#signal line diagram

[av-industry-blog]

🔌 AV Folks, Struggling with Single-Line Diagrams? 😩

Let's face it, making diagrams for AV systems can be a real puzzle. The tangled wires, confusing drawings - it's frustrating. But guess what? You're not alone, and we've got help.

Our new blog post digs into Single-Line Diagrams:

🔍 Learn why they can be so tricky. 📐 Get easy tips to make your diagrams simple. 🛠️ Avoid common mistakes that mess up your AV projects.

Read the blog post now - it'll make diagrams a breeze:

Because in the world of AV, knowledge is your secret weapon. Share this post to help your AV buddies! 🚀🔊

[cr4yolaas]

blue spring — something sweet

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"what prompted this?" she asks while taking a sip of the coffee he got her. it's filled to the brim with ice, much to her dismay, but the hints of lavender and cinnamon make up for the inconvenience. she's still dressed in her pajamas, lace-lined and adorned with ribbons, but she's wide awake.

"as thanks," he claims, but truthfully, it was a spur-of-the-moment decision. "for inviting me the other night. and for returning my jacket." she shakes her head at his reasoning. her hand motions to their spot on the floor, signaling him to situate himself while she prepares her materials, and as she does so, kageyama soaks in her room again, this time with more intent. the papers that were on her desk a few days prior have been neatly stacked up and stored in a container beneath her desk, and the clothes that once piled up on the floor are nowhere to be seen. most importantly, though, the canvas isn't bland anymore. there's a sketch of a girl with her arms wrapped around an unintelligible creature in the center, and the face vaguely reminds him of her. this time, he questions it. "what is that?"

her movements come to a swift halt, and her eyes dart towards the easel. he can see the tension settle in her bones at the realization that the unfinished piece is on full display. "it's nothing," she replies, and instead of leaving it alone, she moves quickly to hide it in her closet.

his head tilts at her actions. "it looks great, though."

"thank you, but-"

the call of her name from the living room cuts her short, and she's escaping through the door before he can say another word. his fist curls in on itself subconsciously while he waits, the hushed talks on the other side of the wall failing to reach his ears.

when she returns, the air around her is heavier. a soft sigh leaves her lips before she settles herself on the ground and delves into the lesson for today. he doesn’t fail to notice the slight stiffness about her.

the time slips through kageyama's hands, and unbeknownst to him, wisps of warm golden sunlight are peering through her window. his legs have fallen asleep a long time ago, and his posture is unsalvageable. regardless, he listens. he listens to the soft timber of her voice as she explains each diagram, and he listens to the enunciation of each syllable that falls from her tongue. he's entranced, to say the least, but he doesn't realize it. all he can feel is the thump, thump, thump of his heart against his chest and the airiness in his stomach.

his notes have grown cleaner, compared to the last session. she compliments his organization, and embarrassingly, a barrage of heat hits his face. the change in dynamic shakes his awareness back into place, and he realizes the sun is already disappearing into the horizon, the hue of the sunset long gone. seemingly, his awakening draws her attention to the time, and she breathes out a small apology for dragging on for too long.

he's rushing to pack his things, realizing he'd overstayed his welcome. he can't read her expression -- it's an amalgamation of emotions he can't put a name to, and it bothers him slightly. nevertheless, she bids him farewell, this time following out to the front door.

"thank you," she whispers, her arms crossed against her chest to fight against the breeze. "for the coffee and sweets. i'll have to pay you back sometime soon." the small smile on her lips almost makes him forget to respond.

"you don't have to," he replies hastily, his words tumbling out all too fast. "you're already doing me a huge favor. y'know, by tutoring me."

she shifts her weight to a different leg, her gaze attached to his face. "okay. just get home safe, alright?"

he nods, pivoting around to walk down the hallway, to the street, and back home. the trip is quiet, save for the whirring of cars on his right and the hum of evening owls on his left. when he returns, the thumping of his heart dissolves into a softer noise, and the airiness in his stomach disappears.

𝜗𝜚 incoming family trauma :3

𝜗𝜚 tsukki is very caring behind the scenes as u can see (he wants to look nonchalant and cool for his bf but i didnt tell u that)

𝜗𝜚 yachi may or may not have eaten half of the pastry box

𝜗𝜚 yn orders the same noodles every time tsukishima says he's getting takeout and he uses the add-ons as a mood indicator. no add-ons means she's doing fine, the more add-ons equate to how badly she's doing

𝜗𝜚 kageyama is like a cat exploring a new area every time he enters yn's room LOL she's noticed it she just hasn't cared enough to mention it

taglist: @mfcherry @eggyrocks

[quietwingsinthesky]

people are saying he « led her on » because he did. the fact that he kissed her in the first episode set the tone for the rest of the season and if you can’t perceive the flirting I’m sorry but how?? he didn’t make anything clear he sent the craziest mixed signals in the world. there’s nothing revolutionary about claiming that Martha was being pushy toward someone who was clearly not interested it’s 1) weird to claim in what it suggests about her 2) factually not true.

I wasn’t gonna respond to this at first because the top half of this ask is pretty much just individual interpretation and I don’t really care about it. Like, no, to me, the Doctor doesn’t seem especially flirty towards Martha. He’s just sort of Like That. That’s his damage, you know, Mr. I need to traumadump on anyone who tolerates being around me for more than five minutes. Mr. If I don’t develop an intensely codependent emotional bond with the companion I have currently I’ll die. It doesn’t read to me as him trying to lead her on because that bit’s honest, and he does it with damn near every companion he’s ever had.

And if nothing else, because we do see Ten when he tries to flirt intentionally and he’s a fuckin dork about it. Kind of guy who looked up romance in the dictionary and took notes. Kinda guy who draws diagrams to maximize kissing potential. It would have been obvious even to me (<- romance-blind as all fuck) if he was flirting with Martha on purpose because he’s not smooth at all; he flirts like he’s gotten lines in a play and he’s super excited to be the main star.

But anyway, as I was saying, that’s just how I see it. And if you see it different, no skin off my back, I just disagree.

But I take umbrage with you putting words in my mouth. I never said Martha was pushy towards him. Because yeah, she’s not. If I implied that she was, then it was a result of poor phrasing on my part. Martha’s not at fault for what she feels, for wanting there to come something of it. No more at fault than the Doctor is for not returning those feelings. It’s a bit weird that you’re assuming that I think one of them has to be the bad guy here when that was the opposite of what I was saying. My point was: When it comes to their romantic subtext of their relationship, it’s weird to pretend like either of them are to blame for them not being in a relationship at the end of s3, and even weirder to assert that as part of why Martha supposedly wouldn’t like the Doctor afterwards when they’re. friends. they continue to be friends into s4.

Martha’s not pushy. She has a crush on her friend. It happens. He doesn’t return it. This also happens. Both of these facts are pushed to the extreme because he’s a time-traveling alien with poor emotional skills and she’s put herself in the position of needing to help him from minute one of meeting each other. That’s why it’s fun to watch, because the Doctor is both so open and so unavailable in turns, because Martha’s feelings for him grow and change as she knows more about her Doctor until she decides to step back.

I don’t know, man. You seem to be coming at this as if one of them has to be The Problem™️. I don’t think either of them is, not so definitively. I think boiling their relationship down to that is reductive and an insult to the way they both grow over s3, to Martha’s choice to continue to be his friend while also establishing her own boundaries, to the fact that the Doctor is able to let her go without immediately trying to kill himself afterwards when she’s not there to catch him.

[andmaybegayer]

spliced my esp32c3 into the control line for this ws2812 string so I can now write whatever control program I want. Perfect. I'm using this crate for emitting ws2812 command pulses using the esp32's remote control signal processor which is a neat hack.

https://crates.io/crates/ws2812-esp32-rmt-driver/0.6.0

The plan is to string this up around the perimeter of my apartment so I want to use some kind of expression evaluation library so that I can write patterns mapped over n and t without recompiling. Not sure whether exprtk can cross-compile to riscv but I think there's a decent native rust based expression evaluator that I could use too.

Upon closer review I had misread the circuit diagram for this board (DFRobot ESP32-C3 Beetle) and it actually does pass the 5V in from the USB-in directly to a board pin so I can power the string right off the Vin pin if this is plugged into USB power. As a result I can pack it down super small very easily.

[sanddusted-wisteria]

A Builder, a Researcher, and a Rooftop, Ch. 29: Norepinephrine

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"I'm scared."

Also on AO3

------------

Whoops and cheers.

The beeping of the telegram.

“HQ, copy: switching to Plan Zeta. Jam all signals. Occupy Sandrock. Cut the rail links! Signal blackout NOW. Whale express in route!”

Silence.

Grace cursing under her breath.

Justice cursing rapid-fire.

Qi’s grip on the tracking device tightening.

An uncertain glance at Qi.

Qi’s uncertain glance in return.

The mayor’s plea.

A grin spreading across Qi’s face.

A plan.

A hint of unease lingering in Qi’s eyes.

Nervous murmurs in the town square.

Refueling the generator.

Watching the mailbox.

The clang of the forging machine.

Watching the mailbox.

Restless sleep.

A letter.

------------

Attached is the diagram for the air cannon and its ancillary power unit. Please set it up in front of City Hall when it’s finished. In a more peaceful time, I would be ecstatic to see my creation built (especially by your hand), but that is unfortunately not the case. I just can’t shake the dreaded feeling that this will be the last diagram I will ever be able to give you. No matter how many times I calculate our odds of survival, no matter how much I account for you as an anomalous factor, my blasted emotions keep telling me otherwise.

If one or both of us do not survive the events to come, I sincerely hope you know that it has been an honor to work with you. To know you. As your researcher, as your friend, and as your partner. You have my eternal gratitude for all of your time, care, and affection. I can only hope that I have managed to provide you with even a fraction of all that you’ve given me in return.

I love you.

Yours, now and always,

Qi

------------

It had appeared in their mailbox in the morning, significantly later than Qi had promised it. It took a mere minute to read, but it stayed burned into their mind for the whole day. Even as they kicked their machines into overdrive to produce the cannon parts, it burned a hole in their pocket. Even as they screwed and bolted and welded all the parts together, their mind would drift to the letter sitting innocently on their workbench nearby, secured in place with no fewer than three paperweights. Even when they finished setting the cannon up, and Justice told them that Qi had entrusted them as the sole operator, all they could think about was how he was nowhere in sight that day, and the quiet, resigned sorrow behind his words.

The builder circled their thumb absentmindedly around those last three words as they ate their dinner, careful not to brush over them and smudge the pencil. They were written so much neater and clearer than Qi’s usual scrawl that the builder couldn’t possibly miss them. It was as if he had to slowly force his hand to make each line. They imprinted themselves beyond the page and straight into their skull.

That was the first time he’d ever said it to them on his own. Not saying it back when they said it first. Not with a hug or a gentle touch instead of words. Not leaving the all-important L-word out and only implied.

It wasn’t that they were ever bothered by it. Qi had his own ways of expressing himself in everything, including his “I love you”s. His sentiments could always come through in the things he did. But those three words, plain as day, even only in writing, shook them to the core. As they read his letter over and over again, they could almost hear his voice murmuring it into their ear. They heard the idiosyncrasies of his accent, how the usual formality in his tone gave way to something softer, the resolve of the declaration in spite of the uncertainty.

They set their fork down on the now empty plate, feeling an ache building in their chest. They shoved themselves out of the chair and tossed the dishes into the sink. Then they ran to their bedroom, ripped the blanket off their bed, then turned tail and ran out the door.

Even though the night was still young, the town was completely blacked-out. Everyone was trying to salvage as much sleep as they could before tomorrow. Who knew when they’d next get any kind of restful slumber?

Nevertheless, the builder ran towards town, treading a path so familiar they could walk it in their sleep. All the way, Qi’s illusory voice echoed in their head.

If one or both of us do not survive the events to come…

They leapt over the tracks in a single bound.

It has been an honor…

They burst out of the pipe tunnel.

You have my eternal gratitude…

They slowed down and tip-toed across Mi-an’s deck, not wanting to rob her of sleep.

I love you.

They got to the base of the rooftop stairs and sprinted up, two steps at a time.

Yours, now and always…

“Qi.”

There he was, as they expected. He was sitting with his knees tucked to his chest and staring anxiously up into the sky, as if the Duvos airship would appear any moment and strike him down. At the sound of their voice, his gaze snapped back down to them, still just as anxious.

“Why…?”

“You know why.” The builder hiked the last several steps up to his side and sat down right up against him, wrapping the blanket around both of them and snuggling close. “You send me a letter like that and expect me to not try and find you?”

Qi had no answer. He just rested his chin on his knees and looked away.

The builder sighed. “Qi…please. Talk to me.”

He remained silent. The builder didn’t falter, their gaze gently prodding him. Finally, he spoke with a meekness they never thought he could have.

“…By all means, we should survive,” he whispered. “I’ve accumulated every possible variable that I could think of… I’ve run the numbers so many times in the past 12 hours alone… And that’s not even factoring in you and–and everything you are, but…”

He took a shaky breath. “I find myself completely unable to look at the odds of success for what they are. All I see are the inverse odds of failure…and all I can envision are scenarios where something goes horribly, irreversibly wrong and I—“ His breath hitched.

“I’m scared.”

Their heart wrenched. Just like it did when they saw him lying right here after they came back from the supposed dead, cold and alone. Just like it did when he collapsed into their arms. Just like it did when they heard him cry.

They gently laid a hand on top of his, giving it a reassuring squeeze. “I am too,” they breathed. “But I’ll protect you. I promise.”

Qi hugged his knees tighter to his chest. “That’s what I’m scared about.”

Another blow to the builder’s heart. For the briefest moment, they were tempted to leave it all behind. Gather some supplies, take Qi by the hand, and follow the railroad tracks out. Abandon Sandrock, the home they’d made there, and everyone they’d come to know. Head somewhere safe. Where? They didn’t know.

But they couldn’t do that. They knew that. Qi knew that.

He went on. “Even as we were formulating our plans in City Hall, it was already clear to me that you were the only one who could operate the cannon. None of the Civil Corps are competent enough. No other civilian could do it. And I…I do not trust myself. You are the only one with the intelligence and strength required to use it.”

He sighed. “I sent the diagram late because I needed to rerun my calculations and check for errors again. If an oversight on my part caused it to malfunction…I’d never forgive myself.”

“Even if it did, it wouldn’t be your fault, Qi.”

“It would,” he muttered, hands clenching the fabric of his pants. “I am a researcher. It is my job to produce accurate diagrams. My calculations are flawless. They…they have to be. Otherwise…y-you…”

He took a few haggard breaths. Then he swallowed and met the builder’s gaze. “The letter that accompanied the diagram…” he whispered. “N…nothing about that was hyperbolic. Even if the threat of war wasn’t upon us.”

The builder’s heart swelled and twisted and ached all at once. All they could do was give his hand another squeeze, and say the only words that they could conjure.

“I love you too.”

“I’ve never doubted that.” Qi turned back to the stars. “Not even for an instant.”

A quiet breeze rustled through their hair, its chill warded off by the enveloping warmth of Qi and the blanket.

“Can you…” Qi spoke up suddenly. “Can you stay here tonight? I…” He trailed off, looking down.

They didn’t hesitate. “Of course.”

Qi nuzzled closer to them without a word. They let out a long, quiet sigh, letting themselves melt into each other.

The builder stared up at the beautiful, yet indifferent cosmos, as if they could will the sky to stop turning. As if they could beg the stars to let them stay in this one last moment of solace forever. To just hold Qi tight against them until all the fear in both of them dissolved away into the morning light.

But they couldn’t. The stars still turned far above their head. Time still ticked forward.

And when the sun would rise tomorrow morning, so would Duvos.

------------

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[solexile]

A field study on Rixarans by Xenobiologist Dr. Galen Arcturus.

Plain text below the cut:

Rixarans limited anatomy diagram — study permitted by royal scientist “Munin Manokk” - Subject has prosthetic left arm - Subject may not reflect entire species

Kind of a handsome fellow...

Bones seem fairly light, though leg bones are dense from what I’m told.

Large breastbone.

Reminds me of Ratites...

Syrinx similar to that of a crow’s with the exception of curious striations found lining it vertically. Possible explanation for their psychic abilities?

I stumbled upon these curious people when my ship unexpectedly shut down. I’m an engineer, of course, but I wasn’t able to figure out what was wrong with it. Little did I know I was within range of the planet Rixaru, which is an incredibly isolationist society where science and magic are synonyms. They’re capable of space-fairing but have outlawed it beyond their moons. Munin Manokk happened upon my distress signal and took me in and repaired my ship. Most of them communicate via telepathy, though Manokk showed no signs of this quirk. They remind me of Corvids from our homeplanet of Earth, though he said he had no idea what that was and gave no note of recognition when I showed him an image.

[9w1ft]

Sweet Nothing is like high-key partially an elaboration on the "You are not like the regulars, the masquerade revelers, drunk as the watch my shattered edges glisten" line from mirrorball and yet some people really think that Taylor is doing things just to signal her queerness to fans who already think she's queer even though Midnights is like the 4th album in row where Taylor is like "This person in my private life is the ONLY person who actually understand me at all" in a song 💀

hmm i think that for a lot of gaylors the thesis is that she is signaling not just to us but also so that a wider audience can catch on because she has an ultimate goal of coming out or contributing to the queer community. the gaygenda, to use a throwback term.

i tend to agree with the explanation of mirrorball that taylor presents in that it’s a song (also) about her fans, and i think in particular the ones that ‘get’ her, and i think there’s probably a venn diagram we could draw that overlaps both swifties and gaylors. to me the line reads like: you are not like the regulars [who are] masquerade revellers [who are enjoying themselves] as they watch [me perform despite the shininess comes from the fact that im broken]. she performs to get people laughing but also to feel the love from people who can connect to what she’s trying to say, and not being able to tour was difficult because there’s a certain energy you can feel from a crowd, and i think that energy is important to her wellbeing.

i do agree with you that there is a growing collection of songs that highlight how her lover completes her in a way that the public cannot. i think it can be said that it’s a difficult relationship for her and that she deeply values and treasures having access to a love broad shouldered that is actually something and not just the idea of something.

[erindrifter]

I have a story to tell you. One of the VERY few college stories I have.

So, I took this math class, right? The teacher... Wasn't very good. He was much more interested in telling stories than actually teaching mathematical principles. I actually stopped attending his classes except for tests, and instead just sat in the cafeteria and studied the textbook on my own terms. I got a C. So, I passed.

Anyways. One of the classes, the teacher told a story. Of the Mars Climate Orbiter. My beloved.

NASA wanted to get some more info about Mars, so they teamed up with Lockheed Martin to build a probe designed to orbit Mars and gather information about the atmosphere and climate, and how it changes over time.

So NASA and Lockheed Martin spent the next several months communicating back and forth about this project.

There was actually some importance to this project, due to the loss of the Mars Observer probe. It was sent to Mars, and three days before it was scheduled to enter orbit the probe just vanished and stopped sending back signals. So, NASA kinda needed a win here.

Anyways. I don't know how long it took to construct the probe, but eventually it was completed and sent to Cape Canaveral for launch. As a side note of little importance to the story, NASA uses the SI unit of measurement (metric system) and so they design all of their equipment with that in mind. Lockheed Martin, on the other hand, uses United States Customary Units (which are NOT technically imperial units, though it's widely known as that) in all of their designs. So, someone had to specifically translate the measurements between the two systems for each of their correspondences.

Anyways. December 11th 1998. The price is launched. And nothing goes wrong. It actually goes quite well, and the probe is on its long journey to Mars. September 23rd, 1999. The probe arrives at Mars and begins the process of entering Mars orbit.

This process is automated, since a signal would take too long to transmit from Earth. So, EXTENSIVE math was done to ensure that the probe would do all the things at the correct time to enter orbit at the correct altitude. The general idea was to use the Mars atmosphere to help slow the probe down for each pass, so it was planned to arc into Mars's upper atmosphere. Here's a diagram of what I mean:

Anyways. The probe encounters Mars 49 seconds too early, and at a MUCH lower altitude than was planned. This may not seem like too much, but it is CATASTROPHIC in a mission like this. The probe then went behind Mars and the signal was lost. This happens, signals don't usually like going through planets.

The signal never came back. The Mars Climate Orbiter, much like the Mars Observer, was lost.

So, naturally, an investigation was launched.

Remember that anecdote about measurements that I said wasn't important? I lied. It's important.

Just about 2 weeks before the probe made it to Mars, the probe made a course correction. It was supposed to do that. The probe was just lining up to hit the atmosphere at an altitude of about 226 km, as planned.

Some more science jargon time! The Orbiter was planned to be at 226 km, but it had the potential ability to survive being as low as 80 km in atmosphere. The scientists keeping an eye on the probe noticed that the trajectory was seemingly going to be at about 150-170 km. Not good, but survivable. Right before the orbital insertion, it was estimated to be at 110 km. Starting to look bad, but maybe recoverable? Well, the investigation showed that the probe would have hit at 57 km of altitude. Which would have either destroyed the probe completely, or jettisoned it back out into space.

Why did this happen? Well, Lockheed Martin supplied a navigational software that calculated the thrust needed for the maneuvers. The LM system provided numbers in Pound-force seconds. The NASA supplied system designed to predict the location of the craft expected numbers to be in newton-seconds. Nobody performed the needed unit conversion between the two systems, so the course correction sent the probe to a completely different location than the probe thought it was at.

So. Basically, the world should just use a single unified unit system so this stuff doesn't happen.

[srfsteleinfradelhi]

Decoding the Wire Color Code: A Comprehensive Guide to Electrical Wiring

Wire color coding is a standardized system used in electrical installations to identify and differentiate various wires and their functions. This wire color code India provides essential information about the purpose and characteristics of each Wire, ensuring safe and efficient electrical connections. This article will delve into the wire color code, its significance, and its application in electrical wiring systems.

 

Understanding the Importance of Wire Color Code

The wire color code serves several vital purposes in electrical installations:

Identification of Wire Function Color coding enables easy identification of wires based on their specific functions, such as live wires, neutral wires, ground wires, or those carrying particular signals. It simplifies locating and working with clear cables during installation, maintenance, and troubleshooting.

Enhanced Safety By clearly distinguishing wires, the color code promotes Safety by minimizing the risk of errors and accidents during electrical work. It helps electricians, maintenance personnel, and homeowners make the correct connections and avoid potentially dangerous situations.

Standardization and Consistency The wire color code provides a standardized system that ensures Consistency across different electrical systems. This Consistency facilitates better understanding, improves communication among professionals, and simplifies the interpretation of wiring diagrams.

 

Common Wire Color Codes

While wire color codes may vary slightly depending on the region and specific electrical standards, certain color codes are commonly use worldwide:

Live Wire (Phase): The live Wire, also known as the phase wire, carries electrical current from the power source to the electrical load. In many countries, including the United States and Canada, the live Wire is coded in one of the following colors:

Black: Often used for single-phase systems.

Red: Frequently used for three-phase systems.

Neutral Wire: The Neutral Wire completes the electrical circuit and carries the returning current from the load back to the power source.

The standard color for the neutral Wire is:

Widely used for neutral wires in many countries.

Ground Wire (Earthing): The ground wire, also known as the earthing Wire, provides a safe path for electrical current in case of a fault or short circuit. The ground wire is typically coded in one of the following colors:

Green: Frequently used in many countries.

Green with Yellow Stripe: Commonly used in some regions.

It's important to note that wire color codes can vary in different countries and regions. It is advisable to consult local electrical codes and regulations to ensure compliance with the specific standards in your area.

 

Additional Wire Color Codes

In addition to the standard live, neutral, and ground wires, other wires may have specific color codes based on their functions:

Control and Communication Wires In systems where control or communication signals are transmitted, such as in telecommunications or home automation, specific color codes are often use to differentiate these wires from power wires. Standard color codes for control and communication wires include:

They are frequently used for low-voltage communication or control signals.

Orange: Sometimes used for telephone lines or other communication applications.

 

Safety Precautions and Best Practices

When working with electrical wiring systems, it is essential to follow safety precautions and

Always assume that wires are live until verified otherwise. When working on electrical installations, turn off the power supply and use appropriate safety equipment, such as insulated gloves.

[teardownit]

A simple DIY guitar tremolo pedal

Have you ever thought of making your guitar sound differently or just livening things up a bit? In addition to reverb and chorus, a subtle tremolo can help. Today, I will build a very simple tremolo pedal using three transistors.

Of all the time-based effects, electronic tremolo is the easiest to get.

The important thing is that one does not need to alter amplifier bandwidth for tremolo, like in wah pedals and phasers, by electronically reconfiguring frequency-dependent circuits containing active and reactive resistances—resistors, coils, and capacitors.

There is no need to implement, much less modulate, the signal time delay. This is done in delays, reverbs, flangers, and choruses using mechanical, analog (bucket brigade devices, BBD), and digital delay lines.

Moreover, there is no need to process the frequency of the input signal. Raising the frequency by an octave is relatively simple; it takes a full-wave rectifier, similar to those used in power supply units.

A full-wave rectifier folds the wave. It turns the lower half-wave up, and now there is a whole period of the output signal for each half-cycle of the original signal.

We have doubled the fundamental frequency and added some harmonics. After all, the output signal is no longer sine. The upper half-wave is smooth, and the lower half-wave is pointy.

The first octave did not use a bridge rectifier with four diodes but a half-bridge rectifier with two diodes and a transformer with the winding having a midpoint.

Such a transformer was easy to find. For example, a phase-inverter matching transformer from a pocket transistor radio could do. We've put together a receiver of this kind in a post about the Regency TR-1.

It is unnecessary to use a transformer if you build a full-wave rectifier using operational amplifiers.

And finally, when making a phase inverter for a full-wave rectifier, you can do it without operational amplifiers. One transistor is enough. After all, the output signal at its emitter has the same polarity as the input signal at the base, and at the collector, it has inverted polarity.

Suppose the signal frequency needs to be decreased by half, not increased. In that case, that is, by one octave, then synchronous D-flip-flops, which we've discussed in previous articles, will be helpful.

A circuit divides the oscillator frequency on a 555 timer by 2, 4, 8, and 16. That is, by two to the first, second, third, and fourth powers. And if we speak musical terminology, we lower the tone by one, two, three, and four octaves.

However, electric guitar pickups do not produce digital pulses or even a sine wave but an analog signal of a complex shape with many harmonics. So, to divide the frequency with flip-flops, the guitar signal must be preprocessed by converting it into rectangular pulses.

One possible circuitry answer to this problem is in the diagram of this old Japanese pedal. Here, the signal on its way to the latches passes through a compressor and a Schmitt trigger.

The compressor is needed to process both loud and quiet notes effectively. Interestingly, the CMOS NAND gate circled in green on the diagram, is used as an analog signal amplifier.

This is doable. The ratio of the resistor value between the output and the inverting input of the CMOS inverter to the impedance in series with the input determines the gain, just like in an operational amplifier.

An excellent example of a pedal that uses CMOS inverters rather than transistors, op-amps, or tubes to amplify the guitar signal is the Tube Sound Fuzz circuit, designed by Craig Anderton and published in his 1975 book "Electronic Projects for Musicians."

Frequency dividers on flip-flops work well with a single note. And for a chord or pitch shifting at an interval of a non-integer octave number, a digital signal processor is almost always required.

Perhaps the only exception is the perfect fifth. The original frequency must be divided by three and multiplied by two to obtain it. Frequency division into three is possible using a single CD4013 chip containing two synchronous D-flip-flops with asynchronous setup and reset.

At each of the points of the circuit, marked with numbers 2, 3, and 4, there is a frequency from point 1, divided by 3, in the form of a PWM signal with a duty cycle of 2/3 or 1/3. For music, this sounds even better than a duty cycle of 1/2.

The phases of the signals at these points are shifted between each other, which can also be used for interesting sound effects. But there is one problem.

Modern music uses not natural but evenly tempered tuning. Therefore, our electronic fifth, played by flip-flops, will be slightly out of tune relative to the fifth on the guitar frets.

The frequency of this equal-tempered fifth is not equal to two-thirds the frequency of the original note but to the frequency of the original note divided by the 12th root of 128. This system allows one to freely transpose melodies and chord progressions from one key to another. That is why it became universally recognized.

And to get a tremolo, you don’t need all these tricks. Two functional blocks are enough: LFO and VCA, a low-frequency oscillator, and a voltage controller amplifier.

Each of them can be implemented literally on one transistor. This is precisely what the developers of the Univox/Unicord U65RN combo amplifier, produced since 1971, did.

Frequency dividers on flip-flops work well with a single note. And for a chord or pitch shifting at an interval of a non-integer octave number, a digital signal processor is almost always required.

Perhaps the only exception is the perfect fifth. The original frequency must be divided by three and multiplied by two to obtain it. Frequency division into three is possible using a single CD4013 chip containing two synchronous D-flip-flops with asynchronous setup and reset.

At each of the points of the circuit, marked with numbers 2, 3, and 4, there is a frequency from point 1, divided by 3, in the form of a PWM signal with a duty cycle of 2/3 or 1/3. For music, this sounds even better than a duty cycle of 1/2.

The phases of the signals at these points are shifted between each other, which can also be used for interesting sound effects. But there is one problem.

Modern music uses not natural but evenly tempered tuning. Therefore, our electronic fifth, played by flip-flops, will be slightly out of tune relative to the fifth on the guitar frets.

The frequency of this equal-tempered fifth is not equal to two-thirds the frequency of the original note but to the frequency of the original note divided by the 12th root of 128. This system allows one to freely transpose melodies and chord progressions from one key to another. That is why it became universally recognized.

And to get a tremolo, you don’t need all these tricks. Two functional blocks are enough: LFO and VCA, a low-frequency oscillator, and a voltage controller amplifier.

Each of them can be implemented literally on one transistor. This is precisely what the developers of the Univox/Unicord U65RN combo amplifier, produced since 1971, did.

It had 15 watts of power, a 12-inch loudspeaker, and a spring reverb. It was assembled according to a relatively simple circuit by today's standards. However, at that time, it was considered quite complex.

Our attention should be drawn to the lower left corner, which shows the tremolo diagram. The leftmost transistor is used in the phase-shifting RC LFO. This generator produces harmonic sine waves, the frequency of which is controlled by the SPEED potentiometer.

Oscillations from the LFO output go to the modulation intensity control INT and to the second transistor's base. This transistor simply bypasses all input signals from the microphone, guitar, and organ. This is how the VCA is made.

And the tremolo pedal jack simply shorts the LFO signal to the ground, and the VCA transistor is completely turned off. This allows one to turn the tremolo on and off using a pedal with just a latching SPST button inside.

The diagram published by Anthony Leo in the November 1968 issue of Electronic Australia Magazine, 3 years before the Univox/Unicord U65RN, differs slightly from the tremolo found in this combo amp.

Since then, the circuit has been called the Electronic Australia tremolo or EA tremolo for short. It's a beloved one among pedal enthusiasts.

Here, the VCA comprises a common-emitter bipolar transistor Q1 and a JFET Q2 that bypasses most of Q1's AC bias resistance, thereby modulating the stage's gain.

I've assembled this DIY pedal kit from Landtone using just this scheme. In the video below, you can hear the resulting sound.

Due to such an exciting circuit design, the effect turned out to be very beautiful. This is the best tremolo I have ever encountered.

As we can see and hear with our own eyes and ears, excellent results can be achieved using simple means if you approach the project thoughtfully and with love.

[gfuveelectronics]

T-211 WIRELESS HIGH VOLTAGE PHASOR CHECKER

T-211 wireless high voltage phasor checker is specially designed and manufactured for the phasor checker of high-voltage line. It breaks through the limitation of traditional phasor checker voltage level. It can check phasor in very low-voltage line, and fully realize automatic check phasor (such as 220V, 10kV, 35kV, 66kV, 110KV, 220kV, 550kV) and voltage measurement from 70V to 550kV voltage. It is unnecessary to purchase multiple sets of phasor checkers according to voltage level, so as to save cost, Less carrying, time-saving and fast. For the phasor checker of the high-voltage line (when the voltage exceeds 400V), the metal probe hook of the detector can be gradually close to the conductor. When the electric field signal is induced, the phasor checker can be completed without direct contact with the high-voltage conductor, which is safe! When the voltage of bare conductor exceeds 35kV, non-contact nuclear phase must be used. The nuclear phase detector also has the functions of testing phase, frequency, phase sequence, electricity verification, voltage measurement, transformer group judgment and so on. T-211 wireless high voltage phasor checker is composed of host, detector, telescopic insulating rod, etc. the linear transmission distance of wireless signal is about 30m. The host adopts 3.5-inch true color LCD screen, which can display phase, frequency, phase sequence and nuclear phase results on the same screen; Vector diagram indication and phase indication are clear and intuitive; It has voice prompt functions such as "X signal is normal, Y signal is normal, in-phase and out of phase", which makes the test easier and easier.

FEATURES ■ Auto check; ■ Low power design; ■ With luminous beep; ■ Wireless mode check ; ■ 70V~550kV phase check; ■ 3.5 inch color LCD display ; ■ Wide detection voltage range; ■ Standard IEC6148-A2:2004; IEC61243-1;

FUNCTIONS ■ Phasor check; ■ Frequency test; ■ Phase sequence display; ■ Detection voltage range; ■ Transformer group judgment; ■ Voltage RMS value measurement;

[fmsteromultiplexing]

Controlling Multiple Relays with Arduino: A Comprehensive Guide

Introduction

Relay modules are essential components in the world of electronics, allowing you to control high-power devices with low-voltage signals. When combined with the versatility of Arduino, you can create a wide range of automated systems. In this blog post, we'll explore how to control multiple relay modules using an Arduino board.

Understanding Relay Modules

A relay module typically consists of one or more relays, each with a control pin and a pair of output terminals. By applying a low voltage (usually 5V) to the control pin, you can switch the relay, connecting or disconnecting the output terminals. This allows you to control devices that require higher voltages and currents than the Arduino can directly provide.

Required Components

Arduino board (e.g., Uno, Nano)

Relay module (2-channel or more)

Jumper wires

Breadboard (optional)

Power supply (5V DC)

Circuit Diagram

Power Supply: Connect the 5V and GND pins of the relay module to the 5V and GND pins of the Arduino, respectively.

Relay Control: Connect the control pins of the relays to digital pins on the Arduino (e.g., pins 2, 3, 4, and 5).

Arduino Code

const int relayPins[] = {2, 3, 4, 5}; // Array to store relay pin numbers

void setup() {

for (int i = 0; i < 4; i++) {

pinMode(relayPins[i], OUTPUT);

}

}

void loop() {

// Control the relays as needed

digitalWrite(relayPins[0], HIGH); // Turn relay 1 ON

digitalWrite(relayPins[1], LOW); // Turn relay 2 OFF

// ... and so on

}

Explanation

Pin Definition: An array relayPins is used to store the pin numbers connected to the relay control pins.

Setup:

pinMode(relayPins[i], OUTPUT): This line sets each pin in the array as an output pin.

Loop:

digitalWrite(relayPins[i], HIGH/LOW): This line controls the state of a specific relay by setting the corresponding pin to HIGH (ON) or LOW (OFF).

Expanding the Functionality

Sensor-Based Control: Use sensors (e.g., temperature, light, motion) to trigger relay actions based on specific conditions.

Timer-Based Control: Employ the millis() function to implement time-based switching.

Remote Control: Combine with wireless modules (e.g., Bluetooth, Wi-Fi) to control the relays remotely.

Multiple Relay Modules: Connect multiple relay modules to the Arduino to control more devices.

Safety Considerations

Voltage and Current Ratings: Ensure that the relay module's voltage and current ratings are suitable for the load you're controlling.

Heat Dissipation: If controlling high-power loads, consider using heat sinks or other cooling measures.

Proper Wiring: Double-check all connections to avoid short circuits and potential damage.

By mastering the art of controlling multiple relay modules with Arduino, you can create a wide range of innovative projects, from home automation systems to industrial control applications.

Would you like to delve deeper into a specific application or have any other questions about relay module control with Arduino?

[slyandthefamilybook]

okay okay okay. I'm gonna try to represent this as best I can, but I don't have access to my EWDs so I'm gonna have to do it from memory

this is an example of a very simple circuit. it has:

A power source (the horizontal lines on the left represent a battery)

A protection device (the 20 amp fuse, represented by a box with a diagonal line)

A control device (the switch, currently open, represented by a line between two dots)

A load (the thing doing the actual work, in this case a light bulb represented by a circle with a swirl)

And a ground path (represented by the horizontal lines on the right. The ground returns to the negative side of the battery but for the purposes of compactness wiring diagrams are usually drawn with them terminating at the bottom)

If you want to power multiple loads from the same power source, you can run the circuit in either series or parallel. In a series circuit, loads are placed one after another on the same wire. This reduces wire length, but the loads have to share the same voltage, and so the output of each is reduced. We're gonna focus on parallel for right now because that's what most wiring harnesses are

This is a parallel circuit. The wires from the battery go to two separate bulbs. The benefit of a parallel circuit is that both bulbs will get the same amount of power (it has to do with voltages and amperage and some annoying math so it doesn't violate conservation of energy). These are good because it means a break in one of the sub-circuits won't affect the operation of the other bulb. But a break in the master circuit will take out both bulbs

This is a basic overview of how wiring harnesses work in a vehicle. You can see that all the modules are wired in parallel, so if one goes down it doesn't take out the rest of them

If we zoom in on, say, the BCM, we can see that it controls a number of different actuators, motors, and sensors

If we zoom in further, we can see that the seatbelt ECU (Electronics Control Unit) is connected to the actual sensor itself with 3 wires: Power (red), Signal (green), and Ground (white). Many circuits are much more complicated than this (for example, the starter circuit), but this is the basic layout of the circuit heirarchy found in every harness in your vehicle.

This is what the geniuses at Tesla are trying to do. As you can see, a break anywhere on this big loop will knock out power to every single system on it, because they'll all simultaneously lose their ground. The reason they need 48 volts instead of the typical 12 is because running everything in series means each bulb, motor, sensor, whatever, is going to run at reduced power. it's a disaster of electrical wiring and is the sign of someone who wants to be different for the sake of being different. There's a reason we structure vehicle electronics the way we do

[charlesmwa]

Live Audio for Large-Scale Events: Key Equipment and Setup Strategies

Getting an event together is the most exhilarating and equally the most stressful task, especially when getting up to par with the audio system is what one has to acquire. In whatever terms, it may be a concert, a festival, or a corporate event; the live audio setup must be perfect in creating that magic in the event. In this blog, we will discuss key equipment that one needs when putting up an overall large-scale audio setup and some effective strategies to ensure a smooth run of events

Explanation of Live Audio Basics 

People need to understand what constitutes the live audio system prior to delving into equipment specifics. In plain words, an audio system that is well integrated should normally consist of the following elements:

Microphones: An apparatus through which sound from various speakers, instruments, or performers is captured.

Mixers: Control units that help manipulate through the mixing of different sources to be heard together. 

Amplifiers: Devices which amplify audio signals to power speakers.

Speakers: This is the last audio device that conveys the last audio information to be received by the audience.

Cabling and Connectors: This is utilized in connecting the whole system

All these aspects combine to ensure quality listening of the listener

1. Essential Sound Equipment for Live Events

Microphones: The type of microphones to choose will be crucial once there is an audio setup going live. When it comes to the large events you would require a combination of:

Dynamic Microphones: Dynamical microphones are much stronger and can take much sound pressure levels without distortion.

Condenser Microphones: They are sensitive mics, which capture studio-like quality. It can be very suitable for acoustic instruments and vocals.

2. Mixing Consoles

The mixing console will form the brain of your duo mixing setup. It's absolutely imperative, especially in large events, that you use a digital mixing console which naturally permits: 

Multiple Inputs: Slotting several microphones, instruments, and playback machines at once.

Sound Processing:  Influence of Attitude via Scenes of EQ and for levels of each channel to allow for quality sound. 

Remote Control:Most digital mixers are controlled using a tablet or smartphone, hence making it flexible during the event.

3. Speakers

For major events, it is advisable that speakers selected make great sound with minimal distortion. Thus;

Line Array Speakers: Suitable for large venues, as these offer homogenous sound coverage to large areas, such as concerts and festivals.

Subwoofers: This is an amplifier that is mainly used in genres of music that emphasize full, heavy bass; they amplify frequencies which provide fullness and richness to low-end frequencies.

4. Amplification

You need good amplifiers to drive your speakers correctly. Make sure to:

Match Power Ratings: Your amplifiers must be strong enough so that the requirements which would create distortion from your speakers or damage your speakers.

Use a Distributed System: In a large venue, you use multiple amplifiers so that the sound will be evenly spread.

5. Cabling and Connectors

Quality cabling is important. Good cabling produces the minimum signal loss and interference. Use:

XLR Cables: XLR cables connect microphones to the mixer, with a balanced connection that reduces noise.

Speaker Cables: These have to be of good quality as there would be a considerable loss in power from the amplifier to the speakers.

The Setting Up of Event Large-Scale Event Strategies

1. Pre-Event Planning

The best way to ensure that your audio doesn't go astray is a plan. First:

Assessment of Venue: This means identifying your space, its size and layout, as well as the acoustics-meaning how sound might travel within the room. 

Creating a Diagram: Sketch where each piece of gear will sit. That includes stage placement of the pieces, speaker placement, and where cables would run.

2. Equipment Testing

Test your equipment before the event starts getting underway. Everything must work.

Sound Check: Go through with all performers, levels, EQ, and effects

Backup Systems: You have a Plan B - this could be extras like extra mics or a spare mixer.

3. On-the-Day Setup

Plan to get there early in the morning on the day of the event in order to leave lots of room for setup. Here is a simple checklist to use

Set Up the Stage: Place your microphones, instruments, and monitors.

Connect Your Equipment: This would start with connecting all your cables according to your pre planned diagram.

Power Up: Power on everything in some particular order to avoid surges and ensure that everything initializes right.

4. Monitoring During the Event

hen the event has begun, watch for issues in sound quality. Utilize:

In-Ear Monitors (IEMs): This allows the performer to hear themselves without feeding off the speakers.

Front-of-House (FOH) Mix: Locate your mixing console in such a place that you can also hear the audio as will the audience.

Huge live audio events need proper planning, good equipment, and smooth execution. To understand the major components of a large live audio event, it is best to visit any professional shop such as VIP PRO AUDIO, and use smart setting strategies to create an audio experience that strongly connects with your audience. Whatever the case may be, you should invest in a good quality line array, high-class quality microphones, or an efficient mixing console. Whatever it may be, you can bet it's coming from a reputable audio store, which will give you the tools to do the job right. Quality audio can either break or make an event, so don't be cheap; spend the money to get the right setup for the best results.

[aaryan-mwa-blogs]

Live Audio for Large-Scale Events: Key Equipment and Setup Strategies

Want to know how to organizing huge event can also bring excitement into your life? Well, let's dive into how the audio quality of it can be ensured. Be it a concert or festival or corporate event, proper live audio setup can make it memorable for all present. Lets understand the major equipment involved in large-scale audio setups and how everything gets done effectively.

Understanding the Basics of Live Audio

First, let's take a good long hard look at what a live audio setup is all about. Most working audio systems start with some mix of the following:

Microphones: These are instruments that capture sound from speakers, instruments, or performers.

Mixers: These devices enable you to control the sounds coming from multiple sources.

Amplifiers: These drive the audio signals to power speakers.

Speakers: Outputting your final sound so your audience can hear it.

Cabling and Connectors: Needed for linking all parts together.

All of these parts play a crucial role in ensuring the listener hears the best quality of sound.

Key Equipment for Large-Scale Events

1. Microphones

Choose the right mix of microphones in live audio setup. For large events, that would be a mix of:

Dynamic Microphones:These are meant for live vocals because they are powerful and can tolerate high sound pressure levels without distorting.

Condenser Microphones: These are best for studio-type quality since they capture all the audio frequencies, making it suitable for acoustic instruments and vocals.

Wireless Microphones: These have flexibility as well because they do not have to rely on cables that will limit their movement.

2. Mixing Consoles

An excellent mixing console is often called the brain of an audio setup. For large events, you will probably need a digital mixer, which lets you :

Multiple Inputs: Connect multiple microphones, instruments, and playback devices.

Sound Processing: The application of effects, EQ adjustments, and levels on every input channel to enhance the sound's quality.

Remote Control: With the majority of digital mixers easily controlled via a tablet or smartphone, it has brought flexibility to be possible at an event.

3. Speakers

For events that accommodate many more speakers, high-quality systems that minimize distortion and amplify the power should be chosen. Consider:

Line Array Speakers: Suitable for large venues to provide homogenized coverage over long distances-thus are commonly used in music concerts and festivals.

Subwoofers: Where music is heavy with bass, subwoofers put emphasis on low-end frequencies for full and rich sound.

4. Amplification

Quality amplifiers should drive your speakers. Make sure that:

Match Power Ratings: Make sure your amplifiers can supply enough power to your speaker to avoid distortion or damage.

Use a Distributed System:  For large venues, use many amplifiers to ensure sound is evenly distributed throughout the venue.

5. Cabling and Connectors

It cannot be more emphasized that high quality cabling is important. Proper cabling helps in achieving minimum signal loss and interference. Use:

XLR Cables: These cables help to connect your microphones with your mixers, providing a balanced connection, effectively reducing noises.

Speaker Cables:These should also be of good quality to pass through power from the amplifier to the speakers.

Setup Strategies for Large-Scale Events

1. Pre-Event Planning

Planning is crucial to a successful audio setup. Firstly, consider:

Assessing the Venue:  It's also important to assess how big or small your venue is, but more importantly understand what the layout looks like, including acoustics because that affects how sound travels.

Creating a Diagram: Draw where each piece of equipment is going. Stage positioning, speaker placement, and where the cables are going will be determined.

2. Equipment Testing

Testing should be done before the event to identify problems:

Sound Check: Go through a full sound check with everyone, setting all levels and EQs plus any effects.

Backup Systems: Always have some sort of backup, whether it be extra microphones or a different mixer.

3. On-the-Day Setup

On the day of the event, come early and work your magic so that everything can be set up in plenty of time: basic checklist for the day of the event

Set Up the Stage: Set your microphones, instruments, and monitors.

Connect Your Equipment: Hook up all of your cables according to the diagram you created previously.

Power Up: Switch on all devices in an established order so no electrical surge occurs and everything is run correctly.

4. Monitoring During the Event

Once the event starts, pay close attention to sound quality. Use:

In-Ear Monitors (IEMs): This device enables the performer to hear self without receiving any sound from the speakers.

Front-of-House (FOH) Mix: Position your mixing console so that it sits where you can hear the same levels that the audience does. Establish levels during the show, if required.

Live audio for major events requires good planning, quality equipment, and effective execution. One can always visit any professional shops like VIP PRO AUDIO to understand the key components better and employ smarter setup strategies to create audio experiences that strike a chord with your audience. Whether it is a line array system, good-quality microphones or mixing console to be purchased from the audio shop, proper selection of equipment in this perspective will ensure that you have everything you need to succeed. After all, quality audio may make the difference between the success or failure of an event, so don't undervalue yourself with the wrong setup.

[dprs99]

I Use DPDT Switches for AC and DC Power on my Model Railroad Control Panel

I have to admit, I have been working on my Maple Valley Short Line Model Railroad control panel for more than two years. I can run the layout just fine using Atlas Selectors to control power to the blocks, but I really want a panel with a layout diagram to make operations easier. Plus, I like lights and signals. Lots of them. The face of the panel is 3/16″ wainscot material. I used 1/8″ artist…