Energy and Resources Minister Bill Boyd says in a release that 53 birds died earlier this week near the community of Luseland.

The site is operated by Newalta Corp. and is part of heavy oil production in the area.

The release says such sites normally contain dry sand recovered during processing and recycling of crude oil from tank bottoms, but an unusually wet spring led to a buildup of water that attracted the birds.

Last month, about 500 ducks died on a Syncrude Canada tailings pond in northern Alberta when air cannons used to scare the birds away could not be used because of a late snowfall. (news)

I went to Hungary yesterday and it wasn't at all how I imagined. I had a kind of romantic vision of beaten-down people in woollen coats clutching stale loaves of bread, scuttling into shabby little houses with grey curtains. I thought the streets would be empty, with the odd VW pootling along on a couple of teaspoonfuls of petrol.

I was so wrong. Some of the wide avenues and facades with their beautiful tall windows and ornate stonework could pass for Barcelona or somewhere in the back end of Paris. The roads were full of cars just like you'd find on the streets here. Where were all the concrete warehouses, the people wearing sacks, the soup kitchens? Now I realise I'm shamefully unaware of what much of Eastern Europe is really like, and embarassingly my main points of reference are grainy communist propaganda films, dog-eared East German textbooks, Chernobyl and Borat.

Anyway, I was there for a shoot, so I was doubtful that we'd see anything more than the inside of a studio and our (lovely) hotel rooms. But we did; we were driven back into Budapest and spent an afternoon meandering through the city and across the river. The sun was soft and low and just hitting the east bank of the river. It all felt delightfully warm, simple and steeped in history. We could have been in Italy, Spain, or a little French village. In fact it reminded me of Blois, with its wide shallow river and tiny-windowed stony buildings peering out over it.

One of the best things about the trip was rediscovering that wonderful sense of disconnection from an environment. Being somewhere new, especially somewhere where they don't speak English, forces you to reassess words, things, attitudes, people... For me the most refreshing thing is the constant linguistic challenge. In English-speaking countries you can look around and understand everything instantly - billboards, shop signs, road names... When the language you see all around you is foreign, things aren't so accessible. It's like being a child again.

Of course it's incredibly frustrating not being able to speak Hungarian, and my rusty GCSE German doesn't get me very far. While I did learn one brilliant word - ferihegy - I don't even think it means anything. Hopefully we'll be going back again in the near future, so I'll be needing to find a decent Hungarian phrasebook.

This is their 1999 video "Full Clip" off of the album by the same name and dedicated to the then recently passed rapper Big L.

The instruments include violin, viola, cello, double bass, French horn, trombone, trumpet, tuba, flute, clarinet, bassoon, oboe, English horn, vibraphone, marimba, xylophone, crotales, glockenspiel, tubular bells, cymbals and timpani. Many instruments are provided in solo and ensemble variants and multiple articulations. Each instrument is available in a high-fidelity version for studio production and a lower-fidelity configuration for decreased overhead and instant performance.

"
SmartPriming
Using large sampled instrument libraries can quickly eat valuable computer resources and slow down the creative process. Ableton Live 7 introduces SmartPriming, a new resource-saving sample playback technology allowing users of large sample libraries, such as Ableton's Orchestral Instrument Collection, to use many instruments in their compositions. Due to Simpler and Sampler's tight integration with Ableton Live, SmartPriming automatically reallocates resources in real time from where they are no longer needed to where they are, without interrupting workflow. Once a sampled instrument is sequenced, Live knows the amount of resources required to play that instrument back and unloads all unused samples to open resources for the next instrument the composer decides to play. Essentially, SmartPriming is an under-the-hood technology that allows Live users to get the most from their computer's resources and take advantage of the realism and expressiveness provided by professional multisampled instruments.
"

The Orchestral Instruments are available from the Ableton webshop as of May 5, 2008 and requires Ableton Live 7.0.5 or higher, so don't forget to update your version of Live!

Orchestral Instruments Collection - EUR 499/USD 599
Orchestral Strings - EUR 159/USD 189
Orchestral Brass - EUR 159/USD 189
Orchestral Woodwinds - EUR 159/USD 189
Orchestral Percussion - EUR 129/USD 159

www.Ableton.com

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_______________________________________________________________

• http://www.residentadvisor.net/forums.aspx
• http://www.idmforums.com/
• http://electro-music.com/forum/
• http://www.big-boards.com/kw/electronic-music/f/
• http://www.sweetwater.com/forums/forumdisplay.php?f=76
• http://sonictransfer.com/
• http://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/
• http://www.tweakheadz.com/
• http://www.ableton.com/pages/forum
• http://www.ableton-live-fans.com/forum/
• http://www.abletonlivedj.com/forum/
• http://www.djhistory.com/
• http://www.nativeinstruments.de/forum_us/index.php
• http://www.synthvox.com/forums/showthread.php?t=727#post4865
• http://www.twing.com/
• http://emusictips.com/
• http://www.digitalburn.org/ Reason song in 20 minutes
• http://www.synthzone.com/
• http://remixmag.com/artists/electronic/ Electronic artists
• http://studio-central.com/phpbb/index.php

Qualunque cosa che accadendo,
ne fa accadere un'altra,
ne fa accadere un'altra.

Qualunque cosa che accadendo,
induce se stessa a riaccadere,
riaccade.

Però non è detto che lo faccia
in ordine cronologico.

D.A.

vai al sito ufficiale di

Qualcuno alle calcagna

Pour produire une metallothioneine avec un des metaux, on a besoin d'environ 3 jours. Le premier jour est très court. On va uniquement preparer le milieu de croissance des bacteries, l'autoclaver, et mettre une preculture à grandir pendant la nuit. Préparation du milieu: 20 minutes; autoclaver: une heure et démie; inoculer les cellules: 5 minutes. Le deuxième jour, on va produire la proteine. Pour cela, on place une partie de la preculture dans plusieurs erlen-meyers de 2 litres (5 normalement) et on laisse grandir la culture pendant une heure et démie. En ce moment, on mettra l'inducteur de notre proteine, et une démie heure plus tard, le metaux désiré. Les cellules vont continuer à produir massivement pendant 3 heures eet démie plus. En ce moment, il faut arreter la culture et commencer la purification de la proteine. Pour celà, on centrifuge la culture pour n'obtenir les cellules. On les casse par ultrasons et on centrifuge pour separer les gros morceaux de cellule des proteines qui resteront à la partie liquide. En ce moment là, on va incuber pendant une bonne heure le proteines avec unes microbulles qui les attrapent et celà nous permetra de séparer la proteine désiré des autres. Une fois celà fait, il nous reste que nettoyer ces petites boules de tout le reste. Là on va y mettre un enzyme qui séparera notre proteine des boules. Cet enzyme va agir toute une nuit. Ce deuxième jour, entre la production et la séparation, on va être au labo pendant 3 h + 1 h + 30' + 45' + 1h + 1h celà fait 7 heures et quart d'établie par le protocole, mais si on tient compte des temps de manip entre un truc et l'autre, celà fait vers les 10 heures minimum. Et le troisième jour, est aussi calme: on separe les boules de la proteine, on concentre le liquide, et on la purifie avec la machine automatisé des FPLC. Ceci est une colonne qui va séparer et purifier la proteine et qui est branché à un ordinateur de façon qu'on y met notre liquide et on revient une heure et démi plus tard pour trouver les tubes avec la proteine purifié et un joli graphique imprimé en couleur.

Je devais préparer un totale de 10 productions de proteines. Comme on peut préparer 2 productions dans la même journée et aussi chevaucher les jours... j'ai vu possible de faire en une semaine toutes ces productions: en commençant le dimanche après midi pour preparer le milieu des deux premieres, lundi produire deux proteines et preparer le milieu pour le lendemain; mardi, purifier les deux premieres, produire les deux suivantes et preparer le milieu pour le lendemain... etc jusqu'a samedi où je purifierai les deux dernières. Et je m'en foutais que le jeudi c'était le premier mai. Je voulais finir tout celà cette semaine.

Et celà a été la semaine le plus stressante et fatigante de l'année.

Ça a commencé le dimanche, tranquillement. Au labo 5 du deuxième étage, je prépare le milieu. Je dois aller chercher l'eau distillée au labo 6, je retourne au 5 et je finis de préparer le milieu. L'autoclave est à coté de l'entrée de la troisième étage. J'attend dans mon laboratoire (le 5 de la 2ème) qu'il finisse, et je met la préculture au shacker du même labo.

Et maintenant, voyez vous un jour pris au milieu de la semaine. Tous ont été pareils. Attention, dans la même journée, je suis en train de produire une proteine, la purifier et préparer du milieu pour le lendemain. C'est compliqué à suivre parce que c'est tout chevauché: la plus part de temps je fais la production, la purification est réalisé automatiquement pour la machine des FPLC et dans les temps qu'il me reste, je prépare le milieu pour le lendemain (et aussi je pars un moment manger ou faire un ptit café).

8.30h. Je suis au labo 5. Je met 2 cultures à grandir à partir de la préculture. Une, de 3 litres, va rester dans ce labo ci. L'autre, de 5 litres, va être placée dans la salle 37ºC du premier étage. Je prépare du milieu pour le lendemain, 3 litres, parce que je n'ai plus d'erlenmeyers. Je monte au troisième étage pour l'autoclaver. Je filtre les boules de la proteine faite le jour d'avant (à nouveau je suis au 5-2eme) et je le concentre une première fois (1ère étage-salle des machines).

9h30. Je remet à concentrer la proteine (1-salle des machines).

10h. Je provoque l'induction de ma proteine dans les cultures: celle du labo 5, 2eme et celle de la salle 37ºC, 1ere. Je descend au -2 étage, salle des eaus, pour allumer le FPLC, placer la colonne de séparation et mettre en route le premier programme.

10h30. J'y met le metal désirée. (labo5-2eme et salle-37-1ere). Je monte au 3eme pour voir si l'autoclave est fini. Je descend le milieu et le laisse au labo5-2eme en attendant le soir. Je regarde si la proteine est suffisantment concentré (il reste moins d'1 mL), au 1-salle des machines. Je descend au -2, salle des eaux pour injecter la premiere proteine au FPLC. Je prépare les boules de GS qui vont accrocher ma proteine (2-labo5 et 2-centris).

13h30. Les cultures sont finies. Je commence la centrifugacion de celle-ci du 5-2eme, la centrifugation je la fais à la salle des centris, 2eme. Quand je suis au point de finir, je vais à la salle 37 du premier étage, chercher l'autre culture. Je la centrifuge (2-salle centris).

14h30. Je casse les cellules avec des ultrasons. Celà est au -2, salle de fermentation. Je regarde si le FPLC a bien fini son travail (-2, salle des eaux). J'imprime le résultat, je sépare les tubes avec la proteine. J'injecte la deuxième proteine. Je range la proteine purifiée dans le frigo au 2-labo5.

15h. Je met à centrifuger pour séparer les proteines des morceaux de cellule (2-salle centris) Je nettoye les erlenmeyers utilisés le matin et je prépare à nouveau du milieu (2-labo5). Je l'autoclave (3ème étage).

15h45. Je met à incuber le surnageant de proteines avec les boules de GS (2-labo5). Je nettoye une bonne partie des trucs utilisés.

16h30. Je regarde si le FPLC a bien fini. (-2, salle des eaux). J'imprime le résultat, je sépare les tubes avec la proteine. J'éteins la machine. Je prend la colonne et je la range à la salle 4ºC (2ème). Je range les tubes avec la deuxième proteine au frigo 2-labo5.

17h. Je commence le lavage des boules (partie qui n'a de rigolotte que le nom) au 2ème étage, labo 5, avec des centrifugations constantes au 1ère-salle des machines.

18h30. Je met à incuber les boules avec la trombine, pour séparer ma proteine. Je fais la préparation au 2-labo 5 et je le place overnight à 20ºC, salle des mouches du 2ème. Je monte au 3ème pour sortir le milieu de l'autoclave et je le range au 2-labo5 pour qu'il refroidisse.

19h. Je prend les porteines purifiés (2-labo5) et je les place en aliquote en parties de 200 uL. Je rotule tout et je range à -80ºC (2-salle des centris).

20h. Je prépare la préculture pour le lendemain (2-labo5). Je nettoye tous les trucs qui restent. J'écris ce que j'ai fais dans le cahier du labo.. bon celà n'est pas vrai. D'habitude j'écris et après je fais en suivant ce que j'ai écrit, cette semaine là j'ai presque pas écrit au cahier. En fait,  j'ai écrit ce que j'ai fait pendant la semaine, le lundi suivant.

21h. Je suis sur la route, retour chez moi (40 minutes). Je mange n'importe quoi qu'il y a au frigo, au même temps que je parle avec mon copain par skype.. et je me met au lit completement epuisé ver 23.30 o minuit carrement.

Dimanche, après cette semaine je n'ai rien foutu du tout. Je suis contente, j'ai fini mes proteines, je pourrai maintenant commencer à faire mes annalyses et peut être finir ma thèse un jour! Mais je vous jure que jamais, JAMAIS, je referai une semaine comme celle-là.

~*~

Production update: The Medieval and Renaissance Guild CD has been released! 

Entitled "The Jewel and the Nightingale", this CD contains 18 songs of "faire and madrigal musicality", with songs and instrumentals ranging from the traditional and conservative to the wacky and original.  The performers include the members of the 2006-07 MRPG Song Guild, Musicians Guild, and Madrigal Singers, whose music selections make up their list of works performed for the 2006-07 season, including favorites such as "Rose Red", "Tourdion" and "Foggy Dew".  Also featured on this CD are two original works written by member James Sweiterlitsch -- "I Need a Man" and the first-ever Madrigal rendition of "Volare (Nel Blu di Pinto di Blu)".

At least, that's somewhat like what the ad/press release would read if Guild was able to advertise for the CD.  Or had a working website to sell it off of. T'would help if there was money for purchasing a bar code and the like, but for a first-time Indie CD production, there was plenty else to worry about.

Having not gotten the finalized song titles until the night before Faire, this is how the morning-of production went:

6:30 AM -- Wake up, check e-mail

6:30 AM -- Start finishing CD inserts with song/music information, begin CD duplication

7:00 AM -- Finish inserts, begin printing inserts and labeling CDs

7:30 AM -- Wonder what's wrong with the printer

7:40 AM -- Continue to make CD copies and label, reboot printer and print job

8:00 AM -- Search online to find solution to printer problem - a failed scanner error that prevents the printer from spooling and completing the sent job

8:30 AM -- Start taking the printer apart

9:30 AM -- Finally begin application of online solution (screws didn't want to come out, took forever), attempt to clean scanner parts

9:45 AM -- Fail at cleaning all the scanner parts, unable to access mirrors.  Put back together, try again.

9:50 AM -- Nothing.  Start swearing.

9:52 AM -- Export CD label files to Staples Online printing service

10:10 AM -- Arrive at Faire, half-dressed and with naked CDs

10:35 AM -- Take a chance, leave faire to head for Staples for CD labels

10:45 AM -- Staples can't get the document to print correctly.  Screwed.

10:55 AM -- Race back to Faire, inform CD sellers of lack of labels, reset

11:00 AM -- Start performing for Faire, ignoring the Epic Fail of the CD Labeling quest

 Ah well.  Got my printer to co-operate a week later, so the rest of the pre-orders to be sent out will be finished in full, as well as stock for distributing to Guild members or selling at later dates.

Moral of the story: Don't procrastinate, and don't assume all your equipment will work for you when you most need it.  Especially if it's 5+ years old and been put through the rigours of a college degree.  -.-

~*~

In other news, I'll be gone this weekend as I'll traveling to Chicago (Rosemont) to attend this year's Anime Central Midwest Anime and Manga Convention.  If I had developed this blog more, if I had thought ahead about the music groups performing, I'd've applied for a press pass and blogged here about all the J-music events.  But, instead I'll have to do it as a bystander, if I even make it the performances.

Oh, and yes, I did attempt to do a Music Tech News post a while back and failed miserably.  It's still a feature I'd like to keep on this blog, but figuring out an easy and convenient way of doing it (given my schedule) is tricky.  We'll see.

Until next time...!

Mark Smith of Hi Films (www.hi-films.tv) an independent digital video production company based in Yorkshire will be presenting his Producer Collaboration Initiative, (PCI) a proposed network of digital video producers from across our region who together will provide an unparalleled Web TV platform focusing on Positive News Stories.

The service aims to be the first community web TV platform focusing on Positive News stories from across our region.

The station will be built through a collaboration of Producers who will be invited to submit regular content to the station with the hope to eventually create jobs and share in the stations profits from advertising and sponsorship revenues.

The stories will be clear, truthful and will reflect the regions strengths, highlighting everything that makes Yorkshire Great!

The producers will have the option to input into the development of the station, investing as much or as little as they can in-turn for shares in the company's revenues and successes. As a single producer it is difficult to create enough content to compete with the larger networks, but as a collaborative anything is possible.
Hi Films are also seeking sponsorship and advertising revenues from the regions businesses for this free-view service. Interested parties are also invited to attend.

We then aim to grow the station as it becomes more popular and expand into a full IPTV channel independent of its current community TV provider Veoh.tv.

The Old Broadcasting House, Leeds
www.ntileeds.co.uk
Thursday 22nd May.
Arriving at 5:30 for a 6pm start.

Open to the public.

En este Post veremos como configurar la conexión a nuestra base de datos MySQL y echaremos un vistazo a los distintos entornos que nos ofrece Rails para el desarrollo y depuración de nuestras aplicaciones.

Para configurar la conexión a la base de datos, rails pone a nuestra disposición el archivo "database.yml" ubicado en config -> database.yml. Este archivo nos permite configurar la conexión a tres bases de datos. Tres bases de datos para tres entornos: development (desarrollo), test (prueba) y production (producción).

La configuración de este archivo es muy sencilla. Basta con indicar, en cada sección (o al menos en una de ellas, convenientemente la del entorno de desarrollo), el nombre de cada una de las bases de datos que hemos creado junto a la dirección del servidor (host) donde está ubicada y el username y password del usuario con acceso a la misma. Rails considera, por defecto, que la base de datos a la que nos vamos a conectar es MySQL.

El "database.yml" de este ejemplo ha sido generado al crear una aplicación de nombre "colegio", de modo que Rails agrega por defecto el nombre de la aplicación al comienzo del nombre de cada una de las bases de datos. Este nombre puede ser cambiado por cualquier nombre que nosotros le hayamos dado a nuestra base de datos y no es necesario, aunque sea conveniente, disponer de tres bases de datos distintas. Por ejemplo, si lo que vamos a realizar es una aplicación con el fin de probar nuestros conocimientos, bastará con que configuremos la conexión a la base de datos de desarrollo, borrando incluso del archivo database.yml las secciones de producción y prueba.

Los Entornos
Rails formaliza la distinción informal que todo desarrollador de software hace entre el código que se ejecuta cuando se está desarrollando una aplicación y el que se ofrece al cliente o se sube a un servidor una vez la aplicación está finalizada mediante la utilización de lo que se ha dado en llamar "entornos".

En config -> environments se encuentran los archivos de configuración de los tres entornos que, por defecto, crea Rails en cada aplicación. Pueden editarse estos entornos o crearse otros al gusto del desarrollador pero no suele ser necesario.

En el entorno de desarrollo (development) - como se explica en su archivo de configuración config -> environments -> development.rb -, el código de nuestra aplicación es cargado cada vez que se hace una petición al servidor. Esto baja el rendimiento de respuesta pero es perfecto para el desarrollo de la aplicación ya que no es necesario reiniciar el servidor cada vez que se hace un cambio en nuestro código. Por ello la línea config.cache_classes es igual a false.

El entorno de producción (production) (config -> environments -> production.rb) es el adecuado para correr aplicaciones finalizadas. El código no es recargado en cada petición al servidor. Otra diferencia importante es que los reportes o avisos de error en nuestro código no son mostrados en pantalla.

El entorno de prueba (test) (config -> environments -> test.rb) se utiliza exclusivamente para ejecutar las pruebas y comprobaciones en la aplicación. No se trabajará en este entorno para nada mas. Es importante recordar que los datos almecenados en la base de datos de prueba son destruidos por Rails en cada test que se realiza por lo que hay que tener especial cuidado en que la configuración de la sección prueba de nuestro archivo de configuración database.yml no apunte a las bases de desarrollo o producción

Hay varias formas de indicar a Rails qué entorno utilizar. Las dos mas sencillas:
- Configurar el archivo config/environment.rb descomentando o escribiendo la línea env['rails_env'] = production, que haría correr nuestra aplicación en el entorno de producción.

- Iniciar el servidor en el entorno deseado de este modo y desde la consola de Rails: ruby script/server -e production

            Some two centuries ago, British Political scientist Thomas Rober Malthus proposed a theory. As per his theory he stated that population will grow till it outstrips food production, and then famines, wars and epidemics will intervene to restore the balance. This shows that today’s condition had been estimated by the great people many years ago.

            One of the main reasons for this unbalance in the food supply, price and demand is the ever increasing amount in the population. There are so many mouths to feed in today’s time. In 1950, the world’s population was near about 2.5 billion. Some years back it crossed even 6 billion marks. According to a report submitted by United Nations Population Divisions, the world population would be somewhere between 8 and 10 billion by 2050.This is giving a warning to the entire world for the near future if not controlled at present. In relation to the increasing population if we see the food production ratio then we can see that in 1950, world food grain production was 631 million tonnes. This increased by about 3 times to 1.843 MT by 2000 and further to 2,075 MT in 2007. This proves that the grain production is more as comparatively to the increase in the population.

            In future but the grain production would not be the same. Earth has its capacity of yielding. If the population goes on increasing then the food production will not be the same. Moreover now a day more and more of the land is being used in the building of the factories, schools, houses etc. Most of the land which was being used in the cultivation is now used in the commercial activities. So the land coming under filed is reducing. This is also reducing the total output of the fields.

The shoot? Oh, yeah. It was a synecdochal  representation of the rest of this crazy, crazy semester. My cast and crew endured some long hours, harsh temperatures (not a joke, even though we were indoors), and a few crew members are probably still experience PTS episodes.

I don't even know where to begin, but in a nutshell:

• New Kid Mike (AKA the female supermodel) stepped up to the plate as boom op and rocked the mic. (Please ignore the Disney gameshow-esque banter.)
• Amanda nearly died. Really.
• Justine was the best AD I could ever dream of and even stopped herself from killing me when I asked to do that shot we spent 10 hours in scheduling trying to cut out.
• David and his team (AC Kelly and Gaffer Matt) rocked the hell out of cinematography. The footage looks like I dreamed it would... Beautiful contrast, bold blues, and a great shots of random crew members calling slate.
• Did I mention David, Kelly, and Matt are amazing? AMAZING. (And I'm still sorry about the beds!!!!)
• Jacqui 2nded everything.
• Candace's art direction looked like a beautiful mix of Kubrick and Burton. Genius.
• My PAs were AWESOME (and I'm pretty sure that one of them has replaced me already...)
• The cast was perfect. I couldn't believe my characters were real. I could have sworn I wrote them. (And Nina and Kyle's switch from comedy to tragedy in mere seconds still takes my breath away after hours of re-watching dailies.)

Anyway, the dailies came out beautifully and the real editing will begin within the next week or so. I'm still syncing the last of it, but I'll post a few clips when I get the chance. (Nothing before the actors get their DVDs of some dailies, though!)

A couple of atmospheric head-nodders from the Chicago-based producer's instrumental album "Neighborhood Suicide".

Radius - "Logan Square" ( The Secret Life Of Sound / 2008 )

[audio http://www.fanaticpromotion.com/projects/radius/mp3/radius-logansquare.mp3]

Radius - "Englewood" ( The Secret Life Of Sound / 2008 )

[audio http://www.fanaticpromotion.com/projects/radius/mp3/radius-englewood.mp3]

I'm spending my afternoons here. It's so fun to see these girls and guys get ready for the big production this weekend. Have you got your tickets yet? Get them here!

More pics. of the madness to come!

Hello!
This is a robot I made after a 2d drawing by Michael Kutsche. More about him and his great work here.

An short fight animation will be done together with DigeiJohn.

The work in progress thread can be seen here.

full render:
- render1
- render2
- render3
- render4
- render5
- render6
- render7
- render8
- render9
- render10

clay render:
- clay render1
- clay render2
- clay render3
- clay render4
- clay render5
- clay render6
- clay render7
- clay render8
- clay render9
- clay render10

I really have no witty commentary to add to this...I feel the photo speaks for itself.

But I will say that working in close proximity to our DP, Ben Chappell (featured left) and our Creative Manager, Ian Pfaff (on the right) has made me more in touch with my feelings and more open about expressing my inner most desires for world domination...wait a minute...strike that...But seriously, our staff is the best!!

On second thought....maybe there was just something in the air the day that first photo was taken ?!