15 Years Factory wholesale Special Wax in Agriculture and Forestry for Portland Factories
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15 Years Factory wholesale Special Wax in Agriculture and Forestry for Portland Factories Detail:
(1)YNE4 Series Special Molding Moisturized Wax for Fruit Trees
In order to protect fruit trees and shrubs from desiccation during winter dormancy or transportation or to keep moisture in summer drought, Special Molding Moisturized Wax is spayed on the surface of trees, forming the protecting film in surface of trees. The film has some adequate micro pore that could efficiently reduce the losses of moisture in the surface of the trees, and it simultaneously ensures physiological respiration of the trees.
(2) YNE5 Series Special Preventing Frostbite Wax for Trees
(3) In large northern areas of our country, the winter season is severe cold and the spring season is more heavy windy.
The early winter and the late spring’s frost are quite disadvantage to young plant, the weather is particularly abnormal coldness after spring comes, and frequently injures these trees. As a result young plant is cold death. YNE5 Series Special Preventing Frostbite Wax for Trees not only has anti-freezing effect on trees but also well effect on anti-sprouting etc. Spraying on branches and leaves of trees can make exuberant growth of foliage.
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To create more benefit for buyers is our business philosophy; shopper growing is our working chase for 15 Years Factory wholesale Special Wax in Agriculture and Forestry for Portland Factories, The product will supply to all over the world, such as: Venezuela , Jeddah , Vietnam , We've a good reputation for stable quality solutions, well received by customers at home and abroad. Our company would be guided by the idea of "Standing in Domestic Markets, Walking into International Markets". We sincerely hope that we could do business with customers both at home and abroad. We expect sincere cooperation and common development!
New voices, old technology: bringing wax cylinders back
The NFSA and the Stiff Gins break new ground by recording contemporary music on 19th century wax cylinder technology.
Two women sing into a large brass horn
The Stiff Gins: Kaleena Briggs and Nardi Simpson record on the Edison Standard D model phonograph
In early 2013 the Indigenous musical duo Stiff Gins (Nardi Simpson and Kaleena Briggs) approached the NFSA’s Senior Curator of Indigenous Collections, Peter White, asking about the possibility of recording a wax cylinder. Nardi Simpson and Kaleena Briggs had come across the cylinder recordings made by Tasmanian Aboriginal woman Fanny Cochrane Smith in the early years of last century and they were intrigued by the idea of making such a recording as part of the developmental work for a new show.
Now, all NFSA technicians had to do was learn how to make it all work. There is no handbook for this 19th century technology. The NFSA archives equipment as well as recordings, and after some research it was decided that we could use one of our Edison Standard D model phonographs as a recording machine. This machine dates from around 1908, has a clockwork spring-powered motor and was fitted with a reproducer head that could play back both 2- and 4-minute cylinders. However, a recorder head instead of the reproducer was required and there were none in the collection. Luckily, a 2-minute version was found from a supplier in the US and blank cylinders were sourced from Paul Morris in the UK.
Audio technician Gerry O’Neill with Edison Standard D model phonograph
Then the equipment was set up in the recording studio for some testing. Recording on such equipment is a purely mechanical process, with no electricity involved. The performer sings or plays down a metal horn and the energy of that sound is concentrated onto a thin circular mica disc in the recorder head. The vibrations of the disc move a thin glass rod which cuts the spiral groove in the cylinder.
We tried out two different conical horns and decided that the longer (120cm) produced better sounding recording that the shorter (100cm) one. The distance of the performer from the horn is also critical and we found that the performer has to be able to hear a reverberant echo coming back out of the horn for there to be enough mechanical energy to cut the groove.
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