Transcend High Endurance 64GB card. All Transcend memory cards can be serial number verified as genuine by visiting the Transcend website and. Kingston 32GB SD card. Internal SD Card Information. Information about an SD card is encoded in its internal card registries. One of these is the Card Identification (CID) Register, a 16 byte code that contains information that uniquely identifies the SD card, including the card serial number (PSN), manufacturer ID number (MID) and manufacture date (MDT). Internal SD Card Information Information about an SD card is encoded in its internal card registries. One of these is the Card Identification (CID) Register, a 16 byte code that contains information that uniquely identifies the SD card, including the card serial number (PSN), manufacturer ID number (MID) and manufacture date (MDT). The CID register is set when the card is manufactured and cannot be changed after it is set. (According to SD card specification the information is only to be written once, however if a card does not conform to the specification this information could be changed!) How to read the CID from an SD card One way to read the CID is to use a laptop with an SD card slot. Card readers in laptops are usually connected directly through the PCI bus (or IDE bus). This will not work through a USB card reader because the command to retrieve the card information is intercepted and not understood by card readers. Not all computers with built-in card slots will work, some internal card readers are connected through a USB bus. Assuming you have the proper hardware, there are several methods you can use to get the card information. With Linux, reading the internal SD card information is simple. Insert the card and look under /sys/block/mmcblk0/device/ (this location may change depending on your platform, it may be mmcblk1 or in a different location). Under this location you will see several available that include the CID and CSD registers and the information inside it. To view the CID, the command is cat /sys/block/mmcblk0/device/cid (the exact location may be different) What information is in the CID? The following information is stored in the CID: Name Field Linux attribute* Description Manufacturer ID MID manfid Assigned by SD-3C, LLC. OEM/Application ID OID oemid Identifies the card OEM and/or the card contents. Assigned by SD-3C, LLC. Product Name PNM name 5 characters long (ASCII) Product Revision PRV hwrev, fwrev Two binary coded decimal (BCD) digits. Each is four bits. The PRV is in the form x.y. The PRV can also be found by using the hwrev and fwrev, where x=hwrev and y=fwrev Serial Number PSN serial This 32 bit field is intended to be read as an unsigned integer Manufacture Date Code MDT date Manufacture date is stored in the form yym (offset from 2000) CRC7 checksum CRC 7 bit code used for checking errors in the card register * these are the attribute titles used for the card in Linux For more information, refer to the. How can I use the information from the CID? The CID information can be helpful in identifying counterfeit memory cards. We include the CID data in our so you may compare it with your cards.
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Arohanam: S R2 G2 P D2 S Avarohanam: S D2 P G2 R2 S (the variant notes used in this scale are chathusruthi rishabham, sadharana gandharam, chathusruthi dhaivatham other than the invariants shadjam and panchamam) In this form, Sivaranjani is considered a janya rāgam of Kharaharapriya, the 22nd Melakarta rāgam, though it can be derived from 3 other melakarta rāgams, Gourimanohari, Hemavati or Dharmavati, by dropping both madhyamam and nishadam. Sivaranjani rāgam brings out karuna rasa (pathos) and lends itself for elaboration and exploration. It has many compositions in classical music and in film songs. (source: ) ###. Named after a private island off the coast of Ibiza associated with Aleister Crowley, Can's Tago Mago is generally considered one of the pinnacles of the Kraut-Rock genre. Can-OUTTAKE EDITION 4-CD set (Franny Record Music, bootleg of indeterminable origin) Two-oh-oh-eight certainly is turning out to be a pretty snazzy bootleg year, perhaps the best year for boots since '95 (just-pre-crackdown) or, counting the vinyl era 1985 when it seemed as if the royal treatment was being given to these clandestine wonders perhaps in an attempt to blow the major labels outta the water using their own game! And no sooner than I had digested all of those bootlegs a week or so back than comes this wonder, a four-CD set of none other than rarities from the vaults of the German uberpunk group known as Can that're so obscure even a pseudo-krautrock-intellectual such as I haven't heard most if not all of these numbers. And considering just how much of a Can maniac I have become as of late (or at least the past fifteen years) you could say that the arrival of this box set is about as welcome as manna from Heaven or at least a box of early-seventies fanzines, either one will suffice. Can is a group that has been known to record just about every second of rehearsal and live scronkage that they've laid down for 'posterity' purposes so this set is merely the tip of the iceberg. But what an iceberg it is.disc one starts off with a 16:40 instrumental entitled 'Upduff Birth' which is mainly the original and best variation of Can in '68 working out an early take of 'Mother Upduff' (from the (UN)LIMITED EDITION odds and sods) with Malcolm Mooney honking away on a saxophone he probably never did learn how to play. The takes of 'Outside My Door' and 'Man Named Joe' have been flying around in various formats prior to their appearance on OUTTAKE EDITION but they sure sound spiffy here so don't frown! But what's really surprising are the following numbers from the just-post Damo Suzuki days when none other than loner folkster Tim Hardin was being considered as a new lead vocalist for the group! Never thought these would see the light of day but they're here and you can judge for yourself whether or not Hardin would have made a good frontman for this esteemed krautrock aggregate! (As for myself, I find the inclusion of Hardin into the Can ranks rather out of place, but frankly I'm sure he would have worked out fine considering the stories I've heard about his personal habits!) Disc #2 is all Damo-era with two 35+ minute numbers, one a TAGO MAGO outtake called 'Tagothrowaway' while the other's the unexpurgated (not a note cut!) 'Doko E', a sliver of which appears on (UN)LIMITED EDITION. I've heard a longer excerpt from this that was going around in the eighties, but this one appears to be the entire kit 'n kaboodle making OUTTAKE EDITION pretty tasty if I do say so myself! And frankly, only a clod would be bored by it.I've sat through the thing a few times and found every second exciting as the song moves and grows on you like yet another portion of the fabled three-day version of 'Sister Ray'! The third platter has a number of extended studio instrumentals that date from an Edinburgh Aug. '73 gig as well as a '75 studio recording, but what makes them even more desirable is that the famous Japanese vocalist Phew (of Aunt Sally fame amongst other goodies) overdubbed some free vocals over the entire schmeer! One might expect her, being Japanese and female, to have gone on a Yoko Ono trip and yodelled all over the place but actually Phew played it a lot differently, coming off pretty much like a femme Damo Suzuki alternating between speak-singing and scat and whatever popped into her highly-advanced beanie! If you ask me, Phew sure would've made a good frontwoman for Can.too bad she did all this caterwauling in the eighties long after the group broke up! After this 'un I'm definitely going to have to look into getting the stuff she recorded with ex-Canners Czukay and Leibzeit in the eighties (when these overdubs were undoubtedly recorded) as well as the Aunt Sally CD, not to mention dig out my Phew album that's moiling away in the collection somewhere in the basement! The final disc is all live and was recorded in the mid-seventies, great extended romps that were done at a time when Can had somehow broken into the English hippoid market and were one of the bigger bedroom bonghit wonders on the Isle for quite some time. Well, I guess that the English longhairs did have much better tastes than their overseas counterparts whose heads were still in (or up?) 1967, because the likes of Can and Hawkwind were a lot more energetic than the way laidback mewlings of the Southern Californian singer/songwriters that the Amerigan hippies were so choked up about! I just got a Digitech GSP 2101 and I also have a Digitech GSP 2112 on the way. I just started setting up the 2101 this week. When I got it it had some old tubes in it and it didn't sound that great, but a tube swap with some good new tubes brought it to life. The three different tube voices coupled with the extensive EQs available really allow you to get some nice tones, but you have to be willing to tweak. The Saturated tube setting will get real high gain. I play classic rock right now and I should be able to get about any tone I need for this band out of these units. I get much better tones out of the GSP 2101 then I ever got from any Line 6 product I have owned. Have you considered getting a Johnson Millenium? Essentially it's the same pre as the 2112. You could get a used Millenium 250 Head for relatively cheap i think. And get a j12 foot controller and have quite abit of flexibility. There are some really cool things about how digitech designed the effects section. The loop position is horrible admittedly though. If it was stereo and could be put anywhere in the chain, I'd pay to have my JM150 fixed and would still use it. I'm looking for patch: kirk's wah (it's kirk hammet wah) and other metallica patches please help. Any type of effect in any order. Noise gates can be turned on or off and can be set in a way that allows for some nice note blooms for textural stuff. They've got several different flavors of choruses, flangers, verbs and delays. They've got either a tap or an analog delay model that -- perhaps not as realistic as some, I got some really nice sounds out of. The parameters they offer give you a ton of control. But what's super cool is that you can save off an individual effects settings and name them - not just the patch name (which would include all the active effects as well as the preamp) but the given settings that you've used for delay on that patch. So like if on patch 50, I've set it to be American Combo preamp w/delay, trem, and verb. I can save that particular patch's delay setting to a name of it's own. So lets say on patch 51 I'm using a different pre along with an eq and a delay. And I love my pre/eq sound, but hate the delay and want to try my delay setting from patch 50, i can pull that setting up by name (assuming I'd saved it off by name -- slightly different process than saving the entire patch). Basically it gives you virtual 'pedals' which you can name. It's a super cool concept if you think about it. I wish other manufacturers would use it. Not just the idea of having a certain model to pull up (ie a DMM model), but the ability to pull up a given set of settings for that DMM model - by name - that you know you like. All without having to go and copy paste or referring to the settings in another patch/scene you've already got set up. Thanks for the info mate. I thought that sounded cool too, about being able to save individual effects as presets which you can import into different patches! Not looking for another head though. I've already got a small rack and a foot controller, and one of the main things I want to do is get away from having a head balanced on top of my rack. The other thing I'm drawn to is having a stereo rig which won't have ground loop issues because the power amp is actually designed to run stereo. Every time I try running 2 amps in stereo, it ends up being a hprrible buzzing mess. My proposed swap would be to sell/trade the GH100L in favour of a Digitech 2120 and a Marshall 9100. Here's another question. Would the 9100 (being 50+50 watts) be much different in volume to my GH100L (100 watts)? Thanks mate, I've looked into the GSP1101, but as with most modern rackmount processors, it seems to be a real step back from the stuff that was coming out in the late 90s and early 00s. The GSP1101 seems to be extremely basic in terms of editability (4 parameters per effect), where the old GSP 2101/2112/2120 have ultra deep editability over reverbs and delays etc (20+ parameters), which really interests me because I'm a tweeker. There are 3-8 parameters per effect (at most) with the GSP. Even with series/parallel switching, global settings, various wet/dry levels, the total number is nowhere near 20. Though there are plenty of expression control options for the few parameters available. I'll bet the effects block routing options were more extensive with the 2120, too, right? Welcome to the world of the 2120 Valve Guitar System. Taking up where the 2112SGS left off, the 2120VGS comes complete with new presets from Artists as well as from our DigiTech速 staff, increased delay times, and configuration selection within the preset. With Dual distortion paths, Digitally controlled Analog Wah, and Programmable Cabinet emulation, the 2120 puts all of the tools in your hands. The amp-like controls and a fully loaded effects menu that can be routed in any combination and order help make the 2120 completely flexible. |
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