1. Voltage stabilizer-voltage regulator-AVR-servo stabilizer-automatic voltage regulator-automatic voltage stabilizer-dubai-uae-abu

    00:28

    from Pramod Khedekar Added 2 0 0

    We supply Voltage stabilizer or Servo stabilizer or Voltage Regulator (AVR) ranging from 500VA to 1000kVA in Dubai, Abu Dhabi, Sharjah, Oman, Doha & UAE. Our AVR has following features: 1) Wide input voltage range from +30% to -45% with option of ±15%, ±20%, ±25% & ±30%. 2) Reliable Output Voltage Stability. 3) Short Circuit and Overload Protection. 4) Microprocessor Controlled. Servo motor controlled. 5) High Overload Capability up to 200%. 6) Operation Capability at high Temperature and Humidity. Common name for voltage stabilizers are voltage regulator, avr, servo stabilizer, servo motor controlled, automatic voltage stabilizer, automatic voltage regulator, static voltage regulator, SVR, voltage control, voltage fluctuation, sag, swell, Ortea, IEKO, stac, Stabica, stabilizer, voltage regulation, voltage controller, inverter, voltage stability, stabilizer, stabilizers, voltage regulators, automatic stabilizer, ac voltage regulator, ac voltage stabilizer --------------------------------------------------------------------------------- CONTROL TECHNOLOGIES FZE (Ctrltech) PO Box 122271, Sharjah, UAE. T: +971 6 5489626 Mobile: +971 55 2338912 / +971 50 1537113 F: +971 6 5489627 E: sales@ctrltechnologies.com W: www.ctrltechnologies.com

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    • seqSQUARED: The Analogue Pattern Generator

      04:24

      from Hex Inverter Added 96 0 0

      seqSQUARED is a programmable voltage controlled switch used to generate complex patterns with multiple analog step sequencers. It is designed to be used in a modular synthesizer and will be available in Eurorack kit and assembled form, as well as many other DIY formats. For more information, and to preorder, check out the project funding page at Indiegogo: http://igg.me/p/89405?a=227451

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      • DIY Timelapse slider with speed control

        01:33

        from Joakim Fjeldli Added 55.8K 409 44

        This slider is based on the Igus Drylin slider. I was inspired by another video here on Vimeo, http://vimeo.com/12120373. But, I decided to take it a step further. Sample video here: https://vimeo.com/38747342 A bit slow speed on the slide, but you get to see how it works. Power: 12v lead acid battery An on/off switch was added. I used a 12v DC/DC adapter with voltage control to control the motors speed. This way, I am able to control the speed in incremental values. Example: At max output (12v) the motor drags the camera across the slider rail in about 8 minutes. At 6v it uses twice that, about 16 minutes. The lowest setting on the adapter is 1.5v, which gives a ride that lasts over an hour. Everything built into plastic casing. I used the same motor as STYLE43, a 2rpm 12v DC motor. Fishing line was also used to pull the car on the rail. An intervalometer (timer remote) is used to control the exposure interval (and amount, if needed). Music: Sheridan Tongue - Symphony of Light Shots: Video: Canon EOS 7D / EF 24-70mm f/2.8 L Timelapse: Canon EOS 5D / EF 17-40 f/4 L and GoPro HD Hero. Sorry for glitchy video and sensor dust spots. Wont happen next time. Featured on the great diyphotography.net blog! http://www.diyphotography.net/automating-your-slider-for-about-20-bucks

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        • Dirtpile Landscapes

          04:48

          from Matthew Underwood Added 18 1 0

          With Meredith Baxter, Terry Conrad and Necole Zayatz.

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          • Waveshape morphing with the A135 VC mixer

            02:54

            from Ernst Added 161 0 0

            A patch morphing four seperate outputs of a Doepfer A111 oscillator by means of voltage controlled mixer A135 & A144 morph controller. The input of the A144 is limited noise signal from an A118 noise generator. Limited to use only the positive voltage from the A118 by means of two A172 max/min modules. One for the bottom border and one for the top. This signal is being 'slewed' by an A170. The A111 oscillator's pulse wave is being modulated with the slewed output of an S&H that is being triggered by an A160 Clock Divider using the 32 output. The clock divider is triggered by the pulse output of the A111 oscillator. Meaning that the pulsewave is triggering it's own modulation every 32 periods. NB: I am tweaking the frequency of the oscillator several times during the recording of this clip. Other factors remain untouched and are only controlled by voltage control.

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            • Sums & Differences, 1978

              08:27

              from Gary Hill Studio Added

              Video (black-and-white, stereo sound) Original format: ½-inch reel-to-reel Running time: 8:00 min. Three black-and-white video cameras, Dave Jones prototype modules (analog-to-digital converter, digital-to-analog converter, bit switch, video switch/sequencer, output amplifier) and Serge audio modules The basis of this “sound/image construct,” recorded in real time, are three black-and-white still images: a keyboard, a flute, and an African drum. These motifs are altered through digitalization, solarization, and interframe switching. As they alternate, the images are accompanied acoustically by simple tonal routines of the instruments shown – little sequences of sound on the keyboard, some drum beats, a brief trill of the flute. The solarization effect of the images changes with the sounds. The work intensifies as it progresses, and images and sounds succeed one another ever more rapidly until a melody of the three instruments emerges. The frequency of the video images continues to increase, with the result that the images pulsate ever more quickly until they gradually overlay one another, producing a cinematographic effect through interferences. Parallel to this, the audio frequency of the melody rises until fundamental tones form, lasting several seconds. At this point, the three still images overlap one another in strips. The higher the keynote incrementally soars, the narrower the vertical strips become until all three motifs, superimposed line by line, create an overall image. Further manipulation of the signals causes the sound to change into new tones. After a number of transformations the image plane divides into vertical fields, in which segments of the three base motifs can be seen, corresponding to the tonal sequences. Together the modulated sounds and the increasing bands of images multiply to produce a kind of double moiré in which the composite image has become an abstract ‘machine’ or music box. An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein (Barcelona: Ediciones Polígrafa, 2009)

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