AIR FILTER AC

Kenwood KDC-MP145 In-Dash CD/MP3/WMA Receiver with Aux Input

The KDC-MP145 makes listening to your portable music player in the car so easy even a… well you understand. On the front panel of this beautifully designed car stereo is a stereo mini plug, simply connect your iPod to the input and you’re rocking it.

Kenwood's KDC-MP145 is a quick way to add WMA/MP3 playback to your vehicle, along with a front input for your portable music player. This CD receiver keeps it simple, delivering playback of your digital files from a data disc, AM/FM radio, a preamp output for expansion, and quality Kenwood sound on a budget.

A quick way to add WMA/MP3 playback to your vehicle. Click to enlarge.

Easy-to-read, one-line, 11-digit flourescent display.

Front-panel aux input for connecting your portable music player.
Removable Faceplate
Like many modern car stereos, the faceplate of this model can be removed and taken with you, to help deter theft. The control panel is equipped with an easy-to-read, one-line, 11-digit flourescent display for easy control and navigation.
CD and WMA/MP3 Playback
Enjoy your favorite CDs and CD-Rs, or burn a disc of WMA or MP3 files and enjoy hours of music on a single disc, along with ID-3 tag display for artist and title info.
FM/AM Tuner
When you feel like letting someone else control the programming, switch to the radio. Store your favorite stations as presets for instant access--mixed preset tuning allows both FM and AM stations to be preset on the same preset band.
Front Auxiliary Input
Listen to external audio devices like MP3 players using the front auxiliary input, which is illuminated so it's easy to find in the dark.
Room To Grow
The KDC-MP142 features one 2V preamp output for system expansion. It includes a rear/subwoofer switch with a subwoofer level and adjustable low pass filter, so you can send just what you need for your system.
System Q Sound Control
Five factory pre-set equalization curves (Rock, Top40, Pops, Jazz and Easy, plus a flat setting) and three speaker matching curves (OEM, 6x9, 5/4 plus a flat setting) can be combined for extreme sound-shaping flexibility. The preset curves include midrange contouring, giving music more clarity and presence. The preset curves can also be combined with the unit's bass, midrange and treble controls allowing users to personalize the sound to their particular taste.
Bass Boost
Handy for listening at lower volume levels (or for those who just like a lot of low-end).
What's in the Box
Kenwood KDC-MP145, Wiring Harness, Installation Tools and Hardware, Owner's Manual, Warranty Card

With EF-S 18-55mm IS Objective.

15.1-megapixel CMOS sensor Type - 22.3 x 14.9mm CMOS
Type - TTL-CT-SIR with a CMOS sensor
DIGIC 4 image processor
14-bit analog to digital signal conversion
3.0-inch (76 mm) LCD monitor
Live view mode and built-in flash
Wide, selectable, nine-point AF with centre cross-type sensors
Four metering modes, using 35-zones: spot, partial, center-weighted average, and evaluative metering.[4]
Auto lighting optimizer
Highlight tone priority
EOS integrated cleaning system
sRGB and AdobeRGB colour spaces
ISO 100–12,800
ISO Sensitivity (8) - AUTO(100-1600), 100, 200, 400, 800, 1600, 3200 Expandable to 6400 + H (approx 12800) in 1-stop increments
Continuous drive up to 3.4 frame/s (170 images (JPEG), 9 images (RAW))
Canon EF/EF-S lenses
PAL/NTSC video output
SD and SDHC memory card file storage
RAW and large JPEG simultaneous recording
USB 2.0, HDMI interface
LP-E5 battery
Approximate weight 0.475 kg
Metering Range - EV 1-20 (at 23°C with 50mm f/1.4 lens ISO100)
Low-Pass Filter - Built-in/Fixed with Self Cleaning Sensor Unit
AWB, Daylight, Shade, Cloudy, Tungsten, White, Fluorescent light, Flash, Custom. White balance compensation: 1. Blue/Amber +/-9, 2. Magenta/ Green +/-9
WB Bracketing - +/-3 levels in single level increments, 3 bracketed images per shutter release. Selectable Blue/Amber bias or Magenta/ Green bias
Viewfinder Information - AF information: AF points, focus confirmation light.
Exposure information: Shutter speed, aperture value, ISO speed (always displayed), AE lock, exposure level/compensation, spot metering circle, exposure warning, AEB.
Flash information: Flash ready, high-speed sync, FE lock, flash exposure compensation, red-eye reduction light. Image information: White balance correction, SD card information, monochrome shooting, maximum burst (1 digit display), Highlight tone priority (D+)

this moment I shared a few weeks ago with my dear friends Ken and Jim.


wish you all a fantastic week.

sorry my absence on your stream.............work and my internet connection keeps me away.)

Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head.

Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence."

Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century.

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