#variable circuit pedal

[hirocimacruiser]

Domestic sports model

Supra going to the top

17 inch tires this time

is set as an option

Thanks to that, I've increased my fighting power even more!

Speed ​​wins!

Noko 2

High performance 4WD GTO twin turbo MR. The running has changed to a good and straightforward handling. One run of the counter can be fun.

Anything I Chi Pan

How far have you evolved?

Emergency test drive 14 consecutive shots

Supra 17-inch specification vs GTO MR

(Vehicle with 6 pot calipers)

Amazing stopping power and cornering

performance

Two high-performance machines representing domestic cars have raised their limits one after another. I did a thorough road pre-check of that worrisome run!

REPORT Mitsuhiro Kunisawa

"After all, the Supra is this undercarriage!" When I attack the winding road, I'm in good shape. Especially the brakes are amazing! With the conventional 16-inch version, if you push downhill for about 10 minutes, the brakes will fade completely. With the large diameter rotors of the 17" version nothing fades.

Moreover, the controllability is perfect, probably because of the extra brake capacity. Even if you depress the pedal with all your might after holding back on the brakes until the last moment, the brakes will not lock. In terms of feeling, it's a perfect match for the sports versions of FR Porsche and BMW. 16 inches was a bogus.

Many people think that 17-inch tires will increase cornering speed, but they are wrong. When the Supra debuted last year, I tried putting 17-inch tires on. Those who have read the article will remember, but the result was that the lap times at the Tsukuba circuit did not change much.

On the other hand, the improvement of brake capacity has a great effect. Of course the suspension settings are also designed to bring out the performance of the upgraded 255/40ZR17 tires, so it should be able to lap more than tenths of a second faster than the 16-inch Supra. I'm looking forward to the time attack in the next issue.

The driver is super spartan. However, the MR, which has no switch dampers, has the comfort of a normal sports car. And yet there is no such thing as funyafunya. In that case, I wonder if this was good from the beginning.

But compared to the shock I experienced afterwards, the ride quality was nothing to worry about. As you know, the conventional GT0 understeers to the point of "tucking" when the limit is exceeded. No tails came out even if I boiled it or baked it (correctly, I thought it would be good for tuck-in or braking drift).

With that in mind, I tried to tuck in with all my might, and my heart pounded. Surprisingly, the car was facing the inside of the corner! It is exactly the state of "Tell me quickly!" I feel like

By the way, from the 16-inch specification,

Tearing response and road feel

Since the perception is linear, the controllability is greatly improved. The traction control was also cut for this test drive. I thoroughly enjoyed FR orthodox driving that enjoys accelerator control.

The "GTO MR" appeared at a time when the Supra was not allowed to run alone! It's a nostalgic Hibiki grade name for an old man like me who likes Jidousha. For Mitsubishi fans, Wakuwakumon is comparable to the GT-R. That's why I'm confident in its performance!

When I put it in the cockpit and jumped out onto the winding road, I was blown away. MR-chan has a comfortable ride. If you switch the variable damper to "hard", the GTO so far has an out-of-this-world ride. If you hit the road surface with undulations, the body bounces and your head hits the roof. From the outside, the GTO looks like it's going to be easy.

WRC tarmac stage. Needless to say, I had a lot of fun sliding around.

oh yeah. The effect of the newly adopted hybrid LSD is very effective. The cornering speed is much faster than the Lancer Evo (the center of gravity is low and the tires are thick), but it does not exhibit tricky behavior. Abolition of 4WS, ABS and switchable dampers

I think I made the right decision. Interestingly, this car is similar in price/performance, but completely different in character. If you like FR, there is only Supra, and if you like FF&4WD behavior, choose GTO. If the budget of 4 million yen can be managed somehow, it seems worth taking the plunge. Reach Reach!

A powerful 6-pot caliper with barely any clearance on BBS wheels. It will be released by Mitsubishi Ralliart, but the price is yet to be determined. Probably about 600,000 yen?!?!

The front rotor diameter has been increased from 296mm to 323mm. Naturally, braking power is also improved. Running is a fan itself!

[cinematech]

my distortion pedal idea is so bonkers and bad it will have like 12 knobs on it, like every variable in the circuit can be changed and every output can be mixed out

[sbknews]

Powerstage RR Limited Edition: The first carbon-framed Ducati e-MTB

The e-MTB range for 2024 expands with the introduction of the Powerstage RR Limited Edition, Ducati's most exclusive e-enduro model developed to tackle the most extreme off-road conditions. The name Powerstage, in fact, recalls a new type of special stage recently introduced in the e-enduro circuits which consists in tackling, in addition to the classic downhill stages, a technical uphill route, testing both the skills of athletes competing in the races and the performance level of the vehicle. Powerstage RR Limited Edition is a concentration of technology and advanced components, defined by eliminating compromises with the aim of offering maximum performance. The "full carbon" frame has undergone lengthy testing on the toughest routes with a single goal: to guarantee maximum performance in the enduro field. The choices on the arrangement of the carbon layers and on the types of fibre intertwining are the result of FEA (Finite Element Analysis) which allows to identify the points subject to greater stress, which therefore require greater strength. More attention to stiffness has been given to the steering area, the rear chain stay and the engine area reinforced by two ribs (T-Ribs). On the frame there are many other high-quality functional details, such as the passage of internal cables, protected by a steering stop system (T-Stopper), bearings on the joints, in direct contact with the carbon without the use of bushings and an asymmetrical rear chain stay, which in addition to a captivating design offers better responsiveness and uphill traction. The geometric solutions adopted make the Powerstage RR extremely fast and stable on the roughest routes. The verticalised 78° seat tube angle allows the rider to assume an optimal position in the saddle on technical uphill sections, and a slack 64° head tube angle helps to overcome any obstacle at top speeds.

The new Shimano EP801 drive unit represents a benchmark for the category and maintains the native characteristics of the EP8: 250 Watts of nominal power and 85 Nm of torque, always delivered with the utmost fluidity and naturalness over a wider cadence range than ever before. The new system features two preconfigured assistance profiles: "long ride", to favour autonomy on long tours and "fast ride", to enjoy maximum performance on shorter outings. By means of the "Fine Tune" mode present on the Shimano "E-Tube Project" app, it is possible to create your own profiles thanks to the extensive possibilities for customising the electric assistance. The removable 630Wh Shimano battery is positioned inside the "verticalised" downtube in order to lower the centre of gravity, improving the balance of the bike. The Öhlins RXF38 m.2 air fork (180 mm travel) and the Öhlins m.2 spring shock absorber with TTX technology (170 mm travel) are fully adjustable in both rebound and compression, at high and low speeds, ensuring precision riding and stability. The SRAM GX AXS 12-speed wireless rear electronic shifting provides immediate and precise gear-shifts at all times. The Braking First brakes with customised Ducati Corse levers and 203 mm thick 3 mm discs are among the most powerful currently on the market. The Crankbrothers Synthesis wheels with differentiated format (29” front, 27.5” rear) with variable thickness carbon rims help to further improve steering precision, guaranteeing an excellent weight/strength ratio. The tyres are Pirelli Scorpion Enduro S on the front and Pirelli Scorpion EMTB-S on the rear to offer maximum grip and adherence. The equipment is completed by a telescopic seat post, a Renthal carbon handlebar and a Fizik saddle with special integrated tool holder.

Giorgio Favaretto, Head of e-Bicycle Business – “Ducati’s pedal assisted bicycle project took shape with the launch of the MIG-RR, the first e-mtb produced in collaboration with Thok E-Bikes. In 2022 the range of E-Bikes has been made even more complete and performing. Today, with the new Powerstage RR, Ducati strengthens its presence in the premium-range e-mountain bike segment, aimed at even more demanding bikers." The livery designed by Aldo Drudi in collaboration with the Centro Stile Ducati is inspired by the Desmosedici GP23 of the official MotoGP team, enhancing the unique character of this e-mtb produced in a limited edition of 230 numbered units, a figure that recalls the denomination of the racing bike. The new Powerstage RR Limited Edition will be previewed in the paddock area during the upcoming German Grand Prix at Sachsenring and can already be ordered from the Ducati dealer network and online at www.ducati.com. The Borgo Panigale manufacturer is gearing up to welcome all enthusiasts from 21 to 25 June at Eurobike (Frankfurt, Pavilion 8, stand I03) with the 2024 e-Bicycle range. For more Ducati news check out our dedicated page Ducati UK News or head to the official Ducati UK website ducati.com/gb/en/home

Read the full article

[super-freq]

Stompbox Studies - Class 1

Want to build your own effects pedals? A good place to start is understanding how transistors work. Transistors are those three legged devices seen populating many stompbox circuits.

Transistors are are a core building block in electronics. Integrated circuits, like op-amps, are made up of many transistors! Transistors are used in all of the circuits you’ve probably played or heard on recordings: Rangemaster, Fuzz Face, Tonebender, Big Muff, Tube Screamer, and too many more to list here.

The goal of this series of blog posts will be to present concepts you can use to understand how guitar effects pedals work, apply these ideas to debug, and make your own pedals.

Why I am I doing this? I have been building Stompboxes as a hobby for years now and want to build a deeper understanding of the electronic concepts underneath it all. I have been building pedals for years but it has always been sort of paint by numbers. I had some friends get into the hobby recently and they had lots of questions. Here are the answers I could come up with.

This class will be broken into three parts: a discussion in this blog post, a lab where your goal is to build the Dallas Rangemaster, and a reading assignment and study guide.

Discussion: Dallas Rangemaster

The Dallas Rangemaster is classic guitar pedal. Created by Dallas Muscial Ltd. in the 1960s. With a name like “Dallas” you’d think they were from Texas but in fact the company was located in London England!

The Rangemaster is a booster. Basically it’s a single transistor amplifier that filters the lower frequencies. It takes your guitar signal and shapes it and amplifies it.

Original Dallas Rangemaster

DIY Rangemaster

The Rangemaster was used by so almost every guitar player you can think of from the 60s. Here’s a short list of notables:

Eric Clapton

Tony Iommi

Marc Bolan

Rory Gallagher

… too many more to list

Many more used other pedals similar to or derivatives of the Rangemaster. Many companies sell boosters that are direct copies of the Rangemaster or are built from a single transistor like the Rangemaster for the same purpose. It’s definitely a pedal worth study.

Zvex Super Hard On

Electro Harmonix LB1

Hornby Skewes Treble Booster

Brian May Treble Booster

… and the list goes on

The Rangemaster circuit represents a basic building block that can be used in many guitar pedals. Understanding this circuit is a gateway to explaining how lots of classic effects work. It’s also a building block you can apply to effects of your own invention.

The circuit

Electronic circuits are expressed with schematics that have their own symbols. This is similar to the way music is expressed in notation or way a roadmap may be drawn.

Usually we give each part a number and a value. The lines represent an electrical connection between parts. Here is a list of the part numbers and values for the Rangemaster.

PartValueR1470KR268KR33K9C10.005µC20.01µC347µPOT1A10KQ1PNP

Rangemaster Parts

The parts here are four types: Resistors, Capacitors, Potentiometers, and transistors. lets look at each of these.

Resistors

Resistors are all listed with the prefix R in the parts list. There are three resistors R1, R2, and R3. Resistors impede the flow of electrons. We can use resistors to limit how much current is at any point in the circuit.

POT1 is a potentiometer, which is an adjustable resistor. Use a “pot” when you need a variable amount of voltage or current at a point in your circuit. For example a pot is often used as a volume control.

Capacitors

Capacitors are like little electrical reservoirs. They act as a gap that DC can’t pass but they allow and AC signal to pass! Capacitors used in the Rangemaster are C1, C2, and C3.

Capacitors are used to affect how audio is passed through your circuits. Capacitors are used to create filters and control the frequency of AC.

Some capacitors are polarized! One leg is marked with a + and that leg should go to the more electrically positive side of the circuit with the other leg going to the more electrically negative side of the circuit. Notice C3 has a + on the bottom that connects to the +9V in the schematic.

The transistor

In the original Rangemaster the transistor was OC44 or OC71. This was a germanium transistor. Transistors come a few varieties. Two of the most common are PNP and NPN. The OC44 is a PNP transistor.

You can build Rangemaster type circuits with almost any transistor. This is great because the OC44 and OC71 are hard to get and expensive these days. Some common transistors that would work as replacements are: 2N3906 or 2N5087. These are silicon transistors rather than germanium.

Typical transistors

The symbol for PNP and NPN transistors look like this. These are almost the same. Note the arrow! You can remember which is which with this: NPN = Not Pointing iN, PNP = Pointing iN.

PNP and NPN Transistors

The original Rangemaster was built with a PNP transistor. You could also build a Rangemaster type circuit with a NPN transistor. Some common part numbers for NPN transistors are 2N3904 and 2N5089.

NPN Rangemaster

Notice the changes to the circuit. (1) the transistor Q1 is NPN. (2) the +9v and -9v are swapped. This is where your battery would connect. (3) the capacitor C3 has been flipped around so that the + terminal is pointing towards the more positive side of the circuit and it’s other terminal connects to the -9v the more negative side of the circuit.

OHMs Law

OHMs law is a basic principle of electronics. OHMs law determines the flow of electrons through a circuit. If you thought of electrons like cars and the circuit diagrams above like a roadmap OHMs law could be used to predict the flow of traffic!

OHMS has three ideas:

Voltage (abbreviated E) is the electromotive force (measured in Volts, millivolts, and microvolts)

Current (abbreviated I) is the number of electrons in the flow of “traffic” (measured in amps, milliamps, and microamps)

Resistance (abbreviated R) is the opposition to the flow of electrons (measured in OHMs)

We can use math to calculate the flow of electrons through our circuit. Use the diagram above to help you remember the formulas.

E = I * R (find the voltage from the current and resistance)

I = E / R (find the current from voltage and resistance)

R = E / I (find the resistance from voltage and current)

The numbers you use need to be in the same realm. If you are working with Volts (E) then Current (I) needs to be amps. If you have voltage in millivolts then current needs to milliamps. If the units are mixed you can multiply or divide by 1000.

Volts VAmps AMillivolts mV (V / 1000)Milliamps mA (A / 1000)Microvolts µV (mV / 1000)Microamps µA (mA / 1000)

What does this mean? Take a look at the images below. You can use OHMs law to calculate the current and voltage.

In the first image we have 9 volts going through R8 which has a resistances of 2000 ohms (or 2K ohms). Whats the current? Using OHMs law we can figure it out!

I = E / R

I = 9 / 2000

0.0045 Amps or 4.5 milliamps or 4500 microamps

What about the second image. Image we don’t know the voltage but we do know we have 2 milliamps going through 1000 ohms resistance.

E = I * R

E = 0.002 * 1000 (Notice I converted milliamps to amps)

2v = 0.002 * 1000

Voltage Divider

Traffic moving down a road divides when it reaches an intersection some traffic will go one direction and some traffic will take the other route. The same is true of electrons moving through a circuit. If you were watching the road from a helicopter you’d see more traffic take the larger roads and less traffic take the narrow roadways. Think of the size of roads as resistors. Larger roads have less resistance and narrow winding roads create more resistance that slows traffic.

Look at the first example. There is 9 volts going through R1 and R2. What is the voltage at the intersection ?1. You can solve this if you understand voltage dividers. The formula is:

?1 = 9V * ( R2 / (R1 + R2))

?1 = 9V * ( 1K / (1K + 1K))

?1 = 9V * 1000 / (1000 + 1000)

?1 = 9V * 1000 / 2000

?1 = 9V * 0.5

?1 = 4.5V

Here I walked through the steps to solve the problem. Notice I converted 1K to 1000 ohms. Then finished up from there.

The formula is: V * R2 / (R1 + R2)

The shortcut here is if both resistors are the same value then voltage is divided in half. This would be true for any values for R1 and R2. Try it yourself. Imagine R1 and R2 are 10K. Then try R1 and R2 at 47K and 100K.

What happens when the values are not equal? What’s the voltage at the intersection: ?2.

?2 = 9V * 100K / (100K + 20K)

?2 = 9V * 20K / 120K

?2 = 9V * 20,000 / 120,000

1.5V = 9V * 0.166

Solve number 3 on your own!

To solve ?4 we have to know that resistors in series are added together. That means that we have a total resistance of 16.7K. To solve ?4:

?4 = 9V * (10K + 4.7K) / (2K + 4.7K + 10K)

?4 = 9V * 14.7K / 16.7K

?4 = 9V * 0.88

?4 = 7.92

Solve ?5 on your own…

With this knowledge you can start examining the Rangemaster circuit. Notice R1 and R2 for a voltage divider!

POT1 is also a voltage divider. Let’s take a moment to look at potentiometers.

Potentiometers

These are adjustable resistors. You’ll use potentiometers or “pots” when your circuits need to be able to adjust the resistance at a point in the circuit. A pot has three legs. Imagine the center leg is located between two resistors. The resistances change as you turn the pot!

We draw the pot like the image on the left. Internally it acts like the images on the right.

Imagine we have a 10K pot. With the knob in the center the resistance is divided equally with 5K on the top and 5K on the bottom. This is a voltage divider! In this case you would see have the input voltage at the center leg!

If you rotated the pot clockwise the resistor on the top (R3) might be 0 ohms and the all of the resistance 10K might appear at the bottom.

If we went counter clockwise it would be reversed.

If you rotated the almost to the end you might have 2K resistance at the top and 8K at the bottom. Imagine there was 9V at the top, use the voltage divider to calculate the voltage at the center.

Transistors modeled as a current controlled resistor

With these ideas we can now look at the transistor, which is the heart of the Rangemaster. The Rangemaster is an amplifier. It takes a small audio input and produces a louder audio output. The transistor is used to amplify the signal.

A transistor has three legs. For NPN and PNP transistors the legs are called: Emitter, Base, and Collector. The Emitter is leg with the arrow. The Base is in the middle.

To explain how the transistor works we will model it as a current controlled resistor. For this discussion we will use the NPN version of the Rangemaster schematic and the transistor will be NPN.

Take a look at the diagram above. Imagine the transistor drawn on the left is in your Rangemaster circuit. Imagine that inside the device is a resistor. The value of this resistor is controlled by the amount of current present at the base. Outside the transistor the Rangemaster has a 10K resistor (POT1) at the collector and a 3K9 resistor at the emitter.

With no current applied to the base there is so much resistance you can image that there is no connection at all. We would see about 9V at the collector.

When a small amount of current is applied to the base the resistance between the collector and emitter starts to decrease. Imagine the collector/emitter path is now showing 100K resistance. Now we have a voltage divider! You could use the formula above to calculate the voltage at the collector!

With more current applied to the base the C/E path might go down to 10K resistance. Using the voltage divider formula the voltage present at the collector goes down as more of the electron traffic goes through the 3K9 resistor.

With a lot of current at the base the C/E path might go as low as 100 ohms and the voltage at the collector would go even lower!

Did you notice when the current at the base goes up the voltage at the collector goes down. And conversely, when the current at the base is low the voltage at the collector goes up. A transistor amplifies because it allows out circuit to turn small changes in current to larger swings in voltage.

Notice the diagram above. When the current is high the voltage is low! This is an inverting amplifier. The signal at the output will be a mirror or opposite of the input signal.

Biasing the Transistor

There is a little more needed to make this work. Imagine the incoming signal might swing between +1v and -1v. When the input is above 0V the transistor starts working. When it’s 0V or less the CE path is closed off.

Look at the diagram above. The signal going in is a sine wave but the signal coming out is getting chopped. This would cause some distortion! In this case it probably wouldn’t sound too good. It also explains why your transistor circuits sometimes don’t sound right!

To make the amplifier work we need to bias the transistor so with no input the output settles at a point somewhere between the extremes.

Take a look at the diagram above. Here I’ve added R1 and R2 from the original schematic. These provide an amount of current to the base so that it sits around 7V. With this arrangement positive input pushes more current to the base opening the CE path and lowering the output. When the input signal is negative this pulls current from the base which increases the resistance of the CE path and the voltage at the output goes up.

Biasing is the term that describes applying a DC current to the base of a transistor such that it is it near the middle of it’s range. It needs bias so the output can go up and down from the bias point.

All 4 of the resistors play a part of the amplifier. R1 (470K) and R2 (68K) provide the current to bias the transistor. POT1 (10K) and R3 (3K9) also determine where the bias should be since the lowest voltage output is determined by the voltage divider created by these two resistances. Imagine the CE path had 0 ohms resistance.

? = 9V * 3.9 / (10 + 3.9)

? = 9V * 3.9 / 13.9

2.5 = 9V * 0.28

This concludes the discussion of the Rangemaster. From here the goal is to build your own! Along the way think of this discussion.

Building the Rangemaster

For this part of the lesson it’s up to you to figure out which build method and which circuit you want to build.

There are several approaches you can take to building the Rangemaster:

Kit

PCB

Strip/Vero-board

Perf-board

Terminal strip

Solderless Breadboard

Kit

Buying a kit will cost more but you’ll get everything you need in one package!

https://www.distortionltd.com/diy-kits/diy-kit-rangemaster

https://www.ebay.com/p/1572955451

https://puzzlesounds.com/store/rangemaster-treble-booster-kit/

http://www.generalguitargadgets.com/effects-projects/boosters/rangemaster/

PCB

A PCB makes for an easier neat clean build but you’ll have to source parts yourself.

https://www.taydaelectronics.com/rangemaster-diy-pcb-guitar-effect.html

https://rullywow.com/product/serpentboost2/

https://puzzlesounds.com/store/rangemaster-treble-booster-pcb/

https://www.ebay.com/itm/203154217735

Strip/vero board

This is perforated boards with strips of copper. Use it for prototyping.

https://paulinthelab.blogspot.com/2014/04/rangemaster-treble-booster-stripboard.html

http://tagboardeffects.blogspot.com/2014/02/dallas-rangemaster-pnp-negative-ground.html

https://www.sabrotone.com/request-dallas-rangemaster/

Perfboard

Like vero board but has one pad per hole.

http://effectslayouts.blogspot.com/2014/11/range-blaster.html

http://diy-fever.com/effects/dallas-rangemaster/

Terminal Strip

The original Rangemaster was assembled on a terminal strip. This is for the artists and historians.

https://www.tdpri.com/threads/diy-rangemasters-opinions.379310/

http://turretboard.knucklehead.dk/2011/02/28/terminal-npn-rangemaster-with-mods/

Solderless bread board

Use a solder less bread to experiment with the design.

http://diy.smallbearelec.com/HowTos/BreadboardRMs/BreadboardRMs.htm

Study guide

Here is some reading material to follow up the discussion above.

This guide to Breadboarding the Rangemaster at Small Bear Electronics is a great guide to circuit.

http://diy.smallbearelec.com/HowTos/BreadboardRMs/BreadboardRMs.htm

Stompboxology was a news letter put out in the early days of DIY when the internet was young. It never caught on and it and it’s creator mysteriously vanished. That said I found this issue to contain one of the best discussions of transistors for stompbox usage I have read. It also contains a discussion of core concepts for electrical engineering that you will need to know to build effects pedals.

http://moosapotamus.net/files/stompboxology-going-discrete.pdf

This article provides an in-depth analysis of the Rangemaster. Most of it is over my head but it’s still good reading.

https://www.electrosmash.com/dallas-rangemaster

Stompbox Studies – Class 1 was originally published on Super-Freq

[f1racingsimulator-blog]

F1 Driving Simulator: Everything You Need To About This Hire Service

When you have exceptional items in your corporate event such as a spectacular F1 race car, it is possible to leave a great impression on your guests as well as potential clients. However, what if they can have an opportunity to try driving this kind of famous automobile? Sure enough, everyone will have a blast throughout your event. Fortunately, you can do this if you consider availing of an F1 driving simulator hire service.

What is a racing simulator?

A racing or driving simulator is made to imitate a real-world racing experience, allowing you to sit in a car and drive across the racing circuit of your choice. Here, you can become aware of important variables such as tire wear and grip, damage, fuel consumption, and suspension settings, exactly like when driving an actual race car.

In the past, racing simulators are one of the well-known sources of entertainment for all ages. Then, these simulators were adapted in corporate gatherings to boost company profile and marketing efforts. Certainly, getting a racing simulator in this particular gathering will offer a fresh and exciting experience for your customers and employees.

What F1 racing simulator choices can you look at?

When you are now thinking of including an F1 driving simulator to an approaching occasion, there are lots of selections you can select from. As an example, you can employ a full-size F1 race car that has virtual reality. This won’t just function as a show car, but people can actually take a seat on it and drive it. Once you book two of these, your visitors can get on a thrilling one-on-one racing.

On the other hand, you can even opt for racing simulators, which include tracks from different parts worldwide. This is a remarkable option to experience and enjoy various racing scenarios. Half-size F1 racing simulators are also available, which are great for a fairly compact space. These typically include a pedal system and force feedback wheel for an in-depth driving experience.

Where to find a simulator hire professional?

After figuring out the ideal simulator choice for you, the next thing to do is to identify firms that deliver simulator hire services. You can easily locate them online, but their big number can make it very difficult to decide on the right one to partner with.

You should consider as many companies as you want to find the one that offers the most suitable services and pricing for you and your upcoming event. Bear in mind that the ideal supplier of hire services around must have a proper knowledge of simulators and how they function. They must be aware of the most suitable selections for you and can also craft simulators to fit your corporate branding, getting the full attention of potential clients.

In Summary

Whether you are thinking to arrange a product launching, exhibit, awards night, or any kind corporate event, using an F1 driving simulator can bring a fascinating touch to the event. By doing this, you can make sure that everyone will have a fantastic time and your company will get the publicity it requires. So what are you waiting for? Look for a dependable supplier of F1 racing simulator hire services and do not skip the chance of flaunting in your next occasion!

[dustedmagazine]

Dust Volume 5, Number 3

Photo by Rene Block, Courtesy of the John Cage Trust

In like a lion, that’s how we’ll do March at Dusted, which is to say in a gigantic leap, with blood and innards trailing from a toothy predator’s mouth. Well, that’s the hope, but actually, we’ll probably just listen to some music and write some reviews. Case in point: this edition’s Dust candidates, which include sci-fi techno, a blissed out dub version of “Love Will Tear Us Apart,” a Portuguese guitar duel, some churning stomach fluids and a percussive interpretation of koan-like John Cage. This time, the team was limited—just Bill Meyer, Jennifer Kelly, Jonathan Shaw and Peter Taber—but mostly enthusiastic. We hope you’ll find something to like, too.

CMD — Obscure Worlds (Several Reasons)

Obscure Worlds by CMD

On the face of it, CMD’s Obscure Worlds is a sci fi-themed techno album, which doesn’t do much to separate it from the broader genre. Scratch the surface, and you find an album of detailed techno vignettes that refuse to stand still. In less than three minutes, “Uneven Landing” layers crushed static onto knocking digital debris, with a rapid-fire kick added to the mix two minutes in. On “Obscure Manifestation” a foundation of pulsing static sets the stage for otherworldly peals of feedback. “Death of a Galaxy” reaches toward the undulating bass engineering of an Yves de Mey track. “Through the Wormhole” hints at industrial fuzz a la AnD while maintaining a bit more restraint, with a switch-up in the kick pattern four minutes in that isn’t exactly characteristic for techno. Given the density of musical ideas, many of the tracks could have been extended, but they last long enough to satisfy. If the album’s concept was intended to prompt a creative, concise set of techno variations, it did the trick. Obscure Worlds feels like getting a glimpse into a techno sound-design obsessive’s sketchbook, in the best possible way.

Peter Taber

 Julien Desprez / Luís Lopes—Boa Tarde (Shhpuma)

The title translates from Portuguese as Good Afternoon, and from the sound of this record it was. Both Julien Desprez and Luís Lopes are known for bringing the electricity to jazz ensembles, but when you put a couple of guitarists together it’s possible that they will connect around the instrument, not any particular genre. So it is here, but just what instrument are we talking about? The electric guitar? The amplifier? The pedals? Or all of the above? Let’s go with the latter, because this music is more about the interplay of timbres, textures, contours and sound waves than melodies, harmonies or beats. Imagine the jousting of train sounds issuing from converging valleys, the shudder of twin flexing suspension bridges or maybe just the shared sweet spots of a couple guys who probably wore out more than one CD player spinning Thurston Moore and Nels Cline’s Pillow Wand. Or don’t imagine at all, just listen to this artifact of one good afternoon in Lisbon.

Bill Meyer

  Carol Genetti / Gwyneth Zeleny Anderson — Chyme (Suppedeneum)

Carol Genetti’s vocals operate beyond the boundaries of language. On Chyme, which is named after that gurgling stuff that sloshes around in your stomach after you eat, she electronically manipulates and juxtaposes sounds that humans have been making since before they thought up the first words. You might get disoriented trying to make sense of her pre-lingual exhalations and utterances, so visual artist Gwyneth Zeleny Anderson has prepared a listening score for each of the CD’s four tracks. Each score is a vibrantly colored, circuitously shaped paper cutout, the handling of which will put you (back?) in touch with the experience of pre-GPS, map-based navigation. Anderson’s combination of vibrant colors and text cues prod you out of passive listening and into a vocal / visual interaction with the sounds, which are by turns eerily beautiful and absolutely hackle raising. You will not encounter another record like Chyme.

Bill Meyer  

 Golden Daze—Simpatico (Autumn Tone)

Simpatico by Golden Daze

Hold up, you don’t need musical difficulty all of the time. No, there are hours and days and (occasionally) weeks when you don’t want propulsion or tension or contradictory impulses in your tunes. Life itself is full of that shit. You want something easy. You want something like Golden Daze’s Simpatico, an edgeless, frictionless, limpid pool of baroque pop, with soft whispery vocals and sumptuous clouds of guitar flurries and bright bars of electronic keyboards, unending prettiness, unconflicted lemon-y wistfulness.  “Blue Bell,” the single, is like the Clientele with the bones picked out, an enveloping haze of pastel colored sound. There’s a bit of drumming in a song called “Drift,” but it only seems to heightened the disembodied floating-ness of the song’s breathy sway. “Simpatico,” at the end, emerges out of haze and fog, with warm, brushes of guitar and soft, dreaming verses, then slips out of sight. Golden Daze indeed.

Jennifer Kelly

 Golia, Kaiser, Moses, Smith, Walter — Astral Plane Crash (Balance Point Acoustics)

BPA 18 Astral Plane Crash by Golia / Kaiser / Moses / Smith / Walter

p>Henry Kaiser, Damon Smith and Weasel Walter are Plane Crash, a guitar-bass-drums trio tough enough that it doesn’t have to act tough. The musicians’ common bonds are an appreciation for the atomized activity of vintage English free improvisation and a shared determination to communicate intensity through intent and focus, not bluster. Things get cosmic when you bring in West coast woodwind veteran Vinny Golia and drummer Ra Kalam Bob Moses, who played with Rahsaan Roland Kirk at an age when most kids are first trying to cadge their parents’ car keys. Moses and Golia had never played together, but they roomed in the 1960s, and their presence complicates Astral Plane Crash’s prevailing MO of quick micro-interaction in interesting ways. The flutes and saxophones run thick and slow under APC’s dust devil swirl. And Moses and Walter sound like their having a blast making like converging storm clouds, each pelting hail stones from a different direction so there’s no way you won’t get a chill down your neck. At two tracks and a hair under 80 minutes, this is all-in stuff, but when the changes come as quick and compelling as they do here that’s a feature, not a bug.

Bill Meyer

Matt Hannafin / John Cage—Four Realizations For Solo Percussion (Notice Recordings)

Four Realizations for Solo Percussion by John Cage & Matt Hannafin

In a life of ideas that spans 79 years, a guy might change his mind. John Cage famously expressed disregard for jazz, the most notable American manifestation of musical improvisation in the 20th century. But his problem was more with corrosive expressions of the self and human prejudice than it was with improvisation per se, thus his preference for chance operations. You can’t impose your personal bullshit when you submit to the random. Near the end of his life he dropped his opposition enough to write compositions that invited improvisation, which was distinct from chance operations. If that sounds like a convoluted process, consider the name of this tape’s first piece. “c Ȼomposed Improvisation for One-Sided Drums with or without Jangles” reads like a koan, which makes some sense given Cage’s engagement with Buddhist teachings. That’s just one of the four pieces that Oregonian percussionist Matt Hannafin recorded for this tape (or download, which is probably a more Buddhist format than a tape). In his hands, Cage’s music becomes a vehicle for feeling both the presence of a healthy blow and the unoccupied presence of the variably proportioned spaces where Hannafin isn’t hitting anything.

Bill Meyer

 Gerrit Hatcher — Parables for the Tenor (Astral Spirits)

Parables For The Tenor by Gerrit Hatcher

One listener’s marvelously wigged-out sound is another’s torture. An audience member’s transformative listening experience might be in response to a sound producer’s moment of hollow display. You might hate a person’s most sincere expression or be deeply moved by something they do with their fingers and lungs while they try to remember where they left their bottle opener. Chicago-based tenor saxophonist Gerrit Hatcher had these existential quandaries in mind as he recorded the six solo tracks on this tape, and who’s to say if that’s why this music has such bite? Maybe it’s better to note that he makes sounds that feel linked to the work of certain Sun Ra associates and Archie Shepp into statements that don’t sound irrelevant at the tail end of the second decade of the 21st century. Hang with him while he blows and you might be changed, either because he’s ripping transformative shapes in the air or because that’s already where you’re taking yourself. Either way, what do you have to lose?

Bill Meyer

  Hübsch Martel Zoubek — Otherwise (Insub)

Otherwise by Hübsch, Martel, Zoubek

There’s a world of improvised music that never crosses that precious Yankee border, and this is group is part of that world. Take one German tuba player, one Canadian viola da gamba player and another German on piano, throw in some pitch pipes and a synthesizer and what do you have? You have the raw material for a session of highly refined interaction. On the spectrum from process-oriented to outcome-oriented improvisation, these musicians tend more to the latter pole. The piano has been prepared to render gamelan-in-a-box sonorities, the tuba’s tones consistently gravitate towards ground-liquifying depths and the strings buzz in splintered contrast. The music unfolds patiently, never lapsing into clutter or confusion, and yet it never telegraphs the next move.   

Bill Meyer

  Jäh Division—Dub Will Tear Us Apart…Again (Ernest Jenning)

Dub Will Tear Us Apart...Again by Jäh Division

A jokey side hustle with an aughts all-star psychedelic pedigree, Jäh Division grooved hard, if obscurely, joining a love of dub, a reverence for Joy Division and a clutch of old keyboard gear. The line-up well exceeded solid with Brad Truax on booming, reverb drenched dub bass, Barry London manning a garage sales’ worth of vintage electronics (Roland RS-09, Realistic Concertmate MG-1, a Moog) and Kid Millions busting up organic and synthetic drums. This disc collects songs from a 2004 12-inch, plus bonus material including covers of Desmond Dekker’s “Fu Manchu” and Jackie Mittoo’s “Champion of the Arena.” These two are trippily wonderful, but the heart of this goofy fever dream is a nodding, pulsing, synth wreathed version of “Love Will Tear Us Apart.” It’s a jam that could go on for days or last only a second (technically it goes ong a bit over four minutes), as it distills post-punk and reggae and experimental art rock into an unending now.

Jennifer Kelly

 Miscarriage — Imminent Horror (Sentient Ruin Laboratories)

Imminent Horror by Miscarriage

Much alike Stormy Daniels’ description of the Chief Executive’s fungoid phallic member, the world didn’t really need this tape from international doom metal crew Miscarriage (who hail from Sweden and the United States) — but now that Imminent Horror is here, it’s sort of hard to ignore. And once you’ve heard it, you’ll have a hard time removing it from your memory, much as you might like to. Lots of metal bands like to talk about how “disgusting” and “putrid” their music is. Miscarriage do more than talk. The noises they make sound and feel like a huge bubble of noxious gas painfully working its way through a diseased intestinal track. It’s slow. It’s gross. It doesn’t create any sort of pleasure. It’s only minimally more coherent than listening to the aforementioned Chief Executive attempt to speak in complete sentences. In all those ways, Miscarriage have made music for our times. Good luck to us all.  

Jonathan Shaw  

 Shady Bug—Lemon Lime (Exploding in Sound)

Lemon Lime by Shady Bug

Shady Bug, out of St. Louis, makes a mathy pop so stretchy and bendable that you expect a bo-oi-oi-ing when its wandering melodies snap back into place. Under the guidance of classically trained Hannah Rainey, the band sets up intricate, jerry-rigged machinations that work by their own logic. Yet though complicated, these tunes have a vulnerable sweetness to them, mainly due to Raines’ hiccupy sincere delivery, which tips and lists as the wind blows. “Make It Up,” the single floods the sonic plane with power-washing blasts of amplified guitar, then cuts to a jittery next-to-nothing of angling, cross-cutting guitar lines. It’ll remind you of Pavement and, more recently, Speedy Ortiz, except in a fetching, kid-sibling-ish way that tugs at your sleeve and your heart.

Jennifer Kelly

[trustrenta]

Bigben interactive cyberbike

#Bigben interactive cyberbike software#

In fitness mode, players pedal until they reach personally set distance, time, and calorie-burning goals. Along the way, players unlock numerous accessories and details, such as packs and new vehicle colors. In story mode, players pedal to control a bicycle, submarine, wagon and helicopter through 18 circuits on planet Cyclo, eliminating pollution on the ground, in the air, and underwater.

#Bigben interactive cyberbike software#

Magnetic resistance is set through a tension control knob providing variable and smooth resistance for all fitness levels.ĭeveloped by Eko Software and published by Agetec, Inc., Cyberbike Cycling Sports features three modes - story, fitness and multiplayer - with a sustainability theme that encourages players to complete the tasks as they burn more calories. It features an adjustable, cushioned seat and pivoting handlebars, making it perfect for players of all sizes. The stationary exercise bike peripheral connects to the GameCube port on the Nintendo Wii console and is compatible with all Nintendo Wii games playable with a classic controller such as Mario Kart™. “Cyberbike is the first of several exciting new video games that Bigben Interactive will bring to the U.S. market, Cyberbike combines the key elements that motivate casual gamers and families to play, including a highly entertaining graphical world, an ecology theme that connects with a real-world social concern, and a well-made peripheral that’s really fun to use,” said Olivier Veyrac, vice president, North America and Japan, Bigben Interactive. “The first biking-based exergame for the U.S. Rated E for Everyone, the Cyberbike Cycling Sports game will be packaged together with the Cyberbike Magnetic Edition bike and made available in summer 2011. Already popular in Europe, Cyberbike Cycling Sports and its high-performance stationary bike provide endless fun and exercise for the entire family. SAN FRANCISCO, CA–(Marketwire - Apr 20, 2011) - Bigben Interactive, global designer, manufacturer and distributor of peripherals, today announced Cyberbike Cycling Sports, the first video game to utilize the Cyberbike Magnetic Edition peripheral, a stationary bike designed exclusively for the Nintendo Wii™ system.

[rotatingmechanicalsolutions]

What is the use of Electric motor?

Electric motors represent the future of means of locomotion. Even if it is only in recent years that it has been talked about at all levels, the electric motor is far from contemporary as an invention. The first electric motor dates back to 1834. It was a direct current engine and was designed to make carriages move without the aid of horses. The first internal combustion engine, on the other hand, was invented in 1853 by an Italian engineer and physicist.

 The main problem of primordial electric motors was the same that limits their diffusion even today: the life of the batteries. Technological advances today make the production of electric-powered vehicles possible, while in the mid-19th century, this seemed like a difficult road. You can choose electric motor repair in case of damage.

 How does electric motor work?

The stator is the fixed part of the motor and is formed by a conductor of copper wires; it produces variable electromagnetic fields opposite to those created by the rotor. The latter, in turn, represents the moving part of the engine: it consists of two permanent magnets which rotate thanks to the magnetic field generated by the stator. This type of motor is also called brushless precisely because it does not use the brushes used instead in asynchronous electric motors. The meetings act as a collector to close the circuit. In this way, the motor uses the electric current to generate the magnetic field.

 The external envelope is the "container" of the first two: To run the engine, you need a source of energy, fuel In short. In traditional internal combustion engines, it is the flammable substance (petrol, diesel, methane, LPG) that, by bursting inside the combustion chambers, generates the movement of the pistons, which must transmit the action to the wheels. A battery supplies the energy needed to create magnetic fields in electric thrusters. 

 Indeed, this can become part of the fundamental elements of an electric motor for cars since, unlike trams; cars cannot receive electricity directly from the electrical network. Electric motors are single-speed, so electric cars don't need a proper gear lever or clutch pedal. In practice, there are directions: forward and backward. Electric motors repair shop deals with any motor accordingly voltage.

 Advantages of electric motors

In addition to the main advantage of being zero emissions, electric motors also have other benefits. The first is that this type of engine has small dimensions compared to internal combustion engines, and also the weight is in the order of tens of kilos compared to the quintal and more of the machines currently in use.

 The compactness and lightness of the electric motor therefore also impact the design of the external bodywork and represent a strong point for vehicle safety. Having more space available in the bonnet can be used for the absorption and dissipation of energy, preventing the engine from entering the passenger compartment in the event of violent collisions. Finally, the cars can also be shorter since they need a smaller capacity than the engine's bonnet.

 Another significant advantage is the low maintenance that this type of engine requires. Being composed of fewer parts and taking advantage of basic physical principles incurs fewer wear problems of the features. Being few parts also reduces the number of repairs required.

Finally, the advantages certainly include the noiselessness of the engine and the readiness to allow maximum power to be transmitted in a few moments. If you want to deal with the motor, you can meet with electric motor repair near me.

[fuzzkaizer]

ConsolePedals - Dual-Slot-Basis

“ Original design Nintendo 64 cartridge based modular guitar pedal. Each guitar effect is stored in a custom cartridge with unique artwork for quick swapping of effects without fumbling with cables. This base has two independent latching foot switches to allow cartridge A, B, or A then B to be activated. Cartridge base is FDM 3D printed and is currently being made in blue, red, or green. All 3D printed files, custom circuit board designs, drilling, and soldering is done by me. Note: Only includes base for cartridges. Cartridges themselves are sold separately and are needed for guitar pedal to work “

s. more console pedals and variable circuit pedals

cred: etsy.com/ConsolePedals

[veritas-sally-blog]

Microphone as well as Singing Methods For Recording Like a Pro!

 Comprehending that a microphone's diaphragm reacts with differing sensitivity to your vocal efficiency. If you're going  alesis 3630 compressor to deliver a quiet, intimate vocal from begin to finish, you could manage to place your mouth simply a couple of inches (or even less) from the microphone. Vocalists with great mic technique will relocate their body closer to or better away from the mic as the song unfolds.

Room Microphones

Space mics are utilized to offer a videotaping an extra ambient and also live noise. Area mics could be made use of in stereo or mono, but one must constantly be mindful that they do have an impact on the stage relationships of all the other tools being recorded simultaneously in the exact same space. Designers usually use stereo area mics placed regarding 6 feet high, and also about 10 feet from the drum set to boost the drum noise.

Dynamic as well as Condenser Microphones

In the simplest of terms, a vibrant microphone is essentially an iron core surrounded by a coil of copper cord just like an electromagnet. When sound waves hit the core as well as move it, it creates the core to move within the coil, which generates electrical impulses that end up being equated right into noise when they experience a mic preamp. A condenser mic (or electret condenser) is essentially 2 incredibly thin, metal (generally gold) partialcoated Mylar membrane layers, which are separated by an extremely thin insulating layer of air. One side is favorably charged, the various other is negatively charged. When acoustic waves, or audio stress hits the "diaphragm," it produces electric impulses that come to be equated right into audio when they go through a mic preamp. Generally talking, vibrant mics are less expensive, are less delicate, deal with extreme audio stress levels far better than condenser mics, however do not sound like condenser mics. There are lots of situations in which a dynamic mic is the better selection though. Numerous engineers use them on drums of all kinds. They are effectively fit for applications where high audio pressure degrees are anticipated. Condenser mics are usually believed to be richer sounding, with even more "information." Yet while they might appear much better, they are also more conscious high audio pressure degrees, and somewhat prone to distortion if subjected to too much level. Condenser mics often have variable pattern activates them, permitting engineers to pick a cardioid pattern, hyper-cardioid, figure, or omni.

Removing Mouth Pops and Lip Sound

Many studio mics use a foam pop filter or windscreen that moves over the end of the mic. Those work well, however some people believe they remove some of the microphone's capability to record premium noises. Simply make sure that you have not placed the mic so much off-axis that you affect the audio of the mic by going outside the mic's pick-up pattern.

Special Singing Techniques & Reverb

The opportunities to make a vocal audio special are countless, bound just by your imagination. Sometimes the extra obvious impacts - 'telephone'- like filters, heavy-pumping compression, ethereal reverb - are precisely what benefit the tune. However you can also have actually the vocal sung into a megaphone, or come off tape into a guitar pedal, an amplifier, even the Leslie audio speaker that was developed for Hammond organs (if you're fortunate adequate to possess one.) A great deal of digital results boxes will certainly simulate these audios, yet they don't always come out as good as the genuine thing. Wah-wah as well as distortion pedals are incredibly helpful in giving your vocal a various noise. And also you can obtain wonderful type of distortion by purposely straining a circuit. 

Attempt patching your vocal, from tape, into a mic-pre with its gain transformed completely up. Every version of mic-pre available creates its very own kind of distortion when strained, so if you do not like the audio of one, attempt once again with another. This trick also collaborates with compressors - just turn the input right up. (Note: if you attempt this suggestion, begin with the fader down on the channel where the signal is returning.) As well as bear in mind that way too much effect could come off as gimmicky. Mixing simply a bit into the main (dry) signal permits you to produce an audio that's fresh without drawing attention to it. (Certainly, occasionally that's the factor.) Suggestion: Are you seeking an one-of-a-kind vocal reverb? Prior to you send the singing to the reverb system, spot it right into a flanger. If you dial in just the right amount, the listener may not even notice your little method. But the overall vocal sound will be one-of-a-kind and also more interesting. Most of the moment individuals consider reverb in terms of extremes: either they such as a great deal of reverb or none in any way. Yet there's a middle ground that's really valuable when you desire a natural sounding vocal that's neither too wet nor too dry. Like when you intend to process it so it sounds unprocessed.

Final Idea on Vocal Tips & The Use of Reverb

This is wonderful for when you want the entire band to appear like they're in the exact same space without clearing up for a completely dry, uninteresting environment. There's a middle ground that's extremely valuable when you want an all-natural sounding vocal that's neither also wet neither too completely dry. Like when you want to refine it so it sounds unprocessed.

[drifthqusa]

4 Important Modifications For A Drift Car

Drifting is addictive. Anybody who tries it or has tried it wants to experience it again and again. There comes a time when you wish to experience drifting again and again that you start spending more time and more money on this end.

When this scenario happens with you, you know you are on the right road. However, when you decide to take up drifting professionally, you should remember that the number of innovations and mechanical grip dialed into today's modern drift cars and the best drift car parts is something to marvel at. Because of all the speed and grip generated, there are many specific modifications that you, however, don't understand initially but will significantly help you on the tracks.

The Seats And The Interior Protection As there's no standard-sized human, car manufacturers must cater to a generalized shape and size while designing seats and safety belts. While in ordinary cars, seats may offer convenience and comfortability, but when you are skillfully drifting your car around the corner, you want something specifically manufactured according to the circumstances. Therefore, changing the seat, the belts, and other safety harnesses is among the best modifications.

Hydraulic E Brakes Drift cars are widely known to use an E-Brake handle very differently than any other car. Every driver indulged in professional drifting holds a large handle near the driver compartment operating a hydraulic brake connected to a second brake caliper. This system further allows the driver to stop the rear wheels, either initiating a drift or extending it without affecting the traditional brake pedal or brake bias.

The Suspension Along with a good set of protective interiors and brake calipers, a good set of coil overs add performance. Your car's default springs and shocks are probably fine for everyday driving, but for extra performance, control, and adjustments centered around drifting, investing in suspension parts is a must. Many brands also offer adjustable damping and camber adjustments so that you can fine-tune your suspensions to suit the circuit you're driving.

Perfect Pair Of Tyres Drifting will wear out your rear tires real quick. Therefore, rather than waiting around for the tire guy to swap the spare rubber over. Spare wheels allow you to swap them over and keep on drifting quickly. Once you know breaking traction and controlling slides at variable speeds, you can further progress onto budget new tires and build up your consistency.

Conclusion We can say that you only need a car and some excellent skills to begin the drift process. However, if you want to extract the maximum experience, thrill, and performance of your car, having some modifications will go a long way in your professional life.

[adanigujarat2021]

The basic composition of the integrated control system of the automobile power transmission system

The function of the control system is to automatically adjust the transmission ratio and working status of the basic transmission components according to the driver's intention and     Adani Gujarat    the changes in the vehicle driving environment, to achieve the best transmission efficiency and the best overall vehicle performance. The vehicle control system is mainly composed of three parts: the vehicle data acquisition system (sensor part), the electronic control unit, and the actuator.

The composition of the vehicle data acquisition system (sensor part). In the entire control system, part of the role of the sensor is equivalent to the driver's visual, auditory, and tactile system in the case of manually operating the shifting vehicle, collecting, and transmitting various parameter signals required for shifting to the electronic control unit.

The vehicle runs and works according to the driver's intention, and the vehicle control system must be able to correctly recognize and implement the driver's manipulation. The recognition of the driver's intention is to test the changes of the vehicle control mechanism (such as accelerator pedal, brake pedal, steering wheel angle, etc.) through sensors, and obtain through analysis.

The sensors used in automobiles mainly include the following types:

 magnetoelectric sensors, magneto resistive sensors, photoelectric sensors, Hall sensors, thermal sensors, varistor sensors, piezoelectric crystal sensors, etc. The sensors used in the transmission part of the power transmission system mainly include engine speed sensor, vehicle speed sensor, throttle opening sensor, clutch displacement sensor, etc.

 Among them, the engine speed sensor and the vehicle speed sensor use magnetoelectric sensors and Hall sensors, and other sensors that use the principle of magnetoelectric signals. The throttle opening sensor and the clutch displacement sensor both use rheostat sensors. In addition to sensors, other signals are transmitted through switches and controllers or other methods. Commonly used switches include multi-function switches and forced low-shift switches. The switch is also a very important means of signal input.

Electronic control unit. The electronic control unit (ECU) is the core of the entire control system. Its function is based on the driver's intention and the signal detected and provided by the vehicle's motion state parameters to carry out gear shifts or working state changes. The main functions of the electronic control unit are: signal acquisition and preprocessing, driver manipulation intention recognition, vehicle status recognition, shift decision (shift schedule), shift quality control, fault diagnosis function, output, and display functions.

The new generation of controllers has comprehensive functions and very good control performance. It uses high-performance 16-bit or 32-bit microprocessors, and some even use custom-made microprocessors, which contain most of the functions required for control and simplify control of the circuit and enhance the function and reliability of the circuit. As the controller's microprocessor is updated, the shift control is more complicated, and the processor's peripheral circuit expansion makes the input and output functions more powerful. In order to achieve greater improvement in control performance, not only control programs are used in these controllers, but also embedded real-time operating systems are used.

Executive agency. After the control system samples and obtains the input signal, it is sent to the controller for data processing. After the data processing is completed, control signal No. 1 of the electronic control unit will change the working state of the power transmission system through the actuator to ensure the proper performance of the vehicle. At the same time, the actuator guarantees the control of shift quality. The actuators that realize gear switching generally use solenoid valves.

The composition of the transmission system: The mechanical transmission system is mainly composed of clutch, transmission, universal transmission, and drive axle. The universal transmission device is composed of a universal joint and a drive shaft, and the drive axle is composed of the main reducer and a differential. The hydromechanical transmission system is mainly composed of a hydraulic torque converter, an automatic transmission, a universal transmission, and a drive axle.

The function of the transmission system: Deceleration and torque increase: The power output by the engine has the characteristics of high speed and low torque, which cannot meet the basic needs of car driving. Through the main reducer of the transmission system, the purpose of deceleration and torque increase can be achieved, which is transmitted to the driving wheels. The lower torque of the engine is converted to higher torque of the drivetrain.

Variable speed and torque: The optimal working speed range of the engine is very small, but the speed of the car and the resistance that needs to be overcome vary in a wide range. Through the transmission system, the working range of the engine can be expanded, thereby meeting the demands for large changes in the driving speed of the car and overcoming various driving circumstances and resistance.

Reversing: The engine cannot be reversed, but in addition to forwarding, the car needs to reverse. If the reverse gear is set in the transmission, the car can reverse. Interrupt the power transmission of the transmission system when necessary: When starting the engine, shifting gears, stopping for a short time during driving (such as waiting for a traffic light), or car sliding at low speed, it is necessary to interrupt the power transmission of the transmission system. The neutral gear can interrupt the power transmission.

Differential function: In the case of car steering, etc., the two driving wheels need to be able to rotate at different speeds, and the differential function can be realized through the differential in the drive axle.

[super-freq]

Factory of FUZZ (fuzz factory clone)

I’m always looking for the cheapest way to build pedals. I found these boards on OSH Park.com. Besides being a service for prototyping boards it’s also an open source repository of projects uploaded by the community. A board uploaded to OSH Park marked public can be ordered by anyone. The search function is not so great but it is searchable. I spent a day searching OSH Park for stompbox projects and found more than a few things that look worth building.

The OSH Park standard service is $5 per square inch with the requirement that you order three boards, and shipping is free. This usually cheaper than ordering boards from vendors but there is no support. One of the projects I found was a this Fuzz Factory. It looked well laid out and the cost was $7.75 for 3 boards, about $2.50 per board, which was pretty reasonable.

Order some of these boards here: https://oshpark.com/shared_projects/xaBILSTV. Check out my projects page for links to some OSH Park boards I designed. I have documentation here on my site.

With no build Docs you’re on your own. The Fuzz Factory is not a complex pedal and the schematic is readily available. Some OSH Park projects will link to documentation and other do not. This is a good way to level up your skills!

Getting Started

The Fuzz Factory is not a hard pedal to clone. The toughest part is wiring the pots. Getting a board where the pots mount directly to the board is a great help. Here three of the five pots mount to the board and two require off board wiring which makes a pretty easy build.

The Fuzz Factory has only a handful of parts. I soldered everything except the pots and the two germanium transistors. You’ll want to test a few transistors if you’re using germanium to get some that sound best. That said really everything even silicon can sound good in this circuit.

The Enclosure

For the enclosure I used a black powder coat 1590B from Tayda. For the logo and labels I milled the box using a desktop mill. The powder coat is removed to reveal the design. I created the design in Sketch on the computer exported some SVG files and loaded these into the mill.

Switching

I decided to try out a relay switching system. This uses a soft touch momentary SPST switch and some circuitry. I used boards from DIYGuitarPedals.com. Their system uses some discreet logic and a relay to handle switching and the status LED.

The PCB is designed to fit a 1590B or larger enclosure. It requires a few parts which are mostly easily available. The relay is available through Mouser. Erik over at DIYGuitarPedals was generous enough to send me two boards and the relays, thanks again Erik! Check out their web site and their YouTube channel.

The system uses a relay which is an electromechanical switch in a little box. The switch in this case is the RY9W-K. It’s a DPDT but rather than being engaged by a button or lever it’s engaging by an electrical voltage applied to a control pin.

In the picture below you can see the relay has 8 pins. The 6 pins on the left are the switching connections, each row is one switch, the center is the common connection that bridge to the outer connections depending on the state of the switch. Hey those six pins on the left are just like the pins on a regular DPDT switch-. The two pins on the right are the control and ground.

The board, relay, SPST switch, and other parts make up a single assembly that replace the 3PDT switches typically used for guitar pedals. You can see it neatly fits the lower bout of the 1590B enclosure.

Here is what the whole system looks like assembled. This is complete and could be dropped into any pedal replacing the standard blue 3PDT.

How does it work?

Unlike many relay systems that rely on a micro controllers this circuit uses only discreet logic. There are pros and cons to each. Using a micro controller requires some extra circuitry since the Micro Controller runs on 5v. They can be proprietary since someone has to write the software that runs the system. Using a Micro controller you can fit all the logic into an 8 pin DIP and add new features or up date the existing code. Using discreet logic your system can run on 9v, might have fewer parts, and won’t suffer from software bugs.

This system relies on the 4011 quad NAND gate to handle the switching logic. Check out this video for a more in-depth explanation of the switching logic.

Assembling the NAND Bypass board is pretty easy. Easier than making the Fuzz Factory board. It’s got very few parts and there is plenty of room to work. If you wanted to give this type of switching a try this would be a good place to start.

Building and wiring the Fuzz Face

The board mounts the three 10k pots and will accept 9mm or 16mm pots. If you are trying to fit this into a 1590B box in portrait orientation you’ll need to use 9mm pots! The two 5k pots are mounted off board. You could also build this in portrait with all 16mm pots.

I mounted the pots in the enclosure then soldered them to the board to make sure they were perpendicular to the enclosure.

I had some ribbon cable salvaged from an old computer. I used this to wire the off board 5k pots. The board marks the pins 1 and 3. Pin 1 also has a square pad. I used 16mm pots with pins that stick out perpendicular to the shaft. I cut a couple pieces strip board to interface the wires and the pots. This made for some nice clean wiring.

The bottom of the PCB is pretty close the corners of the enclosure. I’ll have to be careful it doesn’t short out there! This was a test fit. I needed to mark the positioning for the power, input and output jacks, then disassemble everything and drill these.

Once I got everything drilled I added some wires and reassembled everything. I realized I needed to move the two pots in the second row inboard a millimeter or two. You can see I had to file the holes a little.

I also installed the switching board. I stuck a little piece of wood to the side of the switch to brace it against the back of the enclosure. There was no way to brace the switch when tightening the nut.

You may have noticed the two germanium transistors are missing. Since these are notoriously inconsistent I decided I wanted to audition a few before selecting which would be used for this project. I have a bag of 40 I’ll test and measure these to find suitable pairs.

I have this TC1 Multi-function Tester. This cost about $17 on eBay. Well worth the money. It tests resistors, capacitors, diodes, transistors, and more. It will tell you all of the most useful information. It will also differentiate NPN, PNP, JFET, and MOSFET devices, and tell which pin is the base, collector, emitter, gate, source, or drain. Super handy.

Germanium transistors have a high degree of variation. Their hfe and leakage is very inconsistent across devices with the same part number. There is a lot of debate about what hfe values work best for different circuits. Some people like to judge by the numbers others like to use their ears. I’m going to go with a hybrid approach use the numbers to get in the ballpark and then audition by ear.

I measured all of the Germanium transistors in the parts bin, marked each with a number and made a spreadsheet of all the values I measured with the TC1.

https://docs.google.com/spreadsheets/d/10O7FYfs_f0x301CYvcvC7pWFFp8Ld2-e3oANXK-AOtc

This is a Fuzz Factory I built using a board from AionFX, it has a few extra knobs. I used sockets for the transistors. I figure I can plug some transistors into this to hear how they sound before soldering them into the new Fuzz Factories.

Here I wired up everything in the box. The NAND Bypass board is well laid out and labeled making wiring easy. Input and output jacks go to the input “In Jack” and “Out Jack” and the input and output from the PCB go to the “To PCB Input” and “To PCB Output”. It’s paint by numbers really!

At this point I gave it a test. I the LED worked, and bypass was working. So we’re goo to go. The last step is finding and installing some Ge transistors.

Tested some transistors in the green fuzz factory and decided on 1 and 9 from the spreadsheet. They had numbers that seemed to be the right range and sounded good.

Taco Fry Fuzz #1

The first us out of the way time to audition a couple more transistors and make the second box.

Tested a few more transistors and decided on #60 for Q2 70 hfe, and #21 for Q3 190 hfe. These sound good and we’re very close to the values for the first pedal. Which should make these sound very close.

What does it sound like?

The Fuzz factory is a highly variable fuzz. The sounds range from standard distortion to fuzz into high gain. It’s possible to dial in gated fuzz and zipper sounds. Not all of it useful in many cases. It’s all fun and inspiring.

Factory of FUZZ (fuzz factory clone) was originally published on Super-Freq

[thetapelessworld]

Audified is proud to release AmpLion 2 Rock Essentials

Audified is proud to release AmpLion 2 Rock Essentials

Audified is proud to release AmpLion 2 Rock Essentials — effectively revamping its long-lived AmpLion Pro software stalwart as a rip-roaring plug-in putting three legendary amplifier models, four cabinets, 15 stomp boxes, and 10 microphones meticulously recreated using state-of-the-art component modelling alongside a totally redesigned GUI (Graphical User Interface) and numerous new features into the hands of present-day DAW-driven guitarists — as of March 18… Audified’s AmpLion Pro has proven popular with discerning DAW-driven guitarists as a complete software processor since its introduction to widespread critical acclaim during 2014’s long hot summer. Several years is a veritable lifetime in the wonderful world of ITB (in the box) mixing — exclusively inside a DAW (Digital Audio Workstation) once tracking is complete; indeed, it is also a veritable lifetime in terms of computing power pressed into running those plug-in-hosting DAWs. Readily revamping its software stalwart as a rip-roaring plug-in putting three legendary amplifier models, four cabinets, 15 stomp boxes, and 10 microphones meticulously recreated using state-of-the-art component modelling alongside a totally redesigned GUI and numerous new features into the hands of present-day DAW-driven guitarists is easier said than done, however. Having taken time to combine its proprietary research with the latest trends in the scientific community, AmpLion 2 Rock Essentials’ power amp section uses a loudspeaker impedance model to replicate the interaction between the power amp tubes, output transformer, loudspeaker, and power amp feedback, while its analog delay and modulation effects use a bucket-brigade delay model with an exact number of buckets and virtual clock rate instead of a simple delay to add a small amount of aliasing to the sound output, heard as a typical ringing sound; all are latency-free for immediate playing response, including the all-important cabinet models. Audified ably applied the best of both worlds to design a new real-time nonlinear dynamic circuit equations solver which was used as the basis for modelling all circuitry creating AmpLion 2 Rock Essentials’ stunning sound — essentially encompassing a gear selection anchored around absolute rock staples, as implied by its apt appellation.

Those three amplifier models are as varied in tone and as great-sounding as their real-world hardware counterparts when imaginatively implemented in AmpLion 2 Rock Essentials: meticulously modelled after a small-sized yet monster-sounding low-wattage amp of choice for many players across many genres — gracing recordings ranging from traditional country to alternative rock, Bartender Delux 65 offers two main channel choices, each with low and high INPUT option, a hyper-realistic, separately-engaged spring REVERB, and a choppy or lush VIBRATO, plus (Rear & Mods Panel-accessible) Pushed mode; JUKEBOX 30 musically mines a rich rock spectrum of classic sounds with aNORMAL channel acting as a perfect companion to using treble boosters (of which two are included in AmpLion 2 Rock Essentials’ extensive stomp box selection), switchableREVERB and TREMOLO, plus TOP BOOST controls, as well as Rear & Mods Panel-selectable Voicing and Custom EQ options; Martial 59 realistically represents a real rock legend (without which rock ’n’ roll itself might never have happened) with a traditional four-input configuration and a parallel channel holding the key to screaming rock sounds, while Master and Pushed options are also available alongside Rear & Mods Panel-selectable SLP/HW/Brown sound revision switches and Ohm selection — the latter making a noticeable difference in itself! Indeed, the three amps in question have been modelled above and beyond their standard stock real-world hardware counterparts courtesy of Audified’s own custom mods, fan-favourite mods, specific tweaks, and various version revisions — all accessible via their respective Rear & Mods Panel-positioned additions.

All adding their own distinctive dimension to the discerning DAW-driven guitarist’s tone palette, AmpLion 2 Rock Essentials features four cabinet models: Bartender 112 J represents the sound of a classic 1x12” combo and a J-style speaker as a matching cabinet for the Bartender Delux 65 amp model to duly deliver tightness with low- end focus, though of course can also be paired with AmpLion 2 Rock Essentials’ other amp models; JUKEBOX 212 GB models one of the most classic 2x12” cabinet designs ever created, matching the JUKEBOX 30 amp model to create clean through to crunchy sounds, as well as variations thereof when used with either of the other two amp models; modelling classic 4x12” half-stacks, Martial 412 GB and Martial 412 G12A are both a perfect match for the Martial 59 amp model, the former being fuller in bass response with somewhat scooped mids while the latter is more focused on mids for a tighter tone — combine them in stereo or work with Double Track mode for fulsome fun and tumultuous tones! Audified’s AmpLion 2 Rock Essentials enables various ways of working with the cabinets — selecting only one as active allows the mic to be panned across the stereo field, for example, but blending two cabinets leaves the pan centred, or use two cabinets and mics to pan them hard left and hard right, while taking the aforesaid Double Track route results in a different sound altogether.

By building upon a lengthy legacy of virtual stomp boxes that led up to MultiDrive Pedal Pro — pushing further forward with Audified's virtual stomp box breakthroughs by bringing the legacy of erstwhile brand DSound’s first guitar software (released as Stomp’n FX Vol. 1 and Stomp’n FX Vol. 2 way back in 2000) and later featured, for instance, in Audiffex’s inTone2, AmpLion 2 Rock Essentials features 15 new and redesigned stomp box models, including two T-Boost treble-boosters with their not-so-widely modelled Sixties- and Seventies-vintage sound, as well as overdrives and distortions aplenty — 808 IceScreamer, distortion PULS, Melted Face Fuzz, and O-DRIVE 1; very versatile Jukebox Wah 84; MEMORIZED DELAY, DigiDelay, and DigiVerb delays and reverb; mrs. flanger, STONED PHASER, and CLONED CHORUS modulation effects; plus proprietary stomp box equalisers — GraphEQ and ParaEQ. Pushing flexibility further forward, AmpLion 2 Rock Essentials encompasses two pedalboards with one positioned before the amp and the other after the whole rig; while wah and drive stomp boxes are restricted to only pre-placement availability and DigiDelay and DigiVerb are restricted to only post-placement availability, all other stomp boxes are available to both. But wherever they are positioned, all work wonders when finalising guitar tones! Audified’s AmpLion 2 Rock Essentials comes complete with 10 fan-favourite mic models — 121 Rodger, 414 OMG, 421 Sensei, 451 Pencil, 57 Legend, 5i Audition, 7B Podcaster, 87 Oldman, and 906 S-Cube, plus a special Flat response model — based on thorough and repeated measurements in an anechoic chamber for amp and cab recording and re-amping. Moreover, maximising tonal variability is a given when using different mic models with different cabinet models and experimenting with their positions. Position and Distance controls are self explanatory, and are based on real science, yet AmpLion 2 Rock Essentials ups the recording ante still further by also offering a Mic Angle function ranging from a default position of 0 degrees — positioning the mic perpendicular to the cabinet grill cloth — to 75 degrees. Different mic’ing techniques are available to all with the greatest of ease. Elsewhere, an advanced Noise Gate algorithm is thoroughly pre-tuned to assist AmpLion 2 Rock Essentials users with eliminating noise, even when using high gain, while the proprietary Hiss Gate function even eliminates subtle pickup noise amongst other things — without affecting playing dynamics in any way — by being based on envelope tracking for both signal level and signal frequency bandwidth with automated release time to work both for palm muting and playing solo with the same settings.

Sounding complicated? Time to think again. AmpLion 2 Rock Essentials eases signal flow navigation thanks to being divided into four pages, each engaged using its own Power button. By focusing on presenting a few precisely modelled devices packaged into a guitarist-friendly GUI, AmpLion 2 Rock Essentials is surely set to achieve its goal of total classic rip-roaring rock domination! DAW-driven guitarists buying into the AmpLion 2 Rock Essentials ethos are in for an audible treat — and all without digging deep into their pockets, virtual or otherwise! AmpLion 2 Rock Essentials is available to purchase for an introductory price of $79.00 USD — rising thereafter to its regular price of $149.00 USD — from Audified’s online shop, which also includes further information and sound samples, here:https://shop.audified.com/products/amplion-2-rock-essentials AmpLion 2 Rock Essentials can be directly downloaded as an iLok-protected plug-in, available in AAX, AU, and VST3 64-bit native formats for Mac OS X 10.11 - macOS 11.1 (Apple Silicon-compatible) and AAX (64-bit) and VST3 (32-bit and 64-bit) native formats for Windows 7 - 10 from Audified here: https://services.audified.com/download

See and hear AmpLion 2 Rock Essentials in action as Audified aims at classic rip-roaring rock domination in its introductory video here: https://youtu.be/bUcdoOVzrxs

:https://shop.audified.com/products/amplion-2-rock-essentials

[f1chronicle]

How Does A Formula 1 Simulator Work?

In modern F1 the FORMULA 1 simulator is so important as F1 cars are the most sophisticated automotive machines in the world – and yet, testing them on track or in the wind tunnel is extremely limited.

There are only six days of pre-season testing and each race weekend comes with only four hours of practice.

That’s why Formula One teams rely on gathering data in the virtual world more than ever before – and a big part of that work is simulation.

This area has become even more crucial during the 2020 FORMULA 1 season, because of the many new tracks on the calendar.

In the following Q&A, Mercedes walk us through their FORMULA 1 simulator approach to a race weekend.

What types of simulation do F1 teams use?

There are a few areas of simulation that F1 teams use to prepare for a Grand Prix weekend, but the two main ones are driver-in-loop and computer simulation. Driver-in-loop (DiL) is effectively a virtual test track, where the car and the tracks are modelled in incredible detail, to enable us to develop the car, find the right set-up direction and help the drivers familiarise themselves with a track in a virtual environment. We use a bespoke simulator facility at the factory and the DiL is somewhat similar to a professional airplane simulator used for pilot training – with the obvious difference that our “cockpit” looks like an F1 car, not a flight deck. In a typical DiL session, our race and simulator drivers can easily complete more than a full race distance. However, in that same space of time we can log thousands of computer simulations as computer simulated laps can be done 100% virtually. That means they can be sped up and run in parallel with other simulations to support both the vehicle dynamics and the strategy groups. The value of these different virtual tools is critical for an F1 team, particularly when we’ve never raced at the track before.

How accurate is the Driver in Loop simulator?

The track models that we use are highly detailed. They are generated by lidar scanning, where laser imaging is used to create a 3D map of the entire circuit and all of its characteristics – from track surface to kerbs and even the environment around it. F1 teams also work with gaming companies to make the track environment as realistic as possible, as visual cues are important for the drivers to determine braking points or the right moment to start turning the car. The market for these highly complex track models is fairly small, so multiple teams will often base their simulations on the same track data and information. The simulator itself is designed to be as realistic as possible with the same chassis, cockpit, steering wheel and pedals as the car itself, and drivers will often run in full race kit to really immerse themselves in the experience. A significant amount of time is spent correlating the virtual model of the car to the car in the real world, so that the car can handle in the simulator just like it does out on track. This allows us to run through set-up tweaks and changes to the car, as we would at the track, to see how it changes balance and performance.

Why is the Driver in Loop simulator so important and does the approach change for new tracks?

It’s an incredibly important part of our preparations and it’s especially vital when visiting a new track, where you have little to no historic data. While our approach remains the same, it does mean the team is more dependent on gathering information in the simulator and as a result new circuits require a more extensive programme. For a track that we’ve visited before, we’ll typically dedicate a two-day programme in the build-up to the event, equating to around 450 laps and roughly eight race distances. The majority of the running is completed by our team of simulator drivers, but Lewis and Valtteri also use the facility. However, when it’s a new circuit, the amount of work is much higher, with two additional days in the run-up to the event plus another day dedicated to the race drivers learning the track layout. The bulk of the work is completed in the build-up to the race weekend, but the work doesn’t stop when the team arrives trackside. The simulator department also run a Friday programme for each Grand Prix, supporting the drivers and engineers at the track to really maximise the learnings from the first day of action. And once the weekend is over, the sim is fired back up to conduct a post-event programme to further understand race performance and assess potential improvements. All of this crucial pre-event work is conducted to ensure the team arrives at the track with the car in a good enough place that the drivers can begin pushing hard from the very first laps.

How do teams use computer simulations to gather information?

Alongside the DiL programme is another virtual test track, but this time, it lives completely inside the computer itself. A racing line file is generated from the DiL to create a single trajectory around the lap and this racing line is used to complete hundreds of thousands of virtual laps ahead of each event, producing a few terabytes of data. The engineers are able to speed up these computer simulations and run them in parallel with one another, with this much faster pace allowing a vast amount more information to be gathered in a much smaller amount of time. From the vehicle dynamics side of things, engineers are really focused on the details – both in getting information on very specific parts, but also seeing how the car reacts to very small set-up changes. A huge number of set-up possibilities are run through the simulations and the data output – often in the form of a graph – can be compared, not only from the other runs but also overlaid on top of the DiL or real car information. Our technical partners play a crucial role in our computer simulation capabilities, with HPE providing data centre infrastructure and hardware, Pure Storage bringing storage solutions and TIBCO giving us the mechanisms to visualise and report the findings from our simulations. Once the data has been analysed, the team then decide what direction to take with the car set-up for Friday’s practice sessions and this will be used as a base to start the development of the car out on track.

What other areas of the team use computer simulation?

Another critical area for simulation is strategy. The computing models used for these strategy simulations feature all drivers and teams, but also include assumptions for pit stop scenarios and the variables of the circuit, such as pit stop loss, tyre degradation and car competitiveness. These are bundled into the computer simulations with some realistic element of variability to account for a wide variety of situations, which run many different race and Qualifying session scenarios in order to work out the best strategic options – from which tyres to use, to what lap to pit and how to react to losing or gaining places at the start. Running this vast array of strategy simulations is also useful for working out the programme for Friday’s practice sessions, revealing what information will need to be gathered or what details the team is missing. Before we’ve even turned a wheel at the track, hundreds of thousands of strategy simulations will have taken place in order to put the strategy team in the best possible position heading into these live sessions.

What challenges have teams faced during this unusual season?

One of the most obvious challenges that teams have faced this season is the sheer volume of new circuits to prepare for. Typically, a new season will include one brand-new track. Simulation work for these unknown circuits start as soon as the calendar is confirmed, usually six to eight months in advance. However, this season the schedule has been ever-changing and races have only been confirmed two or three months ahead of their planned dates. And of course, from the 17 confirmed races, three layouts (Mugello, Portimão and the Bahrain Outer Circuit) have never been raced on by F1 before and three others (Nürburgring, Imola and Turkey) haven’t been visited by F1 for quite some time. So, it’s much harder to gather the same volume of information as usual due to the tighter timeframes.

Can these methods simulate everything?

We aim to gather the most accurate info we can from the DiL and computer simulations, in order to be in the best shape possible, come FP1. But of course, these simulations can never be 100% accurate and are only as good as the data that’s put into them. Because of this, simulations are never used to finalise decisions, but instead used to assist and influence the direction that the engineers go down. Once the path has been chosen, it is then down to the drivers to provide real-world feedback and for the engineers to take this information onto the next level. The full car model can never be perfectly accurate, and you also can’t model the grip of the tarmac and how the tyre responds to it. Some aspects of the car set-up, such as wing levels, are easier to gather information on through simulations while others, such as car balance or grip levels, are more difficult because they depend on more factors – some of which are outside your control, such as the weather. We can make assumptions for the simulations, but you’ll only really know how all of the elements interact together once the car is out on track for real. The important thing for the race engineering department is to understand how to interpret that simulation information and, given its limitations, how to combine it with the real-world data, bringing it together to make the right decisions.

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[fuzzkaizer]

Tech-in Mind Electronics - Do-In Instruments - AGP-1 Analog Guitar Effects Processor, 2009

"This strange gem is an all analog signal path multi-Fx with 13 all analog effect modules plus 2 internal effects with digital control of all parameters. ... This was the brainchild of a Hong Kong startup called Tech-in-Mind Electronics in 2009. The unit is called the AGP-1 (analog guitar processor 1). The effect modules (my guesses as to what the circuit mimics): Compressor/Noisegate (sounds like a Ross or MXR) Phaser (sounds like a Phase 90) Hot Distortion (Rat maybe) Chorus (analog chorus, not a chorus connoisseur, so no clue what it is like) Tremolo (solid state trem) Fuzz (don’t know what flavor, but it is fuzzy) Acoustic Simulator (sucks as an acoustic simulator, fun as a sound maker) Metal Distortion (thicker and more high harmonics than Hot Distortion) Octaver (tracks and sounds like a Boss octaver pedal) Auto-wah (70’s flavored envelop filter sound) Flanger (analog flanger, smooth and nice) Overdrive (sounds like a Tube Screamer to me) Delay/Echo/Reverb (The delay is gorgeous! It is as tasty as any analog delay that I have had (Memory Man and DOD).  Not a reverb at all, but it is a legit bucket brigade analog delay. Enough delay time to get dotted 8th and quarter note delays depending on tempo.  No idea what the millisecond time is.)

It also has two internal effects: 7-Band EQ (reasonably flexible) Amp Sim (I compared this to a Tech 21 SansAmp classic and it sounded identical to a specific setting that was clean and warm)

Additional features: Mixer with several inputs (see photos) Metronome Tuner (not the greatest, but works in a pinch. Headstock tuners put it to shame.)

The AGP-1 came along at the height of the DIY pedal building movement, and I would guess that many of the circuits that were popular among builders at the time were used for the modules. The 10 modules can be moved around into different order in the 10 internal slots.  It is a fussy business moving them around as each module has something like 30 pins on them that need to line up with the sockets in the main device. ... Oh, and it has an RS-232 jack intended for firmware updates. It was rather dated in 2009. It is comical now! The company is long gone, so no firmware updates."

s. demo clip

A retro 80s version of the Devi Ever console?

s. more variable ciruit pedals 

cred: reverb.com/Tim’s Gear Garage