The Unified Theory Of Electrical Machines By C.v. Jones Pdf
Jayme Chouinard
The generalised machine theory is the subject of modeling the electric machines and drives as well as the power system. It needs understanding of e.g. electrical machines in space phasor models, axes transformations and dynamic modeling. The theory given on this course will be applied on the machines, drives and power electronics converter modelling and control. Instantaneous active and reactive power theories are taught and their applications are introduced.
Of a variety of methods used for the analysis of electrical machines and drives, the generalized machine theory is probably the most versatile one, making possible both the transient and steady-state analysis of many types of electrical machines including the drive systems. As the theory is very well known for many years, a brief description is given together with some hints concerning the introduction of side effects in the modeling process, the order reduction technique and modeling of drives.
Not sure if this has been posted here but I just remembered that his old site used to have notes on all his albums on how they were produced, the types of gear used, etc. Includes UI records and the mix. I was able to pull it from the IA as his site went defunct in 2007. Good read.
The Acid House Track "Escape from Reality" was what initially attracted the interest of R&S Records in Belgium. . (At the time the leading label for Techno Sounding Music). It was also championed by Adam X & Frankie Bones from New York's Sonic Groove.
By 1993 I had enough resources to continue the label and a friend designed me a logo. I decided on a sequence of alphabetic catalogue numbers A TO H that would eventually be followed by Numbers 0 to 9 and afterwards turn into a combination, Machine Code Syntax.
The whole ethos of the label was about music made from machines and to incorporate sounds from machines, both Mechanical & Electronic, that had a non musical purpose, [switches, domestic appliances, office equipment etc. you name it. . . ], with synthesised sounds.
A Review in DJ Magazine lead to a phone call from Lee Newman of GTO & Tricky Disco. She in turn introduced my music to Colin Faver from Kiss 100 FM and soon after I was having a DJ Master Mix played on Kiss FM London.
Track 1. F**k Ya Acid! It was made using a Korg MS20 sequenced by a Korg SQ10.
Making full use of the DSP section, I set up a patch that was reminiscent of a voice saying
"Fuck Ya Acid". I love getting synthesisers to to make sounds that quite clearly "mimic' identifiable words. Waveform Based analogue synthesisers are the best for this particularly when the ocillator has a variable pulse width waveform and a ring modulator is present.
Track 2. A very, very aggressive track. The tearing, ripping lead bass line comes from a Roland System 100 model 101 Synth triggered over cv & gate from a TB-303 sequence. The other freaky noises were programmed on a Roland JD800.
Track 1 is an Electro jam. A Roland 707 for the drum parts and 3 TB303s for the Bass Lines & Melody. One of which passes thru a Pitch Shift Algorithm programmed on a Boss SE70. There are 7 pitch levels to give a Harmonically Rich Polyphonic Bass/Pad morph Effect.
Track 2 is another abstract MS20 / SQ10 combination.
This time I programmed a patch & it began to say "You Wanker, Fuck You... You" in a loop.
FACTS:
Once again the tracks were originally unnamed. Later, I named the first one on Side-M 'My Bassline Is The Melody' and the first one on Side-C 'Reach Inside'.
This one is fully deleted. Sold out.
Best check eBay or 2nd Hand Stores if you want it on good old Vinyl.
Lowestoft Electro was named after an electrical store in Lowestoft, Suffolk UK, that sold domestic appliances on the ground floor with a record shop on the 1st floor.
Ice T did a track called Outro on the Power LP.
I've got a copy of Power signed by Ice-T, DJ Evil E & Darlene.
*I totally reworked 'Face the Future' a few years later. It is entitled 'Well Wicked'. (Something I'm accused of saying alot)
Logo Side
Track 1. 'Cornucopian 105'. It's a combination of Cutting Rhythms and Electro acoustic Textures generated from transformation of the Rhythmical Parts. A real ground breaker.
Cornucopian 105 recontextualises what are acceptably useful strategies within composition, putting the listener in touch with many musical forms that would otherwise be excluded by purist notions towards music. Cornucopian 105 introduces new ideas into contemporary popular culture, exploring unique hybrids, which exhibit themselves in terms of perceived origin.
Track 2. 'Wash the Telly'. It was made from over 70 home made sounds one of which came from my Korg MS20 and sounds like someone (something) saying "Wash the telly". This track is funny and even inspired the likes of Chris Cunningham, that clever lad who does cool stuff with motion picture, to get more into music making.
Track 1. Pete's solo, called 'Modus Vivendi'. It's an orchestral piece.
Track 2. 'Monkey Systems 107'. Another Techno meets Electroacoustic Technique. Rolling, Grating Korg MS20 Synth with transformations using CDP. The odd thing being that it retains a very hard edge without a single drumbeat!
FACTS:
105 Cornucopian later appeared on the VIRTUAL FARMER LP on Rephlex Records.
MAGIC FEET Magazine said about the Beyond The Box EP, "If 99% of Techno shares the same genetic code, then this is the one that breaks the mould.".
N.M.E Vibes gave it a very favourable review (see reviews page).
This is a Single-Sided EP with a plain Green Label, featuring only Two Tracks.
Track 1. 'Nautilus 110'.
It's a perfect example of combining influences from club land with academia.
A fine example of Electro-Synthetic and Electro acoustic composition.
Nautilus was set out with some strict guidelines for its construction long before composition commenced. The main objectives were the expressive nature of drum parts, spatialisation non-conformity and anomalous behaviour. One of the possible reasons for Nautilus 110's disturbing yet engaging quality is the distinct lack of any spatialisation. This is not simply limited to the non use of reverberation devices, but also engulfs the nature of the work by the non attempt to synthesise spaces on any level (that is, no natural reverb inside of the sound objects and no attempt at building psycho acoustic reverberant devices). The careful use and interplay of transformed elements, as the basis for constructing various sound stages was largely pioneered in Nautilus 110. The imagery of this work is of dark brown, distant cavernous spaces with undisclosed subversive undercurrents, sultanas and a light banana souffl.
Track 2. 'Grrearra Falcon'. Another fine example of the genre.
Aimed more at the listener.
FACTS:
Grrearra is a Granular Synthesis Algorithm from the Composers Desktop Project. The Falcon part relates to the Atari Falcon computer used for the transformations.
This Release won the TOP TAPE award in SOUND ON SOUND MAGAZINE.
Box Sets are now valued on the 2nd Hand market at 200GBP a box in fine condition. There were 167 released and each was hand signed and numbered.
The CD contains a couple of tracks from each of the EP's plus two bonus tracks not on vinyl.
Note that the CD does not contain all tracks from the Vinyl's, Just a selection plus bonus*
I hadn't heard such inspiring techno music since Warp's launch two years before; and there was plenty to go on. . . tape upon tape, encompassing every genre that I love. However, there was one genre that shone through as Mike's first passion - ACID house! Indeed, he stands with the Chicago legends as one of the few real 303 Masters (how many people do you know that owned four of them at once?!).
Just when everyone thought there were no patterns left to write, he'd flipped everything around and was spearheading the most important dance music movement of that time; where the mood and the machines were just as important as the melody. If you're reading this then you'll know the rest - a host of releases on our label (including the legendary Universal Indicators) as well as several others with Analog USA, Axodya and R & S (who set up the Diatomyc subsidiary especially for him).
We'd been playing at Drop Bass Network's further party in Wisconsin and he'd come up with some really mad tracks to perform in a P.A: As I see it, THESE tunes marked another major development in Electronic music. He'd developed a totally fresh, highly personal kind of music that boggles your mind, using techniques you can't work out. You can't say that about music any more and that's why you need this album.
I think that you'll get to know Mike while you listen to this musical biography and I'm sure you'll see how his recordings have inspired a whole range of other artists( I've heard his records sampled by DJ Hell, C Tank and countless UK hardcore bootlegs). It will broaden your horizons. It'll give you both a taste of history and a pointer to the future but, most of all, it's entertaining, sincere and deftly crafted music that will survive the test of time.
FACTS:
This Ep contains 4 Tracks that were part of 8 originally scheduled for a Mike Dred LP on R&S Records, to follow on from the Macrocosm EP in 1994. Unfortunately we could not agree terms. So i split the proposed LP and released these 4 together. The other 4 are still to this day unreleased.
FACTS:
Made during my days as part of the London Dungeon DJ Squad "Solid Groove" along side Bizzy B who at the time started up Brain Records and went on to become a Legendary Junglist Producer!
Met up with a then relatively unknown Richard James who told me he was going to start a label. Was I interested? etc. Would I give him a cassette with some tracks on it? The tracks were re-recorded at his room in Kingston. Listen carefully for some early Aphex 303 tweaking along side the KK.
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