Category Archives: Resources
Deleuze – Trees Vs Rhizomes
Cool art by M. Brandt ?
New book! – Barry Klein – electronic music circuits
Over under cable rolling
Tektronix 577 variac rod
Overlaying WBS M462 and M462A Equalizer schematics – Hand Drawn
PSU test loads
WBS preservation Society – documents from WBS
Pem Fasteners, nuts, standoffs, Studs and Pins For Sheet Metal and PCBs
https://www.pemnet.com/fastening-products/pem-self-clinching-fasteners-new/
Arduino Project – Digitally Controlled Analog Surround Sound Panning – Open Source
For your enjoyment:
Digitally Controlled Analog Surround Sound Panning
Presentation:
Circuit Explination:
Presentation documents:
0 – TPJ – Technical Presentation
0 – TPJ556-FINAL report DCASSP-COMPLETE
0 – TPJ556-FINAL report DCASSP-SCHEMATICS V1
Project Source Code:
Books of 2015 – Supplemental and future reading and reference
Adding to the book list for 2015. Lots learned and so much more to learn!
Fixing Logitech trackball performance
I love these Logitech Marble Mouse trackballs, I have one for every computer. After a few years they slow down physically. Cleaning the dust off does not help enough, something different needed to be applied. I’ve been researching lubricants and oils, doing some tests with households; but I think I’ve found the perfect fluid. Ian Gomes of Union Sound Company made a recommendation a few years back for Penny and Giles faders. A quick amazon search lead me to Lucas Silicone Shock fluid. I must report that it is the perfect product for this application. If you need a drop, I’ll send you a q-tip of it in the mail.
5 ways to get the most out of the books you read
Spring Cleaning – leads to…
Summer sale!
Cleaning out the shop… more to follow
| WBS-L – 10-060 : PPM Meter Driver |
| WBS-L – 14-260 : Mic-Preamp and HP Filter |
| WBS-L – 4-109 : Amplifier Card |
| WBS-L – 8-109 : Amplifier Card |
| WBS-L – 8200 Rack 1 : 8200 Rack 1 |
| WBS-L – 8200 Rack 2 : 8200 Rack 2 |
| WBS-L – 8200 Rack 3 : 8200 Rack 3 – Front Room |
| WBS-L – 8200 Rack 4 : 8200 Rack 4 – Front Room |
| WBS-L – 8200 Rack 5 : 8200 Rack 5 – Front Room |
| WBS-L – 970029-1 : 12 Fader remote modules |
| WBS-L – ADC-48 : 48 Point Patchbay to EDAC90 |
| WBS-L – Antoinette : Antoinette |
| WBS-L – Bryston 4B : Power Amplifier |
| WBS-L – BS – BIG PPM : Bach and Simpson – Large WBS PPM meter |
| WBS-L – BS – BIG VU : Bach and Simpson – Large WBS VU meter |
| WBS-L – BS – BIG VU – 400 : Bach and Simpson – Large WBS VU meter |
| WBS-L – BS – SMALL PPM : Bach and Simpson – Small WBS PPM meter |
| WBS-L – BS – SMALL VU : Bach and Simpson – Small WBS VU meter |
| WBS-L – BS – SMALL VU : Bach and Simpson – Small WBS VU meter |
| WBS-L – COUNTER : Timer |
| WBS-L – DMM12 : Tannoy DMM12 Speaker |
| WBS-L – M124 : Universal Audio Amplifier |
| WBS-L – M166 : Summing – Summing amplifier |
| WBS-L – M174 : Intercom Cross Point |
| WBS-L – M201 : M201 Relay Module |
| WBS-L – M201 : M201 Relay Module |
| WBS-L – M201D : M201 Relay Module |
| WBS-L – M202 : M202 – Logic Latch Relay Module |
| WBS-L – M202 : M202 – Logic Latch Relay Module |
| WBS-L – M207 : Phantom Power 24V to 48 V |
| WBS-L – M207 : Phantom Power 24V to 48 V |
| WBS-L – M207 : Phantom Power 24V to 48 V |
| WBS-L – M24A : Broadcast Multi-Track Console |
| WBS-L – M401 : Stereo Noise Suppressor |
| WBS-L – M402B : M402B – Equalizer |
| WBS-L – M404A : Passive HP Low Pass filter |
| WBS-L – M406B : Compressor / Limiter / De-Esser |
| WBS-L – M441M : Line input and Microphone pre-amp |
| WBS-L – M450 : Universal Amplifier |
| WBS-L – M450B : Universal Audio Amplifier |
| WBS-L – M450B : Universal Audio Amplifier |
| WBS-L – M451 : Talkback Conrtole and Dual Microphone Pre-amps |
| WBS-L – M452 : Tone Generator |
| WBS-L – M453A : Cue Speaker Amplifier |
| WBS-L – M453A : Cue Speaker Amplifier |
| WBS-L – M453A : Cue Speaker Amplifier |
| WBS-L – M453A : Cue Speaker Amplifier |
| WBS-L – M455 : Reverb Return Module |
| WBS-L – M457 : 4 Channel Sub Mixer |
| WBS-L – M458 : Peak Detector |
| WBS-L – M461 : Microphone and line Pre-amp |
| WBS-L – M461 : Microphone and line Pre-amp |
| WBS-L – M461 : Microphone and line Pre-amp |
| WBS-L – M461M : Microphone and line Pre-amp |
| WBS-L – M462 : 3-Band Equalizer – Full Parametric |
| WBS-L – M462 : 3-Band Equalizer – Full Parametric |
| WBS-L – M462 : 3-Band Equalizer – Full Parametric |
| WBS-L – M462A : 3-Band Equalizer – Mid Sweep |
| WBS-L – M462A : 3-Band Equalizer – Mid Sweep |
| WBS-L – M462A : 3-Band Equalizer – Mid Sweep |
| WBS-L – M462A : 3-Band Equalizer – Mid Sweep |
| WBS-L – M462A : 3-Band Equalizer – Mid Sweep |
| WBS-L – M462B : 4-Band Equalizer – Full Parametric |
| WBS-L – M462B : 4-Band Equalizer – Full Parametric |
| WBS-L – M462B : 4-Band Equalizer – Full Parametric |
| WBS-L – M463B : M463AB – Submaster Module |
| WBS-L – M463M : Summing – Sub Group |
| WBS-L – M464 : High Pass / Low Pass Filter |
| WBS-L – M464 : High Pass / Low Pass Filter |
| WBS-L – M464 : High Pass / Low Pass Filter |
| WBS-L – M466 : Compressor / Limiter / De-Esser |
| WBS-L – M466 : Compressor / Limiter / De-Esser |
| WBS-L – M466 : Compressor / Limiter / De-Esser |
| WBS-L – M466 : Compressor / Limiter / De-Esser |
| WBS-L – M466M : M466M Meter Module |
| WBS-L – M467 : VU Meter – Comp tie – Noise Gate |
| WBS-L – M467 : VU Meter – Comp tie – Noise Gate |
| WBS-L – M467 : VU Meter – Comp tie – Noise Gate |
| WBS-L – M467K : VU Meter – Comp tie – Noise Gate with Key |
| WBS-L – M467K : VU Meter – Comp tie – Noise Gate with Key |
| WBS-L – M468V : Reverb Return Module |
| WBS-L – M469C : M1204 Routing module |
| WBS-L – M470A : Microphone and line Pre-amp |
| WBS-L – M470A : Microphone and line Pre-amp |
| WBS-L – M470C : Microphone and line Pre-amp |
| WBS-L – M470D : Microphone and line Pre-amp |
| WBS-L – M471 : Stereo Input |
| WBS-L – M471A : Stereo Input |
| WBS-L – M472 : 3 Band Equalizer |
| WBS-L – M473A : Summing – sub Group |
| WBS-L – M473A : Summing – sub Group |
| WBS-L – M475 : Monitor – Stereo speaker monitor |
| WBS-L – M477 : Summing – Master Summing |
| WBS-L – M479 : Summing – Aux |
| WBS-L – M479 : Summing – Aux |
| WBS-L – M487 : Dual Master Module |
| WBS-L – M490A : Microphone Pre-amp |
| WBS-L – M490C : Mono line in – Via Transformer |
| WBS-L – M490E : Stereo Input Module |
| WBS-L – M490E : Stereo Input Module |
| WBS-L – M490E : Stereo Input Module |
| WBS-L – M490F : Stereo Input Module with Aux routing |
| WBS-L – M495 : Stereo Monitor Module |
| WBS-L – M495 : Stereo Monitor Module |
| WBS-L – M497 : Summing Amplifiers |
| WBS-L – M497 : Summing Amplifiers |
| WBS-L – M497 : Summing Amplifiers |
| WBS-L – M497A : M497A – Dual Master Module |
| WBS-L – M498 : Selector – 8 Stereo |
| WBS-L – M498A : Selector – 10 Stereo |
| WBS-L – M499 : Selector – 12 Channel |
| WBS-L – M499 : Selector – 12 Channel |
| WBS-L – M520 : ST Series Microphone Pre-amp |
| WBS-L – M520A : ST Series – Microphone Pre-amp |
| WBS-L – M520A : ST Series – Microphone Pre-amp |
| WBS-L – M521A : ST Series – Stereo Line in |
| WBS-L – M522 : ST Series 3-Band EQ |
| WBS-L – M522A : ST Series 3-Band EQ |
| WBS-L – M522A : ST Series 3-Band EQ |
| WBS-L – M522A : ST Series 3-Band EQ |
| WBS-L – M523 : ST Series Sub Group |
| WBS-L – M525 : Monitor Controller |
| WBS-L – M527 : M527, MASTER MODULE |
| WBS-L – M528B : Dual Summing Amp |
| WBS-L – M529 : M529 – Communications Module |
| WBS-L – M529A : Communications Module and Tone Generator |
| WBS-L – M562C : Stereo 3-Band Equalizer |
| WBS-L – M562C : Stereo 3-Band Equalizer |
| WBS-L – M562C : Stereo 3-Band Equalizer |
| WBS-L – M604 : M604 – Dual Frequency Oscillator |
| WBS-L – M605A : Distribution Amplifier |
| WBS-L – M605A : Distribution Amplifier |
| WBS-L – M621 : 20 Watt Power Amplifier |
| WBS-L – M621 : 20 Watt Power Amplifier |
| WBS-L – M624 : 24 Volt Power Supply |
| WBS-L – M624 : 24 Volt Power Supply |
| WBS-L – M624 : 24 Volt Power Supply |
| WBS-L – M625B : 25V Audio Power Supply |
| WBS-L – M625B : 25V Audio Power Supply |
| WBS-L – M625B : 25V Audio Power Supply |
| WBS-L – M625B : 25V Audio Power Supply |
| WBS-L – M625B : 25V Audio Power Supply |
| WBS-L – M648 : 48V Phantom Power Supply |
| WBS-L – M648 : 48V Phantom Power Supply |
| WBS-L – M648 : 48V Phantom Power Supply |
| WBS-L – M701B : Intercom on ramp |
| WBS-L – M805 : Distribution Amplifier |
| WBS-L – M805 Rack : M805 Rack |
| WBS-L – M808 : Logic – Relay Board |
| WBS-L – M8200 : Remote Controlled Micpre-amp |
| WBS-L – M8202 : Digital to Analog Converter |
| WBS-L – M8204 : Distribution Amp |
| WBS-L – M8205 : Distribution Amplifier |
| WBS-L – M8205B : Distribution Amp |
| WBS-L – M8205B : Distribution Amp |
| WBS-L – M8205B : Distribution Amp |
| WBS-L – M8245 : 8200 series Power Supply |
| WBS-L – M8540 : Intercom Power Supply |
| WBS-L – MF10 : Rack Mount Module Tray |
| WBS-L – MISC INTERCOM : MISC INTERCOM |
| WBS-L – PAULINE : MP1, MP2,MP3,MP4 Meter Panels |
| WBS-L – Peggy Sue : Peggy Sue Mixing Console |
| WBS-L – PG 1550 : Penny and Giles 1550 |
| WBS-L – PG 1550 : Penny and Giles 1550 |
| WBS-L – PG 1550 : Penny and Giles 1550 |
| WBS-L – PG 1550 : Penny and Giles 1550 |
| WBS-L – PG 4520 ST : ST Series Penny and Giles 4520 Fader |
| WBS-L – PG 4520 ST : ST Series Penny and Giles 4520 Fader |
| WBS-L – PG 4520 ST-ereo : ST Series Penny and Giles 4520 Fader Stereo |
| WBS-L – R1400-870139 : R1400-14 Channel Radio Console |
| WBS-L – RACK – MF10 : RACK – MF10 – 10 Space Rack |
| WBS-L – RACK-FX Rack 1 : WBS-FX Rack 1 – Dynamics – EDAC 90 and XLR for Keys |
| WBS-L – RACK-FX Rack 2 : WBS-FX Rack 2 – Dynamics and Filter – EDAC 90 |
| WBS-L – RACK-FX Rack 3 : WBS-FX Rack 3 – Filters – EDAC 90 |
| WBS-L – RACK-Summing Rack : RACK-Summing Rack |
| APK – Rhonda : Rhonda |
| APK – RTO-214-NAB2015 : 2 X 14 Retro Module Rack |
| APK – RTO-47-NAB2015 : 4 X 7 Retro Module Rack |
| APK – RTO-47-The Hoser : 4 X 7 Retro Module Rack |
| WBS – ST12-10-3-F : ST series – 10′ – 1′ tail-Female – LINE IN |
| WBS – ST12-10-3-M : ST series – 10′ – 1′ tail-Female – DIRECT OUT |
| WBS – ST12-25-U : ST series – 20′ – USER TERMINATED |
| WBS – ST12-3-1-F : ST series – 3′ – 1′ tail-Female – INSERT |
| WBS – ST12-3-1-M : ST series – 3′ – 1′ tail-Male – INSERT |
| WBS – ST12-30-3-M : ST series – 30′ – 1′ tail-Female – MIC IN |
| APK – Stan : STan – 12 Channel ST series Console |
| STUDER – Studer-Phase : Analog Studer-Phase meter |
| – DBX – 911 – Noise Reduction |
| – DBX – 911 – Noise Reduction |
| – DBX – 911 – Noise Reduction |
| – SKOTEL – SKOTEL “Digital” Metronome |
| – – Cart Deck |
| – Alesis – Midiverb 2 |
| – Symetrix – A220 – 20 Watt amplifier |
| – Behringer – Behringer Edison – Stereo enhancer |
| – DOLBY – Dolby SDDU-4 – Surround sound decoder |
| – DOLBY – DOLBY SDEU-4 – Surround sound encoder |
| – Marantz – PDM 221 – portable field recorder |
| – Tascam – 122 Cassette Deck |
| – UREI – UREI METRONOME |
| – ADC – Digital Patchbay |
| – APK – EDAC breakout – RACK output |
| – DBX – 120XP Sub Harmonic Synth |
| – Clydsdale – Orange Case – Dutchie |
| – Digidesign – 003 Rack – missing pwr on button – discolored |
| – Studer – Telephone Hybrid |
| – Studer – Telephone Hybrid |
| – Tascam – 122MK2 – 3 head stereo cassette recorder |
| – BBE – BBE 702 (stereo Sonic Maximizer in 900 series) |
| – Altec – Altec Lansing Tube Mics 001 |
| – Altec – Altec Lansing Tube Mics 002 |
| – Altec – Altec Lansing Tube Mics 003 |
| – Altec – Altec Lansing Tube Mics 004 |
| – Altec – Altec Lansing Tube Mics 005 |
| – Altec – Altec Lansing Tube Mics 006 |
| – Altec – Altec Lansing Tube Mics 007 |
| – Altec – Altec Lansing Tube Mics 008 |
| – APK – EDAC breakout – XLR |
| – ASHLY – ASHLEY SC-68 notch filter |
| – BSS – DPR-402 – Compressor limiter / De-Esser |
| – BSS – DPR-402 – Compressor limiter / De-Esser |
| – MOGAMI – (24) Channel 25′ EDAC TO EDAC EXTENSION |
| – MOGAMI – (24) Channel 6′ EDAC TO EDAC EXTENSION |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 001 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 002 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 003 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 004 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 005 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 006 |
| – MOGAMI – (24) Channel 8′ EDAC TO EDAC Snake – 007 |
| – Shure – Shure SM81 |
| – Yamaha – YAMAHA PB-1 |
| – Yamaha – Yamaha SPX900 Reverb |
| – AKG – AKG – H99 – Harry – BINAURAL Stereo Microphone |
| – APK – EDAC breakout – TRS |
| – DELTA LABS – EFFECTRON II ADM1024 |
| – Tascam – 122MK2 – 3 head stereo cassette recorder |
| – LEXICON – PCM41 |
| – New Frontiers – DSP-2110-EX S – signal Analyzer |
| – AUDIO ACCESSORIES – 2RU – 96 point – TT Patchbays – EDAC 56 |
| – SELA – 2880-6F ( field mixing console) |
| – SPL – Vitalizer ( Classic grey faced) |
| – TC ELECTRONICS – TC Electronics – FireworX |
| – TC ELECTRONICS – FINALIZER PLUS |
| – DBX – DBX 900 – Rack – Wired to EDAC with EDAC snake |
| – APK – TT Patchbays – EDAC 90 – CUSTOM |
| – APK – TT Patchbays – EDAC 90 – CUSTOM |
| – APK – TT Patchbays – EDAC 90 – CUSTOM |
| – APK – TT Patchbays – EDAC 90 – CUSTOM |
| – Alesis – Alesis HD24 – 24 Track – with Hard case and mogami snakes |
On Compressing the English Language
Someone picked my brain the other day looking for a technique to compress language files.
After walking away to think about it… my method was to re-order the ASCII code to the letters by their frequency and the most common words by their frequency.
Where lowercase e is stored as an ASCII value using 1 byte
ASCII e = 0x61 = 0b1100001 = 7 bits
vs
APK e = 0x1 = 1 bit
… this method stores an E in 1 bit. This is similar to the Huffman Code with the addition of whole words being included in the code.
For example:
“because” is the 94th most used word in the english language and in this method is stored in 7 bits.
I don’t know if this has been done before… but I would imagine it could compress Language files substantially.
I have thought about a third addition of using the most used 2 or three letter combinations commonly used.
| APK ORDER | APK | LET FREQ | WORD FEQ | APK BIN | APK HEX | APK BITS USED |
| 0 | space | 0 | 0 | 1 | ||
| 1 | e | 12.70% | 1 | 1 | 1 | |
| 2 | t | 9.06% | 10 | 2 | 2 | |
| 3 | a | 8.17% | 11 | 3 | 2 | |
| 4 | o | 7.51% | 100 | 4 | 3 | |
| 5 | i | 6.97% | 101 | 5 | 3 | |
| 6 | n | 6.75% | 110 | 6 | 3 | |
| 7 | s | 6.33% | 111 | 7 | 3 | |
| 8 | h | 6.09% | 1000 | 8 | 4 | |
| 9 | r | 5.99% | 1001 | 9 | 4 | |
| 10 | d | 4.25% | 1010 | A | 4 | |
| 11 | l | 4.03% | 1011 | B | 4 | |
| 12 | c | 2.78% | 1100 | C | 4 | |
| 13 | u | 2.76% | 1101 | D | 4 | |
| 14 | m | 2.41% | 1110 | E | 4 | |
| 15 | w | 2.36% | 1111 | F | 4 | |
| 16 | f | 2.23% | 10000 | 10 | 5 | |
| 17 | g | 2.02% | 10001 | 11 | 5 | |
| 18 | y | 1.97% | 10010 | 12 | 5 | |
| 19 | p | 1.93% | 10011 | 13 | 5 | |
| 20 | b | 1.49% | 10100 | 14 | 5 | |
| 21 | v | 0.98% | 10101 | 15 | 5 | |
| 22 | k | 0.77% | 10110 | 16 | 5 | |
| 23 | j | 0.15% | 10111 | 17 | 5 | |
| 24 | x | 0.15% | 11000 | 18 | 5 | |
| 25 | q | 0.10% | 11001 | 19 | 5 | |
| 26 | z | 0.07% | 11010 | 1A | 5 | |
| 27 | the | 1 | 11011 | 1B | 5 | |
| 28 | be | 2 | 11100 | 1C | 5 | |
| 29 | to | 3 | 11101 | 1D | 5 | |
| 30 | of | 4 | 11110 | 1E | 5 | |
| 31 | and | 5 | 11111 | 1F | 5 | |
| 32 | a | 6 | 100000 | 20 | 6 | |
| 33 | in | 7 | 100001 | 21 | 6 | |
| 34 | that | 8 | 100010 | 22 | 6 | |
| 35 | have | 9 | 100011 | 23 | 6 | |
| 36 | I | 10 | 100100 | 24 | 6 | |
| 37 | it | 11 | 100101 | 25 | 6 | |
| 38 | for | 12 | 100110 | 26 | 6 | |
| 39 | not | 13 | 100111 | 27 | 6 | |
| 40 | on | 14 | 101000 | 28 | 6 | |
| 41 | with | 15 | 101001 | 29 | 6 | |
| 42 | he | 16 | 101010 | 2A | 6 | |
| 43 | as | 17 | 101011 | 2B | 6 | |
| 44 | you | 18 | 101100 | 2C | 6 | |
| 45 | do | 19 | 101101 | 2D | 6 | |
| 46 | at | 20 | 101110 | 2E | 6 | |
| 47 | this | 21 | 101111 | 2F | 6 | |
| 48 | but | 22 | 110000 | 30 | 6 | |
| 49 | his | 23 | 110001 | 31 | 6 | |
| 50 | by | 24 | 110010 | 32 | 6 | |
| 51 | from | 25 | 110011 | 33 | 6 | |
| 52 | they | 26 | 110100 | 34 | 6 | |
| 53 | we | 27 | 110101 | 35 | 6 | |
| 54 | say | 28 | 110110 | 36 | 6 | |
| 55 | her | 29 | 110111 | 37 | 6 | |
| 56 | she | 30 | 111000 | 38 | 6 | |
| 57 | or | 31 | 111001 | 39 | 6 | |
| 58 | an | 32 | 111010 | 3A | 6 | |
| 59 | will | 33 | 111011 | 3B | 6 | |
| 60 | my | 34 | 111100 | 3C | 6 | |
| 61 | one | 35 | 111101 | 3D | 6 | |
| 62 | all | 36 | 111110 | 3E | 6 | |
| 63 | would | 37 | 111111 | 3F | 6 | |
| 64 | there | 38 | 1000000 | 40 | 7 | |
| 65 | their | 39 | 1000001 | 41 | 7 | |
| 66 | what | 40 | 1000010 | 42 | 7 | |
| 67 | so | 41 | 1000011 | 43 | 7 | |
| 68 | up | 42 | 1000100 | 44 | 7 | |
| 69 | out | 43 | 1000101 | 45 | 7 | |
| 70 | if | 44 | 1000110 | 46 | 7 | |
| 71 | about | 45 | 1000111 | 47 | 7 | |
| 72 | who | 46 | 1001000 | 48 | 7 | |
| 73 | get | 47 | 1001001 | 49 | 7 | |
| 74 | which | 48 | 1001010 | 4A | 7 | |
| 75 | go | 49 | 1001011 | 4B | 7 | |
| 76 | me | 50 | 1001100 | 4C | 7 | |
| 77 | when | 51 | 1001101 | 4D | 7 | |
| 78 | make | 52 | 1001110 | 4E | 7 | |
| 79 | can | 53 | 1001111 | 4F | 7 | |
| 80 | like | 54 | 1010000 | 50 | 7 | |
| 81 | time | 55 | 1010001 | 51 | 7 | |
| 82 | no | 56 | 1010010 | 52 | 7 | |
| 83 | just | 57 | 1010011 | 53 | 7 | |
| 84 | him | 58 | 1010100 | 54 | 7 | |
| 85 | know | 59 | 1010101 | 55 | 7 | |
| 86 | take | 60 | 1010110 | 56 | 7 | |
| 87 | people | 61 | 1010111 | 57 | 7 | |
| 88 | into | 62 | 1011000 | 58 | 7 | |
| 89 | year | 63 | 1011001 | 59 | 7 | |
| 90 | your | 64 | 1011010 | 5A | 7 | |
| 91 | good | 65 | 1011011 | 5B | 7 | |
| 92 | some | 66 | 1011100 | 5C | 7 | |
| 93 | could | 67 | 1011101 | 5D | 7 | |
| 94 | them | 68 | 1011110 | 5E | 7 | |
| 95 | see | 69 | 1011111 | 5F | 7 | |
| 96 | other | 70 | 1100000 | 60 | 7 | |
| 97 | than | 71 | 1100001 | 61 | 7 | |
| 98 | then | 72 | 1100010 | 62 | 7 | |
| 99 | now | 73 | 1100011 | 63 | 7 | |
| 100 | look | 74 | 1100100 | 64 | 7 | |
| 101 | only | 75 | 1100101 | 65 | 7 | |
| 102 | come | 76 | 1100110 | 66 | 7 | |
| 103 | its | 77 | 1100111 | 67 | 7 | |
| 104 | over | 78 | 1101000 | 68 | 7 | |
| 105 | think | 79 | 1101001 | 69 | 7 | |
| 106 | also | 80 | 1101010 | 6A | 7 | |
| 107 | back | 81 | 1101011 | 6B | 7 | |
| 108 | after | 82 | 1101100 | 6C | 7 | |
| 109 | use | 83 | 1101101 | 6D | 7 | |
| 110 | two | 84 | 1101110 | 6E | 7 | |
| 111 | how | 85 | 1101111 | 6F | 7 | |
| 112 | our | 86 | 1110000 | 70 | 7 | |
| 113 | work | 87 | 1110001 | 71 | 7 | |
| 114 | first | 88 | 1110010 | 72 | 7 | |
| 115 | well | 89 | 1110011 | 73 | 7 | |
| 116 | way | 90 | 1110100 | 74 | 7 | |
| 117 | even | 91 | 1110101 | 75 | 7 | |
| 118 | new | 92 | 1110110 | 76 | 7 | |
| 119 | want | 93 | 1110111 | 77 | 7 | |
| 120 | because | 94 | 1111000 | 78 | 7 | |
| 121 | any | 95 | 1111001 | 79 | 7 | |
| 122 | these | 96 | 1111010 | 7A | 7 | |
| 123 | give | 97 | 1111011 | 7B | 7 | |
| 124 | day | 98 | 1111100 | 7C | 7 | |
| 125 | most | 99 | 1111101 | 7D | 7 | |
| 126 | use | 100 | 1111110 | 7E | 7 |
Sunlight
Music Note Frequency Calculator With Cent Adjustment
A colleague posed a very interesting question:
“I am looking for any music/music math wizard help me figure this out. If I am moving the pitch of a song up by 50 cents (a quarter step?) What frequency is A instead of 440?”
Sounded like the kind of math challenge I like:
The answer is 452.893Hz
To test and confirm that it’s calculating properly, this is up 100 cents making G# 440
This is down 100 cents making A# 440
Here is a link to the excel file
19.22″ EXACTLY….
Dave Adams did my a solid today. I needed some support cut to exactly 1.6 *12 plus 0.02 worth of “wiggle room” spaced over 12 modules. He has the tools and knows them too well! Thanks again Dave! 
sound guy Xmas idea: APx515 2-Channel Audio Analyzer
This would be a dream for the test bench. Simple, robust effective analysis tools! I would be happy with an old system one… but this would be on the shelf in a heartbeat.
The APx515 is a high performance audio analyzer optimized for production test. APx515 has a typical THD+N of –106 dB, a one million point FFT with 24-bit resolution, and 192K digital I/O. It is a best-in-class instrument for its combination of speed, performance, automation, and ease-of-use.
APx515 is a significant product because it delivers the performance and reliability of Audio Precision at a production-level price.
APx is the fastest audio analyzer in the world, returning 21 audio measurements in as fast as 1.2 seconds. It is also the easiest to use, with one-click measurements, custom reporting and sophisticated automation without any programming. A full API and LabVIEW driver is also provided.
This speed and ease-of-use means test will never be a bottleneck, and production line managers can achieve reliable, consistent results compared to the current low-cost alternatives like a distortion analyzer.
For companies outsourcing their production, requiring APx515 on the production line gives tighter control over production, ensuring manufacturers are meeting their contractual requirements.