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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
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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 readerâ€™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.
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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 â€śENABLE_REGISTRATIONâ€ť to â€śfalseâ€ť.
TT-RSS Self Registrations
TT-RSS Self Registrations
To further secure TT-RSS Reader, uou may also want to change â€śREG_MAX_USERSâ€ť to â€ś1â€ť to make your account the only account on TT-RSS.
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5. Apache Authentication
Last but not the least, enable Authentication. This is even more important if you have enabled â€śSingle User Modeâ€ť 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.
1517 THE MUTANT MACHINE Dynamic Analog Percussion Engine
MICROCONTROLLER FREE ANALOG PERCUSSION SYNTHESIS
unique Inverter Core oscillators form the MEMBRANE. Each analog oscillator has three waveforms to select from
capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
the SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
WAVEFORM SCANNING FEATURE GENERATES COMPLEX TIMBRES
the MEMBRANEâ€™s waveforms can be scanned through automatically by the wavescannerâ€™s voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
the ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal
ARCHITECTURE OF THE MACHINE
The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis.
The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture.
The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created.
Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machineâ€™s core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.
1381 COLLIN CUNNINGHAM / NARBOTIC INSTRUMENTS
COLLIN CUNNINGHAM / NARBOTIC INSTRUMENTS
MidiVox CV sketch update
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.
Updated Midi Library & site changes
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
1193 WM-D6C sony walkman central
Walkman Central is independent, and has no connection with Sony. Our aim is to provide details and commentary on a variety of Walkman products produced by Sony over the years.
We don't just cover personal stereos: CD players and TVs are included too, as well as a few earlier products that contributed to the development of the original Walkman.
1052 Lab Overview
Not that I recommend this level of excitement to everyone, but this is my lab. It is my basement, and as you may note from the disheveled ceiling tiles up above, having this much equipment has actually forced me to purchase a separate AC unit for the basement. So my trendy two-zone AC house has now magically become a three-zone AC house. Fortunately, I didn't need a furnace for down here. Equipment is great in the winter to heat your house!
The lab has taken on a life of it's own over time... It started out as a single standard 7-foot 19" rack. Then it grew to two standard racks... Then it changed into three Ortronics Mighty-Mo 19" rack systems (because those are cool). As seen now, it has changed yet again into four separate rack cabinets. The cabinets are a bit pricey, so they aren't all the same vendor. Note to all, even if you find a really good price on Ebay, be aware that you still have to ship them, and they weigh a LOT! (This means, have lots of friends and lots of pizza/beer!)
Nov'04 -- Well, things have moved even more! The equipment was beating the AC unit that ran for the basement. So instead of being a three-level, three-zone house, we had to upgrade to being a four-zone house. Go figure. As noted above, I would not recommend this path to anyone unless you have a good amount of business to drive it! All of the equipment here is used for testing and lab purposes, but easily serves as Proof of Concept lab for many consulting clients of mine. The recent change was that the crawlspace area under the kitchen area was excavated out and had a concrete floor poured making an enclosed little room. In addition, a large air handler (AKA Mongo AC Unit) was put into that specific room and a door was installed for access and physical separation! While all a very interesting project, it is a pain to move any equipment that you amass, so definitely plan ahead for this sort of activity!
1043 Monotribe, MIDI and me
When I heard about the monotribe, I had my doubts. Mostly that thereâ€™s only one pattern, which is 8 steps long. Well, there are 8 extra steps for the drums, as well as a â€śflux modeâ€ť which records your movements on the ribbon continuously. In that sense, it is limited, and is an instrument made to be played with your hands, rather than be programmed. But as it turned out, this was a design choice, and not a technical limitation. I can easily imagine why. They wanted it to seem as analog and playful as possible.
Same thing with MIDI. Officially, the monotribe doesnâ€™t support MIDI. It does however offer a sync pulse output and input. This allows it to be synced to other monotribes, modular synthesizers or even Korgâ€™s own virtual iMS-20/iElectribe, using a special sync app on a second iPhone/Pod/Pad. However, the lack of MIDI is still a slight limitation.
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 LFOâ€™s and
step modulators to control external vstâ€™s 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.
993 Bach MIDI Files - Download for free :: MIDIWORLD.COM
Biography | Recommended Recordings | Books and Printed Music
2 Part Inventions - John Sankey
Inventio 1 [BWV 772]
Inventio 2 [BWV 773]
Inventio 3 [BWV 774]
Inventio 4 [BWV 775]
Inventio 5 [BWV 776]
Inventio 6 [BWV 777]
Inventio 7 [BWV 778]
Inventio 8 [BWV 779]
Inventio 9 [BWV 780]
Inventio 10 [BWV 781]
Inventio 11 [BWV 782]
Inventio 12 [BWV 783]
Inventio 13 [BWV 784]
Inventio 14 [BWV 785]
Inventio 15 [BWV 786]
3 Part Inventions - John Sankey
Sinfonia 1 [BWV 787]
Sinfonia 2 [BWV 788]
Sinfonia 3 [BWV 789]
Sinfonia 4 [BWV 790]
Sinfonia 5 [BWV 791]
Sinfonia 6 [BWV 792]
Sinfonia 7 [BWV 793]
Sinfonia 8 [BWV 794]
Sinfonia 9 [BWV 795]
Sinfonia 10 [BWV 796]
Sinfonia 11 [BWV 797]
Sinfonia 12 [BWV 798]
Sinfonia 13 [BWV 799]
Sinfonia 14 [BWV 800]
Sinfonia 15 [BWV 801]
Allemande in Amin [BWV.835]
Brandenburg Concerto No. 2.
Brandenburg Concerto No. 3.
Brandenburg Concerto No. 4.
Brandenburg Concerto No. 5.
Brandenburg Concerto No. 6. - David Siu, M.D.
Aria "Es ist vollbracht" from Cantata "Sehet, wir gehn hinauf gen Jerusalem" (BWV159)
Aria from Cantata No. 14.
Aria "Mein Freund ist Mein!" from Cantata No. 140.
Duet from Cantata No. 140.
Sinfonia From Cantata No. 106
Ich will den Kreuzstab gerne tragen, No. 56. - 1st. Movement
Terzetto from Cantata No. 38
Wachet Auf Versus 1. from Cantata No. 140.
Wacht Auf, ruft uns die Stimme from Cantata No.140.
Komm susser Tod [BWV 478]
Capriccio for a Departing Brother [BWV 992]
Capriccio in E [BWV 993]
Chromatic Fantasia & Fugue
Concert for Two Harpshichords and Orchestra [BVW1060] Garrett Van Cleef
Concertos - John Sankey
Keyboard arrangements of concertos by other composers
Concerto in D [BWV 972]
Concerto in G [BWV 973]
Concerto in Dmin. [BWV 974]
Concerto in Gmin. [BWV 975]
Concerto in C [BWV 976]
Concerto in C [BWV 977]
Concerto in F [BWV 978]
Concerto in Bmin. [BWV 979]
Concerto in G [BWV 980]
Concerto in Cmin. [BWV 981]
Concerto in Bb [BWV 982]
Concerto in Gmin. [BWV 983]
Concerto in C [BWV 984]
Concerto in Gmin. [BWV 985]
Concerto in G [BWV 986]
Concerto in Dmin. [BWV 987]
Duets - John Sankey
Duet 1 [BWV.802]
Duet 2 [BWV.803]
Duet 3 [BWV.804]
Duet 4 [BWV.805]
Fantasia and Fugue in Amin. [BWV 561]
English Suites John Sankey
English Suite in A [BWV806]
English Suite in Amin [BWV807]
English Suite in Gmin [BWV808]
English Suite in F [BWV809]
English Suite in Emin [BWV810]
English Suite in Dmin [BWV811]
French Suites John Sankey
French Suite in Dmin [BWV812]
French Suite in Cmin [BWV813]
French Suite in Bmin [BWV814]
French Suite in Eb [BWV815]
French Suite in G [BWV816]
French Suite in E [BWV817]
Fughetta [BWV 902]
Italian Air with Variations [BWV 989]
Italian Concerto [BWV 971]
Italian Concerto - 1st movement
Jesu Joy of Manâ€™s Desiring
Little Fugue in G minor
Mass in Bmin. - David Siu, M.D.
Gratias agimus tibi
Credo in unum Deum
Et in unum
Et incarnatus & Crucifixus
Et in spiritum
Dona nobis pacem
Minuet in G [BWV 841]
Partitas John Sankey
Partita in Bb [BWV 825]
Partita in Cmin [BWV 826]
Partita in Amin [BWV 827]
Partita in D [BWV 828]
Partita in G [BWV 829]
Partita in Emin [BWV 830]
Partita in A [BWV 832]
Prelude & Partita [BWV 833]
Preludes & Fugues - John Sankey
A minor [BWV.894]
A minor [BWV.895]
D minor [BWV.899]
E minor [BWV.900]
F major [BWV.901]
Sonata in D [BWV 963]
Sonata in Amin [BWV 965]
Sonata in C [BWV 966]
Sonata in Amin [BWV 967]
Sheep May Safely Graze
St. Matthew Passion [BWV 244]
"Aus Liebe will mein Heiland sterban" soprano aria
"Gebt mir meinen Jesum weider" bass aria
"Blute nur, du liebes Herz" soprano aria
"Erbarme dicht, mein Gott" alto aria
"Herzliebster Jesu" chorus
"KĂ¶nnen TrĂ¤nen meiner Wangen nichts erlangen" alto aria
"Mache dich mein herz" bass aria
"O Haupt voll Blut und Wunden" chorus
"Wir setzen uns mit TrĂ¤nen nieder" chorus
Passacaglia & Fugue in C minor
Sonata No. 1 in G minor for Solo Violin [BWV 1001] - David J. Grossman
Partita No. 1 in B minor for Solo Violin [BWV 1002] - David J. Grossman
Double: Presto (Courante)
Tempo di Borea
Double (Tempo di Borea)
Sonata No. 2 in A minor for Solo Violin [BWV 1003] - David J. Grossman
Partita No. 2 in D minor for Solo Violin [BWV 1004] - David J. Grossman
Sonata No. 3 in C major for Solo Violin [BWV 1005] - David J. Grossman
Partita No. 3 in E major for Solo Violin [BWV 1006] - David J. Grossman
Gavotte en Rondeau
Suite No. 1 in G major for Solo Cello [BWV 1007] - David J. Grossman
Suite No. 2 in D minor for Solo Cello [BWV 1008] - David J. Grossman
Suite No. 3 in C major for Solo Cello [BWV 1009] - David J. Grossman
Suite No. 4 in Eb major for Solo Cello [BWV 1010] - David J. Grossman
Suite No. 5 in C minor for Solo Cello [BWV 1011] - David J. Grossman
Suite No. 6 in D major for Solo Cello [BWV 1012] - David J. Grossman
Sonata - BWV 1032 (Arr. for recorder and harpsichord) Michael Beckenkamp
Largo e dolce
Suite No.3 in D, BWV.1068
Suite in Amin [BWV 818]
Suite in Eb [BWV 819]
Suite in F [BWV.820]
Suite in Fmin [BWV 823]
Toccatas John Sankey
bwv910 Toccata in F#
bwv911 Toccata in Cmin
bwv912 Toccata in D
bwv913 Toccata in Dmin
bwv914 Toccata in Emin
bwv915 Toccata in Gmin
bwv916 Toccata in G
Toccata and Fugue in D minor
Toccata and Fugue in D minor MINO
Toccata, Adagio and Fugue in C, BWV 564.
Toccata in D minor: The "Dorian"
Trio Sonata No.6, [BWV 530] - Mauricio Fabbri
Triosonata for 2 flutes, harpsichord and continuo - Eduardo Moreno
Allegro ma non presto
The Art of Fugue - No.1.
The Well-Tempered Klavier John Sankey
Prelude & Fugue No.1 in C [BWV 846]
Prelude & Fugue No.2 in Cmin [BWV 847]
Prelude & Fugue No.3 in C# [BWV 848]
Prelude & Fugue No.4 in C#min [BWV 849]
Prelude & Fugue No.5 in D [BWV 850]
Prelude & Fugue No.6 in Dmin [BWV 851]
Prelude & Fugue No.7 in Eb [BWV 852]
Prelude & Fugue No.8 in Ebmin [BWV 853]
Prelude & Fugue No.9 in E [BWV 854]
Prelude & Fugue No.10 in Emin [BWV 855]
Prelude & Fugue No.11 in F [BWV 856]
Prelude & Fugue No.12 in Fmin [BWV 857]
Prelude & Fugue No.13 in F# [BWV 858]
Prelude & Fugue No.14 in F#min [BWV 859]
Prelude & Fugue No.15 in G [BWV 860]
Prelude & Fugue No.16 in Gmin [BWV 861]
Prelude & Fugue No.17 in Ab [BWV 862]
Prelude & Fugue No.18 in Abmin [BWV 863]
Prelude & Fugue No.19 in A [BWV 864]
Prelude & Fugue No.20 in Amin [BWV 865]
Prelude & Fugue No.21 in Bb [BWV 866]
Prelude & Fugue No.22 in Bbmin [BWV 867]
Prelude & Fugue No.23 in B [BWV 868]
Prelude & Fugue No.24 in Bmin [BWV 869]
Prelude & Fugue No.25 in C [BWV 870]
Prelude & Fugue No.26 in Cmin [BWV 871]
Prelude & Fugue No.27 in C# [BWV 872]
Prelude & Fugue No.28 in C#min [BWV 873]
Prelude & Fugue No.29 in D [BWV 874]
Prelude & Fugue No.30 in Dmin [BWV 875]
Prelude & Fugue No.31 in Eb [BWV 876]
Prelude & Fugue No.32 in Ebmin [BWV 877]
Prelude & Fugue No.33 in E [BWV 878]
Prelude & Fugue No.34 in Emin [BWV 879]
Prelude & Fugue No.35 in F [BWV 880]
Prelude & Fugue No.36 in Fmin [BWV 881]
The Well-Tempered Klavier Book II. Jennifer Weir
917 Sitting 101: Desk Ergonomics
I consider myself an active person and am definitely happier strolling about than sitting, but I sit for a large portion of the day. I blog â€“ how could I avoid a chair? Like most things, there's a technique to sitting. A well-designed workstation
Sitting, 101, Desk, Ergonomics
897 Generic Synth Preset Storage and Conversion
For my synths with preset storage and the ability to dump & load presets via midi sysex, I wanted to be able to feed the sysex of a synth into a software program which can
display the sound parameters in a meaningful form, and
convert the sound into the sysex format of any of my other presets synths
The generic patch storage format must display meaningful values for the parameters (filter envelope amount = 1/2 octave, envelope 1 attack = 50ms, etc) and convert between these values and a given synth's sysex (as much as possible - resolution probably isn't good enough to get envelope attack to exactly 50ms on each and every synth, and envelope shapes vary between synths, etc). The storage format will also store the original parameters, using the "native" value range of each parameter (e.g. filter cutoff frequency between 0 and 127) as well as the original sysex program as an ASCII hex dump.
Since I didn't find any software which could do this, I began writing my own in Java. I am concentrating on converting basic analog components; any on-board effects are not used.
I have started to build a (slightly) updated version of the Korg PS-3200 synthesizer.
The PS-3200 was the last of three fully polyphonic, semi-modular analogue synthesizers offered by Korg in the late 70's. (See Ben Ward's excellent Korg PS site for detailed information, including user manuals.)
The concept of the PS-Synthesizers was different from other manufacturer's early polyphonic instruments. Instead of using a small number of voices and a clever keyboard assigning circuit, the "PolyKorgs" had a complete synthesizer circuit, hard wired to each key. That makes a total of 48 VCFs, 48 VCAs and 48 voltage controlled ADSRs even for the smallest of the range, the PS-3100. The largest of the range, PS-3300, even had 144 of these circuits.
The sheer number of synthesizer circuits called for an extremly economic circuit design, and it's a joy to look at Korg's design ideas which led to building blocks that almost did the same as in the better known "classic" synthesizers. And after many years of engineering and reverse-engineering electronic music circuits, I have learned to look at odd solutions not as "substandard", but as a source of creativity an individual character. Here's a list of some highlights:
Function Implementation Side effects
Single-Transistor Waveform Converter creates triangle, saw, pulse and PWM from saw input, using one (!) transistor, one diode and two resistors per voice, plus two global control voltages Pulse height also changes with pulse width
5-Transistor-VCF (Korg-35) A Voltage controlled 2-pole (Sallen&Key) LPF built from 5 transistors rather high CV feedthru
Single-Diode VC Resonance The dynamic resistance of a simple diode is used to alter the feedback gain of the VCF limited range of Q
"Expand" function instead of VCF Envelope modulation depth Instead of scaling down the ADSR with a VCA, the a variable portion of the Envelope is just clipped with a single diode. It's so remarkably close to ordinary VCA function that apparently nobody takes notice. At least I have not read about it anywhere.
At slow Atack times, the Envelope appears delayed at the VCF (no effect until th eclipping point is reached). Usefull for Brass sounds, and not easy to emulate with conventional synthesizers.
Minimum parts count Voltage Controlled ADSR Three transistors, 1/2 of a LM324 and one CD4007 per voice. Plus some more involved control circuit, shared by several voices Transistors must be selected in 13-tuples, not just in pairs.
ADSR detail (1):
One-opamp control logic 1/4 LM324 is used as Flipflop, which is dynamically set by Gate-ON, dynamically reset by Gate-OFF, statically reset when the attack peak voltage is reached, and whose set/reset sensitivity is altered by a CV Very odd "Hold" function, depending on the "Attack"-value. But very useful in practise.
ADSR detail (2):
Single-Transistor, exponential slope VC-Decay Using a single transistor per voice for VC Attack and Release is remarkable already, even though the A and R slopes are linerar. But the Decay slope is exponential, and this is achieved with a single transistor and two resistors per voice! The Decay time range is rather limited. No ultra fast Decay, and no ultra slow Decay either.
Single-Transistor VCA That's the "Korg standard" VCA, well known from other instruments like the MS-10.
871 Get familiar with HTML5! - Dev.Opera
Dev.Opera article: Get familiar with HTML5!
wsc,html5,web standards curriculum,open web
Most of the web standards curriculum is based on the last stable version of HTML â€” HTML 4.01. The HTML 4.01 spec was completed in 1999, over 10 years ago as of the time of this writing! But unless you've been hiding under a rock for the last year or so, you'll be well aware that there is a new version of HTML in production â€” HTML5!
So why have we been teaching you HTML 4.01 in spite of this? In this article we'll answer this question, and many more. We'll give you the essential background you need to know on why HTML5 came about, and where it is up to now. We'll advise you on how it can fit into your learning right now, even if you are a novice web designer or developer, and we will look at some of the main features of HTML5, so you can see what it adds to the already powerful HTML language.
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
777 SPERRZONE: [ K E Y C H A I N S ]: Zazzle.com Store
About Beat Hauser, SPERRZONE
Beat Hauser is interested in industrial archaeology and history of Europe. His special area is the brewing industry of Switzerland and the former German Democratic Republic. Since 2003 he is taking pictures of industrial areas and abandoned places within all Europe. On his web site SPERRZONE (www.sperrzone.net) he does not only present his own pictures, but also some information about the related factories and places as well as historical photo post cards, old letter heads, labels, advertisings to document the history of the factories.
Most pictures are taken in abandoned factories. Abandoned places and industrial ruins are generally seen as Ă˘Â€Âśspots of dirtĂ˘Â€Âť and people feel uncomfortable around them. Often such places have a very long and interesting history, which seems almost forgotten today. Instead of the activity of former days there is nothing but silence and emptiness. Instead of windows, black holes are staring out of the walls. But very often the architecture of elapsed eras is attractive and astonishing. In combination with the emptiness and beginning decay, such places often spread the impression of a dream world. Decay and nature give new structures to strictly geometric forms and lines, e.g. in production halls. Moisture, moss and rust give new colors to gray halls. Beat Hauser tries to capture these impressions with his photographs. Aesthetics of decay is illustrated in its huge variety from huge industrial plants to small details.
10 Jun Ă˘Â€Â“ 1 Jul 2007 3Fotografen3, Alte evangelische Kirche Kirchzarten
(Exhibition of the 3 winners of the Ă˘Â€ÂžKirchzARTener FOTOsalons 2006Ă˘Â€Âś)
2 Dec Ă˘Â€Â“ 3 Dec 2006 KirchzARTener FOTOsalon 2006, Kurhaus Kirchzarten
(Photo contest with 54 participants, 1. rank)
20 Nov Ă˘Â€Â“ 21 Nov 2004 KirchzARTener FOTOsalon 2004, Kurhaus Kirchzarten
(Photo contest with 46 participants, 11. rank)
Several beamer shows at party events of Ă˘Â€ÂžRigor MortisĂ˘Â€Âś and Ă˘Â€ÂžSolanaceaeĂ˘Â€Âś in Basle, Aarau, Pratteln and Reinach (all Switzerland)
sperrzone, industry, industrial, archaeology, industrie, industriekultur, zerfall, decay, architektur, architecture
767 The 5 types of programmers Â« Steven Benner's Blog
In my code journeys and programming adventures Iâ€™ve encountered many strange foes, and even stranger allies. Iâ€™ve 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 youâ€™ll 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 wonâ€™t break again. Of course he doesnâ€™t 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 doesnâ€™t 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.
Iâ€™m a programmer, damnit. I donâ€™t write code.
His world has one simple truth; writing code is bad. If you have to write something then youâ€™re 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 doesnâ€™t it?
The guy who couldnâ€™t care less about quality, thatâ€™s someone elses job. He accomplishes the tasks that heâ€™s 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 canâ€™t scoff at it (no matter how much you want to).
Well, thatâ€™s 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 â€śif I had more time I could have done this the right wayâ€ť.
Personally, Iâ€™d 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 Iâ€™ll add it to a new updated list.
761 Midi Software - Synth Zone
MIDI Sequencing SoftwareAnvil Studio Anvil Studio is a MIDI and audio sequencer and is free software for Windows users.
Building Blocks Building Blocks for Windows is a multifunctional MIDI application / modular sequencer, that allows you to build custom controller remapping, LFO's, arpeggiators, autochords, drum and note sequences, echoes etc.
Busker A Windows score editor and player that has Yamaha style support. 1000s of Yamaha styles can be downloaded for free. Another great music software tool from Jos Maas.
Cakewalk Sonar Windows & Mac sequencer now with integrated midi and audio. Sonar demo available. For other Cakewalk resources see Synth Zone's Cakewalk Page
Cubase - Steinberg Featuring integrated midi & audio package Cubase VST For more info & related links see Synth Zone's Cubase Links
Cursed Sequencer Open Source sequencer for Windows and Linux.
Digital Performer MOTU presents Digital Performer for the Mac, a complete digital audio and MIDI production environment. Competitive upgrades available. See the new Digital Performer mailing list.
Ditty Ditty is a freeware MIDI sequencer for Windows aimed at assisting piano practice.
Easybeat Mac MIDI sequencing software from Uni Software Plus. Features include a software GM wavetable synth.
Energy XT Energy XT is Windows sequencer/composer software.
Fl Studio Windows application that provides easy to use yet powerful MIDI/digital audio sequencing and looping tools.
Intuem Mac OSX MIDI sequencer that provides a variable-tempo system and a simple way to transform a real, human, performance into a sequence where bars and beats actually have meaning. Time restricted version available to download.
Jammer - Soundtrek Jammer for Windows provides a 256 Track MIDI sequencer with built in studio musicians. A very useful program for creating arrangements & drum tracks with assistance from the software. Also check the Yahoo Jammer Group.
JUMP A highly streamlined Windows MIDI sequencer, designed to help you compose music
Jazzware - Jazz++ Windows & Linux open source MIDI sequencer with audio support. If you need a MIDI sequencer you really should check it out.
Logic Pro Audio Apple's MIDI & audio solution for the Mac. For Emagic product support see the Emagic Legacy pages at Apple. For related information see Emagic Users Page with resources & mailing list for Emagic products, the Logic Users' Net which includes Mac related info, and the Powerkeys "Learning Logic" web site. SwiftKick provides and archive for the Logic Users' Group environments. Editors, MIDI processors etc. are available. Omega Art has Logic info and resources. You can read the History Of Logic at Tweakheadz Lab.
Magix Magix Music Studio incorporates a MIDI sequencer with its digital audio sequencer.
Massiva An audio/MIDI sequencer for Windows users with undo plus plugin support. This is just an archive of an old site. You can still get it from AudioMelody.com. Massiva has now moved on to become Energy XT
Mixcraft Windows software that supports MIDI and audio sequencing..
MU.LAB An alternative, hi-quality music application for Mac OSX and Windows with MIDI and audio support.
MultitrackStudio Window digital audio recorder with VST 2.0 plugin and MIDI support. Freeware version and pro versions available.
Music Master Win sequencing & notation package with a full graphic interface for Roland VS880 control & integration.
Music Master Works A shareware Windows sequencing & accompaniment package. Win95 & Win3.1 versions available. From Aspire software
MusicPhrase XL MusicPhrase for Windows is a creative tool for composing music. Features phrase sequencing and visual groove editing tools.
Music Studio Producer Music Studio Producer is a free Windows MIDI sequencer, DAW which can host VST(i), supports ASIO. From Aspire software
Numerology Numerology is a modular sequencing and audio plugin environment for Mac OS X.
Onyx Onyx by Jasmine Music provides powerful sequencing, harmonizer and MIDI-2-Audio rendering.
Power Chords By Howling Dog Systems - Innovative Windows midi sequencer using onscreen guitar fretboard interface, plus other unique features for creating strum & rhythm patterns. Demo available
PowerTracks Pro Audio PG Music's budget priced sequencer for Windows now features up to 48 tracks of digital audio with effects, EQ, panning etc plus 3rd party plugin support.
Pro Tools Digidesign provide Pro Tools for Windows and Mac with MIDI, multitrack audio and plugin support.
Quartz Audio Master Quartz Audio Master is free Windows multitrack digital recording software and MIDI sequencing software. Provided by DigitalSound Planet
Reaper REAPER is a fully featured Windows multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment. Fully functional evaluation available for download.
Rosegarden Rosegarden is a free MIDI sequencer and notation editor for Unix, and has binary distributions for Linux PCs and SGI IRIX.
SoftStep SoftStep is a Win9x modular step sequencer based on modular analog step sequencers. Features modules, which are math and logic functions that you treat as physical boxes with knobs and sliders.
Style Enhancer Windows MIDI sequencer based on Performance Modeling technology with powerful and intelligent MIDI-data generation and transformation.
SwarShala Midi sequencer package for Windows software that covers both the melodic and rhythmic aspects of Indian music. Featured instruments include Sitar, Sarod, Tanpura, Guitar, Tabla, Pakhawaj, Dholki and Bells. MIDI files and WAV files can be output.
Sweet Sixteen Midi sequencer package for Windows from Roni Music. And check out the Sweet MIDI arpeggiator for Windows, very cool !!
TR-x0x Freeware Windows step sequencer based on the Roland TR-808/909 drum machines.
Tracktion Tracktion from Mackie provides low cost MIDI and audio sequencing.
Tunafish A Windows VSTi MIDI sequencer with sample support. A fully functional ( save disabled ) demo is available to download. Has sample support and provides a built-in sample/drum sequencer.
Xx A multi-track MIDI sequencer for MacOS. It is also an algorithmic compositional tool. Requires OMS.
Midi SoftwareAudible Oddities - Twerk's Tools Audible Oddities is an audio mastering business and Shawn Hatfield also provides some free music composition tools for the Mac featuring sequencing control and algorithmic music generation. Burnt Toast even has a beta version available for Win XP.
Catanya Software pattern arpeggiator VST plugin.
MIDI-OX Win9x/NT midi utility providing sysex handling, diagnostics, filtering & mapping of midi data Streams. All Windows MIDI users should check this out. It is also available from Yamaha UK. Also see MIDI Yoke which allows you to route MIDI between different applications.
vanBasco's Karaoke Player vanBasco's Karaoke Player is freeware Windows software that plays Karaoke (.kar) and standard MIDI (.mid, .midi, .rmi) files. Provides a piano keyboard and lyric display.
Vocal Writer Shareware music & vocal synthesis software for the Power Mac. Not only playback & edit GM midi files, but it will also sing your lyrics (85 voices to choose from)
Zel Zel is an interpretive MIDI programming language for Windows. Version 1.2 includes the Zel Drum Machine, a style based composer and editor which makes it easy to create MIDI drum tracks without having to learn the Zel language. Freeware.
Midi Sequencing Related SitesAtari-MIDI Yahoo Group for Atari computer users to discuss MIDI applications. Also check The Caged Artist Series Page for once commercial MIDI software that is now freeware.
Audio Forums Forums for most major sequencing & digital audio software packages.
Harmony Central Provide an archive of MIDI sequencer and notation applications to download. There is software for all platforms available.
HitSquad Provide links to a number of MIDI sequencers and "tracker" sequencers for Windows, Mac and Linux.
MacMusic.org Macmusic.org have lots of links to Mac specific audio and MIDI sequencing resources. .
Mac OSX MIDI Apps A very useful list of links to Mac OSX MIDI applications with descriptions and direct links to the websites and apps.
Midijoys Freeware Windows program that combines two independent fully programmable joystick controllers, and a Continuous MIDI Controller programmable sliders that can send a wide spectrum of MIDI control parameters.
MidiPlugins.com Links to freeware and commercial MIDI plugins for both Windows and Mac OS9/OSX.
Music-X Amiga University Info on the original Amiga sequencer Music-X including writing sysex protocols. Also see Driptomatic Fairytales for Music-X info and resources. AM/FM also provide disk images containing many Amiga MIDI articles and tools.
Sonic Control Sonic Control provides information and reviews of sequencers for all platforms as well as MIDI hardware.
SourceForge SourceForge provide freeware software for Windows, Mac and Linux platforms and have many MIDI sequencer applications.
Sweetwater Sequencer Forum Sweetwater.com provides forums including one dedicated to MIDI sequencers.
Vintage Sequencers Tweakheadz Lab provides a great rundown on the ancestors of todays sequencers on computers in the 80s. Very interesting and informative reading with screen shots of many sequencers from the early days of MIDI.
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.
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.
â€˘ Mirrored glass or plexiglass. Due to the type of paint applied to the reflective coating, inexpensive, craft-store mirror works wonderfully.
â€˘ Latex or other gloves for hand protection.
â€˘ Paint stripper. Most types work fine. For a less toxic product, Citristrip works well.
â€˘ Plastic putty spreader or putty knife.
â€˘ 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.
â€˘ 1â€ť chip brush (or similar brush).
â€˘ 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.
726 Procrastination Â« You Are Not So Smart
The Misconception: You procrastinate because you are lazy and canâ€™t manage your time well.
The Truth: Procrastination is fueled by weakness in the face of impulse and a failure to think about thinking.
719 Facebook owns us â€” Copy me happy
Facebook has become the event planning system. Itâ€™s the place where you have all your friends (and other people) somewhat sorted and organized. All in all, itâ€™s the organized system in the chaos that is otherwise known as the internets.
This is leading Facebook towards a virtual monopoly. There are lots of issues with monopolies, but one of the more interesting ones when it comes to Facebook is the impact is has on our social lives, online as well as offline.
685 100 Best Photoshop Tutorials of All Time that Yield Professional Results | CreativeFan
Photoshop tutorials are one of the most popular subjects on the web, as the digital art community continues to grow and new designers bring their unique skills. However, quality Photoshop tutorials that teach you a useful effect, have a quality finished result and are well explained are harder to find, and with the large number of tutorial sites available, it can be hard to sort the quality from the mundane.
best photoshop tutorials
680 Spheremusic - Home page
Sphere music is dedicated to the sale of new and second hand pro audio and music equipment. Sphere includes an exhaustive pro audio database as well as an online shop where instruments, effects and any pro audio or music gear can be purchased and sold.
sphere occasion bargain second hand musique music intrument studio database databases shop magasin achat vente purchase sale as/400 as400 auction enchĂ¨re synthesizer synthĂ©tiseur effet outboard pro audio equipment belgique belgium france french uk
672 101 Absolutely Breathtaking Infrared Photographs | Tutorial9
There is nothing quite like Infrared Photography. In this showcase, over 100 phenomenal photos have been gathered, as well as some tutorials and equipment suggestions for aspiring photographers.
freebies & resources,roundups
Find a Dealer
Nothing Sounds Like an Eventide
Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, PitchFactor fits on your pedalboard or in your gigbag.
Studio Quality Effects at Your Feet
Top recording studios worldwide use Eventide effects on hit after hit. PitchFactor includes Eventide's best pitch-changing effects from the past 39 years without compromising quality OR flexibility.
Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.
Obsolescence is so 20th Century
Easy to upgrade; download new software from the Internet and install via USB.
10 of Eventideâ€™s signature stereo or mono pitch+delay effects:
H910 / H949
Up to 4 voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay
Studio quality sound
Guitar or bass compatible
Software upgradeable via USB 2.0
MIDI control via USB or MIDI in, out/thru
Instant program change
Real-time control with 10 knobs, MIDI, or expression pedal
Tap tempo and MIDI clock sync
100 factory presets, unlimited through MIDI
True analog bypass
Rugged cast metal construction
Reliable metal footswitches for instant preset access
Mono or stereo operation
Guitar or line level inputs and outputs
547 Din Sync: How to modify a Korg Monotron
So here's how to modify Korg's new Monotron analog ribbon synthesizer. Perhaps this is the first document of Monotron mods in Europe since it still hasn't been released here.
It's actually a very easy machine to modify because for whatever reason Korg decided to label all the interesting points on the bottom side of the PCB. This may well have been for testing units at the factory/service centers. Perhaps though it could have been that the designers anticipated this little machine would be hacked, much like the Gakken which pretty obviously inspired this piece. Incidentally in the magazine that comes with the Gakken there's a picture of them showing it to Korg, that was in 2008, go figure.
518 LA MUSIQUE INDUSTRIELLE
QUâ€™EST-CE QUE LA MUSIQUE INDUSTRIELLE ?
Vous trouverez chez les disquaires bien achalandĂ©s un coin rĂ©servĂ© aux albums dâ€™ " 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 imprononĂ§ables, 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 martĂ¨lent, accompagnĂ©es de bruits agressifs souvent dissonants et de voix trafiquĂ©es, criĂ©es plus que chantĂ©es. En fait, lâ€™indus est pour beaucoup une musique suspecte, apprĂ©ciĂ©e par dâ€™Ă©tranges mĂ©lomanes qui nâ€™auraient pas compris que la musique moderne est faite pour distraire, pour danser ou encore adoucir les mĹ“urs.
Peu de gens savent en fait ce quâ€™est lâ€™industriel Ă proprement parler. Pourtant ce style a Ă©tĂ© trĂ¨s productif et une partie de la musique actuelle sâ€™en inspire.
A la base, lâ€™industriel est un mouvement de contestation sociale et artistique. Il rejette le contrĂ´le de la musique populaire par les businessmen, les mĂ©dias et tous les hommes de pouvoir. Son essor est marquĂ© par la crĂ©ation dâ€™Industrial Records, Ă Londres, Ă la fin des annĂ©es 1970 par le groupe Throbbing Gristle. Câ€™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 sâ€™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 lâ€™industrie des loisirs orchestrĂ©e par les grands mĂ©dias. Il cherche Ă faire rĂ©flĂ©chir sur la propagande et le marketing, sur lâ€™utilisation de lâ€™art et des diverses techniques de communication pour convaincre et dominer. Lâ€™ambition est de crĂ©er une alternative Ă la culture de masse afin de lutter contre lâ€™uniformisation des esprits.
Pape de lâ€™industriel, Genesis P-Orridge (alias Neil Megson) explique quâ€™au dĂ©part le but est de "savoir jusquâ€™oĂą 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 mĂŞme temps que le punk, lâ€™industriel se veut plus radical, plus rĂ©flĂ©chi et surtout plus novateur en matiĂ¨re musicale. Il milite pour lâ€™Ă©clatement des codes musicaux quâ€™ils soient rock, jazz, classique ou pop. Recherchant lâ€™imprĂ©vu, fuyant le formatage, il puise dans diffĂ©rents styles. Par ailleurs, de nouveaux instruments sont incorporĂ©s Ă la musique. Les membres dâ€™EinstĂĽrzende Neubauten utilisent des perceuses, de lâ€™eau, des tĂ´les, ou mĂŞme leurs dents pour produire des sons originaux. DĂ¨s 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), dĂ¨s le dĂ©but des annĂ©es 1980. Ces instruments Ă©lectroniques aidant, lâ€™indus a Ă©tĂ© produit par des non-musiciens et a dĂ©veloppĂ© la rĂ©pĂ©titivitĂ© (utilisation des sĂ©quenceurs). Câ€™est dans ce sens que lâ€™industriel est pour une bonne part Ă lâ€™origine de la techno.
Lâ€™industriel ne se limite pas au dĂ©part Ă un courant musical, câ€™est une tentative dâ€™art total. Soit les musiciens indus sont des touches Ă tout en matiĂ¨re artistique (Genesis P-Orridge, Jim Thirlwell), soit ils collaborent frĂ©quemment avec des cinĂ©astes, des troupes de thĂ©Ă˘tre ou de danse contemporaine. Pour les disques, le graphisme des pochettes compte parfois autant que la musique elle-mĂŞme.
Dans toutes ses expressions artistiques, lâ€™industriel recherche la provocation la plus radicale, le choc et la confusion. Les thĂ¨mes 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. Câ€™est un constat froid des horreurs du monde, lâ€™irruption de la laideur sous toutes ses formes dans la musique populaire.
Mais attention, lâ€™humour, le sarcasme et le cynisme sont essentiels dans lâ€™indus. Lâ€™ironie et lâ€™ambiguĂŻtĂ© sont fondatrices : la musique qui se proclame industrielle sâ€™oppose Ă lâ€™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 sâ€™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, aprĂ¨s avoir smurfĂ© au goulag, et Foetus sâ€™est fait connaĂ®tre par une parodie de disco en lâ€™honneur du marquis de Sade (avant MylĂ¨ne Farmer !). Tous les musiciens qui se prĂ©tendent industriels mais sâ€™expriment sans cette ironie fondatrice ou sans vĂ©ritable recherche musicale utilisent le terme abusivement.
DĂ¨s 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. Câ€™est devenu une surenchĂ¨re de provocation ". On a assistĂ© en effet Ă une dĂ©rive et un appauvrissement musical. Lâ€™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 dâ€™extrĂŞme 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 trĂ¨s masculins, ou bien des bruits de mĂ©canique qui dĂ©raille sortant dâ€™un autoradio, pour vendre une voiture Ă la mĂ©canique irrĂ©prochable. Les liens avĂ©rĂ©s avec lâ€™extrĂŞme-droite ne concernent que quelques uns : en particulier Boyd Rice (du groupe NON) et plusieurs pĂ˘les ersatz du groupe de folk industriel Death in June, engluĂ©s dans une soupe europĂ©aniste nausĂ©abonde, oĂą se mĂŞlent rĂ©volution conservatrice, paganisme nordique ou celtique, thĂ¨mes guerriers et romantisme noir.
Ces connivences ont jetĂ© le discrĂ©dit sur tout le mouvement industriel. Câ€™est oublier que les artistes dâ€™Industrial records refusaient de sâ€™exprimer sur le terrain politique traditionnel, que des groupes se sont engagĂ©s Ă gauche (Test Dept), tandis que dâ€™autres ont affirmĂ© leur rejet de lâ€™extrĂŞme-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 donâ€™t like fascism, donâ€™t play industrial music " (compilation teknoir, 1998).
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 itâ€™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 personâ€™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.
470 The Web Strategy Pyramid: A Well-balanced Web Strategy
Let's take a look at what I call the The Web Strategy Pyramid.
web, content, strategy,content strategy
464 Ksplice Â» Attack of the Cosmic Rays! - System administration and software blog
Itâ€™s a well-documented fact that RAM in modern computers is susceptible to occasional random bit flips due to various sources of noise, most commonly high-energy cosmic rays. By some estimates, you can even expect error rates as high as one error per 4GB of RAM per day! Many servers these days have ECC RAM, which uses extra bits to store error-correcting codes that let them correct most bit errors, but ECC RAM is still fairly rare in desktops, and unheard-of in laptops.
For me, bitflips due to cosmic rays are one of those problems I always assumed happen to â€śother peopleâ€ť. I also assumed that even if I saw random cosmic-ray bitflips, my computer would probably just crash, and Iâ€™d never really be able to tell the difference from some random kernel bug.
A few weeks ago, though, I encountered some bizarre behavior on my desktop, that honestly just didnâ€™t make sense. I spent about half an hour digging to discover what had gone wrong, and eventually determined, conclusively, that my problem was a single undetected flipped bit in RAM. I canâ€™t prove whether the problem was due to cosmic rays, bad RAM, or something else, but in any case, I hope you find this story interesting and informative.
428 Alain Neffe and the Home-Taped Electronic Music Revolution
Alain Neffe launched his first tape label at home in Belgium in 1981. He called it Insane Music Contact and his first installment was called Insane Music for Insane People. Thus began a nearly thirty year foray into home-made, visionary and utterly unfashionable electronic music that has hardly made anyone involved a household name.
Insane Music released 55 titles in its most prolific years (1981-87). Five of these were vinyl records and the rest were cassettes tapes. Why cassettes tapes? Magnetic tape was the obvious solution to the problem facing many artists working without record contracts in those days. Cassettes could be recorded at home, produced at home, dubbed at home, and sold or traded by mail. No need for tasteless outside producers and marketing mojoâ€”one needed only leave home to buy more tapes. Says Neffe, â€śI could copy the tapes on demand. Releasing an LP required that you print 500 copies and 1000 copies of the cover sleeve, and everything had to be paid up front â€¦ if the buyer didnâ€™t like the music, he or she could wipe it out and record something else on it.â€ť
Mr. Neffe was not the only one out there recording, selling and trading tapes by mail. On both sides of the Atlantic, home cassette technology was permitting the release of much groundbreaking and breathlessly beautiful work, as well as some noxious and otherwise self-indulgent wankingâ€”that coat of many colors we call the DIY (do-it-yourself) Revolution. As early as 1974, Albrecht/d. self-released a cassette entitled Amsterdam Op De Dam in Germany. In 1976, Throbbing Gristle was distributing tapes of their infamous live recordings, and in 1977, the French electro-industrial unit Die Form began releasing tapes on their own Bain Total label. 1980 saw the release of two monumental self-released cassettes, The Storm Bugsâ€™ A Safe Substitute and Colin Potterâ€™s The Ghost Office. In Japan, 1980 saw the release of Merzbowâ€™s first two cassettes, Remblandt Assemblage and Fuckexercise. And in the USA, 1981 saw John Benderâ€™s Plaster: The Prototypes, a laconic and mysterious series of tone and vocal poems. Home taping was not limited to electronic music. R. Stevie Moore, one of the elder living ancestors of the lo-fi rock aesthetic, began releasing distributing home-made tapes via the R. Stevie Moore Cassette Club sometime in the 1970s. And tapes of live punk shows from the era continue to trade hands.
Soon, cassettes were coming from everywhere: mysterious PO boxes in the Midwest, to which you sent a blank tape and three dollars and received the tape back with something on it. The Tellus Audio Cassette Magazine was a Fluxus-inspired subscription audio-journal dedicated to music as well as poetry and drama and other forms of audio-art. Zines like Factsheet Five and Unsound devoted entire columns to the material they received from bands on home-made cassette, and demo tapes began leaking to radio stations prior to official record release dates. It was a grassroots movement that marched in association with the self-publication of zines, comics, chapbooks, and other media. The medium had begun to become the message.
Insane Music for Insane People (which eventually reached 25 volumes) was a series compiling all home-made electronic music made by artists from across the globe. By including in the liner notes the contact address for each artist featured, Neffe helped pioneer a snail-mail network for those interested in more of what they heard. Artists from all over Europe and the USA, from Japan, New Zealand, and beyond contributed over the years. One could send a few dollars to Insane Music Contact, receive tapes in the mail, write to artists involved and receive more cassettes.
Insane Music Contact (now known as Insane Music) has always been a vehicle for Mr. Neffeâ€™s own electronic music projects as well, many of which are periodically active to this day. Though he now makes liberal use of the CD format, Neffeâ€™s artistic approach remains undiluted by years of underexposure. He expects very little acknowledgment of or remuneration for his efforts, which, for him, are emotional articulation, continued experimentation, and purity. It seems nothing but nothing could possibly catapult such heavily uncommercial sounds into the public consciousnessâ€“not even this thirty-year retrospective box-set entitled The Insane Box released (ironically, on vinyl) by the venerable Frank Maier of Vinyl-on-Demand Records, an outfit devoted to preserving the precious gems of cassette culture before the evidence disintegrates.
For this retrospective (4 LPs + a 7â€ť 45), Mr. Neffe has reached into dusty attic boxes, wherein lay unreleased (or hardly available) material by five projects of which he has been a part: BeNe GeSSeRiT, Human Flesh, Pseudo Code, I Scream and Subject. Each has a unique cerebral orientation and emotional vibe made possible by the combined efforts of invited guests; each runs the high fever of a man very much committed to a personal vision of artistic purity without virtuosity, and each is distinctly French.
BeNe GeSSeRiT was not the first of Mr. Neffeâ€™s projects to be recorded and distributed, but is, to my understanding, the genesis of his approach to music as â€śtextsâ€ť or â€śphotographsâ€ť, or as he puts it, â€śpotlatch musicâ€ť. On these early tracks we also detect a burgeoning interest in the endless expressive properties of the human voice, both explicitly human and as heavily-treated sound sculpture, both French and English At times, voices shout like besotted Celine parlor workers at each other from tenement windows; at other times a high-pitched female voice wails up and down like Catherine Ribeiro alone in her bathroom. In these tracks, one can also detect the half-digested influence of electro-rock luminaries Silver Apples, the avant-lashings a la Yoko Ono, and occasionally the thunder-beat of early Laibach. Primitive Casio electronics, stage whispers, delay echoes, tape loops, and a certain absurdist humor redolent of Erik Satie, neither dampen the fabric with melodrama, nor detract from the integrity of the grist, nor from the topical seriousness of the textâ€™s subjects. BeNe GeSSeRiT is difficult music, even in the moments that risk elegy, yet it is still more accessible than some of the other Francophone avant-dada outfits of the day, such as DDAA and Ă‰tant DonnĂ©s, or Nurse with Wound in the UK.
Human Flesh is decidedly more structurally cohesive and song-oriented than BeNe GeSSeRiT, and its predecessors and influences are less clear. Still there is a clear interest in the human voice, its textures and timbers when removed of sign value by backwards-masking, and the new textures that emerge when disassembled and reassembled. Even rock-oriented at times, Human Flesh chases a more delirious climax, for the hounds of the carnival are snapping at their heels as they run. This is also a project of varied angles and pursuits, sliding as it does into poetic electro-pop (the supple and Chicago-accented voice of the late Lydia Tomkiw, of Algebra Suicide, appears on two tracks), and moments of Half Japanese-style primitivism. The side-long track â€śLangsamâ€ť is more reminiscent of Piper-era Pink Floyd and Brainticket, as well as other Krautrock, yet is still distinctly French. These early and rare tracks are, in contrast to the more ambitious Pseudo Code and the more intimate recordings by I Scream, more oblique for being a mix-down of materials sent to Neffe from artists around the globe. The track â€śSons of God?â€ť is also notable for what is perhaps the first recorded sample of the American fire-and-brimstone preacher Ferrell Griswold, whose voice has appeared in music by Front 242, Phallus Dei, Pragha Khan, et cetera.
The cassette medium, for all its benefits to individual artistic expression and culture, is for the selfsame reasons impermanent. Magnetic tape has a thirty year lifespan if properly archived, which means both that preserving their contents in other formats is important, and that paying hundreds of dollars for the original artifacts is a questionable collectorsâ€™ pursuit (nevertheless, you can watch it happen daily). With the advent of the mp3 and the efforts of Vinyl-on-Demand and other labels, Insane Musicâ€™s CD-r reissue program included, some of this exquisite material has been rescued from oblivion.
426 steampunk brass synthesizer blows my mind on [technabob]
I always thought analog synthesizers were inherently retro. Just not quite this retro. This unbelievable steampunk modular synthesizer features tons of dials and intricate brass etching throughout. All of the buttons and knobs were hand lathed, and the synth includes a number of antique parts as well.
audio, geek art + craft, retro, strange + wonderful, technology, analog, brass, handmade, music, sound, steampunk, synthesizer
423 MACBETH STUDIO SYSTEMS
Welcome to MacBeth Synthesizers!
LATEST NEWS: 20/07/09 please scroll down for infoOver the last year and half or so, more products have been developed. Work has gone into the design of a new modular
synthesizer system shared by two formats- the 3U format and the 5U format. The designs are relatively new but still
retain the inherant qualities of the M3X, M5 and M5N synthesizers. The system is called the X-Series Modular Synthesizer
after the popular M3X and its protĂ©gĂ© keyboard synthesizer the X-Factor. This fully analogue keyboard is still under
serious development and there will be more information to follow on that one.
As a refreshing change from making the large scale semi modular M5 and M5N, I am now delving into the production of
smaller, free for all systems that will probably grow large! I'm taking into it all my experience of designing both large and
small analogue synthesizers as well as a few new ideas too. Please take the time to look around this website. In each
catagory there is product information, sounds, tracks and links to other related media on the internet.
Currently the 3U X-Series Dual Oscillator and 'Backend' Filter Combo are in production. I expect delivery of the
Dual Oscillator within the next two weeks- shortly after that the 'Backend' Filter Combo will roll out of production.
Please contact any of the Distributers listed to get your modules.
I intend to produce a short run of the 5U modules soon, so once again- stay tuned for that...
...anyway! I have uploaded quite a few demo sounds on here- maybe not to everyones taste- but at least they make
you think of what these modules could do in the right hands, i.e. you!
- after all- I'm an engineer, not a muscian as such!...Well you decide!
All MacBeth Products are built to exacting standards- from materials selection to the physical build.
The PCBs and Sheet Metalwork are fabricated by Zot Engineering from Musselburgh, Scotland http://www.zot.co.uk
and final assembly is performed by Diatron Assembly Systems from Norwich, England http://www.diatron.co.uk
Both companies also manufacture equipment for the medical, military and aerospace sectors of industrial engineering
404 FOLKTEK ARTS: Time Scape Wave Sequencer
A brand new masterwork by Arius Blaze. The "Time Scape Wave Sequencer" is a sampler, processor and synthesizer with a built in 8 step sequencer. The touch board controls the polyphonic synth part which can be fed through delay or any combination of thousands of possibilities for wave shaping as well as the possibility of having the shape altered in time with the sequencer.
347 Pixelh8 - Multidisciplinary Artist and Techno Anthropologist Â» Software
The Pixelh8 Music Tech Master Stroke DS is a real time synthesizer for the Nintendo DS system it allows for extensive sound design and is the natural evolution of the Music Tech Series allowing for the classic chip tune sound on a modern device.
The new system allows for keyboard style play by pressing â€śXâ€ť to bring up the 2 Ocatve Xylophone or classic Music Tech mode by using the directional pad to control the sounds in the same way as the Music Tech Game Boy and Pro Performer Game Boy Advance.
Loads of new combinations are possible as you can now combine interval settings with time based effects as well as using the noise channel instead of tone and the easy change between menus allow for quick change during performance.
All sounds are produced via the on board sound chip and no samples or sample manipulation is used, this is a real time chip tune synth for the DS.
316 100 Fresh And Free xHTML Templates Of Year 2010
If you remember some long time at 1stwebdesigner we published huge 2-part article (part 1, part 2) with 202 free HTML templates there, time has been passed and this is follow-up articles. This time you will find here just really new templates, mostly created in this year 2010!
Hopefully this article will be good success as well, because I think these templates can really help if you need to complete any fast project, see how things work and finally get inspired! Enjoy!
300 YAMAHA CS-30 SYNTHESIZER
This page is dedicated to the Yamaha CS-30, the monophonic top-of-the-line of Yamahas CS-series synthesizers. This synthesizer series comprised of the CS-5, CS-10, CS-15 and the CS-30. These were all monophonic. The polyphonic series comprised of the CS-50, CS-60 and the classic CS-80, Later came the CS-30M and CS-40 monophonics as well as the CS-70 polyphonic with some patch saving capabilities and different design.
All the units of this series of vintage synthesizers are very nice and collectable, but the CS-30 was the largest and most flexible of the monophonic series. If Yamaha had ever decided to build a large modular system they could have done so using some of the designs of the CS-series.
In this page I will go through the features of the CS-30, for anyone interested.
298 The Evolution of Privacy on Facebook
Facebook is a great service. I have a profile, and so does nearly everyone I know under the age of 60.
However, Facebook hasn't always managed its users' data well. In the beginning, it restricted the visibility of a user's personal information to just their friends and their "network" (college or school). Over the past couple of years, the default privacy settings for a Facebook user's personal information have become more and more permissive. They've also changed how your personal information is classified several times, sometimes in a manner that has been confusing for their users. This has largely been part of Facebook's effort to correlate, publish, and monetize their social graph: a massive database of entities and links that covers everything from where you live to the movies you like and the people you trust.
This blog post by Kurt Opsahl at the the EFF gives a brief timeline of Facebook's Terms of Service changes through April of 2010. It's a great overview, but I was a little disappointed it wasn't an actual timeline: hence my initial inspiration for this infographic.
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 â€śmark, figureâ€ť and grapho, which means â€śI write.â€ť 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.
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.
214 Best User Interface Design Resources: The Round-upÂ |Â Dzine Blog
If you strive to be a great designer (like most), then youâ€™re more than likely to know that a web application or websites success many times rely solely on how well designed the User Interface may be. As you scale the web and even read books, there can be an influx of misleading information pertaining to the way you should design your UI.
When in reality you should do what works best for you and your users. Below you will find a variety of excellent User Interface resources that will allow you to access, redefine, and create a well designed User Interface. You should use these resources first as inspiration, and second as somewhat of a guide as to what your users may need when they come face to face with your UI.
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 â€śLab approvedâ€ť 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.
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