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hunted-moth · 2 years ago

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Forest Of Dreams Pt 2 // New Life, New dreams

Word Count// 3,732

Summary// Y/n awoke to a new dream after being in cryo sleep, this one was different for some reason. As she and Jake landed on pandora they met Norm and their Boss Grace Agustine. Tension was high during the meeting. The next day Jake and Y/n finally experience that thing that put them there in the first place

Warnings// Language, nightmare, not listing to med techs(idk I'm bad at this link if I need to add stuff!)

A/N EY your back! Glad you liked it, this one is a bit longer, also I don't understand na’vi so please don't expect me to write the na’vi parts, ill translate it the best I can though

Speaking Na’vi

‘Thoughts’

*mini time skip, like a small location change

You were running, jumping over logs, climbing over rocks. But every time you got close to your prize you'd hear laughing and they run even further from you. As you speed up, you saw a figure, it was the first time you saw the person who giggled and laughed in your dreams. And damn was she beautiful, putting the gorgeous forest to shame.

You saw her on an edge of a waterfall, as you walked closer she jumped and you woke up in your cyro pod.

It was dark and cramped, you were confused for just a second before remembering where you were.

You felt yourself move as the pod you were in opened. You were unbuckled and you started to float up.

“We here,” you asked, the tiredness escaping your mouth

“Oh yeah, we're here alright,” the nurse said with a hint of energy in him.

He continued “You've been in cryo for 5 years 9 months, and 22 days. You will be hungry and you will be weak” he yelled to the other men and women who had just awoken from cryo like you.

You glided over to your locker and grabbed some of the clothes you stored in there. It was your school sweatshirt and a pair of pants with shoes.

They then corraled you to board the ship that’ll take you to Pandora. You sat next to Jake and noticed he look serious, giggling to yourself as he seemed to be in his marine mode. He often said that ‘once a marine, always a marine’.

You sat next to Jake on the air shuttle taking you to Pandora. You were given a safety briefing on the Exo packs and the air on the moon. The mask looked interesting, it covered the whole face while still showing it.

As the shuttle was landing everyone stood up in a single file line, god it reminded you of your JROTC days back in high school. You stayed seated with your brother, you offered to help him but he declined it. You assume he was in full marine mode by now.

“Common special case, I'm not waiting all day for you two” the man stated as you both passed him walking onto the tarmac. The place was littered with army dogs, who would've been fighting for freedom or earth, but here it was for a paycheck.

As the two of you were going forward, an amp almost walk over Jake if he didn't see it first

“Look out hot rod” was all he said. Jake ignored him, but you threw your arms up ‘saying what the hell man’ without saying anything. You continue forward with a sour look on your face, but a giant bulldozer rolls by, with giant arrows in the tiers, stoped both you and Jake in your tracks, having a look of awe on your face you said “Woah, some big arrows huh,” you alerting two security ops. They turn to you and Jake.

“Ey man, look at that, meal on wheels and a science puke with it,” one said and the other went “Ah man now that's just wrong,” with a smirk.

You Jake got to where they were, noticing that they were staring at you both.

“What you two limp dicks staring at?” Jake said with some attitude in his voice

Causing the bald one to respond with “looking at you stumpy, and it ain’t so limp right now” He had a disgusting smirk on his face as he eyed. You just rolled your eyes and walked away

You heard one of them do the cat call whistle at you, you turned around and said:

“suck my cock and balls, ya bald fuck” You turned around firing back while doing the suck it a gesture

Turning back around you looked down at Jake to see him shaking his head a rolling away from you into the building.

LOCATION- Safety Briefing: Mess Hall

You and Jake were a bit late, the fact it was a huge building and there weren’t places for Jake to wheel through didn't help. But eventually, both of you got there

“You are not in Kansas anymore.” was the first thing that reached your ears

“You are on Pandora, ladies, and gentlemen. Respect that fact every second of every day. If there is a Hell, you might wanna go there for some R&R after a tour on Pandora.” the little joke he made was kinda amusing to you, but you only chucked to yourself as the two of you walked in, opting to sit in the back. You hop on a table to listen to the rest of his speech.

“Out there beyond that fence, every living thing that crawls, flies, or squats in the mud wants to kill you and eat your eyes for jujubes.” he continues, though you think he's being a bit dramatic to scare the new recruits.

“We have an indigenous population of humanoids called the Na'vi. They're fond of arrows dipped in a neurotoxin that will stop your heart in one minute - and they have bones reinforced with naturally occurring carbon fiber. They are very hard to kill. As head of security, it is my job to keep you alive. I will not succeed. Not with all of you.” he said the last part looking in your and Jake's direction, but you think he was looking at Jake the whole time.

You spaced out the entire time after that, you were used to military briefs from all the drills in JROTC plus you knew what to expect from your avatar training. After that, you hopped off the table and the two of you headed out to the labs.

You and Jake were in a tight halfway trying to squeeze through everyone when you heard a small ‘excuse me’ from behind you and then saw a tall man, you recognized him as Norm Spellman. Meeting him at avatar training, though you two were in different squads so you were never that close to him, but he still came over a few times.

“Excuse me your Jake right, Tom's brother. Sorry im Norm Spellman, Man you look exactly like him” He shook Jake's hand then you perked up “Hey wheres my greeting Norm” you joked

He looked embarrassed and went to apologize but you budded in saying “Nah it's cool man”

“you know him?” Jake asked, but he didn't have any heart like he didn't really care. “Hmm yeah me, him, and Tom were in the program together, different squads though,” you said like it didn't matter, you noticed the fall of Norm's face

“I'm sorry to hear about you brother, he was a good man, it came as a big shock to all of us” He tried to offer some condolence but it came out awkward. “Yeah,” Jake said

“hey man it's alright don't worry about it too much, don't mind him either he's a bit of a grouch right now” you tried to comfort Norm, he willed his way through another conversation “So you're taking over his avatar right,” he asked with some excitement trying to bring the mood up, a ‘yep’ was that was heard “umm want to go take a look at them, there in the bio lab”

“Yeah sure let's go check it out, want to see how mines holding up” you mused and started walking to the lab

LOCATION- BIO LABS

“Hey welcome to Pandora good to have ya,” a man you assume to be a scientist in charge right now shakes you and Jake's hand greeting you to Pandora.

“Damn, they got big” Jake chuckled “Yeah they matured on the way out” Norm stated and the scientist constituted “Yeah great muscle tone too, it'll take a few hours to get them canted, but you should be able to drive them tomorrow” he then pointed over to the other two avatars saying “there's your guys”

You walked over to the female one and saw your avatar. Her hair was already braided around the queue, but extra hair was still loose, clouding her face. She was just floating around in the amino acids and twitched a few times.

You were just staring at her you didn't notice Jake rolling over to you, with Norm not far behind.

“Wow, looks just like you, but taller…and blue” Jake said “Yeah, wonder if ill still be taller than you” you joked, Jake never liked how you suddenly got to call him short. “Yeah we’ll see, bet ill be taller than you by a foot” he stated with a puffed chest

You punched his arm, then Max stated he'd take you to the link pod bay, and to meet your boss for the next 6 years, Grace Augustine.

“WHERES MY GODDAME CIGGURETE” was the first thing you heard. But you were more paying attention to Jake and the Norms convo, it started with a simple question from Jake.

Whose this Grace Augustine, it was a simple question one you knew the answer to but the Norm beat you to it

“Grace Augustine is a legend, she's the head of the avatar program and wrote the book and I mean literally wrote the book on pandora botany,” Norm said as if it was a simple fact of life and Max interjected saying “Yeah its cause she likes plants more than people” he added

“Ahh there she is, cinderella back from the ball I see, Grace I’d like you to meet Norm Spellman and Y/n and Jake Sully”.

Grace took a puff from her smoke and addressed you and Norm

“Norm and Y/n heard a lot of good things about you two, hows your Na’vi,” she asked while putting her hands behind her back

Norm shot first saying “May all mother smile upon our first meeting” He finished off with a grin like a just got all As on his report card

“Not bad you sound a little formal” Grace replied in na’vi to which Norm continued with “I studied for five years, there's still some much to learn” She then turned to you expecting a show of your words

“Ahh well, not good at it, still learning” you finished with a shy smile “weak point in learning to speak it hearing good” Grace only nodded and said “it can be rather hard”

Max tried to divert the attention to Jake and introduce him to her, but she only waved him off saying

“Yeah yeah, I know who you are and I don't need you. I need your brother, you know the other brother, who had a Ph.D. and trained for three years on this mission” she said in a tone, both you and Jake didn't like too much

“He's dead, I know that it's a big inconvenience for everyone” Jake spat at her. You felt his annoyance radiate off him. You then threw your hat into the ring and shot off with

“Ma’am I don't exactly like you insulting and deeming my brother, he may not be what you need but he's here to help, any way he can. So lay off a bit will you” You finished off, and you looked around to see Norm's eyes as wide as saucers, and Grace's face, it had a mix of ‘what did you just say’ and ‘hmm impressive’.

“How much lab training have you had” She directed it towards Jake and you knew he was screwed, he practically failed science even with you and tommys help

“I dissected a frog once,” he said with a smug look, and that look combined with the answer blew Grace's lid off

“Ya see, ya see? They're just pissing on us without even giving us the courtesy of calling it rain. I'm going to Selfridge.” with that, she walked off.

Max tried to reason with her “Grace. No, I don't think…” but it was futile as Grace just fought back “No, man, this is such bullshit! Gonna kick his corporate butt. He has no business sticking his nose in MY department.”

And with that, she went off to bridgehead to talk with you mused. Max faced you guys and told you guys to be here at 0800, told Jake to say big words, and walked off.

The three of you just stood there, looking at each other. Jake was in the biggest sour mood, you were peeved, and Norm looked at you two like you were combing into one in front of him.

“Wha-what did you two just do!” he said you and Jake just looked at each other. You were confused about why he was so bewildered.

“What do you mean?” you questioned him with a look of confusion written on your face, Jake looked more annoyed that he was being questioned.

“WHAT DO YOU MEAN- WHAT DO YOU MEAN, you just told off Grace Augustine, our boss” “Yeah what about it, she was shit-talking my brother, Sullies don't ride like that” with pride for your brother you put your hand on his shoulder. “I-i guess that makes sense, but please don't do that again! Or at least not in front of me might actually have a heart attack!” he finished holding his heart, you and Jake looked at each other and laughed, he sorta reminded you of tom at that moment.

LOCATION- MESS HALL

The three of you went off to your sleeping quarters with the help of another scientist, Then went to eat with the others. You sat next to Jake and were talking to another scientist, you didn't notice that Jake was more or less by himself eating, to wrap up talking about Pandora.

When a woman came up to your table, wearing an airforce uniform, the table got kinda quiet as Grace stopped talking to just looked at her, you looked over at her when she started speaking

“I'm looking for a Jake Sully.” she looked around then Jake spoke up “Down here.” she looked down then grinned and tilted her head in a direction “Come with me, Quaritch

needs ya,” Grace raised her voice at this “now what does he need him for?” she sounded annoyed already “I'm not sure just needs him ma'am-” “are you just gonna stand here? Let's go.” and with that, he was off, the women jogged after him leading him to where he was needed.

‘Wonder what he needs with Jake’ You continued your conversation and ended lunch and retired to your bed to finally get some shut-eye.

LOCATION- ROOM

Sleep was difficult, being in a new place, hell on a new planet, meaning sleep was hard to come by. But the sweet embrace of sleep hugged you, and you were out like a light.

You were walking in the dense forest, with careful steps. Looking around for a way out of the forest. It was nightfall now, and you could feel the fear in your body with each step as it rose. You heard something in the brush you stared at for a minute before feeling okay that nothing would jump out at you.

That's when you heard it, a giggle. But it didn't sound happy or joyful, no, it sounded sinister and evil. But you couldn't see where it was coming from, which only made your fear worsen.

When a sudden rustle in the bushes made you spin to it. Not seeing anything, you turn back, but you heard it again, the giggles, right behind you. You took off, faster than you ever ran before.

But with your luck, your foot got caught on a root and you were sent flying to the floor. You turn on your back to see what awaits you. You see nothing then the laughter starts again. This time, it surrounded the forest, suffocating your ears. Then you heard it pounce on you, you closed your eyes- and you sat up in your bed, sweating drips down your forehead.

Then your alarm goes off signally to you that it's 6:30 now, meaning you have half hour to eat breakfast and get ready.

You were eating with your brother. You two were just talking when norm cam and sat your table, Jake looked slightly annoyed but you spoke up and greeted him.

“Hey Norm, how’d ya sleep last night?” “Oh alright, the beds are bit uncomfortable but I’ll like haha” you both laughed when Jake asked how you slept, “so what about you? You look like you saw a ghost when you left your room.”

“Oh uhh, we’ll I had the forest dream again, but this time it was more like a nightmare, It was like someone was watching me then I started running with I heard giggling surround me then I woke up” you finished with a shrug “hmm yeah that’s a night meat alright,”

Norm looked slightly confused “wait forest dreams, do you always have dreams like these?” He asked with a confused face “oh yeah since I was a kid, but they weren’t always like that nightmare, usually I was chasing the laughter, it’s actually what got me into geology” you finished with a smirk.

You checked the time to see 7:30 meaning you only had 30 minutes to get ready, you told the other men this and you all went off.

LOCATION- LINK POD BAY

“So how much link time have you logged,” Grace asked you guys as she walked you to the pods. “Umm about 520 hours” he answered before you, “I logged in about 250 hours” yours wasn't much but it was something compared to Jake “that's good, Norm you in there, Y/n your here, and your here,” she pointed to Jakes pod and did some operating things “so how many hours did you log” “zip” you could just feel the annoyance from the next pod over

You lay down in your pod, the inside was made from this squishy silicon-type material that dip from the pressure that was on it.

The scientist that was assisting you to put the cage down and ask if you were ready, oh you were more than ready, you put your thumbs up and they put the lid down after instructing you to keep your mind blank. Then it was dark, you closed your eyes, relaxing then you saw white

You opened your eyes to see a doctor in your face, “Hey Y/n, how are you feeling?” it was bright as the doc was flashing light in your eyes testing your pupil's dilation. “Your eyes seem good, can you hear me well?” she asked as you felt your ear swivel around “Oh yeah loud and clear doc”

She had you sit up, you look over to Norm and Jake, it look like Jake just woke up. “If you can just perform some movement that is really nice, just wriggle your toes or fingers”

you saw Jake standing up, so decided to try it too.

“Oh no Y/n, you need to sit down please–” “No it's fine I got this, promise” you try to reason with her “No we need you to sit down, you're going a little too fast right now”

When you stood up you almost fell on the poor woman. But you regained your balance, you were close to a wall and you felt your tail hit it “Yo Jake, look at it, I feel like a cat!”

Jake looked in your direction then he felt his tail and looked at it. You and Jake were causing panic for the med techs, they called for you two to be sedated, and you walked forward to Jake and ripped off your IV and other medical stuff.

You landed on him and looked at Max through the window, he yelled saying “guys, listen to me; you are not used to your avatar bodies, you need to return to your beds, this is dangerous-” “This feels great,” “Jake, Y/n-” “c’mon guys, their gonna put you out” they both tried and failed to get you two to your beds

Jake walked away with the biggest grin on his face, you stayed put, just watching him move around the med bay, his tail knocked into some things, then he was gone, he just left the bay.

You saw this and followed after him, same with Norm. when you all got out there Jake was on a court, you ran to him while Norm was still with the med people. You caught up to him

“Hey wait up” You had a playful smile on your face as you caught up to your older brother, Norm not long behind

You two clumsily passed a bunch of people, accidentally bumping into people. Then he started to build momentum, so you built momentum. He noticed and went faster, you chased him and eventually you started to race each other, the fishline unknown to you both

You passed other avatars training on obstacle courses, then you almost ran into an amp suit, you two gave half-hearted apologies, as you ran into a field of fruits.

He stopped suddenly, you almost crashed into him. You caught your breath while looking around, it was…green and full of life, as opposed to earth and base, which was gray and dull. You dug your feet into the dirt, you can't even remember the last time you did that!

“Hey, Sullies!” you both looked over to see… Grace! You both uddered a quiet ‘damn’ and ‘shit’ under your breaths as you saw grace in her avatar for the first time

“Grace?” Jake was the first to speak to her “Who do you think numbnuts?” Grace looked over and threw some fruit at you guys, “Think fast.”

“Motor control looking good” she stated

You caught it and looked at Jake to see if he’d eat, he looked at you and took a bite to make sure it was safe for you. He bit into it and groned from how good it was, and from that, you took your first bite, then another, and another, it was sweet and made you want to keep eating it. Grace giggled at you two, it was like seeing two toddlers tiring something new instead of two adults.

After you got your avatar situated and properly looked at which the doctors were not happy with you three.

You sat in your bed, you and Jake looking at your queues, they had white tendrils and were squirming around looking for something to connect to, from what you could remember, it could connect to the environment

“Kinda freaking huh,” Jake said to you, “Yeah reminds me of testicles or so-” you were interrupted with “Don't play with that, you'll go blind” It scared Jake but you just laughed as you knew it was practically harmless. You put it away as you laid down to ‘sleep’. The forest was alive as you could hear so many animals in the forest, but you closed your eyes and opened them in the link pod.

LOCATION- ROOM

You retired to your room after a long and rough day. You cleaned yourself up, changed into comfy clothes, and laid in your bed.

When you closed your eyes and fell asleep you were met with black and then woke up, looks like you didn't have a dream last night.

But now you had an even longer day ahead of you. You, Norm, Jake, and Grace were going out to collect samples out into the forest.

Next // PT 3 Deja Vu

Previous // PT 1 A Shit Place

// Masterlist //

Taglist //

A/N // see told you it would be longer lol. NOW IM EXCITED! We get to meet Neytiri, idk if you noticed but I'm following the plot of the movie, but now I'm wondering if I should end at the Tree of Souls or just complete it like in the movie. And even do some way off the water stuff, like head cannons of they function and work, but we’ll see when that happens ;)

Anyways let me know what you think, and give me ideas and stuff for later chapters and stuff

MY DUMBASS DIDN’T PUT ANY TAGS!!! I wonder no was seeing it T-T

#neytiri x reader #x reader #neytiri #neytiri te tskaha mo'at'ite #avatar x reader #james cameron avatar #jake sully #Y/N sully #norm spellman #grace augustine #neytiri x y/n #avatar 2009

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meme-archivist · 5 months ago

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Folder number 2 is... we're gonna save that one. Folder number 3 is labeled overall design and techniques.

We have some advice from https://twitter.com/Verseshi/status/1758568438363279456 on the arrangement and shaping of 'tactical' characters. It's a multipart set.

A tutorial on edging. I haven't actually reviewed this properly. https://twitter.com/Subakeye/status/1756953963604115536

The Etherington Brothers are always helpful, and republish advice from multiple sources. Here's one for the arms in the hands on hips position. https://twitter.com/EtheringtonBros/status/1754155929245728983

Ditto, but for motion and action speed emphasis. While intended for animations, the smear can be applied to stills as well. https://twitter.com/EtheringtonBros/status/1759981371965989135

This next one seems to also be much the same. For drawing the head at high angle, specifically chin.

Shadows, again from Etherington Brothers.

There is this I have saved for both scarring and muscular definition. Useful for weathered characters. https://x.com/nr4CES/status/1750902684616712462

This is more niche, it's a reference for what someone's conception of gestalt infantry armor (signalis) might be. It is also however for me personally a good look at what a target look of a sketch might be. From https://x.com/ReiTuki

...ok this one's a little risque I'm gonna

exercise my power of discretion.

You use Krita? This might be handy for you. https://youtu.be/n3PIdyzVGAI

The same effect can be done by selecting the Contiguous Selection Tool and clicking inside the object you want to color. Note that this can be rather finicky and will usually require detailing work, but it saves a lot of time when you can 100px quickfill something.

Etherington Brothers again, this time about perspective of something.

I'll let this one speak for itself, it's interesting as an alt way of doing silhouettes.

Etherington Bros again. Foreshortening hands and perspective this time. https://twitter.com/EtheringtonBros/status/1774212481751142471/photo/1

This one is just labeled as "neat". Probably useful if you plan to do any animal heads or antho... Anthropromor... ANTHROPOMORPHIC, designs, and it also includes some interesting interaction with the outline. Note how OP creates lighting by changing the outline color.

From here. https://s-milesart.tumblr.com/post/747802690437939200/clairen-comm-i-did

Comically large Otter, apparently. Useful for looking at what a sketchier style resembles and also shading techniques , the classic darkened half-face, etc. https://www.tumblr.com/drawligator/747343275642568704

Next up... Big Rabbit. Good example of grayscale, but I'm not sure how OP got it to look like construction paper texture. https://kiserinn.tumblr.com/post/748757010545295360/kitty-girlfriends

A little retro mecha reference as a treat. Game is apparently "Advanced Power Dolls 2 // Kogado" https://x.com/PC98_bot/status/1788271106824048701/photo/1

...why isn't this in Armor and Materials? Gundam but like, power armor. This seems to be OP? https://x.com/DTZ1200WG/status/1543940133572866049

Sometimes you just find a character Neat. Ya'll like eldritch stuff? I think the new kids call this horrorcore. Out of the sake of not being Murdered by moderation, I've cropped it down a little. https://x.com/nan_just_nan/status/1721575054327034024

Wanna make something look biological? More ambiguously sorted materials!

Another art of a scarred character. Lighter weathering compared to the previous, but fullcolor.

fnuy https://www.reddit.com/r/MoeMorphism/comments/185i003/green_hill_zone

I'm gonna split this in half and not fix it with flex tape so that I don't need to flex seal CPUs and GPUs back together.

hot artists don't gatekeep

I've been resource gathering for YEARS so now I am going to share my dragons hoard

Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.

Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.

Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.

Smithsonian Open Access. Loads of free images. Free.

SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.

SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.

Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.

Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.

Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.

Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.

Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.

#signalisposting? IN MY megathread? More likely than you think. Click here!#art references #signalis

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aeliyamarineinsights · 17 days ago

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The Role of Amplifiers in Industrial Automation: Enhancing Signal Strength and Precision

Introduction:

In industrial automation, a high quality amplifier ensures boosting of such signals across various control systems for transmitting data accurately without loss. A high-quality amplifier in amplifying weak signals from sensors and controllers provides the most necessary action of sending it over long distances without degrading. This is particularly crucial in high-noise electrical environments, where a quality amplifier would filter out interference from signals and maintain the clarity of signals to achieve sharp operations. From motor control to sensor data conditioning, high-quality amplifiers enhance the efficiency, accuracy, and stability of the system and are therefore an essential part of modern automated processes.

What is an Amplifier?

An amplifier is an electronic device that increases the strength, or amplitude, of a signal, be it a voltage, current, or power signal. This means that an amplifier can take a very weak input signal to a stronger output signal while maintaining all its characteristics at a greater magnitude. General-purpose amplifiers are used in most audio systems for low-level sound signal amplification, in communication systems for boosting signals over long distances, and for boosting control signals for motors, sensors, and other automated equipment.

Amplitude amplifiers are utilized significantly in industrial automation because they ensure that the signal would not degrade in integrity over long cable lengths or where electrical noise may get superimposed over it, resulting in distortion. It ensures the precise control and accurate reading, which plays an important role in the reliable automation and systems’ efficiency in achieving their objectives.

Types of Amplifiers:

Operational Amplifiers (Op-Amps): These are high-gain voltage amplifiers with differential inputs used for many functions, which include amplification, filtering, and signal conditioning. The operational amplifier amplifies the difference between two input signals and can be very versatile in electronics.

Power Amplifiers: These are designed to offer high power output to drive large loads, such as speakers or motors, through boosting both current and voltage.

Servo Amplifiers: Control servo motors where the position, speed and torque are controlled according to feedback from the system through dynamic modification of power to offer high precision motion control.

Current Amplifiers: Ample signal with negligibly small alteration in its voltage for such applications demanding a high current.

Instrumentation Amplifiers: Low noise, high precision and high output amplifiers to preserve the integrity of the signal in sensitive applications.

Audio Amplifiers: Amplifies the audio signals to the frequency within the audible range; they allow the provision of a high fidelity audio output with negligible distortion.

RF Amplifiers: They amplify the frequency between MHz and GHz in RF frequency to be used for various applications such as wireless communications, broadcasting, etc. It is used for several applications of radar.

Voltage Amplifiers: Amplifiers used to increase the level of voltage in a signal that will be used in some form of further processing or applied as driving power in another circuit.

Key Functions of Amplifiers:

Amplification: Amplifiers strengthen the weak signal so that it can be transmitted through the automated systems for long distances without loss of signal. This feature is required in order to maintain the clarity of transmission among sensors, controllers, and actuators in the vast industrial environment.

Noise Suppression: Electrical noise is a problem in industrial environments because it adversely affects signal accuracy. Amplifiers eliminate noise so that signals are cleaned and clear for reliable data transmittance and control.

Stabilization and Control: Amplifiers stabilize signals, thus preventing fluctuations that could disrupt operations. In specific applications involving motor speed, position, or torque control, this stability is crucial as consistent signals ensure smooth and accurate machine performance.

Power Adjustment: Amplifiers control power levels to meet the requirements of various components. For instance, power amplifiers offer high output power to drive motors or actuators, thus ensuring that these devices receive enough power to function effectively.

Signal Conditioning: In sensor systems, amplifiers condition and enhance signals so that they can be processed. Through signal amplitude alteration and filtering out anomalies, amplifiers ensure that proper data acquisition and processing are made possible.

Support for Long-Distance Transmission: Amplifiers ensure that the signal strength is not affected even if a long cable run is involved, and thus data or control commands are not lost on their way to destinations. This is a function of high importance in large industrial environments where signals need to cover large distances.

Precise Measurement: Amplifiers, particularly instrumentation amplifiers, amplify weak sensor signals in measurement applications to enhance the accuracy of monitoring temperature, pressure, or other critical parameters in industrial processes.

#industrial equipment #marine automation #amplifier

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audio-luddite · 10 months ago

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Hey Listen!

I was cruising around You Tube and tripped over one of those reaction videos. It was "Charismatic Voice" an opera singer who does voice coaching on the side. You know the formula. Watch a stream giggle and scream, or squeal if not so excitable. The item I was fed was her watching a live performance of Super Tramp 's "Long way home". She liked it. It got annoying her always backing up to catch a particular note and all that kinda stuff. But I decided to listen to that cut on Apple Music and I liked it. Good sound, nice solos and stuff.

Rabbit hole time.

Back in the day I was not a Super Tramp fan, as the Bee Gees just drove me round the twist as they say. Falsetto overdose it was. Super tramp often played up there. But I have one of their albums.

The story there is I found an "Audiophile" version of "Even in the Quietest Moments" in a store back in the 80s. Hey test record I thought, so I grabbed it. I was not settled on the good music versus good recording problem. Curiously A&M records in Canada (not the USA) commissioned a few of the better quality masters to be half speed cut into high end vinyl in Japan by JVC. There are quite a few of these out there. I have two. One is the EITQM the other is a sampler with cuts from some of the other discs.

Looking on Ebay some of those are stupid expensive. Over 250 USD for some, including the sampler. My copies have pristine vinyl as I care for my stuff and bought these new. The covers are not perfect and collectors are crazy so not as valuable. Still very good sound.

I was impressed with the Apple music tracks so I decided to dig out my album. I spun it up last night. I have been listening to a lot of Jazz lately and am primed for good instrumental performance. Super tramp are not top top level musicians, but quite competent. I liked it actually quite a lot. Great sound quality in general and the tunes are good. My wife came up from her workroom to listen too. Extra points for that.

EITQM has a few good tracks and they have been used for TV show themes and sports broadcast "Bumper" music. If you have never heard them they might still be familiar.

So I am feeling good and the glass of Scotch on the rocks helped. So I fired up my alternate laptop and went shopping. In the end I ordered an "audiophile" A&M issue of Breakfast in America. There are a few about in Discogs. All not cheap. The one I ordered for $107 with shipping said it was vetted on a Linn system so I took that to mean they know good from bad, and they are in Canada so border bullshit is avoided. If it sounds as good as mine I will be rather pleased.

I was not finished. This reacting person also did a Gordon Lightfoot song. For those who are not Canadian, GL was a national icon. Folk Country kinda vibe. He died in 2023 at 84. The song she listened to was "Edmund Fitzgerald" which is about the sinking of a Great Lakes Iron Ore carrier in a storm. I have that album as it was required by Canadian regulations you have at least one GL album.

Summer time Dreams is the album and was his most popular.

I do not think the title song was anywhere close to the hit that Edmund Fitzgerald was on the first side. It was #1 in Canada and #12 in the USA.

So I played this one too. Good album. Had not heard it for a very long time. I think last time was with my full range electrostatics and Dynaco Mk3 mono-blocks with that OP-Amp preamp. This go round everything was different. It was like I had never heard it before.

It is not a high end recording. It is clean but it was a bit compressed in sound. That was not a biggie as GL played a 12 string Guitar that had a rather sharp tone and comes through fine. His voice is clear and has that high mileage pack a day worn thing going. See he is even smoking on the cover.

Aside from the nostalgia aspect I was struck with the sound being so unfamiliar. Yes I was playing it on totally different hardware but WOW. My ancient setup was not bad, but the current one is day and night if my old memory can be relied upon, which for music it usually can be. I will have to go through it again.

Listening is a real operation for me. It takes at least an hour better two for the system to warm up and hit its stride. So 90 minutes plus just to start serious listening. After work and dinner 3 or four hours is a big commitment. Real life you know.

#audiophile #high end audio #cheap audiophile #vinyl #tubes vs transistors #audio research preamp #supertramp #Gordon Lightfoot

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linuxgamenews · 1 year ago

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Bring the Epic Battle to Life With The Art of Flight

The Art of Flight bullet hell SHMUP game is due to makes its way onto Linux via Steam Deck with Windows PC. The game comes to life thanks to the dedication and hard work of the team at Et Al Games. Due to make its way onto Steam. The Art of Flight brings a fresh take on space action games. Instead of piloting just one spacecraft, you find yourself in command of an entire squadron. So you will have multiple spaceships that all move in sync, darting and weaving through the vastness of space. This isn’t just about shooting and dodging; it’s about coordinating a dance, where each move has the potential to change the outcome of an epic battle. Visually, The Art of Flight stands out. The choice of using water color aesthetics gives everything a dreamy, fluid quality. It's as if you're gliding through a mesmerizing artwork where colors blend and swirl. This isn't the crisp, digital look you might be used to; it’s softer, almost otherworldly. And it's all due to be playable on Linux via Steam Deck.

So we'll definitely be usable thru Proton as we're planning to release for the Steam Deck.

According to the The Art of Flight developer's email reply, there are no plans for a Linux port, but they will keep the option open post launch. What you can expect, proper Vulkan support via Proton. Complementing this is the The Art of Flight soundscape. Think of the strum of warm guitars and the rhythmic beats of drums that seem to pulsate with life. There's something deeply engaging about the audio; it's not just background noise. The most unique part is how it's responsive. As you maneuver your squadron, the music alters, echoing your moves. It's as if you're not just controlling spaceships but also designing a dynamic musical composition.

The Art of Flight - SHMUP Fest Trailer

youtube

Challenges pop up in the form of episodic encounters. Each of these has its own spin, urging you to adapt and reconsider your The Art of Flight tactics. Navigating these waves becomes a blend of strategy and reaction, making every session feel distinct. Power-ups, when captured, grant your squadron enhanced abilities, broadening your approach to battles. Boss encounters amp up the challenge. Using a single ship against these titans would be a colossal task, but in The Art of Flight, you've got an entire squadron. Coordinate, strategize, and find those weak spots. For those who thrive on high stakes, the scoring mechanics are crafted to reward daring plays. Every decision, every move, could mean the difference between setting a new record or starting over. Local co-op introduces another layer. Collaborate with a friend, and the coordination reaches new heights. For those who prefer a more leisurely pace, or perhaps just want to immerse in the visual and auditory experience, there's the option to adjust the speed. This thoughtful feature ensures that everyone, regardless of skill level, can dive into The Art of Flight and enjoy it. In essence, The Art of Flight transcends typical space action experiences. It's an artistic journey, a synchronized ballet of ships, combined with strategic depth and immersive visuals and sound. For those who've ever dreamt of the stars, this offers a chance not just to fly, but to command, to orchestrate, and to truly experience The Art of Flight.

#the art of flight #shmup #action #linux #gaming news #et al games #ubuntu #steam deck #windows #pc #c++#Youtube

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lanshengic · 1 year ago

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STMicroelectronics’ low-temperature drift, high-accuracy op amp increases operating temperature to 175°C

【Lansheng Technology News】September 13, 2023 - STMicroelectronics’ TSZ181H1 automotive-grade operational amplifier and TSZ181H1 automotive-grade dual operational amplifier feature high accuracy and stability, with an operating temperature range of -40°C to 175°C. The increase in the maximum working temperature makes it suitable for harsh working environments and long-term operating conditions.

The input offset voltage of these two op amps from STMicroelectronics is extremely low, with a typical value of 3.5μV at 25℃; the input bias current has a typical value of 30pA at 25℃. The temperature drift of these two parameters is extremely low. At 25℃, the maximum input offset voltage is 70μV, and the rating is 100μV over the entire temperature range. At 25℃, the maximum input bias current rating is 200pA, over the entire temperature range. Inside is 225pA.

TSZ181H1 and TSZ182H1 have a wide operating temperature range and can withstand harsh industrial and automotive application environments. When the operating temperature of the chip is low, the service life of the chip can be extended to meet the needs of long-term operation of the application. The device complies with AEC-Q100 automotive electronics standards and has 4kV HBM ESD electrostatic discharge withstand capability.

The TSZ181H1 and TSZ182H1 provide outstanding performance within a high-precision, high-bandwidth sensor interface for precision signal conditioning without the need for calibration, simplifying end-product manufacturing while ensuring greater accuracy than typical op amps. The gain bandwidth of these two STMicroelectronics devices is 3MHz, the operating current is only 5V 1mA, and the speed-to-power ratio is very high. The wide 2.2V to 5.5V supply voltage, rail-to-rail inputs and outputs maximize the available dynamic range.

Lansheng Technology Limited, which is a spot stock distributor of many well-known brands, we have price advantage of the first-hand spot channel, and have technical supports.

Our main brands: STMicroelectronics, Toshiba, Microchip, Vishay, Marvell, ON Semiconductor, AOS, DIODES, Murata, Samsung, Hyundai/Hynix, Xilinx, Micron, Infinone, Texas Instruments, ADI, Maxim Integrated, NXP, etc

To learn more about our products, services, and capabilities, please visit our website at http://www.lanshengic.com

#electronic components #semiconductor #chip model #electronic #chip manufacturing #lanshengic

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thyele · 1 year ago

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2023年6月9日

幻覚さん「↓ ※京都MOJO、高円寺High、通販(※)全て 6/10(土)10am～6/24(土)10pm迄です。『kill mother fucker』CDを御予約された全てのお客様に、初回特典DVD-Rを差し上げます。 ※ 通販は送料＋手数料として720円かかります。」https://twitter.com/genkakuoffical/status/1667109491282956290

幻覚さん「. FUCKOFF RECORDS からお知らせ「幻覚」セルフカバーミニアルバム『 kill mother fucker 』発売決定！収録曲 SPEEDアレルギー、チョコレート中毒、 MERRY GO ROUND、DEBUT、JAPANESE TRASH 含む全5曲価格3,000円税込初回特典の予約受付は、明日 10amからとなります。 ↓続き https://t.co/VIEW9U8LrF」https://twitter.com/genkakuoffical/status/1667109334374039552

森翼Tsubasa Mori/MIMIZUQさん「久しぶりですね。 ◆2023年6月11日(日) 『おひとりさま配信。』 22:00〜23:00頃スタジオで一人、音楽を楽しんでます。良かったら覗き見してください。弾き語ったり、お酒飲んだり、おはなししたり。 ticket:¥2,500 https://t.co/ejCBCOQzTv https://t.co/XCcfunC1SE」https://twitter.com/mori_tsubasa/status/1667114402380943360

🌈かずみんぐ🐹フルート🌈さん「6月9日🎸10回目の結婚記念日💒 これからも私たちらしく、お互い好きなことを楽しんで生きていきましょう👁‍🗨 https://t.co/FU3jLNzvxa」https://twitter.com/kazumingfl/status/1667114632576921601

leaya(бвб)さん「東京で1番思入れのある箱寂しいな(º_º)」https://twitter.com/leaya_bass/status/1667114814945243139

☕️ふなもと健祐🥁さん「今日この後です！鳥を見たからのお知らせは出番の後に発表します！今からでもぜひ来てください！ https://t.co/VU94umBt6x」https://twitter.com/funamoch1/status/1667115075705110528

☕️ふなもと健祐🥁さん「かずみさん、チーフ、おめでとうございます🍾🍾」https://twitter.com/funamoch1/status/1667115211420221440

横山企画室さん「H.U.G MV解禁♪ https://t.co/G6Oc4BjPgI #HUG #HELIOS #ハグれ #ロメオで跳ぶよ #HyperUndeadGenius」https://twitter.com/yokodile01/status/1667115250276265986

中島卓偉さん「ごめーん！東京リキッドルーム10月15日は金曜日じゃなくて日曜日です！ #中島卓偉」https://twitter.com/takuinakajima/status/1667118594617151488

中島卓偉さん「府内城たまらん。 #中島卓偉 #勝手に城マニア」https://twitter.com/takuinakajima/status/1667119042069692417

BUCK-TICK OFFICIALさん「＼📢お知らせ／「BUCK-TICK × 藤岡市観光協会」コラボ企画で販売しました各種グッズの特別限定通信販売が決定✨ 6月12日(月)12:00〜販売開始❗️ ※在庫がなくなり次第販売終了。追加製造の予定はございません。商品詳細・お申込みは ▶️https://t.co/j6moHHvcOm #BUCKTICK #bucktick35th #藤岡市」https://twitter.com/BUCKTICK_INFO/status/1667123661588004866

Ivy darknessさん「違う🐍 10がウミユリで11がカワウソだ🦦 なんてこったい🐃」https://twitter.com/IVY_DOPE_SHOW/status/1667131108675457025

Deshabillz2023 8月19日(土)心斎橋SHOVELさん「押忍！こちらチケット発売中です！豪華OPゲスト！またなんかあげるの？押忍！素敵な無料配布物がありますのでまたメルカリに... だな！是非！押忍！あんたが言うな笑、良ければ拡散願います https://t.co/xELepTR6dM #Deshabillz #DomesticChild #RENAME #MarvelousCruelty #ヨダレ物あるぞ https://t.co/yKJ1ZioGj7」https://twitter.com/Deshabillz2022/status/1667132763319996416

音楽ナタリーさん「中島卓偉デビュー25周年の幕開け飾る全国ツアー「とにかく今は攻めたい」（コメントあり） https://t.co/2LKmYaCsfE #takui https://t.co/JT3oXGzU3E」https://twitter.com/natalie_mu/status/1667094318199480320

中島卓偉STAFFさん「【Support Musician】 https://t.co/iZYl8EQlKL (Nicori Light Tours / ex.Janne Da Arc) Bass.NAOKI（FANTASISTA） Drums.SHINGO (THE TERROR’S 666 / ex.JURASSIC) 【オフィシャルファンクラブ先行】受付中 ▼受付期間 2023.06.18(日)23:59まで ▼受付URL https://t.co/wtYvUKGuxd」https://twitter.com/helter_takui_st/status/1667107258973691904

中島卓偉さん「youさん！ツイートありがとうございます！一緒にぶちかましましょう！ #you #中島卓偉」https://twitter.com/takuinakajima/status/1667138613933662209

舜6/16NEiN吉祥寺さん「今日はこの2本を使って覇叉羅のレコーディング🎸✨ みんなに録らせてばっかりじゃなくてちゃんと自分もやってますよ、というアピール…(*´﹃ `*) 最近フロイドローズブリッジ全然使わないから弾きにくくなったなぁ…💦 気づいたらボリュームゼロ現象が。 https://t.co/aDPcoT0Lf3」https://twitter.com/shun_thefuzzbox/status/1667140169768787974

源依織さん「ʕ⁎̯͡⁎ʔ༄ https://t.co/m4zGNK5gzy」https://twitter.com/prin_guitarist/status/1667140496488271872

Kazumahariiさん「https://t.co/oz5MUWjAM1」https://twitter.com/kazumaharii/status/1667141017735434240

RYUICHI KAWAMURA INFOさん「【RKワイン2023 Rose 販売中！】数量限定販売直筆サイン入り https://t.co/dpofB3aJgO https://t.co/fnnQI0UF1d」https://twitter.com/RYUICHIinfo/status/1667142698086830080

鳥を見た toriwomita 公式さん「【　鳥を見た　より告知】主催イベント開催決定！！鳥を見たpresents 【サボテンだらけの部屋】 7/13(木) 荻窪club Doctor 出演 ◎鳥を見た ◎ほたるたち ◎komori & yusa(from 壊れかけのテープレコーダーズ) OPEN 19:00 START 19:30 adv ¥2500 door ¥2800 🎫ご予約 https://t.co/GnDti8ZqKz https://t.co/PwBnrGex7k」https://twitter.com/toriwomita/status/1667148190532145153

nao 首振りDollsさん「ケニーさんありがとうございました^ ^」https://twitter.com/kubihuri_nao/status/1667152283011026945

deadman_officialさん「【リリース情報】 deadman×MUCC スプリットシングル詳細発表！各ボーカルを入れ替えたバージョンも収録。 https://t.co/iPLJUys3dQ」https://twitter.com/deadman_fuz/status/1667154595544715264

MUCCさん「deadman×MUCCスプリットシングル「産声」ジャケット写真＆詳細発表 7月28日(金)Spotify O-EAST公演より発売各バンド新曲に加え、ボーカルを入れ替えたバージョンも収録！ ※集合+各メンバーソロショットポートレート6枚付属(直筆サイン入り当たりあり) https://t.co/Xj2zMWRven #産声 #MUCC25th https://t.co/uSPaW6pcJC」https://twitter.com/muccofficial/status/1667154581669793793

UNCLOCK LOVER 頼田陵介さん「UNCLOCK LOVER 2ndアルバム『STILL』歌詞 M-8 over https://t.co/CaEMj7ny3m」https://twitter.com/yorita_ryosuke/status/1667154901749874690

びじゅなびさん「【deadman × MUCC】 Details of split single announced! Including a version with different vocals for each vocalist! https://t.co/CURvRwPPql @deadman_fuz @muccofficial #deadman #MUCC https://t.co/CsWCAPBTi3」https://twitter.com/visunavi/status/1667154830245220357

音楽ナタリーさん「deadmanとMUCC「産声」詳細明らかに https://t.co/q8FPqhuHFQ #MUCC #deadman https://t.co/uFXjn6LbgB」https://twitter.com/natalie_mu/status/1667154614859489280

びじゅなびさん「【deadman × MUCC】スプリットシングル詳細発表！各ボーカルを入れ替えたバージョンも収録記事はこちら▶️https://t.co/CURvRwPPql @deadman_fuz @muccofficial #deadman #MUCC https://t.co/Bi62Pq8ONf」https://twitter.com/visunavi/status/1667154579425828866

luin officialさん「次回【luin】※19:45〜出演⏰ 2023/6/24(土)池袋手刀盲目ダイアリーレコ発イベント「アンダンテ」出演: ハクムクシドロ喪ドロ luin らいむらいと盲目ダイアリー open 17:01/start 17:30 前売 ¥2,500(+1d)/当日¥3,000(+1d) 前売御予約受付中↓ https://t.co/fEUGVsnCi3 https://t.co/g52mJAKHxI」https://twitter.com/luin_official/status/1667155661162172418

luin officialさん「【luin】19:00〜出演⏰ 7/21(金)町田The PlayHouse Jagged Little Pill 配信アルバム｢TWILIGHT｣発売記念イベント『sleep for 4 years』出演: BAKU BAND W.A.R.P. Jagged Little Pill luin open 18:30/start 19:00 adv.¥3,000(+1d)/day ¥3,500(+1d) チケット・詳細等↓ https://t.co/T3WF33RMNn https://t.co/5OPrPU3DbN」https://twitter.com/luin_official/status/1657760174717952001

luin officialさん「【luin】 ◎Live 5/30(火)東高円寺二万電圧 https://t.co/HkhwPuvh0l 6/8(木)渋谷チェルシーホテル ※バンド予約 6/24(土)池袋手刀 https://t.co/fEUGVsnCi3 7/21(金)町田The PlayHouse https://t.co/T3WF33RMNn ◎配信🎵 https://t.co/NN3pabeviu ◎通販💿 https://t.co/YSqI2EpQhJ」https://twitter.com/luin_official/status/1657760161463939072

常盤美妃さん「昨夜は #糸地獄抄収録でした◎ 僕の、本当はこうしたい、を音楽的視点からも導いてくださったまりさん、西邑さんのお陰で、ポジティブに戦っていくことができた。あとは完成を待つことしか僕にはできないけれど、音も、映像も、音楽も、たのしみである作品なのだ。 #昭和精吾事務所」https://twitter.com/ex_miki15/status/1667129835083427840

ﾀｶﾂｷさん「8/25(金)は堺ファンダンゴにて『おとぼけド〜ルズ』。こちらは関西の皆様必見でございます。せっかく関西に来ましたので8/24(木)京都磔磔、8/26(土)神戸と3Daysで関西にてライブして帰ります。情報解禁までお待ちください…。 https://t.co/RLxnTozrQ8」https://twitter.com/attsu_of_death/status/1667158550945370112

こもだまり𓃦昭和精吾事務所｜ACM:::さん「👇真夢の声にする台詞なら「馬鹿みたい」じゃなくて「馬ッ鹿みたい」って表記の方がニュアンスが明確だな…と録音��台本を直しながら思った、という意味。編集がんばる！ https://t.co/sX2HV00sdS」https://twitter.com/mari_air/status/1667159888475353090

nao 首振りDollsさん「大阪のみんなありがと。明日は神戸で会おう。あ、髪初お披露目でした。ちょっとドキドキしちゃった。」https://twitter.com/kubihuri_nao/status/1667162754518597634

こもだまり𓃦昭和精吾事務所｜ACM:::さん「廻天百眼の看板、紅日毬子さんが花園神社の新宿梁山泊テント公演に出演。6/11-26唐十郎『少女都市からの呼び声』です。丁度、唐組のテント公演をみたばかり。テントは観客同士独特の一体感が生まれるし、唐戯曲は揺らがないし、世界は一層ナマモノになる。そこをどんなふうに毬子が泳ぐのか楽しみ！」https://twitter.com/mari_air/status/1667164924542607360

鳥を見た toriwomita 公式さん「大！！！！拡散希望です！！！！ #拡散希望」https://twitter.com/toriwomita/status/1667154069285408769

Karyuさん「最後のサビの頭でスローになるとこが好きです😆🤘」https://twitter.com/karyu_official/status/1667167607424790532

Ryuichi Kawamura officialさん「『皆んな愛しています』 #アメブロ https://t.co/qpxfhDSze3」https://twitter.com/RyuichiKawamur2/status/1667168295777083394

Ryuichi Kawamura officialさん「今夜もありがとう🫶🏻 https://t.co/byYMIihcIT」https://twitter.com/RyuichiKawamur2/status/1667168497363812353

UNCLOCK LOVER 頼田陵介さん「明日6/10正午にYouTube にてアルバム全曲紹介映像公開します✌️✨ お楽しみに😁 https://t.co/COAIpgYHgv」https://twitter.com/yorita_ryosuke/status/1667169871849717762

十三月紅夜さん「⚡️🌐ACM::: NEXT LIVE🌐⚡️ 次の日曜日はコチラ❤️‍🔥 今回は６人編成のACM:::🔥 どうぞお楽しみに✨🌹 6/11(日) @新宿ACBホール 🪐出演 Phaidia E//＋Z ACM::: BACTERIA D=fate DJ SatosicK VJ kihito START 17:30 ADV ¥3800 🛸ACM:::予約 https://t.co/u6VfiMY6Jq https://t.co/rlXEAlSeA3」https://twitter.com/jusangatsukouya/status/1666405326453899264

十三月紅夜さん「❤️‍🔥速報❤️‍🔥 今月の襦袢クラブの詳細が解禁されました🔥 この日は僭越ながら、ワタクシ十三月紅夜の聖誕祭✨🌹 久々にガチャポンも登場します！会場がいつもと違うので(新宿御苑前駅から徒歩5分！)、お気を付けあそばせ⚠️ 君に会えるのを、心から楽しみにしているよ❣️ #百眼 #襦袢ク��ブ https://t.co/ViZ8Wb1PW2」https://twitter.com/jusangatsukouya/status/1666410393273794562

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kazuさん「お祝いします！」https://twitter.com/sckkazu/status/1667174184303075329

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晁直だよさん「このエフェクター欲しい https://t.co/navdYpFcPQ」https://twitter.com/lynchasanu/status/1667179810890694658

中島卓偉STAFFさん「【TAKUI NAKAJIMA LIVE 2023 ANOTHER OF GREATEST SONGS】 & 【TAKUI NAKAJIMA 25TH ANNIVERSARY Volume.１TAKUI SONGS ONLY 1999~2005 TAKUI THE BEST】開催決定❗️ 秋にTOUR開催✨ 只今より、FC先行スタート❗️ ▼受付期間 6/18(日)23:59まで詳細 https://t.co/RadKl5s8Ux #中島卓偉 #Team卓偉 https://t.co/wHmwUxHL89」https://twitter.com/helter_takui_st/status/1667094179711795205

NAOKIさん「9/10(日)から開催される【TAKUI NAKAJIMA LIVE 2023 ANOTHER OF GREATEST SONGS】 & 10/15(日) 【TAKUI NAKAJIMA 25TH ANNIVERSARY Volume.１TAKUI SONGS ONLY 1999~2005 TAKUI THE BEST】にサポートベーシストとして出演致します🔥 ロックンロール！✨ https://t.co/I4FEP6d7wb #NAOKI #中島卓偉」https://twitter.com/official_NAOKI/status/1667180569485008899

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fuzzkaizer · 2 years ago

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Roland - Digital Chorus DC-50

“poor man’s Space Echo”

“This is a cheery little unit - a poor man's Space Echo if you will. Curiously named Digital Chorus it's actually a BBD based delay and chorus unit. There's not a lot of information about this unit as it does appear to be quite rare. A quick summary therefore: It's based on two MN3001 BBD units controlled with a common clock circuit which is similar to that used on the Boss CE-1. The MN3001 is actually two separate 512 stage BBD lines, so you have four sets here giving a maximum of 2048 stages. The clock circuit doesn't run particularly fast though - around 7KHz to 22KHz. That limits the maximum frequency the unit will affect so don't expect particularly bright chorus or delay sounds. The low pass filters, and there are a great many of them in the signal path, do not really let much above 3KHz through. The straight through signal is clean enough though. You can't have both chorus and delay, it's one or the other. And oddly the chorus takes its output from the final BBD which means it too will have a noticeable delay in comparison to the straight through sound. This is actually quite a nice effect on longer notes but sounds somewhat odd with short plucky sounds. I have modified mine to allow the chorus effect to come from either the first (inverted to maintain phase), second or fourth BBDs. This gives quite a nice tonal variation and I used the somewhat redundant HML output level switch to select between the three. Still, even on the first tap, with the relatively slow clock speed and large amounts of LPF, it's not going to sound like a CE-1. It is also possible to modify the unit to take an external CV and allow for manual control over the delay time and chorus depth. To save the rather lovely front panel, I re-functioned the mic input socket to be the CV input, and the mic level pot to control modulation depth of the chorus, delay time and CV input sensitivity depending on the mode the unit is switched to. The maximum delay time now is only around 140mS and the minimum around 45mS. It's not a trivial modification though - I had to use a quad op-amp and a handful of passives as well as some minor changes to the main PCB. If I get some time I'll put the mod details up on line. Oddity: There's a opto based compressor at the front of the BBD chain. While compression is not unusual in a BBD device so as to improve the SNR, one would normally find an expander at the end of the chain to undo the compression at the input. There is no such thing in the DC-50. So in chorus mode you get a strange, and actually quite nice, effect of having a deeper chorus sound for quiet input levels and less effect when the input signal is high.”

cred: matrixsynth.com/1976-roland-dc-50-digital-chorus-echo, modwiggler.com/forum/

#roland #digital chorus #dc-50 #space echo #BBD #Desktop Unit

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t2mip · 2 years ago

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10-bit 3Msps Ultra low power SAR ADC IP core for immediate licensing

T2M-IP, the global independent semiconductor IP Cores provider & Technology experts, is pleased to announce its 10-Bit 3-Msps Ultra Low Power SAR ADC IP Core which is Silicon Proven in 28HPC+ process technology is available immediately for licensing. The ADC uses a proprietary architecture that reduces harmonic and intermodulation distortions at high output frequency and amplitudes making it a truly lossless Analog IP Core.

The 10-Bit 3-Msps Ultra Low Power SAR ADC IP Core is High performance technology with 10-bit resolution, 3-Msps sample rate Ultra Low Power Mixed-signal SAR ADC IP Core for leading edge systems on chip (SoCs) for microcontrollers, medical applications, and General purpose ICs.

A digital signal that is discrete in both time and amplitude is created from an analogue signal that is continuous in both time and amplitude by an analog-to-digital converter. The 10 Bit 3 Msps Ultra Low Power SAR ADC IP Core employs a high-performance architecture and provides an optional differential current output or differential voltage output. The bandgap and current source are included to provide a complete ADC. The ADC can be configured to adjust full-scale output range and has all the necessary calibration circuitry to provide excellent static and dynamic linearity performance.

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Availability: These Semiconductor Interface IP Cores are available for immediate licensing either stand alone or with pre-integrated Controllers and PHYs. For more information on licensing options and pricing please drop a request / MailTo

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sanaavay · 2 years ago

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ASUS ROG Strix B550-F Gaming WIFI II Motherboard Features: AMD B550 Ryzen AM4 Gaming ATX motherboard with PCIe 4.0, 12+2 teamed power stages, Intel 2.5 Gb Ethernet, WiFi 6E, Two-Way AI Noise Cancelation, dual M.2 slots with heatsinks, SATA 6 Gbps, USB 3.2 Gen 2 and Aura Sync RGB lighting AM4 socket: Ready for AMD Ryzen 3000 and 5000 series, plus 5000 and 4000 G-series desktop processors Best gaming connectivity: PCIe 4.0-ready, dual M.2 slots, USB 3.2 Gen 2 Type-C , plus HDMI 2.1 and DisplayPort 1.2 output Smooth networking: On-board WiFi 6E (802.11ax) and Intel 2.5 Gb Ethernet with ASUS LANGuard Robust power solution: 12+2 teamed power stages with ProCool power connector, high-quality alloy chokes and durable capacitors Renowned software: Intuitive dashboards for UEFI BIOS and ASUS AI Networking for easy configuration DIY-friendly design: Includes pre-mounted I/O shield, BIOS FlashBack , Q-LEDs and SafeSlot Unmatched personalization: ASUS-exclusive Aura Sync RGB lighting, including Aura RGB and addressable Gen 2 RGB headers Industry-leading gaming audio: Two-Way AI Noise Cancelation, SupremeFX S1220A codec, DTS Sound Unbound and Sonic Studio III for immersive sound ASUS ROG Strix B550-F Gaming WIFI II Motherboard ROG Strix B550 Gaming series motherboards offer a feature-set usually found in the higher-end ROG Strix X570 Gaming series, including the latest PCIe 4.0. With robust power delivery and effective cooling, ROG Strix B550 Gaming is well-equipped to handle Zen 3 architecture AMD Ryzen CPUs. Boasting futuristic aesthetics and intuitive ROG software, ROG Strix B550-F Gaming WiFi II gives you a head start on your dream build. PCIe 4.0-Ready ROG Strix B550-F Gaming WiFi II features two M.2 slots, one of which supports the PCIe 4.0 standard to provide maximum storage flexibility and the lightning-fast data speeds. Both M.2 slots support up to the type 22110 socket and NVM Express RAID for a performance boost. WiFi 6E Onboard WiFi 6E technology takes advantage of the newly available radio spectrum in the 6 GHz band. It delivers ultrafast wireless networking speeds and improved capacity as well as better performance in dense wireless environments. Intel 2.5 Gb Ethernet Onboard 2.5 Gb Ethernet gives your wired connection a boost, with speeds that are 2.5 times faster than standard Ethernet connections for speedy file transfers, lag-free gaming, and high-res video streaming. SupremeFX Built-in ROG SupremeFX audio technology ensures pristine audio for ROG Strix B550-F Gaming WiFi II. Along with ensuring a flat frequency response for a neutral, detailed sound signature, it offers two front-panel outputs driven by op amps that deliver high-quality audio to gaming headsets. Two-way AI Noise Cancelation This powerful ASUS-exclusive utility leverages a massive deep-learning database to reduce background noise from the microphone* and incoming audio while preserving voices. Distracting keyboard clatter, mouse clicks and other ambient noises are removed so you can hear and be heard with perfect clarity while gaming or during calls. DTS: Sound Unbound dts ROG Strix B550 series motherboards are pre-loaded with the DTS Sound Unbound app that envelops you in audio as never before, conjuring whole new levels of immersion for extraordinary gaming and entertainment experiences. By leveraging Windows Sonic spatial technology, DTS Sound Unbound delivers audio in a virtual 3D space putting you right in the middle of the soundscape, where you can sense the location and direction of every gunshot, footstep or other sound in your virtual environment. Undeniably ROG Strix ROG Strix B550-F Gaming WiFi II embodies the ROG spirit with eye-catching aesthetics, including the next-generation distorted ROG eye logo and recessed cybertext patterning etched on the I/O shroud. These new designs move ROG Strix boldly into the future, while clearly reflecting the series’ gaming roots.

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jhnss2iness · 3 years ago

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A complete selection of audio amplifier, differential Output, High Speed, Low Noise, Operational, General Purpose, Programmable & Variable Gain and Video amplifiers from several different manufacturers for all types of electronic applications.

#Audio amplifier High speed op amp amplifier chip manufacturers Programmable amplifiers Variable Gain amplifiers Video amplifiers Amplifiers

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path-of-my-childhood · 4 years ago

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CABIN FEVER - Aaron Dessner: Producing folklore and evermore

Sound On Sound Magazine // March 2021 issue // By Tom Doyle

The pandemic gave Taylor Swift a chance to explore new musical paths, with two lockdown albums co-written and produced by the National's Aaron Dessner.

Few artists during the pandemic have been as prolific as Taylor Swift. In July 2020, she surprise-released folklore, a double-length album recorded entirely remotely and in isolation. It went on to become the biggest global seller of the year, with four million sales and counting. Then, in December, she repeated the trick with the 15-song evermore, which quickly became Swift's eighth consecutive US number one.

In contrast to her country-music roots and the shiny synth-pop that made her a superstar, both folklore and evermore showcased a very different Taylor Swift sound: one veering more towards atmospheric indie and folk. The former album was part-produced by Swift and her regular co-producer Jack Antonoff (St Vincent, Lana Del Rey), while the other half of the tracks were overseen by a new studio collaborator, Aaron Dessner of the National. For evermore, aside from one Antonoff-assisted song, Dessner took full control of production.

Good Timing

Although his band are hugely popular and even won a Grammy for their 2017 album Sleep Well Beast, Aaron Dessner admits that it initially felt strange for an indie-rock guitarist and keyboard player to be pulled into such a mainstream project. Swift had already declared herself a fan of the National, and first met the band back in 2014. Nonetheless, Dessner was still surprised when the singer sent him a text "out of the blue" last spring. "I mean, I didn't think it was a hoax," he laughs. "But it was very exciting and a moment where you think it's like serendipity or something, especially in the middle of the pandemic. When she asked if I would ever consider writing with her, I just happened to have a lot of music that I had worked really hard on. So, the timing was sort of lucky. It opened up this crazy period of collaboration. It was a pretty wild ride."

Since 2016, Aaron Dessner has been based at his self-built rural facility, Long Pond Studio, in the Hudson Valley, upstate New York. The only major change to the studio since SOS last spoke to Dessner in October 2017 has been the addition of a vintage WSW Siemens console built in 1965. "It had been refurbished by someone," he says, "and I think there's only three of them in the United States. I heard it was for sale from our friend [and the National producer/mixer] Peter Katis. That's a huge improvement here."

Although the National made Sleep Well Beast and its 2019 successor I Am Easy To Find at Long Pond, the band members are scattered around the US and Europe, meaning Dessner is no stranger to remote working and file sharing. This proved to be invaluable for his work with Swift. Dessner spent the first six weeks of lockdown writing music that he believed to be for Big Red Machine, his project with Bon Iver's Justin Vernon. Instead, many of these work-in-progress tracks would end up on folklore. Their first collaboration (and the album's first single), 'cardigan', for instance, emerged from an idea Dessner had been working on backstage during the National's European arena tour of Winter 2019.

"I sent her a folder and in the middle of the night she sent me that song," Dessner explains. "So, the next morning I was just listening to it, like, `Woah, OK, this is crazy."

On The Move

As work progressed, it quickly became apparent that Swift and Dessner were very much in tune as a songwriting and producing unit. There was very little Dessner had to do, he says, in terms of chopping vocals around to shape the top lines. "I think it's because I'm so used to structuring things like a song, with verses and choruses and bridges," he reckons. "In most cases, she sort of kept the form. If she had a different idea, she would tell me when she was writing and I would chop it up for her and send it to her. But, mostly, things kind of stayed in the form that we had."

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written 'the last great american dynasty' and it was waiting for him in his inbox. "That was a crazy moment," he laughs. "One of the astonishing things about Taylor is what a brilliant songwriter she is and the clarity of her ideas and, when she has a story to tell, the way she can tell it. I think she's just been doing it for so long, she has a facility that makes you feel like you could never do what she's capable of. But we were a good pair because I think the music was inspiring to her in such a way that the stories were coming."

Swift's contributions to folklore were recorded in a makeshift studio in her Los Angeles home. Laura Sisk engineered the sessions as the singer recorded her vocals, using a Neumann U47, in a neighbouring bedroom. Live contact between Swift, Sisk, Dessner and Long Pond engineer Jonathan Low was done through real-time online collaboration platform Audiomovers.

"We would listen in remotely and kind of go back and forth," says Dessner. "We used Audiomovers and then we would have Zoom as a backup. But mainly we were just using Audiomovers, so we could actually be in her headphones. It's powerful, it's great. I've used it a lot with people during this time. Then, later on, when we recorded evermore, a lot of the vocals were done here at the studio actually when Taylor was visiting when we did the [Disney+ documentary] Long Pond Sessions. But Taylor's vocals for folklore were all done remotely."

Keeping Secrets

Given the huge international interest in Swift, the team had to work with an elaborate file-sharing arrangement to ensure that the tracks didn't leak online. Understandably, Dessner won't be drawn on the specifics. "Yeah, I mean we had to be very careful, so everything was very secretive," he says. "There were passwords on both ends and we communicated in a specific way when sharing mixes and everything. There was a high level of confidentiality and data encryption. It was sort of a learning curve.

"I'm not used to that," he adds, "'cause usually we're just letting files kind of fly all over the Internet [laughs]. But I think with someone like her, there's just so many people that are paying attention to every move that she makes, which can be a little, I think, oppressive for her. We tried to make it as comfortable as possible and we got used to how to get things to her and back to us. It worked pretty well."

Drums & Guitars

For the generally minimalist beat programming on the records, Dessner would sometimes turn to his more expensive new analogue drum generators - Vermona's DRM1 and Dave Smith's Tempest - but more often used the Synthetic Bits iOS app FunkBox. "There's just a lot of great vintage drum machine sounds in there, and they sound pretty cool, especially if you overdrive it," he says. "Often I send that through an amplifier, or through effects into an amplifier. Then I have a [Roland) TR-8 and a TR-8S that I use a lot. I also use the drum machine in the [Teenage Engineering] OP-1. So, a song like 'willow', that's just me tapping the OP-1."

Elsewhere, Dessner's guitar work appears on the tracks, with the intricate melodic layering on 'the last great american dynasty' from folklore having been inspired by Radiohead's In Rainbows. "Almost all of the electric guitar on Taylor's records is played direct through a REDDI DI into the Siemens board," he says. "It's usually just my 1971 Telecaster played direct and it just sounds great. Oftentimes I just put a little spring reverb on it and sometimes I'll overdrive the board like it's an amplifier, 'cause it breaks up really beautifully.

"I have a 1965 [Gibson] Firebird that I play usually through this 1965 Fender Deluxe Reverb. So, if I am playing into an amp, that's what it is. But on 'the last great american dynasty', those little pointillistic guitars, that's just played direct with the Telecaster through the board."

Elsewhere, Aaron Dessner took Taylor Swift even further out of her sonic comfort zone. A key track on folklore, the Cocteau Twins-styled 'epiphany', features her voice amid a wash of ambient textures, created by Dessner slowing down and reversing various instrumental parts in Pro Tools. "I created a drone using the Mellotron [MD4000D] and the Prophet and the OP-1 and all kinds of synth pads," he says. "Then I duplicated all the tracks, and some of them I reversed and some of them I dropped an octave. All manner of using varispeed and Polyphonic Elastic Audio and changing where they were sitting. Just to create like this Icelandic glacier of sounds was my idea. Then I wrote the chord progression against that.

"The [Pro Tools] session was not happy," he adds with a chuckle. "It kept crashing. Eventually I had to print the drone but I printed it by myself and there was some crackle in it. It was distorting. And then I couldn't recreate it so Jon Low, who was helping me, was kind of mad at me 'cause he was like, 'You can't do that.' And I was like, 'Well, I was working quickly. I didn't know it'd become a song."

Orchestra Of Nowhere

Meanwhile, the orchestrations that appear on several of the tracks were scored by Aaron's twin brother and National bandmate, Bryce Dessner, who is located in France. "I would just make him chord charts of the songs and send them to him in France," Aaron says. "Then he would orchestrate things in Sibelius and send the parts to me. I would send the parts and the instrumental tracks to different players remotely and they would record them literally in their bedrooms or in their attics. None of it was done as a group, it was all done separately. But that's how we've always worked in the National so it's quite natural."

On folklore standout track 'exile', Justin Vernon of Bon Iver delivered his stirring vocal for the duet remotely from his home in Eaux Claires, Wisconsin. "He's renovating his studio, so he has a little home studio in his garage," says Dessner. "It was Taylor's idea to approach him. I sent him Taylor's voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

"I do a lot of work remotely with Justin also, so it was easy to send him tracks and he would track to it and send back his vocals. I was sending him stems, so usually it's just a vocal stem of Taylor and an instrumental stem and then if he wants something deeper, I'll give him more stems. But generally, he's just working with the vocal layers and an instrumental."

Vernon also provided the grainy beat that kicks off 'closure', one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. "It was this little loop that Justin had given me in this folder of 'Starters', he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it's not in 5/4. 'Closure' really opened everything up further. There were no real limits to where we were gonna try to write songs."

Given the number of remote players, Dessner says there were surprisingly few problems with the file swapping and that it was a fairly painless technical process. "It was pretty smooth, but there were issues," he admits. "Sometimes sample-rate issues, or if I happened to give someone an instrumental that was an MP3, that sometimes lines up differently than if you send them an actual WAV that's bounced on the grid. So, sometimes I'd have to kinda eyeball things.

"If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, 'cause we would try a lot of things, y'know. So, eventually the sessions got kinda crazy and you'd have to deactivate a lot of things and print things. But we got used to that."

Soft Piano

Aaron Dessner's characteristic dampened upright piano sound, familiar from the National's albums, is much in evidence throughout both folklore and evermore. "The upright is a Yamaha U1 that I've had for more than a decade. Usually, I play it with the soft pedal down and that's the sound of 'hoax' or 'seven' or 'cardigan', y'know, that felted sound. It kind of almost sounds like an electric piano.

"I always mic it the same way, just with two [AKG] 414s, and they're always the same distance off the wall. I had a studio in Brooklyn for 10 years and then when I moved here, I copied the same [wooden] pattern on the wall. And the reason I did that is 'cause of how much I love how this piano sounds bouncing off that wall. It just does something really special for the harmonics."

When on other folklore songs, such as 'exile' or 'the 1', where the piano was the main sonic feature of the track, Dessner played his Steinway grand. "A lot of times we use a pair of Coles [4038s] on the Steinway, just cause it's darker. But sometimes we'll have the 414s there as well and choose."

Keeping Warm

On both folklore and evermore, Taylor Swift's voice is very much front and center and high in the mix, and generally sounds fairly dry. "I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear," Dessner explains. "'Cause I think a lot of the more pop-oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it's very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like `seven'. If you carved out that mud, y'know, it wouldn't hit you the same way. Or, like, `cardigan', I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that's where a lot of emotion is."

Effects-wise, almost all of the treatments were done in the box. "There's no outboard reverbs printed," says Dessner. "The only things that we did print would be like an [Eventide] H3000 or sometimes the [WEM] CopiCat tape delay for just a really subtle slap. But generally, it's just different reverbs in the box that Jon was using. He uses the Valhalla stuff quite a bit and some other UAD reverbs, like the [Capitol] Chambers. I often just use Valhalla VintageVerb and the [Avid] Black Spring and simple things."

In some instances, the final mix ended up being the never-bettered rough mix, while other songs took far more work. "'cardigan' is basically the rough, as is `seven'. So, like the early, early mixes, when we didn't even know we were mixing, we never were able to make it better. Like if you make it sound 'good', it might not be as good 'cause it loses some of its weird magic, y'know. But songs like `the last great american dynasty' or 'mad woman', those songs were a little harder to create the dynamics the way you want them, and the pay-off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

"On evermore, I would say 'willow' was probably the hardest one to finish just because there were so many ways it could've gone. Eventually we settled back almost to the point where it began. So, there's a lot of stuff that was left out of 'willow', just because the simplicity of the idea I think was in a way the strongest."

The subject of this month's Inside Track article, 'willow' was the first song written for evermore, immediately following the release of folklore. "It almost felt like a dare or something," Dessner laughs. "We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn't really ever stop since April."

Rubber & Vinyl

Sometimes, Dessner and Swift drew inspiration from unlikely sources; `no body, no crime', for instance, started when he gave her a 'rubber bridge' guitar made by Reuben Cox of the Old Style Guitar Shop in LA. "He's my very old friend," says Dessner of Cox. "He buys undervalued vintage guitars. Stuff that was made in the '50s and '60s as sort of learner guitars, like old Silvertones and Kays and Harmonys. These kinds of guitars which now are quite special, but they're still not valued the same way that vintage Fenders or Gibsons are valued. Then, he customizes them.

"Recently he started retrofitting these guitars with a rubber bridge and flatwound strings. He'll take, like, an acoustic Silvertone from 1958 and put a bridge on it that's covered in this kind of rubber that deadens the strings, so it really has this kind of dead thrum to it. And he puts two pickups in there, one that's more distorted and one that's cleaner. They're just incredible guitars. I thought Taylor would enjoy having one 'cause she loves the sound. So, I had Reuben make one for her and she used it to write `no body, no crime'."

Another friend of Dessner's, Ryan Olsen, has developed a piece of software called the Allovers Hi-Hat Generator which helped create the unusual harmonic loops that feature on `marjorie'. "It's not available on the market," Dessner says of the software. "It's just something that he uses personally, but I think hopefully eventually it'll come out. I wouldn't say it's artificial intelligence software but there's something very intelligent about it [laughs]. It basically analyses audio information and is able to separate audio into identifiable samples and then put them into a database. You then can design parameters for it to spit out sequences that are incredibly musical.

"When Ryan comes here, he'll just take all kinds of things that I give him and run it through there and then it'll spit out, like, three hours of stuff. Then I go through it and find the layers that I love, then I loop them. You can hear it also on the song 'happiness', the drumming in the background. It's not actually played. That's drums that have been sampled and then re-analyzed and re-sequenced out of this Allovers Hi-Hat Generator."

The song `marjorie' is named after Swift's opera-singer grandmother and so, fittingly, her voice can be heard flitting in and out of the mix at the end of the track. "Taylor's family gave us a bunch of recordings of her grandmother," Dessner explains. "But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope's] RX and then I went in and I found some parts that I thought might work. I pitch-shifted them into the key and then placed them. It took a while to find the right ones, but it's really beautiful to be able to hear her. It's just an incredibly special thing, I think."

Meet At The Pond

Taylor Swift finally managed to get together with Aaron Dessner and Jack Antonoff in September 2020 for the filming of folklore: the long pond studio sessions, featuring the trio live-performing the album. It also provided an opportunity for Swift to add her vocals to some of the evermore tracks.

"It did allow us to have more fun, I think," says Dessner. "Y'know, drink more wine and just kinda be in the same place and have the feeling of blasting the music here and dancing around and just enjoying ourselves. She's really a lovely person to hang out with, so in that sense I'm glad that we had that chance to work together in person.

"We were using a [Telefunken] U47 to record Taylor here," he adds. "Either we were using one of the Siemens preamps on the board, which are amazing. Or I have Neve 1064s [preamps/EQs] and we use a Lisson Grove [AR-i] tube compressor generally."

One entirely new song, `tis the damn season', came out of this face-to-face approach, which Swift wrote in the middle of the night after the team had stayed up late drinking. "We had a bunch of wine actually," Dessner laughs, "and then everybody went to sleep, I thought. But I think she must have had this idea swimming around in her head, 'cause the next morning when she arrived, she sang 'Us the damn season' for me in my kitchen. It's maybe my favourite song we've written together. Then she sang it at dinner for me and my wife Stine and we were all crying. It’s just that kind of a song, so it was quite special.”

National Unity

One key track on evermore, 'coney island', features all of the members of the National and sees Swift duetting with their singer Matt Berninger. "My brother [Bryce] actually originated that song," says Aaron Dessner. "I sent him a reference at one point - I can't remember what it was - and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it.

"Taylor and William Bowery [the songwriting pseudonym of Swift's boyfriend, actor Joe Alwyn] wrote 'coney island' and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought, Taylor and myself and Bryce, like this was the closest to a National song."

Dessner then asked the brothers who make up the National's rhythm section, drummer Bryan and bassist Scott Devendorf, to play on 'coney island'. Matt Berninger, as he often does with the band's own tracks, recorded his vocal at home in Los Angeles. "It was never in the same place, it was done remotely," says Dessner, "except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor."

No Compromise

folklore and evermore have been both enormous critical and commercial successes for Taylor Swift. Aaron Dessner reckons that making these anti-pop records has freed the singer up for the future. "I think it was very liberating for her," he says. "I think that's the thing that's been probably the biggest change for her has just been being able to make songs without compromise and then release them without the promotional requirements that she's used to from the past. Obviously, it comes at this time when we're all in lockdown and nobody can tour or go on talk shows or anything. But I think for her probably it will impact what she does in the future.

"But I also think she can shapeshift again," he concludes. "Who knows where she'll go? She's had many celebrated albums from the past, but to release two albums of this quality in such a short time, it really did shine a light on her songwriting talent and her storytelling ability and also just her willingness to experiment and collaborate. Somehow, I ended up in the middle of all that and I'm very grateful."

INSIDE TRACK - Jonathan Low: Secrets of the Mix Engineers

Sound On Sound Magazine // March 2021 issue // By Paul Tingen

From sketches to final mixes, engineer Jonathan Low spent 2020 overseeing Taylor Swift’s hit lockdown albums folklore and evermore.

“I think the theme of a lot of my work nowadays, and especially with these two records, is that everything is getting mixed all the time. I always try to get the songs to sound as finalised as they can be. Obviously that’s hard when you’re not sure yet what all the elements will be. Tracks morph all the time, and yet everything is always moving forwards towards completion in some way. Everything should sound fun and inspiring to listen to all the time.”

Speaking is Jonathan Low, and the two records he refers to are, of course, Taylor Swift’s 2020 albums folklore and evermore, both of which reached number one in the UK and the US. Swift’s main producer and co‑writer on the two albums was the National’s Aaron Dessner, also interviewed in this issue. Low is the engineer, mixer and general right‑hand man at Long Pond Studios in upstate New York, where he and Dessner spent most of 2020 working on folklore and evermore, with Swift in Los Angeles for much of the time.

“In the beginning it did not feel real,” recalls Low. “There was this brand‑new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind‑blowing. There was constant elevation, inspiration and just wanting to continue the momentum.

“We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on‑a‑whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points.”

Pond Life

The making of the National’s 2017 album Sleep Well Beast and the setup at Long Pond were covered in SOS October 2017; today the studio remains pretty much the same, with the exception of a new desk. “The main space is really big, and the console sits in the middle,” says Low. “In 2019, I installed a 1965 WSW/Siemens, which has 24 line‑in and microphone channels and another 24 line channels. WSW is the Austrian branch of Siemens usually built for broadcast. It’s loaded with 811510B channels. The build quality is insane, the switches and pots feel like they were made yesterday. To me it hints at the warm haze of a Class‑A Neve channel but sits further forward in the speakers. The midrange band on the passive EQ is a huge part of its charm, it really does feel like you’re changing the tone of the actual source rather than the recording. Most microphones go through the desk on their way into Pro Tools, though we sometimes use outboard Neve 1064 mic pres. Occasionally I use the Siemens to sum a mix.

“We have a pair of ATC SCM45 monitors, which sound very clear in the large room. The ceiling is very high, and the front wall is about 25 feet behind the monitors. There are diffusers on the sidewalls and the back walls are absorbing, so there are very few reflections. Aaron and I will be listening in tons of different ways. I’ll listen in my home studio with similar ATC SCM20 monitors or on my ‘70s Marantz hi‑fi setup. Aaron is always checking things in his car, and if there’s something that is bugging him, I’ll join him in his car to find out what he hears.”

Low works at Long Pond and with Dessner most of the time, though he does find time to do other projects, among hem this last year the War On Drugs, Waxahatchee and Nap Eyes. When lockdown started in Spring 2020, Low tacked up on supplies and "had a bunch f mixes lined up". Meanwhile, on the Eest Coast, Swift had seen her Lover Fest our cancelled. With help from engineer aura Sisk, she set up a makeshift studio which she dubbed Kitty Committee in bedroom in her Los Angeles home, and began working with long-term producer nd co-writer Jack Antonoff. At the end of April, however, Swift also started working with Dessner, which took the project in different direction. The impressionistic, atmospheric, electro-folk instrumentals Dessner sent her were mostly composed nd recorded by him at Long Pond, assisted by Low.

Sketching Sessions

The instrumental sketches Aaron makes come into being in different ways," elaborates Low. "Sometimes they are more fleshed-out ideas, sometimes they are less formed. But normally Aaron will set himself up in the studio, surrounded by instruments and synths, and he'll construct a track. Once he feels it makes some kind of sense I'll come in and take a listen and then we together develop what's there.

"I don't call his sketches demos, because while many instruments are added and replaced later on, most of the original parts end up in the final version of the song. We end up in the final version of the song. We try to get the sketches to a place where they are already very engaging as instrumental are already very engaging as instrumental tracks. Aaron and I are always obsessively listening, because we constantly want to hear things that feel inspiring and musical, not just a bed of music in the background. It takes longer to create, but in this case also gave Taylor more to latch onto, both emotionally and in terms of musical inspiration. Hearing melodies woven in the music triggered new melodies."

Not long after Dessner and Low sent each sketch to Swift, they would receive her voice memos in return, and they'd load them into the Pro Tools session of the sketch in question. Dessner and Low then continued to develop the songs, in close collaboration with Swift. "Taylor's voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks."

Dessner supplied sketches for nine and produced 10 of folklore's 16 songs, playing many different types of guitars, keyboards and synths as well as percussion and programmed drums. Instruments that were added later include live strings, drums, trombone, accordion, clarinet, harpsichord and more, with his brother Bryce doing many of the orchestrations. Most overdubs by other musicians were done remotely as well. Throughout, Low was keeping an overview of everything that was going on and mixing the material, so it was as presentable and inspiring as possible.

Mixing folklore

Although Dessner has called folklore an "anti-pop album", the world's number-one pop mixer Serban Ghenea was drafted in to mix seven tracks, while Low did the remainder.

"It was exciting to have Serban involved," explains Low, "because he did things I'd never do or be able to do. The way the vocal sits always at the forefront, along with the clarity he gets in his mixes, is remarkable. A great example of this is on the song 'epiphany'. There is so much beautiful space and the vocal feels effortlessly placed. It was really interesting to hear where he took things, because we were so close to the entire process in every way. Hearing a totally new perspective was eye-opening and refreshing.

"Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over-mixing.

"We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, 'Is this going to compete sonically? Is this loud enough?' We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn't improve the song — 'cardigan' is an example of a song where we ended up choosing a very early mix."

The Low Down

"I'm originally from Philadelphia," says Jonathan Low, "and played piano, alto saxophone and guitar when growing up. My dad is an electrical engineer and audiophile hobbyist, and I learned a lot about circuit design and how to repair things. I then started building guitar pedals and guitar amps, and recorded bands at my high school using a minidisc player and some binaural microphones. After that I did a music industry programme at Drexel University, and spent a lot of time working at the recording facilities there.

"This led to me meeting Brian McTear, a producer and owner of Miner Street Studios, which became my home base from 2009 to 2014. I learned a lot from him, from developing an interest in creating sounds in untraditional ways, to how to see a record through to completion. The studio has a two-inch 16-track Ampex MM1200 tape machine and a beautiful MCI 400 console which very quickly shaped the way I think about routing and signal flow. I'm lucky to have learned this way, because a computer environment is like the Wild West: there are no rules in terms of how to get from point A to point B. This flexibility is incredible, but sometimes there are simply too many options.

"l met Aaron [Dessned] because singer-songwriter Sharon van Etten recorded her second album, Epic [2010] at Miner Street, with Brian producing. Her third album, Tramp [2012] was produced by Aaron. They came to Philly to record drums and I ended up mixing a bunch of that record. After that I would occasionally go to work in Aaron's garage studio in Brooklyn, and this became more and more a regular collaboration. I then moved from Philly up to the Hudson Valley to help Aaron build Long Pond. We first used the studio in the spring of 2016, when beginning to record the National's album Sleep Well Beast."

Onward & Upward

folklore was finished and released in July 2020. In a normal world everyone might have gone on to do other things, but without the option of touring, they simply continued writing songs, with Low holding the fort. In September, many of the musicians who played on the album gathered at Long Pond for the shooting of a making-of documentary, folklore: the long pond studio sessions, which is streamed on Disney+.

The temporary presence of Swift at Long Pond changed the working methods somewhat, as she could work with Dessner in the room, and Low was able record her vocals. After Swift left again, sessions continued until December, when evermore was released, with Dessner producing or co-producing all tracks, apart from 'gold rush' which was co-written and co-produced by Swift and Antonoff. Low recorded many of Swift's vocals for evermore, and mixed the entire album. The lead single 'willow' became the biggest hit from the album, reaching number one in the US and number three in the UK.

"Before Taylor came to Long Pond," remembers Low, "she had always recorded her vocals for folklore remotely in Los Angeles or Nashville. When I recorded, I used a modern Telefunken U47, which is our go-to vocal mic — we record all the National stuff with that — going straight into the Siemens desk, and then into a Lisson Grove AR-1 tube compressor, and via a Burl A-D converter into Pro Tools. Taylor creates and lays down her vocal arrangements very quickly, and it sounds like a finished record in very few takes."

Devils In The Detail

In his mixes, Low wanted listeners to share his own initial response to these vocal performances. "The element that draws me in is always Taylor's vocals. The first time I received files with her properly recorded but premixed vocals I was just floored. They sounded great, even with minimal EQ and compression. They were not the way I'm used to hearing her voice in her pop songs, with the vocal soaring and sitting at the very front edge of the soundscape. In these raw performances, I heard so much more intimacy and interaction with the music. It was wonderful to hear her voice with tons of detail and nuances in place: her phrasing, her tonality, her pitch, all very deliberate. We wanted to maintain that. It's more emotional, and it sounds so much more personal to me. Then there was the music..."

The arrangements on evermore are even more 'chamber pop' than on folklore, with instruments like glockenspiel, crotales, flute, French horn, celeste and harmonium in evidence. "As listeners of the National may know, Aaron's and Bryce's arrangements can be quite dense. They love lush orchestration, all sorts of percussion, synths and other electronic sounds. The challenge was trying to get them to speak, without getting in the way of the vocals. I want a casual listener to be drawn in by the vocal, but sense that something special is happening in the music as well. At the same time, someone who really is digging in can fully immerse themselves and take in all the beauty deeper in the details of the sound and arrangement. Finding the balance between presenting all the musical elements that were happening in the arrangement and this really beautiful, upfront, real-sounding vocal was the ticket."

A particular challenge is that a lot of the detail that Aaron gravitates towards happens in the low mids, which is a very warm part of our hearing spectrum that can quickly become too muddy or too woolly. A lot of the tonal and musical information lives in the low mids, and then the vocal sits more in the midrange and high mids. There's not too much in the higher frequency range, except the top of the guitars, and some elements like a shaker and the higher buzzy parts of the synths. Maintaining clarity and separation in those often complex arrangements was a major challenge."

In & Out The Box

According to Low, the final mix stage for evermore was "very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There's a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you're really close to being done. Earlier on, those little adjustments don't really matter.

"I often try to mix at the console, with some outboard on the two-bus, but folklore was mixed all in the box, because we were working so fast, plus initially the plan was for the mixes to be done elsewhere. I ran a couple of mixes for evermore through the console, and `closure' was the only one that stuck. It was summed through the Siemens, with an API 2500 compressor and a Thermionic Culture Phoenix and then back into Pro Tools via the Burl A-D. I will use hardware when mixing in the box, though mainly just two units: the Eventide H3000, because I have not found any plug-ins that do the same thing, and the [Thermionic] Culture Vulture, for its very broad tone shaping and distortion properties.

"The writing and the production happened closely in conjunction with the engineering and mixing, and the arrangements were dense, making many of the sessions super hefty and actually quite messy. Sounds would constantly change roles in the arrangement and sometimes plug-ins would just stack up. So final mixing involved cleaning up the sessions and stemming large groups down."

Across The Rubber Bridge

The Pro Tools mix session of 'willow' has close to 100 tracks, though there's none of the elaborate bussing that's the hallmark of some modern sessions. At the top are six drum machine tracks in green from the Teenage Engineering OP-1, an instrument that was used extensively on the album. Below that are five live percussion tracks (blue), three bass tracks (pink), and an `AUX Drums' programming track. There's a 'rubber bridge' guitar folder and aux, OP-1 synth tracks, piano tracks, 'Dream Machine' (Josh Kaufman's guitar) and E-bow tracks, Yamaha, Sequential Prophet X, Moog and Roland Juno synth tracks, and Strings and Horns aux stem tracks.

"Most of the drum tracks were performed on the OP-1 by Aaron. These are not programmed tracks. Bryan Devendorf, drummer of the National, programmed some beats on a Roland TR-8S. I ran those though the Fender Rumble bass amp, which adds some woofiness, like an acoustic kit room mic. There's an acoustic shaker, and there's an OP-1 backbeat that's subtle in the beginning, and then gets stronger towards the end of the song. I grouped all the drum elements and the bass, and sent those out to a hardware insert with the Culture Vulture, for saturation, so it got louder and more and more harmonically rich. There is this subtle growing and crescendo of intensity of the rhythm section by the end.

"The 'rubber bridge' guitars were the main anchor in the instruments. These guitars have a wooden bridge wrapped in rubber, and sound a bit like a nylon-string guitar, or a light palm mute. They're very percussive and sound best when recorded on our Neumann U47 and a DI. On many of those DI tracks I have a [SPL] Transient Designer to lower the sustain and keep them punchy, especially in the low end. There's a folder with five takes of 'rubber bridge' guitar in this session, creating this wall of unique guitar sound.

"I treated the 'rubber bridge' guitars quite extensively. There's a FabFilter Pro-Q3 cutting some midrange frequencies and some air around 10kHz. These guitars can splash out in the high end and have a boominess that's in the same range as the low end of Taylor's vocal, so I had to keep these things under control. Then I used a SoundToys Tremolator, with a quarter-note tremolo that makes the accents in the playing a bit more apparent. I like to get the acoustic guitars a little bit out of the way for the less important beats, so I have the Massey CT5 compressor side-chained to the kick drum. I also used the UAD Precision K-Stereo to make the guitars a bit wider. The iZotope Ozone Exciter adds some high mids and high-end harmonic saturation sparkly stuff, and the SoundToys EchoBoy delay is automated, with it only coming on in the bridge, where I wanted more ambience."

Growing Pains

"Once we had figured out how to sit the 'rubber bridge' guitars in the mix, the next challenge was to work out the end of the song, after the bridge. Taylor actually goes down an octave with her voice in the last chorus, and at the same time the music continues to push and grow. That meant using a lot of automation and Clip Gain adjustment to make sure the vocal always stayed on top. There also are ambient pianos playing counter-melodies, and balancing the vocals, guitars and pianos was the main focus on this song. We spent a lot of time balancing this, particularly as the track grows towards the end.

"The vocal tracks share many of the same plug-ins and settings. On the main lead vocal track I added the UAD Pultec EQP-1A, with a little bit of a cut in the low end at 30Hz, and a boost at 8kHz, which adds some modern air. The second plug-in is the Oeksound Soothe, which is just touching the vocal, and it helps with any harsh resonance stuff in the high mids, and a little in the lower mids. Next is the UAD 1176AE, and then the FabFilter Pro-Q3, doing some notches at 200Hz, 1kHz, 4kHz and close to 10kHz. I tend to do subtractive EQ on the Q3, and use more analogue-sounding plug-ins, like the Pultec or the Maag, to boost. After that is the FabFilter Pro-DS [de-esser], taking off a couple of decibels, followed by the FabFilter Saturn 2 [saturation processor], on a warm tape setting.

"Below the vocal tracks are three aux effects tracks, for the vocals. 'Long Delay' has a stereo EchoBoy going into an Altiverb with a spring reverb, for effect throws in the choruses. 'Chamber' is the UAD Capitol Chamber, which gives the vocal a nice density and size, without it being a long reverb. The 'Plate' aux is the UAD EMT140, for the longer tail. These two reverbs work in conjunction, with the chamber for the upfront space, determining where the vocal sits in the mix, and the plate more for the depth behind that.

"At the bottom of the session is a two-bus aux, which mimics the way I do the two-bus on the desk. The plug-ins are the UAD Massive Passive EQ, UAD API 2500 compressor, and the UAD Ampex ATR102. Depending on the song, I will choose 15ips or 30ips. In this case it was set to 15ips, half-inch GP9. That has a nice, aggressive, midrange push, and the GP9 bottom end goes that little bit lower. There's also a PSP Vintage Warmer, a Sonnox Oxford Inflator, plus a FabFilter Pro-L2 [limiter]. None of these things are doing very much on their own, but in conjunction give me the interaction I expect from an analogue mix chain."

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