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astra90x · 2 years

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Flufftober Day 6 - Candles, Lanterns, Fairy Lights

@flufftober

Fandom: Stardew Valley

Pairing: Sebastian x Reader

Word Count: 1307

Reader Pronouns: She/Her

Warnings: Cursing

This is one chapter of an entire linear story! It can be read separately but is better when read as a whole. Enjoy!

❤❤♡♡♡♡♡♡

Fuck these Yoba-forsaken mines!

It’s been two hours. Two hours. You haven’t even gotten down five floors yet! You curse yourself for not listening when the TV’s fortune teller warned you about the spirit’s displeasure, but you figured that was just superstition. You can’t help but second guess now as you slash your blade into yet another slime, trying to clear out this infested floor before you can adventure deeper.

You’re caught off guard when a slime approaches you from behind, throwing its entire body forward into a lunge that nearly knocks you off your feet. You swing your sword toward the slime, but it’s just out of your reach, and you see it rearing back to leap again. You already feel weak, but you know that you have to make it down one more floor if you want to reach the next elevator and turn its power on. Otherwise, you’ll have to make up all of this progress again.

You dodge out of the way as the slime lunges again, recovering quickly to thrust your blade into the slime. It leaves a deep gash that starts to leak the goo-like substance that makes up the inside of the slime (is it blood? You’re not really sure), but you know that one hit won’t be enough to take it down. These things are shockingly resilient.

The slime leaps for you again, and this time you aren’t able to dodge, so the slime hits you full force and knocks you back several feet. You stumble and try to keep your balance, and even though your feet remain under you, you can feel the damage that the slime did. You’ll have heavy bruises for the next few days, at least.

Your vision sways a little and you feel an unpleasant pounding in your head, a sure sign that you’re going to pass out soon. But you refuse to give up. You will not be giving these damn slimes the pleasure of defeating you, even if you faint because of it.

The slime moves to charge you again, but this time, you stare it head-on, and when it starts to jump you swing your sword with expert ability, causing a large gash to form across the slime’s entire body. That same goo starts to pour out of the large cut and the slime soon crumples to the ground, melding into the ground and forming a ladder to the floor below. Well, that’s some weird-ass magic.

You use your last remaining strength to push yourself down the ladder, then head over to the elevator and switch the breaker next to it on. That supplies power to this part of the elevator shaft, making it operable again. You feel around the wall in your dazed state to find the elevator button, and when it’s located, you wait for the elevator itself to descend to your floor before stumbling into it and letting it carry you back to the entrance of the mines.

When the elevator dings and the grated doors slide open, you step out into the large cavern and collapse against the wall, finally allowing yourself a moment to just breathe. The dim light of the lanterns posted around the walls is the only thing illuminating the area, but it’s nice. You don’t think your eyes could handle anything brighter.

“You look like you’re in rough shape.” You look up, completely startled, having not even realized that you weren’t alone. Even though your vision is still black around the edges, you can make out Sebastian standing next to the cave’s entrance, a cigarette held between his pointer and middle fingers.

You don’t even have the energy to respond, you just shake your head up and down in a pathetic nod. Sebastian smirks knowingly.

“Here, take this, I think you need it.” Sebastian reaches into his pocket with his free hand and pulls something out, tossing it across the cave towards you. It isn’t until you catch it that you realize what it is: an energy bar. “Eat up.”

“Thank you,” you mumble weakly, tearing the corner off the wrapping with your teeth and then cracking off a piece of the bar to put in your mouth. As soon as you’ve swallowed the first bite, you already feel a little better. The darkness has left your vision and your blinding headache has reduced to a gentle throbbing.

Sebastian pushes himself off the wall he was leaning on and makes his way across the cave to sit next to you. A subtle scent of cigarette smoke wafts off of him, but it isn’t necessarily bad. It just smells like Sebastian. A mix of smoke and cologne that you sort of love.

He lowers himself to the ground next to you and snuffs out the cigarette on the floor of the cave, which you do appreciate. Though you don’t much mind the smell, you’re not sure if your damaged body could handle straight smoke right now.

“What are you doing in here?” you ask once you’ve finished off the energy bar. It really did work wonders for you. You still feel incredibly drained, but no longer in danger of passing out with one wrong move. It’ll be enough to get you through the rest of the evening, at least. “I thought you usually smoked over by the lake.”

You’re also not sure why exactly you have Sebastian’s basic schedule memorized. You’ve started to take note of where you see him and when lately, and you guess that your brain has started subconsciously keeping track of it, for some unknown reason. Though it is nice to know whereabout he’ll be, if you ever do need him for something. Partner in crime, remember?

“I do, but it’s pouring rain,” he replies. It’s only then that you notice how right he is. Sheets of rain are thundering down to the ground outside, and it’s honestly a miracle that the cave is as dry as it is. A little bit of water has started to seep in from outside, but storms this heavy usually didn’t last super long, so you figure you’re safe to stay in the cavern for a little while. “Can’t exactly smoke in this, and Mom won’t let me do it in the house.”

“I don’t know why you smoke in the first place. It isn’t exactly good for you,” you point out, but you don’t realize exactly how rude it sounds until the words escape your lips. Sebastian doesn’t seem to mind much, though, but he does let out a small sigh.

“I don’t know what to tell you,” he admits. His face looks shallow in the low light of the cave’s lanterns, and it makes him look more solemn. “Maybe it’s an escape. Maybe I do it because I don’t care if it kills me. Maybe it’s just something that feels like a small rebellion. I really don’t know.”

You purse your lips together. That’s not the answer you expected. “Well, you at least shouldn’t do it just because you don’t care if it kills you. There are lots of people here that would be sad if you died.”

Sebastian doesn’t respond, but he has an almost shamed look on his face, which makes your heart pang with guilt. “I didn’t mean to make you feel bad, just… there are a lot of people here who care about you. Myself included.”

“You barely know me.” He doesn’t say it like it’s an accusation, instead there’s a bit of humour to his voice, like he thinks you’re joking.

“Yeah, well, I know enough to know that I’d be sad to lose you. Just think about that, okay?”

Sebastian stays quiet, but after a few moments of silence, he responds. “Okay.”

His smoke breaks by the lake seemed much less frequent after that.

❤❤♡♡♡♡♡♡

#flufftober2022 #day 6 #stardew valley #sdv sebastian #stardew valley sebastian #x reader

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senkusphone · 2 years

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Thank you very much for your comments and questions @aresagainstthemachine

About the youtube video, I actually had all the footage and I think I still do, I just never managed to overcome the self consciousness of my nasal voice and odd accent to do a voice over. About the range of frequencies, it does indeed run at around 1.3 MHz with a short antenna, and you may notice if you are familiar, that this build doesn't have any form of tuning capacitor that would allow me to tweak the transmit and receive frequencies, and the reason for that is that the tuning capacitor was not shown in the anime, only in the manga which I hadn't read at the time, as shown below.

if I were to wire in a couple of these however, it would allow me to control the frequencies, but keeping a maximum of 1300 kHz for transmitting and of about 1600 kHz (the frequency of the station that came through) for receiving, as adding capacitance only lowers the resonance frequency. Whether the sound comes through while transmitting, I am not entirely sure to be honest, if I checked that at the time, I do not remember it by now, but looking at the schematic it's likely that you can, as there is an audio signal path to the earpiece still in the circuit.

it would probably come through very distorted as the tube is not operating in a very linear region, it needs not to in order for the modulation to happen within it. And finally the spicy question, how deadly is it? the answer may surprise you. When I was using the 262-A tube I was using a plate voltage of about 100 volts as the tube is rated for. However when I switched to the type 45 tube, which is an audio power output tube, the conductance of it was so high, my janky power supply couldn't provide enough current and the anode voltage drooped to only...

15 volts. Incredibly even at this low voltage the oscillator ran perfectly and the phone performed as you saw. If I were to give it more juice and get a nice big antenna, I probably would be able to run a pirate radio station off of this cartoon telephone, before I get taken by the police for running said cartoon phone. If I had an even older tube with a non coated filament, it would need to be run much hotter and with a higher voltage, that would be the kind of tube actually made in Dr. Stone. This is why Gen had to make so many little cells, as those had to stack up a very high voltage for the anodes, about 1.2 kilovolts if you calculate it, though under load it may drop significantly.

Hope those answers were satisfying.

#Senku's Phone #dr. stone #dr stone #dcst #dr.stone #drstone #science project

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electronalytics · 10 months

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#Global Linear Power Supply and Switching Power Supply Market Size #Share #Trends #Growth #Industry Analysis #Key Players #Revenue #Future Development & Forecast

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taperwolf · 2 years

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Thrift store find, and a project:

Got this Alesis QX25 MIDI controller in as-is condition for $12. The most obvious problems when I got it were that the fader cap and one rotary encoder knob were missing, and one of the black keys was broken. In addition, there were solfege stickers on the keys, implying the previous owner was pretty young; that impression was backed up when I opened it to find maybe half a container of assorted glitter inside.

The fader cap I haven't come up with yet, and I've put a temporary knob on the encoder — the one at the far right — and I was able to partially disassemble the keybed and glue the key back together. (I'm using Gorilla Glue's superglue formulation, which is supposed to be better than usual cyanoacrylates at bonding plastics; if this doesn't hold, I know where to order replacements.) From a quick once over, the current status is that some of the tact switches are broken somehow — the ones, at least, for octave up and transpose down don't work. I've only given those the most cursory inspection, so I don't know if it's the switches themselves or something in the wiring; I'll have to see if my big box of tact switches has anything I can swap in for them.

But the "project" part is the part that has me enthused. Unlike a lot of more recent MIDI controllers, this one has both a USB jack for connecting to a computer and a 5-pin DIN jack for traditional MIDI instruments. It's also got a lot of spare room inside the case. So I'm looking at taking an Arduino or a Teensy and some little digital-to-analog converters and adding the ability to output CV and gate signals for modular synthesizers. Basically the Arduino will listen to the MIDI signal and interpret that; the minimal feature set is a single note off channel 1, just the CV and gate corresponding to the most recently struck key, but may expand to multiple notes and/or handling the drum pads as their own gate/trigger outs, and probably an extra CV out that can follow the mod wheel or pitch bend.

I'm debating which DACs to use. I have some lying around — the spoils of a time when Linear, Analog Devices, and Maxim were separate companies, and they, Microchip, and Texas Instruments would give out free samples if you had a plausible-sounding company name — but a lot of them aren't particularly well-suited for this. I want to run everything off the existing 5V supply — either a wall wart or USB — and not need elaborate external analog circuits to do things. I'm looking at the MCP4811, a single-channel 10-bit device, which has the advantage of an internal voltage reference at 2.048V, and a ×2 output, for a full range of 0V-4.096V that's very reliable even when run off a unreliable 5V power supply, like the keyboard's USB power input.

(In an ideal world, I'd have a perfect 1v reference, and a precision adder, so that the full precision of the part, all the bits, could be applied to just the 0-1V range, and then I could add single volts as needed to specify the octave. If we're calling 0V C0, then with the 10-bit setup over the 4.096V spread, you have to use value 396 to get G1, and you're imperceptibly sharp; with ten bits over a single volt, you'd use value 597 and add an extra volt and you'd be... slightly closer but flat this time. So the ideal world can fuck itself, and I'll see how the thing I actually have works.)

#diy #electronic music #electronics repair #midi #eurorack

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sillythoughtsaboutstupidthings · 2 years

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Bioshock Infinite

Preface

Just finished playing through Bioshock Infinite, first time I’ve beaten a game in a long time.

I remember when the game was relatively recent some people were very disappointed with how it didn’t live up to the hype and differed from the previous games in the series. I’ve seen Bioshock Infinite criticized for its cut content, two weapon limit, story that has a plot hole so large it completely falls apart and of course for abandoning Rapture.

From my experience with the game it was exactly everything I expected it to be, some of that expectation being formed by the criticism I’d read and heard. I went in expecting a competent, somewhat spiced up PS3/360 generation shooter, which is exactly what it is. Compared to Bioshock 1 which I played back in 2014 it’s clear that the game underwent some serious CoDification. I absolutely understand that that wasn’t what fans of the series wanted, but I don’t think it was all for the worse.

CoDification of a oldschool shooter

Let’s go over the ways that Bioshock Infinite was made more like Call of Duty.

Aim Down Sights

Two weapon limit

Regenerating “health” (shield)

Sprint

Linear structure

Cinematic cutscenes

As far as ADS is concerned it’s thankfully basically a completely pointless addition. “Hip fire” or in other words shooting without aiming down sights is the optimal way to play 95% of the time, the spread on the weapons is so limited that you can be very accurate at almost any range with almost any weapon. Additionally the ADS mechanic itself adds recoil that isn’t there when not aiming down sights and also removes any spread from all weapons, resulting in vastly different behavior for something like the machine gun. This in combination with most weapons using iron sights actually makes it more difficult to aim down sights. The only time ADS comes into play is for the sniper rifle and maybe the hand cannon or carbine when enemies are absurdly far away, but most of the time you’re better off just repositioning closer to them in those cases.

The two weapon limit is probably the most controversial change from previous Bioshock games, not being able to carry around an entire arsenal in your pocket marked a clear departure from the series’ oldschool roots. Overall I think it’s a bit of a mixed bag. On one hand in you can’t use any weapon you want whenever you want, but on the other hand it allows for more weapons total and also (at least in theory) forces the player to switch to whatever weapons are available. However in Bioshock Infinite this is implemented sort of half-way, as you still have your pockets full of ammo for all the different weapons, the only things restricted is which you can actually use. This differs from most games, like CoD or Uncharted etc. where the only ammo you have is whatever you found with the weapon or that you picked up from other copies of the same weapon. In contrast in Bioshock Infinite weapons found on the ground don’t supply you with ammo, rather random drops from enemies and vending machines provide ammo like in previous Bioshock games. On top of this you might randomly get some extra ammo from Elizabeth if you’re about to run out. This means that for most of the game you can simply keep your favorite couple of guns and just ignore any others. The only exception is when there is so much fighting between vending machines that you end up running out of ammo, in which case you might actually have to pick up weapons across the level to fight on. In my experience I ended up sticking to a carbine and RPG combo for almost the entire game, however sometimes I would swap weapons mid-fight, most often to a sniper rifle to conserve ammo on my carbine. Toward the end I was forced to give up my carbine in favor of the more powerful alternatives, the hand cannon and sniper rifle in order to dish out as much damage as possible. Overall I think the game would’ve probably been better off with the old weapon system, or if they wanted to have a CoD style two weapon limit they should have implemented it all the way. As it is it doesn’t add much in terms of enjoyment and adds lots of frustration toward the end when you scramble to find anything usable after having emptied your weapons into multiple tin men, a handyman and tons of grunts.

The shield is more of a Halo-fication since it works exactly like it, you have a regenerating shield that takes some time before it starts to regenerate after being hit and when you run out of shield you start taking damage to your health. This essentially makes it so that some of the damage you take is completely negated as long as you sit behind cover for a bit. In practice this allows you to save money on health kits and worry far less about the damage you take. However unlike previous games you can’t carry health kits with you to restore your health when needed. This changes the nature of combat encounters, as rather than being focused on conserving the life you have, you can gamble a bit more knowing that you can always get your shield back as long as you don’t take enough damage to run out of health. Combine this with occasional health kits thrown by Elizabeth and you get combat encounters that have lower stakes compared to previous games while being more dynamic at the cost of having to sit and hide behind cover from time to time, although often this can be substituted with a fun ride on the skylines. Overall a good change in my opinion, as the old system just made me anxious about every bit of damage I took.

Sprint is basically only ever used to get from point A to point B, in combat it’s almost entirely pointless since you rarely want to face away from enemies when retreating, and often there are skylines you can use to reposition faster. It does help traversal though since the areas in general are far more open and larger in scale compared to the cramped corridors of Bioshock 1/2. I would’ve preferred a simple increase to movement speed (as it would’ve made combat faster and more dynamic as well), but at least there’s the equipment thing that gives you faster strafe and backpedaling speed (which I kept equipped the entire game).

The linear structure was in my opinion an improvement compared to Bioshock 1, I found it quite annoying to backtrack and try to navigate the samey looking corridors of rapture. Also I’m a bit lazy and went into the game with the expectation of turning my brain off, not having to think too much about where I’m going or where I came from allows me to do that.

As for the cutscenes I feel like they were a fine addition, even if the engine clearly wasn’t intended to show characters and objects as up close as they did in some cutscenes. In some cases I saw some really odd looking shadows, like on the very polygonal baby and any closeup of someone’s face.

On the story

The story really is as confused as I’ve heard, there’s the whole people being un-killed business that makes no sense. More confusingly what happens to all the universes that are hopped in and out of? The original universe you come from has no Booker nor Elizabeth left in it, that universe’s Comstock must be quite frustrated to see that his plans were ruined just like that. The second universe you go to ends up presumably having two Bookers and Elizabeths temporarily, or perhaps that universes Booker and Elizabeth had already jumped somewhere else? Who knows. The “final” universe where the revolution is in full swing has a dead Booker and a second Elizabeth locked up in Comstock house. What happens then when Songbird grabs Elizabeth and takes her to get experimented on? Are there two Elizabeths now in that universe or did the other one manage to flee somehow? Another Elizabeth then drags you into the future, supposedly from that same universe you were in, but she then sends you back to stop that future from happening, but the only way for that future to happen is for him to be gone from the past because he was pulled into the future like that. Also where’s the second Elizabeth in this (these?) universe(s)? The ending also makes no sense. I mean if there are infinite parallel universes how exactly are you going to stop someone from “being born in the first place”, your actions are obviously only going to affect a single universe or is Booker saying he’s going to spend a literal eternity going through every single possible universe? Booker is Comstock, so stopping himself from being born is a grandfather paradox. If it’s a metaphorical statement then that means he’d have to somehow go through every single possible universe where he becomes Comstock to stop it from happening, but given the infinity of universes that’s also impossible and even if it was it would also undo everything he did to get to that point in the first place creating another paradox. Could Ken Levine just not figure out a good way to wrap things up after all that dimension hopping? It seems so.

Aside from that both political sides of Columbia are cartoonishly evil to the point of it being kind of silly, one is lead by a cult leader who argues that racism is good because cruelty is good because god, like some cartoon villain version of an American conservative. On the other side you have a revolutionary with red flags who literally kills children for no apparent reason, as if to try to outdo the evil of real life revolutionary leaders who waved red flags.

The hamfistedness of the messages portrayed is also quite absurd. There’s moments like at the start of the game when they make a public exhibit of a mixed race couple and raffle out baseballs to throw at them, it’s completely absurd and cartoonish. There’s of course also the capitalism stuff with Fink’s wonderful philosophies some of which aren’t too far off from the real life dystopian hellscape that is the USA. I mean if you showed Fink's personal creed to the average Wallmart manager they’d probably agree wholeheartedly if the antiwork subreddit is anything to go by. However I will say that the bit where workers have to bid with times to complete a work task in order to get the job and thus be able to earn an income was not only funny but also an interesting interpretation of where uncontrolled capitalism could go in the case of a complete oversupply of workers. Sadly it’s not shown what the consequences of failure to complete the work in the time you’ve set for yourself is. It’s also interesting because in real life consulting firms will bid on jobs in a similar manner, with the cheapest (which typically means the one promising to use the least number of man-hours, but could also mean the one to pay their workers the least) typically winning. A system that obviously can’t ever go wrong ever, absolutely doesn’t lead to vast underestimations of the time it takes to complete something and never leads to quality issues.

Some additional thoughts on the game

I ended up barely using any of the vigors the game provided, just like with the weapons I found a couple that really worked and stuck to them throughout most of the game. In this case it was Shock Jockey and Bucking Bronco adding Devil’s Kiss to the rotation toward the end of the game to attempt to do a bit more damage to the big sponge enemies.

Speaking of spongy enemies, the handymen are so spongy they make Borderlands games look like their enemies’ healthbars are perfectly reasonable.

The level design of the game and the shooting as a result is much more more enjoyable than Bioshock 1. There are far more opportunities to get out of trouble either on skylines or by hiding behind cover.The overall scale of everything is also larger generally putting enemies at a greater distance from yourself, meaning you always have a good chance to take out melee enemies before they’re on you like a zombie horde in Left 4 Dead. Thanks to this, the changes in mechanics and the nice upgrade that makes enemies ragdoll when you melee them I didn’t have the problem of being overwhelmed by enemies running straight into my face like in Bioshock 1. The only time I faced that issue was against handymen, because they just refuse to stay more than a few meters away from you for more than a couple of seconds, jumping and running to you the moment you try to reposition and of course they take minutes to kill.

The PC version is an interesting beast, on the lowest settings it can almost run on integrated graphics from the time, while maxed out at 1440p it often struggles to stay above 60fps on my Ryzen 2700X, RX 480 machine that in terms of GPU power vastly outperforms the best GPU at the time and even slightly beats the best GPU that came out later the same year as the game

Overall a solid 7/10 experience.

#bioshock #bioshock infinite #gaming #video games

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smpselectric · 1 day

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Industrial SMPS Power Supplies: Reliable Solutions for Efficient Industrial Power Management

In today's fast-paced industrial landscape, efficient and reliable power management plays a crucial role in ensuring smooth operations across various sectors. One key element that supports this need is the use of Switch Mode Power Supply (SMPS) units, which are essential for delivering precise voltage and current to different devices and systems. Industrial SMPS solutions, in particular, have revolutionized power management, providing high efficiency, compact design, and robust performance in even the most demanding environments.

At smpselectric.in, we offer a wide range of industrial SMPS power supplies, ranging from 6V to 220V DC. Whether you're looking to power small devices or large-scale industrial machinery, our top-quality SMPS units deliver reliable, efficient, and durable solutions that meet your power supply needs.

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At smpselectric.in, we pride ourselves on providing top-tier industrial SMPS solutions that cater to diverse industrial power needs. Our SMPS products are designed to offer reliable, energy-efficient power to a wide range of applications. Here's why our solutions stand out:

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Our industrial SMPS power supplies cover a broad voltage range, from 6V to 220V DC. This flexibility ensures that we can provide suitable power solutions for small-scale devices as well as large, power-hungry machines. Whether you need to power motors, LED lights, communication systems, or automation equipment, our range has the right option for you.

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SMPS power supplies work by converting AC power from the mains supply into the required DC voltage. This process involves high-frequency switching, which allows the SMPS to regulate the output voltage effectively. Here's a simplified explanation of how SMPS operates:

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Choosing the right power supply is crucial for ensuring reliable, efficient, and safe industrial operations. At smpselectric.in, we offer a comprehensive range of industrial SMPS power supplies designed to meet the varying demands of modern industries. With our high-quality, efficient, and durable SMPS units, you can rest assured that your industrial power needs are in safe hands.

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creativeera · 12 days

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Low Harmonic Drives: Driving Towards a Greener Future How Clean Power is Empowering the Automotive Industry

Over the past few decades, variable frequency drives (VFDs) have become widespread in industrial and commercial applications for their ability to control motor speed and torque. Traditionally, VFDs utilize pulse width modulation (PWM) techniques to vary motor voltage and frequency. However, PWM generates high harmonic currents that can damage motors, heat up transformers and power cables, and potentially cause voltage distortions on the utility grid. To address these challenges, a new generation of low harmonic drives has emerged based on advanced switching algorithms. What are Harmonics? In electrical systems, harmonics refer to sinusoidal voltages or currents having frequencies that are integer multiples of the fundamental power supply frequency, usually 50 or 60 Hz. Harmonics are produced by non-linear loads like adjustable speed drives that draw non-sinusoidal currents from the power source. The extra frequencies generated interact with the system impedance and generate losses, heating, vibrations, torque pulsations and can even cause misoperation of protective devices if sufficiently high in magnitude. Harmonics cause additional power losses in distribution transformers and overvoltages that reduce insulation lifetime. They can also interfere with communication lines. Traditional PWM Drives and their Harmonic Impact Traditional PWM VFDs employ insulated-gate bipolar transistors (IGBTs) or thyristors to rapidly switch the motor voltages on and off, generating quasi-square wave voltages to control motor speed. However, when these non-sinusoidal voltages are applied to the motor windings, they produce harmonic currents in the supply lines that are integer multiples of the fundamental supply frequency. Specifically, PWM drive techniques generate dominant 5th and 7th order harmonics that can propagate back into the utility system if not properly filtered. The harmonic currents not only stress motor windings but also increase I2R losses in the supply feeders and distribution transformers. Low Harmonic Drives can cause overheating in older transformers not designed for harmonics. Harmonic distortions also increase circulating currents within delta-wye grounded transformers. To mitigate these issues, dedicated harmonic filters need to be installed, increasing overall system costs. Excessive harmonics if left unchecked can even cause protective relays to malfunction. Advancements in Low Harmonic Drive Technology To address harmonic pollution from VFDs, innovative drive manufacturers have developed new low harmonic drive technologies based on advanced switching algorithms that naturally minimize the generation of lower order harmonics. Pulse-Density Modulation

One such technique is pulse density modulation (PDM) where the IGBTs are switched at high frequencies using narrower pulses compared to traditional square waves. By spacing the pulses closer together over time, PDM produces quasi-sinusoidal drive output voltages that inherently contain lower harmonics. PDM drives generate less than 5% total harmonic distortion (THD) without additional filters. Active Front End Drives

Another option is active front end (AFE) drives with a front-end rectifier consisting of IGBTs or MOSFETs instead of diode bridges. The AFE rectifier actively shapes the supply current waveform to follow the voltage waveform and provide near unity power factor without harmonics. AFE drives come with integrated DC chokes to absorb any remaining higher order harmonics internally, keeping them well below 5% THD.

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Alice Mutum is a seasoned senior content editor at Coherent Market Insights, leveraging extensive expertise gained from her previous role as a content writer. With seven years in content development, Alice masterfully employs SEO best practices and cutting-edge digital marketing strategies to craft high-ranking, impactful content. As an editor, she meticulously ensures flawless grammar and punctuation, precise data accuracy, and perfect alignment with audience needs in every research report. Alice's dedication to excellence and her strategic approach to content make her an invaluable asset in the world of market insights.

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#Low Harmonic Drives #Harmonic Mitigation #Low Harmonic VFD #Variable Frequency Drives #Harmonic Distortion Reduction #Energy-Efficient Drives #Harmonic Filters

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