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Synth 84

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Synth short for synthetic humanoidsalso called androids or artificial humans is a common term used to refer to biological and mechanical robots manufactured within the Institute laboratories. These range from skeletal early models, to those nearly indistinguishable from human beings save for small mechanical components in the brain.

Both android and synth are technically correct terms, used interchangeably by the Institute to refer to its creation. The former term has been deprecated at Shaun 's insistence, following the introduction of third generation models. Synths are all issued a four character identification number when processed and assigned duties.

It always begins with a letter, followed by a number, dash and two more numbers. The precise system governing designations is unknown. The M prefix identifies a known infiltrator synth M [3] and a synth that infiltrated the structures of the Brotherhood of Steel M The only known constant is that X designates a Courser though there's one with a Z prefix and another with an A.

synth 84

Synths have been manufactured by the Institute for decades, with the precise date when the first generation synths were fielded to the Commonwealth remaining unknown; however, it was at a time when the Institute had not yet become the bogeyman of the region and were able to continue their work in relative peace. Further attempts to work peacefully with the native inhabitants of the Commonwealth eventually culminated in mutual mistrust that ended any possible relationship between the two entities quickly.

synth 84

By the s, the first generation synths were no longer enough for the Institute's needs, and in order to overcome the limitations of limited and non-renewable materials, the Institute endeavored to create synthetic flesh, so that their creations could more safely traverse the above world. Research into this officially began in under the auspices of Doctor Frederickon F. Successful mutations would be monitored to ensure survivability, then tagged and discarded.

Radiation-induced hereditary damage proved too much of an obstacle. Just three years later, inthe organic synth project was spun off from the FEV research initiative due to the acquisition of Shaun and his undamaged pre-War genetic code.

He was recovered by Conrad Kellogg[9] [10] and his DNA became the basis of the third generation of synths in a project led by Dr. Of course, tests were not without setbacks; ina defective 3rd generation infiltrator caused the Broken Mask incidentvilifying the Institute in the eyes of the Commonwealth. Carterwas a prototype that was field tested without the Institute director's approval.

Though the Institute did not actually intend to massacre the people of Diamond City, the people of Diamond City have feared and resented the Institute ever since. Meanwhile, existing first generation units were provided with a suite of upgrades, in order to increase their functionality and allow for increased deployment into the Boston ruins. Designated as second generation synthetics, bridging the gap between the skeletal and human-like synths, these models are characterized by thick artificial skin.

These second generation synths continued to serve the Institute well intoalong with the first generation remnants, although plans were made to gradually retire both the first and second generations in favor of organic synths, with the remainder of mechanical units relegated solely to surface duties. Nick Valentine and DiMA are unique synths, both being prototype synths intended to bridge the gap between the Gen 2 synths and the truly sapient Gen 3 synths.

While DiMA was made to freely develop a personality from experience, Nick's personality was built upon the mind of a pre-War detective who had his mind encoded from a pre-War brain scan, giving him all of the memories and experiences of his namesake.

The two of them escaped the Institute together, but due to the limited memory space of their prototype brains, Nick's memory of the escape was deleted. This led him to believe that he was thrown out by the Institute. As DiMA reached the limit of remaining space in his prototype brain, he began to artificially increase his memory capacity by storing his memories in connected computers.

The first models created by the Institute are skeletal creatures with an unmistakable provenance. Patterned after the human silhouette, their basic chassis consists of a human-like skeleton constructed from alloys, with the power cell and additional mechanisms stored where the chest cavity would be, while visual receptors and the primary processing unit are contained within the artificial skull. Limbs are minimalist, articulated by a network of tensile fibers, simulating muscle action, like in early human prostheses.

In practice, first generation synths are simple, yet effective machines. They are employed by The Institute for menial labor within the Institute, maintaining the hundreds of systems keeping the underground habitat in operation, and performing tasks that can be easily automated. What the Gen 1 synths lacked in ability or strength compared to later models, they made up for in expendability and numbers, always capable of being replaced by the Institute. However rugged they are, they have major flaws.

While capable of recognizing human speech and interpreting commands given to them, they require careful programming and instructing, as well as patches to keep them in operation. Pathfinding software frequently causes first generation synths to try to walk through walls. The most common variant of mechanical synth in the Commonwealth, second generation synthetics are essentially Gen 1 synths provided with a suite of upgrades to their mechanisms and programming.

The most noticeable difference is the inclusion of an internal mesh that shields the mechanisms of the synth from damage and provides support for the artificial skin layer that makes the Gen 2 similar to a human. Though more humanoid in appearance, Gen-2s still possess limited A.Do you remember that endless summer back in '84? Cruising down the ocean-highway with the top down, the wind in our hair and heads buzzing with neon dreams?

This colour scheme is influenced by the music and the cover artwork of modern Synthwave bands like FM, Timecop and The Midnight. By association, that means I've also taken heavy influence from the excellent retro-tinged artwork of James White check out his work, it's awesome.

I was a kid in the 80s but for most of my teenage life I strongly disliked nearly everything about the 80s aesthetic of my childhood. It was like, so lame. With the hindsight of recent years though, I've realised that it was actually pretty sweet and I wanted to celebrate it a little.

Much the same way, in the modern web-development world of shaders, React and WebGL, I feel like it's easy to forget that the basics are actually pretty damn good. To that end, this theme goes back to basics - No Shader magic.

No cloud-streamed WebGL render-farms. Just plain CSS :. To begin with, install the base theme from the VS Marketplace. This is the way Synthwave '84 is intended to be used day-to-day. If you want to enable the gratuitous 80s glow, it needs a little extra work to get it going. VS code doesn't natively support text effects and as a result, the glow is experimental.

It's likely to be buggy and, whilst it looks rad, it isn't intended for extended use. To enable the glow, the extension has to modify the internal files of VS Code, so use with caution. Should something go wrong, you can disable the glow by following the instructions below. If you do decide use the glow effect, you do so at your own risk. Bring your Sunglasses.

Here be laser dragons. Firstly, if you are a Windows user, you may need to run VS Code with administrator priviliges. For Linux and Mac users, Code must not be installed in a read-only location and you must have write permissions. If you have been using Synthwave prior to v0. Before enabling Neon Dreams, you will need to disable the prior method. To activate the glow, Set your active colour theme to Synthwave '84 - as of v0.

It will prompt you to restart, and when you do the lights should be on :. Note: In the name of simplifying the install process and mitigating update-related issues, the new version of Synthwave '84 doesn't use a custom CSS file anymore. If you have been using a custom-modified version of the theme, then you can still continue to use that with the previous Custom CSS and JS method. The value should be a float value from 0 to 1, where 0.

synth 84

The default brightness is 0. To avoid eye strain, avoid using higher brightness values for extended periods of time. To see the changes, you need to rerun the activation function. Note: Changing the brightness currently only affects the opacity of the glow, the text will remain white that may change in future updates. If you want to disable the glow effect but retain the chrome updates, see below.

The glow effect started as a joke and was never intended for long-term coding sessions. I haven't included a font in this release as I know that it's a very personal preference. The font I use that is seen in the image above is Fira Codewhich I recommend if you're a fan of ligatures.This exhaustive, track compilation of lesser-knowns and curios is the synthpop equivalent of an antique mall.

Cherry Red. Electrical Language: Independent British Synth Pop begs a philosophical question, one that is familiar to anyone who has spent time in an antiques mall: Do age and even scarcity lend intrinsic value? If so, Electrical Language is a positive treasure trove.

Over five hours of playing time, it presents 80 tracks by as many different acts, many of the tracks obscure enough to be licensed directly from the artists themselves, all of them at least 35 years old. And none of them came close to being a hit. When it comes to early '80s UK synthpop, Electrical Language features none of the usual suspects.

Electrical Language means to dig deeper, to, in the words of the introductory essay, "capture something of the scope and ambition the synthesizer inspiredā€¦during that timeā€¦the independent underbelly" of those canonized hit singles.

To that extent, it succeeds. A variety of musical approaches and styles are represented here, though the recurrence of familiar synth chirps, percolating bass, and drum machine thwack s reflects the limited amount of relatively affordable equipment that was available at the time.

And it's doubtful even the most ardent aficionado or crate digger is familiar with the likes of Jesus Couldn't Drum, Passion Polka, or a Popular History of Signs.

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As far as collecting the old and rare, Electrical Language is excellent. But does old and rare equate with good? That's the catch. Conventional wisdom has it that early synthpop, in particular, was interchangeable, that anyone with a Minimoog and a lopsided haircut could do it as well as anyone else. The technology did bring with it a certain freedom of opportunity. One could create bona fide pop music with a pair of headphones and a basic tape machine rather than a stack of amplifiers and a multitrack console; a single digit on a keyboard could eke out a melody just as well as the most complex guitar fingering.

But the melody still had to be written. Some people were better at synthpop than others, and most of those are the ones you've heard of. Electrical Language does feature a handful of genuine classics. Not coincidentally, most are less-than-obscure. The Normal's brutally deadpan, J.

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Ballard-inspired "Warm Leatherette"; Fad Gadget's darkly irreverent, Depeche Mode-inspiring "Ricky's Hand"; pre- Dare Human League's thrillingly melodramatic "Circus of Death"; Colourbox's effortlessly giddy "Tarantula"; and Chris and Cosey's playfully breathy "October Love Song " are simply essential for fans of any pop music, regardless of milieu.

Also, there is a layer of very good songs that, if not exactly lost masterpieces, are well worth re discovery. Legendary Pink Dots' Edward Ka-Spel delivers the pretty, whimsical Syd Barret-isms of "Even Now", while the smooth arrangement and disembodied harmonies of Freeze Frame's "Your Voice" are sublime and, unlike much of Electrical Languagegenuinely should have been a hit. Some worthy material comes from solo works by associates of better-known bands. Josef K frontman Paul Haig croons his way through the sharp, nervy "Time".

And there are tracks that, while good, are ringers for better-known bands. There are plenty of interesting threads of trivia like that. Unfortunately, though, most of Electrical Language is merely trivial. No amount of trivia, though, could justify the worst of it, including awful versions of "Paint It Black" and "Happy Xmas".

There is an excellent disc or even two-disc-length compilation to be found in Electrical Language. The rest is an antique mall. This week we are celebrating the best post-punk albums of all-time and today we conclude with part five featuring Joy Division, Gang of Four, Talking Heads and more. The Missing Years reveals John Prine's ability to embolden the amusing and touching despite the underlying strife.

synth 84

Fast and funny, the Chats' "dumb" punk record, High Risk Behavior, is smarter and more interesting than anything Muse has ever done. March's MetalMatters features extreme tunes to get you through difficult times. Hopefully, they will momentarily allow you to escape from this harsh reality.GitHub is home to over 40 million developers working together to host and review code, manage projects, and build software together. If nothing happens, download GitHub Desktop and try again.

If nothing happens, download Xcode and try again. If nothing happens, download the GitHub extension for Visual Studio and try again.

Do you remember that endless summer back in '84? Cruising down the ocean-highway with the top down, the wind in our hair and heads buzzing with neon dreams? This colour scheme is influenced by the music and the cover artwork of modern Synthwave bands like FM, Timecop and The Midnight.

By association, that means I've also taken heavy influence from the excellent retro-tinged artwork of James White check out his work, it's awesome. I was a kid in the 80s but for most of my teenage life I strongly disliked nearly everything about the 80s aesthetic of my childhood. It was like, so lame. With the hindsight of recent years though, I've realised that it was actually pretty sweet and I wanted to celebrate it a little. Much the same way, in the modern web-development world of shaders, React and WebGL, I feel like it's easy to forget that the basics are actually pretty damn good.

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To that end, this theme goes back to basics - No Shader magic. No cloud-streamed WebGL render-farms. Just plain CSS :.

To begin with, install the base theme from the VS Marketplace. This is the way Synthwave '84 is intended to be used day-to-day. If you want to enable the gratuitous 80s glow, it needs a little extra work to get it going. VS code doesn't natively support text effects and as a result, the glow is experimental. It's likely to be buggy and, whilst it looks rad, it isn't intended for extended use.

To enable the glow, the extension has to modify the internal files of VS Code, so use with caution. Should something go wrong, you can disable the glow by following the instructions below. If you do decide use the glow effect, you do so at your own risk.

Bring your Sunglasses. Here be laser dragons. Firstly, if you are a Windows user, you may need to run VS Code with administrator priviliges. For Linux and Mac users, Code must not be installed in a read-only location and you must have write permissions. If you have been using Synthwave prior to v0. Before enabling Neon Dreams, you will need to disable the prior method.

To activate the glow, Set your active colour theme to Synthwave '84 - as of v0. It will prompt you to restart, and when you do the lights should be on :. Note: In the name of simplifying the install process and mitigating update-related issues, the new version of Synthwave '84 doesn't use a custom CSS file anymore. If you have been using a custom-modified version of the theme, then you can still continue to use that with the previous Custom CSS and JS method.

The value should be a float value from 0 to 1, where 0. The default brightness is 0. To avoid eye strain, avoid using higher brightness values for extended periods of time. To see the changes, you need to rerun the activation function. Note: Changing the brightness currently only affects the opacity of the glow, the text will remain white that may change in future updates.

If you want to disable the glow effect but retain the chrome updates, see below.Cherry Red's four-CD anthology Electrical Language: Independent British Synth Pop focuses on the electronic side of the post-punk era, compiling 80 examples of how musicians embraced technology and broke away from guitar-based conventions, reshaping the sound of pop music from the ground up.

As with the label's other genre-specific multi-disc sets, this one demonstrates how broad its subject actually is -- barely-in-tune first takes by teenage basement dwellers are juxtaposed with more ambitious, fully conceptualized productions by future pop stars.

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The collection covers much of the same ground as 's Close to the Noise Floor: Formative UK Electronicaalthough the compilers chose different tracks by the artists who appear on both.

The main difference is that Electrical Language more or less concentrates on proper three-minute pop songs, as bizarre and envelope-pushing as some of them may be, rather than thoroughly avant-garde experiments. Of course, a handful of inclusions test even those boundaries, such as "Technical Miracle" by Voice of Authorityan excellent one-off moniker of dub pioneer Adrian Sherwood.

Drinking Electricity 's perky "Good Times" as sampled by Crystal Castles on their first album makes an appearance, and to the excitement of particular trainspotters, the astonishing "Lifes Illusion" by Ice the Falling Rain receives its first official compilation licensing. While many of these songs seem optimistic at the prospect of a bright and shiny future, there's also an undercurrent of soul-crushing loneliness throughout, from relatively upbeat numbers like Quadrascope 's "Baby Won't Phone" to the truly bizarre "Happy Families" by Zoo Boutiquein which a man living a seemingly perfect life begs to be put out of his misery.

A few tracks even express outright dementia; Martin O'Cuthbert basically sounds like Napoleon XIV with a bunch of whizzing synths on the outrageously loony "Committed to Vinyl," while Hybrid Kids play a rousing synth-disco rendition of "Happy Xmas War Is Over ," joined by a synthetic elf chorus. Rex 's "Children of the Revolution" the debut single on the Axis label, before its name was changed to 4AD.

Nearly every track included is fascinating, and the detailed liner notes put everything into perspective, filled with photos and cover artwork, as well as recollections from many of the artists.

AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country.

VHS Dreams - TRANS AM (Full Album) [Synthwave]

Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.

Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Track Listing - Disc 1. Thomas Dolby. Science Fiction. Alan Burnham.

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Warm Leatherette. Daniel Miller.Vangelis' studio setup has been evolving over the years. This makes it impossible to provide a complete list of the gear he has been using. All the more a challenge for synth spotters to maintain a list with the instruments and equipment that have so far been positively identified. The picture to the right shows part of Vangelis' Epsilon studio in Paris, Also take a look at an older picture of Vangelis surrounded by his gear, playing his favorite, the Yamaha CS Also have a look at the gallery by clicking on the red image below, currently showing pictures from the Nemo studio.

If you have spotted any gear that is not listed here, please feel free to email it to us. State the name of the synth and the source e. Also see the: Studio Photo Gallery. Analogue synthesizers Model Spotted at Digital synthesizers Model Spotted at Organs Model Spotted at Acoustic instruments Model Spotted at Samplers Model Spotted at Sequencers Model Spotted at ARP Sequencer various photographs nemostudios. Effects units Model Spotted at Vocoders Model Spotted at Anything else Model Spotted at Lyrec TR multitrack machine Listed at nemostudios.

What is it? An error?Synth Zone Featured Links. Korg and Moog provide free synth apps. Clavinet Whammy Bar system. Bandlab have aquired Cakewalk Sonar and are currently offering it for free download. Prince's Keyboard Tech tell stories through synths. See the Moog 7th Annual Circuitbending Challenge. Syntorial more than just a synth tutorial.

See the Sheer Electronics Relic Schmidt 8 voice polyphonc analog synth. Beat Buddy is a footswitch drum machine with a sobriety setting. Sonicstate NAMM reports. Korg PA4x vs Yamaha Tyros 5 Syntorial is video game-like training software, that will teach you how to program synth patches by ear.

See Forte Free notation software. Dave Smith. MIDI Control.

Electrical Language: Independent British Synth Pop 78-84

Soundfont Resources. Synth Zone Forums. MIDI Software. Digital Audio Software. Computer Generated Music. See if there is a Group for the keyboard you are interested in on the Yahoo Groups.

Sonicstate has developed a large database of user reviews as well as reviewing recent gear releases. Harmony Central also has a collection of user reviews and latest press releases. For music shareware Shareware Music Machine is a very good place to start for any platform, and the Software Archive Sites page has plenty of links you can check out.


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