This is especially true if the circuit operation can be considered as linear: in such case the mathematical terms are very neat and describe the circuit in all its different conditions.
Unfortunately the reality is never exactly linear. Rather, it is seldom very close to linear and sometimes can be markedly distant from linearity. The phase comparator is the CDR component that deviates more often and to a larger extent from linearity. Even if a circuit operates as linear to any practical purpose , it has a finite range of operation.
The EXOR circuit can be a good introductory example:. The figure above represents a clock signal on the lower input that changes its delay with respect to the upper input.
If such delay reaches one full half cycle of the period of the two signals o , the output reaches its maximum level. If the two inputs are exactly in phase with each other 0 o , the output is again at its minimum. If the phase difference is gradually varied, the entire input-output characteristic of this circuit can be obtained. The useful signal is the filtered output, not the output of the EXOR, that has useless wide swings at the clock frequency.
In fact the phase comparator always works at the bit line frequency very high but the CDR loop just needs the low frequency components of the phase comparison. A very simple phase comparator generates a pulse every time a signal transition is received, like the EXOR multiplier of the previous section above does when comparing two clock signals.
A CDR that has reached phase lock looks like a ship that is forever on a curving path. The measure of this unending curve is the difference between the free running frequency of the local oscillator f fr i.
Therefore, CDRs with linear comparators are least sensitive to long run-lengths when retrofitted in this sense. An implementation of such a retrofit can be found in. In such occasions the output of the phase comparator would be unable to generate the couple of pulses whose average duration tells the phase difference between the local clock and the data transitions. A further refinement of this type of retrofit is found in. This 3. A fundamental Hogge article  is always referred to when describing the linear phase comparator in the technical literature of CDRs.
Its characteristics are well described in the fundamental article of J. Alexander . The bang-bang detector is easy to integrate inside a monolithic chip.
Sometimes when the line pulses are at frequency close to the F t of the chip technology  it may even be the only possible comparator for a monolythic CDR. The flip flop 3 is clocked with the negative edge of the local clock and detects when there is an transition in the input data whether its sampling edge comes before Early or after Late the data transition.
Sometimes the stories within the stories are self-contained and on other occasions they bleed into other sections, as if Connell is an artist who has problems with working within the lines, or rather renounces the idea of lines altogether.
To give you a taste of the stories - we learn of a castle that continually reproduces itself, much to the annoyance of its exclusivity loving owner; we hear of the rivalry between two holy men with differing ideas on the subject of helping a fallen woman cross a river in flood; we have the story of a man reincarnated as a spoon and that of a lecherous priest with designs on the virtue of a woman in his congregation.
And so on and so forth. Each story is an exquisitely fashioned gem, with Connell producing delicate prose that delights the ear and the mind, juxtaposing the beauty of his language with the often sordid and vicious acts that are being portrayed. But if the stories are gems it is their setting within the greater collection of literary ephemera that give them their polish. Ultimately this is not a book that will appeal to those whose minds are receptive only to conventional fiction of the beginning, middle and end pedigree, but for those who like to dip their toes into stranger water then we have here a work that can be explored endlessly, with the certainty that you will stumble across some new idea or eminently quotable phrase on each new reading.
I wouldn't dream of pinning a label on Connell's oeuvre; it is ultimately too nebulous, too experimental for such reductions. Decadent would perhaps be the term that most usefully conveys something of the flavour of his writing.
But however you choose to categorise his work, as these three titles and the two I reviewed on Monday prove, Connell is a writer intent on defying reader expectation, a writer who will pop up somewhere else just as soon as you think you know what he's about, and all you can depend upon are that whatever he produces will be different and daring and worth reading. I imagine a. The initial drones. Distant voices echo as if through.
Deep bass tones fill the atmosphere. Cut-off filters are utilized at perfect times. Junk percussion's in true Industrial fashion. The music sounds atmospheric in the truest sense of the word. Or at the very least, Not in the room.
Any artist that can turn sitting in your room. Midway in things shift into near silence. Soon after we are met with pummeling Industrial. Deep and heavy "drums" wrapped in very strange.
Each time the rhythms hammer away they are followed by wet textures. Unearthly choirs arise like specters. Their voices are mournful and leave long trails of woe behind them.
If you're into Dark Ambient artists. Sub-sonic vibrations and descending synths end the track as we fade out and into. Plodding rhythms in low dense tones make way for slamming iron door percussion's. It feels like. Crackling electronics. Heavy atmospheres are conjured via. A thick static haze slowly engulfs and retreats like a hungry. Electronic signals and wobbling Electro Industrial. Here we have something that sounds very much like the didgeridoo used to create low humming drones.
This serves as the backbone from which invisible strands of sound branch forth like arteries carrying death rattles, Menacing metallic resonance, And varying other forms of sonic dread up and outward.
There is a very dark tribal sound here. Primal and fierce in execution. Like some lost rite or ritual resurrected through electronic means and manipulations that create a sound both captivating and terrifying. There is a lot of movement here. It sounds like everything around you is restless as if it's laid in wait for countless centuries and finally has been granted passage into our existence.
An audio awakening of the primal spirit within man. A breaching of the seen and unseen. A lifting of several. Sonic shamans who. The track starts out with ringing. If you're a fan of. Powerful drones come in dense pulses as electronic experimentation populates the empty space. Tribal percussion's mix with wandering avant-garde electronics that take the noise music equivalent of a free jazz approach.
There are tons of weird glitching sounds as well as excellent Cyberpunk elements thrown into the mix. To be perfectly honest with you I've never heard a track attempting this kind of hybrid that was as successful as this. Absolutely incredible material and. It totally catches you by surprise. Thinking back it's almost. Towards the end things wind down into resonant atmospherics and clanging. Synths stretch, Settle, Writhe and recoil as we enter a grim minimal soundscape.
Feedback and sub-sonic rumbling compete for space until a brief silence prepares us for the next track. Most notably the experimental electronic qualities. Here we are mesmerized by countless sounds. A sort of kaleidoscope of sonic tendencies. Synth pulses charge, Unleash and recharge as stabbing electrical freakouts and heavy Electro Industrial and Glitch techniques fill the room.
Break-beat and Hard Techno elements are combined with spacey sci-fi synth effects. The synths used sound. This piece more than lives up. I've honestly spent a long time searching the underground for something of this. I am so excited to. It's both an honor and a privilege. Take everything. Now imagine diving in and letting these sounds obliterate and disintegrate you into infinite pieces. That's what this sounds. The realm of metaphysics interpreted as a listening experience.
Many artists have. Closing track "Eleusi" comes on turbine blades that create a forceful vortex that transcends your. Heavy electronics and creaking vibrations dissipate into. Metallic industrial is heard through reaching strands of. It sounds like you've entered a negative plane devoid of sunlight. No blue. This is a place where scavengers pick at the carcass of a.
Lifeless, Yet full of. A kingdom for carrion. Electronic rhythms create a ping-pong effect as sounds. Harsh waves come like desert sands storming.
Afterwards we find ourselves surrounded by glitching. Every manner of electrical pulse, Signal and digital manipulation. Arab" or "AYOR" come to mind. Again we have a didgeridoo type instrument along interesting loops.
Like the nostalgia of a pleasant dream that's slowly being overtaken by suppressed nightmares and primal fear. In complete honesty, This is one of those albums you have to experience for yourself. I can think of few better records this year that offer such immersive soundscapes.
As if the whole experience is being washed away, The album ends with the sound of falling rain as all fades into silence. Dreamworlds brought to life by simply pressing play. Phenomenal material. Labels: Eclectic Productions , Reviews. Downfall Of Modern Man is a more. Noise label Nailbat Tapes.
So here we have harsh topics conveyed by harsher sounds. Two tracks make. Distorted static crunches and crushes it's way into the room in grinding. The atmosphere is tense. Panic and confusion abounds as writhing. Extreme pedal. It sounds like Djordie has cranked his gear to it's. The result is like listening to the world completely. Static bursts like white steam from agitated pipes as.
RAVEN pulls. It sounds like the end is here and survival isn't. Every sound utilized is oppressive and smothering. Imagine waking up in the rubble of a collapsed building to realize that you've. That's what this feels like. Pure Harsh Noise aggression. Quaking sub-sonic bursts of distortion roar into. Rhythmic noise mirrors an anxious. Every moment is one of agonized frustration. RAVEN picked a theme and executed it like a demolitions expert.
Feedback competes. Social commentary has never sounded so precise as this. Modern society is waste and mankind is doomed if left to the path they've chosen. RAVEN has brought that doom and then some.
Face melting caustic static spray floods. Acid rain atmospheres melt the mind like scalding molten. If you're not used to Harsh Noise music, This will likely wear you down in a. To the initiated, This is home. Rough, Jagged and tough as nails,. No gimmicks, just grimness. Once you've dusted yourself off and crawled out of the rubble left behind by the. A side, You can look forward to getting your teeth kicked into the back of your.
Static tides rush in and break down all in their path upon contact. Noise in rapid movement fires off like the last will and testament of a deranged. Landslide textures and manic feedback blend as oscillating synths. It almost sounds like a response to. Or perhaps the. Squealing signals squirm under the weight. Feedback peaks from below as it's buried by more. The overall composition is pretty similar to the A side,. But with enough of it's own elements to stand on it's own. Basically, Both sides.
This isn't your Momma's Merzbow boys. Attack table. Categories : PvP Combat. Navigation menu Namespaces Page Discussion.
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All rights reserved. This site is a part of Fandom, Inc.15 hours ago · matthew edwards and the futurists - the first song of the revolution (7"/cdr by static caravan) Just when I thought we said goodbye to Static Caravan, surely one of my favourite imprints for all things electronic pop and beyond, they return (?) with this great 7" (two tracks) and CDR (4 tracks).