He was charged with numerous misdemeanors, including overdriving, torturing and injuring animals and failure to provide proper sustenance.
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He was charged with numerous misdemeanors, including overdriving, torturing and injuring animals and failure to provide proper sustenance.
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Mr. Mumbulo was charged with 27 counts of overdriving, torturing and injuring animals under the state's agriculture and markets law.
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The Real Deal traverses techno's harder side, with all the quartet bit clipping beats and overdriving whatever tones they can wrangle out of of their machines.
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Ask the car to make a tricky turn at speed, and one of those motors will send extra power to the outside wheel, overdriving that side so the car turns in more sharply.
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I remember Joey told me that initially he felt the sound of this album was too clean, so he fed all the tracks back through his DJ mixer, overdriving the channel to make them a little more dirty. 4.
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Overdriving is done by rewiring lamp fixtures to increase lamp current; however, lamp life is reduced.
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Many bass players believe that tube amplifiers produce a "warmer" or more "natural" sound than solid state amplifiers when lightly or moderately overdriven, and more pleasing distortion characteristics when heavily overdriven. Some metal bassists play with a fuzz bass tone, which is obtained by overdriving the bass signal. Cliff Burton of Metallica used fuzz bass. Lemmy Kilmister, the bassist for Motörhead, obtains a natural fuzz bass tone by overdriving his twin 100 watt Marshall Bass stacks.
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However, once the player can no longer attack, their character will fall into an "Overheat" state, rendering them unable to attack until the gauge lowers enough for them to attack again. Players can use this gauge to their advantage by using "Chain Drives"—the process of Overdriving one character into Overheat, immediately switching to another character already present, then Overdriving them as well. This frees both members' Overdrive gauges, enabling both to attack without hindrance. Players can also use Solo and Co-op Techniques, which unleash devastating combination attacks on their target.
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Retrieved 2011-02-05 Eric Henderson of Slant Magazine disapproved of the track as a whole, writing "'DJ Got Us Fallin' In Love' is, while indistinguishable from any other overdriving club banger, one of the only songs in which Usher Raymond acknowledges an aphrodisiac more powerful than his own ab musk".
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High frequency response can also be enhanced through generation of harmonics. Instead of mapping frequencies inside the reproducible region of the speaker, the speaker itself is used to generate frequencies outside the normal reproducible region. By boosting high frequencies and overdriving the speaker or amplifier slightly, higher harmonics can be generated.
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Guitar Effects Pedals: The Practical Handbook. Hal Leonard. p. 11–13. Distortion was not an effect originally intended by amplifier manufacturers, but could often easily be achieved by "overdriving" the power supply in early tube amplifiers. In the 1950s, guitarists began deliberately increasing gain beyond its intended levels to achieve "warm" distorted sounds.
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On the restart, Denny Hamlin passed Ryan Newman while he was also passing Jeff Gordon. Then Matt Kenseth, who was the leader, was passed by Hamlin after being bumped by Jeff Gordon and overdriving the corner. On the checkered flag Denny Hamlin got his third win at Martinsville and his first of the year.
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Marc Le Brun. "Digital Waveshaping Synthesis" in Journal of the Audio Engineering Society, 27(4), 1979, p250-266. It can generate a bandwidth-limited spectrum, and can be continuously controlled with an index. The clipping caused by overdriving an audio amplifier is a simple example of this method, changing a sine wave into a square-like wave.
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The Fender Bronco 40 includes a range of effects including modern bass overdrive, vintage overdrive and fuzz. Lemmy Kilmeister, the bassist for Motörhead, obtained a natural fuzz bass tone by overdriving his triple 100 watt Marshall Bass stacks. The MESA Bigblock 750 has a built-in overdrive channel. The Mesa M2000 has a high gain switch which can be engaged with a footswitch.
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The Fender Bronco 40 includes a range of effects including modern bass overdrive, vintage overdrive and fuzz. Lemmy Kilmister, the bassist for Motorhead, obtained a natural fuzz bass tone by overdriving his twin 100 watt Marshall Bass stacks. The MESA Bigblock 750 has a built-in overdrive channel. The Mesa M2000 has a high gain switch that can be engaged with a footswitch.
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The race was restarted 16 laps to go and Edwards held off a last lap charge by Gordon to win for the first time on a road course, in NASCAR. He later described his race as "real tough", and his victory as "very special". Gordon stated that he had been "overdriving" his car, and he wished he "had just stayed smooth and stuck with it", while chasing Edwards towards the end.
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Overdriving a fluorescent lamp is a method of getting more light from each tube than is obtained under rated conditions. ODNO (Overdriven Normal Output) fluorescent tubes are generally used when there isn't enough room to put in more bulbs to increase the light. The method is effective, but generates some additional issues. This technique has become popular among aquatic gardeners as a cost-effective way to add more light to their aquariums.
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The Overdrive Special is a two channel amplifier, with a clean channel and a second "overdrive" channel. This overdrive channel "cascades" from the first channel into at least one additional gain stage in the overdrive channel. This means that the clean channel tone stack and gain stages cascade into the gain stage of the overdrive channel, overdriving the clean channel. In a sense, the overdrive channel sits "on top" of the clean channel.
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Overdriving a bass signal significantly changes the timbre, adds higher overtones (harmonics), increases the sustain, and, if the gain is turned up high enough, creates a "breaking up" sound characterized by a growling, buzzy tone. One of the earliest examples may be the 1961 Marty Robbins Country and Western song "Don't Worry."The song features fuzzy, low-pitched guitar breaks. Some sources suggest this may be baritone guitar, rather than an electric bass.
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Overdriving a bass signal significantly changes the timbre, adds overtones (harmonics), and increases the sustain. In the 1980s and 1990s, overdriven bass was associated with hardcore punk, death metal, grindcore and Industrial bands. Bass distortion is generally achieved by hard clipping of the bass signal, which leaves in "harsher high harmonics that can result in sounds that are heard as jagged and spikey." Demonstration of the overdrive effect on a 6 string bass with a Darkglass pedal.
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Subsequent experiments showed that the normal, cellular Raf genes can also mutate to become oncogenes, by "overdriving" MEK1/2 and ERK1/2 activity. In fact, vertebrate genomes contain multiple Raf genes. Several years later after the discovery of c-Raf, two further related kinases were described: A-Raf and B-Raf. The latter became the focus of research in recent years, since a large portion of human tumors carry oncogenic 'driver' mutations in the B-Raf gene.
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Hardcore bassists use varied rhythms in their basslines, ranging from longer held notes (whole notes and half notes) to quarter notes, to rapid eighth note or sixteenth note runs. To play rapid bass lines that would be hard to play with the fingers, some bassists use a pick. Some bassists play fuzz bass by overdriving their bass tone. Hardcore drumming, with the drummer hitting them aggressively, has been called the "engine" and most essential element of the genre's aggressive sound of "unrelenting anger".
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Hahn Pathway p. 40 Getting a fully loaded boat moving was not easy for the mules, and overdriving them, especially at the basin in Cumberland where there was no water current to help them move the boat, was common, resulting in many spavined mules. To get a loaded boat going, the mules would have to walk until the line was taut, then put their weight into it, and step once the boat had moved, and repeat this process. Within 25 feet, the boat would be moving.
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RAT effects pedals and overdriving amplifiers were used at times, "taking sounds, disintegrating them and then bringing them back". The band wanted things to be only slightly stressed, with no heavy-handedness in terms of studio effects; only distortion and reverse echo were widely used. Throughout the process, Raphael improvised according to the reactions that he got from the group. At one point, he had to cope with the threat of eviction from his Transporterraum studio, but once the Strokes received backing from RCA, time and money were no longer pressing concerns.
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Nvidia built a special collision avoidance feature to avoid the eventuality of a new frame being ready while a duplicate is being drawn on screen (something that could generate lag and/or stutter) in which case the module anticipates the refresh and waits for the next frame to be completed. Overdriving pixels also becomes tricky in a non-fixed refresh scenario and solutions predicting when the next refresh is going to happen and accordingly adjusting the overdrive value must be implemented and tuned for each panel in order to avoid ghosting.
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For example to introduce a change in timbre of the original sound or to create a sense of cultural or stylistic context. A well-known example is the overdriving of an electric guitar or electric bass signal to produce a clipped, distorted guitar tone or fuzz bass. Editing processes that deliberately produce artifacts often involve technical experimentation. A good example of the deliberate creation of sonic artifacts is the addition of grainy pops and clicks to a recent recording in order to make it sound like a vintage vinyl record.
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For this example, the OP1dB is approximately 2 Watts because at that input power level, the green curve is at 6 Watts and the red curve is at approximately 5 Watts. The ratio of 5/6 is 83.3%, whereas a 1 dB loss is a ratio of 79.4% = (10^{-1/10}) Gain compression is a reduction in "differential" or "slope" gain caused by nonlinearity of the transfer function of the amplifying device. This nonlinearity may be caused by heat due to power dissipation or by overdriving the active device beyond its linear region. It is a large-signal phenomenon of circuits.
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In designing a system, it is important to pick selective calling tones that do not conflict with remote control tones in use. Analog voting systems usually utilize either 2,175 Hz or 1,950 Hz as an indication a receiver is squelched or idle. In the case of 2,175 Hz, the steady tone leaking from a receiver phone line, or from the output of the voting comparator, may cause the transmitter to lock on. The most frequent cause of this is crosstalk in the telephone cables, frequently caused by a too-high audio level in the line (called "overdriving" the line).
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In the late 1950s, Guitarist Link Wray began intentionally overdriving his vacuum tube amplifiers to create a noisy and "dirty" sound for his solos after an accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort the tone, used electro-mechanical echo chambers (then usually employed by singers), the recent powerful and "fat" Gibson humbucking pickups, and controlled "feedback" (Larsen effect). The resultant sound can be heard on his influential 1958 instrumental, "Rumble" and Rawhide. In 1961, Grady Martin scored a hit with a fuzzy tone accidentally caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song "Don't Worry".
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Response time compensation by voltage overdriving as currently applied in many LCD panels with 120 Hz frame frequency for improvement of the display of moving images in LCD TVs could become obsolete since the Blue Phase mode features a superior response speed (in the range of 10 - 100 microseconds, see ref. 1), allowing images to be reproduced at 240 Hz frame rate or higher without the need for any overdrive circuit. For a detailed discussion of the blue phase LCs in in-plane switching (IPS) structures and related modeling method based on the Kerr effect in a macroscopic scale see references. With an isotropic dark state, blue phase LCDs show many interesting electro-optic performances.
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Using his guitar's control knob, he slowly increases volume until an audio feedback loop develops and he slides into the song's dominant Fm7 chord. Hendrix used a combination of natural amplifier overdrive and fuzz box effects units to create the song's razor-sharp guitar tone. Its blues–inspired solo—his fourth since arriving in England—used pentatonic scales while showcasing his innovative approach to melody; by exploiting the increased sustain created by overdriving his amplifiers, he moved seamlessly between the middle and high registers with a fluid, singing tone. Author Peter Doggett compared its slow beat to Memphis soul; David Stubbs described the track as a prototype for heavy metal bands such as Black Sabbath.
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" The automatic saving of clips of shots in the Xbox One was heavily criticized for overdriving the GameDVR system. Caffrey described the PlayStation 4 port as better than the Xbox One version for having less overscan issues and a manual clip-saving feature, where the automatic saving of clips in the Xbox One version overdrove the GameDVR system; in addition, he appreciated the game's use of the DualShock 4's light bar for being "very much in the spirit of Peggles joyous attitude." The addition of presence and animation to the masters was praised by several critics. Mark Walton of GameSpot called their reactions "absolutely hilarious," Destructoids Chris Carter "a really simple thing that made me smile constantly, and made each Master more endearing.
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