International Telemetering Conference Proceedings / October 30-November 02, 1995 / Riviera Hotel, Las Vegas, Nevada / The RAH-66 Comanche flight test program requires a state of the art air vehicle and avionics data system consisting of: 1) An airborne, all digital multiplexing and recording system capable of combining digital streams at very high data rates; 2) The ability to record high speed avionics busses from the MEP (Mission Equipment Package) such as MIL-STD-1553B, HSDB (High Speed Data Bus,) PI (Processor Interconnect) Bus, DFN (Data Flow Network,) and TM (Test and Measurement Bus;) 3) A miniaturized, programmable, modular/distributed high speed PCM measurement system for 550 air vehicle measurements recorded on the Comanche Flight Test Aircraft and Propulsion System Test Bed; 4) an airborne digital multiplexing and recording system for recording a composite stream on an Ampex DCRsi tape recorder; 5) A high capacity ground data processing system using parallel processing computers for real time data compression; and 6) distributed analysis system using workstations for data processing with centralized disk storage.

ITC/USA 2011 Conference Proceedings / The Forty-Seventh Annual International Telemetering Conference and Technical Exhibition / October 24-27, 2011 / Bally's Las Vegas, Las Vegas, Nevada / For those of us that are Trekies as well as techies, having Geordi's computer that can answer detailed system status questions in real time is something of a holy grail. Indeed, who doesn't like the idea of being able to ask a question and almost instantaneously get an answer? Fortunately, this basic functionality of being able to query an instrumentation system and have it return any level of detail about the system is within reach. Borrowing from another science fiction show, we might say: "We have the technology ..." The ability to network complex systems together - even to the point of having devices autonomously link into the system - is common place. Devices that can report their status, test themselves for failures, and self calibrate are also common. Certainly software interfaces into complex systems, including the graphics for hierarchical 3-D displays, can be created. Unfortunately, we do not currently have all of the different technologies needed for a fully automated instrumentation support system integrated into our particular domain. This paper looks at why we don't have this now and where we are in terms of getting there. This includes discussions of networking, metadata, smart instrumentation, standardization, the role manufacturers need to play, and a little historical perspective.

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This study closely examines the orchestrational techniques in four of Percy Grainger's wind band compositions; Colonial Song, Irish Tune From County Perry, Molly On The Shore, and five movements from Lincolnshire Posy; Lisbon, Horkstow Grange, The Brisk Young Sailor, and The Lost Lady Found. These are works which are representative of Grainger' s orchestrational techniques. This information has been used to newly orchestrate three of Grainger's pieces for band in his orchestrational style. They are The Cutting of the Hay, Lord Maxwell's Goodnight, and British Waterside (or The Jolly Sailor). It is interesting to note that all but one of these band works (Horkstow Grange) are orchestrations of previously completed compositions. Presumably, Grainger's attention would have been focused on matters of scoring only when writing for band. In analyzing Grainger's orchestrational techniques in these pieces, I have not made any value judgments as to their success. I have also been very careful not to compare these techniques to any other composer. Rather, I have done an exhaustive survey of recurring orchestrational techniques in an attempt to understand why his wind band music sounds the way it does. Chapter I identifies and codifies Grainger's scoring of melodic material. Similarly, Chapter II deals with countermelodic material. Chapter III examines recurring features in Grainger's part writing. Chapter IV documents his preoccupation with contrapuntal dynamic techniques. There is no debate that Grainger made an original contribution to the wind band literature. This study has explored in depth Grainger's orchestrational techniques in an attempt to show specifically why his wind band music is so readily identifiable as Grainger. It is my assertion that the Grainger 'sound' is a function of recurring orchestrational techniques rather than other compositional elements such as melody or harmony. His consistent choice of doublings for both melody and countermelody place a personal stamp upon his music. His continual use of contrapuntal dynamics to achieve timbrel effects also renders his music distinguishable as being only by Grainger. His part writing proves always to be uniquely satisfying because of the constant voice shifting and meandering parts.

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