, Programmateur de PIC, programmateur ĂÂ©lectronique, Projecteur halogĂÂšne, Projecteur infrarouge, protection ĂÂ©lectrique fusibles, RĂÂ©frigĂÂ©rateur portable, RĂÂ©gulateur, Relais bistable, Relais miniature, Relais statique, Relais temporisĂÂ©, RĂÂ©partiteur mural, RĂÂ©partiteur pĂÂ©ritel, repartiteur tv antenne et accessoire, RĂÂ©sistance, RĂÂ©sistance carbone, RĂÂ©sistance cms, RĂÂ©sistance mĂÂ©tal, RĂÂ©sonateur, RĂÂ©vĂÂ©lateur, Robot, 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931 Buchla Tech: Prototype Music Easel!?
907 RĂ©paration des boutons d'une Roland CR-5000 CompuRhythm
AudioBusters.com,MAO,Home-Studio,Musique,Plug-in,VST,Instruments,Synthes,Claviers,Guitares,Effets,basses,batteries,logiciels,interfaces,audionumerique,MIDI,samplers,synthes,boites a rythmes,DJ
des, est, bouton, vous, les, sur, une, boutons, ĂÂ§a, contact, pour, contacts, qui, support, avec
Vous trouverez plein de tutoriaux sur Internet pour rĂ©parer des CR5000 mais vous devrez les suivre dans une salle blanche en vous mordant le bout de la langue, avec une goutte de sueur qui perle sur votre tempe gauche, et surtout vous endetter auprĂšs de vendeurs de piĂšces d'occasion de machines vintage. Pas de Ă§a ici, on a droit Ă des essais, des erreurs, Ă des outils de type pince coupante. Mais attention, Ă§a fonctionne, et la CR 5000 que je me propose de remettre en Ă©tat marchera comme au premier jour.
Les boutons de la CR 5000, la
fiertĂ© du dĂ©partement ingĂ©nierie
psycho-pathologique de chez Roland
Quand vous chillez tranquillement avec votre bar, que le groove vous habite et que vous lancez un fill, vous souhaitez que le fill se dĂ©clenche. Idem quand vous voulez rajouter des doubles croches de hi hat ou bien switcher entre bossa nova et grind core. Sur la CR5000, les changements de rythme se mĂ©ritent. Il faut appuyer fort, ou de biais ou plusieurs fois en tapotant. Car contrairement aux CR78 et aux TR, les CR 5000 disposent de boutons cauchemardesques.
877 Musique Ă©lectronique - WikipĂ©dia
La musique Ă©lectronique est un type de musique qui a Ă©tĂ© conĂ§ue 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.
876 Stop secret, identifier appels masquĂ©s service France TĂ©lĂ©com
identifier les appels masquĂÂ©s, filtrer les communications, protĂÂ©ger votre vie privĂÂ©e des appels anonymes grĂÂące ĂÂ ce service France TĂÂ©lĂÂ©com
Stop Secret, stop secret,
What an amazing instrument! The DSI Evolver has the signature "old school" timbre down pat as well as being able to provide digital timbres reminiscent of the Waldorf Q. There's certainly a "rougher" side available as well with all the feedback implementation and controled distortion. Being able to make PM type plucked and blown sounds is just icing on the cake. Dave Smith should be commended for a job well done. Just have a look at the Panel Layout to get a taste of what this beauty can dish out - the controls are pretty much laid out in the form of a signal path graphic. Be sure to visit Dave Smith's Website!
Evolver Sound Examples
There are a lot of demos of the Evolver on the web showcasing the gutsy harsh sounds of this beast so I decided to post demos of some of my own patches as examples of the "softer" more "vintage" side of the Evolver's timbre. I make no apologies for these unpolished recordings - these are merely sound samples ;)
Resonant Plucked Pad
This pad shows some of the rich resonant nature of the filter.
This is a simple analog brass lead patch.
A fun patch with lots of motion made using my "Audio-rate Filter FM" programming tip below.
A nice bland-vanilla pad ^_^
What can I say? I love pads...
For more MP3 demos showing the full gamut of sounds the Evolver and Polyevolver are capable of, please visit the excellent website of Stefan Trippler!
The Definitive Guide to Evolver
This rather in-depth guide to the Evolver goes places and does things a mere manual can't. This labor-of-love was crafted by Anu Kirk and with his kind permission, I am offering this fantastic resource right here in PDF format!
A much smaller version (400K) is here but it dosen't have internal hyperlinks.
Here's a fun repository of programming tips for the Evolver in all its incarnations. Please email me if you would like to add some.
Fingered Wave Sequence
Submitted by Dave Bryce. This brilliant technique has to be heard to be believed! Plus, its one of those cool things unique to the Evolver! This particular tip is so full of detailed information that it gets its own page!
Audio-rate Filter FM
Submitted by James Maier. Use the "Audio Mod" parameter in the Filter section to frequency-modulate the cutoff with the analog oscillator. Add resonance until the filter is just on the edge of oscillation then mod the cutoff with just a little triangle LFO set at a very slow speed. Amazing moving chorusing pad and lead sounds can be made this way.
Fatter Bass/Pad Sounds
Submitted by Mike Peake. Set the same sound in both channels (detuned saws, for instance). With the filters at the 24dB setting, increasing resonance cuts the passband as on the Moog filters. Set Envelope 3 to minimum attack, maximum decay and release, and sustain to maximum. This "creates" an offset, a continuous "on" signal while the keys are gated. Modulate one filters' resonance up (just one), or of the overall resonance level is high, us it to modulate one filters' resonance to its minimum. You get the resonant character plus the size of the non-resonant filter. Use Tri and Sine waves on that side too.
Submitted by James Maier. The Evolver can make many ultra-bright and buzzy sounds due to its extensive feedback and distortion stages but sometimes people miss the subtler side of the beast. For a warmer sound use little or no distortion, close the filter just a bit and turn off the feedback and delay lines. I've managed to get dead-on Prophet5 timbres this way.
Submitted by Mike Peake. Set the envelopes to linear, and use a Mod to modulate AmpEnv All by itself (lin through log responses with positive and negative self-modulation).
This is of course fun on the filter envelopes as well.
More Vintage Character
Submitted by Mike Peake. Oscillator Slop, set at 5, doesn't come close to the Moog and other old-timer movement, so add slight (1 or 2) LFO to pitch modulations, with individual LFOs per oscillator, and a touch of LFO to LFO rate modulation. A tad of Envelope 3 to pitch helps as well.
Don't miss out on the 12dB filter setting
Submitted by Mike Peake. The 24dB setting has much more resonance, but the 12dB setting can sound nice and plucky, and do nice slightly fuzzy pads etc.
DSI Evolver Waveshape Charts
Below are charts I've assembled of the digital waveforms and their spectra as currently used in the DSI Evolver synthesizers. Originally these waves were unique to the SCI ProphetVS vector synth.
I find these waveform/spectra graphics really usefull when programming sounds - maybe you will as well. Pay special attention to the spectra as this info is sometimes much more useful than waveshape in determining actual timbre - even before you hear what the waveform sounds like.
These are designed to be downloaded (right-click & "save target as"), and printed at 300dpi on 8.5" x 11" pages - don't resize these images before printing or you will lose useful detail. Use them as a handy refrence. This information was cobbled together from various scattered sources (with very special thanks to Achim Gratz!).
Any errors or omissions are my own. ^_^
As far as the origin of these waves is concerned, one of the original VS engineers, Chris Meyer, said:
"The original waves for the VS were created three ways - extracting single-cycles from sampled sounds, using a custom additive synthesis program, and using a program Josh (Josh Jeffe, another VS engineer) slapped together called "Hacker" where you could draw the waveshape. These were fed straight from the computer through the filter and VCA of a Pro-One to figure out what they might sound like in a patch. And by the way, no PPG waveforms appear inside the VS - we had access to them, but in the end our consciences got the better of us. We did steal some waveforms from the Korg DW6000, but only by looking at the harmonic drawings on the front panel and trying to imitate them in our additive synthesis program."
Modulation Matrix "Cheat Sheet"
This chart shows all the modulation routing available on the Evolver. This same info is available in the manual but this can be printed on a single sheet of paper as a handy refrence!
These I created just for fun and desktop "beautification" ;)
1280 X 1024
1024 X 768
800 X 600
821 25 Free High-Quality Minimalist Icon Sets
Simple icon sets that are free for you to download. These icons are suitable for iOS (i.e. iPhone, iPad) apps, Android apps, website prototypes, etc.
812 ED102 - Octave-Volts-Hertz
The ED102 borrows heavily from the Korg MS-02âą although it was developed independently of Korg Inc.
Korg and MS-02 are the trademarks of Korg Inc.
Among presently available music synthesizers, there are two different types of control system used for controlling devices such as the VCO (voltage controlled oscillator) and VCF (voltage controlled filter). These two systems been: Hertz/Volt (Hz/V) and Octave/Volt (Oct/V).
The graph to the left shows the relationship between the VCO oscillator frequency (pitch) and the control voltage (keyboard output voltage). The straight line on the graph is from a synthesizer in which there is a one octave change for every one volt change in the control voltage (Oct/V). In contrast, the curved line on the graph is the control voltage from a synthesizer in which the VCO frequency is proportional to voltage (Hz/V system).
To allow these systems to work together you will need a module like this ED102. The built-in, fully adjustable log amp and anti-log amp ensure complete system flexibility and compatibility between any presently voltage controlled synthesiser.
The Hz/V system
In the Hz/V system, the VCO oscillator frequency is proportional to the control voltage so that, for example, if the frequency of a VCO increases by 100Hz for every volt applied, then applying 1V, 2V and 3V to this VCO would generate 100Hz, 200Hz and 300Hz respectively.
The Oct/V system
In the Oct/V system the VCO oscillator frequency changes one octave for every one volt change in the control voltage so that, for example, 1V, 2V and 3V to a VCO would generate 200Hz, 400Hz and 800Hz respectively.
Features and Functions
This changes a Hz/V type keyboard CV (control voltage) output into an OCT/V type of CV. Use the Log Amp to change the control signal from, say, a Korg or Yamaha synthesiser into a signal you can use with another type of synthesizer.
This changes an OCT/V type of keyboard CV output into a Hz/V type of CV. Use this Antilog Amp when you want to control, say, a Korg synthesiser by means of a unit that uses the OCT/V system.
767 The 5 types of programmers Â« Steven Benner's Blog
In my code journeys and programming adventures Iâve encountered many strange foes, and even stranger allies. Iâve identified at least five different kinds of code warriors, some make for wonderful comrades in arms, while others seem to foil my every plan.
However they all have their place in the pantheon of software development. Without a healthy mix of these different programming styles youâll probably find your projects either take too long to complete, are not stable enough or are too perfect for humans to look upon.
The code may not be pretty, but damnit, it works!
This guy is the foundation of your company. When something goes wrong he will fix it fast and in a way that wonât break again. Of course he doesnât care about how it looks, ease of use, or any of those other trivial concerns, but he will make it happen, without a bunch of talk or time-wasting nonsense. The best way to use this person is to point at a problem and walk away.
You want to do what to my code?
This guy doesnât care about your deadlines or budgets, those are insignificant when compared to the art form that is programming. When you do finally receive the finished product you will have no option but submit to the stunning glory and radiant beauty of perfectly formatted, no, perfectly beautiful code, that is so efficient that anything you would want to do to it would do nothing but defame a masterpiece. He is the only one qualified to work on his code.
Iâm a programmer, damnit. I donât write code.
His world has one simple truth; writing code is bad. If you have to write something then youâre doing it wrong. Someone else has already done the work so just use their code. He will tell you how much faster this development practice is, even though he takes as long or longer than the other programmers. But when you get the project it will only be 20 lines of actual code and will be very easy to read. It may not be very fast, efficient, or forward-compatible, but it will be done with the least effort required.
What do you want? It works doesnât it?
The guy who couldnât care less about quality, thatâs someone elses job. He accomplishes the tasks that heâs asked to do, quickly. You may not like his work, the other programmers hate it, but management and the clients love it. As much pain as he will cause you in the future, he is single-handedly keeping your deadlines so you canât scoff at it (no matter how much you want to).
Well, thatâs a possibility, but in practice this might be a better alternative.
This guy is more interested the options than what should be done. He will spend 80% of his time staring blankly at his computer thinking up ways to accomplish a task, 15% of his time complaining about unreasonable deadlines, 4% of his time refining the options, and 1% of his time writing code. When you receive the final work it will always be accompanied by the phrase âif I had more time I could have done this the right wayâ.
Personally, Iâd have to classify myself as the perfectionist. So, which type of programmer are you? Or perhaps you know another programming archetype that is missing from my list? Post a comment below and Iâll add it to a new updated list.
766 [WS001] Circuit-Bending â Initiation Â« Gasol
Le Circuit-Bending ou Circuitage dĂ©signe lâactivitĂ© 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 dâorigine. 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 lorsquâil court-circuita accidentellement lâun de ses instruments. Mais des mĂ©thodes similaires ont Ă©tĂ© utilisĂ©es auparavant par dâautres musiciens et ingĂ©nieurs.
Cette activitĂ© peut ĂȘtre assimilĂ©e Ă une certaine forme dâart, de part le dĂ©tournement, lâappropriation et la personnalisation de ces appareils ainsi que leurs usages lors de performances audiovisuelles. Câest lâart 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 lâappareil.
Ne jamais tenter ces manipulations sur des appareils alimentĂ©s par une tension supĂ©rieure Ă 12V, risque dâĂ©lectrocution.
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 lâapprĂ©hension de cette activitĂ©. Notamment la reconnaissance des divers composants Ă©lectroniques qui seront utilisĂ©s ou court-circuitĂ©s.
La rĂ©sistance est surement le composant le plus rĂ©pandu. Sa principale caractĂ©ristique est dâopposer 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.
Un potentiomĂštre nâest autre quâune rĂ©sistance ajustable. Il possĂšde 3 pattes ainsi quâun systĂšme mĂ©canique permettant la variation de la rĂ©sistance.
Une photo-rĂ©sistance est Ă©galement une rĂ©sistance dont la valeur varie en fonction de lâintensitĂ© lumineuse. On peut Ă©galement le nommer rĂ©sistance photo-dĂ©pendante (light-dependent resistor (LDR)) ou photoconducteur.
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 lâĂ©nergie.
La diode est principalement utilisĂ©e comme convertisseur de courant alternatif vers du courant continu ou comme multiplicateur ou rĂ©gulateur de tension. Câest 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 lorsquâelle est parcourue par un courant. De la mĂȘme maniĂšre que la diode, ce composant est polarisĂ©.
Le transistor est le composant actif utilisĂ© principalement comme interrupteur commandĂ© ou pour lâamplification, mais aussi pour stabiliser une tension ou moduler un signal.
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 Ćuvre.
Il existe une trĂšs grande variĂ©tĂ© de ces composants divisĂ©s en deux grandes catĂ©gories : analogique et numĂ©rique.
Un interrupteur est un dispositif permettant dâinterrompre ou dâautoriser le passage dâun flux.
Le bouton poussoir est une touche tactile qui permet de faire une liaison Ă©lectrique momentanĂ©e le temps que lâon appuie dessus ou, sur certains modĂšles inversĂ©s, dâouvrir temporairement le contact Ă©lectrique.
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 âŠ)
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 sâacquiĂšrent 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 lâendommager et ne pas faire baver lâĂ©tain au risque de crĂ©er un court-circuit non souhaitĂ©.
Il faudra Ă©galement sâarmer de patience, câest la qualitĂ© premiĂšre et la plus haute compĂ©tence dâun 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 lâexpĂ©rience ce temps sera considĂ©rablement rĂ©duit.
Beaucoup de pratique
Pour dĂ©buter, lâidĂ©al est de sâattaquer 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 âŠ 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 dâĂ©largir les domaines de recherches Ă des appareils plus Ă©laborĂ©s mais gare Ă lâirrĂ©versible court-circuit meurtrier qui mettra dĂ©finitivement la machine hors-service.
Il faut tout dâabord 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 Â« pitch Â» 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 câest une bonne technique dâapproche).
Afin de ne pas avoir Ă mĂ©moriser tous les endroits sensibles, lâidĂ©al est de prendre une photo du circuit, de la transferer sur un ordinateur et ainsi noter pas Ă pas Ă lâaide dâun logiciel de dessin type MSPaint ou Photoshop tous les Bends dĂ©couverts. Certains les notent directement sur le circuit Ă lâaide dâun stylo ou dâun feutre, mais lâencre 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 dâenregistrer les sons de la machine ou de lâutiliser 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, lâajout dâun 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 lâaide dâun testeur. Le plus simple est dâutiliser des pinces croco que lâon raccordera Ă deux petits tournevis dâhorloger.
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 lâon note au fur et Ă mesure sur notre photo. On poursuit ensuite en dĂ©plaĂ§ant le premier tournevis sur un autre point et en recommenĂ§ant notre parcours avec le second. On rĂ©pĂšte cette procĂ©dure jusquâĂ 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 lâamplification, le volume, lâoverdrive/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 quâon activera plusieurs Bends simultanĂ©ment. On peut alors dĂ©cider de continuer la quĂȘte des modifications compatibles ou bien Ă©viter dâen 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 lâinterrupteur 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 lâeffet 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 lâavoir 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 lâergonomie 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, lâutilisation dâun cĂąble nappe tel que lâon 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).
Il est maintenant lâheure de tester notre nouveau jouet !
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
Screaming Teacher aka Talking Teacher â Coleco
Le Livre Tragique aka Le Livre Magique â TI
Speakân'Glitchân'Bleepân'Math aka Speakân'Math â TI
La Tortu(r)e aka Tortue Musicale â Carrefour
LoFi Mic aka TĂ©lĂ©phone Ă cadran â Socotel
732 Oscilloscope 372 Radio Centrad, ĂÂts; Annecy
Oscilloscope 372 Radio Centrad, ĂÂĂÂts; Annecy
Fabricant / Marque: Centrad, Ăts; 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.
727 How To Create an Antique Mirror Effect | Apartment Therapy DC
How To Create an Antique Mirror Effect
Mclain Wiesand, a Baltimore-based custom furniture company, has made a name for itself by producing handcrafted pieces that capture the feel of real antiques. One of the techniques they use for aging mirror is wonderfully simple and serves as the inspiration for this how to.
Creating an antique mirror effect is an inexpensive way to revamp a flea market find, or add a new layer of interest and depth to an ordinary wall mirror. Almost any type of mirror can be aged using this technique, including mirrored plexiglass.
âą Mirrored glass or plexiglass. Due to the type of paint applied to the reflective coating, inexpensive, craft-store mirror works wonderfully.
âą Latex or other gloves for hand protection.
âą Paint stripper. Most types work fine. For a less toxic product, Citristrip works well.
âą Plastic putty spreader or putty knife.
âą Modern Masters Metal Effects Black Patina. This patina solution is essentially an acid that eats at the reflective surface of the mirror. There are probably other products that work similarly, but Modern Masters products work well and can be found online or in most art supply stores or specialty paint stores.
âą 1â chip brush (or similar brush).
âą Silver paint of choice.
Step 1: (Image 2, above)
Wearing gloves, place mirror face down on cardboard or other protected surface in a well-ventilated area. Apply stripper generously to back of mirror and allow to sit for a few hours, or until paint can be easily removed with plastic scraper. It is not necessary for all of the paint to be removed; generally speaking, 80-90% should suffice. When paint has been stripped, wash mirror with soap and water and allow to dry.
Step 2: (Images 3 & 4)
Place stripped mirror face down on clean cardboard or other protected surface. Dip chip brush in Modern Masters Metal Patina Solution and gradually apply it to the raw reflective surface of the mirror. As mirror tends to age from the edges inward, it is best to apply patina solution in heavier amounts around the edges of the mirror. In a matter of minutes (or less), the patina solution will begin to eat away at the reflective surface. Other application techniques that produce nice effects are spattering and light directional brushing of patina solution. Continue applying solution until desired level of ageing is achieved. Rinse with water to neutralize the reaction and allow to dry.
Step 3: (photos 5 & 6)
This next step involves reapplying paint to the back of the mirror. The color paint you choose will be visible through the spots created by the patina solution. The dark areas of aged antique mirrors tend to be a dark silver-grey but depending on the silvering technique used, can range from gold to pale silver to black. One method that produced nice results is a combination of dark and light silver paints, applied randomly (per images). Apply paint until the reflective surface is completely covered.
706 Geometry, Surfaces, Curves, Polyhedra
POV-Ray: A Tool for Creating Engaging Visualisation of Geometry
Various notes on polygons and meshes
Includes Surface (polygon) simplification, Clipping a polygonal facet with an arbitrary plane, Surface Relaxation and Smoothing of polygonal data, Mesh crumpling, splitting polygons, two sided facets, polygon types.
Philosophy is written in this grand book - I mean universe - which stands continuously open to our gaze, but which cannot be understood unless one first learns to comprehend the language in which it is written. It is written in the language of mathematics, and its characters are triangles, circles and other geometric figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrinth. Galileo (1623)
Distance between a point, a line and a plane
The intersection of a line with another line (2D)
The closest line between two lines (3D)
The intersection of a line with a plane
Mathematics describing a plane
The intersection of two planes
The intersection of three planes
Polygon area and centroid calculation
Inside / outside polygon test
Reflection of a ray
Eulers number and closed surfaces
Determining whether a line segment intersects a facet
Coordinate transformations on the plane (2D)
Cartesian, Cylindrical, and Spherical
Euler angles and coordinate transformations
Converting between left and right coordinate systems
Clipping a line with a polygon
Clockwise test for polygons in 2D
Test for concave/convex polygon in 2D
Area of (planar) polygons in 3D
Spheres, equations and terminology
The intersection of a line and a sphere (or a circle)
Equation of the circle through 3 points
Equation of the sphere through 4 points
Intersecting area of circles on a plane
Rotation of a point about an arbitrary axis
Creating a plane/disk perpendicular to a line segment
Intersection of two circles on the plane
Circumference of an ellipse
Intersection of two spheres
Distributing Points on a Sphere
Quadric equations in x and y of degree 2
Fowler angles: Comparing angles without trigonometry
Description of an efficient contouring algorithm as it appeared in Byte magazine. (Byte Magazine, 1987) and a more general approach for arbitrary contour planes and polygonal meshes.
Methods for mapping points on a spherical surface onto a plane, stereographic and cylindrical (including Mercator) projections. Includes Aitoff map projection: Conversion to/from longitude/latitude (spherical map)
Classification of projections from 3D to 2D and specific examples of oblique projections.
A triangle was an improvement to the square wheel. It eliminated one bump. BC comics
Planar (stretching) distortion in the plane
Including Anamorphic projections and Mappings in the Complex Plane (Otherwise known as Conformal maps)
Polygonising a scalar field
Otherwise known as marching cubes and marching tetrahedrons.
A Macintosh 4 dimensional geometry viewer and manual.
657 MATRIXSYNTH: Spunk 0.11
"Granular synthesis using a particle system. Desktop app for Mac OS X from The Strange Agency. Early prototype."
Of the technical queries received at Sound On Sound, many fall into the 'hardy perenial' category. One common source of these patchbays and their role in the project studio. Hugh Robjohns provides some answers...
Walk into any professional studio and you will find a patchbay (or jackfield, to use the original British term) lurking in a rack somewhere. This kind of facility might seem totally superfluous in a simple home studio, but once the number of outboard units and sound sources increases, a patchbay quickly becomes an essential facility rather than an expensive luxury. The different types available, their setup, and their exact function in a studio can be the source of considerable confusion. In an effort to set things straight, I have tried to answer many of the most common patchbay questions we receive at Sound On Sound.
620 Elements of Design: A Web Design Showcase
A different type of web design showcase focusing on specific aspects of web design.
608 Stories In Flight | HTML5/CSS3 Cheatsheet
Here are some simple cut-and-paste examples of HTML5/CSS3 features that are currently (mid-2010) usable across a number of web browsers, chief among them Firefox, Safari, Chrome and Opera.
For many of the CSS3 examples, Internet Explorer is the lone holdout with a limited number of workarounds, however these features degrade gracefully and may still be useful on new projects as long as this limitation is kept in mind.
Please note: With the exception of SVGWeb, no Internet Explorer workarounds have been included on this page - most of the examples will therefore not work in IE6, IE7 or IE8.
And if you want to discuss any of the code below or leave a correction or suggestion, you can leave comments below and here is also The Web We Should Have on my blog. Thanks!
On this page:
Rounded Corners Redux: Circles
Canvas Text Rotate
Some more complex subjects are also discussed in these separate pages:
Multiple Background Images
HTML5 Audio Data API - Spectrum Visualizer
Google Font API and Font Loading Behavior
...and don't forget to leave some comments below!
551 The Top Idea in Your Mind
I realized recently that what one thinks about in the shower in the morning is more important than I'd thought. I knew it was a good time to have ideas. Now I'd go further: now I'd say it's hard to do a really good job on anything you don't think about in the shower.
Everyone who's worked on difficult problems is probably familiar with the phenomenon of working hard to figure something out, failing, and then suddenly seeing the answer a bit later while doing something else. There's a kind of thinking you do without trying to. I'm increasingly convinced this type of thinking is not merely helpful in solving hard problems, but necessary. The tricky part is, you can only control it indirectly. 
I think most people have one top idea in their mind at any given time. That's the idea their thoughts will drift toward when they're allowed to drift freely. And this idea will thus tend to get all the benefit of that type of thinking, while others are starved of it. Which means it's a disaster to let the wrong idea become the top one in your mind.
What made this clear to me was having an idea I didn't want as the top one in my mind for two long stretches.
473 Djihad - WikipĂ©dia
Djihad, jihad ou djihĂąd (arabe : jihÄd, ŰŹÙŰ§ŰŻ, lutte) est un terme arabe et signifiant Â« exercer une force Â», Â« tĂącher Â» ou Â« combattre Â». Dans le Coran, l'expression Â« al-jihad bi anfousikoum Â» (Lutter contre les penchants de votre Ăąme) est l'Ă©quivalent de l'expression se faire violence ou Â« al-jihad fi sabil Allah Â» (combat sacrĂ© dans le chemin d'Allah)1,2.
Le concept du jihad a constamment Ă©voluĂ© ce qui empĂȘche toute dĂ©finition figĂ©e au profit de la recherche d'interprĂ©tations successives, souvent concurrentes parmi les sphĂšres intellectuelles musulmanes3.
L'islam compte quatre types de jihad : par le cĆur, par la langue, par la main et par l'Ă©pĂ©e. Le jihad par le cĆur, aussi nommĂ© Â« Grand jihad Â», invite les musulmans Ă combattre afin de s'amĂ©liorer ou d'amĂ©liorer la sociĂ©tĂ©4,5. De nombreux savants musulmans interprĂštent le jihad comme une lutte dans un sens spirituel. Une minoritĂ© de savants sunnites le considĂšrent comme le sixiĂšme pilier de l'islam quoique le jihad n'en ait pas le statut officiel4. Dans le chiisme duodĂ©cimain, il est considĂ©rĂ© comme une des dix pratiques religieuses du culte.
Le plus connu des sens du jihad est le jihad par l'Ă©pĂ©e ou Â« Petit jihad Â». Il a servi d'argument Ă diffĂ©rents groupes musulmans Ă travers l'histoire pour
448 HTML Ampersand Character Codes
These are character sequences that may appear in HTML documents; they represent sometimes useful symbols that are not part of the standard ASCII set or that would be difficult or impossible to type otherwise (e.g. the less-than sign, which would always be mistaken for the beginning of an HTML tag). Case is signinficant.
The content of this table has been throughly tested.
If the character that appears in the first column does not fit the description in the third column,
your browser has a screw loose.
428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâone needed only leave home to buy more tapes. Says Neffe, âI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front âŠ if the buyer didnât like the music, he or she could wipe it out and record something else on it.â
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâthat coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ A Safe Substitute and Colin Potterâs The Ghost Office. In Japan, 1980 saw the release of Merzbowâs first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâs Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâs own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâs artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessânot even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâs projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as âtextsâ or âphotographsâ, or as he puts it, âpotlatch musicâ. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâs subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ătant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track âLangsamâ is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track âSons of God?â is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâs CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
405 AudioLemon: HOWTO: Build A Steampunk Oscilloscope
AudioLemon is a blog that looks at all things audio related. Synths, samplers, software, effects and a little bit of electronic music and culture.
A steampunk oscilloscope built by Andrew Smith from parts found in a junk box. "Although not intended to be fully functional it does actually work." It's looks so cute... if you have the DIY skills you can read an article over on electronicsweekly detailing the build, components used and a schematic.
"I discovered that I had a really cute little 7cm CRT in the loft, together with several other valves of different types, and it seemed a good idea to make something decorative with them. For me, a lot of the charm of this piece resides in the unconventional layout and design, using a polished wooden box instead of the more usual metal chassis."
397 Oscilloscope TO-3 Radio Tech; Tokyo?
Oscilloscope TO-3 Radio Tech; Tokyo?
Fabricant / Marque: Tech; Tokyo?
AnnĂ©e: 1968 ?? Type: Appareils de mesure et de dĂ©pannage (Lab Equipment)
Lampes / Tubes 9: 12AT7 12AT7 12AU7 12AU7 12AU7 6U8 6X4 1X2B 3KP1F
Nous avons besoin de ce schĂ©ma!
Principe de rĂ©ception non indiquĂ©
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
MatiĂšre Boitier mĂ©tallique
Forme ModĂšle de table de forme quelconque, profil pas prĂ©cisĂ©s.
Dimensions 140 x 220 x 325 mm / 5.5 x 8.7 x 12.8 inch
Remarques Runde Kathodenstrahl-RĂ¶hre.
Eingangsimpedanz: 2MOhm, 25pF
Eingangsimpedanz: 2MOhm, 20pF
5 Bereiche: 10-100-1k-10k-80k-300kHz
Synchronisation: intern, extern, Netz.
396 The Essential Guide to @font-face
This guide will teach you how to implement @font-face with cross-browser compatibility and will also look at a number of the supporting services that have arisen, making it even easier to use custom fonts in your web designs.
font-face, tutorial, guide, css, google font api, typekit, font-face generator,css
367 60 Minimal and Super Clean Web Designs to Inspire You | Inspiration
A clean and minimal web design is an effective way to convey an image of elegance and sophistication. This type of design is all about doing more with less, and making use of plenty of white space to let content and page elements breathe. However, it can be difficult to come up with a solid minimal website, because you canât rely on âshinyâ design elements to make things visually appealing. So if youâve struggled in the past to tackle this type of web design, weâre here to help. Hereâs a showcase of 60 minimal and super clean web designs to inspire you.
297 Synth Finder v5
Find the synth that is right for you!
Now you can easily find the synthesizer that you have been searching for. Simply choose the options from the menu to the left that best describe the types of synthesizers you are looking for and we'll do the rest!
You may choose any options and in any combination. For example, simply choose 'Analog' for a complete list of all analog synths, or get more specific and choose additional options for a more personalized set of results. Note that we only list synths that are featured in our database here at the Vintage Synth Explorer.
For more details and descriptions of what the Synth Finder options mean, click here.
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...
* 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 :-) "
229 Typography Is Important - Well-Made Magazine - Techmic Studios
Typography is the art of arranging type and type design. The arrangement of type involves the selection of typefaces, point size, line length, line spacing, and the adjustment of spaces between groups of letters (tracking) and between pairs of letters (kerning). Typography comes from the Greek words typos, which means âmark, figureâ and grapho, which means âI write.â It is basically the discipline of shaping written information; thus it can be applied to anything which has to do with text, including web design. Authors write the text, designers and typographers manage the typography, and users read through it.
217 Medieval fonts
Fonts2u offers a large selection of free fonts. Download free fonts for Windows and Macintosh.
fonts, free, font, typefaces, typography, typeface, true type, windows, macintosh, character map
153 Le top des recherches - Audiofanzine
142 Polaroid - [Tuto] : filtre pour SX-70 / 1000 : lequel et comment ? :: Forum Polaroid Passion - Le site des passionnĂ©s de Polaroid
Il est bon de savoir que les films 600 peuvent ĂȘtre utilisĂ©es dans les Polaroid SX-70, Polaroid 1000, 2000...etc.
Le problĂšme est qu'il faut pour cela utiliser un filtre, car d'origine un SX-70 fonctionne avec du film d'une sensibilitĂ© de 150 ISO, alors qu'un film 600 fait 640 ISO.
DĂ©couvrez donc comment adapter un film type 600 sur ces appareils.
78 Mandelbulb: The Unravelling of the Real 3D Mandelbrot Fractal
TIMESTAMP 08/11/2009. The original Mandelbrot is an amazing object that has captured the public's imagination for 30 years with its cascading patterns and hypnotically colourful detail. It's known as a 'fractal' - a type of shape that yields (sometimes elaborate) detail forever, no matter how far you 'zoom' into it (think of the trunk of a tree sprouting branches, which in turn split off into smaller branches, which themselves yield twigs etc.).
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