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Chapter VII. -- Baptists
THE BAPTISTS. -- Reference was made in the preceding section to the first Baptists in Massachusetts and Rhode Island. Outside of these colonies the Baptist era dates from the closing part of the seventeenth century or the early part of the eighteenth. Before the close of the former century Baptist churches were organized in Maine, New Jersey, Pennsylvania, and South Carolina. It should be noted, however, that the congregation in Maine was soon dispersed, and that nearly a century elapsed before the work of organizing Baptist churches in that region was again undertaken. "In 1688 the Baptist denomination in North America comprised thirteen churches only. Seven were in Rhode Island, two in Massachusetts, one in South Carolina, two in Pennsylvania, and one in Mew Jersey." 1 J. M. Cramp, Baptist History, p. 471. In Connecticut, Virginia, and New York the Baptists acquired an organized existence in the first quarter of the eighteenth century. They had a church in North Carolina in 1727, in Maryland in 1742, in New Hampshire in 1750, or shortly thereafter; in Georgia in 1772. The middle and latter part of the century was a time of rapid growth in the country as a whole. "In 1740 the number of churches was thirty-seven, with less than three thousand members, but in 1790 there were eight hundred and seventy-two churches, containing 64,975 members." 1 Cramp, p. 527.
The great revival which began in the fourth decade of the eighteenth century gave to the Baptists an impulse of far-reaching consequence. One of the immediate fruits of that revival in New England was a number of congregations which were led to take an independent position in relation to the "standing order," either because they considered the local pastor too intolerant of religious excitement, or wished for more stringent terms of fellowship than were maintained where the half-way covenant prevailed. Not a few of these congregations mentioned as Separatists, and sometimes as New Lights -- became associated with the Baptists.
From this source an effective evangelistic agency was provided for North Carolina and Virginia. In 1754 Shubal Stearns, who had become identified with the Separatists, proceeded with some members of his congregation to Virginia. The next year he passed across the border into North Carolina, where his labors resulted in gathering a very flourishing congregation. Soon Stearns and others who had imbibed a kindred zeal began to preach in Virginia after the manner of itinerant evangelists. As indicated above, they were not the first representatives of Baptist principles in Virginia. A company of Baptists from England had been organized as a church in the southern part of the province in 1714, and in 1743 immigrants from Maryland had established a congregation in the northern part, the nucleus of the Regular Baptists in that section of the country. However, before the arrival of the new-comers, who were called Separate Baptists, no great progress had been made. The revival methods whish they employed with marked earnestness proved to be very efficacious in attracting attention and winning converts. At the same time they were equally efficacious in provoking the animosity of the clergy and the magistrates belonging to the Establishment. In the course of the persecution about thirty ministers, besides many subordinate laborers, were imprisoned, some of them more than once. Opposition in this form, however, rather helped than hindered success. Before the end of the century Virginia had become a stronghold of the Baptists. In 1793 the denomination in the State was able to boast of 227 churches, 272 ministers, and 22,793 communicants, or nearly one third of the whole number of Baptists to be found at that time within the limits of the United States. 1 Thomas Armitage, History of the Baptists, p. 735. Six years previously the different branches--Separates, Regulars, and Independents --had agreed to be known under the common title of United Baptist Churches of Christ in Virginia.
In theology the tendency among American Baptists was to enthrone Calvin. Nevertheless Arminianism had its representatives. It is understood that this was the creed of the first Baptists who settled in the southern part of Virginia, though communication with others eventually corrupted, or perfected, their faith into Calvinism. 2 R. B. Semple, History of the Rise and Progress of the Baptists in Virginia, p. 348. Arminian Baptists were found in Rhode Island and Connecticut, and in 1729 an Association of their churches was formed at Newport. Speaking of the time when the Warren Association was organized (1767), a Baptist writer says of the New England churches, "Some of them were frankly Arminian in doctrine." 1 Armitage, History of the Baptists, p. 717. Several of the leading preachers in Virginia espoused the Arminian position. In 1780 Benjamin Randall founded a denomination, the Free Will Baptists, which made the Arminian doctrines of grace a distinctive feature, as well as open communion.
Various eccentricities in usage and polity made their appearance. A number of these are summarized in the following appeal for charitable judgment: "If the churches composing the Sandy Creek association in North Carolina were tenacious of the kiss of charity, the laying on of hands upon members, the appointment of elderesses, and such things; if a large Baptist body in Virginia was so mistaken as to choose in 1774 three of their number, and designate them 'apostles,' investing them with power of general superintendence; and if in some respects the fervency of New Light feelings got the better of discretion and decorum, we must bear in mind the peculiarities of the times." 2 Cramp, Baptist History, p. 545. To this enumeration should be added the eccentricity which is represented in the Seventh Day Baptists. In Rhode Island those who advocated the keeping of the seventh day were formed into a separate church in 1671. This was the beginning of the denomination in America.
3 Backus mentions William Hiscox and six others as primarily composing the church. Soon afterwards a family, or several families, by the name of Rogers, joined them; but these new members seem ere long to have fallen into an independent position, thus giving rise to a party known as Rogerenes. With the keeping of the seventh day they combined Quaker phraseology and the renunciation of medicines. (History of New England, i. 324, 325 381; ii. 11, 501.)
An offshoot of the German Baptists, or Dunkers, who settled in Pennsylvania between 1719 and 1729, also maintained the obligation to sanctify the seventh day.
A considerable proportion of Baptist preachers in colonial times were men of but moderate education. The leaders of the denomination, however, were far from being indifferent to learning. In 1764 a memorial of their enlightened zeal was provided through the founding of Rhode Island College, known later as Brown University. A principal part in this enterprise was taken by James Manning and Morgan Edwards, who may be ranked, along with Isaac Backus and Hezekiah Smith, among the eminent representatives of the denomination in that period.


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Races, races and more races…
Ok, I confess, I missed a February race. But it was REALLY COLD (my inner voice cries). And true, we had some non-confirmed plans to run a park run, but every time we discussed it, it started to snow and the temperatures dropped below freezing.
To make up for it I signed up for 2 more races, one in March and one in April:
I like how the Whole Foods run is in a town that doesn't have a Whole Foods store. But since I am a former Austinite I like the sentiment.
I will be running the 8.2-mile distance in Kingston as a prep run for the Edinburgh Rock 'n Roll Half Marathon.
Looking forward to these runs. It's time to get back out and collect those medals (or at least race numbers). 🙂
Running is not, as it so often seems, only about what you did in your last race or about how many miles you ran last week. It is, in a much more important way, about community, about appreciating all the miles run by other runners, too.
~ Richard O'Brien

subset: commoncrawl


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In Part 1 we finished with the question: 'What is the Quadra? Is it a turkey of the first order, or a misunderstood and overlooked masterpiece?' This month, we'll conclude with a closer look at the instrument itself to find the answer.
Before looking at the sound-generating sections themselves, let's start by examining the brain of the ARP Quadra: a primitive Intel device called the 8048. More than just a microprocessor, we should perhaps call this an integrated microcomputer because it incorporates an on-board ROM containing the programming needed to control the Quadra. At first sight, this seems like a good idea, but it has a big drawback. If the processor in a Z80-based synth goes 'phffzzzt!' you can always remove the fried chip and insert a replacement, so long as there's no other damage. However, if the processor in a Quadra dies, you can only replace it with an 8048 programmed for a Quadra — and how many of those do you think exist today?
Setting aside this difficulty, I should also point out that in today's world the 8048 is significantly less intelligent than a washing machine. The most obvious consequence of this is that, despite ARP's claims to the contrary, the Quadra is not a programmable synthesizer. Sure, it has 16 memories, but its 64 bytes of memory (yes, 64 bytes!) can't store the parameter values that determine each patch. Let me explain...
The processors used in hybrid analogue/digital synthesizers can store and respond in real time to dozens of parameters, while simultaneously scanning the keyboard and generating real-time LFOs and envelopes. Ignoring other factors, the power of the central microprocessor determines how well a given synth does this, so the more recent the model, the quicker and smoother its digital facilities should be. However, there is a threshold below which a processor is incapable of carrying out these tasks: and the 8048 falls way short of the mark. This means the Quadra is an idiot, capable only of scanning its keyboard to see what you're playing, controlling a handful of performance facilities, and storing the on/off status of the 40 switches on the control panel.
To understand how limiting the last of these is, let's consider parameters such as attack rate, sustain level, or filter cutoff frequency. On an analogue synth without memories, each of these has a theoretically infinite number of possible values; but when you add digital circuitry to scan and record them in memory, the number of possible values is determined by the number of 'bits' used in the storage process. If, for example, the cutoff frequency is stored in five bits it has two to the power of five possible values, which is 32. Considering that a single bit can only be on or off, and nearly all the Quadra's parameter memories are 1-bit, this means that instead of storing a value the memories store only an on/off status associated with each parameter. In other words, the memory determines whether a given control is active or not. And, to make matters worse, not all of the Quadra's controls have these switches, so an already primitive system isn't even comprehensive.
You may ask, 'what happens when a parameter is off?', and to answer this, take a look at the Quadra's control panel. You'll find that 21 of the on/off switches are linked graphically to 21 of the faders, and, looking more closely, you'll see that 17 of these faders have small red dots drawn alongside them. These dots tell you the preset value used when the fader is off — which is to say, when it's disconnected from the parameter it otherwise controls.
You might think this system is ridiculous and, in my opinion, you'd be right. However, it's surprising how much mileage you can get from these memories, switching one or more of the Quadra's four synthesizer sections in and out of the patch. The trick is to find a combination of fader settings that allows you to jump between dissimilar but still usable patches when you change memories. This isn't trivial, but it's entirely possible if you're prepared to compromise a little.
Having got that major obstacle out of the way, let's take a look at each of the Quadra's four synthesizers in turn. We'll start with the Strings, which could hardly be more basic...
More Reliability Issues
In Part 1 I noted some of the reliability problems encountered on the Quadra, but here's another: the membrane switches in the control panel have a finite lifespan, and when they die there's no way to resurrect them. Cannibalisation is your best bet, but that requires that you find another Quadra with a functional panel, which isn't very likely. Furthermore, I've heard rumours that there were two versions of the panel and the board that drives it, making it possible that, even if you find a potential replacement, it will be incompatible.
Apparently, one fabled Quadra owner has built a substitute panel using sheet metal and modern micro-switches, which must have been a labour of love and resulted in Frankenstein's Quadra. I'd love to see a photo of this — are you out there, Dr F?
The Strings
The underlying sound generation of the string section is provided by the top octave divide-down technology used in cheap organs, electric pianos, and ensemble keyboards throughout the 1960s and '70s. This means that a single master oscillator is divided down into 12 frequencies (one for each note in the octave), and then further divided in factors of two providing the frequencies for each of the notes on the keyboard. However, instead of having 48 (or even 96) oscillators covering the four octaves over which the Strings are playable, there's just one! Moreover, only a square wave is produced by the oscillator, so the Quadra requires a wave-shaper to provide the sawtooth waves used for conventional string ensemble sounds.
From the player's point of view, the Strings section covers the top four octaves of the Quadra's five-octave keyboard, offering two pitches (4-foot and 8-foot, which can be played individually or in unison) with variable attack and release. And that's it — just two octave settings and an AR envelope!
Unfortunately, that really is it because there's only a single envelope and VCA for the entire string section, and unlike the Logan String Melody II, for example, the Quadra is unable to articulate notes individually. In fact, this problem is so severe that if you program a sound with a fast attack and a long release and then play two chords in quick succession, the first chord swells up slightly with the second before dying away. Not too distressing if you play two inversions of C major, but it's a different story if you play F# major after Cmaj7. On the positive side, though, many ensemble keyboards produce a continuous 'swishing' noise whether you're playing them or not. The Quadra doesn't suffer from this because when you stop playing, the VCA gain drops to its minimum, closing the signal path.
However, to concentrate on these strengths and weaknesses is to miss the point. The Quadra's lush string sound, created by ARP's revered chorus ensemble (called a "phasor"), is a classic — not surprising, given its pedigree. The Quadra's predecessors (the Solina and ARP String Ensemble, both built by Eminent and imported from Holland, and the Omni and Omni II) dominated the mid-'70s and remain objects of desire to this day.
The Quadra's Filter & The Continuing Mystery Of ARP Filters
The Quadra incorporates two ARP 4075 filters: one for the Lead synthesizer, and one for the Polysynth section. The 4075 is a self-oscillating 24dB/octave device introduced by ARP in 1976, which became the company's standard filter for most of its instruments thereafter. These include Odysseys with model numbers from 2810 to 2823, Axxes from 2310 to 2323, the Omni and Omni II, the ProDGX and the Avatar, in addition to the Quadra itself.
The advantages of the 4075 are that it offers low noise and distortion, sounding much like a Moog filter at low resonance settings, and, unlike many filters, it passes an input signal at high resonance. The disadvantage is that, due to a design miscalculation, it has a maximum cutoff frequency of around 12 kHz, but fortunately all is not lost. If you're a bit of a whiz with a soldering iron, you can increase the cutoff frequency by replacing four resistors. If you're prepared to take the risk on such a fragile machine, I suspect that you'll improve the sound of the Quadra considerably by doing so.
The Electric Bass & Strings Bass
To the left of the Strings is the Bass synth, which can be played using the bottom two octaves of the Quadra's keyboard. There are two sub-sections: the first is the Electric Bass and, as the name suggests, this produces something akin to an electric or synthesized bass sound. It's based on a single oscillator but, thanks to another frequency divider, offers 8-foot and 16-foot octave settings. A 'fine tune' fader is provided, together with a 'Down One Octave' switch that allows you to play deep bass at 16-foot and 32-foot pitches. The VCO itself produces a simple sawtooth wave, and this is used unmodified for the 8-foot setting. However, a wave-shaper converts the sawtooth to a pulse wave for the 16-foot setting, although ARP's documentation is inconsistent on this point. Sometimes it suggests both the 8-foot and 16-foot pitches are pulse waves, but elsewhere it states the 8-foot waveform is the unmodified sawtooth.
The mixed 8-foot and 16-foot waves pass down a simple VCF-VCA signal path, and an AD envelope (with variable Decay) controls the pulse width of the waves, the filter cut-off frequency, and the VCA gain. There's also a slider that allows you to control the filter resonance, which is slightly weird since the documentation says the Bass section uses a single-pole (6dB/octave) filter. If I remember my electronic theory correctly, you can't have a resonant single-pole filter — there's something odd going on here.
The second sub-section is the Strings Bass, and this too offers 16-foot and 8-foot settings, incorporating wave-shaping and PWM of its 16-foot output, fine-tuning fader and a Down One Octave switch. However, the Decay and Resonance controls do not affect it. Instead, the output from the Strings Bass is controlled by a dedicated volume fader before passing to the String section's chorus generator, and then through the Strings' VCA, which is, of course, subject to the Strings' AR contour generator. This means that you can extend the attack time of the Strings Bass, but not its preset release.
The Quadra's designers may have hoped this arrangement would allow you to detune and mix the Strings Bass with the Strings themselves to create fat, synthesized bass sounds, but, if so, they'd have been disappointed. Low stringy sounds, yes. Fat basses — not a chance. And, while you can use the Electric Bass to create a wide range of plucked bass sounds, the use of a single oscillator for all four of the footages in the String and Electric Bass sections ensures the classic sounds of, for example, Moog Taurus pedals are totally out of reach.
The Lead Synth
Next we come to the Lead synthesizer, which covers all five octaves of the keyboard, or just the top three if the Bass section is active. The manual proclaims that, "if not contained in the Quadra... its features would rival those of other lead synths in its class", but I'm not sure I agree. To be fair, the sparse controls hide a wealth of clever ideas, but many important facilities are missing, such as a noise generator, adequate modulation, and truly independent oscillators. Still, rather than concentrate on what's lacking, let's see what survived.
There are two detunable oscillators, and you can further offset these in semitones using a novel approach requiring you to 'write' an interval using the keyboard. Each oscillator produces sawtooth, square, and 10 percent pulse waves, with PWM for the last two of these. Unfortunately, the pulse width is modulated only by the envelope, so there's no cyclic PWM for 'chorus' waves. Furthermore, there's only one waveform selector for both oscillators, so you can't mix sawtooth and pulse waveforms.
The keyboard generates two monosynth pitch CVs, so, like the ARP Odyssey, the Quadra offers a two-voice mode allowing one oscillator to track the highest note played, while the other tracks the lowest. This is not true duophony because there's only one signal path, but it can still be very useful.
A dedicated LFO provides vibrato, but this is always delayed by a preset amount. I tend to use delayed vibrato, or control its amplitude using pressure sensitivity, so this doesn't bother me; but I expect that there are some players who will find it very annoying. The other pitch control is Trill, and this does what you would expect: it trills between two user-defined pitches. However, setting this up is arcane, and you'll never stumble across the method by accident.
The output from the oscillators passes through a self-oscillating 24dB/octave filter (see box) that tracks the keyboard accurately at 1V/octave. There are cutoff frequency, resonance, and envelope 'amount' controls, but no variable keyboard tracking or LFO filter modulation. And this brings us to the envelope generator itself — one of the weirdest parts of the Quadra.
The Attack is simple with its conventional attack rate. The Decay isn't quite so easy. If the 'Sustain = Low' switch is on, the Decay slider acts conventionally, and the Sustain Level is preset to approximately 20 percent of the Attack level. But if the 'Sustain = Low' switch is off, the decay time is preset, and the Decay slider sets the Sustain Level between 0 and about 75 percent of the Attack level. The envelope generator holds the Sustain level (set by the Decay slider) for a preset time of around 1.5 seconds, and then enters a second attack to climb back to 100 percent of the peak level, where it stays until you release the keys, before falling at the rate set by the Release slider. ARP described this as an ADSASR generator, and it turns out that its shape (known classically as sforzando) is ideal for brass patches.
The Lead synth has a number of other goodies tucked away. For example, the VCOs have independent portamento speeds, and played monophonically these provide a range of interesting effects. When played duophonically, they allow you, for example, to slew the melody while jumping between notes in the counterpoint. The keyboard also offers single and multi-triggering, plus pressure sensitivity that affects either the pitch or the brightness and loudness. It's a shame you can't control the LFO depth this way and, since the Quadra lacks pitch and modulation wheels, a joystick, or a ribbon, I reckon ARP should have been more generous with its aftertouch.
Finally, as far as the Lead synth section goes, there's a basic arpeggiator with 'up' and 'up & down' modes. There's no way to select the number of octaves over which the arpeggiator plays (it's just the notes you hold across the keyboard), but you can combine the arpeggiator with the Trill feature to generate some interesting effects.
The Polyphonic Synth
Finally, we reach the Polyphonic Synthesizer. In Part 1 I suggested that, if this had been a true polysynth, ARP would have had another winner on its hands. But rather than provide independent voices for each of the notes you play, the Quadra uses the paraphonic architecture of an earlier generation of string machines, see the Polyphonic and Paraphonic box. To be specific, it uses the guts of an ARP Omni II, meaning there's only one envelope, VCF, and VCA for the whole polyphonic section. In my opinion, this above all else killed the Quadra's chances of commercial success.
Like the Strings section, whose divide-down oscillators it shares, the Polysynth covers the top four octaves of the keyboard, unless the Bass is active, in which case it restricts itself to the top three. This bass/poly split overcomes some of the limitations of the paraphonic architecture because you can trigger bass notes, even when holding a sustained polyphonic chord. But it's still no substitute for true polyphony.
It's now time I mentioned the Hollow Waveform switch lurking halfway between the Strings and the Polysynth, which toggles the wave-shaper I mentioned in the Strings section, changing the source waveform from a sawtooth wave to a square wave. Unfortunately, because there's only one master oscillator for the Strings and the Polysynth, the switch acts upon all footages of the Strings and Polysynth simultaneously, so you can't mix the waveforms.
Returning to the polysynth itself, there are two octave settings (8-foot and 4-foot) and, as in the Strings section, you can select these individually or in unison. As already noted, there's only a single filter for the whole section, although you can modulate this using the dedicated LFO and envelope. Strangely, the Release setting in the Polysynth ADSR is dependent upon the Release setting in the Strings section, so you can't obtain a slow release from the former without checking the setting in the latter. Weird! In addition, the maximum envelope times are rather stingy (in the range of one to three seconds) so, even with the single and multi-triggering options it shares with the Lead synth section, the ADSR and VCA aren't as flexible as they could have been. On the other hand, the filter is suitably aggressive and the envelope is nice and snappy, so the Poly section can be quite punchy when required.
If the description of this section appears to be very brief, it's because there's nothing more to say. As facilities go, the Polysynth has the bare minimum of features needed to justify its name, but you can still coax a fair range of sounds from it. I use mine to recreate electric pianos, other percussive sounds, and a range of fine brassy timbres. But as for the warm, thick and evolving textures that pour almost unbidden from a Prophet 5, an OB-X, or a Jupiter 8 — forget it! The Quadra is a string machine on steroids, not a real polysynth.
Polyphonic & Paraphonic
You should never call a synthesizer 'polyphonic' simply because it can play several notes simultaneously. To earn this description, it must be able to shape each note using dedicated contour generators, VCFs and VCAs, and without deference to any notes that may already be sounding.
There are two ways to accomplish this: firstly, you can use one or more envelope generators and filters for each note on the keyboard, which is the approach used in the Korg PS32xx series; secondly, you can restrict the number of notes that will sound simultaneously, and assign a more limited number of oscillators, filters, amplifiers, and envelopes to them as the notes are played, which is the approach used in almost every other polysynth. So, while the Quadra's polysynth section is polyphonic in the sense that you can press every note simultaneously, its single envelope generator, VCF, and VCA means that it can't articulate them correctly.
Roland coined the name 'Paraphonic' for this architecture, and it was used by many famous keyboards, including the Solina, the ARP Omni and Omni II, the Roland RS202 and RS505, the Korg Trident and Poly 800, the Moog Opus III, and the filter section on the Polymoog.
The Phaser, Mixer Section & Rear Panel
The outputs from all four sections travel to the Phase Shifter/Output Mixer section that dominates the centre of the Quadra. This is where you mix their relative amplitudes and, if you wish, mix in an external signal. Unfortunately, the external signal passes only through the mixer, so you can't filter or otherwise modify it, which is a shame.
But the phaser is perhaps the most well-known feature of the Quadra, and has been the subject of much hushed reverence over the years. Technically speaking, it's an inverted 14-stage phaser generating six notches and seven peaks in the spectrum. It also incorporates a compressor and two expanders that maximise the signal-to-noise ratio in the affected signal, allowing much deeper regeneration than would otherwise be possible.
You can apply the phaser to any combination of the sections, and it will add anything from an ethereal stereo swirl to a rasping flanger-like sweep, courtesy of its dedicated LFO and self-oscillating resonance. But this isn't the end of its abilities: you can control the sweep using a dedicated sample & hold (sampled from VCO2 in the Lead section), from a dedicated AD envelope generator triggered by playing the Bass or Lead sections, or by using a foot pedal. Ah yes, a foot-pedal! The mere mention of this takes us round the back to find no fewer than 26 inputs and outputs — what the Quadra lacks elsewhere, it makes up for in interfaces.
Firstly, there are the seven signal outputs on quarter-inch jacks: one for each of the four sections, a left/right stereo pair (each side of which carries one or more sections depending on the internal routing of each), and a mono sum carried on both quarter-inch and XLR sockets. Plugging a cable into any of the individual outputs removes that signal from the mono, stereo, and phaser busses, which is useful in both live and studio situations. It does mean, however, that you have to think about what you want to direct where, before you start connecting plugs into the back of the synth.
Next, there are six footswitch and pedal controller inputs on quarter-inch jacks. The first three of these are the Lead synth filter cutoff frequency, the Poly filter cut-off frequency (the same pedal also controls the phaser shift, depending upon the status of a front panel control) and the master volume. The others are the Poly and Strings sustain, a Lead synth 'hold' that allows you to vamp over a held note or trill, and semitone pitchbend (another dual function pedal whose action is determined by a front panel switch), plus the Lead synth portamento on/off.
To the right of these, you'll find 11 CV and gate inputs and outputs on 3.5mm jacks. The first four are dedicated to the Bass section: CV and gate in, plus CV and gate out. The next three are CV in, gate in, and trig in for the Lead synth; and the last four comprise two CV outs (one for each oscillator in two-voice mode) gate out and trig out for the Lead synth. These make the Quadra an interesting, if somewhat unwieldy addition to a 1V/octave modular synth set-up.
The final item on the back panel is a switch that enables and disables memory programming.
More Hidden Tricks
I'm indebted to New York composer and engineer Bill Lacey for reminding me that each of the Quadra's individual outputs is a tip/ring/sleeve socket, capable of sending and receiving an audio signal. This means that, with a number of suitable 'Y' cables, you can direct each of the Quadra's four sections to the external effects units of your choice, and then return the resulting sounds back to the Quadra's 4-channel mixer and phaser.
The possibilities are astonishing and Bill uses a Line 6 distortion modeller on each of the Lead and Bass sections, which apparently provides instant Hendrix. In contrast, being an even older hippy, I'd place something like a Eventide Harmoniser across the String section to create huge, lush swirls of sound, a Hughes and Kettner Rotosphere across the Poly section, and, oh all right, a Line 6 Pod across the Lead section!
So although you need to invest in a range of external pedals and rackmounts, the Quadra may well be the earliest keyboard to offer a true polyphonic effects structure you can remix internally and then output through a stereo pair, which is pretty amazing.
In Use
Having read all the pros and cons in the above descriptions, you may be asking yourself why anyone would bother with a Quadra. As Peter Forrest wrote in the A‑M Of Analogue Synthesizers, "It can all be done (probably much better) with a good MIDI controller and three modules," but that only tells half the story. Sure, you could almost do more with an Omni II and a couple of Axxes, and possibly save yourself a few pennies into the bargain, but the Quadra is one of those rare instruments that's more than the sum of its parts. While it will never be a source of instant gratification for players who want to switch on, select a patch, and play, it does reward perseverance.
So let's assume you want to use the Quadra as a five-octave monosynth. Your sonic needs may or may not be satisfied by the Lead synthesizer section alone, but have you considered what happens when you add the Polyphonic section to the Lead? You now have three freely tunable oscillators with two independent waveforms and LFOs, two rates of portamento, pressure sensitivity on two oscillators, two of ARP's superb filters, a stereo phaser, multiple outputs, and more foot controllers than you can control simultaneously without enlisting the help of two friends. Is that enough? It should be. And if somebody offered you such an instrument, what would it be worth in these analogue-crazy times?
Alternatively, let's assume that you want to create lush pads. Layering the Strings and Polysynth is the way to go: simply add 8-foot and 4-foot Strings to an 8-foot and 4-foot polyphonic pad that passes through the phaser. There's nothing thicker or more lush and, since the Quadra is fully polyphonic, you'll never run out of voices. Now reprogram the Poly section to produce a percussive sound and use just the thinner, more ethereal 4-foot strings. If you like, you can select single triggering, using your playing technique to control the presence of the percussive patch.
But why stop there? Add the Lead synth again and set it to two-voice. You now have monosynth voices in addition to Strings and Poly on the highest and lowest notes played. For good measure, you can then add the Strings Bass to thicken the bottom end, and the Electric Bass on full resonance to give it a nice 'twang'. The lowest Lead voice and the Poly section now sit above the Basses (because they're mutually exclusive), whereas the Strings and Basses overlap in the second octave. This is weird, but it offers yet more possibilities.
You can also use the foot pedals to latch an arpeggio, and trill the lead synth section while you continue to play the Poly, Strings, and Bass sections. And make sure that you're making full use of the phaser and the individual outputs, assigning them to appropriate EQs and external effects. The results can be nothing short of glorious. I mean it — despite its limited palette the Quadra can be massive, and it sounds like no other single instrument in the vintage synthesizer world. It's a true classic, and had it appeared in 1975 rather than 1978 it would have been hailed as a miracle of music technology.
So, to be fair to Peter Forrest, I'd better add the second half of his sentence, which I so deviously left out a few paragraphs ago. He concluded, "but there's still a character that the Quadra has which is quite hard to duplicate." He wasn't wrong.
Despite its flaws, limitations, and the continual worry that it may go 'phffzzzt!' and die, I remain very fond of my Quadra and have never regretted buying it. Other people must feel the same way — a working Quadra, let alone a near-mint one, is rapidly becoming a prized possession. However, you won't be seeing mine for sale in the SOS Readers' Ads, no matter how lucrative this might be. And that, as far as I'm concerned, is the true test of its worth.


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Being One
posted by
Chapter Two: Lethal Lust
As Peter griefs over the death of his brother, he was sleeping on his letto but then he has a nightmare of a innocent girl being trapped in a strange cell then he wakes up and realizes he is in the same cell as the girl was "Help me please!"
Becca screams in panic slamming her hands at the cell door, Peter turns around and sees that Becca was the same girl from his nightmare, Becca bursts into tears as she falls to her knees, "Hey you!" Peter says to Becca "What do te want?!" she yells angrily "Where are we?" he asks "How should I know?! I was knocked the fuck out!" she...
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Being One
posted by
Being Different Is Harder Than You Think
Chapter One: Rebecca/Becca's POV
For all my childhood I always thought I was normal but my father always detto I'm special like him and my mother, we moved and moved and moved with my godmother Aly everytime a kidnapping comes around and I never knew why and my parents had to keep me out of every hospital we been to but none of us were never sick o dying o aging like if we're ageless, I never founded out what I was exactly until I turned 18 when I was old enough to know what was going on in my life since I was young, I was a weird culo species called 'Vampcans' a powerful mix of Vampiri#From Dracula to Buffy... and all creatures of the night in between. and...
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Revenge:Chapter One
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Peter Petrelli was standing at the hospital staff then he heard a woman screaming "My daughter is fucking dying!" Peter ran to see and the doctors bring in a teenage girl with auburn red hair and her skin is already pale because she is dying of blood loss "What happend to your daughter?" Peter asked the woman "I just found her on the bathroom floor and her wrists were bleeding" the woman detto crying the successivo giorno the doctor walked to the woman and her husband "We're sorry but Kimberly is dead she died of losing her blood and had a brain damage has anybody been in your house?" the doctor asked...
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Chapter 6 (Aly's Story)
posted by
Kimi and Peter were doing well it seems like everything is working out great for them. Im happy for them, but on the other hand Chris and I aren't doing so great. Chris left me, I was asleep. I don't know what I'm feeling right now, it is so much sadness and anger, that makes me feel normal, in a weird way. "I hate my life!" kimi yelled angrily. Peter immediately turned towards her, "Why do te say that?" She stared at him with her sad grey eyes "No one cares about my feelings at all!" I turned towards her "Kimi I care about your feelings and I know Peter does too" Peter nodded "Yeah, Kimi...
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In The Dark: Chapter five
posted by
Chapter five:Hate and Love
Peter, Aly, Chris and Kim are at the spiaggia then again Kim is laying in Peter's arms while Aly and Chris fly across the blue sky Aly and Chris playfuly attack each other in the sky and kisses Peter laughs while watching them play and then he holds Kim closer to him and she blushed at it, then she senses two people are coming, Kim jumped out of Peter's arms and howled at Aly and Chris as a warning, Peter looked around him and sense his brother and his mother are near "we got to go"
Peter detto Kim looks at him "I know" she detto then Aly and Chris flew down and the four...
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In The Dark: Chapter four
posted by
Chapter Four:Secrets, Lies Amore Part Two.
Peter's POV:
I couldn't understand why I got stuck in a world where Vampiri#From Dracula to Buffy... and all creatures of the night in between. and licantropi and werepires exist,
But I know Kim is one of those creatures but she just is beautiful to me because of her pale skin and beautiful gray eyes, Aly and Kim seemed to be sisters because they been so close and cared for each other I wished I have that kind of relationship with my brother but I guess we never have, Kim walks in the guest room and I noticed a strange scar over her stomage and her shoulder "What happend to that?" I asked with my right eyebrow raise up...
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In The Dark: Chapter three
posted by
Chapter Three:Secrets, Lies, Love
When Kim and Peter went back to his apartment because the goverment is going to track her down and use her for a hunting experiment, Peter steals a few clothes from his mother and packs them up in his bags, Kim sits there quiet and scared of what was happening to her, Peter notices Kim's afraid of herself he walks to her and hugs her from behind holding her close to him,
"Where te think we should go?" Peter asked her "Maybe florida, my best friend lives there" Kim detto calmly and softly, the two went to florida, Kim and Peter now walked the sidewalks then she...
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In The Dark: Chapter two
posted by
Chapter Two:Don't Care
The successivo morning Peter sees the girl sitting in the corner with claws and pelliccia on her arm and he sees her emotions that she is trapped between her both lives as a normal person and something più dangerous than she seems to be to people around her, he walked da her side and sat successivo to her "What's your name?" Peter asked softly the girl looks at him with her gray eyes and smiles "It's Kim" Peter stared at her and sees she don't look 15 that she looked 17 and he smiled at how attractive she looked with her long red hair and gray eyes and pale white skin, she stared at him...
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In The Dark: Chapter one
posted by
Chapter One:Secret Experiments,
Peter Petrelli still tries to live a normal life as a paramedic until one night he went to sleep in his apartment then he wakes up in a bright white room with no windows, no doors he looked around him trying to figure out where he is at until he seen a beautiful woman seemly in her 30s she was wearing a white suit with a phoenix symbol on the chest and her hair was glowing fire
then he sees she's in his refezione in a mirror he fainted then wakes up in his apartment with his alarm clock ringing, he stopped his clock and got up and took a doccia and got dressed...
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[Source_Name: Short_Name='R/V NBP']
Sea Ice Mass Balance in the Antarctic - Ice BiologyEntry ID: SIMBA_Ice_Biology
Abstract: The data set produced is composed of relationships between total integrated radiation doses to ice floes and metrics of sea ice biotic community succession. The late winter and early spring timing coupled with the seasonally strong meridional gradient in radiant energy provided a setting whereby these relationships could be better examined. Integrated radiation doses were estimated through the ... combined analysis of sea ice concentrations, cloud cover and snow cover (derived from satellite-derived products), ship-based radiation monitoring, and in situ sea ice radiation balance measures. Succession stages of sea ice biota were evaluated through measures of sea ice geochemistry (nutrients, DOC, DON, PON and salinity), and microbial biomass (microalgal pigments, POC/N, bacterial biomass) and community composition (determined through microscopy and molecular surveys). The measures in the dataset were conducted through a hierarchical analysis of mesoscale and small scale sea ice physical attributes. When coupled with the SIMBA analysis of sea ice structure, mass balance and energy fluxes these studies substantially advanced the abilities of ecologists to determine the seasonal role of SIMCOs in the Antarctic marine ecosystems dynamics as well as southern ocean ecosystem modelers to parameterize southern ocean's geochemical fluxes.
Purpose: To assess sea ice microalgal biomass, community composition and pack ice biogeochemistry in context of the seasonal progression and succession of the sea ice cover. The autotrophic biomass in the various sea ice habitats spanned several orders of magnitude with chla ranging from 0.05 to ~60 ug chla l-1. The preliminary analysis of the biogeochemistry of the ice indicates these communities were ... affecting the nutrient status of the ice and the austral spring development of pack ice biomass was occurring during the program. Anecdotal observations of krill aggregates in association with the ice and findings of copepods in several slush samples collected on the surface of the ice suggests the energy derived by production within these habitats was being utilized by the local food web. Preliminary estimates of the biomass in the varied sea ice habitats showed autotrophic biomass on the order of 10-20 mg chla m-2 . This value is close to that which was reached in the upper 100 meters of the water column at its highest point during the study. Thus, it appears as if the local austral spring processes produced biomass and energy within the snow, ice and water column. The coupling of these production processes to the sea ice geophysical dynamics will be ascertained through further analysis of the program?s combined efforts.
Related URL
Geographic Coverage
Spatial coordinates
Data Set Citation
Version: Not provided
Parent DIF
This description is a member of a collection. The collection is described in
Project ID: SIMBA Drift Station
Temporal Coverage
Start Date: 2007-09-01Stop Date: 2007-10-31
Location Keywords
Science Keywords
Access Constraints None
Ancillary Keywords
Data Set Progress
Data Center
Role: INVESTIGATOR
Phone: +1 1 210 341 6556
Email: sackley at pol.net, Stephen.ackley at utsa.edu
Contact Address:
118 W Castle Ln
City: San Antonio
Province or State: Texas
Postal Code: 78213
Country: USA
Role: METADATA AUTHOR
Phone: 956-451-9288
Email: Jessica.jimenez_eng at yahoo.com
Contact Address:
3407 Ivy Ave
City: Hidalgo
Province or State: Texas
Postal Code: 78557
Country: USA
Fritsen, C.H., E.D. Wirthlin, D.K. Momberg, M.J Lewis, S.F. Ackley (2011-01-01T00:00:00.000Z), Bio-optical properties of Antarctic pack ice in the early austral spring, Deep-Sea Research II, 58, 9-10, 1052-1061, doi:10.1016/j.dsr2.2010.10.028, http://www.sciencedirect.com/science/article/pii/S0967064510003139
Extended Metadata Properties
(Click to view more)
Creation and Review Dates
DIF Creation Date: 2012-02-16
Last DIF Revision Date: 2018-08-29


text:
Sharp falls back to joint 13th position with HCL, with a score of 3.1. Surprisingly, this solar power manufacturer does not have a renewable energy or energy efficiency target, and it only powers 0.5% of its electricity worldwide with solar. Sharp needs to aim to dramatically increase renewable electricity use by 2020.
On the other Energy criteria it scores points for a clean energy policy that advocates that the Japanese government expands its use of renewable energy, and stresses the importance of setting a strong feed-in tariff. Sharp receives points for disclosing greenhouse gas (GHG) emissions, but lacks a clear absolute GHG emissions reduction target. The company needs to set ambitious targets to reduce emissions by at least 30% by 2015 for its operations.
Sharp scores most of its points on the Products criteria for the energy efficiency of its products, reporting that all of its TVs meet the latest Energy Star standard, with 90% exceeding the requirements for sleep mode. Sharp has many products that are free from polyvinyl chloride plastic (PVC) but looks to be backtracking on this commitment. Sharp's internal green products certification standards no longer include the requirement "uses no halogenated flame retardants, uses polyvinyl chloride substitutes". Sharp needs to communicate the dates when new products will be free of PVC, phthalates, brominated frame retardants (BFRs) and antimony. The company reports on use of recycled plastics, stating 8% of its plastic is used and has set a new target of using 2,000 tonnes by fiscal year 2015. Sharp does not publicly disclose the length of warranty and spare parts availability for its main product lines.
Sharp scores least points on the Sustainable Operations criteria. Sharp is the only company that supports a 20% collection target under Indian e-waste rules, among all global companies. Sharp needs to expand its take-back programme beyond OECD countries, especially where e-waste recycling legislation is not likely, or it risks losing additional points on this criteria in the future. Sharp lacks significant initiatives in implementing a chemicals management programme, disclosing commitments to phase out hazardous substances, and excluding suppliers involved in deforestation and illegal logging.
Sharp's performance in detail: Download the company's Scorecard here


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Guidance for Homeless Youth Drop-In Centers
- Title:
- Guidance for Homeless Youth Drop-In Centers
- Author:
Natasha Slesnick, Michael Glassman, Rikki Garren, Paula Toviessi, Denitza Bantchevska, and Pushpanjali Dashora
- Source:
- Publication Date:
Between 500,000 and 1.7 million youth are homeless each year. Since few communities have conducted a homeless count that specifically focused on youth, the rough estimate suggests a need for increased attention to the homeless youth population—to better understand the scope of the issue and address their needs. To assist local service providers in reaching homeless youth, a paper published in Children and Youth Services Review provides guidance about starting and maintaining a drop-in center for youth between the ages of 14 and 24. Drop-in centers provide a casual atmosphere in which youth can rest, shower, eat, and ultimately build trust that may lead to deeper engagement and reintegration in mainstream social systems.
The guidance, which spans funding, location, rules, and staffing, draws from the authors' experiences with drop-in centers in two states.
Major findings:
- Drop-in centers can facilitate change in the lives of homeless youth by developing a genuine relationship of trust between youth and a drop-in center worker.
- Homeless youth have multiple needs that benefit from wraparound services from multiple agencies coordinated into a single plan of care.
- Drop-in centers need a strong funding strategy that reduces competition for local sources. Funding is typically the centers' biggest challenge.
- To reach homeless youth, a center's location needs to be both socially acceptable (i.e., youth will not feel like outsiders in the neighborhood) and physically accessible through walking or transit.
- The presence of a welcoming front porch or an entrance that can be seen clearly from a distance may reduce youth's wariness about entering the center. In the interior, a building with multiple separate rooms seems more like a family home and allows more opportunities for youth to be separate in the event of a conflict.
- Services for meeting basic needs, including showering, eating, napping, cleaning clothes, and accessing health care, are essential.
- Rules, consequences, and rewards should be clear and consistent, but consequences should not be permanent.
- The center's environment should also be comfortable for staff. Individual fit with the center's philosophy can be assessed through observation of center activity and then strengthened through initial training.
- The center's director or program coordinator can provide outlets for staff stress through an open door policy and regularly scheduled opportunities for staff to discuss difficult situations and their resolution.


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Rouge Stiletto
Givenchy Le Rouge Mat
Givenchy Rouge Stiletto is a neutral-toned, medium-dark red with a semi-matte finish. It is a permanent lipstick that retails for $37.00 and contains 0.12 oz. Read review...
Enjoy perfectly defined lips that last as long as you do—and a genuine leather goods item. This lipstick-as-accessory delivers intense colors and a semimatte finish all in one stroke, and as the first lipstick to come in real leather, it imparts a soft, supple touch and sensual feeling.
Polyglyceryl-2 Triisostearate, Hydrogenated Polyisobutene, Polydecene, Synthetic Wax, Methyl Methacrylate Crosspolymer, Ozokerite, Trimethylolpropane Triisostearate, Cera Alba (Beeswax), C10-30 Cholesterol/Lanosterol Esters, Ethylhexyl Palmitate, Caprylic/Capric Triglyceride, Silica, Fragrance, Trihydroxystearin, Bht, Sodium Hyaluronate, Butylene Glycol, Propyl Gallate, Spilanthes Acmella Flower Extract, Caprylyl Glycol, Phenoxyethanol, Camelina Sativa Seed Oil, Benzyl Benzoate, Hexylene Glycol, Hydroxycitronellal. +/- : Aluminum Hydroxide, [+/- , Ci 15850 (Red 6 - Red 7 - Red 7 Lake), Ci 15985 (Yellow 6 Lake), Ci 19140 (Yellow 5 Lake), Ci 42090 (Blue 1 Lake), Ci 45380 (Red 21), Ci 45410 (Red 28 Lake), Ci 73360 (Red 30 - Red 30 Lake), Ci 75470 (Carmine), Ci 77491 - Ci 77492 - Ci 77499 (Iron Oxides), Ci 77891 (Titanium Dioxide), Mica].


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Somersville, CT
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text:
All of your favorites, in one place.
2019 Repress. Laurel Halo delivers the follow up to her 2017 Hyperdub album Dust with the meditative meanderings of Raw Silk Uncut Wood for Latency, a work of abstractions featuring cello work by Oliver Coates and percussion by Eli Keszler. Moving into the deepest realms of cinematic listening excavations, Laurel Halo's Latency debut follows in the labels now expected quest to pull the best, if rather unexpected, sounds from the artists of which they select for inclusion to the label project. Raw Silk Uncut Wood focuses fully on abstract electro-acoustic and electronic prisms as a form of closeness within an unidentifiable sound world. The recordings move between a coldness that could be a lost winter time session from Oliver Coates and Mica Levi's Remain Calm, while the electronic elements echo an organic counterpoint to Caterina Barbieri's towering blocks of abstract synthesis. "What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. Forget the rules. Be untroubled."


text:
by Amy
(Louisville, KY)
I never dry any shirts. As soon as the wash load is finished I hang all shirts up to dry. For sweaters I lay them on a drying board. Once the shirts and sweaters have air dried I put them in my dryer on the cool setting with a dryer sheet to "fluff" them up. By doing this I never have to worry about shirts shrinking.
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London Paranormal Symposium - (Ass Mess): Scientists have replicated a chain of events that has triggered out-of-body experiences previously confined to traditional gastric voidings.
The experiements have been described at theis weekend's International Paranormal Convention meeting in London and mirror the kind of near-neath events that many people have reported especially after consuming intoxicating material such as Fly Agaric - the magic mashroom - or Psilocybin, a fungal growth similar in effect to Mexican peyote.
Describing their techniques scientists from London's University College said they used "virtual reality goggles" to trick the brain's frontal lobe into thinking the body was "somewhere completely different - like the public lavatory in London's Leicester Square".
This had a startling effect on participants who immediately gave way to freeing open the bowels and producing the kind of out-of-body experiences previously considered impossible.
"This could be a great breakthrough with astounding military and warfare implications," a spokesman said today.
"All we would have to do, for instance, is adapt the computer program into a subliminal acoustic wave.
"This would then be beamed over into enemy territory - for instance by hacking into radio frequencies used by fighter bomber pilots - and voila! We could vanquish the enemies by messing with their biological functions many thousands of miles away!"
The Symposium's findings have been sent over to the Pentagon for analysis.


text:
"Room 8″
"Velma" had recently ended a abusive relationship with her boyfriend. Charles did not take it well. He would send flowers, and notes on her car, he even tried to envoke sympathy from one of her friends and enlist her help in his campaign to win Velma back. No one would help him. Velma was happy to be moving on with her life. In the following months "Velma" would be brutally attacked as she left her home for work. She was left for dead, but was discovered by a neighbor and 911 was called for help. "Velma" lay in coma for nine days, with opinion of doctors that she would not recover this violent act, and if she did her quality of life would never be the same. A very hard year is passing by, and "Velma is beating the odds everyday through her physical therapist, speech pathologist and a team that helped her learn first her rudimentary functions, walking was challenging, and learning to speak again even worse.
"Velma's life would never be the same. Velma was further devastated by the news that she also contracted the HIV virus. The doctors assumed it was from her prior relationship, she had with her abusive mate for ten years, "Velma is now fearful of what others would think of her. So far Velma has the support of her family and friends after this brutal attack. Will they be just as understanding with the latest news? Velma felt ashamed and fearful of what others will think of her. How will she survive this latest news…
Newest Trailer to quench your thirst on our upcoming PROJECTS!!! ENJOY
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Trenton Ontario Real Estate Company
About Malcolm Johnston
Malcolm Johnston441 Front StreetTrentonON K8V 6C1 CA
Phone: 613.392.6594
For most people, the purchase and/or sale of their home will be the largest financial transaction they will ever make. There are many steps involved, some of them familiar, some of them less obvious. Choosing the right Realtor is a very important step, and can often be the difference between a pleasant experience and one filled with frustration.
Why should you choose me to represent you?
As a former business owner and resident of Trenton since 1995, I know this area very well. I know the people and the places that make this such a unique corner of the world. I use this knowledge to help my clients make the right choices when it comes to buying or selling their homes.
Prior to living in Trenton I worked for Suncor in their corporate office in Toronto from 1986 to 1995. I moved to Trenton, bought some land and opened my own carwash and gas-station in 1996. With the help of a very talented and dedicated staff, a little know-how, and a boat-load of determination, the small start-up became the number one petroleum retailer in the Trenton market within five years, outselling all 11 competitors.
In 2005, the business was sold, and I began writing articles for various publications around the world (finally making good use of my journalism degree). This led to full-time employment with a large news gathering syndicate in New York.
I returned to the Quinte area shortly thereafter. This is my home, and my family is here. I feel strongly that this area has everything to offer and the quality of life here cannot be matched elsewhere. I love this area, and I'm selling it now.
My life-experience has given me many characteristics that are necessary for being a great real-estate agent. When you choose me to represent you, you are choosing a person with integrity, determination, patience, and a solid work ethic who will look after your needs diligently. I am a stickler for details, and believe that every situation can be a win-win situation.
Give me a call and put me to work for you.
Call me at (613) 392 2511 or 1 888 792 5499, or simply email me at email@example.com