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 1 
 on: Yesterday at 04:23:33 am 
Started by John Marsden - Last post by nancy87
The weirdo strategy was first utilized in occasion related potential (ERP) look into by Nancy Squires, Kenneth Squires and Steven Hillyard at the UC San Diego.[1] https://treatmentforschizophrenia.com/causes

In ERP look into it has been discovered that an occasion related potential over the parieto-focal region of the skull that normally happens around 300 ms after upgrades introduction called P300 is bigger after the objective boost. The P300 wave possibly happens if the subject is effectively occupied with the undertaking of recognizing the objectives. Its abundancy changes with the unlikelihood of the objectives. Its inertness shifts with the trouble of segregating the objective upgrade from the standard stimuli.[2]

Recognition of these objectives dependably brings out transient movement in prefrontal cortical areas. Estimating hemodynamic mind action in the prefrontal cortex utilizing useful attractive reverberation imaging (fMRI) uncovered that the dorsolateral prefrontal cortex is related with dynamic changes in the mapping of boosts to reactions (for example reaction techniques), freely of any progressions in behavior.[3]

Since P300 has been demonstrated to be a consideration subordinate intellectual part in alertness, one may assume that it would be missing during rest; a period wherein data preparing of outer upgrades is ordinarily thought to be repressed. Research to date demonstrates that P300 can be recorded during the change to rest and after that returns in REM rest. Improvements that are uncommon and nosy are bound to evoke the exemplary parietal P300 in REM rest. There is, be that as it may, next to zero inspiration at frontal destinations. This is predictable with mind imaging ponders that show frontal deactivation is normal for REM rest. These discoveries demonstrate that while sleepers might have the option to recognize boost abnormality in stage 1 and REM, the frontal commitment to awareness might be lost.[4]

 2 
 on: Yesterday at 04:20:18 am 
Started by jetbase - Last post by nancy87
You're a devoted performing artist who's assembled a fortunate live apparatus throughout the years, and now you're turning into a home-recording nonconformist. You have understanding, great ears and a decent arrangement. You've never truly contemplated putting resources into arcane, costly rack gear, yet that is fine. Your interface is murmuring along pleasantly; your mic accumulation is nice and with regards to blending, your modules thump it out of the recreation center. But when they don't. https://investinnps.com
Presently something you followed some time back sounds all around level after relistening, and you're trapped. Nothing you do sounds great, and every one of those modules appear to ridicule you with their straightforward, one-size-fits-all pervasiveness, which albeit unquestionably an uprightness on occasion, can be all the more an inventive revile than a gift.
The arrangement? Your pedalboard.
Equipped with the great old stompboxes that you effectively claim and only a smidgen of information about sign levels, which we'll cover in the following area you'll never pine for a costly, space-race-period detachable box to fix your blends again. Welcome to the great universe of reamping with pedals.

 3 
 on: Yesterday at 04:15:33 am 
Started by aztecpatchbay - Last post by nancy87
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Make your very own custom layouts and offer with different clients. For all intents and purposes unbounded plan conceivable outcomes for Bantam, Data, Fiber, GPO/B Gauge, Jack, Termination Panel, Trumpeter, MIDI, Video or some other sort of patchbay.

 4 
 on: October 14, 2019, 11:32:54 pm 
Started by leftofthedial - Last post by RadarDoug2
The thing is, it is not the correct procedure. You ALWAYS start with the repro chain and get that right.

 5 
 on: October 14, 2019, 03:58:34 pm 
Started by leftofthedial - Last post by leftofthedial
Also, FWIW, I see no real reason why setting the record head first would be problematic on a 3 head machine in sync mode.  The A800 has the ability to go as high as 16K in sync mode.  That's not how I have been proceeding, but I'm pretty sure I saw a video of Greg Norman at Electrical do the rec/sync head in sync mode on one of their A820. 

 6 
 on: October 14, 2019, 01:16:55 pm 
Started by leftofthedial - Last post by leftofthedial
Thanks for all the responses.  I've had the machine for 3 years, but have not used it yet in a recording with a client situation.  I have been taking my time recapping things and working out all the electronic and mechanical stuff as time permits.  I generally doubt that my original hypothesis of zenith being off is actually what is going on. FWIW, I also have not touched anything but the azimuth screws on the head adjustments because I know I will only make it worse if I do.

 7 
 on: October 12, 2019, 12:01:21 pm 
Started by leftofthedial - Last post by mbrebes
Most of the tape machines I have worked on rarely have the azimuth go out on a regular basis, at least when they are all in-house tapes.  If the azimuth goes out, even in a 48 hour period, I would suspect something wrong with the head assembly mechanics.  If you are using tapes that are from out of house, yes the azimuth will need to be checked, but it shouldn't go out while you are working with that same tape.

 8 
 on: October 11, 2019, 04:05:37 pm 
Started by leftofthedial - Last post by RadarDoug2
One thing I meant to cover on the original post. Use a two channel scope to do azimuth. Start with the low frequencies, and satisfy your self that you are on the same cycle of waveform on both channels. This is easy at low frequencies, not so easy at high frequencies. Work your way up in frequency, checking for each frequency that you are on the same cycle of audio. Its very easy to just use 10K and get a cycle out. This then has the head on a slight slant, and azimuth is definitely out!

 9 
 on: October 11, 2019, 04:01:29 pm 
Started by leftofthedial - Last post by RadarDoug2
A couple of things... first, when you do "azimuth", you it on the two exterior channels... as in 1 & 24.  When 1 & 24 are good... all the ones in the middle are good.  When you do "azimuth" you first do the record head... then you record the tone [I generally recommend 15kHz, but I do know some guys the use 20kHz... you can "rough it in with 10kHz, but use that only as a "rough" alignment].  After you get the record head straight [no pun intended], you record the tone and align the repro head... that way the two are exactly in line.

What scares me a bit is you started by saying "that I've had a few years" -- I hope to hell you recorded 15kHz alignment tones [along with the standard 1kHz, 10kHz, 100kHz (on an 800, I usually run my low frequency tone at 50Hz as there is a bit of a "bump" at 100Hz and I find a "larger" sounding low end when I align 800's with a 50Hz tone... but that's for you to decide].  If you didn't -- your azimuth will be WAY out of whack on ALL the previous reels you've had on the machine!!!

Last, and certainly not least... azimuth should actually be checked [along with the alignment of the electronics 1k, 10k, 50Hz] before EVERY session.  If its a "home studio" kind of thing, maybe every 20-25 hours of use... but this is something that you need to stay on top of 100% of the time if you want a recording that sounds correct.

Peace
WOW! Really bad advice Fletcher. You always do the REPRODUCE head first! Then you do the Record head by observing what comes off the reproduce head. You dont do the record head in sync. Some machines have filters on the record head in that position. Also the actual position of the record head azimuth is affected by bias, and the physical position on tape of the recorded signal depends on the transfer function of recording, so just setting record head azimuth in sync does not allow for where on the head recording happens. A subtle but important difference.
Taking azimuth from tracks 1 and 24 is bound to be bad. Very easy to get cycles out at high frequencies. Start with adjacent tracks in the middle of the head. Then work out observing azimuth as you go. If the azimuth varies drastically, you have a head with a bowed gap.
If you always record stereo pairs on adjacent tracks, then the azimuth error will be minimised. If you are multimikig a band, time delays in the room will cover all the strict phase problems.

 10 
 on: October 10, 2019, 02:45:02 pm 
Started by mikezietsman - Last post by klaus
Too little visual information to make an educated guess as to the validity of the conversion and the effect on value: no capsule, inside amp or power supply views. Also: the connectors are no longer Tuchel, but East German copies which are not compatible with Tuchels

If the mics were "factory" converted to U67, there should be Neumann-issued documentation. If not, the value drops, and the mics' intrinsic (usable) value will be your base line for pricing.

Also: always  think of the other end of any Frankenstein deal, i.e. when it's YOUR time to sell: how much explaining will you have to do?

Take all of this into consideration before you bid.

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