Discussion about sports trading cards

January 29th, 2010
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Here is a discussion between my friend Alvenh Channe and some facebook friends about the value of sports trading cards that we collected in the 80’s and 90’s.

Hey Guys,

Just curious, did any of you ever collect baseball/hockey/football/basketball cards back in the 80’s-90’s? Also, has anyone ever bought Magic The Gathering cards (a.k.a. “Magic Cards”) or World of Warcraft cards in the recent past?

I’m just going through a collection of cards that has not seen the light of day in almost 20 years. My collection spans from 1949 to 1991 and mostly worthless now. And my Michael Jordan and Pavel Bure cards, once worth $30-$50 each in its heyday are now worth about 50 cents each. :(

Interesting – I never collected them, I have a few that I got from friends including a basketball card in a plastic hard case! I don’t know where they are – I haven’t seen them for like 15 years.

If they were 90’s gems, chance are, they’re worth very little today.

so the price eventually goes down?

Ben, it all depends on supply and demand. In the early days of modern card collecting (1946 to 1970’s) kids collected cards for the challenge of trying to complete a set; they were not collecting for the money and cards were often stored in shoe boxes or taped to bedroom walls. The kids grew up, went to college or university, and mothers across the USA and Canada threw out their kid’s card collections in the process of cleaning out their rooms. As a result, older cards became scarce and those in mint condition were extremely rare.

Card collecting made a comeback in the mid 80’s but this time, they were collected as an investment. From about 1985 to the major league baseball players’ strike in the mid 1990’s, kid all over North America were buying all kinds of sport cards, keeping them in mint condition. And to keep up with the demand, card companies like Upper Deck kept printing them to the point of overproduction.

This second generation of collectors have grown up and many now have kids of their own. Being raised in the internet age, hardly any kids of today have interest in sport cards, thus no longer any demand. Also, as a result of video games, game cards – such as Magic The Gathering, World of Warcraft, Pokemon, Yu Gi Oh, and others – currently dominate the market of collectible cards. Even so, the sport card classics will continue to hold its value for many years to come long after the game cards cool off.

So yes, the price of most cards from the 80’s/90’s (the junk era) have went down but there are exceptions as a few have unexpectedly went up in value. One example is a McDonald’s Upper Hockey set from 1991 (which I still have) in which its cards, almost worthless originally, are now valued at $2.50 each, according to the Beckett guide (Beckett’s prices are considered standard and official). Also, as thousands of junk era cards across the USA are being thrown-out every day, our collections may become valuable again in 20 years as they become rarer, especially if there is a resurgence in card collecting. So Ben and Nathaniel, do me a favor and throw out your 80’s/90’s sport trading cards. They are, after all taking up valuable space, aren’t they? :)

Hey this is really interesting Alvenh… can I publish this thread on my web site? I will give you guys credit of course and link to your sites. Let me know!
Thanks,
Geoff

Sure but i’m no expert though.

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Transformer Basics – by Alvenh Channe

January 29th, 2010
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I just wanted to answer some of the questions you’ve had earlier about the electronics stuff. I’m sorry I didn’t have the time to sit down to explain. So, let us begin with a discussion of transformer basics…

What is a transformer?

There are many different types of transformers, but basically, a transformer is simply a device that uses electricity (AC) to generate electricity. By doing that, they accomplish one or more of the following tasks: convert high voltage AC to low voltage AC (called step-down transformers), jack-up low voltage AC to high voltage AC (called step-up transformers), isolation of one circuit from another (isolation transformers), impedance matching, removal of DC component from mixed AC/DC signals, and other tasks.

As you might have learned in your high school physics class, moving charges (i.e. electrons or protons in motion) generate magnetism, thus if you have an electric current running thru a wire, a magnetic field is created around the wire. The strength of the magnetic field is determined by the amount of current, which is given by the equation F = IlB, where F is magnetic force, I is current, l is length of wire, and B is magnetic field. DC results in a non-changing magnetic field; AC results in an alternating magnetic field (one in which north and south keeps changing back and forth).

Now, going the other way, if a wire is placed in a CHANGING field, a current is generated or INDUCED in the conductor (the wire) such that its magnetic field acts to oppose the change. If the wire is placed is a NON-changing magnetic field, there is no current generated because there is no need to oppose any changes; however, if you MOVE the conductor in a way such that it “cuts” the lines of magnetic forces, this motion mimics the magnetic activity of an alternating field and a current will be generated in the conductor. That’s how basic mechanical electric generators work by converting kinetic energy (energy of motion) to electrical energy.

On the other hand, you can apply an electric current to a conductor that’s already in a magnetic field and the conductor will start to move (like poles between B-field of wire and magnet repel; opposite polarities attract). That’s how electric motors work. And that’s why electric motors with permanent magnets can be used as generators and vice versa.

Now, what if you have coil of wire (with an electric current running thru it) wrapped around an iron core? You’d have an electromagnet. But what if you ran AC into the coil? You’d have an electromagnet with alternating magnetic field (north and south poles keeps swapping at a rate of whatever the AC frequency is). As I have mentioned above, if a conductor is placed in an alternating magnetic field, an alternating current is induced (generated) in the conductor. So, what if I took a second coil of wire (with no current running thru) and placed it onto the same core (the AC electromagnet)? Well, in this case, as you might have guessed, an AC voltage is generated in the second coil. Also, as you might have noticed, the second coil is isolated from the first. This device (coils plus iron core) is called an induction coil, commonly known as a TRANSFORMER.

In a transformer, the coil in which you apply AC is called the primary winding (or simply the primary). The other coil in which an alternating current is generated is called the secondary winding (or simply the secondary). Voltage in the secondary can be of the same voltage as in the primary or can be higher or lower. Although, all transformers with separate primary and secondary windings perform the task of isolation, the transformers I have mentioned are known respectively as isolation, step-up and step-down.

If there are MORE windings in the secondary than in primary, the output voltage will be GREATER than that of the input voltage as in the case of a step-up. If the secondary has LESS turns of wire than the primary, the output voltage will be LOWER than that of the input voltage, as in the case of a step-down transformer. If a transformer is 100% efficient, the TURNS RATIO is equal to the VOLTAGE RATIO. Thus, a transformer that’s used to step down 120 volts to 60 volts would have a turns ratio of 2:1.
(Note: Transformers with an efficiency of less than 85% are considered dangerous, as the rest of the input energy is converted to heat.)

So, you may be wondering, can I take a 2:1 step down (like the one described above), reverse the wiring and use it as a step-up transformer to convert 120 volts to 240 volts? Theoretically speaking, it is possible…BUT…in reality, the coils, WITH RESPECT TO the core material, are NOT rated to handle those voltages. If there are not enough turns, the windings will not be able to handle higher voltages since there would be more magnetic flux than the core could hold. This results in flux offset known as core saturation. Current in wire will increase to dangerous levels, and your transformer will go up in smoke and melt.

The transformer doesn’t know if it’s a step-down or step-up, but it does know the voltage ratings of the windings. Thus, you can take what is normally a 120-volt-to-6-volt step-down transformer and use it to step-up 6 volts to 120 volts by applying 6 volts to the 6 volt windings. In this case, what is normally the secondary is now used as the primary. As I have mentioned, 1:1 transformers also exist.

So, why would anybody want to convert 120 volts to 120 volts when you can get that right out of the wall without having to spend extra? The answer is isolation, and transformers used to perform such tasks are called isolation transformers.

Isolation is important when you want to work with live circuits. On the unisolated primary (house wiring), one side of the 120 volt line is connected to ground and it’s called neutral. The other side of the 120 volt line is known as the “hot” side, which measures at 120 volts WITH RESPECT TO THE GROUND YOU ARE STANDING ON. Thus, if you come in contact with the “hot” side of the wiring, you will receive a shock. An isolation transformer gives you 120 volts completely UNGROUNDED on the secondary. Therefore, should you come in contact with any one side of the 120 volt secondary, you will not get shocked. However, if contacting both sides of the secondary is equally as dangerous as contact with both sides (or one hot side) of the primary.

Transformers that are built into power supplies to provide power to equipment are known as “power transformer”. The Hammond 269AX used in the AECA transmitter is an example of a power transformer.  If you go to a store like Future Shop to buy a modern stereo system, you’ll notice that the device has a power cord for you to plug into the wall so that there is electricity to run the system.

Although the power that comes out of the wall outlet is 120 volts AC (really 117 VAC at 60 cycles in Canada, US, and Mexico), the stereo system does NOT run on 117 volts AC. Instead, a step-down power transformer that is built into the system converts 117 VAC to 12 or 24 volts or so on which your system is designed to use. Also, the 12 or 24 (or whatever) volts from the transformer is AC, and will need to be converted to DC before it can be used by the system.

An example: that big block that you plug into that wall to recharge you Nokia cell phone contains a step-down transformer. However, in the olden days when tubes were used, 117 volts from your wall was often insufficient for equipment. Therefore, step-up power transformers were often used to convert 117 volts AC to HIGHER voltages. Household tube devices usually require 200 to 600 volts to run. The AECA transmitter is an example of a device that uses a step-up transformer to provide 250 volts for the tubes.

Step-up and step-down transformers are also used a lot by the power company (BC Hydro). The power created by water turbine generators at the dams create about 10,000 to 100,000 volts of electricity. Step-up transformers boost up the voltage to anywhere between 100 kV (medium distance transmission lines) to 1 MV (long distance transmission lines) for greater efficiency in transmission. Power substation around town contain step-down transformers to supply electricity to medium voltage local feeders (about 6 kV to 60 kV), which in turn, is stepped down further into to low voltage feeders (around 10 kV or less) around residential areas. Wherever, electricity is needed for houses or buildings, step-down transformers mounted on the poles tap power from the feeder cables and is stepped down, providing 230 volts (center tapped) to buildings.

Center tapped means the middle of the secondary winding has a tap. Voltage at one end of the windings is 117 volts with respect to center tap; voltage at one end is 234 volts with respect to the other end. [234 volts CT is also known as 117-0-117] The power company grounds the center tap, thus, a 117 volt outlet has one hot side while a 234 volt outlet has BOTH sides hot. If you accidentally touch one side of the 234 volt wiring in your house, the shock is really a 117 volt shock, not 234 volts.

Anyways, that’s the best I can do in explaining the basics. I hope this helps. Please do not hesitate to e-mail me if you have any questions.  We’ll talk about impedence matching transformers next time.

By: Alvenh Channe (achanne@sfu.ca), Jan. 16, 2004.

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My Foolish Heart (jazz video) – Gio Escueta and Geoff Peters

January 28th, 2010
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Last week, vocalist Gio Escueta and I performed at the Fairmont Waterfront Hotel in downtown Vancouver BC Canada.

We made a video of one of the songs, My Foolish Heart by Ned Washington and Victor Young. It’s available on Youtube or by using the player below. Hope you enjoy!

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Ocean Apart – original composition by Geoff Peters (piano)

December 27th, 2009
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Last night I made a video recording of myself performing an original jazz bebop tune on the piano. It’s called Ocean Apart and I wrote it last summer while taking a composition class with New York jazz pianist Misha Piatigorsky.

You can view the video on Youtube, Blip.tv, or use the player below.

The MP3 recording of this performance is available for free here.

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Benny Reid new album “Escaping Shadows”

December 21st, 2009
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Benny Reid

Benny Reid, 29, is an saxophonist, composer, teacher, and recording artist who studied at Indiana University and now resides in New York. (Find him on Twitter, All About Jazz, Myspace, or Youtube).

He recently released his second album, Escaping Shadows, on the Concord Jazz label.

It features Benny Reid (alto saxophone & keyboards), Richard Padron (acoustic and electric guitars), Pablo Vergara (piano, Fender Rhodes, keyboards), Daniel Loomis (bass and electric bass), Kenny Grohowski (drums), Jeff Taylor (vocals), and Ryan Fitch (percussion).

For a sample of the music on the CD, check out the video below (or on Youtube).

One of Benny Reid’s main influences is Pat Metheny, and many of his compositions have parallels in some of Pat Metheny’s earlier works. The title track, Escaping Shadows, reminds me of Metheny’s Minuano Six Eight.

I’m a big fan of Pat Metheny so Benny Reid’s compositions immediately appealed to me. His work is similar in style and interpretation to Bob Curnow’s (who did a recording of Metheny’s earlier works in a big band style). Benny Reid’s arrangements make use of the smaller ensemble well and move between a contemporary, abstract style and an almost smooth-jazz sound for some of the melody lines and musical effects.

I especially enjoy Kenny Grohowski’s sensitive, nuanced, and very active drumming (which tends on the busy side but is very musical).

Benny Reid has a great sound on the alto sax – a very clear, expressive and pure tone. He avoids repeating the often quoted licks of bebop and instead forges his own way, with easily recalled and infectious melodies that seem almost derivative in their simplicity, but taken in the context of the band and compositions are obviously original.

Escaping Shadows is available as a Mp3 download or a physical disk from Concord Music Group.


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Heartbeet – Live improvised synth & acoustic piano with drum samples

December 6th, 2009
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My friend Marcus dropped by today for a visit, and we recorded an improvised performance of synthesizer and piano. It’s called Heartbeet. We named it this maybe because we both really like to eat beets, (yum!) and so therefore “heart” them, as well as because we were wanting to play on the concept of the pulsating bass drum that sometimes goes out of time from the piano, much like a heart beat will continue its own rhythm oblivious to the other rhythms around it.


The video is also available on Blip.tv and the Mp3 file for the song is available here.

Visit Marcus’s Knobb.ca music blog for more interesting ideas and videos. Also produced in cooperation with Birds in the House Productions.

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Song of the Week – Kurt Elling “Where I Belong”

November 20th, 2009
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Kurt Elling, jazz vocalist

Kurt Elling, jazz vocalist (photo credit: Christian Lantry)

One of my all time favorite jazz vocalists is the inimitable Kurt Elling. He has been voted Male Vocalist of the Year for 10 years in a row by critics in Downbeat magazine and for 5 years by the Downbeat readers’ choice awards.

Kurt Elling has done some really incredible recordings, and I am definitely going to go out and try to complete my collection and get all 8 of his albums.

The current JazzPianoCafe song of the week is Kurt Elling’s recording of his very romantic original song, Where I Belong. It’s from his 1998 album This Time It’s Love. Here are the lyrics, courtesy of Kurt Elling’s website:

Lyric by Kurt Elling

I hear the woman like a song / dancing down a long corridor
Reminding me I belong where I am

I see the singing in the rain/ the rhythm at my windowpane
Reminding me I belong where I am

There is a light in the silence of loving things
And when I look in my baby’s hopeful eyes
It’s like the sound just before ever morning horizon
Light comes to life

It’s like a magnet of loving sound / turning me rightside down
Keeping my two feet firmly planted on the ground
Reminding me I belong where I am.

You can listen to the song on iTunes for 99 cents, or listen for free on imeem (free account registration required). You can also purchase the CD or MP3’s online from Amazon.

Kurt Elling - This Time It's Love - Where I Belong

This recording of Where I Belong features the following stellar musicians: Kurt Elling voice, Laurence Hobgood piano, Rob Amster bass, Michael Raynor percussion, Dave Oderdonk guitar, Paul Wertico drums, and Brad Wheeler soprano saxophone.

The track opens with burst of warm sound. A simple riff on the soprano sax is echoed by the piano, accompanied by drums, acoustic bass and guitar. The riff is repeated once and then Kurt Elling enters with his sparkling and luscious baritone. A hypnotizing bossa nova ensues, with an exciting and tasteful soprano sax solo well shaped to a gentle climax before the final vocal melody restatement. The outro is a vamp on the original intro riff, ending with a bit of Kurt Elling’s whistling on the fade out.

Highly recommended! Hope you enjoy this song and check back again next week for another JazzPianoCafe “Song of the Week”.

-Geoff Peters (Birds in the House Productions)


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Live gig recording: Julian N. and Geoff Peters (alto sax and piano jazz duet)

November 4th, 2009
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I played piano at a wedding with my friend Julian N., a saxophonist and composer. Julian is a student at Humber College in Toronto. You can view his myspace page by clicking here.

Here is a track listing with links to the individual videos:

If you’d like to download MP3’s of the concert (free) you can get them from here.

With Julian’s permission I used my minidisc unit to record the audio from our performance. There is quite a bit of background noise from the wedding guests’ conversation, but in the recordings you can hear both of us quite clearly.

I also set up my Sony Camcorder in the corner and video-taped our performance too. There was very low light, so you can barely make us out in the video, but it gives more context to the audio to be able to see us perform too.

At this wedding, we performed a selection of mainstream jazz standards in a duo style. Probably my biggest inspiration for the saxophone-piano duo format is the legendary combination of Stan Getz (saxophone) and Kenny Barron (piano). Another inspiration for rhythmic ideas has been the mighty pianist Chick Corea and his duets with the one and only voice artist Bobby Mcferrin (such as their killer performance of Autumn Leaves).

So without further ado, here’s our complete performance (except for the last song we played, Confirmation by Charlie Parker, where we got interrupted by some DJ music).

Hope you enjoy! I hope that these performances will give you some ideas or inspiration for your own journeys in jazz and music in general.

Further listening: I performed one of Julian’s original compositions with the college band at the Phil Dwyer Academy of Music and Culinary Arts (PDAMCA) last August.

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TonyFrog – Orchestral music video about a green stuffed animal frog

October 30th, 2009
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I tried out my new video camera (a Panasonic AG-DVX100A) and filmed my stuffed animal frog which I bought at the Daiso Japanese dollar store in Richmond, BC, Canada.

The very same evening, I christened my green friend with the name of TonyFrog. So here is TonyFrog’s debut performance on video.

The rather “epic” classical music for this video was composed, orchestrated, and recorded by me, about 5 years ago. I used Cakewalk Sonar and the Edirol Orchestral module, along with my Yamaha P-80 keyboard hooked up to my PC via MIDI. I always intended for this piece to be used in a film, and its time has finally come! The credits music is another song that I wrote, an electronic dance music piece called Birds in the House that I recorded with my synthesizer (Korg MS-2000B) and mixed with some drum sounds from the Roland Virtual Sound Canvas (VSC).

The video was recorded in 60i mode and recorded directly into iMovie on a Mac using Firewire. I used a white balance card to calibrate the color settings (using the AWB button on my camera). I had to increase the Gain Boost on the camera to Medium because of the low light, and used the Auto Iris setting. I used iMovie to edit the footage and pick out parts which would go along with the music. Starting from the beginning of the music track, I edited clips to fit with the rhythmic and thematic changes in the song. I added a few effects such as a ripple and blur, just for fun.

Hope you enjoy the video!!
Until next time,
take care!
-Geoff Peters

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New Composition – Wild Thing (by Geoff Peters)

October 24th, 2009
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Today I wrote a new song: it’s called “Wild Thing” and is inspired by the movie Where the Wild Things Are. Click here to download the song or feel free to use the player above to listen.

To watch me perform the song, check out this Ear Training Video we made, where I explain how to play the Minor 7th interval (a key part of this song!). The performance of Wild Thing is at the end of the video.

The ear training video on intervals is part of EarPractice.com, a website that I created with my friend Marcus Emmanuel Barnes.

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