recursal/Fanatic-Fandom huggingface dataset:
Premier B808 Natural Concert Tom kit

Phil Collins used this Premier kit with NW Natural Wood finish on the *...And Then There Were Three* tour in 1978.

This was the only kit of his to use a 22" bass drum, while normally he'd use a 20".

## Drums

* 22" x 14" bass drum
* 8" x 6" concert tom
* 10" x 8" concert tom
* 12" x 8" concert tom
* 13" x 9" concert tom
* 14" x 14" concert tom
* 15" x 14" concert tom
* 16" x 16" concert tom
* 18" x 16" concert tom

## References

* *Modern Drummer*, April 1979 with additional info from 'And Then There Were Three tour dates' page
* *Modern Drummer*, November 1983
* Various photos
Genesis: a gear revelation Wiki

Welcome to **Genesis: A Gear Revelation**. This page is essentially an equipment archive concerning gear used on Genesis and related solo projects. *Note: the website will no longer be updated as of 2022 as the information is being moved to a new wiki*

## Equipment by member

* Tony Banks
* Phil Collins
* Mike Rutherford
* Peter Gabriel
* Steve Hackett

## Equipment by album

* Genesis albums
* Solo albums & projects

## Equipment by tour

* Genesis tours
* Solo tours

## Studios

* The Farm studio
* Townhouse Studios
* Real World Studios
Yamaha CP-80

The **Yamaha CP-80** was an acoustic/electric grand piano launched in the mid-1970s. It is the bigger version of the Yamaha CP-70, with 88 keys instead of 73, and an extra octave.

## Peter Gabriel's Yamaha CP-80

The Yamaha CP-80 was Peter Gabriel's main piano, after the Yamaha CP-70.

He used one for at least part of the *So* album. In this photo taken later on during the *So* sessions, a Yamaha CP80 can probably be seen. On closer inspection, to the further left of the Yamaha CP keyboard (among the highest octave notes), there are three black keys visible (F#, G# and A# - the latter key slighly concealed by a Boss pedal) instead of two black keys on the Yamaha CP-70 (C# and D#). Thus implying that the Yamaha piano in the photo is specifically a CP-80 model, rather a CP-70. Although photos from earlier on in the *So* sessions show Yamaha CP-70. Both Yamaha CP's were mentioned in a report published in *Musician* magazine, July 1986 issue.

By the time of the *So* tour, Peter had completely changed over from the CP-70 to using the CP-80. He continued to use the CP-80 on the *Passion* soundtrack and the *Us* album. He also played the CP-80 on Joni Mitchell's "Beat Of Black Wings", released on *Chalk Mark in a Rain Storm* in 1988.

### References

* *Keyboard*, January 1987 (Japanese) - note: simply mentions "Yamaha CP", but judging by photos it's a CP-80 as the layout of the keyboard is identical
* *Keyboard*, October 1989
* *Musician*, July 1986
* *Musician*, May 1988 (Joni Mitchell)
* *Sound On Sound*, November 1992
Yamaha CS-80

## Tony Banks' Yamaha CS-80

The Yamaha CS-80 was one of Tony Banks' studio keyboards in the late 70s & early 80s. He had used it to record the ***A Curious Feeling*** (1979, solo), ***Duke*** and ***Abacab***.

> I didn’t really get on with the CS80 I have to say. I liked some of the sounds but I didn’t find it… I was much more into the Prophets really so I just sort of used it for Duke’s Travels extensively and it had a little feature on it too where you could use a microphone to play the sound which we used on Turn it On Again… oh Phil had a duck.. A trumpet or it may just have been a duck call that he used to trigger the sample to trigger the CS80 to get the sound. I used it a fair bit on the album actually but I didn’t feel the need to do it live and so I didn’t and it fell by the wayside. I sold one and I know some people really love that instrument. I kept some of these things for old time’s sake.
>
>

**Sources**:

* Tony Banks TWR interview 2015
* Genesis Information Magazine 1983 (reprint of old interview from 1979)
* *Keyboard*, November 1984

## Peter Gabriel's Yamaha CS-80

Peter Gabriel had used a Yamaha CS-80 on the ***So*** record, having previously used it a little bit on his first album.

> There's one synth that I'd used a little bit on my first album, but which Daniel Lanois re-introduced me to, and that is the Yamaha CS80. It has a great breathiness to it — human breath and its musical uses have always fascinated me — and a kind of organic character which I like.
>
>

**Sources**:

* Electronics & Music Maker, June 1986
The Lamb Lies Down On Broadway tour (1974-1975)

## Phil Collins

**Drums** (Premier Kenny Clare series):

* 20" x 15" bass drum
* 14" x 5" wooden snare
* 12" x 8" tom
* 13" x 9" tom
* 14" x 14" tom
* 16" x 16" tom

**Cymbals**:

* Paiste
* Zildjian

**Percussion**:

* Premier vibes
* Premier tubular bells
* Remo rototoms
* Slingerland 13" timbale
* Slingerland 14" timbale
* whistles
* glockenspiel
* triangles
* chinese blocks
* bell tree
* assorted chimes

**Hardware**:

* Ludwig Speed King bass drum pedal
* Slingerland hi-hat pedal

### Sources

* Phil's esoteric drum kit during the Lamb era...
* *Rhythm* magazine April 2011 Phil Collins feature

## Tony Banks

**Keyboards & synthesizers**

* ARP Pro Soloist
* Hammond T102
* RMI Electra 368 electric piano
* Mellotron M400

**Effects**

* MXR M-107 Phase 100 - RMI electric piano
* distortion effect - RMI electric piano
* Leslie rotating speaker (Hammond)

### Sources

* Tony Banks keyboard rigs (see Lamb section)
Steinberger XL2 black

The **Steinberger XL2** bass (basically an update of the L2 model) was owned by Daryl Stuermer. He played the bass on the *Invisible Touch* tour from 1986 to 1987, and also on his solo album *Steppin' Out* (on "The Highlands").

The bass was auctioned off alongside the Steinberger GL2T/GR guitar on Reverb. Serial #3749. Description is as follows:
"Some scratches and scuffs here and there but nothing major. Some duct tape residue by the 9v battery compartment. Neck and frets in great condition. Comes with a few extra sets of strings."

## References

* Steinberger bass (XL2) owned by Daryl Stuermer on Reverb.com
Fallen Winged Human Tribe

Although the Winged Human Tribe may have guarded the Demonic Well for many years, many of the tribe's people had been corrupted by the Demonic Qi too. Those corrupted winged humans betrayed their race and escaped to the Underworld Demonic Realm, eventually forming the Fallen Winged Human Tribe.

The Winged Human and Fallen Winged Human Tribes were said to be eternal enemies.
Не вирусы убивают клетки, а химия которую туда добавляют ученые

Заготовка

Питательные смеси:

* https://www.thermofisher.com/de/de/home/technical-resources/media-formulation.8.html
* https://en.m.wikipedia.org/wiki/RPMI\_1640#:~:text=One%20liter%20of%20RPMI%201640,and%20100%20mg%20calcium%20nitrate

Выделение вируса кори

Enders Peebles: *Propagation in Tissue Cultures of Cytopathogenic Agents from Patients with Measlcs.\*t (2107J)* - Файл:Enders Peebles 1954 text.pdf лучшее качество Файл:Enders1954.pdf

Из Tissue culture technics/техники культур клеток

* Penicillin/Пеницилин
* Streptomycin/Стрептомицин
* heparin
* bovine amniotic fluid medium
* hematoxylin and rosin.
* formalin

* human kidney, human embryonic skin and muscle, human foreskin, human uterus, rhesu\* monkey kidney and embryonicchick tissue

* Theculture medium consisted of bovine amniotic fluid (00%), lire! enihryo extract ($%}> horse serum {$'/\* ), antibiotic^ and phenol red as an indicator of cell me- tabolism(12).
* Soybeantrypsininhibitorwas added to this medium miless it was used for the cultivation of human and monkey kidney (II).

TODO: Описать для чего нужны каждое из веществ для роста клеток простым языком. Если это все можно найти дома/купить, то ,может можно описать простой эксперимент дома?
Genesis 1983 album equipment

## Phil Collins

**Drum kits**

* Simmons SDS-V pads & module
* Premier Soundwave kit (double headed)
* Pearl DLX kit:
	+ 20”x14” bass drum
	+ 14”x8” parallel action strainer snare
	+ 8”x5” tom
	+ 10”x6 1/2” tom
	+ 12”x8” tom
	+ 15”x12” tom
	+ 16”x16” tom
	+ 18”x16” tom

**Cymbals**:

* Zildjian/Paiste/Sabian

## Tony Banks

**Keyboards & synthesizers**:

* ARP Quadra
* E-mu Emulator
* Moog Taurus II(?)
* New England Digital Synclavier II
* Sequential Circuits Prophet-10
* Yamaha CP-70B grand piano

**Effects**:

* MXR M-134 Stereo Chorus (on CP70)
* MXR M-107 Phase 100 (on organ - can be heard in "It's Gonna Get Better")
* assorted MXR units

**Miscellaneous**:

* Linn LM-1 drum machine - for triggering synths.
* Custom mixer
* Korg WT-12 Chromatic Tuner
* Roland Jazz Chorus JC120 amp ("Just A Job To Do"?)

## Mike Rutherford

**Guitars**

* Gibson Chet Atkins CE Custom Shop
* 1975 Fender Stratocaster USA sunburst
* Roland G-505
* Roland GS-500
* 1963 Gibson Les Paul SG white

**Basses**:

* Alembic Series I
* Steinberger L2 black fretless (“Just A Job To Do”)
* Steinberger L2 black fretted (“Home By The Sea”, “Silver Rainbow”, "Mama" etc.)

**Amplification**:

* Fender Custom 68 Twin Reverb
* Marshall (50-watt?)
* Peavey Mace 160-watt combo
* Trace Elliot GP11 Pre-amp units (x4)
* Yamaha G100 212

**Effects, EQ & pedals**:

* AMS RMX-16 reverb
* Boss pedals:
	+ BF-2 Flanger(?)
	+ CE-2 Chorus - bass ("Silver Rainbow")
	+ CS-2 Compressor/Sustainer
	+ PSM-5 Power Supply Master
	+ SD-1 Overdrive
* Lexicon PCM-41 delay (x2)
* Orban 622b Stereo Parametric EQ
* Moog Taurus I bass pedals
* MXR MX-107 Phase 100
* MXR MX-117 Flanger
* MXR M-129 Pitch Transposer with MXR M-131 Pitch Transposer display

**Synths**:

* ARP Avatar guitar synth
* Roland GR-300 guitar synth
* Roland GR-500?
* Moog Source

**Miscellaneous**:

* Korg WT-12 Chromatic Tuner
* Linn LM-1 drum machine
* Yamaha PM400 8-channel mixer

## Recording & studio equipment

### Microphones

**Drums**:

* Kick:
	+ Neumann U47
* Snare:
	+ Shure SM-57
* Hi-hat:
	+ Beyerdynamic M88
* Toms:
	+ Shure SM-57s or Sennheiser MD421s
* Overheads:
	+ Neumann U47 FET
* Drum room:
	+ Neumann U87 (x2)

**Guitars**:

* Shure SM-57s

**Vocals**:

* Beyerdynamic M88

**Various**:

* AKG C414

### Other equipment

**Tape machines**:

* Studer A80 VU Mk. II 2-inch 24-track
* Studer A80 RC Mk. II 2-track (x2)
* Sony PCM-1610 - first used by Hugh on this album

**Monitors**:

* Acoustic Research AR-18S pair

**Mixing consoles**:

* AMEK M2000A (or M2500)

## Outboard gear

* AMS DMX 15-80S digital delay
* AMS RMX-16 digital reverb
* Dbx 160 compressor
* Lexicon PCM-41 delays (x2)
* EMT 140 plate
* UREI 1178 stereo compressor
* Valley People Kepex II noise gates (?)

## References

* Genesis – making of Mama album video
* Tony Banks interview about Prophet synthesizers
* *Keyboard*, November 1984
* Phil Collins Rhythm magazine feature 2011
* Various Hugh Padgham interviews (microphone setups)
Alembic Series I

The **Alembic Series I** was Mike Rutherford's primary bass guitar during the *Abacab* era from 1981 to 1982.

## Background

Apparently Mike Rutherford had obtained this Alembic Series I bass from John Entwistle of The Who - who was known to use several Series I basses in the mid 1970s - along with Alembic preamps.

His first known use of the Alembic Series I was on the *Abacab* album, featuring on some of the songs at least, such as "No Reply At All". He took it on board for the album's tour during late 1981, followed by the *Three Sides Live* tour in 1982 (including the *Six of The Best* reunion concert with Steve Hackett and Peter Gabriel on 2 October 1982 at Milton Keynes).

Afterwards, he recorded with the Alembic once again on the *Genesis* album in 1983. However, during recording, he was also trying out the Steinberger bass which he used on some of the tracks, and ended up preferring it to the Alembic, that the latter eventually fell by the wayside and was forgotten about. Mike commented that the "sound range from [the Alembic] was so great it was almost confusing".

Despite claims by Mike that the Alembic was lost, it was in fact sold off in 2001 along with a bunch of other abandoned Genesis gear that had accumulated at The Farm.

## Specs

Mike Rutherford's Alembic Series I is a Long Scale model, likely with Vermillion finish

* Serial # SZ 76045 (1976 model)
* Body: Mahogany/Koa
* Fingerboard: Ebony
* Frets: 24
* Pickups: Alembic Electric Active
* Neck: Maple & Walnut

## References

* Alembic club forums - mention of Alembic on "No Reply At All", featured in a Bass Player issue (more info needed)
* 1982 photo of Mike Rutherford with Alembic
* Mike Rutherford: ”I covered a lot of ground with the double-neck and bass pedals – they gave the band an extra sound” - Mike Rutherford mentions Alembic Series II, when he meant the Series I
* Making of Mama album footage - Alembic first seen at 25:42 mark
* The Steinberger Tapes (quote)
* Genesis 2001 auctions inventory (serial no. and other details)
* Alembic Series I - specifications
* Alembic Series I page - specifications
Hammond L-122 organ

Tony Banks had used the **Hammond L-122** organ in the early 1970s with Genesis. He later replaced it with the Hammond T102.

## Quotes on the Hammond L-122

> "Before the *Tresspass* LP [Genesis] started rehearsing a lot. And then we began to play 'live', and were considering going professional. So we went around to our parents' and got a bit of money off them. Not very much - £150. So between four people we had £600 to [buy] equipment with. We spent 350 quick ones on an organ - a Hammond organ. I had no clue as to what I was buying. We went into the shop, and the first organ I saw I said 'Yeah, I'll have it'. I really didn't want to try it in front of people. Fortunately, I was very lucky. I got a Hammond L-122, which is a very good organ for anyone to start with. Slowly I got into playing it. Mostly I was treating it like a piano; it took me quite a long time to get used to it. I still prefer the piano to the organ, I must admit." (*Contemporary Keyboard*, October 1976)
>
>

## References

* *Melody Maker*, 16 December 1972
* *Contemporary Keyboard*, October 1976
Dick Night custom double neck

On the *Trick Of The Tail* album and tour (1976), Mike Rutherford played a double neck guitar custom-built by well-known luthier Dick Night, who had made his two previous double necks which were the Rickenbacker and the Rickenbacker/Microfrets. But for Mike the custom-built double neck didn't work out too well as stated at the time: "I find custom guitars rather dangerous, because you don't know quite what you're getting."

So he donated it for a raffle competition provided by a German magazine called *Musik Joker* in 1977.

## References

* *Beat Instrumental*, August 1977
* Various photos
* Raffle info from unknown magazine, circa. 1977
* Talk Bass forums
ARP Quadra

Tony Banks first had an ARP Quadra synth around the time of *Duke*, initially alongside the ARP 2600.

He used to use a Linn LM-1 to trigger pulses from the Quadra, such as on "Mama".

A Korg WT-12 Chromatic Tuner was used on the Quadra to keep it in tune.

## References

* *International Musician And Recording World*, August 1980 (US)
* *Keyboard*, November 1984
* Wikipedia
Dragon Blood Physique

The Dragon Blood Physique was one of the greatest physiques that existed. Having power that transcended even beyond the Yinyang God-eye, this physique was recognized to be one of the few that could nearly rival a Supreme Daoist Physique. Once fully transformed, even sages had to give way to such immense power!
Yamaha DX7

The **Yamaha DX7** is a polyphonic synthesizer released in 1983, incorporating FM synthesis. It was one of the best-selling synthesizers of all time, having been used by the likes of Michael Jackson, Prince, George Michael, A-ha, Chicago, Whitney Houston, Brian Eno and many more. Including Phil Collins and Tony Banks.

## Phil Collins' Yamaha DX7

Phil Collins had switched to the DX7 from the Prophet-5 for the writing and recording of ***No Jacket Required***. He had a couple of them at his Old Croft home. Like with the Prophet, Phil used preset sounds from the DX7 as he wasn't much of a synth programmer.

Hence DX7 presets appear all over the album, such as *Bass 1* in "Only You Know And I Know" and the electric piano sound in "One More Night".

### References

* *Genesis Information Magazine*, Winter 1984/85
* *International Musician And Recording World*, March 1985

## Tony Banks' Yamaha DX7

Tony Banks used a Yamaha DX7 during the mid-to-late 1980s period.

The Yamaha DX7 was part of his keyboard rig on the *Invisible Touch* album and tour with Genesis in 1986-87, and also for the *Bankstatement* album in 1989. Via MIDI, he would control most of the keyboards with the DX7.

Effects-wise, he employed a Yamaha REV7 reverb, particularly on the DX7 as he felt the synth was "a bit crude and naked" on its own. In addition to that, a fuzz box on the *Bankstatement* album - for example, the song "Queen Of Darkness".

### References

* *Electronics & Music Maker*, July 1986
* *Making Music*, July 1986
* *Sound On Sound*, September 1989
Lexicon PCM-41

The **Lexicon PCM-41** is a digital delay unit which was used by Mike Rutherford, Tony Banks and Phil Collins.

## Mike Rutherford's Lexicon PCM-41

From *Abacab* through to the *We Can't Dance* tours, the Lexicon PCM-41 was Mike Rutherford's preference for delay effects on his guitars. Initially he used it alongside an MXR M-113 Digital Delay.

### References

* tour programs
* *Genesis Information*, Issue 27 (page 15-16)
* *Musician*, June 1992

## Tony Banks' Lexicon PCM-41

Tony Banks began to use a Lexicon PCM-41 for delay/echo effects on his synthesizers from *Abacab* to *Invisible Touch* tours.

### References

* tour programs
* various

## Phil Collins' Lexicon PCM-41

Phil Collins had a Lexicon PCM-41 among his outboard gear at his Old Croft studio in the mid-1980s.
E-mu Emulator II

The **E-mu Emulator II** was a sampler keyboard & synthesizer used by Tony Banks and Peter Gabriel. It was the successor of the E-mu Emulator (a.k.a Emulator I).

## Tony Banks' Emulator II

Tony Banks was using the **Emulator II** in the mid 1980s, which replaced the Emulator I. He used it heavily on the *Invisible Touch* album and tour. Besides for sounds, he also used the Emulator's sampling facility to record parts of jams.

For live performances, "Invisible Touch" was changed in key and Banks had to redo the song's sequences in the middle section. So he had copied the four bars of new sequences onto the Emulator, two bars each, rather than sample directly off the 24 track had the song been in the same pitch. Then when it came to the bridge, he'd play four notes, and the whole thing builds up like in the actual song. According to Banks, he felt it was easier that way than link up a sequencer and start the sequences at the right time.

### Quotes on the Emulator

> "With the Emulator [II], in particular, a lot of the sounds I use are ones I've stumbled across. I find the Emulator a useful tool for composition, too. What I often do is switch it on while we're improvising, and I get 17 seconds of everybody doing their thing and not even listening to each other. Then I play through it and sometimes there's something there. You edit out a few seconds and you've got something you can work with. On the new Genesis album there's a number called 'The Brazilian' that's got what sounds like a sequence pattern going through, which was done like that." (*Electronics & Music Maker*, July 1986)
>
>

> "Actually I've been using the Emulator [II] quite a lot. So many songs on the [*Invisible Touch*] album evolved from using that machine. One thing I like to do is record the group improvising in the room. I'll switch the Emulator and record whatever is happening for a full 17 seconds, the listen back and see if anything interesting happened. Then I'll isolate the good bits. One of them was 'The Brazilian'; that thing that goes all the way through was just random noise in the room. That riff just sounded great; it was just a matter of improvising on top of it and seeing what happened. You can have such fun with that thing." (*Keyboard*, February 1987)
>
>

### References

* *Electronics & Music Maker*, July 1986
* *Keyboard*, February 1987

## Peter Gabriel's Emulator II

Peter Gabriel used an **Emulator II** on the *So* album; it was one of the newer pieces of gear he got by the time of recording the album. The Emulator features heavily in the introduction to "Sledgehammer", which uses the shakuhachi flute sound.

### References

* *Electronics & Music Maker*, June 1986
* *Musician*, July 1986
* Without Frontiers: The Life & Music Of Peter Gabriel
* Famous sounds on Synthmania
Steinberger M series prototype

In 1986/87, Mike Rutherford was using a Steinberger GL2T/GR guitar on the *Invisible Touch* tour. To quote from roadie Geoff Banks, Mike was so tall that the Steinberger looked like a toothpick in comparison. So they wanted to develop a new guitar with a bigger body. The result was eventually copied by Steinberger as the Steinberger GM1T.
Townhouse Studios

**Townhouse Studios** (also known as **The Town House**) was a recording studio located on Goldhawk Road, London. It was opened in the late 1970s, but permanently closed in 2008.

Peter Gabriel had recorded part of his *Melt* album at this studio, and Phil Collins had also recorded most of his 80s solo work here. And Townhouse Studio 2 was the birthplace of the "gated reverb" effect, first heard on Peter Gabriel's "Intruder" - this was the sound from the reverse talkback mic (a STC 4021 Ball & Biscuit) with heavy compresson and a noise gate (one of ones that was built into every channel of a state-of-the-art SSL console).

## Equipment (1979-82)

**Tape machines**:

* Ampex MM-1200 2" 24-track
* Ampex ATR-100 1/4" 2-track

**Mixing consoles**:

* SSL SL4000B 32-channel (Townhouse Studio 2)

**Outboard gear**:

* AMS DMX 15-80 digital delay
* Aphex
* Deltalab delay/effects
* EMT plate reverb
* EMT digital reverb
* Eventide H910 Harmonizer
* Eventide FL-201 Instant Flanger(?)
* Lexicon delays
* Marshall effects
* NicMix effects
* Orban effects
* Roland RE-201 Space Echo
* UREI 1176 compressors

### Sources

* *Studio Sound*, September 1979 - outboard
* Hugh Padgham AMS interview

## Equipment (1984-85)

* SSL SL-4048E 48-input (Studio 2)
* Studer A800

**Effects & outboard**:

* ADR SCAMP rack units
* AMS DM2-20 tape phase simulator
* AMS DMX 15-80 digital delay
* AMS DMX 15-80S digital delay
* AMS RMX-16 digital reverb
* Dbx compressors
* Eventide H949 Harmonizer
* Valley People Gain Brain compressors
* UREI 1178 compressors

### Sources

* Billboard
* The Townhouse page
* *Home & Studio Recording*, January 1985
* ASIA photo at The Townhouse from 1985
* ASIA Photo 2 at the Townhouse from 1985
* Various
Hammond B3

Peter Gabriel had owned a **Hammond B3**, which was played by keyboard players Simon Clark on the *So* album and by David Sancious on the *Passion* soundtrack and *Up* albums.

Although Gabriel was a fan of the Hammond, he didn't know how to use it and both Simon Clark and David Sancious were masters of the instrument, so he'd recruit them to play a few parts on the Hammond. While Gabriel decided to use the Prophet-5 for cheap organ sounds, like on "Sledgehammer".

## References

* *Keyboard*, October 1989
* *Music Technology*, January 1987
Eventide H910 Harmonizer

The **Eventide H910 Harmonizer** was a harmonizer/pitch shifter rack unit released by Eventide in 1974.

Eventide H910's were available at The Townhouse Studios in London during the late 70s, where Hugh Padgham worked as a staff engineer for some time. On records by Peter Gabriel (*Melt*) and Phil Collins (*Face Value* and *Hello, I Must Be Going*), Hugh Padgham used the harmonizer for effects on the vocals, especially for Peter as he "would feel naked without it". Hugh Padgham would later prefer the AMS DMX 15-80S delay/harmonizer for vocals.

Peter Gabriel eventually got his own Eventide H910, which was among his rack units for the *Melt* tour. He also had the Eventide at his home studio during the making of the *So* record (and possibly *Security*), but the AMS DMX 15-80S appears to be relied on more heavily.

Larry Fast also used the Harmonizer on synthesizers on the *Melt* album - for instance, the detuning of synths on "Biko". He also had one in his set of rack units on the *Security* tour.

## References

* *Recording Engineer & Producer*, June 1990
* Hugh Padgham AMS interview, 1985
* Larry Fast photos
* Oral History of *Peter Gabriel 3* on Billboard
* Photos taken at The Townhouse in liner notes of *Hello, I Must Be Going* LP - shows Eventide H910 harmonizers in the background
* Photo of Kevin Killen at SSL desk during Peter Gabriel *So* sessions - shows H910 in rack
* Various
Дети не болеют

Данные из Великобритании (осень 2021 года), возрастная группа до 18 лет

США 2020-05-21 - 2021-10-28

##### Научные статьи и отчеты

Neuroimaging manifestations in children with SARS-CoV-2 infection: a multinational, multicentre collaborative study

COVID-19 Vaccination–Associated Myocarditis in Adolescents

2020 - 2021 Hospitalization of Adolescents Aged 12–17 Years with Laboratory-Confirmed COVID-19 — COVID-NET, 14 States, March 1, 2020–April 24, 2021

2021-10-28 Children and COVID-19: State Data Report

#### Другие ссылки

Will COVID become a disease of the young?
детинеболеют.рф
Файл:Дети и ковид октябрь 2021 Алена Макарова.pdf
Boss CE-2 Chorus

The **Boss CE-2 Chorus** was an effects pedal - the successor to the Boss CE-1 Chorus Ensemble, and the first compact pedal to be produced by Boss. Phil Collins and Mike Rutherford were known to use this pedal.

## Mike Rutherford's Boss CE-2

Mike Rutherford used a Boss CE-2 on the *Mama* album - possibly a borrowed one.

In footage from the Mama sessions Hugh Padgham is seen plugging Mike's Steinberger bass into the Boss Chorus and Korg WT-12 Chromatic Tuner during an overdub on "Silver Rainbow". This was inspired work Hugh did with The Police, where Sting (who later did guest vocals on Phil Collins' *No Jacket Required*) always used a bit of Boss chorus on his bass to thicken the sound.

### References

* Making of Mama footage
* Classic Tracks: The Police's Every Breath You Take - mention of Boss chorus

## Phil Collins' Boss CE-2

In a photo from the *No Jacket Required* tour (taken at a concert in Munich in March 1985), a **Boss CE-2** Chorus pedal is seen sitting on top of Phil's Yamaha CP-70. As the Boss chorus does not appear in the *No Ticket Required* footage (filmed 29 May 1985), it appears to have been replaced by the T.C. Electronic Stereo Chorus Flanger by then.
The Farm

**The Farm** (a.k.a. **Fisher Lane Farm**) is an independent recording studio belonging to Genesis.

## Equipment

### 1981

* AMEK M2000A (or 2500) console
* Studer A-80 24-track tape machine
* Studer A-80 2-track tape machine
* EMT Echo Plate
* UREI monitors powered by Crown amps
* Microphones by Shure, Beyerdynamic, Neumann & PZM

(might be incomplete)

Sources:

* *Recording Engineer/Producer*, August 1981 (page 122, 'Studio updates' section)

### 1986/87

**Mixing console**

* Solid State Logic SL4056E

**Tape machines & mastering equipment**

* Studer A800 mk. III 24-track (x2) with Dolby SP24 noise reduction
* Studer A80RC 2-track
* Sony PCM-1630 (or PCM-1610)
* Sony DAE-1100 editing system
* Sony DMR-2000 U-Matic VCRs
* various cassette and videocassette decks

**Effects & processors**

* Audio & Design Recording SCAMP rack units
* AMS DMX 15-80S digital delay
* AMS RMX-16 digital reverb
* Drawmer noise gates
* EMT Tube Plate reverb
* Friendchip SRC
* Lexicon PCM-41
* Neve 1078 EQ
* Quantec QRS Room Simulator
* UREI LN1178 compressor/limiter
* Valley People Dyna-Mite
* Valley People Kepex II noise gates
* Valley People Gain Brain compressors/limiters
* Yamaha REV 7 digital reverb

**Monitoring system**

* Acoustic Research AR18s
* Auratone 5C monitors powered by Quad 520 amps
* Wetlake HR-1 cabinets driven by Crown PSA-2 amps - probably acquired after recording *Invisible Touch*
* Yamaha NS-10Ms

Sources:

* *Recording Engineer/Producer*, July 1987
* *Studio Sound*, September 1986 - mentions Fisher Lane Farm commissioning installation of Westlake HR-1 system

### 1991

**Mixing console**

* SSL 4000E

**Tape Machines & mastering**

* Sony PCM-3348 digital 48-track
* Sony PCM-3324A digital 24-track
* Studer A800 Mk. III 24-track
* Sony PCM-1630 + DMR2000 master recorder (x2)
* Sony DMR-4000 decks
* Sony DAE-3000 digital editor

**Outboard gear**:

* AMS
* Focusrite EQs
* Lexicon
* Neve 1066

**Monitoring**:

* Acoustic Research AR18s
* ProAc
* Westlake HR-1

**"Scrapyard studio" equipment**

* Atari Mega S2
* E-mu Emulator II with hard disk
* E-mu Emulator III
* E-mu SP-12
* LinnDrum
* Yamaha DX7
* Fostex B16
* Seck 18:8:2 desk

Sources:

* *Recording Musician*, July 1992

### Other

* Steinway grand piano - it's unclear how long this piano had been housed at The Farm, but is mentioned here
1820 Collard & Collard 6' grand piano

In the late 1970s and early 1980s, Phil Collins was using a vintage straight-strung **1820 Collard & Collard 6-foot grand piano**, which resided at his Old Croft home studio.
The piano was inherited from his Great Aunt Daisy, who had passed away. In fact, it was on this piano that Daisy taught Phil how to play the piano when he was younger.

He wrote and recorded many songs from the *Face Value* (1981) and *Hello, I Must Be Going* (1982) albums with this piano. In the mid-1980s, around the time of *No Jacket Required*, Phil migrated to the Yamaha CP-70.

The Collard & Collard piano is currently in storage as an antique, but has been restored.

## References

* *Not Dead Yet* autobiography
* *Genesis Information magazine Issue 29*, October 1983 - page 11
* Phil Collins - *The A-Z of Phil Collins Podcast*, Episode 1 (2021)
Peter Gabriel So tour 1986-87

Also known as the *This Way Up* tour for 1987 legs.

## Peter Gabriel

**Keyboards & synthesizers**

* E-mu Emulator II
* Sequential Circuits Prophet-5
* Yamaha CP-80
* Yamaha KX-88
* Yamaha TX-816

**Effects & Misc.**:

* AMS DMX 15-80 digital delay/harmonizer
* Boss CE-1 Chorus Ensemble (x2)
* Boss CE-3 Chorus (x2)
* Deltalab DL-2
* Ibanez SDR-1000 digital reverb
* Roland SDD-320 Dimension D
* Yamaha SPX90
* 16-2 mixer of unknown make

## References

* *Keyboard*, January 1987 (Japanese edition)
* Photos

## David Sancious

* Akai S900
* Yamaha KX-88
* Yamaha TX-816
* computer

## References

* *Keyboard*, November 1986 (Japanese edition)

## David Rhodes

**Guitars**:

* 1963 Fender Jazzmaster
* 1962 Fender Stratocaster
* Ovation MIDI guitar and controller(?)
* Steinberger GL-2T (/w Tremolo system)

**Amplification**:

* Roland JC-120 (x2)

**Effects & pedals**:

* Boss CE-2 Chorus
* Boss DS-1 Distortion
* Boss SD-1 Overdrive
* Boss VB-2 Vibrato?
* MXR MX-151 Delay System II
* Ibanez HD-1000 harmonics/delay
* Roland SDE-1000 digital delay
* Roland SEQ-331 31-band graphic eq
* Roland SRV-2000 digital reverb
* T.C. Electronic 1140 parametric eq
* Yamaha SPX90 multi-effects processor

### References

* Peter Gabriel Shock The Monkey live in Athens 1987
* *Guitar Player*, September 1987

## Tony Levin

**Basses**:

* Chapman Stick
* Music Man Sabre (so-called "Sledgehammer" bass)
* Music Man fretless (possibly a StingRay)

**Amplification**:

* Yamaha 2x15 bass bin

**Effects & pedals**:

* Boss:
	+ CS-2 Compressor/Sustainer (?)
	+ DD-2 digital delay (?)
	+ OC-2 Octaver (assumed)
	+ GE-7 Graphic Equalizer (assumed)
	+ SD-1 Super Overdrive (assumed)
	+ OD-1 Overdrive (assumed)
	+ PSM-5 Power Supply & Master Switch
* Ibanez UE-400 multi-effects
* Ibanez UE-405 multi-effects

*more effects to be determined*

**Other**:

* NADY 700 wireless
* Yamaha KX5 keyboard ("Shock The Monkey

## References

* *Keyboard*, January 1987 (Japanese edition)
* Various photos/videos

## Manu Katche

* Drums (Yamaha):
	+ 22" bass drum
	+ 12" rack tom
	+ 13" rack tom
	+ 14" rack tom
	+ 16" floor tom
* 7 1/2" Noble & Cooley snare
* Cymbals (Zildjian):
	+ 18" crash (x2, one original and one K series)
	+ 20" rock ride
	+ 10" splash
	+ 8" splash (x2)
* Misc.:
	+ Akai S900
	+ Garfield Drum Doctor
	+ Roland Octapad
Turn It On Again: The Tour (2007-2008)

## Phil Collins

**Drums**:

* Gretsch USA Custom Piano Black Nitron kit:
	+ 20" x 14" kick drum
	+ 8" x 5 1/2" rack tom
	+ 10" x 6 1/2" rack tom
	+ 12" x 8" rack tom
	+ 15" x 12" rack tom
	+ 16" x 16" floor tom
	+ 18" x 18" floor tom
* Noble & Cooley 14" x 4 1/5" snare

**Cymbals** (Sabian):

* 15" hi-hats
* 18" HH Medium thin crash (brilliant finish)
* 18" HH Medium thin crash (brilliant finish)
* 20" HH Medium thin crash (brilliant finish)
* 21" HH Raw Bell ride
* 22" HH China /w Brilliant finish

**Hardware**:

* Ludwig Speed King pedal
* Slingerland hi-hat pedal
* Premier & (new) Yamaha cymbal stands
* Sonor snare stand

**Drum heads**:

* Remo Clear Diplomat on 8" and 10" rack toms
* Remo Clear Ambassadors on 12" & 15" rack toms and 16" & 18" floor toms
* Remo Coated Ambassador on snare
* Remo Smooth White Ambassador on kick

**Sticks**:

* Promark 'Phil Collins' model

**Electronics**

* Kat triggers
* Roland Fantom XR
* Roland TD-12
* Simmons SDS-V sounds

## Tony Banks

**Keyboards & Synthesizers**:

* Korg OASYS
* Korg Wavestation
* Roland A90

**Rack units**:

* Mackie mixer
* E-mu EIV (x2)
* E-mu Proteus 1 (x2)
* E-mu Proteus 2 (x2)
* Korg Wavestation SR (x2)
* Roland JD-990
* Yamaha SPX2000 (x2)
* Yamaha TX7 (x2)

### Sources

* *The Korg Magazine*, Autumn 2007
* TWR Tony Banks interview

## Daryl Stuermer

**Effects & pedals**:

* Boss DD-5 Digital Delay
* Boss FS-5U Footswitch
* Boss SD-2 Dual Overdrive (possibly)
* Boss TU-12 Tuner
* Ernie Ball Volume Pedal VP JR.
* Fulltone Soul Blender
* Moog Taurus
* Radial Tonebone Classic Distortion

*other pedals to be identified*

## Chester Thompson

**Drums** (DW Exotic Twisted Rainbow Wood):

* 22" x 18" kick (x2)
* 8" x 8" rack tom
* 10" x 9" rack tom
* 12" x 10" rack tom
* 13" x 11" rack tom
* 14" x 12" rack tom
* 15" x 12" rack tom
* 16" x 16" floor tom
* 18" x 18" floor tom
* 14" x 6 1/2" Craviotto snare

**Cymbals** (Sabian)

* 21" Prototype Ride
* 18" Prototype Crash
* 18" O Ring China
* 18" HH Extra Thin Crash
* 16" Prototype Crash
* 15" HH Sound Crontrol Crash
* 12" HHX Splash
* 14" AA Rock hi-hats

**Hardware**:

* Gibraltar rack (Gold)
* Gibraltar throne
* DW 9000 series hardware (Gold)
* DW 9000 pedals & hi-hat

**Drum heads**:

* Remo Pinstripe (kick)
* Remo Ambassador (kick drum front)
* Remo Clear Ambassador (toms, top and bottom)
* Remo reverse dot Coated Ambassador (snare)

**Electronics**:

* Dr. Beat
* Fantom XR synthesizer/sampler
* Roland V-Drum PD-105 Tom Pad
* RT-10 acoustic drum triggers

**Percussion**:

* Meinl shakers, bongos & tambourine

**Drum sticks**:

* Regal tip 'Chester Thompson' model
Boss CE-1 Chorus Ensemble

The **Boss CE-1 Chorus Ensemble** was a chorus pedal used by Mike Rutherford and Tony Banks.

## Mike Rutherford's Boss CE-1

Mike Rutherford started using the Boss CE-1 Chorus around the time of ***Wind And Wuthering*** (rather than ***A Trick Of The Tail*** as stated in an interview, as the CE-1 was released in June 1976 which as after its release).

### References

* *Genesis Information* magazine issue 21 October 1981 - Mike Rutherford interview on pages 3-7, 12-13, 15-16. Includes unused interview section from *Guitar Player* issue.

## Tony Banks' Boss CE-1

Tony Banks began to use the Boss CE-1 on *Wind And Wuthering*, mostly to thicken the keyboard sounds. In particular, he used it on the Yamaha CP-70

Around the time of ***Abacab***, however, the Boss CE-1 was replaced by the MXR MX-134 Stereo Chorus.

### References

* *Contemporary Keyboard*, July 1978
* *Genesis Information* magazine issue 27 (page 15-16) - MXR Stereo Chorus
* Tony Banks keyboard rigs

## Peter Gabriel's Boss CE-1

Like with Tony Banks, Peter Gabriel used a **Boss CE-1 Chorus** on his Yamaha CP-70 during the *Scratch* tour in 1978.

### References

* *International Musician And Recording World*, January 1979
Gibson RD Artist

Daryl Stuermer played a natural finish **Gibson RD Artist** 4-string bass with Genesis on the *...And Then There Were Three* tour in 1978, when he joined the band for that particular tour. After the tour he switched to other basses like the Shergold Modulator.

The RD Artist was among the Genesis gear auctioned off in 2001.

## References

* *Guitar Player*, September 1984
* Genesis Guitars from 2001 auction
Симптомы

Здесь планируется вести список частых симптомов возникающих как при ковид, так и после прививки.

Данная информация не является медицинской рекомендацией, но может послужить хорошим подспорьем для людей, которые не знают с чего начать, какие анализы сдавать и к каким специалистам обратиться в первую очередь.

Если вы задаете вопрос в чате, постарайтесь сразу ответить на основные вопросы:

* Пол
* Возраст
* Хронические заболевания (например диабет или повышенное давление)
* Болели ли вы в период симптомов (или незадолго до того) - это может быть ковид, простуда или что-то еще с чем может быть связь.

Если вы после прививки и у вас есть документы подтверждающие симптомы, пожалуйста, напишите в группу отчетов о прививках.

* Онемение, покалывание, потеря чувствительности (как правило нога или рука с одной стороны)
Sequential Circuits Prophet-10

The Prophet-10 is essentially two Prophet 5s in one.

Tony Banks had recorded with one on *Genesis* and *Invisible Touch*. He initially had a Prophet-5 on *Abacab*, but switched to the Prophet-10 for the tour at least.

Besides big synth sounds, Tony used the Prophet-10 for organ sounds (dropping the Hammond T102 Tonewheel organ), using an MXR Phase 100 to mimic the Hammond. A chorus (presumably the Boss CE-1) was also used on the Prophet.

The Prophet-10's drone function was particularly useful for the recording of "Mama", as well as "Tonight, Tonight, Tonight".

## Quotes on the Prophet-10

> 'I also had a Prophet 5 which I switched to a Prophet 10 and still use. The 10 had the advantage that you could get big sounds out of it by combining four oscillators at the same time. You can get organ-type sounds. I know it's easier to use an organ, but I was trying to keep the number of instruments on stage to a minimum, and you could get organ sounds as well as big synthesiser sounds out of it.'
>
>

## References

* *Keyboard*, November 1984 (effects)
* *Electronics & Music Maker*, November 1983
* *Electronics & Music Maker*, July 1986
Вирус SARS-CoV-2 (2019-nCoV) не был изолирован / выделен

Простое объяснение на ~~пальцах~~ хомячке с выделением и доказательством патогенности

### Научные работы где **производилось выделение вируса**

* Клинические особенности пациентов, инфицированных новым коронавирусом 2019 года в Ухане, Китай (en)
* Изоляция и характеристика SARS-CoV-2 от первого пациента с COVID-19 в США (en)
* Изоляция и быстрый обмен новым коронавирусом 2019 года (SARS-CoV-2) от первого пациента с диагнозом COVID-19 в Австралии(en)

### Научные работы где **использовался выделенный вирус**

* Гамалея использовала изолят **hCoV-19/Russia/Moscow\_PMVL-1/2020** для измерения титров антител
* Сирийские хомяки как модель мелких животных для заражения SARS - CoV-2 и разработки контрмер (en) - тот самый хомяк из текста в начале страницы
* Ультраструктурный анализ взаимодействий SARS-CoV-2 с клеткой-хозяином с помощью сканирующей электронной микроскопии высокого разрешения (en) - использовался изолят, полученный от больного человека, который вырастили в клетках обезьян. **С фотографиями!!!**.

### И геном до кучи (последовательности)

* Изолят вируса пневмонии уханьского рынка морепродуктов Wuhan-HU-1, полный геном
* https://covariants.org
* https://nextstrain.org/sars-cov-2/

### Еще ссылки

* **SARS-CoV-2 выделен. Или нет? Изоляция вирусов из биоматериала, визуализация вирионов, их компонентов и патогенных эффектов** - Файл:SARS-CoV-2 isolated or not.pdf
Изоляция вируса

## Что такое вирусный изолят и процесс его выделения

### Определение номер раз

Выделение вируса это процесс отделения образца (изолята, вирусосодержащей субстанции) от носителя для последующей работы с ним.

Например, если вирус обитает в носовой полости, то если вы болеете и высморкаетесь вы получите изолят того вируса, которым обитал у вас в носу.

Так как такой изолят не очень приятен для работы его, как правило, еще дополнительно фильтруют чтобы получить только частицы того размера, которые нужны.

### Определение номер два

Выделение вируса - это медицинский термин, означающий что больной организм (человек или животное) выделяет вирусные частицы в окружающую среду. Под "получением образца" следует понимать "изоляцию вируса" или "получение изолята".

## Больной человек -> здоровый хомячок -> больной хомячок

Статья, где показано выделение вируса от больного человека, произведена культивация вируса на клеточной культуре. Продемонстрирована контагиозность - способность вируса вызывать у сирийских хомячков заболевание, аналогичное человеческому. Также продемонстрировано то, что переболевший хомяк не заражается повторно: Ссылка на статью.

## Процесс выделения **для последующего изучения** примерно следующий:

* Получить материал в котором предположительно находится вирус (например мазок, капля крови, слюна, фекалии)
* Отфильтровать от всего лишнего - вирионы отделяются от всего остального (например, используя фильтр с маленькими порами, через которые проходят частицы размера вириона и меньше)
* Отфильтрованные частицы (зеленые шарики на картинке) помещают в клеточную культуру, где они будут размножаться
* Через некоторое время частиц будет достаточно много для изучения

Ниже представлен принцип фильтрации вирусных частиц (зеленые), чтобы отсеять все остальное типа бактерий (синие).

Figure 6.3.1: Membrane filters can be used to remove cells or viruses from a solution. (a) This scanning electron micrograph shows rod-shaped bacterial cells captured on the surface of a membrane filter. Note differences in the comparative size of the membrane pores and bacteria. Viruses will pass through this filter. (b) The size of the pores in the filter determines what is captured on the surface of the filter (animal [red] and bacteria [blue]) and removed from liquid passing through. Note the viruses (green) pass through the finer filter. (credit a: modification of work by U.S. Department of Energy)

## Критерий успешного поиска

1. Вирус обнаруживается у больных и не обнаруживается у здоровых
2. Вирус реплицируется в клеточной культуре
3. Вирус, реплицированный в клеточной культуре, способен заражать здоровые клетки или организмы

## Ссылки

* Почему вирусологи не работают с единичным вирионами как с бактериями?
* Изолят, вариант, штамм - что это? (en)
* Изоляция и культивирование (выращивание) вирусов (en)
* Вирус SARS-CoV-2 (2019-nCoV) не был изолирован / выделен
Beyerdynamic M88

The **Beyerdynamic M88 TG** is a microphone which was notably used by Phil Collins.

The mic was used by Phil pretty much exclusively on many of his solo albums, especially those co-produced with Hugh Padgham, from *Face Value* onwards. This also included work with Genesis from *Abacab* through to *We Can't Dance* albums. He also used the mic onstage on various tours, both Genesis and solo.

On the records, the Beyer M88 was often coupled with an Allen & Heath Mini Limiter to provide a level of grittiness and attack in Phil's voice.

## References

* Mixonline article on "In The Air Tonight"
* Various
Эпидемиология

Есть мнение, что в учебниках эпидемиологии много чего написано.

## Учебники

Н.И. Брико, В.И. Покровский - Эпидемиология (учебник)

> *На­пример, при брюшном тифе **раннюю диагностику заболевания осу­ществляют методом выделения возбудителя из крови** (гемокультурой) и серологическими **тестами** [Vi-гемагглютинацией, иммунофермент- ным анализом (ИФА), **ПЦР**]*
>
>

>  *(2.2. Содержание противоэпидемической деятельности и основы ее организации стр. 151)*
>
>

> *Защита медицинского персонала, **работающего с больными или проводящего лабораторные исследования**, вскрытие трупов погибших возможны при повышенном внимании к выполнению всех процедур и постоянном использовании защитной одежды.*
>
>

> *...*
>
>

> ***Определенную защиту обеспечивает использование обычной хирур­гической маски, халата и перчаток.***
>
>

> *(2.2. Содержание противоэпидемической деятельности и основы ее организации стр. 157)*
>
>

> ***Прививки по эпидемическим показаниям***
>
>

> ***Прививки по эпидемическим показаниям проводят** в соответствии с приказами Министерства здравоохранения РФ и (или) территориаль­ ными органами здравоохранения в следующих ситуациях (табл. 2.14):*
>
>

* > ***угроза профессионального заражения** (работники производств, имеющие контакт с источником инфекции или возбудителем ин­ фекционной болезни);*
>
>
* > ***угроза распространения инфекционной болезни** на конкретной территории;*
>
>
* > *при проживании на эндемичных или энзоотичных территориях;*
>
>
* > ***экстренная профилактика лиц, контактировавших с источником инфекции в эпидемических очагах;***
>
>
* > *постоянное проживание на эндемичной или энзоотичной терри­ тории;*
>
>
* > ***предстоящая поездка на эндемичную и энзоотичную территории.***
>
>

> *(2.6. Иммунопрофилактика инфекционных болезней стр. 239)*
>
>
Sabian cymbals

From 1982 onwards, Phil Collins had been an endorsee and user of **Sabian** cymbals.

He started out with a mix of Sabian and (mostly) Zildjian cymbals on the *Three Sides Live* tour (a.k.a. Encore tour).

By the time of the *Invisible Touch* tour, his entire cymbal setup for the tour was Sabian (with the exception of a Zildjian 22" China).
Спутник это экспериментальный препарат не прошедший третью фазу КИ - это все медицинский эксперимент

3 и 4 фазы совмещены под номером 450 регистрации клинических испытаний

Регистрация лекарственного средства получена 11 августа 2020 года

В том числе Спутник V есть в справочнике лекарственных препаратов

*На основании результатов III Фазы клинических исследований принимается решение о регистрации или отказе в регистрации лекарственного препарата.*

Из вышесказанного следует что: **Выдача регистрационного удостоверения подтверждает прохождение третьей фазы КИ.**

Здесь чуть подробнее про разные фазы клинических испытаний - https://www.medtran.ru/rus/trials/trial\_phases.htm

Отчет по третьей фазе - Safety and efficacy of an rAd26 and rAd5 vector-based heterologous prime-boost COVID-19 vaccine: an interim analysis of a randomised controlled phase 3 trial in Russia и дополнителные материалы

#### Ссылки

* Источники данных о вакцине Спутник-V (ссылки на клинические испытания и научные работы по результатам этих испытаний)
* Пятнадцатый бюллетень по безопасности вакцин против Covid-19 от МинЗдрава Аргентины.
* Предварительные данные из Сан-Марино EN
* Данные из Сан-Марино EN
* Еще о побочках
* COVID-19 vaccines effectiveness against symptomatic SARS-CoV-2 during Delta variant surge: a population-based case-control study in St. Petersburg, Russia
Ethereal Daoist Celestial

Transcendental Daoist Celestial and the rest of the group looked at one of the Daoist Celestials. The man was wearing a black robe, suspended in mid-air, like a ghost.

This person's name was called Ethereal Daoist Celestial.

He was the most capable of investigation and the stealthiest among the twenty-four Daoist Celestials.

In the past few years, he was the one who provided all the information about the Blood Tribe. Among the twenty-four Daoist Celestials, he could be said as being the greatest contributor.
ЭпиВакКорона

ЭпиВакКорона – российская пептидная вакцина, разработанная центром «Вектор» Роспотребнадзора.

По заявлению разработчиков, «ЭпиВакКорона» индуцирует антитела точечно, к определенным небольшим участкам S-белка коронавируса, поэтому для определения титра антител после иммунизации этой вакциной нужна конкретная тест-система разработки «Вектора»[1].

Данные народных исследований говорят о том, что иммуногенность вакцины составляет около 70%, однако антитела к антигену ЭпиВакКороны неспособны нейтрализовать вирус. В общей сложности было поставлено 5 экспериментов с сывороткой плазмы 55 иммунизированных ЭпиВакКороной, ни в одном случае сыворотка плазмы неболевших вакцинированных не была способна нейтрализовать цитопатическое действие вируса.

При этом вопросы возникают не только к выбору пептидов для этой вакцины, но и к самому принципу её действия. Ранние (1982) попытки создания пептидных вакцин потерпели неудачу.

Анализ открытых данных показывает отрицательную эпидемиологическую эффективность данной вакцины в Санкт-Петербурге и в Москве.

В настоящий момент считается, что ЭпиВакКорона не обладает какой-либо эффективностью в отношении вируса SARS-CoV-2 и неспособна предотвращать вызываемое им заболевание COVID-19.