Carpe Diem

June 27, 2007

Como convertir archivos doc, xls, fotos a PDF via E mail

Enviando un mail a, con el archivo que queremos convertir a PDF adjunto, recibiremos en nuestro correo en unos minutos,  el archivo en formato PDF, sin necesidad de tener ningun programa instalado , solo se tiene que enviar el mail, y recibiremos el archivo convertido a PDF

Otra ventaja de esta aplicacion, es que si adjuntamos varios documentos, podremos obtener diferentes PDFs de cada documento, lo que nos ahorrara bastante tiempo.



  1. Gracias, nunca hay alguna weaita que funke.

    Comment by Sir_Lancelot — November 26, 2007 @ 11:33 pm | Reply


    One of the principle problems which we confront when we create a real and practical new microtonal scale is where to begin to work, the field of experimentation is so wide that easily we can become lost in a unlimited spectral of sounds and tunes which many times bring us to a dead end because of the amount of new sounds incorporated into the scale, as much as for the practical difficulty of realizing this new scale. Therefore it is necessary to create a framework to work within which permits us such limits and empirical work as to be able to realize a new tonal scale.

    These limits should be created from what I call proposals which are no more than tools which help us with our work. They should not be rigid guidelines o unalterable, but rather tools which should help us and give us a general idea from which the limits of our investigation should originate.

    Premise 1:

    The base of all our work will have a basic objective, the recuperation of the tonality as we understand it in the western world, formed by harmonies and melodies with “psycho-acoustic” functions acquired since infancy through the passive hearing of musical works which enable us to understand Western music. All that comes away from this field of investigation and only serves as mere speculation or experimental is distant from our objective, this we reserve for musicologists which work is other fields.

    Premise 2:

    Derived from the idea that we are creating a new scale within the scope of western music, we do not pretend to create a global scale for all country, nor much less, as every culture have many different ideas and positions according to where they are born, with very different bases. In some case the harmony is important while in others it is the improvisation, etc. What we are attempting is to give new sounds to our scale which allow our musicians to continue their creative path; therefore, the first rule will be that our work will have to originate from a temperate western scale. I think to propose a new scale distant from our tempered scale would only move us away from our basic idea to continue from what has already been done.

    Premise 3:

    We ask ourselves if we continue with our tempered scale or if we try to recover another type of historical pitches, whether they are “mesotonics”, equal, etc. Here we enter into a great debate that only will lead us to reenter in a field of speculation where we will waste time and energy in a useless search for the perfect tune.
    I don’t think it is important to enter into this debate because it was already discussed years ago without reaching a clear and practical objective, and I say practical because we are not trying to follow a path of simple theoretical speculation, rather it is extremely necessary that we remained focused on the objective we defined in the second premise.

    Premise 4:

    I believe it is important to have clear and understand the reason why our current scale has 12 sounds and why until now it has not incorporated more sounds by viewing the musical scale as something organic that continues to evolve. Understand the evolving expansion of our scale from the origins of the basic scale of five sounds pentatonic to our chromatic scale of 12 sounds. If we are able to identify the internal laws which underlie the diverse historical scale we will be able to propose new evolutionary ideas in order to incorporate new sounds into our tempered scale.

    Premise 5:

    There is a real practical impossibility of incorporating micro tonal sounds from other cultures, for instance the incorporation into our scale of different sounds of tunes from for example, Javanese music, Arab music or other cultures would move away from our evolutionary idea from the western point of view. Therefore, different types of scales from other cultures are able to help us to limit our objective and widen our perspective of sound, but they will never be able to convert into guidelines for our work. And within this idea we must understand that if this music has not evolved as we understand it, or rather from a western perspective, it is because they come from different musical standpoint, not analogous to ours.

    Premise 6:

    The creation of new micro tonal sounds originates from the following difficulty. Where the ear is able to sense as different or new within our scale determines the boundaries of sound perception…the limits of our scale, for now our located in the semi tunes or in 100 cents, and everything else is an unlimited field of spectral sounds which we know from experience with other scales of the world, which have the ability to educate the ear to differentiate smaller sounds than the semi tune, but the extent to which these sounds or others are useful to use is one of the complex questions which we must confront.

    Premise 7:

    The out of tune sound or new sounds. One of the basic problems is the education and to a certain point of listen deformation of our western culture, what is really impeding the discovery of where to truly find the new sounds that are able to incorporate into our future scale. And here we are able to see the complexity only considering that maybe, adding a new sound to our scale will be understood by our ear simply as a tempered note slightly out of tone.

    Premise 8:

    The “circular system” of tunes is at the base of our scale while the “divided string” is a part of non-Western cultures therefore, even though we will continue to research using the circular system we can include ideas and theoretical concepts of the “divided pitches” in consideration that they have more historical experience with micro tunes and no temperate tunes.

    Premise 9:

    The study of Chinese and Greek theory base of our music would not be the only source of ideas in our empirical work, the ear or listening would be indispensable, because it is what will guide us on our new sound journeys. Understanding that musical theory of classic or modern times are sometimes written far from real practice and therefore to a certain point are impractical en the field of music practice.

    Premise 10:

    We believe that the new scale must be born out of experimentation with the classic tools like el mono chord , the computer will be used as a punctual timely and auxiliary tool due to the fact that the ideas must originate from the mental work as much as the auditory work. The only ways to confront the field of speculation is by imagining the whole of sounds and discern using the psycho-acoustic approach the sound elements which are truly “practical.” We are no able to enter into the area of sound speculation, which is itself complex, without a preconceived mental idea.

    Premise 11:

    The tetra chord as a basic element of tonal stability is unquestionable and therefore untouchable within the new scale, allowing us to certain point to maintain the tonal pillars of the new music within the micro tonal spectrum, aiding the progressive assimilation of the new sounds into the musical language of the future.

    Premise 12:

    The tetra chord should be proposed as the field of initial work and not the scale of 12 sounds, for various reasons, one is the great amplitude of the “sound spectrum” of the scale of 12 sounds and secondly because the tetra chord itself already represents a tonal world on a small scale and therefore since four sounds are easier to manage for experimentation than the scale of twelve sounds which has more than one tetra chord.

    Premise 13:

    It is crucially important that the theorists within the field of sounds speculation work elbow to elbows with practical musicians to exchange ideas and redefine new musical concepts and find new tools with which to work in order to initiate a new revitalization of the world of composition within the micro tonal scale.

    Premise 14:

    Even though the first attempts at using micro pitches in the 20th century failed, and I offer as a small example, the scales of Alois Haba, Joseph Yasser, Carillo, etc. This does not mean that these theories were on the wrong path, I think that the direction was correct but not the way to propose and set out the new micro tonal sounds, possibly due to the excessive strictness or at times the lack of theoretical specification.

    Premise 15:

    How many new sounds should be incorporated into this scale? It is one of the questions that we can ask ourselves and here underlies one of the basic questions; a limitation will always permit the practical possibility of the scale. Understanding that a scale of 120 sounds will have great limitations; I think that limits we should propose should be between 13 and 20 sounds.

    Premise 16:

    The incorporation of new sounds by simply dividing the tempered scale into fourths or sixths of tones is absurd to a certain point, because I think that the approach does not understand the true psycho-acoustics laws and the complexities which exist within the scale and also that the problems of the tempered scale are made worse by problems of tune. The margins or limits where it will be possible to incorporate new sounds will be determined by melodic and harmonic practice within a rigorous empirical investigation, observing the different areas of research in our century in the field of micro tonal scales.

    Premise 17:

    What will be tonal function of these new notes? We imagine a scale of, for example, ten and seven sounds; we have incorporated five new sounds to the scale that would be situated between different notes. We would find, first of all, five new chords with good pitches almost temperate, these would form an auxiliary tonal function to the basic chords of the old scale, therefore these new sounds would be close to the 1, 4, 5 grade, and would in theory form news movements in the progressions , later on these chords will be able to have a independent movement, giving more elasticity to the whole tonal movement . And lastly, the traditional chords would be able to incorporate these micro tonal sounds into there chords, first as passing notes and later as its own entity from within will appear new sounds mixtures, in the” classical” chords

    Premise 18:

    And then, what?
    After we really believe we have found the perfect formula, will then enter into the field of sociology and reeducation. The new scale will not have access to the musical world overnight. It will need a long period of time to assimilate not for our generation but for generations to come. We can be happy with our experimentation with the new sounds as ornamental or auxiliary, until familiarity with them permits them to have an independent character.

    Premise 19:

    Do we truly continue to believe in alternatives that are not a return to tonality with a new micro tonal scale? I doubt they exist. Practical experience is telling us that this is the path we should take, but if truly is not the right path, we can take for dead the creative world within music, as we can talk now without problems about the death of painting as a innovative and creative art. If this truly was the case, all we would be left with is to enjoy the wide musical creation of the past more than eight centuries listening to CD recordings or going to live concerts, accepting that maybe, all art, like life itself, is born and dies, even though, it is difficult for man to accept the finality of things.

    Comment by nacho — January 10, 2008 @ 12:12 pm | Reply

  3. Existe una página que hace eso y es bastante rápida tambien…

    recomiendo visitarla.


    Comment by Horacio — August 7, 2008 @ 11:35 pm | Reply

  4. mp4 фильмы скачать бесплатно игра смерти скачать

    Comment by — January 23, 2011 @ 10:58 am | Reply

  5. This paragraph will assist the internet people for building up new website or even a weblog
    from start to end.

    Comment by meditation — June 22, 2013 @ 8:08 pm | Reply

RSS feed for comments on this post. TrackBack URI

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

Create a free website or blog at

%d bloggers like this: