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Prairie Biscuit - Prairie Biscuit (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac

I'm currently curating it at www. It uses a CO2 laser and can cut or score materials such as paper, acrylic, balsa etc. The laser can be manually focused up an down by the adjustment screw. It only reads AutoCAD Apologies if the photos are blurry; they have to be shot through the protective cover. The kerf of the laser is 0. I do not have this information in DPI. I will explain how it works for my machine. You may need to adapt these instructions for your laser cutter.

I highly recommend that you read her instructable first. Her Epilog seems to be able to cut from pdf, but I have to go through the following conversion process. I would open up the pdf in Illustrator to find that grooves became lost during the conversion. It seems that there's a cap on how much data Illustrator can take.

It seems to be about kB per file. You can adjust your Processing sketch to output several pdfs based on how many grooves per file. Unfortunately, I got 40 pdfs to sift through. You can move the object, but be sure to do the same for every other file. The LaserCAMM only reads data made in the 1st Quadrant of the coordinate plane so I had to made sure the eventual record didn't cross the axes.

I was here that I also realized that separating the grooves into smaller files was an extremely good idea.

AutoCAD is memory intensive and the large number of data points sometimes caused my computer to freeze. The smaller files help to reduce this. Unfortunately, I still had 40 files to feed into the machine later.

So for the last file with the spindle hole and the record outline, I can save them to separate layers from the grooves as Inner and Outer so the LaserCAMM can recognize them as different cuts. Speed: 80 inch per minute speed increasing the speed seems to decrease cut times, but the cut becomes shallower. Width: 30 microsecond pulse this apparently controls the time for the laser to turn on and off as it moves from point to point.

This will output a dmc file. Then send it out to the machine and wait for the laser cutter to do its work. There were several choices that seemed appropriate for this project. The period songs were already available on records and some on wax cylinders. The classical music and the Scott Joplin songs are probably modern recordings, but similar versions could possibly be found on records. So my main focus was on the period-sounding anachronistic covers which have never existed on a record.

It was a nice touch in-game. Unfortunately, test-cuts of the songs that apparently have been run through vintage filters with artificial pops and crackling don't come out too great. I would like to have access to the original recorded takes to possibly get these to sound great on records with their own actual pops and clicks So I settled with "God Only Knows" and "Will the Circle be Unbroken" both since they were "live" without filters and they were the most recognizable songs from the game.

I also realized that the titles were appropriate descriptions as I sat in the laser cutter room for several hours on end trying to figure out if this will work. First I had to make sure that the material choice was feasible. Vinyl is much softer than shellac and can readily take impressions with finer detail. However, it is much more prone to dust, static, and scratches. According to this hardness scale PVC has a Shore Hardness of about 75 while acrylic is slightly higher at about I found little documentation of the hardness of shellac to acrylic.

The closest I came was this page for testing the hardness of varnishes. The technique is to use a set of drawing pencils with varying hardness 9H - 9B and attempting to scratch the finish 9H is hardest. The shellac finishes have a hardness of 3B while acrylic varies from 4H - 2H - 3B.

So theoretically, acrylic is harder than shellac so using a heavy phonograph reproducer on the material shouldn't pose a problem. I attempted to mimic the thickness of actual records.

I ended up using 0. If I go thinner, I would be concerned that the etches on each side would blend into each other. Again, I highly recommend that you review how amandaghassaei laid out her files and programs to create the record. Also I'm not sure how to insert a block of scroll-able code like in amandaghassaei's instructable. It may be a PRO feature. I'll include a link to my githud repository. First things first, make the sine test record.

Just run the file through Processing to create the pdf. This is to make sure that your laser cutter is able to cut records in the first place. It's best to create a folder such as "Gramophone Record". Inside, put the wavtotexttest. I didn't have Prairie Biscuit - Prairie Biscuit (Vinyl much of a problem getting the grooves to play the non-amplified original sound file.

Still it's something to look into to try to get better sound from the record. Equalization is definitely something to apply. All modern record players automatically apply the RIAA equalization standard to dampen bass and boost treble. This helps improve the mastering process as high frequency tones are difficult to mold correctly and play back, LP. Since I'm testing on a modern record player, I have to apply and invert the RIAA equalization curve so the record player will play it back correctly.

However, windup phonographs work acoustically and adding equalization will cause a tinny sound. Most recordings were not designed for acoustic playback.

From Wikipedia:. Hit inverse and apply, you should now hear the higher frequencies of your track boosted. However, something else to look into is that prior to the adaption of the RIAA standard, different record companies had their own equalization standard.

Sometimes you'd even see record labels advising you to use the company's own needles and phonographs for "perfect tone". The Audacity wiki has a plugin and a table for recreating various 78 equalization curves. This may be something to look into when trying obtain the best results when playing on an antique phonograph.

Regarding amandaghassaei's advice to add 2 sec of blank audio to the beginning and the end of the track, this is less necessary for 78 rpm as any silence will be stretched out and create several grooves of essentially blank data. I had the strangest bug that I isolated to the Python file. Even though I set the Processing file to output at 78 rpm, the record cut from the file played at 45 rpm. The sampling rate of the wav file was The sampling rate variable in the Python file was also set to Initially, I fiddled around with the settings in the Processing file, but they made little difference in the pdfs they outputted.

Eventually, I halved the sampling rate in the Python file to The pdfs immediately showed less compressed sound waves. I cut out a test record and played it at 78 rpm.

Oddly, it sounded really slow even at 78 rpm. I recorded it on my computer and sped it up in Audacity. I eventually figured out that it needed to be played at 90 rpm; twice as fast as 45 rpm. I theorized that there was a relationship between the sampling rate and the RPM. I knew that the sampling rate that corresponded with 78 rpm must have been between 22 and 44 kHz. If you recall your high-school algebra, knowing that sampling at I'm not sure exactly where the problem is in the code, but if the sampling rate of your wav file is Hz, your Python file should have the Test record cuts, therefore, are essential to see if your grooves are sketched correctly.

As far as I know, there's no way to figure out whether your grooves are at the correct speed other than playing it. You can judge slightly by observing how compressed the sound waves are on the pdf from Processing. Copy the. Open up the Processing sketch. Don't forget to change the name of the file to be imported in the Processing sketch to your txt file name made in the previous step:.

The Processing sketch will output several pdf files each containing the grooves for your record. The last file will contain the runout groove, spindle hole, and record outline.

You can modify the file sizes of each pdf file under "numGroovesPerFile". As previously explained, I had to limit it to 5 otherwise I would lose groove data during the transfer process and crash my computer due to the sheer number of data points.

I also find it helpful to set it to a high number, such asso a can examine the entire record at once. This can be useful to observe if the waves have been stretched out and are consistent with 78 rpm.

Regarding record size, I modified it from the 12" record specifications to a 10" record. Confirm these against the RIAA standards page. It's best to leave the "innerHole" alone and not make it any smaller. Acrylic is less forgiving than vinyl and shellac and it may get stuck on the spindle. The main focus is getting the grooves to be a close as possible both to replicate 78 records and not to have the increased number grooves extend into the label area.

Some record players have an auto return which makes it impossible to play the record past the label area due. The tonearm will automatically raise and return to the resting position. The above pictures are test records in which I was attempting to move the grooves closer together. The last picture is a rather amusing test record that demonstrates how far the grooves would have extended towards the center if it had been completed.

The "spacing" variable was the main one that I modified. I currently have it to 2. Many 78s and early vinyl records have a eccentric run out groove which would have activated the auto-return and disc-changer. It's probably easiest to recreate in your vector program.

A thing to note is that all the grooves should ideally be cut in one session. Shutting off the machine misaligns the grooves ever so slightly. It still plays, but can possibly mistrack. This record player is a sturdy little bugger and has the ability to play 3 speeds. Record stores typically use this model to let customers test out records.

She experienced a lot of trouble with skipping and tracking during her tests. She probably used a needle meant for LPs during the tests. As I have previously demonstrated, the laser cut records have grooves that more approximate wider-grooved 78 shellac records. Since the needle sizes for 78s vs LPs vary by a factor as much as 4 to 1, having a small needle can cause it to ride at the very bottom of the groove or bounce around.

This particular turntable appears to have what is known as a ceramic cartridge with a diamond tip compared to the Audio Technica's magnetic cartridge. It tends to get a lot of flak because many cheaper turntables use it for its low-cost.

Its response curve is much lower than a magnetic cartridge. In addition, the Numark uses a spring and a weight to regulate its tracking force which cannot be adjusted. All this actually points in favor to getting sound out of this record. The needle tracks at a higher pressure which allows for the needle to stay in the groove and not skip. For the following tests I used the stock needle that came with it as well as a needle advertised for 78s.

This is the stock needle that came with the record player. It did skip for quite a bit before the excess acrylic dust cleaned itself out. There seems to be a lot of high frequency background noise probably due to the "bumps" in Fig. In this closeup of the underside of the grooves there's a sawtooth pattern visible due to the laser pulsing as it moves from point to point.

I'm attempting to minimize this, but you can still hear them, but the smaller needle is probably sinking into the bottom of the groove and picking up the bumps as noise.

The noise may also be partly exacerbated due to the fact that I'm using a point and shoot with the built-in microphone to film this. The Numark appears to have a built-in safety feature where if the signal-to-noise ratio is too low, the turntable will slow down to prevent excess noise being sent to the speaker. The LP needle will LP this phenomenon when the Volume knob is turned up and the record will slow down dramatically.

Adjusting the Tone knob helps slightly to reduce noise which I fiddle with at the beginning of the video. This is a needle that was marketed for 78s The audio here seems to be much cleaner since the needle is wider. In addition, I can turn up the volume and the record will not slow down. I was fortunate enough to find a working phonograph in a thrift shop and the shopkeeper was generous enough to let me record this test.

I initially had problems with the needle catching on the acrylic which slowed down the record. I try to gingerly lift the tonearm so it settles in the correct position. You can see me fiddling with the speed control as the dial didn't correctly display the RPM.

I mostly went by ear until it sounded correct. This particular model is an internal horn phonograph. The horn is "hidden" by some swing doors in the front right below the top of the phonograph. You can open and close the doors to modulate how much sound you want. The doors are closed during this recording. You can see the needle turning white from acrylic dust. I'm not sure if this is caused by the heavy reproducer gouging out the grooves or if the needle is cleaning out the dust that collected in the grooves during the cutting process.

I tested the record later on the Numark again and I heard no audible difference. As you can hear, the phonograph is not picking up the high-frequency noise caused by the bumps on at the bottom of the grooves.

This is probably due to the heavy reproducer which forcibly presses the needle to against a mica sheet to acoustically recreate the sound rather than electrically amplify it. Prior to RIAA equalization standards, many records have a lot of bass and little treble. It is for this reason why old-fashioned phonographs are very hard on old records as they have very high tracking forces. In addition, the tip of the steel needle is ground away on the grooves Fig.

Typical shellac records are mostly filler with abrasives to grind the needle into a correct shape. Because of this, needles ideally should be replaced after every play on a record you can order them in packs of My first inspiration to embark on this project was the appearance of a grainy black and white vision of Albert Fink's record sleeve.

I already had access to the record label that played in the phonograph. Even the marks LP the spindle hole are identical. The E. Berliner was what gave it away. Emile Berliner was the pioneer of making flat-disc records. LP had already come out with his phonograph that first made recorded music available to the masses on wax cylinders, confusingly called "records" at the time some of Infinite's soundtrack comes on cylinders.

Berliner's "gramophone" proved that music can be made on flat discs, allowing faster replication and easier storage. Although, cylinders technically had better sound fidelity, since the grooves were of a fixed diameter compared to a flat record's ever decreasing spiral, flat records won out since they were cheaper to produce. Partly due to circumvent copyright, Berliner called his invention the "gramophone" in contrast to Edison's already established cylinder "phonograph".

In the past, gramophone was used specifically to refer to Berliner's disc record player and phonograph for Edison's cylinder player, Album). Now it seems that phonograph and gramophone are somewhat interchangeable similar to the American "elevator" and the British "lift".

Typically the use of the names refer to the old crank models, however many audio receivers have a "phono" input. What seems to be in vogue nowadays is "turntable", but "record player" is a good umbrella term. Edison, as you probably know, was a genius for having introduced recorded sound, but a terrible businessman.

He stubbornly held onto the cylinder business. Eventually he gave in and created Edison Diamond Discs. He marketed them as being unbreakable since they were obscenely thick compared to a thinner shellac records. Also, probably partially due to pique, he made the records vertically cut and manufactured phonographs than could only play his discs and while other discs could not be played on his machine and vice versa. Again, the vertically-cut records had arguably better sound, but the record company only lasted 17 years partly due to Edison's stubbornness to include popular artists in his discography, preferring to choose those which suited him.

I'm slightly relieved that Infinite's soundtrack does not have a Diamond Disc recording Back on topic, the two record labels are identical save for the "Albert Fink's Magical Melodies" and the "Improved Berliner Gram-o-Phone".

It's a pity since the other record information makes no sense in Columbia. Berliner" is still visible and every record in Infinite proclaims that it is a recording of "Ah! However, I tried to match fonts and made two versions, the original in a vectored form Fig 4and an adaptable one more suited for Columbia. Assuming Albert Fink also stole Berliner's technology Gettit? Fink" I have versions for every anachronistic cover in-game and I modified what would be the catalog number into the year of the original recording.

Getting the label to stick to the slick acrylic surface is somewhat of a problem. Labels were never glued on records. I placed the record on a record player and aligned the label on the spindle.

I've tried spray glue to make it stick, but it peels eventually with rough handling. Rubber cement and school glue seem okay. Once in place, I piled some books on the label to get it to dry flat.

Next time I might try etching lines in the dead wax area to get the label to stick with more traction. This was one of the more elusive bits of my research. I knew that shellac records usually came in paper sleeves that advertised the company name a far cry from the catchy album art of LPs that proclaimed the artist. I was disappointed that Magical Melodies in Emporia did not seem to have any records, apart from the one on the phonograph. Fig I knew that something was off since typical 78 rpm record sleeves from the time period were made from brownish kraft paper with few colors.

But there was little I could do since it was in black and white. Then I was looking through some early gameplay teasers and found it. There's a record stand in front of the float where the barbershop quartet sings. This seems to be rather late in the development phase as the location is identical except for that record stand. This was probably dropped due to a Simpsons reference. I realized the blank space at the bottom was for copyright info so I modified that to fit into Columbia.

Finding the paper similar to this was a bit difficult. I ended up using a brown kraft paper similar to that used in paper grocery bags. I got some at an office supply store as "craft paper". You may find it as packing paper. Finding a printer since record sleeves are a non-standard size of 10"x10" who would print on this stock was also difficult as they wouldn't take mine and they didn't have any similar stock.

I eventually found a mom-and-pop print shop that would and they did a great job. Note, FedEx and Kinko's only like really straightforward stuff. The sleeve pattern is really simple. Essentially, it's a 10" X 20" sheet that's folded in half. The sides of the sleeve have flaps to form an envelope. I think it came out pretty well compared to what evidence I have.

Fig 9 I was not able to find the texture in the game's files, odd since there are a ton of unused assets like the Gibson Girl Elizabeth and a Resurrection Device. I would love to get access to this texture file to confirm details. Additionally, the record label appears to be slightly different from the Berliner label, but the details are too vague to make out. Or perhaps Delrin so the needle doesn't catch as much. Although I did not experience severe warping like amandaghassaei, I observed some cupping when some records were finished.

I'm not sure if this is due to the grooves slightly collapsing through the sheer ablation of material or because I cut some grooves out of order. I think it's a timeless piece of music. I love every song on the album. Dangerbird is a real highlight on the album for me. But hey, it's all 1 song! I really like how the whole album is build. Again I love every song on this album. Don't Cry needs to be R-rated tho, look at those guitar solos. Just fantastic stuff here. Every song's a killer. OK, it's After The Goldrush then.

Peace, a guy from germany. Everboy's Rockin' 2. Landing on the Water 3. Are You Passionate? Freedom 5. I'll give it a try: 1. After the Gold Rush. As stated before this has a unique feeling to it 2. Another obvios choice 3. Better than Live Rust? I do not know. The live album where the horse just cuts everything down, and Neils sound on these recordings And some of my favorite horse-songs are on Weld.

So here is my list: 1. Ragged glory 2. Broken Arrow 3. Weld 4. On the beach 5. Greendale live acoustic version But then again, it could change Here are my Top 5: 1. Broken arrow 2. Sleeps with angels 3. Mirrorball 4. Rust never sleeps.

The Loner: Top 5 Neil Young albums??? His music is so diverse, it's hardto pick overall favourites. Harvest 2. After the Goldrush 3. Tonight's the Night 1. Weld 2. Ragged Glory 3. Freedom 1. Zuma 2. This Note's for you 3.

Everybody's rocking. Looking at how many people love Zuma, I can't understand why it's not in the top 5! Aren't Danger Bird, Barstool blues and Cortez all on there? Ok let's just say it should be in the official top 5. Zack of the plains.

Feelings are so intense and raw and guitar work is unbelievable. On the other hand Sleeps with angels is so overrated And, seriously, Mirror Ball sucks. Anyway Neil rules JHer. There is a real simple answer to his best album. It has been the same answr for me sice the mid seventies. Live rust, it's the first Neil album I bought. I was in 10th grade and it was brand new! On the Beach 3.

Ragged Glory 4. Time Fdes Away, I love how raw it is. Tonights The Night. Reid Etherington said Its cool to see Sleeps with Angels shows up so much, just threw it in for the firs time since like '94 or '95 when it came out Just way way too many great albums to choose from.

This is hard, but I think it boils down to these five for me: 1. Tonight's the Night. The most real music I've ever heard, no pretension at all. Intense and dark. On the Beach. Great mellow feeling.

Thank god for those honey slides ; 3. The first NY album I heard, it's a timeless classic. My favorite numbers are the electric ones, Alabama and Words.

This is the best sounding album ever if you ask me. That guitar sound blows my mind every single time! I can't make up my mind on the last one. There are just to many good Neil Young albums. Well trying to rank Neil's music is futile. Depends on your mood is what you want to listen to. About 15 years ago when my brother was in University his roomate was from Malaysia I was going to pick the top 15 tunes from my collection i couldn't cut any from the top I've Seen Neil Young 45 times in concert here's my top 5 1.

Tonight's the Night 3. Rust 4 Decade. Greatest 3 record compilation ever released by a solo performer bar none Sorry nobody. I have worn out at least one Freedom CD! Long Live Neil Young. I've only just got into Neil's music so I still have a lot of albums to listen too and I'm sure a lot of great music to discover, so at the moment I only have a top 3: 1 Harvest 2 Everybody knows this is Nowhere 3 After the Goldrush.

My favourite song so far is probably 'Heart of Gold', followed closely by 'Old Man'. I've really come to appreciate Neil's voice - it's really a one of a kind. I'm looking forward to listening to the rest of the albums. I'm also very curious to discover what 'Mirrorball' sounds like as Pearl Jam is another band that I love, although I haven't seen it mentioned in anyone's top 5 and I believe it doesn't have the best reviews.

What are your thoughts on this album? It's wonderful discovering all this great music that's been right under my nose the whole time! I've just given 'Prairie Wind' a listen on Mike Pulley's recommendation. Thanks Mike! Now I have another album that I can't wait to listen too. Rust Never Sleeps 3. Tonights The Night 5. Zuma Tomorrow Greendale 3. Mirror Ball 4. Wow I thought I was the only one that loved my number one fav!

Broken Arrow 2. Sleeps with Angels 3. On the Beach 4. Greendale 5. Tonights the Night 7. Rust Never Sleeps 8. Freedom 9. After the Gold Rush Landing on Water. Weld is my fave - surprised how few votes it has so far. This will no doubt take second place to an alchemy tour album if and when released. Oh for a recording of Danger Bird from The Plenary, Melbourne, 13 March '13 Must say I then listen to live youtube recordings more than any of his other albums.

Hard to choose but here goes, probably change next week. My top 5 ny bootlegs Boston 76 Neil Bernstein tapes aka acoustic young King biscuit Life Greendale Living with war Rust never sleeps re ac tor no joke! Wind Electric: Sleeps w. Alright, to start with, It's darn near impossible to pick his best albums because there isn't one album that doesn't have at least one or two songs that i love but I'll try to come up with 5 plus an honorable mention.

Mind you these albums are very close to each other so it's almost a 1a 1b 1c etc My list 1 After the Gold Rush 2 On the Beach 3 Zuma 4 Harvest 5 Freedom and my three honorable mentions are Tonight's the Night and two oft overlooked and very underappreciated albums, his debut eponymous Neil Young album and his mid's record, Broken Arrow That was difficult!! His two more recent albums Psychedelic Pill and Le Noise are very good as well.

Everybody knows 6.

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9 Replies to “ Prairie Biscuit - Prairie Biscuit (Vinyl, LP, Album) ”

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  8. Thanks for this research, very amusing and thought-provoking, especially in comparison with the old list! Even with % inflation (but more disposable income around) and record collecting being popular these days, it’s a striking difference: if the old list barely made it in the low $$$$, with the average price of top-5 records at $, just a decade later # is already way above at.
  9. Dikazahn says: Reply
    A Prairie Home Album: Garrison Keillor, Judy Larson, Bill Hinkley, Stephen Gammell: 12" Vinyl: US ; MER The Powdermilk Biscuit Band: The Powdermilk Biscuit Band: 12" Vinyl:

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