El Toroby La Bande De "El Toreo"RCA Victor (LSP-2538)Publication date 1962

EL TORO / PASO DOBLES PERFORMED by LA BANDA de “EL TOREO” Under the direction of Mario Ruiz Armengol Audience reaction recorded live at the Mexican bull ring “El Toreo.” AZ£R Coordinator—Herman Diaz, Jr. . . a mystique, a passion .. . that transports and ennobles. La Corrida, the “running of the bulls” or the bullfight, is one of the great spectacles of the Spanish-speaking world. It has been poetically described as a ritual challenge of death. Each time the matador triumphs over the formidable bull, he is Man facing up to Death, the Great Extinguisher, and winning a victory over it for all men. In this defiance and triumph, there is something of immortality for all men. You may be sure that that least of aficionados! sitting up there in the glaring sun of the sol zone does not ponder the experience in such exalted terms. He is probably too intent on exercising his expertise in judging the fine points of the performance of the matadors, the picadors, the banderilleros—and the bulls. Let any > of these worthies turn in what our aficionado considers less than a creditable performance and he incurs the risk of . the fearsome whistling which is the Latin equivalent of the U.S. “'boo'” or Bronx cheer. But aside from. :, the thrills, the noise and the color, there isa mystique, a passion in the corrida that transports and ennobles BA the audience. Here in this album is an attempt to capture these emotions and sensations. Here is the excited anticipation of the crowd, the surging “Olé's,” the thrilling paso doblés . ( —traditional music that accompanies the acts and actions of the drama. $ If you have ever witnessed the corrida or, like countless millions the world 'over, have vicariously experienced its expression in.all the arts—literature, painting, the dance, music,“etc.—this album will brilliantly % re-create the spectacle for you. THE SPECTACLE FROM START TO FINISH “To the Bulls! To the Bulls!” cry the cabdrivers and bus drivers .. . and the people flow like an immense river to the plaza. The sun bathes the golden sand, the band launches into a gay bullfight paso doble, and the cuadrillas make the paseo greeted by a thundering ovation. The bugle sounds and the first bull comes into the ruedo. After the suerte de varas, the matador plays the bull with his cape in sublime lances. The banderilleros spear the bull with three magnificent pairs of banderillas, and the final tercio begins. The matador advances slowly, muleta and estoque in hand— and the faena begins. Enthusiasm mounts. Each pase is chorused with a stentorian “¡olé!” A vibrant paso doble accompanies the great show of courage and art, and finally comes—““la hora de la verdad.” The matador has cuadrado the bull. There is a deep silence. These are the seconds of most intense emotion, The craftsman se perfila to enter for the kill. He then attracts the bull's attention with the muleta. The bull leaps forth like a gust of wind. The maestro stands firm against the savage attack. The estoque sinks up to the hilt between the shoulder blades of the beast... and he falls as if mortally wounded by a bolt of lightning. Irre- pressible jubilation explodes. The people applaud, they yell till they're hoarse; they turn to all kinds of noisy demonstrations to show their highest approval. The band breaks out with a lively paso doble—a glorious culmination for a splendid lidia, which is awarded the two ears and the tail. And thus for a total of six bulls. And thus the next Sunday . . . and the next... and the next. It is the national fiesta—gold, silk, blood and sun! It is the fiesta of courage, which makes the heart overflow with enthusiasm and admiration! Aficionados ... . friends . .. don't miss this corrida! To the Bulls! To the Bulls! GLOSSARY Aficionados—bullfight fans (in this case); sometimes, amateurs. Banderillero—bulifighter who thrusts small darts adorned with colored paper, called banderillas, into the withers of the bull. Cuadrar—positioning bull for the kill. Cuadrilla—the matadors “team": pica- dores (goad the bull), banderilleros (place the darts), mozo de estoques (sword bearer). Corrida—bullfight. Estoque—sword. Faena—the work done with the muleta. “La Hora de la Verdad"—“"The Moment of Truth” (the moment of killing the bull. Lance—pass with the cape. Lidia—bullfight, Matador—he who kills the bull. Muleta—cloth used to lure the bull. 1Olél—a cheer. Pase—pass made with the muleta, Paseo—the march of the cuadrillas into the bull ring. Perfilarse—one of the stances used in kill- ing the bull. Ruedo—the bull ring. Suerte or Tercio—each of the three parts into which each bullfight is divided. Suerte de varas—portion of the bullfight in which mounted picadors thrust their goads —picas—into the bulls. **¡A los toros! ¡A los toros!”, gritan cocheros y choferes + + « y los vehículos se llenan y el pueblo todo afluye como inmenso río a la plaza. El sol inunda la dorada arena. La banda ataca un alegre paso doble torero . . . y las cuadrillas hacen el paseo acogidas por estruendosa ovación. Suenan los clarines, y salta al ruedo el primer toro. Tras la suerte de varas, el matador lo torea de capa con lances sublimes. Los banderilleros le clavan tres magníficos pares de banderillas .. . y viene el último tercio. El matador se adelanta despacio, muleta y estoque en mano ... y comienza la faena. El entusiasmo va subiendo. Cada pase es coreado con un estentóreo ¡olé!. Un vibrante paso doble acompaña al derroche de valor y arte, y al fin llega .... “la hora de la verdad.” El matador ha cuadrado al toro. Se hace un profundo silencio. Son los segundos de más intensa emoción. El diestro se perfila para entrar a matar. Cita entonces al toro con la muleta. Se arranca éste como una exhalación. Aguanta el maestro a pie firme la salvaje acometida. Se hunde el estoque hasta el puño en todo lo alto del morrillo de la fiera... y ésta cae como herida de muerte por un rayo. El júbilo estalla incontenible. La gente aplaude, grita hasta enronquecer ... recurre a toda manifestación ruidosa para demostrar su exaltada aprobación .. . y la banda rompe a tocar un brioso paso doble—gloriosa culminación para tan espléndida lidia, que se premia con las dos orejas y el rabo. Y así... seis toros. Y así al otro domingo . .. y al otro ...yalotro... ¡Es la fiesta nacional—oro, seda, sangre y sol .. .! ¡Es la fiesta del valor, que hace que se desborden de entusiasmo y admiración los corazones! Aficionados ... amigos .. . ¡no se pierdan esta corrida! ¡A los toros! ¡A los toros! Emitio De Torre

コッホ曲線

import HTurtle
import Data.Complex
main = do
    start
    koch ((0,0),(400,0)) 4
    end
koch ((a,b),(c,d)) n = do
    if n == 0   then doKoch >> return ()
                else do koch (p0,p1) (n-1)
                        koch (p1,p2) (n-1)
                        koch (p2,p3) (n-1)
                        koch (p3,p4) (n-1)
    where   al = a :+ b
            be = c :+ d
            p0 = (a,b)
            p1 = let (a :+ b) = c1 in (a,b)
            p2 = let (a :+ b) = c2 in (a,b)
            p3 = let (a :+ b) = c3 in (a,b)
            p4 = (c,d)
            c1 = cid (al,be) 1 2
            c2 = sumit (c1,c3) (pi / 3)
            c3 = cid (al,be) 2 1
            doKoch = do setPos p0
                        setPos p1
                        setPos p2
                        setPos p3
                        setPos p4
cid (a,b) m n = (n * a + m * b) / (m + n)
sumit (a,b) th = (b - a) * (cos th :+ sin th) + a

Flacファイルの分割

-- fc.hs
import  Graphics.UI.Gtk 
main = do
    initGUI
    fchdal <- fileChooserDialogNew Nothing Nothing 
        FileChooserActionOpen
        [("Cancel", ResponseCancel), ("Select", ResponseAccept)]
    fchdal `set` [fileChooserDoOverwriteConfirmation := True]
    widgetShow fchdal
    response <- dialogRun fchdal
    case response of
        ResponseCancel -> putStrLn "You cancelled..."
        ResponseAccept -> do 
            nwf <- fileChooserGetFilename fchdal
            case nwf of
                Nothing -> putStrLn "Nothing" 
                Just path -> putStr path 
    w <- windowNew 
    w `set` [windowDefaultWidth := 16, windowDefaultHeight := 16]
    s <- spinnerNew
    containerAdd w s 
    widgetShowAll w
    spinnerStart s
    widgetDestroy fchdal
    fchdal `on` objectDestroy $ mainQuit
    mainGUI
-- end of fc.hs

-- t.hs
import System.Directory
import System.FilePath.Posix
import System.Process
duration :: FilePath -> IO ()
duration f = createProcess (proc "soxi" ["-D",f]) >> return ()
splitFileName' = return . splitFileName
main = do
    (d,f) <- readFile "fn" >>= splitFileName' 
    setCurrentDirectory d
    duration f 
-- end of t.hs

-- t2.hs
import System.Directory
import System.FilePath.Posix
import System.Process
getC :: IO Double
getC = getContents >>= return . read 
splitFileName' = return . splitFileName
main = do
    d <- getC 
    (dir,f) <- readFile "fn" >>= splitFileName'
    setCurrentDirectory dir
    n <- f1 d 1
    let t = d / n
    let l = f2 t n
    doComs f t l    
f1 d n = if (d / n)  < 300 then return n else f1 d (n + 1)  
f2 d n = map (\x -> x*d) [0..(n - 1)]
doComs f d l = do
    mapM_ (\x -> trim f (nf f x) x (d + 10)) (init l)
    let x = last l
    trim f (nf f x) x d
    where nf f x = "trimed" ++ show (round x) ++ takeBaseName f ++ ".flac"
trim :: FilePath -> FilePath -> Double -> Double -> IO ()
trim i o sP d = createProcess (proc "sox" [i, o,"trim", show sP, show d]) >> return ()
-- end of t2.hs

1812

 The incredible popularity in release of this version of 1812 proved not only the durable appeal of Tchaikovsky’s famous musical

3 war-horse, but also the appetite of the record-buying public for genuine sonic thrills. Thus, Mercury was prompted to seek out

another “symphonic battle piece”: Beethoven’s stormy Wellington's Victory. Here, cannons were present in the scoring, plus the

carefully-cued rattling crack of 19th century musketry. In this second recording, another “sonic spectacular” was born—and, once

again, recording history was made!

mated orchestral machine run by air pressure

which played flutes, clarinets, trumpets, violins,

cellos, drums, cymbals, triangles and so on. It

could also be made to shoot off muskets and other

weaponry. Fascinated by what the machine could

do, Beethoven agreed enthusiastically to write a

piece for the metal monster. The composer had

been a Bonapartist until 1804 when Napoleon un-

seated the French Revolution and made himself

an Emperor. At that time, he scratched the Na-

poleonic dedication from his Eroica Symphony

and joined the Anti-Bonaparte partisans. After

the Vitoria victory, he was delighted at the

chance of depicting musically the defeat of the

Emperor’s brother by the British.

In Wellington’s Victory, Beethoven wrote

carefully to the capacities of the machine, but

troubles in rigging the apparatus kept delaying

its premiere. The novelty value of the subject of

the piece was fast fading. Finally, Beethoven de-

cided quickly to re-score it for conventional or-

chestra. It was thus that it was first performed.

As the piece begins, the opposing armies intro-

duce themselves musically before doing battle.

First, faintly from the British camp (right), a

drum tattoo pulses distantly; other drums join

in; the sound grows until a thundering roar fills

the air; then, above the tumult of steady drum-

ming, trumpets sound a battle cry.'The British

cap this brilliant fanfare with a rousing version

of Rule, Britannia. From their side (left), the

French respond with their own drum-and-trum-

pet fanfare and the war song Malbrouck s’en va

ten guerre (known to Americans as The Bear

Went Over The Mountain). After these prelimi-

naries, the French challenge the British to fight

in a stirring trumpet call. The British accept,

throwing the call back with higher-pitched trum-

pets. As battle begins, the main orchestra takes

over. Throughout the clamorous battle, the Brit-

ish and French trumpets are heard distinctly

from their respective sides, rallying the troops.

Musket volleys and cannonade punctuate the

music. Soon, we notice that only the British can-

non are firing. The British have won the upper

hand; Bonaparte’s army finally shudders to a halt

in a minor-key version of the Malbrouck tune. A

victory finale, featuring a vigorous treatment of

God Save The King, brings this piéce d’occasion

to a tremendous close.

HOW THESE RECORDINGS WERE MADE

The musical portions of the Overture 1812 were

recorded in Minneapolis, while the military ef.

fects were taped at West Point. To serve as au-

thentic French weapons of a type used by Napo-

leon in 1812, Gerald C. Stowe, Curator of the

West Point Museum, selected cannons made in

France during the 18th century: one made in

Douay in 1775 (stereo version), and the other cast

in Strasbourg in 1761 (monophonic version).

To achieve a truly realistic bell effect for this

recording, it was decided to use authentic caril-

lon sounds. For the stereo version, the magnifi-

cent Laura Spelman Rockefeller Memorial Caril-

lon of New York City’s Riverside Church was

used. This instrument includes a bass-toned bell

which is the largest tuned bell in the world; the

full carillon weighs over half a million pounds.

For the monophonic version, use was obtained

of the bells of the beautiful Harkness Memorial

Tower on the Yale University campus.

The recording of Wellington’s Victory used

three orchestras in which augmented sections of

brass and percussion, flintlock muskets and a bat-

tery of field artillery comprised basic added ele-

ments. According to Beethoven’s instructions,

the musical forces were deployed in the follow-

ing manner:

His score fixes the exact point at which each of

188 cannon shots was to be fired, designating

British weaponry by a black dot @; French by a

hollow dot o. These dots appear above their re-

spective beats and measures. Entry, direction and

duration of the musket shots is indicated pre-

cisely by notation, each volley shown in tied,

trilled notes.

Again, as in recording of the 1812, weapons of

authentic style were provided by the West Point

Museum and firing was done on the grounds of

the United States Military Academy. Seven flint-

lock muskets of the Napoleonic era—both British

and French in casting—were used. The muzzle-

loading field artillery is represented by two 6-

pound smooth-bore bronze cannons and a 12-

pound bronze howitzer. The French cannon heard

here was made at Strasbourg in 1761; the British

at Woolwich in 1755; the howitzer is of a type

used by both sides in the Napoleonic wars.

Twilight of Steam

 ..the thrilling audio companion to the exciting and controversial

deluxe hard cover edition entitled /he [wilight of Steam Locomotives

by Ron Ziel

Published by GROSSET & DUNLAP, INC.

Recording Engineers: Brad Miller and Leo Kulka

Art Director / Photography: Ron Ziel

Designer: Marshall Gatewood Moseley

Side Number One

TRACK ONE As we begin our adventure in “The Twilight of steam

Locomotives” the inside front cover beholds the World famous Reader

R.R. in southwest Arkansas. This is the last 100% steam powered com-

mon-carrier mixed train to operate in the United States and according to

Mr. T. W. M. Long, President of the charming shortline, “We're in the

passenger business and having a grand time. You’all come down to see

us.” We hear No. 11, a well polished 2-6-2 making up her tri-weekly

train in the Reader yard. How about that perfectly tuned Nathan Chime

whistle, a sound to stir most anyone.

TRACK TWO On pages 11-13, you will find a recent victim of diesel-

ization, the Virginia Blue Ridge during the last days of steam. This record-

ing has 0-6-0 No. 9, shown in both photos, topping a grade near Piney

River, Virginia. Even the song birds seem to sense that the passing of an

era is very near indeed.

TRACK THREE Apparently silenced forever, the last of Southern Pacific's

esthetically pleasing G S series 4-8-4’s is shown on page 65 in retire-

ment. We hear her now during a portion of her “last run” to Reno,

Nevada in 1960. This sound was typical Espee with big and beautiful

Northern's that could start an 18 car train and roar by you at 60 mph

in nothing flat. Witness same.

TRACK FOUR Until early 1903, the Bevier & Southern in central Missouri

had a leased Burlington Mike, No. 4963. On page 96 the 2-8-2 is shown

at Bevier. Listen to her walk a string of hoppers “over the top,” past our

trackside location.

TRACK FIVE Opposite the 4903, a handsome 2-6-0 No. 9/ of the Mobile

& Gulf is portrayed quite intentionally, on page 97. Her whistle is pos-

sessed of a deep melodic charm as the Mogul awakens the Alabama

countryside during an early morning dew near Brownville.

TRACK SIX Many fascinations of the steam locomotive are evident when

viewed emerging from under a bridge. The Kentucky & Tennessee's No.

10, a husky 2-8-2 is doing just that, partially camouflaged behind her

own steam, on page 103. From the same location, we capture the Mike

with a capacity load from Mine 16 and unless some miracle happens, the

K & T will be dieselized by the time you read this for lack of spare parts

and qualified machinists for maintenance.

TRACK SEVEN Upon turning the page, a color portrait of Magma Ari-

zona’s trim No. 7, star of Cinerama’s “How The West Was Won,” presents

itself. With the temperature hovering near 105 degrees, the 2-8-2 moves

right along near Queens, on the return trip to Superior, Arizona.

TRACK EIGHT One of the very last all steam shortiines east of the

Mississippi is none other than the Mississippian, appropriately displayed

on — 106-107. No. 77 leaves the house to pick up the caboose in

the yard.

TRACK NINE A “Carolina Shortline” devotes the entire chapter to the

Graham County Railroad, which operates two Shays in the southwestern

portion of North Carolina. The indescribable beauty of No. 1926 with

engineer Ed Collins working the whistle cord over, illustrates in sound,

that which cannot be done with words or photography. The next time you

are in Bear Creek Valley, ask Ed to put on a show for you, just like

this one.

Side Number Two

TRACK ONE 0-6-0T No. 13 of the Brooklyn Eastern District Terminal is

the star of Chapter 12, pages 116-121. Here she makes her recording

debut in the very last days of BEDT steam. Listen to the flange squeel as

the side-tanker tows a box car within the shadow of Manhattan sky-

‘scrapers!

TRACK TWO “‘Last of the Narrow Gauges’—is the story of the Denver

and Rio Grande in southwestern Colorado, chapter 14. The photo opposite

the color plate shows Mikados No. 484 and 487 at the same time this

recording was made on the eastbound assault of Cumbres Pass, from the

locomotive tender.

TRACK THREE However, within this chapter, ‘‘Last of the Narrow Gauges”

there lies the resurrected ghost of Pennsylvania. Crickets with intermit-

tant gusts of wind rattling the corn stalks herald the approach of 2-8-2

No. 15 of the East Broad Top as her whistle echoes across the Aughwick

Valley. Author Ron Ziel exclaims, “This is simply a great sound track!”

TRACK FOUR Sharing fame and fortune with other “Excursion Engines

of the '60's” chapter 17, were Reading's T—1's. From the very first,

No. 2124 to the very last, No. 2102, these beautiful Northern's thrilled

“STEREOMONIC 18 THE REGISTERED TRADE MARK OF INTERNATIONAL SOUND CORP.

hundreds of thousands of people in the population density of east-central

Pennsylvania. October, 1963 saw these 4-8-4’s under steam for the last

time. We join Trains Magazine in saying “Thank you” to the Reading for

a delight that will be unsurpassed for years to come. On an earlier “Iron

Horse Ramble” in 1961, No. 2124 has just been cut off and is standing

on a siding, saluting No. 2100 as she heads the special towards Valley

Forge.

TRACK FIVE Canada's last excursion engine is the 616/, featured in a

two page spread of sub-zero weather. Yes, those pages look mighty cold

as the mighty Northern makes mock work of her train in tow as she

effortlessly gains speed leaving the yard board at Toronto, Ontario.

TRACK SIX Just turn the page and you'll find the “Cozy and Friendly,

The Strasburg” puffing through the cemetery. And that’s exactly the

sound you are hearing as well. Let us know if any other “ghosts” bother

you, that is other than 0-6-0 No. 31.

TRACK SEVEN And turn the page once again to face “The Great Teacher,

No. 4960.” My, what an aggressive management that makes available an

authentic steam locomotive such as this 2-8-2 for school children excur-

sions and at the bottom of their inter-department transportation notices

state “make every effort to handle with fact in mind these children will

be future shippers and passengers of the Burlington.” Leave it to the Q,

a railroad that is currently making passenger traffic history, to go one

step further. Let’s listen as the spunky Mikado walks up the grade from

Ottawa, Illinois, enroute to Streator with several hundred happy young:

sters. By the way, that bird was a little upset being covered with cinders

and such. Shouldn't happen to a bird.

TRACK EIGHT lo close Volume One of “Iwilight of Steam” we have

selected an unusual track in that this sound story is all but forgotten in

the annals of history. Fifty carlengths ahead and around a curve, Buffalo

Creek & Gauley 2-8-0 No. 14 puts air into the train and whistles off.

Then the slack comes roaring down the river canyon at Dundon and the

train leaves for Widen. This is the sound that is so familiar to those

crewmen whose home away from home was a caboose. To be continued.

i you are unable to purchase either this record or the hard cover book

edition, through your dealer, write directly to: Mobile Fidelity, Burbank,

California 91503. Brochure will be sent upon request.

SONIC-SEVEN is the name given to the combination of technical ad-

vances and achievements contained in this recording. Under the supervision

and development of Leo ‘Kulka, chief engineer for International Sound

Studios and pioneered in its use by Brad Miller, engineer/producer for

Mobile Fidelity Records, SONIC-SEVEN approaches a new spectrum of

dynamic sound reproduction

Special microphone techniques were designed to re-create the peculiarities

and acoustical conditions of the terrain. Depending on weather conditions

and air temperatures, the following microphones were used, independently:

Neumann, SM-2 Stereo Condenser; AKG ribbon dynamic D24b; Electro Voice

dynamic 666. The Neumann SM-2 used in the Sun and Difference method

of stereo recording was matrixed to left-right stereo. Original master record

ing was accomplished on Ampex 350-2 equipment, and the signal then fed

to the fully automatic Neumann Master Disc Lathe through a fully transis-

torized control board without the use of a single transformer or vacuum

tube. Frequency response of this board is + 1 db from 5 to 100,000 cps.

Intermodulation and harmonic distortion is virtually non-existent.

With the fully automatic Neumann Lathe, and the Teldec Cutting System

with automatic variable pitch and depth control, the complete dynamic range

is preserved at all times. Within the Teldec System is incorporated a process

known as STEREOMONIC, which makes this disc compatible for FM stereo

Multiplex broadcasting as well as stereo-monaural playback system com-

patibility for the home. Yes, you may use this disc on ANY Phonograph

Player, Stereo or Monaural, without damage to record or needle.

Then, to an absolutely clean SONIC-SEVEN master, add the POLYMAX

disc material, which unlike Vinyl, retains all transient response to a fine

degree for unequaled brilliance in sound reproduction and is 100% static

free.

There you have it. The dynamic big picture of SONIC-SEVEN.

' Listen, and compare!”

The Fading Giant: Sounds Of Steam Railroading Vol. 2

 THE FADING GIANT (Sounds of Steam Railroading Vol. 2)

Not one in a million Americans ever again will ride a scheduled mainline

passenger train behind a live and breathing steam locomotive. That time is gone.

Remembrance of the unique, indefinable glow in such trips fades and dis-

appears. It was a singular thriil, that steam train riding, a sense of high adven-

ture wrapped in warm well-being: The start from the pulsing terminal, the

yards with their clickings and bangings, chuffings and quick glimpses of other

travellers on other trains, the open country where whistles made no distinction

between thronged highways and farmers’ lanes, the solid roar of bridges be-

neath, and the always unexpected smash of tunnels with darkness all around

and echoes banging upon echoes. And the little stations: A long wailing

engine call and the hiss of slowing to the local agent’s platform domain. The

start with its first uncertain puff, then the thythmic power growing heavier

and heavier, quicker and quicker until the car wheels ticked the rail joints

into new, strange lands.

That time is gone. But “The Fading Giant” will bring you back the memory

strong and clear. For half this record was made on a train in the last days of

passenger steam on the mountainous Norfolk & Western. Few such recordings

have been made successfully. They are usually distorted. On train sounds — as

car wheels or the locomotive’s roar dominates the ear. The feeling of actually

riding the train simply isn’t there, But after long expetimentation Link and his

assistants found the proper place for the microphone and added their knowl-

edge of techniques to create a-balanced image.

‘When you close your eyes and listen to Side A of “The Fading Giant” you

are the locomotive screeching steel around New River curves, feeling the tug of

10 cars up Bluefield Mountain, plunging through the sharp tunnels of the high

Alleghanies. Your voice touches the coal tipples in Keystone, Welch and

Kimball and rebounds from Big Four Tunnel and Antler and Hemphill

Number Two. It is an experience in sound.

“Fading Giant's” Side B takes you to a roundhouse, to the 3% grades of the

N&W’s renowned Abingdon Branch and to a Virginia flag stop on Christmas

Eve. The engine facility sequence brings some seldom-heard rail sounds as a

Mountain type locomotive shuffles from stall to turntable to coal wharf and

back again. The two transcripts from the twisting line into the clouds are

superb renderings of a half-century-old steamer as it struggles up the Carolina

and Virginia sides of 5520 foot-high White Top Mountain. There are frequent

solos by the only whistle of its kind anywhere, a sound described by one rail-fan

as “the most goose-bumpy I ever heard!”

With Christmas chimes as a backdrop, the New Orleans-Washington train

comes to Rural Retreat (an actual town with real chimes — no name inventing

or dubbing) as a fitting close to “The Fading Giant.”

It was said that Link's previous record “Sounds of Steam Railroading,” was

“a collectors item which can never be reproduced.” Volume Two goes further,

deeper into the recording of an era of sound, now gone forever from the

American scene.

Sipe A Volume 2

‘This is an entire mainline steam passenger run condensed to

27 minutes. Actually it comprises five excerpts from the recording

of a complete 401-mile roundtrip of N&W Trains 15 and 16,

“The Cavaliers” between Roanoke, Va. and Williamson, W. Va.

But it holds together tightly as a rounded sound picture of a

passenger operation through river valleys and over rough moun-

tains. You can close your eyes, relax and let nostalgia take over.

You're on a steam train again!

The recording was made on a bright Sunday in the late spring

of 1958, just a few weeks before “the finest passenger engine

ever made” — the Class J, streamlined 600s — were placed on a

standby basis, Most of the sound comes from a microphone im-

mediately back of the tender, shielded from the wind and guarded

so boiler and wheel noises assume their proper proportion.

The record opens with Train 15, Engine 611, westbound,

wheeling and whistling happily along New River in extreme

western Virginia. The baggageman pulls the air three times for

a flag stop at Pembroke. Engineer acknowledges with three shorts,

then recognizes another flag from the Pembroke agent with two

shorts. She pulls to the platform and compressors pant. There is

a five-blast call to the flagman, brakes are released and Fifteen

chuffs away. Sequence fades with the train running smartly west

of Pembroke.

Returning Train 16, Engine 605,

has reached a point west of Davy,

W. Va. in late afternoon. It is truly

rugged country and the locomotive

fights up Tug Fork of the Big Sandy

over bridges and through tunnels.

There is frequent whistling because

rails lie through an almost continu-

ous sprawling line of coal-mining

communities. We hear those whis-

tes, then Twin Branch Tunnel, then

a whistle i a tunnel. Cylinders spit

nicely as she comes out coasting. There is a cacaphony of whistles as 16 stops at Davy. There

is skidding shortly after the start and the horn of a westbound freight can be heard faintly —

the only diesel sound in the entire record. The train then whistles for and passes through

Antler Tunnel.

Now comes a fine recording of a train entering and leaving a small station. Train 16,

slowing, blows and enters West Vivian Tunnel, then eases out to make a fine stop at Kimball,

As she leaves the exhaust echoes from a string of hoppers on a siding. A crossing whistle

ends the sequence.

Sixteen is entering Welch from the west through the two long Hemphill Tunnels and

Welch Tunnel. There is fine whistling both in and out of tunnels and good track sound.

She crosses a trestle over the Tug River, then eases up a main street of the town to the station.

‘Automobile sounds and voices can be heard over the clash of the couplers.

It is twilight now as “The Cavalier” leaves Keystone, W. Va. and whistles frequently as it

makes the mile and a half run to North Fork. Wheels loudly protest the sharp curves and

the train rumbles over short bridges. Voices from children on the platform are picked up as

she eases into North Fork. The start is neat and the 605’s exhaust is echoed from the sharp

cliffs and buildings. The fade-out comes as Train 16 pounds up Bluefield Mountain toward

Elkhorn Tunnel.

Sipe & Volume 2

1. Scene is the Norfolk & Western roundhouse at Bristol, Va.-Tenn. where until January I,

1958 the road’s steam engines still operated to connect with the Southern’s line from Knoxville

and the Deep South. Sequence opens with the roundhouse whistle signalling the end of the

second trick lunch period, Engine 104, a 4-8-2 which 35 years before had been the queen of

che passenger trade is ending her career as custodian of the daily local freight between Bristol

and Radford, She signals, moves from her roundhouse stall to the turntable, The ratchetty,

whirring table creaks and jars her into position to ease off the table and pass the microphone

at a second position. The locomotive chuffs to a switch and backs up on the coal wharf siding

to pass the listener again. After servicing 104 returns to her berth, ready for the next days

chores.

2. On the return trip over the high, inaccessible mountains near the Virginia-lennessee-

North Carolina meeting point, N&W Mixed Train 202 takes a running start’ for the

heavier grades to come as it powers past the battered store-post office at Husk, N. C

(pop. 78). We hear the labored distant exhaust, then the nonesuch whistle of Engine 382

(said to have been made especially for Engineet Nichols). Again the whistle, and again.

Now there is response from Jimbo, the Hound of Husk, who has heard it twice a day for

years but cannot resist his painful obligato. The mighty little 51-year-old twelve-wheele:

with its load of four freight cars, a combine and a coach approaches to crescendo and

passes with never a let-up in its pounding drive. There is no business today at Husk, N. C

("Nella” on the timetable). Engine 382 works harder in the distance as grade increase:

From 1.4 to  2%.The wondrous whistle echoes from the cliffs and she is gone

3. Green Cove is a mountain settlement on one of the two isolated level spots in the solid

17-mile climb of the N&W’s “Virginia Creeper” from Damascus, Va. to White Top Station's

3577-foot level — highest point reached by a passenger train east of the Rockies. Until Decem-

ber 1957, when the diesels came Engine 382 and her train from another century made the

daily-except-Sunday ascent each morning around 10 spouting a volcanic plume of black

and an ear-wracking blast as she inched up the 3% grade. Over the crickets we hear her distant

laborings, the exhaust bouncing from the narrow cuts. There is the whee! of steel on steel

and the little engine slows to a protesting crawl. Then comes the incredible whistle and more

fighting until a station blast announces that the 200-yard stretch of level land is near. With

bell ringing and safety valve open she drifts to a stop. Then the clank of slack and Engine 382

starts slowly and confidently on the last three twisting 39% miles to the top. A long crossing

blast ends the sequence.

4. It is 9:39 P.M. on Christmas Eve, 1957 in Rural Retreat, Va., a farming community

near the highest point on the N&W’s line from Bristol to Radford. Mrs. J. E. Dodson plays

carols on the Lutheran Church chimes, From far to the southwest comes the distinctive

whistle of a Class J locomotive No. 603 powering Train 42, "The Pelican,” eastbound from

New Orleans to Washington. Old heads in southwestern Virginia still call 42 “The

Vestibule,” dating it to the time in the ‘nineties when it was the region's first train with

enclosed platforms. “Silent Night” floats over the village as the rumble grows. Another

whistle and the warning bell on the automatic crossing gate begins its clangor. The bell

ceases as 42 blows and comes with a rush, its 17 cars rumbling across the highway to a

quick flag stop at the wooden station. It pauses with a final squeal but almost immediately

moves again, the 603 sure in its rhythm. There is another whistle as “The Vestibule” fills

the night with power. The chimes continue above a far farewell salute. Seven nights later

the last steam engine ran over the Bristol Line.

Assistance in recording side A Thomas Haskell Garver

Recording Christmas Sequence at Rural Retreat Roy Zider

All Copy: Ben Bane Dulaney N&W Ry.

Design and layout of album cover and liner Salem Tamer and Bob Roche

Mastering by Hydrofeed — Jack Matthews — Components Corp.

Calor Gaveriprinted by Color Grafhan Gaston| Oxcnast—1 Stan fordnGore

All photography: QO. Winston Link

*Color Cover photograph made as Train 202 crossed Bridge 8 North of Alvarado, Va

on the Abingdon Branch.

Haskell＋ffmpeg hmpeg.hs

import System.Process
import System.Directory
import System.FilePath.Posix
import Control.Monad
import Data.List
doCom x f = createProcess 
    (proc "ffmpeg" ["-i",x,"-sample_fmt", "s16", "-ar", "44100",nf])
    where nf = f:".flac"
filtFile fi = return . filter (\x -> takeExtension x == fi) 
sort' = return . sort 
main = do
    fs <- getCurrentDirectory >>= listDirectory >>= filtFile ".flac" >>= sort' 
    print fs
    zipWithM_ (\x y -> doCom x y) fs ['a' .. 'z']

シェルピンスキーのギャスケット。Haskell＋Python.turtle

import HTurtle
import Data.Complex
main = do
    let p0 = (0,0)
    let p1 = (200.00000000000006,346.41016151377545)
    let p2 = (400,0)
    start
    speed 10
    shape "turtle"
    triangle [p0,p1,p2] "black" True
    sg 3 [p0,p1,p2] 
    end
sg n [a,b,c] = do
    triangle [mp0,mp1,mp2] "white" True
    if n <= 1 
    then return () 
    else do 
        sg (n-1) [a, mp0,mp2]
        sg (n-1) [b,mp0,mp1]
        sg (n-1) [c,mp2,mp1]
    where
        mp0 = mp (a,b)
        mp1 = mp (b,c)
        mp2 = mp (c,a)
mp ((a,b),(c,d)) = let (e:+f) = c2 in (e,f)
    where 
        c0 = (a:+b)  
        c1 = (c:+d)  
        c2 = (c0+c1)/2

ハブ、リム、マーク合わせ

     
import HTurtle
import Data.Complex
import System.Environment
data Circle = Circle {center :: Point, r :: Double}
getP :: Circle -> Double -> Point
getP c radian = let (a :+ b) = c0 in (a,b)
    where   c0 = mkPolar (r c) radian
drawCircle :: Circle -> IO()
drawCircle c = circle (center c) (r c)
getAs :: IO [Double]
getAs = do
    as <- getArgs
    return $ map read as
main = do
    [a,b,c,d] <- getAs 

    start
    screensize (3000,2500)
    pensize 5
    speed 10
    let c0 = Circle (0,0) a
    print $ getP c0 pi 
    drawCircle c0
    let c1 = Circle (0,0) b
--    drawCircle c1
    dot (0,0)
    mapM_ dot $ dots0 c0 c
    mapM_ dot $ dots1 c1 c 
    color "red"
    line [p0 b c d, p1 a c] "red"
    let (aa,bb) = p0 b c d
    line [p2 (aa :+ bb), dots0 c0 c !! 1] "red"
    color "blue"
    line [(0,0), (getP c0 ((yen / (c*2) * (-1)) * 3))] "blue"
    end
dots0 c h = map (\x -> getP c x) $ take (round h) [0 , (yen / h) ..]
dots1 c h = map (\x -> getP c x) $ take (round (h/2)) [x + yen/h|x <- [0, (yen / (h/2)) ..]]
yen = pi * 2
p0 r h k = let (a :+ b) = x in (a,b)
    where  x = mkPolar r (yen / (h / 2) * (k - 1) / 2)
p1 r h = let (a :+ b) = x in (a,b)
    where x = mkPolar r (yen / h * (-1))
p2 c = let (a :+ b) = conjugate c in (a,b)

HTurtle.hs

 -- HTurtle.hs
module HTurtle where
type Point = (Double,Double)

f0 :: String -> IO()
f0 s = putStrLn s
f1 :: String -> IO()
f1 s = do
    putStr s
    putStrLn "()"
f2 :: String -> Double -> IO()
f2 s n = do
    putStr s
    putStr "("
    putStr $ show n
    putStrLn ")"
f2' :: String -> Point -> IO()
f2' s p = do
    putStr s
    putStrLn $ show p
f3 :: String -> String -> IO()
f3 s s1 = do
    putStr s
    putStr "("
    putStr "\""
    putStr s1
    putStr "\""
    putStrLn ")"
start = f0 "from turtle import *"
end = f1 "done"
pensize = f2 "pensize" 
screensize p = f2' "screensize" p
polygon :: [Point] -> String -> Bool -> IO ()
polygon pp@(p:ps) color True = do
    fillColor color
    beginFill
    penup
    setPos p
    pendown
    mapM_ setPos (ps ++ [p])
    endFill
line ps c = polygon ps c True
dot p = penup >> setPos p >> pendown >> f1 "dot" >> pendown
penup = f1 "penup"
pendown = f1 "pendown"
triangle = polygon 
circle (a,b) x = penup >> setPos (a,b-x) >> pendown >> f2 "circle" x 
speed n = f2 "speed" n
shape t = f3 "shape" t
color c = f3 "color" c
fillColor c = f3 "fillcolor" c
beginFill = f1 "begin_fill"
endFill = f1 "end_fill"
setPos (a,b) = f2' "setpos" (a,b) 
setx x = f2 "setx" x
sety y = f2 "sety" y
-- end of HTurtle.hs