The concept is exactly the same, he is correct.
I had a slag and redeposition issue with some cryogenic sensor packages. They lasered a lid out of a 25 mil thick aluminum oxide that had sintered moly followed by nickel, then a gold finish for solderability. The slag kept the lid from laying flat against the side walls, making them double up on solder performs, then they went to a DAP process using hydrogen/argon mix because the redeposited vapor coated the gold. Then they tried to keep a constant pressure in the chamber, not realizing that as they cooled down, any sealed package internal gas would shrink, forcing the solder into the package. And go figure, liquid solder will compromise ceramic oxynitride resistor elements.
What a cascade of errors.
Jn
I had a slag and redeposition issue with some cryogenic sensor packages. They lasered a lid out of a 25 mil thick aluminum oxide that had sintered moly followed by nickel, then a gold finish for solderability. The slag kept the lid from laying flat against the side walls, making them double up on solder performs, then they went to a DAP process using hydrogen/argon mix because the redeposited vapor coated the gold. Then they tried to keep a constant pressure in the chamber, not realizing that as they cooled down, any sealed package internal gas would shrink, forcing the solder into the package. And go figure, liquid solder will compromise ceramic oxynitride resistor elements.
What a cascade of errors.
Jn
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You are probably right, I thought it would not leave burn mark and does not affect hard wood so much.
I have acoustic lenses made for some of my microphones. The laser does the nice precision holes but leaves tails inside. These get ground down to prevent pattern control problems. It is nice to be able to pretty accurately design and make the lenses.
Most likely used a pulsed laser the reduce the heat propagation and hence heat damage local to the cutting lane. In both cases, no coating needed to be applied to the surfaces not being cut.
I see there a depth of focus limitation or can they stack them?
Can they put a surface underneath, like a spoiler board,to stop the tails.
What dia holes?
A lens eh? Controlled and varying hole size and pattern, neat.
Jn
The pressure involved would turn is to pulp I would think. As soon as it hit the surface it would be deflected by and follow the grain?
With the pin router, I can get accuracies down to the .001 inch range...at the instant of the cut. Wait 30 seconds, the wood relaxes.
Humidity is the real issue with wood gears. That is why I will cut the spokes to a gear and put it aside for a year or so, to let it adjust to the environment. Last step is the teeth, so there's about 1/4 inch of blank beyond the teeth tips that is removed to form the teeth.
Also why I use 3 layers, a two layer becomes a Pringle in a few months.
Oh, I use west system epoxy for the laminate blanks, tropical hardener, and cure it in an 8 ton shop press (bought a 12 ton (cheap store), but the bottle jack would not hold pressure overnight. Had an 8 ton from 30 years ago works just fine.
Jn
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There are additives you can add to the hydraulic fluid to swell the seals. But tradition is to use a screw press!
The limit on punching holes is the material thickness is about the smallest hole. Not so for a hot light. A quick grind is trivial on the size of the lenses. Of some interest is the lens is the most expensive part.
The limit on punching holes is the material thickness is about the smallest hole. Not so for a hot light. A quick grind is trivial on the size of the lenses. Of some interest is the lens is the most expensive part.
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Most likely used a pulsed laser the reduce the heat propagation and hence heat damage local to the cutting lane. In both cases, no coating needed to be applied to the surfaces not being cut.
I can certainly see that. A couple operations, and the piece price can really climb.
You're lucky I'm not doing any of the work. Even at 25 cents per hour, you couldn't afford me.😀
Jn
You've seen the shill's usual explanation for it, your hearing isn't..., your system isn't... etc.
It's always refreshing to hear this!
I'm in pretty much the same place with my audio system these days, just loving the music. (And my DACs are just plain embarrassing! 😛 )
Cheers Howie!
You've seen the shill's usual explanation for it, your hearing isn't..., your system isn't... etc.
LOLOL And the age/attitude appropriate reply we should give to that kind of comment would be: "I know you are but what am I?"
Whomever states something as a truth is responsible for proving it.
When one can clearly hear all of the warts in what is supposed to be a state-of-the-art 24-bit recording from a major talent like slightly off-axis mic aiming on cymbals, string contact timing on guitars, etc. I think the system is called revealing...I can hear far more difference between headphones and speakers than between DACs at this point.
Since one cannot listen to electronics directly, and instrumentation shows vanishingly little error or difference in the playback path, I guess your supposed shill's comment is indeed the next thing I'll hear, but not if I have headphones on...!
Back to 'Guitar In The Space Age' by Bill Frisell...
Cheers!
Howie
Hey Bill,
Well I admit that is a bit of studio engineering conceit on my part and other engineers would call it a matter of taste. With a lot of cymbals the best balance between the bell ring and the lower frequencies radiating from the bow is halfway between them. Most engineers would consider the amplitude modulation due to cymbal rocking to be undesirable, but depending on the drummer, cymbal mass and song tempo it can be difficult to avoid.
Cymbals sound pretty cool edge mic'ed if the drummer can excite it without making it rock.
There is where my conceit lies: I find the rapid shimmering and amplitude modulation of close-mic'ing cymbals really annoying, to me it detracts from the beautiful sound engineered into the instrument. When I hear it I automatically think...move the mic away from the edge, or inwards towards the bell to minimize it!
Like so many other studio techniques, there is a million ways to mic drums, but for a clear stable image, I really prefer an XY pair above with large condensers (I love C414s for this), and spot mics on the snare and kick. A stereo pair in XY in front in a small room to add ambience can be a really nice addition as well if one is just tracking drums and depending on room acoustics.
Ah well, opinions are like...well, we all know that one.
Howie
Well I admit that is a bit of studio engineering conceit on my part and other engineers would call it a matter of taste. With a lot of cymbals the best balance between the bell ring and the lower frequencies radiating from the bow is halfway between them. Most engineers would consider the amplitude modulation due to cymbal rocking to be undesirable, but depending on the drummer, cymbal mass and song tempo it can be difficult to avoid.
Cymbals sound pretty cool edge mic'ed if the drummer can excite it without making it rock.
There is where my conceit lies: I find the rapid shimmering and amplitude modulation of close-mic'ing cymbals really annoying, to me it detracts from the beautiful sound engineered into the instrument. When I hear it I automatically think...move the mic away from the edge, or inwards towards the bell to minimize it!
Like so many other studio techniques, there is a million ways to mic drums, but for a clear stable image, I really prefer an XY pair above with large condensers (I love C414s for this), and spot mics on the snare and kick. A stereo pair in XY in front in a small room to add ambience can be a really nice addition as well if one is just tracking drums and depending on room acoustics.
Ah well, opinions are like...well, we all know that one.
Howie
I would think photochemical machining would be the best option for something like that:. Precision Chemical Etching - Photochemical Machining - Wet Etching | Fotofab