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In the last Computers in Model Railroading I talked briefly about the Internet and its model railroading resources. This time I'll let associate editor Keith Thompson show you some of […]

The CTI system is a combination of microprocessors and software that transforms a personal computer into a sophisticated monitoring and control center. It's a versatile block control system that can [...]

RealRoad offers this package of hardware and software to link a personal computer to your layout. The combination simulates the actions of a real locomotive and you'll even learn a [...]

Thanks to Terry Thompson and the MR staff for promoting the computer interfacing facet of our hobby by publishing Bruce Chubb's 'Signaling made easier' series. It's taken a while but [...]

For a long time I've been telling you that model-railroad-specific software adds enjoyment to the hobby. There are more programs out there now than ever before, and they can do […]

Getting "on-line" these days seems to be on everyone's mind. Many model railroaders have long been exchanging ideas through verbal networking. But now, thanks to the growth of computer information […]

Cesare Bianchi overcame layout space problems using his computer Many model railroaders have suffered from the "too little space" syndrome but few have solved the problem as ingeniously as Italian […]

Our CAD contest announced in the June '94 column sure stirred up interest. We had many fine entries, introduced some readers to new programs and skills, and even discovered a […]

This month I've got a QBASIC program that can show you how grades affect train performance and possibly save you some frustration from poor operations later. Also, there's a wealth […]

This month I'm going to delve into the advantages of CAD for model railroad track planning. I'll look at what's available in the low-end price range and try to answer […]

There's a new direction of BASIC programming language we can use in our hobby and in this column. I'll use spiral curves as an example and apply the new compiled […]

Welcome back again to Computers in Model Railroading. In this installment I'll show you another simple yet effective BASIC program for calculating roof pitches when they're not given in published […]

Your computer is a great aid for roadbed construction, and I'll show you how it can help in this installment of Computers in Model Railroading. I also have feedback from […]

Designed for Apple Macintosh and IBM compatibles, $69.95 to $99.95. Here's one of those sleepers that can help with model railroad planning. Design Your Own Home is a package for [...]

Palaeontologist Ivan Turk publicly announced in 1997 that a juvenile bear cub femur that he found at the Divje Babe I site. near idrija in northwestern Slovenia, was a 43,100 year-old "Neanderthal Flute" (see figure 1). The bone's four holes appear lined-up, with a possible "thumb hole" on the opposite side. Both ends of the bone are heavily chewed and damaged (Turk 2000). The interpretation of the Dirge Babe bone as a human-made flute was soon disputed. The claim in papers by Francesco d'Errico et al (1998); April Nowell and Philip Chase (1998); and re-stated by lain Morley (2006, 317-333), was that the object's holes were caused by carnivore chewing damage. Those papers challenged my view (Fink 1997) that the hole spacings matched a diatonic scale sequence, among the most widespread scales known This paper defends the flute interpretation and provides evidence Morley and others ignored. [ABSTRACT FROM AUTHOR]

The author discusses the development and evolution of the pentatonic and diatonic scales with reference to the Trio Theory of overtones over that of the cycle of 5th. He refutes the argument of a writer over the prevalent use of the cycle of 5th during the ancient times. Moreover, he stresses that even though the cycle of 5th was available then, musical scales already evolved using other procedures and existed even before the development of the cycle of 5th.

The author replies to the argument made by archeologists April Nowell and Philip Chase that refutes his idea about the Neanderthal flute. Accordingly, Chase and Nowell refuted the author's claim of the Neanderthal flute being consistent with notes of the do-re-mi scale by arguing that the specimen bone is too short to play its notes in tune with any diatonic series of tones. The author asserted his initial claim by explaining how his views was misrepresented by the archaeologists.

The article discusses the discovery of Neanderthal flute by the paleontologist Ivan Turk at the Slovenian Academy of Sciences in Ljubljana, Slovenia. The flute has unevenly spaced holes that would have been done in poor measurements or drilling. The notes on the flute would reach the air-column length of about 42 centimeters and consistent with four notes of the minor diatonic scale including third and sixth flatted notes.

Presents a photograph of an iceberg taken by photographer, Mike Beedell aboard a passing ship focusing on concepts in archaeology, entropy and the art of repetitive patterns and geometric or mathematical designs. Emphasis on the formation of the iceberg; Comparison of the shape of the iceberg to the image of fictitious character, Mickey Mouse in Disney's film "Sorcerer's Apprentice"

Focuses on the subliminal and hidden messages imbedded in movies, music cassettes, records, pictures and images. Moral implications of hidden messages in music lyrics and videos; Commercial manipulation used in advertisements; Natural images and sounds; Subliminal messages in educational texts.

Relates the author's experience in watching an all-Beethoven concert. Author's description of the decline of the financial fortunes of the arts which had become intense that only the bare bones were able to fit the score; Appreciation on Beethoven's 5th Symphony.

A personal narrative is presented which explores the author's experience of photographing events as they happened during the 1967 Detroit black uprising.

The article looks at the role of music in the survival an devolution of early man. The evolutionary benefits of hearing are discussed, including the ability to distinguish specific sound properties. The author defines the difference between consonant and dissonant sounds, noting that identifying a painful scream or the growl of a predator has a great value in survival.

The article presents a personal narrative describing a disastrous set malfunction at an opera production.

The author discusses the persistent influence of audible overtones on the formation of scale pitches in music. He relates that he calls his explanation on the influence of overtones the Trio Theory because it deals with all the audible overtones that are not of one note, but of three notes. Moreover, he discusses the manifestations of these overtones in reality relative to known and new archeological, anthropological, historical, and physiological information.

The author offers information on the origin of the Neanderthal flute. He argues that archaeologist Francesco d'Errico and his company failed to see the Neanderthal bone as a whole. Moreover, he says they completely ignored to see or address the naked truth that is really obvious that Neanderthal bones found in caves are really a flute and not a naturally-made object.

The article offers a rough calculation of how many different ways the four holes on the Neanderthal bone could be out-of-line. The author asserts that this rough calculation can be easily followed. He encourages the use of this probability as an alternative to taphonomy to know the mathematical odds of the Neanderthal flute bone.

A letter to the editor is presented in response to the article "Antiquity Journal: A Bone to Pick," by Bob Fink in the March 2004 issue.

The article discusses various reports published within the issue, including one by Anne D. Kilmer on the indication of the harmony and the diatonic scale of the Neanderthal flute and the psychological studies supported it on the natural intervals to the dissonant intervals.

An excerpt from an appendix to "Origin of Music," 3rd Ed., by Bob Fink is presented.

A letter to the editor is presented in response to an article about the spacing between holes of the Neanderthal flute.

An excerpt from the book "The Origin of Music," by Bob Fink is presented.