Author Archives: Anthony P. Kuzub

Rethinking Autism Through Signal Analysis

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Seeing the Whole Spectrum: Rethinking Autism Through Signal Analysis

 

In signal processing, frequencies come in two forms: positive and negative. These represent the direction of oscillation in a wave, and both are essential in forming a complete understanding of a signal. When we perform a Fourier Transform on a real-valued signal, the result is a symmetrical frequency spectrum—negative frequencies are the mirror image of positive ones. Because of this symmetry, analysts often focus only on the positive side, assuming the negative adds no new information. But the full signal only truly makes sense when both sides are considered. Ignoring half the spectrum might simplify the math, but it also filters out part of the story. In many ways, this mirrors how society has understood autism: by focusing only on the “visible” or more disruptive traits, we’ve overlooked the full richness of the spectrum.

The autism spectrum is broad, encompassing a diverse range of traits, experiences, and ways of thinking. Yet, historically, the conversation has focused almost entirely on the challenges—communication difficulties, social struggles, and behaviors deemed “abnormal” by neurotypical standards. These challenges, while real, are only one part of the picture. Like the negative frequencies in a signal, they have dominated the public perception, shaping a narrow, deficit-based narrative around autism. This framing treats difference as dysfunction and complexity as something to be minimized or managed, rather than understood.

What often gets overlooked are the strengths and unique abilities that also reside on the spectrum. Many autistic individuals demonstrate exceptional skills in pattern recognition, deep focus, honesty, creativity, and unconventional problem-solving. These are the “positive frequencies” of autism—traits that can be incredibly valuable, but which society often misses because it has been trained to look for problems rather than potential. Just as an engineer who only studies half the frequency graph misses the full shape and texture of a signal, we miss the full humanity and capability of autistic people when we ignore their strengths.

It’s not that the struggles should be denied or minimized; they are real and deserve support and understanding. But focusing only on the challenges creates an incomplete and often damaging narrative. We need to broaden the lens—to recognize that autism is not just a list of deficits, but a spectrum of human difference that includes resilience, insight, and gifts that may not always be immediately visible. The goal should be to tune into the full signal, not just the parts that are easiest to categorize.

By shifting the way we talk about autism—from a disorder to a spectrum, from a problem to a difference—we create space for inclusion, acceptance, and appreciation. Just as signal processing becomes more powerful when we understand both positive and negative frequencies, our society becomes more compassionate and whole when we learn to see the full range of human neurodiversity. The spectrum is not broken—it’s just been misunderstood.

Production Offsets – Delay is dead, latency is lame

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Production Offset (noun):

The accumulated timing differences within a production process caused by variations in signal transportation time, processing speed, or media transfer over IP networks. These offsets occur when different elements of a production pipeline experience inherent latency due to the nature of their processing paths.

A production offset specifically applies when synchronization between signals is required to maintain a cohesive output.

Examples of Production Offsets:

  • Audio-to-Video Delay: When video encoding and transmission take longer than audio, causing lip-sync issues.

  • Program Audio vs. Video Delay: A mismatch between broadcast-quality audio and video paths, requiring realignment.

  • Media Transfer Delays: Timing mismatches when files, streams, or packets arrive at different times due to network transport latency.

Control Audio vs. Program Audio – Is It a Production Offset?

  • Control Audio (Intercom, IFB, Coordination): Must be as close to real-time as possible to minimize awkward pauses in live communication.

  • Program Audio (Broadcast, Recorded Content): May have additional latency due to processing, mixing, and distribution.

  • Since these serve different functional purposes, their latency differences are generally not considered a production offset unless they must be synchronized for a specific use case (e.g., when coordinating live feeds with talent responses).

Managing Production Offsets Involves:

  • Measuring transport and processing delays across different signal paths.

  • Collating and analyzing timing discrepancies.

  • Applying delay compensation or synchronization techniques.

  • Optimizing network and processing paths to reduce unnecessary latency.

By properly managing production offsets, teams ensure seamless synchronization where required, while also prioritizing real-time communication for control audio.

Example: The team compensated for the production offset between program audio and video while ensuring control audio remained as real-time as possible for smooth coordination.

 

Starrett Analog Gage Amplifier – No 718

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ButFeatures

  • Zero set control.
  • Screwdriver adjustment for individual calibration.
  • Resolution: .0001″ (0.010mm) to .000010″ (0.001mm)
  • Range: .003″ (.300mm) to 10.0003″ (10.030mm)
  • Only three switches – one for inch/millimeter, one for fine or coarse resolution & one for polarity.\par
  • Compact size of 8″ x 4-3/4″ x 2″ (200 x 119 x 50mm).
  • 110 volt AC operation (7.5 volt transformer furnished).

 

 

Probe to get:

Starrett 715-1Z – LVDT Lever Type Gage Head

 

Calibration

The Redder, The Better 🚦

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The Redder, The Better – A phrase used in audio engineering to describe how an audio signal is often considered optimal when the volume unit (VU) meter or LED peak meter enters the red zone. This indicates a strong signal level, improving the signal-to-noise ratio (SNR) by ensuring the desired audio remains well above the noise floor. In analog systems, slight red-zone peaks can add warmth and presence, while in digital systems, red peaks indicate maximum headroom before potential distortion or clipping. 🚦

 

 

Vigital – definition

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Vigital (adj.) – A blend of vintage and digital, referring to obsolete or outdated digital technology that has been revived due to nostalgia, affordability, or unique aesthetic and functional qualities. While not the latest or most advanced, vigital tech holds value for enthusiasts who appreciate its historical significance, distinctive characteristics, or cost-effectiveness compared to modern alternatives.

“That synth is vigital.”
“Vigital consoles are sweet”

“Like the Vigital spx90… what it lacks in depth, it makes up for in brittleness and nastalgia”

Beskar 2d2 project planning – check list – Things to do

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  1. HEAD
    1. Dome
      1. TOP
        1. Life Form Scanner
          1. Antenna
          2. Signal Processors
          3. Extension arm
        2. Flaps
          1. Periscope
            1. Camera
          2. Top (Pie Panels)
        3. Holographic Projector (Top)
      2. Middle
        1. Radar Eye + Primary Photo Receptor
      3. Bottom
        1. Logic Display Small Front
        2. Processor state inicator
        3. Holographic Projector (Front)
        4. Logic Display Large Rear
        5. Flaps – Sides (Dome Panels)
          1. Sensory Input Head
    2. Neck
      1. Head Rotation Ring (cover)
      2. Head Rotation – Lazy Susan
      3. Motor to spin head
      4. Split Rings
  2. BODY
    1. Chest
      1. Spacecraft linkage data slot (Large Data Port)
      2. Utility Arms – Spacefract linkage and conrol arms
    2. Body Compartments
      1. LEFT
        1. Computer Interface
          1. SCOMP
        2. Application interface
        3. Utility Saw
      2. RIGHT
        1. Grasping Arm
        2. Manipulator Arms
    3. Upper Belly
      1. Power Charge Arm Compartment
      2. Coin Slots (System Diagnostic input receptors)
      3. Torso Diagnostic input receptors
      4. Front Vents
        1. Upper ( Acoustic Signaller)
        2. Lower (System ventilation
      5. Pocket Vent
      6. Restraining Bolt
    4. Lower Belly
      1. Coin Return (Polarity Sink)
      2. Recharge Power Coupler
      3. Heat Exhaust (BTU Exhaust Wave)
      4. Interface Pulse Stabilizers
    5. BACK
      1. Recharge Power Coupler
      2. Coin Return (Polarity Sink)
      3. Interface Pulse Stabilizers
    6. Skirt

      (Durasteel Shell)

      1. Foot Lifter
  3. LEG (Left and Right)
    1. Shoulder
      1. Flange
      2. Shim (Horse Shoe)
      3. Hub
      4. Hydralics
      5. Buttons
      6. Under shoulder detail
      7. Actuating Coupler
    2. Leg
      1. Attitude Booster Turbine
      2. Booster Cover
      3. Leg Strut
    3. Ankle
      1. Bracelet
      2. Wedge
      3. Cylinder
    4. Battery Box
      1. Enclosure
      2. Harnessses
      3. Power bus cables (Hoses)
    5. Foot
      1. Skeleton
      2. Wheel
      3. Half Moon
      4. Front Strip
        1. knurled Hose Fitting
  4. Center Foot

    (Third Tread)

    Retractable

    1. Lifter
    2. Leg
    3. Ankle
      1. Cylinder
    4. Foot
      1. Skeleton
      2. Wheel
      3. Half Moon

 

WTB: An Anvil Stand

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Description
This wood anvil stump sits between light, adjustable aluminum legs. Use with the 35-lb. anvil.
• Stump draws vibration of hammer blows away from muscles and joints without dampening their effectiveness on metal; designed to reduce noise.
• Set anvil between the aluminum lugs on the top of the stump and screw down the four corners—no need for chains or other restraints.
• Supports anvil and offers metal-lined receptacles to hold stakes and stitched leather loops for your tools.

Recording studio Survival Guide

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When it comes to recording studios, it’s easy to obsess over gear—the mics, preamps, monitors, and plugins that shape your sound. But while equipment is critical, it’s often the overlooked details that make or break a session. A forgotten cable, an overheated amp, or even a lack of snacks can grind the creative process to a halt. That’s where this Studio Survival Guide comes in. It’s a practical checklist for everything beyond the gear—cleaning supplies, tools, food, and creature comforts—that keeps sessions running smoothly and everyone focused on making great music. Whether you’re a seasoned engineer or a first-time studio owner, this guide ensures you’re prepared for anything, so the session never skips a beat.

Cleaning Supplies

  • Cable ties (for organizing cables)
  • Compressed air cans (for cleaning gear)
  • Contact cleaner/lube (for maintaining electrical contacts)
  • Deodorant (for personal hygiene during long sessions)
  • Dust covers (for protecting equipment not in use)
  • Fingernail clippers (for personal grooming)
  • First aid kit (for emergencies)
  • Javex, mop, broom (for cleaning floors and surfaces)
  • Light bulbs (for replacing burnt-out lights)
  • Microfiber cloths (for cleaning delicate surfaces like screens or instruments)
  • Mouthwash (for freshening breath)
  • Q-tips (for detailed cleaning of gear or instruments)
  • Rubbing alcohol (for cleaning and disinfecting)
  • Sink (for general cleaning and handwashing)
  • Towel per person (for personal use or spills)
  • Washroom Stock  (for personal hygiene and convenience)

Food

  • Apple juice (for hydration or snacks)
  • Aspirin or Tylenol (for headaches or minor pain)
  • Bottle of scotch (for celebratory or relaxing moments)
  • Breath mints (for freshening breath)
  • Candy, fruit, nuts, sodas, bottled water (for snacks and refreshments)
  • Coffee grinder and beans (for fresh coffee preparation)
  • Condiments (for enhancing food)
  • Cough drops (for soothing sore throats)
  • Drugs (medicinal, herbal, recreational) (as appropriate for the session)
  • Glasses (one per person) (for drinks)
  • Lemon juice, coffee (with all the fixings), tea, herbal tea (for beverages)
  • Local restaurant menu book (for ordering takeout)
  • Microwave or toaster oven (for cooking/warming food)
  • Mini freezer (for ice or frozen snacks)
  • Non-alcoholic beverage alternatives (e.g., sparkling water or mocktails)
  • Plates (for serving food)
  • Reusable water bottles (to reduce waste)
  • Silverware (for eating meals)
  • Snacks for dietary restrictions (e.g., gluten-free, vegan options)

Furnishings

  • Ashtrays (if smoking is permitted)
  • Chairs for everyone (for seating during sessions)
  • Coat rack (for storing outerwear)
  • Comfortable seating (e.g., ergonomic chairs for extended sessions)
  • Eating area (tables and chairs) (for meals or breaks)
  • GOBOs/Soundproof curtains (for windows or additional isolation)
  • Humidifier, possibly air cleaner (for maintaining air quality)
  • Mirror (for personal grooming or visual checks)
  • Mood lighting (to set the vibe for creative work)
  • Music stands with clip-on lights (for holding sheet music)
  • Office dividers (used as ISO dividers for sound separation)
  • Portable heater (for maintaining warmth in cooler environments)
  • Rugs, candles, and lights (for creating a comfortable atmosphere)
  • A small fridge or cooler (to keep perishable items fresh)
  • Storage solutions (bins, shelves for cables and accessories)
  • Waste bins and recycling containers (for managing trash and recyclables)

Gear

  • Adapters and patch cables (RCA, XLR, 1/4″) (for connecting various gear)
  • Backup hard drives (for session safety and data backup)
  • Extra vacuum tubes (for tube-based equipment)
  • Ground lift adapters (for troubleshooting hum and grounding issues)
  • Headphone amps/distributors (for multiple users to monitor audio)
  • Power conditioners or surge protectors (to protect equipment from power surges)
  • Snakes (for connecting gear to the patch bay)
  • Splicing tape and edit block (for tape editing and repair)
  • Studio monitor isolation pads (to reduce vibration and improve sound accuracy)
  • Test tone generator (for calibration and troubleshooting)

Instrument supply

  • Guitars

    • Baby powder (cornstarch-based) (for reducing hand friction while playing)
    • Capo (for changing the pitch of the guitar)
    • Extra guitar patch cables (for connecting guitars to amplifiers or pedals)
    • Guitar stands (for safely holding guitars when not in use)
    • Guitar strings (nylon, acoustic, electric, and bass) (for replacements)
    • Picks (for playing)
    • Slide (for slide guitar techniques)
    • Straps (for comfortable guitar playing while standing)

  • Drums

    • Drum dampening gels or rings (for controlling overtones and resonance)
    • Drum key (for tuning drums)
    • Extra drumheads (for replacements during sessions)
    • Extra drumsticks (for replacements or variety in playing styles)
    • Lug lube (for maintaining tension rods and smooth tuning)
    • Metronome or drum machine (for keeping time)
    • Percussion mallets and brushes (for different tonal textures)
    • Various-sized cymbal felts, nylon cymbal sleeves, snare cords, tension rod washers (for maintaining drum hardware)
  • Chromatic tuner (for tuning instruments accurately)
  • Keyboard stand(s) (for securely holding keyboards)
  • Keyboard sustain pedals (for expressive keyboard playing)
  • Violin rosin (for maintaining bow grip if working with string players)

Office Supplies

  • Backup players (for covering absent musicians)
  • Blank CDRs (for storing recordings or sharing sessions)
  • Business cards (for networking opportunities)
  • City map (for navigating the area)
  • Clothespins or clamps (for holding papers or securing cables)
  • Decent restaurants that deliver (menus on hand) (for ordering meals)
  • Debit/credit card terminal (for client payments)
  • Dry-erase board with markers (for tracking or brainstorming)
  • Good restaurant list (for dining recommendations)
  • Good rolodex of numbers (for contacts like clients, vendors, and repair people)
  • Graph paper (for sketching layouts or diagrams)
  • Guitar Player, Bass Player, Modern Drummer (magazine subscriptions) (for inspiration or industry insights)
  • Label maker (for organizing cables, drawers, or gear)
  • Large wall calendar (for scheduling studio time or tracking projects)
  • Manuals for all equipment (for troubleshooting and reference)
  • Music staff paper (for writing out parts/arrangements)
  • Notepad (for jotting down lyrics, cues, or notes)
  • Pens, pencils, highlighters, and Sharpie markers (for writing and marking)
  • Repair people (contact information for equipment repairs)
  • Rental companies (for gear or equipment rentals)
  • Track sheets (for organizing session details)
  • USB drives or external SSDs (for data backup and transfer)
  • Vacuum (for cleaning the studio)
  • Whiteout (for correcting written errors)

Tools

  • Blue masking tape (for marking spots on the floor)
  • Cable tester/DMM (for testing and troubleshooting cables)
  • Console labeling tape (for marking controls or sections on the console)
  • Crimping tool and connectors (for making custom cables)
  • Digital multimeter (for measuring voltage, current, and resistance)
  • Earplugs (for hearing protection during loud sessions)
  • Fire extinguisher (for safety precautions)
  • Flashlight (for working in dimly lit areas)
  • Gaffer tape (for securing cables and other temporary fixes)
  • Heat gun (for shrink-wrapping or repairs)
  • Matches or a lighter (for igniting or emergency use)
  • Miscellaneous portable fans (for ventilation during long sessions)
  • Multi-tool, screwdriver set, socket set, and soldering/wiring tools (for general repairs and maintenance)
  • Portable phone chargers (for clients or band members)
  • Razor blades (for precise cutting tasks)
  • Roomba (for autonomous cleanup)
  • Safety goggles (for soldering or repairs)
  • Sandpaper (for smoothing surfaces or cleaning contacts)
  • Small step ladder (for reaching high shelves or fixing lights)
  • Small vacuum cleaner (for detailed cleaning)
  • Spare fuses (for outboard gear or amplifiers)
  • Stud finder (for securely mounting or hanging gear)
  • Tape (for general use)
  • Tester (RCA, XLR, 1/4 with polarity checker) (for verifying cable connections)
  • Thermal camera (for locating overheating gear)
  • WD-40 and 3-in-1 oil (for lubricating and maintaining equipment)
  • Weather stripping (for sealing gaps to improve sound isolation)