Design Considerations for a Simple and Versatile Electronic Musical Instrument

B. F. Miessner

doi:10.1121/1.1915697

New Musical Instrument Design Considerations

IEEE Multimedia ◽

10.1109/mmul.2013.60 ◽

2013 ◽

Vol 20 (4) ◽

pp. 76-84 ◽

Cited By ~ 7

Author(s):

Garth Paine

Keyword(s):

Musical Instrument ◽

Instrument Design ◽

Design Considerations

Download Full-text

Morphological behavior of compatibilized ternary blends prepared by mechanical mixing

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100151830 ◽

1993 ◽

Vol 51 ◽

pp. 1200-1201

Author(s):

S.D. Smith ◽

R.J. Spontak ◽

D.H. Melik ◽

S.M. Buehler ◽

K.M. Kerr ◽

...

Keyword(s):

Interfacial Adhesion ◽

Diblock Copolymers ◽

Ternary Blends ◽

Mechanical Mixing ◽

Design Considerations ◽

Covalently Bonded ◽

Homopolymer Blends ◽

Emulsifying Agent ◽

Surface Active ◽

Low Entropy

When blended together, homopolymers A and B will normally macrophase-separate into relatively large (≫1 μm) A-rich and B-rich phases, between which exists poor interfacial adhesion, due to a low entropy of mixing. The size scale of phase separation in such a blend can be reduced, and the extent of interfacial A-B contact and entanglement enhanced, via addition of an emulsifying agent such as an AB diblock copolymer. Diblock copolymers consist of a long sequence of A monomers covalently bonded to a long sequence of B monomers. These materials are surface-active and decrease interfacial tension between immiscible phases much in the same way as do small-molecule surfactants. Previous studies have clearly demonstrated the utility of block copolymers in compatibilizing homopolymer blends and enhancing blend properties such as fracture toughness. It is now recognized that optimization of emulsified ternary blends relies upon design considerations such as sufficient block penetration into a macrophase (to avoid block slip) and prevention of a copolymer multilayer at the A-B interface (to avoid intralayer failure).

Download Full-text

Theoretical And Practical Design Considerations for Ultra-High Resolution Electron Lenses

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s1431927600001161 ◽

1980 ◽

Vol 38 ◽

pp. 266-269

Author(s):

Y. Harada ◽

K. Tsuno ◽

Y. Arai

Keyword(s):

Optical Properties ◽

High Resolution ◽

Chromatic Aberration ◽

Point Of View ◽

Pole Piece ◽

Axial Field ◽

Design Considerations ◽

Resolution Electron ◽

Practical Design ◽

Peak Flux

Magnetic objective lenses, from the point of view of pole piece geometry, can he roughly classified into two types, viz., symmetrical and asymmetrical. In the case of the former, the optical properties have been calculated by several authors1-3) and the results would appear to suggest that, in order to reduce the spherical and chromatic aberration coefficients, Cs and Cc, it is necessary to decrease the half-width value of the axial field distribution and to increase the peak flux density. The expressions for either minimum Cs or minimum Cc were presented in the form of ‘universal’ curves by Mulvey and Wallington4).

Download Full-text

Musical Experience Shapes Neural Processing

Zeitschrift für Neuropsychologie ◽

10.1024/1016-264x/a000295 ◽

2020 ◽

Vol 31 (2) ◽

pp. 81-86

Author(s):

Wido Nager ◽

Tilla Franke ◽

Tobias Wagner-Altendorf ◽

Eckart Altenmüller ◽

Thomas F. Münte

Keyword(s):

Mismatch Negativity ◽

Pure Tone ◽

Musical Instrument ◽

Active Listening ◽

Musical Experience ◽

Neural Processing ◽

Neural Adaptations

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.

Download Full-text