A huge Soilwork fan, someone suggested I listen to a band called Raunchy. Particularly, their album “Death Pop Romance.” I have to admit, I had no interest in listening to them. I thought Raunchy was a terrible name for a band, and I figured any album that included both ‘pop’ and ‘romance’ in the title couldn’t possibly be good.

But my curiosity was peaked when I learned they were from Denmark. After listening to countless melodic death metal bands from Finland and Sweden, I was curious to see what Denmark had to offer. And I was pleasantly surprised! An infusion of melodic metal, thrash, and industrial gives this band a very definable sound. And the contrast between Kasper Thomsen’s screams and clean vocals sounds stellar. I like a little variety in my metal — a back-and-forth between screaming and melodic vocals, and this balance is something Raunchy pulls off really well. Furthermore, the electronic parts in “Death Pop Romance” are so prominent, it gives the melodies a unique twist not usually heard in this genre.

I did manage to listen to a few songs from the previous albums as well. The band has definitely refined its sound since then, and the vocals, drumming, and guitar have all improved noticeably. As far as I could tell from the two older songs I heard, the band wasn’t nearly as melodic as they are now. It was much heavier before, and there was a whole lot of talk-screaming rather than sing-screaming, if that makes sense. Something I, personally, get bored of very quickly. Fortunately, Raunchy seemed to hit its melodic stride with “Death Pop Romance.”

Another album was released a few years ago, and now an official a fan of Raunchy’s newer stuff, I’ll be listening to that one very soon. If you like Soilwork, Mnemic, or Sonic Syndicate you might want to check Raunchy out.

Today, more than ever there is a need for Industry to be responsible in its environmental judgements and actions. With the haste to improve the over-all environmental situation and push on Industry to reduce its carbon footprint, it is important to educate yourself on the short term and long term ramifications of the “Green” solutions you implement. In the case of lighting upgrades, there is a great opportunity to reduce corporation and municipality electricity expenses and more importantly to reduce the electricity demanded from the energy providers who are the greatest contributors of CO2 gases released into the environment. In selecting the lighting solution, you want to ensure you investigate not only the short term purchasing costs, but also the long term costs associated with waste; i.e. labour costs due to installation, maintenance/cleaning and light bulb replacements; and lamp consumable cost expenses which are significant yet typically ‘hidden’ or looked over and purposely not highlighted in the selling process of fluorescent (FLUO) and LED based lighting products.

When considering the type of lighting for your new or retrofit high-bay or low-bay lighting application, it is essential to be educated and made aware of what long term costs will be incurred over the lifetime of the lighting system. One very important aspect to consider is the maintenance and labour costs associated with the cleaning and the changing of lamps. Fluorescent and LED lighting systems have the problem that the light quality they emit inherently degrades over the operating life of their lamps, increasing the lamp replacement frequency and over-all expenses of operating those systems.

Comparing Digital Ballast powered High-Intensity Discharge lighting (Digital HID or DHID lighting) to fluorescent and LED, end-users agree that the added value offered in terms of the DHID solution’s low buying price, energy efficiency, light quality/performance, and reduced labour and maintenance costs, ensures end-users benefit with the best lighting for the shortest payback or return on investment time. Furthermore, when considering the upgrade or retrofit of an existing inefficient lighting installation, one must consider the labour costs involved in the installation; such as the removal of the old lighting system, re-wiring, changing of the lighting grid pattern, and all the consumable costs and other indirect waste created as a result. In the case of the upgrade of an existing core and coil (magnetic) powered ballast fixture, the DHID digital ballast solution is simple, cost-effective, outperforms and is the most environmentally responsible.

It is wise to consider the long term costs associated with fluorescent lighting to truly appreciate the “realistic” return on investment of fluorescent based lighting for factory/warehouse, retail, and general building high-bay and low-bay lighting applications. The following facts about DHID lighting versus FLUO lighting serves to highlight the performance and the common costs associated with the installation and operation of each in the short and long term to help you accurately conclude your own realistic return on investment calculation.

Capabilities and Benefits of DHID Vs. FLUO

This is a direct comparison between both DHID and fluorescent lighting solutions for a 40ft high-bay ceiling application where antiquated core and coil (magnetic) 1000W ballasts in existing HID fixture are already installed.

The recommended Digital HID retrofit solution is a dimmable 575W DHID ballast powering a 750W Metal Halide (MH) bulb. The proposed fluorescent high output high-bay T5 solution features 8 lamps at 54W each and 2 non-dimming electronic ballasts.

Installation Complexity and Cost?

DHID: A simple ‘plug and play’ retrofit of one digital ballast into the existing HID fixture and one new HID bulb installed where needed. The existing fixture is re-used and the efficiency is significantly improved by 50% to 75%. The performance and light quality is also better offering 40% brighter, whiter, penetrating light over the old system. The typical labour cost to retrofit a fixture is $50.00 US and takes approximately 30-45 minutes per fixture. The typical total package cost to retrofit a 1000W magnetic ballast application is $250-$300 US including the DHID 575W ballast, light bulb and installation cost.

FLUO: To install fluorescent you need to remove and recycle the used HID fixtures including ballasts, bulbs, reflectors, wires and the exterior metal housings. You then need to create new hanging structures for the new standard size fluorescent T5 8 Lamp high output fixtures. The lighting grid layout will need to also be changed as more T5 fluorescent fixtures will be needed to ensure a uniform light coverage (overlap) at the floor between them. In most cases, extra mid level or low-bay lighting needs to be installed where illumination from the fluorescent high-bay is not significant enough. There are also costs associated with the assembly of the individual fluorescent fixtures which is a labour cost the electrical contractor will invoice. With 8 bulbs and 2 ballasts, the complexity of a fluorescent system is high, adds cost and inhibits performance. The typical cost for a fluorescent T5 8 lamp high output fixture is starting at $280 US or more and this cost does not include the assembly/installation and the cost of the 8 lamps needed per fixture and for inventory.

Luminous Efficacy and Lumens Per Watt Performance?

DHID: Luminous efficacy of 118lm/W for digital ballast powered Metal Halide (MH), High-Pressure Sodium (HPS) and Ceramic Metal Halide (CMH) HID bulb applications. If retrofitting an existing HID fixture which has an antiquated 1000W core and coil (magnetic) ballast, a new 575W digital ballast would be installed in place powering a 750W MH bulb for a new total fixture lumen output of 67,850lm (575W X 118lm/W).

FLUO: Luminous efficacy of approximately 81lm/W if 54W bulbs in a fluorescent T5 8 lamp high-output fixture operating with 2 ballasts. If 54W bulbs offer a total lumen output of 4400lm output each, then 4400 X 8 lamps = 35,200 total lumen output from the T5 8 lamp high output fixture.

Ballast / Fixture Efficiency Performance?

DHID: One digital ballast is 97% efficient. For the existing magnetic 1000W MH, we retrofit the 575W DHID ballast operating a 750W MH bulb at 592W with 3% losses. At 575 Watts, the DHID system will produce more lumens at the ground than both the existing 1000W MH and fluorescent consideration. Moreover, the notable increase in lumen output performance will bring the existing fixtures back to life, with more light at the ground, and with more light over-laps between the fixtures for a brighter white facility and working area. Due to the increase in the lumen output of the DHID ballast high-bay installation, 30% to 40% of the existing mid level fluorescent lighting can be removed adding additional energy savings. And since the 575W DHID can be dimmed, even more electricity savings are possible; e.g. instantly dimmed to 20%, the 575W ballast only consumes approximately 474W yet still outputs bright penetrating light to the target.

FLUO: Two electronic ballasts are 90% efficient. Operating 54W x 8 bulbs = approximately 480W total with heat losses. Due to the poorer lumen output of T5’s, more fixtures should be added to the lighting grid to compensate for the lower lumen output to the ground. The 2 ballast design and the accumulation of 8 bulbs creates 10% losses to heat and increased wear on the bulbs leading to a more rapid degradation in light quality. The T5 fixture in this example does not have dim capabilities; to dim would add extra cost and complexity due to the ‘special’ dimming ballasts required. As a result of dimming fluorescent, there is also increased wear and tear on the lamps adding to lamp change increases and ultimately increased labour and consumable costs in the short and long term.

Light Quality Throughout Bulb Life?

DHID: Due to Digital HID’s 118lm/W luminous efficacy performance, more lumens, and natural white bright light penetrates to the facility floor. The light quality is guaranteed over the entire life of the bulb due to patented digital ballast technologies. The bulb does not degrade more than 5% from the life start to life end of the bulb creating huge benefits to retail, factory/warehouse or any applications where consistent bright white light is mandatory. The DHID ballast increases the life of HID bulbs radically by 100% (or more if dimming is utilized). A bulb with an original mean time before failure (MTBF) rating of 20,000 hours will now last 40,000 hours or more and will suffer no less than 5% light degradation throughout the bulbs life. The high luminous efficacy of the DHID ballast delivers brighter more penetrating lumens to the factory or retail application floor for less cost. Compared to LED, fluorescent, and induction based lamp systems, DHID powered systems easily offer the best light quality/performance for the lowest total operating/consumable costs.

FLUO: The fact is that all fluorescent lamps, be they hot cathode, cold cathode or electrode-less will suffer from phosphor degradation. The rate of this degradation is a function of the type and the amount of phosphor, and the type of glass used for the tube. The temperature of the phosphor and glass and the intensity of the UV flux from the discharge also play a role in enhancing the degradation of a fluorescent bulb. High Output (HO) and Very High Output (VHO) bulbs will normally degrade faster than standard output bulbs.

Most standard output fluorescent bulbs claim 10,000 hours to 20,000 hours or more operating lifetimes, but can fall to 80% or less of their original light intensity after only 10,000 hours of operation. One must take into account the long term costs of this realistic bulb degradation and failure in considering fluorescent for your lighting application. If dimming ballasts are installed, please factor in this extra cost and also the increased cost of labour and consumables due to increased lamp changes as dimming has an adverse effect on the life of the fluorescent bulb, degrading it even quicker.

Fixture Noise, Static; Light Quality Psychological Impact?

DHID: The proven DHID ballast is silent, and operates warm as only 3% losses are to heat; the ballast is 97% efficient and does not create significant static electricity. Pulse start MH bulbs are inexpensive and produce a natural white light which is more pleasant to work under. Studies have shown that humans working in brighter, more naturally lit environments are more alert and more productive.

FLUO: Some of the common nuisances end-users underscore about fluorescent lighting are the noise, the light quality/flicker, the colour, and rapid light quality degradation by or before the bulb’s mid-life and inevitably thereafter. Fluorescent lighting fixtures require increased maintenance and cleaning due to the dust that collects on the static charged surfaces of the system. The dust and debris accumulation on the bulb and on the reflector surface is unhealthy and further adds to the degradation of light quality and total lumen output.

Lamp(s) and Ballast(s) Change Frequency?

DHID: Only 1 lamp needs to be replaced per HID fixture and with little labour cost/time needed as HID fixtures are typically easy to maintain with easy access to the light bulb. HID bulbs operated with the DHID ballast are rated to 30,000 hours to 40,000 hours or more life expectancy (with dimming) and the bulb lumen output is guaranteed to not decrease more than 5% over the lifetime of the bulb. The DHID ballast will output 118lm/W right up until the bulb’s life end. The DHID ballast is rated to a 10 year MTBF and will output the same 118lm/W up until its life-end. At ballasts life-end, it is again a very simple and cost-effective replacement to upgrade the HID system without having to replace entire fixtures.

FLUO: 8 lamps per fixture need to be replaced and much more frequently than DHID which adds more labour and maintenance costs. If mean time before failure of the fluorescent bulb is 20,000 hours then lamps need replacement every 2 to 3 years. If the lamps are considered to be failed at 10,000 hours due to significant light quality and brightness degradation, then lamp change frequency needs to be every 1 to 2 years. Since the 8 lamp fluorescent fixtures need two ballasts each, then at the ballasts life-end two ballasts need replacement. If you factor in the labour costs to remove the old ballast and reinstall new ballasts, it becomes evident that a lot of waste is created due to the limitations of the fluorescent lighting technology.

Long Term Realistic Bulb And Ballast Expenses?

DHID: Simple example: 1 bulb per existing fixture x 500 fixtures X $20 US approximate HID bulb cost for a 750W Pulse Start Metal Halide bulb = 500 bulbs at $10,000.00 US total every 4-6yrs+. Very simple procedure, 1 lamp to replace and it is easy to do in the existing fixtures since the bulbs are really easy to access. This decreases the maintenance labour costs noticeably. The DHID ballast is rated to 10 years MTBF and is also easy and cost-effective to replace at that time.

FLUO: 8 x T5 high output bulbs X 500 units = 4,000 bulbs. At an approximated bulb price of $5 USD X 4,000 bulbs the total bulb consumable costs alone is $20,000 US. If the bulb lasts 15,000 hours without significant degradation, you would incur this expense every 2 years approximately. In addition, there will be increased labour costs incurred to change 8 lamps per fixture. At the end of the ballasts life there will again be expenses incurred to replace either the entire fixture (more waste), or to retrofit two new ballasts in the existing fixture. Either option with fluorescent will result in inevitable labour and consumable expenses and environmental waste.

Motion Sensor Dimming Capabilities?

DHID: It is possible to dim Metal Halide, High-Pressure Sodium and Ceramic Metal Halide HID bulbs with DHID digital ballasts. Dimming is simple and instant and it adds to the already sizeable savings in energy consumption since the DHID ballast can dim the HID bulb from 100% power to 50% power or any step in between this range. The dimming of a DHID ballast powered bulb is barely noticeable because the system still delivers high lumen output in the dimmed state. With smart dimming, the electricity costs to operate the system are further reduced without disrupting the operation or safety of the working environment. Motion sensors are strategically placed to detect human and operator activity to determine lamp on times at full power.

In the case of a 575W DHID ballast powered HID bulb replacing a magnetic 1000W system drawing 1200W with approximated heat losses, the end-user can expect 50% or more savings without dimming. The system can then be dimmed down via motion sensor or switch by 20% to the 460W setting for the additional 20% in savings in electricity (1200W – 592W – 118.4W = 489.6W / 1200W = 59%+ savings total).

With the advancement in the DHID technology over magnetic based HID systems, lamp start times are 1 minute, dimming is instantaneous and start-up after a hot re-strike is 3 minutes. In most Industry applications, instant dimming capabilities are preferred since HID lighting systems are typically installed in areas where the lights are to be on for extended time periods. Where it is essential to have the lights on always, the dimming of a HID system is ideal since lumen output is still high in the dimmed state, yet more electricity is saved since the lights are only at full power when needed.

FLUO: Yes and No; it is possible to dim fluorescents, but you need special and expensive ballasts with this capability for T5 fluorescent bulbs. This adds expense as you need two ballasts per each 8 lamp high-bay fixture. Without dimming there is a great limit on electrical energy savings possible with fluorescent lighting. One should also consider the original lumen output performance when considering the fluorescent solutions versus a DHID retrofit solution since DHID offers a much higher output of lumens to the target, even in the dimmed state. Secondly, one should consider the effect of dimming on the fluorescent bulb since increased dim-on and dim-off cycles reduce the bulbs life. Fluorescent lighting was not originally designed for dimming, and is typically not recommended due to the associated expenses, performance limitations and poor return on investment.

Return On Investment?

DHID: With DHID the short term return on investment payback is 0.5 years to 1 year for a total DHID retrofit package including bulb, ballast and installation. In the long term, if utilizing an MH bulb with a MTBF of 30,000 hours to 40,000 hours+ with dimming, operated at 6,240 hours yearly, the bulb would need to be replaced every 4.8 years or 6.4 years+ with dimming respectively. At a bulb cost of $20 US, the total consumable cost is miniscule over the lifetime of the system. The DHID ballast is rated at 10yrs MTBF with the potential to have its life extended further depending on the application. With fewer bulbs and less frequent lamp changes, maintenance/cleaning time is more infrequent making the money saved in labour and consumable expenses over the system life noteworthy. The DHID solution guarantees high energy efficiency, and high-quality, penetrating light over the entire lifetime of the bulb and the DHID ballast.

FLUO: The short term return on investment payback time is poor due to the initial cost of purchase and installation; i.e. the labour to assemble the new T5 8 lamp fixtures; the removal of the used HID fixtures; the install and wiring of the new T5 fixture; the installation of the 8 lamps and the accumulated costs of all the fixture hardware and individual lamps for each fixture. Furthermore, in the short term one must factor in the costs of how frequently the fixtures will require cleaning due to decreased light output as a result of dust accumulation. If the T5 high output bulb is able to last 15,000 hours without noticeable degradation due to cleaning and efficient bulb operation, then bulb change labour and consumable expenses will be frequent; every 2 years or less making the return on investment of fluorescent over the long term (5 years or more) most unfavourable when compared to the DHID retrofit solution.

 
The Environmentally Responsible Lighting Retrofit Solution

The DHID ballast retrofit solution is the most environmentally responsible and cost-effective upgrade for inefficient lighting installations. By simply retrofitting the Digital HID ballast into an antiquated HID lamp system, the old fixture is re-used and rejuvenated, bringing new life and a drastic improvement in performance to the HID bulb based system. This simple procedure leaves only the magnetic ballast to be recycled (and bulb in circumstances) and therefore creates much less strain on the environment.  The DHID solution is able to reduce Industry’s carbon footprint, and the over-all CO2 emissions released into the atmosphere due to the measurable amount of energy consumption reduced and physical and time waste reduced as a result of the DHID solution.

Digital HID lighting promises and delivers the optimal balance of energy efficiency, light quality/performance, and reduced maintenance benefits for the shortest realistic return on investment payback time in the Industry. We welcome the opportunity to discuss our findings with you further; please do not hesitate to contact me with any questions.

Anthony Borges
aborges@accendoelectronics.com
www.AccendoElectronics.com

OSHA requires at a minimum that an Emergency Action Plan include:

• Procedures for reporting a fire or other emergency;
• Procedures for emergency evacuation, including type of evacuation and exit route assignments;
• Procedures to be followed by employees who remain to operate critical plant operations before they evacuate;
• Procedures to be followed by employees performing rescue or medical duties; and
• The name or job title of every employee who may be contacted by employees who need more information about the plan or an explanation of their duties under the plan.
• Employee Alarm system. An employer must have and maintain an employee alarm system. The employee alarm system must use a distinctive signal for each purpose and comply with the requirements in 1910.165.
• Training. An employer must designate and train employees to assist in a safe and orderly evacuation of other employees.
• Review of Emergency Action Plan. An employer must review the emergency action plan with each employee covered by the plan:

1. When the plan is developed or the employee is assigned initially to a job;
2. When the employee’s responsibilities under the plan change;
3. and when the plan is changed.

www.osha.gov

YouTrainOnline.com offers “Means of Egress, Emergency Action Plans and Fire Protection Plans” as part of our OSHA – 10 Hour General Industry Outreach Training Program. Successful completion of this interactive online course results in the participant receiving their U.S. OSHA 10-Hour General Industry wallet card, which has no expiration date. It can be taken at the student’s pace, is available 24/7.

OSHA created the Outreach Training Program for the purpose of expanding the knowledge base of employers and employees across the country relative to their standards and guidelines, thereby enhancing safety and health in the American workforce.

Today, I’m going to give a brief “peak” at YouTrainOnline’s Industrial Skills Library because it has so much to offer in the way of continuing education for all industries. There are 57 packages (more than one individual course) to browse and over four-hundred  individual one hour courses. This is a large library, so please have a little patience while it loads. Click onto the course titles for a full description of each course.

• 100 Safety (45 courses)
• 200 Industrial Maintenance (82 courses)
• 400 Industrial Electricity (45 courses)
• 500 Power Generation & Alternative Energy Options (101 courses)
• 600 Industrial Instrumentation (55 courses)
• 800 Machine shop (27 courses)

Safety Courses:

Course titles cover: PPE, Hearing & Noise, ladder safety, first aid, CPR, machine guarding, power & handtool safety, electrical safety, confined space safety, lockout/tagout program, hazmat safety, HAZWOPER  Regulation Overview; just to name a few.

Industrial Technologies Curriculum: (303.0  hrs.)

Contains the following courses: safety (24 courses), Behavior Based Safety Programs – Basic Design & Basic Concepts, Hazardous Material Procedures, Confined Space Procedures, Hot Work Procdures, Working priciples of Simple Machines, Hand Tools I & II, Portable Power Tools, Torque Wrenches, Intro to Belt Drive Maintenance (8 courses), Intro to Bearings (6 courses), Intro to Gear Drives (3 courses), Lubrication Selection/Management/Analysis, Pipe & Pipe Fitting symbols, Pipe Joining Methods, Intro to Chain Drives/Maintenance & Troubleshooting, Intro to Valves and Their Components (12 courses), Intro to Centrifugal Pumps, Heat Exchanger Theory, Compressed Air Systems, Intro to Hydraulics, Vibration Introduction, Boiler Tube Repair (6 courses), Electron Theory (5 courses), Alternating Current, AC Induction Motors/Generators/Theory/troubleshooting/maintenance/overhaul, Intro to Motor Controls, Transformer Basics, Wire & Cable Management, Energy Conversion, System Turbine Basics, Steam Turbine Design, etc…this list contains about 1/2 of all the courses that are included in this package. For the full course listing go to the Industrial Library, scroll to the Industrial Technologies Curriculum and click.

Test Equipment Package: (8 hours)

This Package includes the following courses: Multimeters, Oscilloscopes, Power Supplies, Signal Generators, Thermometers & Calibrators, Manometers, Pressure and Vacuum Calibrators, Megohmmeters.

This is a very small look into YouTrainOnline’s Industrial Skills Course Library. We are an approved CEU provider of online continuing education courses. Our focus is on providing relevant, up-to-date, fully accredited education to our customers. Powered by 360Training.

It is designed by Adam Turecek / Aaad Academy Of Art Architecture And Design Prague. This project was from Prague. I am interested in industrial design but not much. I really found itself creative and elegant. Also, the splash have a different tune in a good way.

Hi,

Here the placement for  Procurement Manager – Jeddah, Saudi Arabia.

Qualification:

Experience:

• 10 yrs experience in the occupation in similar industrial environment.
• Conversant with international trade and business processes

Skills Required:

• Knowledge of material codes and specifications.
• Excellent negotiation skill (proven in dealing with multinational sales and marketing professionals)

Would you be interested ?

Please send us your latest updated profile with contact nos.
current & expected salary details and joining time required toradha@kbsconsultants.com

You may also suggest this opening to your friends who may be interested.

Further Information:

KBS Consultants

Flat H,Kulothungan Apts,
No, 5 Natesan Road
Ashoknagar,
Chennai 600 083.
India
Phone: +91-44 2489 5341 / 2371 9622

Visit Our Sites:

International jobs: http://www.jobsearchworld.com/
SAP ERP Jobs : http://www.jobsvista.com/
Core Engineering Jobs : http://www.gotachance.com/
Technology Jobs : http://www.kbsconsultants.com/
India Jobs :http://www.kbsconsultants.org.in

Ma, azaz November 23.-án jelenik meg Európában a svájci industrial metal-t játszó Sybreed 3. albuma, a The Pulse of Awakening. A zenei világban van egy ilyen közhely, hogy általában egy zenekar 3. albuma dönti el, hogy mennyire életképes az a zenekar. A továbbra kattintva kiderül, hogy ez mennyire sikerült a srácoknak.

A zenekar 2003-ban indult be, amikor is az énekes Benjamin, és gitáros Drop megalapította a zenekart. Hamarosan csatlakozott hozzájuk Burn mint basszusgitáros, és Alex dobosként. A kezdetekben a saját dalok írására koncentráltak, ami eredményeként megjelent 2004-ben a Slave Design albumjuk.
Az első albumukat legegyszerűbben úgy lehetne jellemezni, hogy Meshuggah-hoz hasonló gitártechnikákat ötvözték elektronikával és szintikkel, a dobok is a nagy példakép technikájához voltak hasonlóak.
Következzen arról az albumról egy kedvencem, a Re-Evolution:

A második album 2007-ben jött ki Antares címmel. Már itt is erősen érződött a fejlődés a zenekar berkeiben belül végbement változások ellenére is. Ugyanis még 2006-ban kilépett Alex a dobok nélkül. A zenekar nem csüggedt, és magát Dirk Verbeuren-t (Soilwork) kérték fel az új anyag feldobolására. Az új albumon sokkal jobban kísérleteztek Benjaminnak a vokál képességeivel, és egy kicsit dallamosabb irányvonalat vettek fel. Míg az első hallgatásra kicsit furcsa volt a több tiszta ének, egy idő után annyira passzolt a kemény gitárok darálásához, és a dobok géppuska szerű használatához, hogy nyugodtan ki lehetett jelenteni; a srácok megtalálták magukat.

És eljött 2009. Sybreed-ék elég sokat turnéztak, ki is jutottak az Egyesült Államokba 1-2 alkalommal egy erősebb turné erejéig, és a rajongó táboruk egyre csak nő.
2009.11.23.-án (azaz ma) pedig megjelent a 3. stúdió album The Pulse of Awakening címmel.
Lett-e változás a stílusukban? Nem. Én legalább is már sokadik hallgatásra sem tudok észrevenni drasztikus változást. Már ha a negatívakat figyeljük.
Viszont teljesen letisztult a zenei elképzelésük a srácoknak, és egy hihetetlen albumot tettek le az asztalra. Megmaradtak a kemény gitárok, a dobokra és basszusra továbbra sincsen semmi panasz, hozzák a kemény és biztos alapokat az egész albumon végig. Továbbá bátrabban, és erőteljesebben használják a szintiket, és effekteket, amik tovább nyomnak az album hangulatához. Az ének terén Benjamin is erőteljesen teljesített, a tiszta éneket megszokottan előszeretettel keveri üvöltésekkel, ami nagyon jól illeszkedik a zenéhez. Itt van egy újabb videó ami a youtube-on kering, tessék belehallgatni, és szerintem mindenkit meg fog győzni:

Összegzésben:
Sikerült a Sybreed-nek megint teremtenie egy olyan albumot, amit még sokszor és szívesen fogok meghallgatni. Szerintem sikerült megkaparintani maguknak egy kis darabot a metal szcénában, és ezzel biztosították maguknak a fennmaradást.
Abban meg nagyon bízom, hogy elfognak valamikor látogatni kicsiny hazánkba is, és mi meg átadhatjuk magunkat a jó kis ipari pusztításnak.

This is an interesting articale that I feel worth spending a few minutes to read:

I’m not an advertiser, but I’ve spent the last 10 years selling to them.

I think my first day selling was the last day of the golden age in B2B media — back when magazine people spent all day bending over to pick up money, and then marveled at how hard they were working.

On my second day the balance tipped; customers by-and-large stopped looking for reasons to advertise, and started looking for reasons not to advertise. This has been documented and discussed. What’s missing from the discussion is why industrial advertisers might actually want the trade media to fail.

Start with the assumption that as much as buying marketing, these advertisers were buying security.They followed a  simple formula, perfect for the engineering mindset that drives these companies. It was this: Advertising with trade media is the only reliable way to reach a targeted audience. So by doing whatever the competition does you will achieve similar results.

Feeling aggressive? Spend a little more and you’ll do a little better. There were few variables, like the strength of your creative, and the novelty of your logo-ed novelties. It was neat and simple and let companies get back to the business of making stuff — which was their true DNA.

Then came the Internet, which replaced measurement by lead-generation with measurement by click-throughs and unique visits. It put a premium on speed and courage; and it created so many variables that there was no longer assurance you could match your competitors’ results by matching their spend.

Suddenly, buying print meant spending a lot of money without getting any security.

That would be enough for marketers to resent the media. But there’s another piece.

The traditional media model is sponsorship: Media creates content, which advertisers sponsor to reach a targeted audience. As friend and former boss Teri Mollison now at F&W Media, likes to say, this is the “We talk, you listen” model of marketing.

Click here to see the whole editorial.

Alan

In the vast brown field surrounded by ancient indigenous trees, nearest the river and under a cool grey sky the pink boot takes my attention.

The next day, after a long hike around the curving and rolling periphery I see no boot. Apart from the corn stalks on th east side, the fields are empty today. Where is the boot? Whose boot found its way to this lonely place. Did someone stray, or did someone take someone away?

Sheen Kong was located in Taiwan as a specialist in manufacture of pressure gauge, digital pressure gauges, thermometer, and other accessories. In year 2000, SKON was the first company to have successfully launched the 6″ Precision Standard Pressure Gauge in Taiwan.

The company has been following the concept of “Competitive Prices for Reliable Material”,”Just-In-Time” commitment, “Improvement” and several other business management models that keep the production quality above the required benchmark under ISO9001-2000 TUV certification.

Contact Details:
Sheen Kong Industrial.
No. 10, Szuyoi Street.,Ta-Li City, Taichung Hsien, Taiwan.
Tel: 886-4-24936966
Fax: 886-4-24936559
E-mail: skon@skon.com.tw
Website: www.b2bpressuregauge.com

Debut 7”EP by Dissecting Table. Released in 1986.

01 – Accomplishment
02 – I Get My Slogan
03 – Silent Violence
04 – Camouflage

Ultimate Psychological Description
PW: heavyelectronics.wordpress.com

7”EP released by Suggestion Records in 1997.

01 – Why
02 – Camouflage (New Recording Track)

Why
PW: heavyelectronics.wordpress.com

Nordik Battle Signs is a disturbing nightmare featuring power electronics and spoken word, industrial noise with a harsh ‘explosive’ quality, shouts and screams, a Satanic ritual, and the militaristic drumming of an infernal army.

01 – Hz 412 / Introduktion
02 – Algiz – Konvergence of Life and Death
03 – Satan Jugend
04 – Der Kampf geht weiter
05 – Satan Jugend II: Global Konquering
06 – Tyranor
07 – NBS Act I: Begravning
08 – NBS Act II: 14W

Nordik Battle Signs
PW: heavyelectronics.wordpress.com

IN the age of global food crisis, those financing export agriculture play the rest of the planet a most dangerous game: read the NYTimes Magazine feature here:

(…) spurring financial firms like Goldman Sachs and BlackRock to invest hundreds of millions of dollars in overseas agricultural projects, so the mood was heady for business, though depressing for humanity.

1. Can I use one air reservoir for two compressor? Or if I have two compressors, I have to have 2 reservoirs also? Because we have 1 compressor, and we will add one more.

2. Should I add the air dryer to for the new compressor?

Thank you.

____________

Thanks for writing in.

Yes, you can use one air reservoir for two air compressors.

Since the two compressors will be generating air flow at different times and different pressures, it is necessary to put a check valve in each of the outflow lines to the reservoir, so that air cannot flow back down the line to the other compressor.

If you have an air dryer, I would install it downstream from the reservoir. Therefore, you would have two compressors both feeding air into the single reservoir, and the discharge line from the reservoir would then flow into the dryer, and from the dryer, to the plant.

There’s benefit in having the air flow into the reservoir before the dryer. It then has some time to cool naturally, to drop water out naturally, reducing the load on the dryer.

Make sure your reservoir has a auto-drain installed to rid the tank of water regularly.

Also, double check to ensure that the dryer will have the capacity needed to handle the outflow from two compressors.

Zur Feier des Tages, es ist schließlich Sonntag, möchte ich die Artikelserie zum Modell 11343680 gerne abschließen. Die Lampe ist nun schon eine Weile fertig, es fehlten jedoch noch einige schöne Bilder von der ganzen Sache.

Viel mehr Worte sollen zu der ganzen Sache dann auch nicht verloren werden.. enjoy!

So, Anmerkungen, Fragen, Lob und Schimpfe einfach in die Comments.

mfg

RBT

Modell 1134680 :

• Reflektor – 1. Ansatz (1)
  
• Reflektor – 2. Ansatz (2)
  
• Kühlung (3)
  
• Abstandhalter (4)
• Elektrisches – Niedervolt (5)
  
• Elektrisches – Hochvolt (6)
• Impressionen (7)

Nesreen a multi-talented young woman (singer, writer and much more!) wrote this wonderful report on Ant Dakini for Musician Spotlight Independent Project. Please check Nesreen’s wonderful voice at http://www.myspace.com/nesreenmmehdi

Musician Spotlight: Ant Dakini

Ant Dakini is an unconventional woman, who nourishes her soul through the innovative pursuit of the passions in her life. Through her musical endeavors as well as outside of them, Ant has also shown compassion in her surrounding community on both a local and universal level. Ant is the creator and other half of AntiQuark, a San Diego electronic band. Their music is hard to pin into just one category. It is an independent departure from mainstream, with roots to many techno and other forms of music world-wide but mainly European, specifically the large electronic movement in England and Germany. Each song experiments with different sounds ranging from Tahitian tribal drums providing a strong beat to Italian military chants spliced into a dance track, giving the music a sense of diversity and ingenuity. Born and raised in Italy, Ant showed early signs of musical talent.

At an intuitive age of 4, she found herself learning to read music by ear, without direction. By the age of 10, she had begun classical piano lessons. She went on to study piano for the next four years at the Italian Conservatorio in Torino and although Ant enjoyed this type of music she was not solely satisfied with the confinement of recreating and repeating the works of others (Ant Dakini Biography). She was more interested in creating her own music and not in rigorously training as a career classical musician. Ant decided instead, to pursue another academic passion and chose to study marine biology. She received her Master’s degree in this subject and went on to a career as a marine scientist specializing in sharks. Meanwhile, she joined a cover band as a teen then an all female radical punk band in 1992 before she moved to San Diego in 1997. She started her current band, AntiQuark as a solo project in 2001 with Sergio joining in 2006 (AntiQuark on MySpace). From 2002 to 2006 she completed a degree in sound engineering and recording art and has been working with Sergio to produce their recent album and has toured worldwide.

When Ant describes her influences, they are varied and timely. She explains how classical music has been an underlying influence because of her training as well as pop, punk, metal, experimental and noise genres in the 80’s. The next decade would bring the influence of electronic music as well as bands such as Alice in Chains and Simple Mind. Her current band’s music falls into the electronic genre as well as pop, experimental and dance. Her audiences, just as her sound, are eclectic and diverse. AntiQuark has entertained fans of all ages, races and of all musical tastes. AntiQuark’s repertoire is all self written music and lyrics, recording only one cover for a compilation album, Ant describes, “We don’t like doing covers because we like to be creative and do our own thing.” Ant Dakini is the composer and producer of the band and plays the keyboard while Sergio writes and sings vocals. At shows, they usually play songs off of their most recent album, “SkyDancer” and occasionally play songs off of past albums Ant produced before Sergio’s addition. Ant is featured n many compilation and her songs have also been frequently remixed .The instruments that Ant uses are the keyboard and computers and musical software programs. Through this she is able to create an infinite number of sounds and combinations to fit each song. The band also occasionally uses electric guitars and live percussion.

Tracks from ‘SkyDancer’ are brimming with energy, having both a haunting and uplifting feel at the same time. The mixture of elements transcends popular music and creates a distinctive profound quality. One of my favorite tracks, ‘Planet X’, does just this as the voice samples, fluid beat, futuristic and rough effects and smooth vocals bring forth the imminent crisis of the world’s obsession with consumption. Another song titled, ‘La Fine’ is a beautiful and lively intermingling of drums and nature sounds, and in my opinion, is a tribute to wildlife. Whether it is through the mood of the music or the lyrics themselves, messages like these need to be communicated through music since it is such an influential medium.

Ant aspires to write more music and continue to release her creativity in the future. This is an important objective in the conception of her music yet she also has a goal that relates to the connection with her audience. She aims to communicate and reach people at a deeper level of understanding and share a part of herself through her music. She would like for people to truly enjoy her performances, feeling as though it was a meaningful experience.

Keeping with the common theme of variety, the shows Ant plays are also diversified. Venues range from discos or clubs to bars and even large festivals. She describes that there have been shows at dive bars with only five people present and huge festivals in Europe housing over 2000 people. One show that she remembers fondly was at the Social Center in East Germany. She describes her European shows as more exciting since the electronic music scene carries more momentum there. The show in Germany shares a certain quality with many European shows in that they are often held in abandoned warehouses, entertain an independent art crowd and are at the edge of legality. At their shows, Ant uses some prerecorded material as it would be impossible to play all the parts herself. She must stay on beat but does have the liberty to make changes if she chooses. It all goes through a PA system and is apparently relatively simple to set up. Ant describes their shows and explains that she is somewhat physically restricted to be behind the keyboard but that Sergio does engage the audience uses the stage area while singing. She also explains her ambitions for forthcoming shows. She includes a visual component in every show, displaying clips and images that compliment the music and add to the experience, creating more energy.

In addition to AntiQuark, Ant also composes music for films and works as a freelance audio engineer. She has scored many films including, ‘Litorra’, ‘The Second Movement’, ‘The Wetlands’ and ‘In the Dark’. Ant Dakini was honored for her talents and won the first prize in the 2005 Media Arts Award Competition – Audio Category (composer, engineer and producer) for the album Neon H. The award was sponsored by the Multimedia and Entertainment Initiative of the California Colleges’ Economic and Workforce Development Program (Ant Dakini on MySpace).

Ant describes her association and experiences with two types of communities. First, she laments that although she enjoys San Diego, the community within musicians has been discouraging. She has tried to reach out and unite other electronic artists and has not had been satisfied with the outcome. The music community here, in comparison with Europe is much more private and not as social. This can be a detrimental quality as social networking can lead to unique opportunities and synergy, and the case of activism through music, the voices of many versus one can make more of an impact. Next, she describes her involvement with the general community. AntiQuark has played many charity shows advocating several causes such as women’s rights, gay pride, and animal rights. Aside from her musical statements and support projects, Ant is furthermore committed to the conservation of the marine animals, especially sharks. A friend of animals, she also works as a volunteer for a rescue association in San Diego (Ant Dakini Biography).

Ant Dakini’s determination and motivation are a great inspiration to many women and are even more sincere because they root from intrinsic sources. It is clear that she enjoys what she does, whether it is in her career life or in her free time. She has utilized her talent without degrading the content and her creativity which is a feat in itself. To many, this is what constitutes true art.

Nesreen
http://www.myspace.com/nesreenmmehdi

Nesreen a multi-talented young woman (singer, writer and much more!) wrote this wonderful report on Ant Dakini for Musician Spotlight Independent Project. Please check Nesreen’s wonderful voice at http://www.myspace.com/nesreenmmehdi

Musician Spotlight: Ant Dakini

Ant Dakini is an unconventional woman, who nourishes her soul through the innovative pursuit of the passions in her life. Through her musical endeavors as well as outside of them, Ant has also shown compassion in her surrounding community on both a local and universal level. Ant is the creator and other half of AntiQuark, a San Diego electronic band. Their music is hard to pin into just one category. It is an independent departure from mainstream, with roots to many techno and other forms of music world-wide but mainly European, specifically the large electronic movement in England and Germany. Each song experiments with different sounds ranging from Tahitian tribal drums providing a strong beat to Italian military chants spliced into a dance track, giving the music a sense of diversity and ingenuity. Born and raised in Italy, Ant showed early signs of musical talent.

At an intuitive age of 4, she found herself learning to read music by ear, without direction. By the age of 10, she had begun classical piano lessons. She went on to study piano for the next four years at the Italian Conservatorio in Torino and although Ant enjoyed this type of music she was not solely satisfied with the confinement of recreating and repeating the works of others (Ant Dakini Biography). She was more interested in creating her own music and not in rigorously training as a career classical musician. Ant decided instead, to pursue another academic passion and chose to study marine biology. She received her Master’s degree in this subject and went on to a career as a marine scientist specializing in sharks. Meanwhile, she joined a cover band as a teen then an all female radical punk band in 1992 before she moved to San Diego in 1997. She started her current band, AntiQuark as a solo project in 2001 with Sergio joining in 2006 (Antiquark on MySpace). From 2002 to 2006 she completed a degree in sound engineering and recording art and has been working with Sergio to produce their recent album and has toured worldwide.

When Ant describes her influences, they are varied and timely. She explains how classical music has been an underlying influence because of her training as well as pop, punk, metal, experimental and noise genres in the 80’s. The next decade would bring the influence of electronic music as well as bands such as Alice in Chains and Simple Mind. Her current band’s music falls into the electronic genre as well as pop, experimental and dance. Her audiences, just as her sound, are eclectic and diverse. AntiQuark has entertained fans of all ages, races and of all musical tastes. AntiQuark’s repertoire is all self written music and lyrics, recording only one cover for a compilation album, Ant describes, “We don’t like doing covers because we like to be creative and do our own thing.” Ant Dakini is the composer and producer of the band and plays the keyboard while Sergio writes and sings vocals. At shows, they usually play songs off of their most recent album, “SkyDancer” and occasionally play songs off of past albums Ant produced before Sergio’s addition. Ant is featured n many compilation and her songs have also been frequently remixed .The instruments that Ant uses are the keyboard and computers and musical software programs. Through this she is able to create an infinite number of sounds and combinations to fit each song. The band also occasionally uses electric guitars and live percussion.

Tracks from ‘SkyDancer’ are brimming with energy, having both a haunting and uplifting feel at the same time. The mixture of elements transcends popular music and creates a distinctive profound quality. One of my favorite tracks, ‘Planet X’, does just this as the voice samples, fluid beat, futuristic and rough effects and smooth vocals bring forth the imminent crisis of the world’s obsession with consumption. Another song titled, ‘La Fine’ is a beautiful and lively intermingling of drums and nature sounds, and in my opinion, is a tribute to wildlife. Whether it is through the mood of the music or the lyrics themselves, messages like these need to be communicated through music since it is such an influential medium.

Ant aspires to write more music and continue to release her creativity in the future. This is an important objective in the conception of her music yet she also has a goal that relates to the connection with her audience. She aims to communicate and reach people at a deeper level of understanding and share a part of herself through her music. She would like for people to truly enjoy her performances, feeling as though it was a meaningful experience.

Keeping with the common theme of variety, the shows Ant plays are also diversified. Venues range from discos or clubs to bars and even large festivals. She describes that there have been shows at dive bars with only five people present and huge festivals in Europe housing over 2000 people. One show that she remembers fondly was at the Social Center in East Germany. She describes her European shows as more exciting since the electronic music scene carries more momentum there. The show in Germany shares a certain quality with many European shows in that they are often held in abandoned warehouses, entertain an independent art crowd and are at the edge of legality. At their shows, Ant uses some prerecorded material as it would be impossible to play all the parts herself. She must stay on beat but does have the liberty to make changes if she chooses. It all goes through a PA system and is apparently relatively simple to set up. Ant describes their shows and explains that she is somewhat physically restricted to be behind the keyboard but that Sergio does engage the audience uses the stage area while singing. She also explains her ambitions for forthcoming shows. She includes a visual component in every show, displaying clips and images that compliment the music and add to the experience, creating more energy.

In addition to AntiQuark, Ant also composes music for films and works as a freelance audio engineer. She has scored many films including, ‘Litorra’, ‘The Second Movement’, ‘The Wetlands’ and ‘In the Dark’. Ant Dakini was honored for her talents and won the first prize in the 2005 Media Arts Award Competition – Audio Category (composer, engineer and producer) for the album Neon H. The award was sponsored by the Multimedia and Entertainment Initiative of the California Colleges’ Economic and Workforce Development Program (Ant Dakini on MySpace).

Ant describes her association and experiences with two types of communities. First, she laments that although she enjoys San Diego, the community within musicians has been discouraging. She has tried to reach out and unite other electronic artists and has not had been satisfied with the outcome. The music community here, in comparison with Europe is much more private and not as social. This can be a detrimental quality as social networking can lead to unique opportunities and synergy, and the case of activism through music, the voices of many versus one can make more of an impact. Next, she describes her involvement with the general community. AntiQuark has played many charity shows advocating several causes such as women’s rights, gay pride, and animal rights. Aside from her musical statements and support projects, Ant is furthermore committed to the conservation of the marine animals, especially sharks. A friend of animals, she also works as a volunteer for a rescue association in San Diego (Ant Dakini Biography).

Ant Dakini’s determination and motivation are a great inspiration to many women and are even more sincere because they root from intrinsic sources. It is clear that she enjoys what she does, whether it is in her career life or in her free time. She has utilized her talent without degrading the content and her creativity which is a feat in itself. To many, this is what constitutes true art.

Nesreen
http://www.myspace.com/nesreenmmehdi