#Hybrid electro filter

[himenviro-intensive-filter]

Industrial Air Filtration: A Breath of Fresh Air for Your Operations

Why Industrial Air Filtration Matters

In today's industrial landscape, maintaining clean air quality is paramount for both worker safety and operational efficiency. Industrial processes often generate a wide range of contaminants, including dust, fumes, and hazardous gases. These pollutants can not only harm workers' respiratory health but also damage equipment and reduce product quality.

The Role of Industrial Air Filtration

Industrial air filtration systems are designed to capture and remove these contaminants, ensuring a clean and safe working environment. By effectively filtering the air, these systems help to:

Protect worker health: Reduce exposure to harmful particles and gases.

Improve product quality: Minimize contamination and improve product consistency.

Increase equipment lifespan: Reduce wear and tear on machinery.

Comply with environmental regulations: Meet stringent air quality standards.

Key Components of Industrial Air Filtration Systems

Industrial air filtration systems typically consist of the following components:

Inlet: The point where contaminated air enters the system.

Pre-filter: Removes large particles and debris, protecting the primary filter.

Primary filter: Captures smaller particles, such as dust and pollen.

High-Efficiency Particulate Air (HEPA) filter: Removes extremely fine particles, including bacteria and viruses.

Fan: Circulates air through the system.

Exhaust: The point where clean air is released back into the environment.

Intensiv-Filter Himenviro: A Leader in Industrial Air Filtration

Intensiv-Filter Himenviro is a leading provider of industrial air filtration solutions. They offer a wide range of products and services to meet the diverse needs of industries such as manufacturing, pharmaceutical, and healthcare. Their expertise lies in designing and manufacturing high-quality filtration systems that are tailored to specific customer requirements.

By partnering with Intensiv-Filter Himenviro, businesses can benefit from:

Customized solutions: Tailored filtration systems to meet specific needs.

High-quality products: Durable and efficient filtration solutions.

Expert support: Comprehensive installation, maintenance, and repair services.

Energy efficiency: Systems designed to minimize energy consumption.

Environmental compliance: Solutions that help meet stringent environmental regulations.

Conclusion

Industrial air filtration is a critical aspect of maintaining a safe and productive work environment. By investing in high-quality filtration systems, businesses can protect their workers, improve product quality, and reduce their environmental impact. Intensiv-Filter Himenviro is a trusted partner that can help you achieve these goals.

[effectsdatabase]

Weekly overview (2023, week 07): 16 new brands and 34 new pedals

16 new brands

Ando Effects

AP Boutique

Audio Surplus Effects

Boulevard Effects

Daniel Pedals

Don-Kraft Effectors

Electric Eye Audio

Fowl Sounds

Giudis Pedals

Great Eastern FX

KarDiaN

Kinotone Audio

Rare Buzz Effects

Rhodium Electronics

SoundSlice FX

Wolf Devices

34 new effects

Boomer WF-24 8-Tr Fuzz Wah

Chorus TS-3 Tube Screamer

Colorsound Micro Mix

Copilot FX Arrow Airwaves Supreme

Cranetortoise SEL-1 A/B Box with Tuner Out

David Ross Musical Instruments Winter Storm

Davoli TSR/3 Tremolo / Sustain / Reverb

Dazatronyx THD Metal Distortion & Hybrid Germanium Fuzz

Dazatronyx TSX Overdrive

Death By Audio + EarthQuaker Devices Time Shadows

Deep Space Devices Boomburst

Devi Ever : CYMRU Godzilla

Donner Beltway Looper

Donner Path Seeker - ABY Switcher

Donner Triple Looper

Dr. Scientist Dusk - Analog Filter

DSM Noisemaker Sub Atomic - X-Over CMOS Bass Drive

Durham Electronics Quatro Plex

Ear Fuzz Effects Ear Bender MkI

EarthQuaker Devices Sunn O))) Life Pedal - Octave Distortion + Booster

Electro-Harmonix 5mm Power Amp

Electro-Harmonix EHX-2020 Mini Tuner Pedal

Electro-Harmonix Mini Slap-Back Echo - Analog Delay Reissue Pedal

Electro-Harmonix MOP-D10 Isolated Power Supply

Electro-Harmonix Nano Deluxe Memory Man

Electro-Harmonix Nano Eddy - Analog Vibrato/Chorus

Electro-Harmonix Nano Intelligent Harmony Machine - Harmonizer/Pitch Shifter

Electro-Harmonix Nano J Mascis Ram's Head Big Muff PI

Electro-Harmonix Nano Mainframe Bit Crusher

Electro-Harmonix Nano Operation Overlord - Nano Overdrive

Electro-Harmonix Triple Foot Controller

Fuzzrocious + Electro-Faustus EF110G Maggotor Gated Fuzz

Hall and Collins Signature Echo

nuX (Reissue series) Analog Chorus

1 new article

Last week's top 20 videos (2023, week 06)

Overviews of the previous weeks: https://www.effectsdatabase.com/updates/weekly

from Effects Database https://bit.ly/3lPsyjq

[moochilatv]

David Green presents: Filter

David Green Is Riding High On An Emotional Wave Of New Music

Throughout the years of his extraordinary time spent making music as a professional artist, David Green discovered an incredible gift that has given him the opportunity to communicate with listeners on a level unlike any other. With his naturally empathic persona and powerfully evocative songs, he’s been able to speak directly to the hearts and minds of music fans from all over the globe through groundbreaking singles like “Mechanical” & “Close Again” reaching clicks into six-digit terrain – and thanks to the love, support, and enthusiasm of his loyal fan-base, he remains continually inspired to release his very best. 

This year on June 14th, he’s going to do exactly that! 

Taking on his most ambitious and artistically challenging project to-date helped David tap into results he could have only once dreamed about achieving. After thrilling the world with a radiantly addictive array of singles over the past six years, his debut EP – Happy Tears – arrives at long last. With four stunning new songs, David’s leveling-up in 2024 and genuinely excited to share an audibly emotional journey second to none. Loaded with his own authentically hybrid vibes that seamlessly blend Pop/R&B/Electro into piano-based melodies that hit the heartstrings different in all the right ways, the Happy Tears EP is fully guaranteed to deliver the signature sound of his sensational sincerity, in an irresistible set of songs designed for you. 

BIO:

David Green, a singer, songwriter, and composer hailing from the vibrant city of Los Angeles, is an artist whose music resonates with heartfelt emotion and infectious positivity. David is poised to captivate audiences worldwide with his openhearted brand of piano-based electro pop.

Drawing inspiration from a multitude of sources, David's compositions are a reflection of his personal experiences and the various emotions he encounters along his journey. His introspective writing style allows listeners to connect with his music on a deeply relatable level, as he channels his own life into soul-stirring melodies.

David's ultimate goal is to leave a lasting impact on his listeners, striving to make them feel better than they did when they first pressed play. Through his artistry, he aims to evoke a sense of joy and happiness, using music as a powerful medium to uplift and inspire others.

With a lifelong passion for the piano, David's musical foundation was laid at a young age. He expertly blends his instrumental prowess with electronic elements, creating a unique sonic landscape for his songs. The synthesis of synthesized keyboards and live instruments in his compositions adds depth and texture, resulting in a sound that is distinctly his own.

David Green's artistic journey has been marked by growth and self-discovery, and with the forthcoming release of his new EP, "Happy Tears," he is set to make a resounding impact in the music industry. His openhearted approach and undeniable talent make him an artist to watch, as he continues to spread joy and leave a lasting impression through his music.

[intensiv-filter-himenviro]

Mastering Dust Extraction: Key Considerations for Dust Control Systems

In the dynamic landscape of industry and manufacturing, there’s a seemingly innocuous yet potentially formidable adversary – dust. It may appear as a mere byproduct, but its implications are far-reaching. Dust, arising from various industrial processes, isn’t just a nuisance; it’s a health risk, an environmental concern, and a regulatory challenge. Effectively mastering dust extraction is an imperative for any responsible industry player. In this blog, we embark on a comprehensive journey through the labyrinth of dust control, unveiling essential considerations that industries must embrace to not just combat dust but conquer it.

THE DIVERSE UNIVERSE OF DUST:

Dust is no monolithic entity; it’s a universe of diverse particles. Depending on the industry and processes, dust can take on myriad forms, sizes, and compositions. From fine particulate matter that clouds the air to abrasive particles that erode machinery, and even hazardous contaminants that pose grave risks, dust is a shape-shifter. To tackle this multifaceted challenge, one must first understand the nuances of the dust they are dealing with. Recognizing the characteristics of the dust is the foundational step towards effective containment and elimination. Each type of dust calls for a tailor-made approach.

CHOOSING THE RIGHT ARSENAL:

Once you’ve identified the characteristics of your dust, the next critical challenge is selecting the right weaponry. The effectiveness of your dust extraction system hinges on this pivotal decision. In your arsenal, you have an array of tools – Bag Filters, Electrostatic Precipitators (ESPs), Wet Scrubbers, Hybrid Electro Filters, to name a few. However, knowing when and where to deploy each of these tools demands a profound understanding of their mechanisms and their suitability to your specific needs. This decision is not merely about safety and efficiency; it also has a significant bearing on the environmental footprint of your operations.

NAVIGATING THE REGULATORY MAZE:

In the contemporary industrial landscape, adherence to stringent environmental regulations is no longer optional; it’s imperative. Dust control systems must not only ensure the safety and health of the workforce but also guarantee that emissions meet stringent regulatory guidelines. Navigating the complex terrain of environmental regulations can be a daunting task, but it’s a critical aspect of mastering dust extraction. Failure to comply can result in hefty fines, legal complications, and reputational damage. Being well-versed in the regulatory landscape is not a choice; it’s a necessity.

VIGILANCE THROUGH MAINTENANCE:

Mastering dust extraction is not a one-time feat; it’s a continuous commitment. Your dust control system is a living organism that requires ongoing care and monitoring. Regular maintenance is the heartbeat of this system. It includes meticulous filter inspections, real-time air quality monitoring, and swift issue resolution. This vigilance ensures the longevity and sustained efficiency of your dust control system, which, in turn, safeguards your workforce and the environments in which you operate.

CONCLUSION:

Mastering dust extraction is a multifaceted journey that extends beyond the workplace. It encompasses a commitment to cleaner air, healthier communities, and responsible industrial practices. By acquainting yourself with the diversity of dust, choosing the right control technology, upholding compliance, and embracing a culture of routine maintenance, you can not only keep dust-related challenges at bay but also contribute to a sustainable and environmentally conscious industrial landscape.

This journey toward cleaner air and responsible industrial operations is ongoing. At Intensiv Filter Himenviro, we are your dedicated partners in this endeavor. Our commitment goes beyond products; it encompasses insights, solutions, and a shared vision of a world where cleaner air is not the exception but the norm. Stay tuned for more illuminating content from our experts as we continue to empower industries to conquer the complexities of dust control. Together, we can build a sustainable future, one breath at a time.

[delvenservices]

Rotary Uninterruptible Power Supply (UPS) Market – Trends Forecast Till 2028

Rotary Uninterruptible Power Supply (UPS) Market by Power Rating (up to 1000 kVA, 1001-2000 kVA, 2001-2500 kVA, and Above 2500 kVA), Type (Diesel, Hybrid), Application, and Region (North America, Europe, Asia-Pacific, Middle East and Africa and South America)

The global Rotary Uninterruptible Power Supply (UPS) Market size is projected to reach a CAGR of 5.9% from USD 0.7 billion in 2021, during the forecast period 2021-2028.

Rotary uninterruptible power supply devices (RUPS) integrate the functionality of a battery-powered or flywheel-powered UPS and a diesel generator. When mains electricity supply is within specification, an electrical generator with a mass function as motor to store kinetic energy in an electro-mechanical flywheel. In combination with a reactor or choke coil, the electrical generator also works as active filter for all sorts of power quality problems, such as harmonics, RFI, and frequency variations.

The growing need for zero downtime power supply solutions for critical power applications, the advantages of rotary UPS such as high efficiency, fewer space requirements, and low lifetime costs are some of the factors that have supported long-term expansion for Rotary Uninterruptible Power Supply (UPS) Market.

Due to the COVID-19 outbreak, the value of the local currencies of many countries have depreciated. There is a misalignment of supply and demand, which leads to financial losses to the metal manufactures, also the key components used in manufacturing rotary UPS are typically procured in US dollars, which could result in increased component costs.

Request Sample Pages of Report: https://www.delvens.com/get-free-sample/rotary-uninterruptible-power-supply-market-trends-forecast-till-2028

Regional Analysis

Europe is estimated to be the largest market during forecast period from 2021 to 2028. Germany, the UK, and France are among the top four destinations for data centre investments in Europe.

Key Players

Hitachi

Hitzinger UK

Piller

Hitec Electric

Master Power

Euro-Diesel.

To Grow Your Business Revenue, Make an Inquiry Before Buying at: https://www.delvens.com/Inquire-before-buying/rotary-uninterruptible-power-supply-market-trends-forecast-till-2028

Recent Developments

In March 2021, Piller France deployed a 3.2 MW kinetic energy storage-backed UPS installation in Algeria's Packaging Manufacturing company Maghreb Emballage. The company installed two new 60MJ flywheels at the factory near Oran.

In September 2020, Hitec has secured an order to deliver the complete turnkey installation of high-voltage PowerPro 3600 units at an advanced pharmaceutical facility in the Netherlands.

Reasons to Acquire

Increase your understanding of the market for identifying the best and suitable strategies and decisions on the basis of sales or revenue fluctuations in terms of volume and value, distribution chain analysis, market trends and factors

Gain authentic and granular data access for Rotary Uninterruptible Power Supply (UPS) Market so as to understand the trends and the factors involved behind changing market situations

Qualitative and quantitative data utilization to discover arrays of future growth from the market trends of leaders to market visionaries and then recognize the significant areas to compete in the future

In-depth analysis of the changing trends of the market by visualizing the historic and forecast year growth patterns

Direct Order for the Research Report: https://www.delvens.com/checkout/rotary-uninterruptible-power-supply-market-trends-forecast-till-2028

Report Scope

Rotary Uninterruptible Power Supply (UPS) Market is segmented into type, power rating, application and region.

On the basis of Type

Diesel

Hybrid

Others

On the basis of Power Rating  

Up to 1000 kVA

1001–2000 kVA

2001–2500 kVA

Above 2500 kVA

On the basis of Application  

Aerospace & Defense

Electronics & Semiconductors

Manufacturing Industry

IT & Telecommunications

Data centers

Healthcare & Pharmaceuticals

Others

On the basis of Region

Asia Pacific

North America

Europe

South America

Middle East & Africa

About Us:

Delvens is a strategic advisory and consulting company headquartered in New Delhi, India. The company holds expertise in providing syndicated research reports, customized research reports and consulting services. Delvens qualitative and quantitative data is highly utilized by each level from niche to major markets, serving more than 1K prominent companies by assuring to provide the information on country, regional and global business environment. We have a database for more than 45 industries in more than 115+ major countries globally.

Delvens database assists the clients by providing in-depth information in crucial business decisions. Delvens offers significant facts and figures across various industries namely Healthcare, IT & Telecom, Chemicals & Materials, Semiconductor & Electronics, Energy, Pharmaceutical, Consumer Goods & Services, Food & Beverages. Our company provides an exhaustive and comprehensive understanding of the business environment.

Contact Us:

UNIT NO. 2126, TOWER B,

21ST FLOOR ALPHATHUM

SECTOR 90 NOIDA 201305, IN

+44-20-8638-5055

SALES@DELVENS.COM

[filmature]

Innovation from a film camera

As film cameras were invented for a long time ago, nowadays there are many innovations that adapt from film cameras that still keep the concept of the film camera such as cannot see photos after being shot immediately, the identities of different films or an instant camera concept that can print the slide immediately.

Yashica Y35

Based on the design of the Yashica Electro 35 which released in 1966, Yashica Y35 is designed to “recapture the joy and meaning of analogue-photography” while “eliminating the time and expense required for film development.” There will be 4 different digiFilm rolls at launch: ;  : ISO 1600 High Speed, Black & White (ISO 400), ISO 200 Ultra Fine (standard colour photos), and 120 Format (6��6 and ISO 200. “Perfect for Instagram,” Yashica says).

The film rolls are only meant for changing your camera’s mode — photos themselves are stored on an SD card through a slot in the camera.

Features and specs of the camera itself include a built-in viewfinder, a minimum focusing distance of 3 feet (~1m), 5 shutter speeds (1s, 1/30s, 1/60s, 1/250s, 1/500s), a micro USB port, a tripod mount, a battery port for 2 AA batteries, and an advanced automatic mode that helps properly expose shots without the LCD screen that lacks for reviewing and deleting the photos.

Fujifilm X-Pro 3

The X-Pro3's most intriguing feature is its "hidden" LCD display. The X-Pro3 doesn't feature a traditional big rear-facing LCD like most modern cameras. Instead, it includes a small LCD that displays basic capture settings like shutter speed, aperture and ISO. You can flip this part of the camera out to reveal the main LCD. Fujifilm says it reworked the X-Pro3's LCD display to "keep photographers looking through the viewfinder" and "minimize the time looking at the back of the camera." Another way to look at the redesign is as a logical extension to the company's approach to camera design. 

 Lastly, the X-Pro3 will also ship with the company's newest film simulation, Classic Negative. Fuji's film simulations are one of the main reasons people buy the company's cameras. They essentially attempt to emulate the colours of the company's old film stocks. The company says Classic Negative emulates its classic Fujicolor Superia film stock.

Fujifilm Instax Square Camera

To have the concept of the instant camera but be a hybrid which having the control and composition of a digital camera, with the enjoyment and tangible fun of a real photo print. Photos you've taken can be printed any time, as many times as you want, Save your photos to the internal memory or storage media so that you can view them whenever you want, then print your favourites. Have fun with image effects (filters, vignettes, brightness adjustment) before or after printing.·Comes with a TFT colour LCD monitor so you can edit and process images to create just the look you want. The split display allows you to view images and print them as displayed on the screen. You can also save other images to storage media (microSD card), edit and print from SQ10. In addition to reprints, you can find images from the print history and print them again. 

Fujifilm Instax Printer

It is the gadget that can be connected with smartphones or digital cameras by  Bluetooth or Wi-Fi connection which allow you to print photos anytime. There are many templates and filters that you can use in the application before print  

[thetapelessworld]

Kilohearts crosses threshold of New Era Synthesis as snapin eco-system pinnacle Phase Plant pushes creative sound design envelope

Kilohearts crosses threshold of New Era Synthesis as snapin eco-system pinnacle Phase Plant pushes creative sound design envelope

Kilohearts is proud to announce availability of Phase Plant — pushing the creative sound design envelope as a truly limitless hybrid synthesizer plugin, building on a modular system of GENERATORS, MODULATORS, and EFFECTS from the company’s acclaimed snapin range of small, single-purpose plugins that can be used either directly in a DAW (Digital Audio Workstation) as VST (Virtual Studio Technology), AAX (Avid Audio eXtension) and AU (Audio Unit) audio plugins or as building blocks in a Phase Plant patch — as of May 30…

Phase Plant represents the pinnacle of the snapin eco-system that Kilohearts has been busy developing since the 2015 release of its award-winning Multipass modular multi-band host. Combining the power of snapin effects with new modules for signal generation and modulation, Phase Plant is a hybrid synthesizer capable of what has previously only been possible in classic modular setups. Indeed, it empowers users with more options than they can shake a stick at, allowing anyone to make their thing as big or small as they need it to be. But better still, it does all this on a single screen and with surprising ease.

Phase Plant provides a ‘blank page’ onto which users can add signal generators and snapin effects in a quick and creative manner until satisfied with the resultant sound. Grouping GENERATORS and setting output options make for speedy creation of advanced FM (Frequency Modulation) configurations in a matter of seconds. And at the bottom of the page perpetual possibilities abound, allowing adventurous users to speedily add any MODULATORS (modulation sources) they like — everything from an Envelope or multiple instances of an LFO (Low Frequency Oscillator) to utility features such as a Random (randomizer) module or more mathematical operations. Everything is click and drag, so Snap Heap host plugin users or owners of the above-mentioned Multipass will feel right at home.

Having said that, the intuitive modulation system from Multipass has been improved with audio-rate modulations (marked in green) to allow for FM between all types of GENERATORS. Getting to frequency modulate the pitch of a Wavetable using a looped sample as a source, for instance, is a breeze. But how about then routing that modulation back the other way, which would create a circular modulation with radically random results? Get going! After all, every module in the GENERATORS area has an audio-rate modulation link on its right-hand side — even the filters and distortions.

Duly shipping with hundreds of onboard presets by renowned sound designers such as Australian musician, singer, songwriter, record producer, and DJ Rob Swire — best known as the founder and vocalist of electronic rockers Pendulum, and also co-founder of electro house duo Knife Party — and American producer, professor, journalist, and author Francis Prève, playing Phase Plant will surely result in falling for its demonstrable diversity. And anyone getting going with creating their own sounds will empathise with why it is already a favoured tool for the likes of Belgian drum and bass producer and musician Netsky, Dutch electronic music trio Noisia, and English dubstep music producer, songwriter, and DJ Zomboy — before becoming available!

Also apparent, Kilohearts clearly wants everyone to understand how Phase Plant works. What better way to learn, then, than by assembling creations from scratch? Since Phase Plant loads with an empty patch its users are free to add any components they desire, as and when they need them. The lengthy list of fanciful features available to them include an Analog oscillator; Wavetable oscillator; Sampler; advanced noise generation; phase modulation, linear and exponential FM, and ring modulation between GENERATORS; application of multiple GENERATORS in any order; more LFOs, envelopes, and other modulations than anyone could possibly need; compatibility with all available snapin effects; 300 expertly-crafted factory presets; advanced onboard Wavetable editor; grouping, minimising, and much more besides.

Bundling Phase Plant with Kilohearts Toolbox — chock-full of creative effects and available in various versions — is the best way to get the most out of this truly limitless hybrid synthesizer that really represents the pinnacle of Kilohearts’ snapin eco-system. “Endless possibilities and a very clever UI; the Wavetable editor is gonna change the game.” So says Netsky. As an early adopter, he should surely know, calling it his “...favourite new plugin.” Perhaps it is time to follow suit? Simply click and drag those GENERATORS, MODULATORS, and EFFECTS to suit. See and hear how Phase Plant pushes the creative sound design envelope. Experience New Era Synthesis.

Phase Plant is available directly from Kilohearts for $169.00 USD/€169.00 EUR, bundled with Kilohearts Toolbox FREE featuring six snapin effects and the Snap Heap host plugin. (Phase Plant will load any snapin not already owned, but users cannot change their parameter values.)

Phase Plant is also available directly from Kilohearts for $199.00 USD/€199.00 EUR, bundled with Kilohearts Toolbox STARTER featuring 11 snapin effects (worth $135.00 USD/€135.00 EUR) and the Snap Heap host plugin — an excellent option for anyone who is new to the snapin eco-system.

Phase Plant is also available directly from Kilohearts for $349.00 USD/€349.00 EUR, bundled with Kilohearts Toolbox PROFESSIONAL featuring all available snapin effects — including the new Ensemble and Flanger — (worth $598.00 USD/€598.00 EUR) and the Snap Heap host plugin.

Phase Plant is also available directly from Kilohearts for $499.00 USD/€499.00 EUR, bundled with Kilohearts Toolbox ULTIMATE featuring all available snapin effects and the Snap Heap host plugin, plus all other current Kilohearts premium plugins (worth $1,241.00 USD/€1,241.00 EUR).

For more in-depth information, please visit the dedicated Phase Plant webpage here: https://kilohearts.com/products/phase_plant

Watch Kilohearts’ communicative Phase Plant video playlist here: https://www.youtube.com/playlist?list=PLENj1D-e6JT5hMsXHOBNoMGckhAOHUNxr

Kilohearts has a single installer for all its products — available as 64-bit VST, AU, and AAX plugins for Windows and Mac, downloadable from here: https://kilohearts.com/faq

[thesunlounge]

Reviews 194: Yasuaki Shimizu

Last year was overflowing with incredible music, but no release enchanted me quite so much as Japanism’s and HMV’s hybrid reissue/re-edit release of Yasuaki Shimizu’s Subliminal (titled (Re)Subliminal appropriately enough and which I reviewed here). Now at the start of this year, Chee Shimizu and Yasuaki have reunited for the 1988 follow up to Subliminal entitled Dementos. Rather than omit any tracks in lieu of extended re-edits, Chee and Japanism present the original album unmodified, though Eitetsu Takamiya of Flower Records has stepped in for crisp and clean remaster. Musically, this represents a direct evolution of the sounds heard on Subliminal, even as that album was recorded Paris and this one in London and Bath with a completely different crew (including David Cunningham and Tears for Fears legend Manny Elias). Kaleidoscopic synths, rhythms, and folk instruments create atmospheres of African high life, synth-pop, new wave, Japanese traditional and Indian classical music, prog rock, and island psychedelia, resulting in a joyous soundtrack for humid tropical nights and mysterious alien jungles, all led by the dazzling voices of Yasuaki and his sister Mieko as well as Yasuaki’s fiery saxophone. And conceptually, the album explores the relationship between music and words as well as the strangeness of communication, with Yasuaki and Mieko transforming hours of idle talk into hypnotic lyrical spells and paradise anthems that soar above layers of exotic dance pop magic.

Yasuaki Shimizu - Dementos (Japanism / HMV, 2019) Cymbal swells and organ chords start “Blue Suits,” until crystalline melodies rain over energetic synth brass blasts and ethno-drum cascades comprised of massive snare smashes, climactic drum fills, and the liquid tablas of Pandit Dinesh. Glistening arps underly Yasuaki’s romantic voice, backed here and there by higher pitched siren songs. As we sweep into the blissed out chorus, the soulful voice layers of Mieko Shimizu take over…like soulful angel choirs climbing to the clouds over the crashing beats and reverb soaked horn cascades. And at the end, it all breaks down into wordless vocal flutters and oceanic vapors. Then comes the title track, beginning with pure rhythmic wonderment as percussive flows of metal intertwine with gliding drums and distorted basslines, which pulse down low as well as snake up the fretboard. Zany electronic riffs dance over heatwave choirs locked into wordless chants, before giving way to Yasuaki’s hushed romanticisms, all cooing and charismatic. Progged out drum fills lead to a sensual pre-chorus…whispered, hot, and gliding on sunbeams as Manny Elias’ rhythms bounce through an island dreamworld. Then everything explodes into full view as absolutely epic vocals overwhelm the spirit with gorgeous waves of positivity that are carried on Manny’s golden ride taps and after returning to the heatwave vocal chants, delirious synth swells bring in Yasuaki for this magical vowel-heavy choir section where effervescent spirits of light move together for one of the most entrancing and evocative sections of pop I have ever heard, even climaxing with an intergalactic organ solo.

“Madame Shriek” is shadowy and progged out, seeing the galloping Arabic fantasias of Omar Khorshid transmuted to a futuristic synthscape. Jangling guitar riffs from David Cunningham work against mutant synthbass distortions and far out brass fanfares and at some point, otherworldly reed melodies snake through a sunburst sky as all sorts of industrial percussion blasts wash through the mix. A swooning instrumental chorus sees paradise strings wafting in while elsewhere, delirious vocal loops move side-to-side over crashing electro-drums. It all eventually breaks down into a tribal passage of urgent hand drumming and ethnological string drones backgrounding throat sung spells and voice incantations, with the stereo field periodically overwhelmed by static soaked percussive energies and clacking synths bouncing through malfunctioning echo boxes. Then in “A Normal Day,” long mesmerizing bass slides generate huge currents of low end warmth, their textures so heavy and enveloping. Ritualistic metals tones and forest drums are locked into a feverish sway as moaning layers of saxophone weave humid webs of ambiance that sway gently in the tropical breeze. All the while, Yasuaki delivers one of the most breathtaking vocal performances of his career, again hushed and sensual as he movies between slow rhythmic melodies and rapid motion runs that are tracked underneath by Mieko’s harmonizing layers of sunshine warmth. And beneath it all, the percussion grows ever more powerful, with huge pounding hits smashing through a heavenly haze of string synthesis.

In “Find No Word to Say,” weird cut-up voices, static clicks, and whistling tones rotate around one another in an introduction crafted by David Cunningham. Ritualistic hand drums under under slight phasing fx generate body moving propulsion while minimalist saxophone patterns evoking Yasuaki’s IQ 179 and Kakashi intertwine with morphing feminine voice fluids. There are thrilling rapid fire reed runs that dash through prismatic jungles and rainbow flower fields with vibes of African traditional music and jazz exotica and as the track progresses, layered webs of kaleidoscopic saxophone leads are moved between by strands of vocal exotica and held together by the methodical drum ceremonies. “I’m Dying for Love” begins with trippy speech samples floating in a mist of mutating orchestrations. When the rhythms enter, they are led by the tablas of Pandit as well as sliding subsonic currents, Jannick Top-style bass guitar riffs, gated snares splashing through reverb pools, and pulsating cymbals and David Cunningham’s chiming guitars bounce through a land of bubbles alongside mystical melodies of plucked glass. Yasuaki’s emotional croon is floated behind by melancholic synth pads, occasionally giving way to filtered passages of wordless beauty and elsewhere, exotic reed instruments travel a desert dreamland while sunshine synths disorient the mind. At some point, there is wondrous section of world fusion, as paradise crystal melodies and ecstatic falsetto drones give way to gorgeous clouds of singing from Mieko while all throughout the background, wind chimes and harps are transformed into cosmic glitter.

“My Friend the Secretary” features another one of David Cunningham’s introductory collages, with swelling drones, backwards flowing mallet instruments, and amorphous atmospheres growing in intensity. A heavy beat smashes in with storming Zeuhl vibes as crushing drums flow beneath funked out basslines that journey through lands of darkness. Chaotic bell noises fly in the sky and wrap around arcing sax drones until the song explodes into an epic solar choir featuring fairies chanting to the spirits of the sky and as Yasuaki’s voice enters, his smooth and heady melodies stand strong against the prog maelstrom swirling all around. Fuzz guitars are smeared into abstract colorations before being set on fire while the stereo field is stuffed full with weird voices and morphing noise fx and the song climaxes with waves of bombastic drum maximalism charging through polychromatic vocal harmonizations. For “Anaconda Mon Amour,” marimbas, kalimbas, and the guitars of Dominique Brethes drop like rain in a forest of dreams while distorto-bass pulsations work themselves into feathery funk riffs. Radiant drone gases spread all round while hot cymbals hiss and pan side-to-side, everything building towards synthetic reed solo climaxes that transport the soul to faraway islands of fusion exotica. Joyous whistle melodies descend as gaseous synth layers swirl in place and up in the sky, euphoric organ lines are obscured by a nacreous reverb fog. And as the basslines continue to bubble and pulse through strange fx layers, heady brass stabs rain down from an equatorial future funk paradise.

“Soul de Rock” starts with towering drums and heavy beat fire, as Manny Elias’s toms crash and snare smashes over wonky piano riffs, distorted basslines, and weird celestial voice chants. As the rhythmic intensity settles, Yasuaki enters with his melodious voice and soars above the molten basslines and their stoned funk fluidity. The air is suffused with blipping space fx, strange exotic accents, and alien harpsichords and at some point, Yasuaki is backed by feminine voices as a moaning sax melody arcs through the sky. During a smashing climax wherein we return to the monstrous beat explosions, Yasuaki and his apocalyptic choir soar epically overhead before giving way to a blazing saxophone solo that sets the very air on fire as it flies above smoldering noise explosions. The song then spends the rest of its time alternating between the hard-hitting yet swooning vocal pop dreamworlds and the more intense drum and bass workouts, until finally climaxing with emotive vocal chants, searing fuzz waves, and layers of swelling synthesis sounding like a cloud of cosmic dust. We close with the epic saxophones of “Sateto,” as circular breaths and fiery solos decay from eternal mountain tops. Mystical drones and lush orchestrations move through an aquatic haze along side animalistic horn bleats while Yasuaki continues his breathtaking journeys overheard, letting loose Blade Runner atmospherics that surf gently on Pandit’s hand drums while stoking airs of mystery and intoxication.

(images from my personal copy)

[jotrin-electronics]

Classification of digital elements

Resistors: plug-in film (colour ring) resistors, steel film resistors, metal oxide film resistors, carbon film resistors, cord wound resistors, cement resistors, aluminium instance resistors, ceramic chip resistors, thermistors, pressure-sensitive resistors, and so on.

Capacitors: aluminium electrolytic capacitors, tantalum capacitor factor capacitors, polyester capacitors, polypropylene film capacitors, metalized polypropylene film capacitors, ceramic capacitors, security capacitors, anti-EMI capacitors, etc.

Potentiometers: wire-wound potentiometers, conductive plastic potentiometers, metal-ceramic potentiometers, carbon movie potentiometers, trimmer potentiometers, panel potentiometers, accuracy potentiometers, straight-slide potentiometers, and so on.

Magnetic elements: wire-wound chip inductors, laminated chip inductors, axial inductors, colour-coded inductors, radial inductors, toroidal inductors, chip grains, plug-in beads, commercial regularity transformers, audio transformers, switching power transformers, pulse signal transformers, RF transformers, etc.

Buttons: slide switch, change button, light touch switch, mini switch, button switch, essential button, straight vital switch, rotating button, dip switch, membrane layer switch, and so on.

Relays: DC electro-magnetic relays, A/C, magnetic retention relays, reed relays, solid-state relays, etc.

Connectors: the row of pins and row of ladies, European adapters, bullhorn ports, easy bull connectors, IDC ports, XH adapters, VH linkers, D-SUB adapters, crystal head crystal holders, power adapters, plug jacks, IC owners, RF linkers, fibre optic wire adapters, European terminals, fencing terminals, plug-in terminals, rail terminals, spring terminals, earphones Socket plugs, round bare terminals, and so on.

Insurance parts: fuse, fuse, gas discharge tube, etc.

Filter components: piezoelectric ceramic filters, SAW oscillators, quartz crystal filters.

PCB board: paper-based PCB, glass cloth-based PCB, artificial fiber PCB, ceramic-based PCB, etc.

Motor fan: DC motor, a/c motor, AC generator, DC generator, AC follower, DC follower, and so on.

Electro-acoustic devices: speakers, microphones, receivers, transmitters, transmitter-receiver mixes, earphones, pickups, buzzers, buzzers, and so on.

Cables: enamelled cable, cord and also wire, fiber optic cable, etc.

Diodes: rectifier diodes, fast recuperation diodes, ultra-fast healing diodes, Schottky diodes, switching diodes, voltage regulatory authority diodes, transient suppression diodes, TVS diodes, varactor diodes, trigger diodes, light-emitting diodes, and so on.

Triode: PNP type triode, NPN type triode. General-purpose tiny power transistors, switching over transistors, general-purpose power transistors, Darlington tubes, low-saturation transistors, voltage drop transistors, electronic transistors, with resistance transistors, RF transistors, etc.

Integrated circuit ICs: Analog ICs Power administration ICs: linear voltage regulator ICs, voltage referral ICs, switching voltage regulatory authority controllers, functional amplifiers, voltage comparators.

Digital ICs, basic reasoning ICs: buffers, drivers, flip-flops, latches, signs up, gates, encoders, decoders, counters, transceivers, and degree converters.

Processor: CPU, Microcontroller, DSP, FPGA, CPLD.

Storage: DRAM, SRAM, PROM, EPROM, EEPROM, FLASH MEMORY.

Other classifications: user interface IC, clock IC, ADC converter, DAC to the tool, unique IC custom-made IC, microblogging IC, hybrid IC, and so on.

Crystal oscillator: average crystal oscillator, temperature complementary crystal oscillator, consistent temperature level crystal oscillator, voltage control crystal oscillator, and so on.

Display devices: digital tubes, LED gadgets, OLED display screens, LCD liquid crystal screens, and so on.

Sensing units: Hall sensing units, temperature sensing units, etc.

[vias3d]

CST Studio - Vias3D - 3DEngineering

SIMULIA offers an advanced simulation product portfolio. It covers simulation disciplines such a structural mechanics, computational fluid dynamics, acoustics, plastic injection molding and electromagnetic field simulation, for a true multiphysics simulation approach.SIMULIA’s realistic simulation solutions accelerate the process of making highly-informed, mission-critical design and engineering decisions before committing to costly and time-consuming physical prototypes.

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CST STUDIO SUITE

(*) High-performance 3D EM analysis software package for designing, analyzing and optimizing electromagnetic (EM) components and systems.

(*) Electromagnetic field solvers for applications across the EM spectrum are contained within a single user interface.

Coupled simulation: System-level, hybrid, multiphysics, EM/circuit cosimulation.

(*) All-in-one fully parametric design environment.

(*) Import/export wide variety of CAD and EDA files.

(*) Wide range of complex material models.

(*) Complementary tools for Filter Design: Filter Designer 2D (FD2D) and Filter Designer 3D (FD3D).

(*) Powerful post-processing and visualization tools with built-in optimizers.

(*) Common subjects of EM analysis include the performance and efficiency of antennas and filters, EMC/EMI, exposure of the human body to EM fields, electro-mechanical effects in motors and generators, and thermal effects in high-power devices.

ANTENNA MAGUS

(*) Is the most extensive antenna synthesis tool available on the market today.

(*) Its large database of over 350 antennas, transitions and feed structures can be explored to choose the optimal topology.

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(*) Has proven to be an invaluable aid to antenna design engineers and to anyone who requires antenna models for antenna placement and/or electromagnetic interference studies.

SPARK3D

MULTIPACTORAND CORONA ANALYSIS

Spark3D is a unique simulation tool for determining the RF breakdown power level in a wide variety of passive devices, including cavities, waveguides, microstrip and antennas.

(*) Spark3D is a unique simulation tool for determining the RF breakdown power level in a wide variety of passive devices, including cavities, waveguides, microstrip and antennas.

(*) Spark3D is an optional part of CST STUDIO SUITE and is also available as a standalone offering.

(*) Field results from CST STUDIO SUITE simulations can be imported directly into Spark3D to analyze vacuum breakdown (multipactor) and gas discharge.

The main Spark3D features are:

(*) Import the electromagnetic (EM) fields from EM solvers.

(*) Automatic determination of the breakdown power threshold.

(*) Analysis boxes can be defined in order to choose the critical regions to be analyzed.

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FEST3D

MICROWAVE FILTER DESIGN SOFTWARE

(*) Capable of analyzing complex passive microwave components based on waveguide and coaxial cavity technology.

(*) Fest3D is an optional part of CST STUDIO SUITE and is also available as a stand-alone offering.

Some of the components that can be analyzed with Fest3D are:

(*) Filters (Comb-line, Inter-digital, waffle-iron, dual-mode, bandstop, etc.)

(*) Multiplexers (Diplexers, OMUXs, etc.)

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IDEM

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(*) Best-in-class tool for generation of broadband macromodels of linear lumped multi-port structures (via fields, connectors, packages, discontinuities, etc.), known from their input-output port responses.

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Contact Us:

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Email: info@vias3d.com

[himenviro-intensive-filter]

Breathe Easy with the Right Solution: A Guide to Intensiv-Filter Himenviro's Air Filtration Technologies

Industrial processes are a vital part of our world, but they can also create air pollution. Intensiv-Filter Himenviro understands this challenge, and that's why we offer a wide range of air filtration solutions designed to address the specific needs of your industry.

In this blog post, we'll explore some of our most popular air filtration technologies and how they can benefit your business.

Keeping Your Air Clean: A Look at Our Solutions

Electrostatic Precipitators (ESPs): These workhorse filtration systems use an electrical charge to remove dust particles from air streams. ESPs are ideal for applications with high dust loads and fine particles, making them a popular choice in the power generation and cement industries.

Reverse Air Bag Houses (RABHs): These custom-designed filters are perfect for cement kilns and metallurgical processes. They utilize reverse air pulses to clean filter bags efficiently, ensuring optimal performance in harsh environments.

Fabric Filters (Pulse Jet Bag Filters): These versatile filters use compressed air jets to clean filter bags, making them suitable for a wide range of applications. They offer continuous, automatic cleaning and are effective in capturing fine dust particles.

Hybrid Electro Filters: Our innovative Electro-Plus-Hybrid Filter technology combines electrostatic pre-filtration with fabric filtration, resulting in higher collection efficiency and lower pressure drop. This makes them ideal for applications requiring maximum efficiency and energy savings.

Additional Solutions: We also offer a variety of other air filtration solutions, including VOC + Odour Removal Systems, scrubbers, cyclones, and dust extraction systems. These solutions address specific air pollution challenges, ensuring we have the right fit for your needs.

The Benefits of Choosing Intensiv-Filter Himenviro

Over 100 Years of Experience: We have a proven track record of providing reliable and effective air filtration solutions.

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Contact Intensiv-Filter Himenviro today. Our team of experts will be happy to discuss your air filtration needs and recommend the best solution for your industry. Together, we can create a cleaner and healthier environment for everyone.

[effectsdatabase]

Last week's top 20 videos (2020, week 05)

Top 20 videos last week (January 26 - February 1)

WILL IT CHUG? - MXR Dime Distortion (by Ola Englund)

Horizon Devices & Abasi Concepts at NAMM 2020 (by Horizon Devices)

EBS BassIQ ENVELOPE FILTER // Blue Label (by BassTheWorld)

Tech 21 SansAmp Bass Driver vs. Darkglass Microtubes B7K Ultra (by Bassic Gear Review)

Dumble Blues Tone // Steel String MKII Demo (by Vertex)

Carl Martin Acoustic GiG Video (by Carl Martin)

Ibanez TSV808 featuring Tomo Fujita (by Ibanez)

THERMAE: Analog Delay / Pitch-Shifter Tutorial w/ SEF (Your Favorite Enemies) (by Chase Bliss Audio)

Electro-Harmonix Attack Decay Pedal Demo (by GuitaristMag)

Danelectro Back Talk Reverse Delay pedal - NEW FOR 2020 (by R.J. Ronquillo)

Fuzz Face vs FZ-3 vs Rusty Fuzz (by TC Electronic)

Hotone Ampero demo (by guitarworld)

Alexandr Misko Playing "Billy Jean" Winter NAMM 2020! (by ToneWoodAmp)

Ebow Acoustic Guitar: Here's How I Made it Work! (by Chords Of Orion)

VOX New At NAMM 2020 - VALVENERGY Series Pedals (by Vox)

BOSS OD 200 Hybrid Overdrive (by Mike Hermans)

Shift Line Twin MkIIIs (by deniki4)

Warwick Star Bass drive test: A+ Buzz V.2 + Shift Line Olympic MkIIIS (by Shift Line)

Jackson Audio Headquarters (by Jackson Audio)

Keeley Electronics: ECCOS (by Burgerman666)

Overviews of the previous weeks: http://www.effectsdatabase.com/video/weekly

from Effects Database http://bit.ly/2v2bOeu

[djfrankiebones]

CALL IT A MANIFESTO: Frankie Bones’ Techno Classic Still Rhymes to the Future by Thomas Q. Kelley

“It Started In Detroit / But I Had to Exploit / The Way I Hear It! / Techno House Is the Sound / From the Dance Cult Underground / I Know You Feel It!” —second verse from Frankie Bones’ ‘Call It Techno,’ June 4, 1989Before the last hurrahs of the 20th century, from the first Gulf War to the Monica Lewinsky affair, a Brooklyn rebel laid down words for a movement that was short on them. Scrawling on paper, he devised a message with the force of a freight train, giving it a rhyme and flow that struck across the distance: “Detroit,” “exploit,” “techno house,” “sound,” “dance cult,” “underground.”But who was this Frankie Bones? There’s no way of answering that without the word “techno” and everything it means: techno of the past, techno of the future, techno now. His story, which encompasses the American journey of breakbeat grafted to the metronome — the hybrid of polyrhythm and the 4/4 beat — that has defined popular music, from jazz to rock, disco to electro, onto hip hop, house, techno, rave and “EDM,” evolving without end, is critical to understanding the direction of Western music.For Bones, it goes back to his childhood. He was a white hip hop kid whose father was murdered by a black man. The young idealistic Bones was steady in his forgiveness. And so, in 1989, he declared his love for a mixed up sound. He wrote lyrics that talked about a new beat that was so strong it was all he could talk about. He described how it was mutating and where it was going. He put his finger on the wire.He could do that because he knew the shock of loss. Techno was his salvation: Frank Mitchell, who became “Frankie Bones,” survived tragedy through his love of black music, and that’s how he made it his own.

Frankie Bones plays in Ipswich, England, 1989.

Now, almost thirty years after its initial release, in honor of his enduring contributions and the fiery urgency of Bones’ career, Carl Cox’s Intec label picked Bones’ landmark anthem ‘Call It Techno’ for a remix E.P. The new edition, which came out in November, includes a sleek, commissioned remix by Bones, along with interpretations by hotshots Raito and Carlo Lio, plus a heavy filtered b-side: ‘Light It Up.’To understand what was going through his head when he created the original, Ghost Deep talked to Bones about the deep varied currents and rocky urban places that inspired his words (see the full Q&A below).Like reefs under the waves, each verse of ‘Call It Techno’ described worlds within worlds. You had to hear it down below the flash in its native context on a dance floor. And then one could feel it— and know, that the future was here. Hearing energetic electrons pushing sound through the air at raves, generated a cultish religiosity filled with optimism about the great electronic unknown, a heady convergence of humanity and new technology.And yet, for most of the world, it was a slower takeover. Mass hysteria had visited pop culture before in the form of Elvis Presley’s gyrating rock ’n’ roll and the subsequent “devil music” backlash, and in the form of Beatle-mania — white English kids giving white America a safer distance from rock’s roots. But the “dance cult underground” was different. In America, it was a decades-long insurgency thumped out one renegade party at a time. Kicking off almost 30 years after the 1960s — during the height of the AIDS epidemic — it was more secret and more subversive than rock, moving unseen in the shadows.Looking back on it now, few were ready for it. “The techno wave has grown / with a style of our own / direct from Brooklyn!” declared Bones. “Essential funk, kick and snare / make you feel it over there / out in London!” And the chorus: “We call it techno! / You can feel the bass! / Call it techno! / Techno bass, bass!”You could hear the ferocity and fervor in his voice cresting over the waves of a hybrid sound, slinging fully formed ideas in street code with a common touch, set to the crunching breaks of hip hop and electro, the sensual groove of C + C Music Factory’s ‘Seduction,’ and ghostly synths hovering in like the fog.With simple words and his “techno house sound,” Bones was addressing the emergence of a global underground. He was talking to London, and Detroit, and connecting the power cables near the Hudson. And he wasn’t going to take shit from no one.

Computer Noise And Pounding Bass / Hits You In the Face / Like A Hammer

Frankie Bones’ ‘Call It Techno (House Mix),’ 1989.

And yet no one really knew how to talk about it. True, there were the visionary words of Juan Atkins on Detroit techno classics, like ‘No UFO’s’ and ‘Night Drive (Thru Babylon),’ both from 1985. Or the gospel call and response of Bernard Fowler on N.Y.C. Peech Boys’ ‘Life Is Something Special,’ going back to 1982 — “Can you feel it!?” — on to Chicago house anthems like Larry Heard’s ‘Can You Feel It?’ and Marshall Jefferson’s ‘Move Your Body.’But the difference is no one had described the movement those songs inspired in stark international terms— a techno-social wave that would go on to sweep the world. The clues were just barely knowable, if not yet universal. After the tumult of the ’60s and ’70s, Westerners were just starting to formulate feelings about the great leaps ahead, from the end of the Cold War to the Information Revolution to China’s economic rise to today’s cyber delusional storms. As life accelerated through the ’90s, the past seemed to recede with ever greater speed.Until it didn’t. Today, the Cold War is back. The truth is on life support. And the shadows of the Great Depression linger in antsy brains. As Bones is fond of noting, the inverse of techno’s manifest destiny also applies: when the past meets the present, that’s when the future arrives. It’s the logic of the loop that goes back to the genesis of hip hop.And that loop was going faster and faster.The same year ‘Call It Techno’ went to press, the first internet service providers went commercial. Communism ebbed away in Eastern Europe. The Berlin Wall came down. The same day Bones put out his single, the Chinese government murdered and bulldozed students protesting for democracy in Tiananmen Square. At the other end of the spectrum, corporate control of Western music ensured pop vanilla from the likes of Rick Astley, Richard Marx, Skid Row and Milli Vanilli, ruled the airwaves.The following year? Vanilla Ice’s ‘Ice Ice Baby.’ Imagine that. Imagine if it was still all about vamping “word to your mother”?If free-thinking people were to survive the transitions, AND transgressions, of the ’90s and beyond — into hacked identities and Russian brainwashing, from smartphone addictions all the way to “Fake News” and Fake Intelligence (A.I. or otherwise) — then they would need an underlying context that reminded them how they got there and who they were.For many, that grounding would become techno — the Music of Machines.Bones brought a powerful subtext to that riddling context. A native son of New York City, he grew up next to train tracks in Brooklyn, tagging brick walls with his graffiti call sign, “BONES” (given to him for his wiry, skinny frame), crawling through subway tunnels, chowing down hot dogs at Coney Island, tearing it up at disco roller rinks, and mining records with every cent he had.Once he became a man, he picked up the mic. His father died four years before he recorded ‘Call It Techno.’ He could talk about himself. Or he could talk about the city he loved. He could talk about his anguish. Or he could talk about his theory of a unifying beat at the heart of the world.So he wrote five verses that gave voice to a critical moment in time, this New Yorker bringing a hip hop attitude to the techno dance party. He punctuated the emerging technological groove with a sense of mission. He told the story of rave’s birth, of cold cities that gave harbor to the blues of former slaves, of a flash point in Europe, of Brooklyn crashing London in the cover of night.We’re a long way from 1989. But sifting through the story on ‘Call It Techno,’ the same stakes have little changed and his defiance applies now more than ever. Asking this Johnny Appleseed of Techno about how his manifesto came to be, he explains the experiences and records that informed his style, and how “rave” was just revolution by another name.GHOST DEEP: ‘Call It Techno’ talks about the Brooklyn style. Can you define what that style is and where it came from?Frankie Bones: In 1978 and 1979, two iconic movies being Saturday Night Fever and The Warriors, were stories written for and

about Brooklyn. But that being said, living in Brooklyn in the 1970s and 1980s was an identity crisis, a period of uncertainty and confusion in which a person’s identity is questioned due to a change in their expected roles in society.That was Brooklyn Style. It wasn’t a style at all. It was more just about survival in the streets. If you claimed a style, you were going to be picked on and bullied.An earlier Brooklyn film from 1974, titled The Education Of Sonny Carson, depicts this even better, and I only mention that because John Travolta was first appearing on a TV show called Welcome Back Kotter, also based in the same Brooklyn neighborhood Saturday Night Fever was based a few years later: Bensonhurst, Bay Ridge, Coney Island — our stomping grounds.What else was going on in Brooklyn at that time that inspired you?We moved into Flatbush, 982 East 38 Street to be exact, last house on the left of a dead end street, on August 7, 1973. Put the address in the search bar and you can see a small modest house. It was more beautiful back then. This was the same weekend Kool Herc threw the very first hip-hop party in the Bronx. I was seven.But I began collecting records early on. Very early on. Because I lived next to railroad tracks and there was a flea market only a few blocks away.This is hillarious, but the scene in Boyz In The Hood — “You wanna see a dead body?” — the railroad tracks next to my house were exact and the same. I never saw a dead body, but there were things. Things to explore, things to break, to light on fire. There is a sense of isolation on freight train tracks, especially in a city as big as Brooklyn. The World Trade Center was just completed. New York City was changing.When those movies came out though, we lived our lives through those stories. We wrote graffiti. We did hip hop. Breakdancing. Our young friends also became famous years later. It was dangerous and yet exciting.Who were those young friends who became famous and what did they become famous for?They were mainly graffiti artists such as Ghost, Reas, JA, Kaves and my brother who wrote as Ven. They left a mark which lasted decades. Otherwise, producers like Omar Santana and Carlos Berrios, who did rather well in the music industry.So that’s the emotional background to the song, this mixed up identity of New York City in the ’70s and ’80s. So what were you trying to capture in terms of the future with the song’s lyrics and vocal delivery?‘Call It Techno’ was written after we first got the phone call to play at these big all-night raves in London. I worked with Northcott Productions: Silvio Tancredi (R.I.P.) and Tommy Musto.They had just built a studio and office for their label, which became Fourth Floor, on 25 West 38th Street. We started making tracks every single day. We had a pressing plant. We were distribution and independent. I started working there in 1987. After one year and lots of releases, a weird trend became totally visible to us and us only: we were shipping more records to London than we were selling States-side.This began in 1988. And it was my Bonesbreaks 2 where there was this massive paradigm shift. London was going through some sort of revolution in our eyes because the records magically just started to have a big demand in the U.K. and we wanted to know why.📷 Right, so the concept for ‘Call It Techno’ first came from that London connection?Well, we get the phone call. We knew it was coming actually. I remember getting that offer to come and play in London. I had already had steady DJ gigs in New York, but they were talking about 5,000 people parties in London. With just DJs.This was unheard of in New York City. New York had mega-clubs: Paradise Garage, Studio 54, Fun House, etc. But it never had multiple DJs per night. It just didn’t happen. You got “track acts,” live P.A.s performing. But unless you were Jam Master Jay performing with Run-DMC, you were not going to DJ in these clubs. They had one resident DJ only. And you had to produce commercial music to create a buzz.We actually had already done that with freestyle

and electro, but in 1987, house music became the sound and it had evolved through disco. The Chicago and Detroit styles were strictly underground-based and filtered to DJs who spent time in record stores.So if this new sound was filtering into New York DJs over time, did techno need such a manifesto in your opinion? What were the thoughts you debated in putting words to what has often been wordless music?The paradigm shift I mentioned was from Bonesbreaks 2 [1988]. We were just fucking around with these bizarre mash-ups, which were basically breakbeats and house and smashing TR-Roland 808 drum machines and the preferred Casio RZ-1 synthesizer, over us just mixing records and releasing them as DJ tools. Knowing that was way over the top for 1988 standards and hearing that our records were in higher demand than the previous Chicago and Detroit releases were in London, a bell went off in my head.I went in and made a freestyle song using Detroit Techno sounds. I perform the song. Cut out the middlemen, who were actually young female singers who sang on our songs. I was quite successful writing popular freestyle tracks at the time. I did a ton of ghostwriting for Omar Santana and Carlos Berrios, who were also making big waves in their careers. And I always loved Egyptian Lover’s records from ‘Egypt, Egypt’ onward. 2 Live Crew. “I could do this.” No problem.I didn’t actually ever have a problem writing hip hop songs. My only issue was being this kind of goofy white kid from Brooklyn who already knew the stakes well in advance. I knew in advance that I was going to London to DJ, and have an opportunity to have no limits and no boundaries.‘Call It Techno’ was my way of arriving with a new passport and telling the Brits, “Hey, I get it.” You guys are some kind of “Dance Cult from the Underground and Techno House is the Sound.”Tech-house? In 1989? Imagine that.

Hold Up / Wait A Minute / Let Me Put Our / Bass In It

📷Frankie Bones’ ‘Call It Techno,’ original vinyl release from 1989 on Breaking Bones Records. Photo by Ghost Deep’s Mark Dadlani. © 2017.

Bones opened up Groove Records in 1990, a small record store in the multiethnic Bensonhurst enclave of Brooklyn, that focused on selling techno vinyl. It would later reincarnate as the long running Sonic Groove record store, in partnership with his younger brother Adam (known best as Adam X) and Heather Lotruglio (better known as DJ Heather Heart). Their business would go under following the cultural and economic aftershocks of 9/11.But the year after ‘Call It Techno’ impacted dance floors, the future opened wide with a sense of possibility. For over a decade Bones and his crew would help lead the “dance cult underground’ in various capacities. Infamously, they jump-started the New York rave scene by throwing their gutsy “Storm Raves.” They cut bolt locks and set up speaker stacks in brickyards and train yards. They wired their gear into street lamps for power, jacking into the city’s electric grid, setting up a parallel universe of uncompromising music.It was that same Brooklyn Style that Bones talks about — improvisational and risky. In the early ’80s, as is widely misreported, disco had “died.” But only a few years later, it came back as a robot. In abandoned warehouses across the Hudson and under bridges, the great cosmopolis, the Big Apple, got its “computer noise and pounding bass.”Bones made good on the spirit of ‘Call It Techno.’ He captured, predicted and helped carry out its proclamations. But in many ways, New York just as easily could have stayed a hip hop town speckled with underground disco haunts — one without the pulse, the other without the boom. Frankie Bones’ ‘I’m Taking Control’ on Bangin Music, 2017.It was that intersection that always caught his ear. He heard it in Afrika Bambaata and the Soul Sonic Force. He heard it in Cybotron’s ‘Clear.’ That intense connection to funk.He loved electro and hip hop for their hybrid, diverse energy. He loved how they cut through barriers. When his father, who drove taxis for an extra source of income, was killed, it was the young Bones’ love of hip hop at a time when the city was seething with racial strife, that helped him channel his sorrow in a more hopeful direction.It’s those shards of life and music that helped define his unique sound. He’s not only a DJ who conjures mayhem from the decks but who writes dark, wily records like 2017’s excellent ‘I’m Taking Control,’ and who can slam words over songs and DJ sets on the fly. He sees the world in terms of rhyme.GHOST DEEP: The lyric “It started in Detroit / but I had to exploit / the way I hear it” pays homage to Detroit’s genesis of “techno.” When did you first hear a Detroit techno record?Frankie Bones: The untold story of Juan Atkins, who I dearly respect, but what people never caught onto. ‘Clear’ by Cybotron. Juan produced it in 1982. Legendary Electro. Everyone knows ‘Clear.’ Clearly Juan has stated time and time again that he never heard ‘Planet Rock’ when he penned ‘Clear.’ He didn’t hear it.I know Juan dearly for many years and he is an honest and truthful man. The can of worms opens when you read the record label. It says MIXED BY JOSE “ANIMAL” DIAZ — a New York DJ whose mix was modeled 100% to the mold of ‘Planet Rock.’ Find Juan’s original from the album. I always pay attention to detail. The original song sounded like an electro-funk song of its era, with no bottom end.‘Planet Rock’ had changed everything and it was a New York classic straight out of the crate. The music was made in big session studios with big budgets. $150 an hour type stuff. It wasn’t made in someone’s bedroom.So was that Detroit record the first techno record you ever heard?Cybotron, yes, but Juan’s Metroplex records, which were electro and not labelled techno, fueled the fire all the way through, from 1982 on. It allowed me to realize there were people making these type of records outside of the New York electro scene: Miami, Detroit and Hollywood. We were making “Electro,” “Freestyle,” and “Breaks,” and most of it filtered through hip hop, where it wasn’t really taken seriously.What is Detroit techno in your book? Where did it

come from that is not often talked about, like the cultural strains that it evolved from?Yes, I absolutely can, with an award from Detroit’s Metro Times newspaper giving me the 1999 Best DJ award for my four-year residency at Motor Lounge as an outside talent.I was a natural for Detroit, being from Brooklyn. Mad Mike Banks from Underground Resistance and I have been dear friends since 1992, just because “I get it.” I wasn’t just let in. Detroit cats will test every single bone in your body before letting you just come into town and feel at home. Eminem had me so confused in 1999… He chose me to DJ his homecoming party.But getting back to what “Detroit” is? It’s a people mover. Like the little train downtown that loops around in Downtown Detroit and doesn’t do anything much more than go around in circles in one direction only. Kind of like a record on a turntable. Motown left to California along with more than half of the city’s population. The ‘67 Riots ripped a hole into the heart of the city. The people who stayed worked for General Motors, Ford, etc.I find most of the kindest, warm hearted people in Detroit. People who respect you for the character in your soul rather then the color of your skin. Their music was their only escape. The only way to have faith in the future in Detroit, was through music.Without it, they would have not been able to survive.So then on the Belleville Three — Detroit techno originators Juan Atkins, Kevin Saunderson and Derrick May — you call out Juan in particular on the record label sticker for ‘Call It Techno.’ Why did you call out Juan specifically?There is no such thing as the “Belleville Three.” It’s a myth. But let me explain. It’s because I know Juan, Derrick and Kevin as individuals. They were on the same timeline, which makes them a trio. But not for one minute is there any “band” there.I remember Metroplex when it was Metroplex. KMS [Kevin Saunderson’s label]. Transmat [Derrick May’s label]. I can go deeper into that with Fragile, Planet E, Accelerator, UR. I gave the shout-out to Juan because ‘Clear’ is clearly layered throughout ‘Call It Techno.’ I didn’t sample Kevin or Derrick on the record.The thing is, there are so many different samples on the original track, you just hear layers of sounds, sometimes when you combine sounds, they cancel each other out, but if you go back and listen, it’s clear as day.The label notes also call out Seduction’s (Clivilles & Cole) house classic, ‘Seduction.’ When did you first hear that record? Why did you choose to use that bass line?The original mix of ‘Call It Techno’ says “House Mix.” The bass line was the preferred sound in NYC house music at the time in 1989. Todd Terry, Kenny and Louie [Masters At Work] were big on bass lines. C + C Music Factory [Robert Clivilles and David Cole] just kind of made anything underground into a pop success because they were a great production team.So when I said “Hold up, wait a minute,” the bass line comes in as a friend. Like “this techno stuff is weird, I don’t like it”… I put the bass line in so you can calm down, not lose any mascara, so I can get into my next verse. I mean, I got five verses, which was a lot for any song.Right, speaking of, in another great verse, the lyric “In the club or in your car / the sound will take you far / we know you feel it,” says a lot about the contexts in which you were listening to techno at the time. Were you playing mixtapes in the car? Were you hearing techno on the radio?Mixtapes and car systems in 1989 were like peanut butter and jelly as a kid. It just made fucking sense. But in 1989, techno was not played anywhere in New York City. Not even by the most underground DJ. Todd Terry’s remix of Royal House’s ‘Can You Party,’ 1988.Those who did follow Chicago Trax, did get their first taste through acid house. But again, talking about paradigm shifts, Todd Terry was instrumental in making house music popular in New York by sampling Chicago songs and old electro cuts, and making house cool for everyone in the streets. Prior to that, house music was a clique or a club.

A camp even.You had to be down with the people in the scene to be a part of that. That began to change in 1987.The lyric “House was once innovative / but now we’re in a state of / acid” seems to be saying that acid house was a leap forward. You follow that “With acid house there was confusion / over a drug use illusion / but I don’t use it.” In respects to “techno” and “house,” where does “acid” or “acid house” fit in from your perspective?We arrived to play at Energy in the U.K. on August 26, 1989, to find the largest event in its history currently in progress — where the 5,000 people expected became 25,000 people and “acid house” was all the rage.Their media called these parties “Wild Acid House Parties” with kids going insane from doing LSD. Nobody was on LSD. Not one person. Ecstasy was pure MDMA and I would imagine that every single person was doing it because it was so freaking awesome….how bout dat?The state of acid was the confusion between a Roland TB-303 Acid Box and the drug known as LSD. The ability to have a machine make sounds that made people think you were on drugs and once that happened, the innovation was gone. Chicago had already made acid house. They were moving onto 1990.People like Hardfloor, Josh Wink, Richie Hawtin, Misjah & Tim, and Underground Resistance, gave the 303 a second life in my opinion. Bones playing at Dance Energy rave, September 23, 1989, Ipswich, England.So then I want to ask you specifically about the phrase “techno house.” What do you mean by that exactly? I bring it up because like “EDM,” these words have lost a lot of their meaning because the context has shifted so much.“Techno House was the sound of the Dance Cult Underground out in London.” The U.K. birthright of rave was mostly house music. But they green-lighted techno with the arrival of the “Techno” albums that Neil Rushton put out on 10 Records (a label) before his Network label came to life.But to appreciate real Detroit techno, as this British revolution was happening, was the biggest blessing of all. And when I use the word blessing, it’s the feeling of being in the middle of 17,500 people dancing to ‘Strings Of Life’ as the sun comes up at 6 a.m.Then in your mind, is techno an American sound or a U.K. sound or a global sound? Or both, and how?Techno IS the future. Maybe the future past by now. But I believe it was absolutely global. That being said, “It started in Detroit,” while exploiting what happened next.

And Now You See How We Rock / Without The Kid Down The Block / Party People

Frankie Bones, 2016. Photo by Ghost Deep’s Mark Dadlani ©. 📷

A cult is a closed community, as is a club. Whether we’re talking about Charles Manson’s murderous “Family” or Pink Floyd’s late ’60s psychedelic UFO club. When you get there, you close the door. You maybe even lock it. But the “underground” means something bigger. It’s not just a congregation or an inconspicuous place. It’s an idea, about the freedom of ideas, that undergirds the whole counter-cultural continuum. Anyone can come and go. The only constant is an obsession with the unknown.For ideas to survive, they must find a wider audience. ‘Call It Techno’ was built to last in this way. Bones’ new remix rumbles deeper down. His voice is lower, but renewed with vigor. Twenty-eight years in his head, his words roll out with ease, un-rushed, tempered by the vision of someone who has seen it all. Drums trickle up to the sky like reverse rain. Bass wakes the primal spirit. It’s the dawn within the night. 📷 Artwork to Call It Techno E.P., Intec, 2017.So what was that dawn within dawns really about, when you look back through time?Bones’ generation, Generation X, grew up in the shadows of the Baby Boom, from Vietnam and Woodstock to Reagan and Gorbachev, having seen a lot before we even got to Obama and Trump. When electrons woke kids up with loud synthetic bass, it revealed the power of disembodied funk. The question was, could they absorb it, and then re-communicate their innermost thoughts?By the late ’80s, it all seemed to connect in a series of chain reactions. While much of the change started to pulse from Silicon Valley and Washington D.C. in the form of technological and geopolitical waves, musically speaking, even bigger explosions were emanating from Berlin, Tokyo, Manchester, London, Detroit, Chicago, Los Angeles, and of course, New York City.In a lot of ways, techno was a cyber dimension on a par with the Web itself. It was open to just about anyone who found it, long before Snapchat, Facebook or Russia’s Internet Research Agency. At its best, it was about the freedom of thought. It wasn’t mind control, even if its repetitive sounds worked with the efficiency of computer algorithms. Its true genius was human.That was as clear as day in the hands of Bones. The continued relevance of ‘Call It Techno,’ both in its old and new forms, demonstrates how effective that man-machine contrast was, in teaching the oppressed how to face the future. Imaginations can dance to a kind of clairvoyance — skeletal in its precision but voluptuous in its impressionism.On the one hand, it’s worship. On the other, it’s heresy.And yet 30 years into this intellectual revolution, it appears the world needs an anchor more than a cutting prow. Demographic silos and data clouds have whipped many of us into a kind of mass psychosis. From cults and mindless compliance to revulsion and reflection, human nature is hardcoded. No robot can erase it, only take advantage of it. Still, the underground runs deep in our collective operating system — the “unconscious.”When it comes to “techno house,” you have to go back to the era of MS-DOS floppy disks and vinyl-based “EDM” to locate today’s invocations. In fact, the first vinyl pressing of ‘Call It Techno’ was floppy. It bends with gravity. As if it could turn to liquid — like our grip on reality.Because the world forgets. Genocides. Hate crimes. Round and round we go.Until someone picks up a microphone. It’s all champagne and tax cut kicks, set to the backdrop of white supremacists in Charlottesville, mass shooting rampages without end, and a growing Great Recession backlash. The question remains the same, because we’ve been here before. Can we hold it forever?For Bones, the answer is deeper than skin. Engraved on a tombstone outside New York City is a roller skate. It says:“Miles Mitchell, Devoted Husband & Father — Forever in Our Hearts.”Bones’ father, who was juggling two jobs as a taxi driver, was taken away by a single bullet shot by a stranger on a cab ride. Miles was “cool as fuck,” says Bones. He loved soul and rock ’n’ roll, and he loved disco, he loved to dance, and he loved to skate. Bones

never forgot: “Considering how many miles I have traveled through techno, I believe he would be proud.”Miles’ son does a neat thing on his new remix. He chuckles as he did on the original, but this time calls out his production partner, Christopher Petti. He did the same back in 1989, like the hip hop M.C.’s of old, calling out the Brooklyn Funk Essentials crew, keeping it democratic.It’s yet another reason why ‘Call It Techno’ is timeless. We need words even if it takes a generation to find the righteous ones, reconstructed within lines of concentration and mixed to a rhythm. It can’t be lived through screens or phones.In a club or in your car, a series of images and memories form new ideas. Put down on paper or in a song. Pouring out into psyches before resolving back into new letters and code. Core to you. Like bones.GHOST DEEP: Who is the “kid down the block” when you call out to “party people”? Why was it important to have an archetypal blocker to resist, to lead folks your own way?Frankie Bones: Ha ha…It was actually aimed at Todd Terry, who actually did live down the block at the time. He had a very big impact on the industry in 1988 and 1989, and until I went to the U.K., I had felt that I wasn’t getting any respect in New York and when I did ‘Call It Techno,’ I switched up the style knowing I was doing that for London.You rap about the “essential funk” of “kick and snare.” How is funk “essential” to techno? How are the “kick” and “snare” important? Is it about polyrhythm and syncopation?Lenny Dee and Victor Simonelli were known as The Brooklyn Funk Essentials in 1988. They were hired by Arthur Baker, who was God to us as teenagers because of ‘Planet Rock’ in 1982. Arthur Baker basically made the 808 record of its era. It was the first time you heard an 808 kick like that.As far as syncopation goes, it’s huge. It holds it all together the way your neighbors’ kids’ grunge band could never. Everything we were doing was essential to us, because we were carving our path into tomorrow.A lot of my records back then were anything but funky, but sometimes the magic happened, like if you somehow could wear 12 different colognes at once and come up with a new scent, rather then have the TSA suspect you for being a person of interest for stinking so bad that you would have to be someone up to no good.We were all over the place. We were into everything and everything electronic music had to offer.The lyric “Computer noise and pounding bass / hits you in the face / like a hammer” is visually arresting. Can you describe how you came up with those words, and what is it about those sounds that make techno so powerful, both physically, musically and psychologically?Yes. Working in Arthur Baker’s Shakedown Studios in 1988 was the first time I worked in a huge NYC studio, and the monitors in the main room had like 9" portholes that literally punched you in the chest so hard that it was like a stun gun. Then it dawned on me why Baker’s productions in 1983 sounded like the bass wasn’t part of the production, all treble. Like the first royalty check from ‘Planet Rock’ was delivered in this beautiful studio with a few kilos of cocaine to keep up with your production schedule.I cannot confirm nor deny if this is actually true, and I’m not suggesting Arthur would ever participate in such shenanigans, as much as I would say the same for myself and my comrades.You talk a lot about “bass” in the lyrics. It’s foundational. How was bass important to the creation of techno culture then?I mean in layman’s terms and pun intended. If the music was the actual pick-up, the bass line was the guarantee you were getting laid. The bass is what made the chips of paint come off the walls, set speakers on fire literally and pretty much the reason the police arrive to close down the party. Because if you are not part of the bass line, then it’s a frequency that disturbs people.It’s not just the sound but the timing. You have a great meter to the lyrics. What is that based on? Was that a rap rhythm you were inspired by? You’ve talked to me before about

how much hip hop influenced you as a kid and teen. Why did it have such an affect on you?“I wanna rock right now, I’m Rob Base and I came to get down, I’m not internationally known, but I’m known to rock the microphone.” ‘It Takes Two’ by Rob Base & EZ Rock pretty much was my first influence. German documentary trailer for ‘We Call It Techno,’ 2008.There was a second influence that some people may be able to figure out, but if I had to come straight out and tell you, I would have to kill you.Back to Rob Base, I was about to be internationally known, with no clue how to rock a micro-phone, so I figured I better try before finding out the hard way. In the end, ‘Call It Techno’ became the anthem for the German scene, which can be checked on Youtube by searching for “We Call It Techno”.There’s another thing you do. “The techno wave has grown / with a style of our own / DIRECT from Brooklyn” — It’s the way you emphasize “grown” and “own,” but punch it home with “direct.” It’s the same rolling groove with swinging hits on other verses. It’s incredibly effective. Why and how did that vocal style work its way into your performance?If people have read this far, I would invite you to Youtube to search for a song called ‘My Heart Holds The Key’ by Marie Venchura. Omar Santana and I were making lots of Freestyle Music and by 1988, we figured out every little trick in the book to make popular music.I wrote lyrics from a shoebox of letters girls gave me in my teenage years. I’d take a sentence and make it rhyme and turn it into a song.The Marie Venchura record is virtually unknown to my catalog but it is so over the top in it’s final version, you can instantly understand I was good at wordplay before techno ever even became part of the equation.What did you write the original lyrics for ‘Call It Techno’ on? Where were you specifically when you did?House music really started to become popular in 1987 and 1988. Whatever techno tracks that came out were considered house also, but I knew about techno because I was buying a lot of Detroit labels and I knew a second wave of music was coming behind house.I would have never even wrote ‘Call It Techno’ had I not known I was going to London. But it was kind of obvious that a huge scene was happening in the U.K. and I didn’t want anyone there to think I was just a house music DJ from New York. I did write the song in advance of itself. Like I had an instinctual vision of what was yet to come.The Techno Wave had grown to about a dozen people in New York City at that point. I figured if twelve more people got into it at least I wouldn’t be lying. We were already producing music daily at our studio in Manhattan. Go in at noon and sometimes work as late as midnight, every day like having to go to work. I wrote the lyrics at home in a couple of hours.I already had been writing songs for other artists for a few years so something like this, and me being the artist, probably took four to six hours to write the lyrics and the whole next day composing the tracks. It was done in those two steps, lyrics then music the next day. All in one shot.So then what was it like to perform them vocally, your own words?It was fun because I made it for the kids in London who really didn’t care if I ever spoke a word to them so as long as I played the music they liked from me.Right, because what’s important about the human voice versus computer noise and pounding bass?Identity. A song is a song and a track is a track. But sometimes it depends on who is listening and what they like.What is different about the power of words versus the power of sounds?That would be best answered between House vs. Techno. Most house music that is popular comes from good lyrical content. Techno relies on technology and futuristic sounds. But sometimes it takes different parts of both to be interesting. 📷 📷 You’re known for a bravado sound and persona. Where does ‘Call It Techno’ fit into that larger narrative inside you?We started off this story talking about the movies of 1978 and 1979, which influenced me as a young teenager. New

Yorkers are proud people, especially when you venture out into the outer boroughs. Whatever I did for DJ culture is a part of a great moment in time in a crucial part of its history.Chicago historians will have a problem with what started in Detroit. Because what started has a bigger part in our history. The truth of it all is that it always was part of New York. Dance music was based in New York City.It came through the disco era. We have the biggest part of DJ culture via hip hop and the discotheque era of the ‘70s.

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Mastering Dust Extraction: Key Considerations for Dust Control Systems

In the dynamic landscape of industry and manufacturing, there’s a seemingly innocuous yet potentially formidable adversary – dust. It may appear as a mere byproduct, but its implications are far-reaching. Dust, arising from various industrial processes, isn’t just a nuisance; it’s a health risk, an environmental concern, and a regulatory challenge. Effectively mastering dust extraction is an imperative for any responsible industry player. In this blog, we embark on a comprehensive journey through the labyrinth of dust control, unveiling essential considerations that industries must embrace to not just combat dust but conquer it.

THE DIVERSE UNIVERSE OF DUST:

Dust is no monolithic entity; it’s a universe of diverse particles. Depending on the industry and processes, dust can take on myriad forms, sizes, and compositions. From fine particulate matter that clouds the air to abrasive particles that erode machinery, and even hazardous contaminants that pose grave risks, dust is a shape-shifter. To tackle this multifaceted challenge, one must first understand the nuances of the dust they are dealing with. Recognizing the characteristics of the dust is the foundational step towards effective containment and elimination. Each type of dust calls for a tailor-made approach.

CHOOSING THE RIGHT ARSENAL:

Once you’ve identified the characteristics of your dust, the next critical challenge is selecting the right weaponry. The effectiveness of your dust extraction system hinges on this pivotal decision. In your arsenal, you have an array of tools – Bag Filters, Electrostatic Precipitators (ESPs), Wet Scrubbers, Hybrid Electro Filters, to name a few. However, knowing when and where to deploy each of these tools demands a profound understanding of their mechanisms and their suitability to your specific needs. This decision is not merely about safety and efficiency; it also has a significant bearing on the environmental footprint of your operations.

NAVIGATING THE REGULATORY MAZE:

In the contemporary industrial landscape, adherence to stringent environmental regulations is no longer optional; it’s imperative. Dust control systems must not only ensure the safety and health of the workforce but also guarantee that emissions meet stringent regulatory guidelines. Navigating the complex terrain of environmental regulations can be a daunting task, but it’s a critical aspect of mastering dust extraction. Failure to comply can result in hefty fines, legal complications, and reputational damage. Being well-versed in the regulatory landscape is not a choice; it’s a necessity.

VIGILANCE THROUGH MAINTENANCE:

Mastering dust extraction is not a one-time feat; it’s a continuous commitment. Your dust control system is a living organism that requires ongoing care and monitoring. Regular maintenance is the heartbeat of this system. It includes meticulous filter inspections, real-time air quality monitoring, and swift issue resolution. This vigilance ensures the longevity and sustained efficiency of your dust control system, which, in turn, safeguards your workforce and the environments in which you operate.

CONCLUSION:

Mastering dust extraction is a multifaceted journey that extends beyond the workplace. It encompasses a commitment to cleaner air, healthier communities, and responsible industrial practices. By acquainting yourself with the diversity of dust, choosing the right control technology, upholding compliance, and embracing a culture of routine maintenance, you can not only keep dust-related challenges at bay but also contribute to a sustainable and environmentally conscious industrial landscape.

This journey toward cleaner air and responsible industrial operations is ongoing. At Intensiv Filter Himenviro, we are your dedicated partners in this endeavor. Our commitment goes beyond products; it encompasses insights, solutions, and a shared vision of a world where cleaner air is not the exception but the norm. Stay tuned for more illuminating content from our experts as we continue to empower industries to conquer the complexities of dust control. Together, we can build a sustainable future, one breath at a time.

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Why is fiberglass mesh needed?

Composite sheets of fiberglass mesh for marble reinforced polycarbonate were prepared by hot compress molding. The effects of lay-up structure, lay-up angle, area density of fiberglass mesh and the thickness of PC film on tensile property were studied. The results reveal that the alternative lay-up structure of reinforcement mesh and matrix film is optimal and tensile property declines as lay-up angle increases. Fiberglass mesh with lower area density is appropriate for thinner composites. Composite sheets fabricated with thinner PC film show better tensile property. SEM analysis shows that alternative lay-up structure is favorable to the immersion of the fiber bundle of marble mesh cloth with low area density in the melting matrix, and thus the improvement of tensile property.

This paper investigates the effect of surface treatment for glass fiber, stainless steel wire mesh on tensile, flexural, inter-laminar shear and impact properties of glass fiber/stainless steel wire mesh reinforced epoxy hybrid composites. The glass fiber fabric is surface treated either by 1 N solution of sulfuric acid or 1 N solution of sodium hydroxide. The stainless steel wire mesh is also surface treated by either electro dissolution or sand blasting. The hybrid composites are fabricated using epoxy resin reinforced with glass fiber and fine stainless steel wire mesh by hand lay-up technique at room temperature. The hybrid composite consisting of acid treated glass fiber and sand blasted stainless steel wire mesh exhibits a good combination of tensile, flexural, inter-laminar shear and impact behavior in comparison with the composites made without any surface treatment. The fine morphological modifications made on the surface of the glass fiber and stainless steel wire mesh enhances the bonding between the resin and reinforcement which inturn improved the tensile, flexural, inter- laminar shear and impact properties.

The fiberglass mesh filter is an inorganic non-metallic material with excellent performance. It has a wide variety of advantages. The advantages are good insulation, strong heat resistance, good corrosion resistance, and high mechanical strength, but its disadvantages are brittleness and poor wear resistance. It is made of glass balls or waste glass as raw materials through high-temperature melting, drawing, winding, weaving, and other processes. In this article, we will take a closer look at the characteristics and types of fiberglass mesh filters.

Characteristics of Fiberglass Mesh Filters

The filter has high tensile strength and low elongation (3%).

The filter has a high elastic coefficient and good rigidity.

The filter has large elongation within the elastic limit and high tensile strength, so it can absorb impact energy.

The filter is made of inorganic fiber, which is non-flammable and has good chemical resistance.

Its water absorption is small.

High-temperature resistance.

High filtration efficiency.

Types of Fiberglass Mesh Filters

ULPA（Ultra Low Penetration Air) Filter

ULPA (Ultra Low Penetration Air) filter has a filtration efficiency of more than 99.999% for 0.1~0.2μm particles, smoke and microbes, and other dust particles.

ULPA filter characteristics: Its filter element is made of ultra-fine glass fiber filter material by gluing and folding. The outer frame can be made of laminated wood, galvanized copper, stainless steel, and aluminum alloy, and it is tightly bonded by polyurethane glue. It has the characteristics of lightweight, large air permeability, dust collection rate as high as 99.95-99.999%, and alkali resistance, and high-temperature resistance.

ULPA filter applications: It is suitable for class 10000-100 clean systems, air conditioning systems, so the product has been widely used in electronics, microelectronics, semiconductors, optical devices, biological and medical circuits, cameras, and optical instruments, precision machinery, and other fields.

High-Temperature Air Filter

The high-temperature air filter still has a partition structure. It is assembled with high-temperature resistant glass fiber or ultra-fine glass fiber filter paper, aluminum foil partition, stainless steel frame, and special high-temperature resistant sealant.

High-temperature air filters are mainly used in ultra-clean ovens that require drying in the production process of food, pharmaceuticals, etc., or high-temperature air purification equipment and systems. The maximum working temperature is 350 degrees.

High Humidity Resistant Air Filter

The high-humidity air filter has a partition structure, using special moisture-proof ultra-fine glass fiber filter paper, special rubber sheet or aluminum foil partition, galvanized sheet, or aluminum alloy profile frame. It is suitable for high humidity under normal temperature and pressure, especially in high humidity environments such as infusion production in the pharmaceutical industry. The maximum working humidity is 100%.

The Disadvantage of Fiberglass Mesh Filters

Due to the poor ductility of glass fiber, the glass fiber filter is easily damaged, so be careful when installing it.

Conclusion

Thank you for reading our article and we hope it can help you to have a better understanding of the characteristics and types of marble fiberglass cloth. If you want to learn more about fiberglass mesh filters, we would like to advise you to visit Stanford Advanced Materials (SAM) for more information.

As a leading supplier of fiberglass mesh filters across the world, SAM enjoys over two decades of experience in the manufacture and sale of fiberglass mesh filters, offering customers high-quality fiberglass mesh filters to meet their R&D and production needs. As such, we are confident that SAM will be your favorite fiberglass mesh filter supplier and business partner.

Fiberglass mesh is a neatly woven, crisscross pattern of fiberglass thread that is used to create new products such as tape and filters. When it is used as a filter, it is not uncommon for the manufacturer to spray a PVC coating to make it stronger and last longer. The most common place to find fiberglass mesh is in tape products.

Sheetrock finishers use the mesh frequently. In fact, it is common to replace the paper tape used to float the joint between two pieces of sheetrock. The mesh that sheetrock finishers use comes on a roll just like paper sheetrock tape. The added benefit for the sheetrock finisher is to roll out the mesh over a great distance before having to apply the first coat of joint compound. Not only does it help them in this manner, but it also causes a stronger bond between the joint compound, the tape and the wall.

Sheetrock finisher's also use this tape to patch holes. The most common hole in the sheetrock generally occurs where a doorknob has hit a wall too many times. If it is only slightly damaged, a couple of short pieces of the tape will be formed into a square and placed over the hole. A joint compound will then be applied directly to it. If the hole is too large to patch with fibreglass mesh for wall alone, a piece of metal flashing can be added behind the tape before applying joint compound. Construction work is not the only use for fiberglass mesh.

As a filtering system, fiberglass mesh works really well. As the water flows through it, the mesh catches even the smallest impurities. In addition to this use, it can also be used as a mosquito net.

Finally, fiberglass mesh is sometimes woven into protective clothing used by those who work with dangerous chemicals or firefighters. Tightly woven mesh is put together and shaped into jackets that firemen wear when they are battling a blaze. It protects them from any fire that might ignite their clothing while fighting a fire. Fiberglass mesh can also be used in mold making and as protection against corrosives.

In your letter dated January 31, 2008, on behalf of your client, SpiderLath, Inc., you requested a tariff classification ruling on a woven fiberglass article. A sample of a piece of the material comprising this product was submitted with your ruling request.  

The subject article, identified as “SpiderLath”, is a woven fiberglass mesh/fiberglass lath system with ethylene vinylacetate (EVA) backing strips that will be imported in rolls 4 feet wide by 75 feet long. You indicated in a telephone conversation that the fiberglass mesh is coated with a stiffener.

According to the information that was submitted with your ruling, the fiberglass mesh/fiberglass lath system is used as a cladding masonry support. The product can be used to install stucco and stone veneer. It can also be used over existing surfaces to apply masonry finishes.

In your presentation, you suggest classification under subheading 7019.31.0000, Harmonized Tariff Schedule of the United States (HTSUS), which provides for glass fibers (including glass wool) and articles thereof...thin sheets (voiles), webs, mats, mattresses, boards and similar nonwoven articles: mats. This subheading does not apply since the product is a woven article.

The applicable subheading for the woven fiberglass mesh for construction/fiberglass lath system with EVA backing strips will be 7019.90.1000, HTSUS, which provides for glass fibers (including glass wool) and articles thereof (for example, yarn, woven fabrics (con.): other: woven. The rate of duty will be 4.8 percent ad valorem.

Duty rates are provided for your convenience and are subject to change. The text of the most recent HTSUS and the accompanying duty rates are provided on World Wide Web at http://www.usitc.gov/tata/hts/.

This ruling is being issued under the provisions of Part 177 of the Customs Regulations (19 C.F.R. 177).

A copy of the ruling or the control number indicated above should be provided with the entry documents filed at the time this merchandise is imported. If you have any questions regarding the ruling, contact National Import Specialist Jacob Bunin at 646-733-3027.

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Two new Sonus faber Lumina models added to the range

Iconic Italian loudspeaker manufacturer Sonus faber has expanded its award-winning Lumina range to include a new flagship floorstander, the Lumina V, and a powerful yet compact stand mount speaker, the Lumina II.

LUMINA V SURROUND LOUNGE

Both models feature the same legendary handmade-in-Italy craftsmanship, artisan design and natural sound quality as Sonus faber’s more exclusive ranges, while offering the extraordinary affordability Lumina has become known for.

For stereo and multichannel systems

The new Lumina II and Lumina V A/V speakers are designed to offer the ‘voice of Sonus faber’ in both stereo and multichannel systems, and are positioned to offer greater power handling for larger spaces. Both models embody the history and spirit of Sonus faber, expanding the September 2020-launched Lumina collection to five models: two stand mounts, two floor standers and a centre.

Benefiting from a multilayer wood front baffle available in three finishes, walnut and wengè with maple inlays, plus piano black, the cabinets are finished in a luxurious black leather, echoing Sonus faber’s upmarket collections.

Lumina II

The Lumina II is the second stand mount speaker in the collection and joins the smaller, multi award-winning Lumina I. The Lumina II enjoys a larger cabinet volume with a 150 mm mid-range driver. A compact and versatile design, the Lumina II can be placed within a bookcase or shelving unit, in addition to stand use as a stereo pair, or as rear channels in a home cinema system.

Lumina V

The Lumina V is the second floorstanding Lumina model, joining the existing Lumina III. As the new flagship, it benefits from a number of key design elements including a lute-shaped mid/high internal chamber: a unique feature created by Sonus faber and a main characteristic for the brand since its inception in the 1990s. The chamber maximises structural rigidity and the acoustic performance of the mid range, while simultaneously reducing standing waves.

Hybrid IFF crossover

  The Lumina V also features Sonus faber’s hybrid IFF crossover. The mid/high crossover network ‘Hybrid IFF – Paracross Solution’ combines Interactive Fusion Filtering, first introduced in the Maxima Amator, with the Paracross Topology™, where reactive components (capacitors and inductors/coils) are placed on the negative rail of the circuitry. The resulting benefits include a reduction in the drivers’ back EMF (Electro Motive Force), allowing them to operate in a maximally interconnected and organic way, while lowering the crossover’s sensitivity to radio frequencies, further improving sound quality.

Gravis subwoofers

For a range of A/V applications, including music, gaming and home cinema, the Lumina collection perfectly pairs with Sonus faber’s Gravis subwoofer models I, II and III, which feature matching finishes and materials.