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I figured it was a software problem, so I told him to check the print settings in the program he was using to try to print the list. He said he did that. I asked whether the print looked faded. Nope. I told him good luck. He reluctantly called tech support – reluctant, he said, because the technicians always make him feel like an idiot. They asked whether he had checked the toner cartridge. Sure enough, that was it – the printer was low on toner. He changed the toner cartridge, entered the command to print the document, and it printed all four pages! Although the problem was solved, my son remained perplexed. Why,” he asked, “would I ever suspect the toner was low when the printer had no problem printing half pages? For all the half pages it printed, it could have printed ten full copies of the document!”Ahhh, it was finally dawning on him how utterly illogical computers can be. My printer has its own quirky behaviors. View and Download LINE 6 POD XT LIVE manual online. POD XT LIVE Guitar pdf manual download. 1 I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul. ![]() Just the other day I tried to print a document in black and white – no fancy color brochure or anything like that. The printer refused. The error message told me that my printer was out of yellow ink and I had to change the yellow ink cartridge before I could print anything. If you’ve observed your printer or computer behaving oddly, I’d like to hear about it. Please post your observations here. Song of Myself. Won't you help support Day. Poems? 1. 81. 9- 1. I celebrate myself, and sing myself. And what I assume you shall assume. For every atom belonging to me as good belongs to you. I loafe and invite my soul. I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form'd from this soil, this air. Born here of parents born here from parents the same, and their. I, now thirty- seven years old in perfect health begin. Hoping to cease not till death. Creeds and schools in abeyance. Retiring back a while sufficed at what they are, but never forgotten. I harbor for good or bad, I permit to speak at every hazard. Nature without check with original energy. Houses and rooms are full of perfumes, the shelves are crowded with. I breathe the fragrance myself and know it and like it. The distillation would intoxicate me also, but I shall not let it. The atmosphere is not a perfume, it has no taste of the. It is for my mouth forever, I am in love with it. I will go to the bank by the wood and become undisguised and naked. I am mad for it to be in contact with me. The smoke of my own breath. Echoes, ripples, buzz'd whispers, love- root, silk- thread, crotch and vine. My respiration and inspiration, the beating of my heart, the passing. The sniff of green leaves and dry leaves, and of the shore and. The sound of the belch'd words of my voice loos'd to the eddies of. A few light kisses, a few embraces, a reaching around of arms. The play of shine and shade on the trees as the supple boughs wag. The delight alone or in the rush of the streets, or along the fields. The feeling of health, the full- noon trill, the song of me rising. Have you reckon'd a thousand acres much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of. You shall possess the good of the earth and sun, (there are millions. You shall no longer take things at second or third hand, nor look through. You shall not look through my eyes either, nor take things from me. You shall listen to all sides and filter them from your self. I have heard what the talkers were talking, the talk of the. But I do not talk of the beginning or the end. There was never any more inception than there is now. Nor any more youth or age than there is now. And will never be any more perfection than there is now. Nor any more heaven or hell than there is now. Urge and urge and urge. Always the procreant urge of the world. Out of the dimness opposite equals advance, always substance and. Always a knit of identity, always distinction, always a breed of life. To elaborate is no avail, learn'd and unlearn'd feel that it is so. Sure as the most certain sure, plumb in the uprights, well. Stout as a horse, affectionate, haughty, electrical. I and this mystery here we stand. Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen. Till that becomes unseen and receives proof in its turn. Showing the best and dividing it from the worst age vexes age. Knowing the perfect fitness and equanimity of things, while they. I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean. Not an inch nor a particle of an inch is vile, and none shall be. I am satisfied- -I see, dance, laugh, sing. As the hugging and loving bed- fellow sleeps at my side through the night. Leaving me baskets cover'd with white towels swelling the house with. Shall I postpone my acceptation and realization and scream at my eyes. That they turn from gazing after and down the road. And forthwith cipher and show me to a cent. Exactly the value of one and exactly the value of two, and which is ahead? Trippers and askers surround me. People I meet, the effect upon me of my early life or the ward and. I live in, or the nation. The latest dates, discoveries, inventions, societies, authors old and new. My dinner, dress, associates, looks, compliments, dues. The real or fancied indifference of some man or woman I love. The sickness of one of my folks or of myself, or ill- doing or loss. Battles, the horrors of fratricidal war, the fever of doubtful news. These come to me days and nights and go from me again. But they are not the Me myself. Apart from the pulling and hauling stands what I am. Stands amused, complacent, compassionating, idle, unitary. Looks down, is erect, or bends an arm on an impalpable certain rest. Looking with side- curved head curious what will come next. Both in and out of the game and watching and wondering at it. Backward I see in my own days where I sweated through fog with. I have no mockings or arguments, I witness and wait. I believe in you my soul, the other I am must not abase itself to you. And you must not be abased to the other. Loafe with me on the grass, loose the stop from your throat. Not words, not music or rhyme I want, not custom or lecture, not. Only the lull I like, the hum of your valved voice. I mind how once we lay such a transparent summer morning. How you settled your head athwart my hips and gently turn'd over upon me. And parted the shirt from my bosom- bone, and plunged your tongue. And reach'd till you felt my beard, and reach'd till you held my feet. Swiftly arose and spread around me the peace and knowledge that pass. And I know that the hand of God is the promise of my own. And I know that the spirit of God is the brother of my own. And that all the men ever born are also my brothers, and the women. And that a kelson of the creation is love. And limitless are leaves stiff or drooping in the fields. And brown ants in the little wells beneath them. And mossy scabs of the worm fence, heap'd stones, elder, mullein and. A child said What is the grass? How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green. Or I guess it is the handkerchief of the Lord. A scented gift and remembrancer designedly dropt. Bearing the owner's name someway in the corners, that we may see. Whose? Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic. And it means, Sprouting alike in broad zones and narrow zones. Growing among black folks as among white. Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass. It may be you transpire from the breasts of young men. It may be if I had known them I would have loved them. It may be you are from old people, or from offspring taken soon out. And here you are the mothers' laps. This grass is very dark to be from the white heads of old mothers. Darker than the colorless beards of old men. Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues. And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women. And the hints about old men and mothers, and the offspring taken. What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere. The smallest sprout shows there is really no death. And if ever there was it led forward life, and does not wait at the. And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses. And to die is different from what any one supposed, and luckier. Has any one supposed it lucky to be born? I hasten to inform him or her it is just as lucky to die, and I know it. I pass death with the dying and birth with the new- wash'd babe, and. And peruse manifold objects, no two alike and every one good. The earth good and the stars good, and their adjuncts all good. I am not an earth nor an adjunct of an earth. I am the mate and companion of people, all just as immortal and. They do not know how immortal, but I know.).
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GAMMILL BLOG |Photographing Your Quilts. By Jo Ann Gruber Quilted Treasures (Alaska Gammill Dealer) www. Quilted by Jo Ann Gruber, Quilted Treasures. I am not a professional photographer, but I am convinced that just about anyone can take decent pictures of their own quilts. You spend many hours creating your quilts. It doesn’t matter if it is a gift for your family, a donation quilt for charity or a work of art that you plan to enter into a show. Need logo design inspiration? Here we feature 10 of the best logo design galleries for all of your inspirational needs.![]() It may soon be gone, so many of us would like to have a photograph of it to include with our documentation. Any photographs that you take are certainly good enough for documenting your quilts and/or sharing them on social media. In most cases, you can take pictures good enough to enter quilt competitions. Personally, I’ve only had one of my quilts professionally photographed; and that was one that was included in Debbie Caffrey’s “Blocks and Quilts Everywhere!” book. So, there is certainly a time and place for the professional photographer; but the tips I’d like to share with you today are ones that you can use to take reasonably good photos of your own quilts. If you are planning to enter a quilt in a major quilt show, you will need good photographs of it just to have a chance for it to be accepted for exhibit. I have heard several judges say that most quilts that are juried are rejected because the photographs submitted are of questionable quality. No matter how good your quilt is in person, if the photograph of it is poor, it will more than likely be rejected.)Things you need to know to get great pictures of your quilt: Know your camera. Even the simple point- and- shoot cameras have many options on them. The various settings can dramatically affect how your quilt will look once it has been photographed. Most cameras come with an instruction manual or you can usually find one to download on the manufacturer’s website. I personally use a Nikon D7. ![]() I take. You certainly can take fairly good images with your smart phone or tablet, but there are some limitations depending on the quality of photographs you wish to take. For me, my phone doesn’t have a tripod socket, so it’s difficult to get the camera in the phone parallel to the quilt. I like a camera with at least 5 megapixels of resolution.)Find a good place to hang your quilt so there are no distractions. If there are distractions, you can always crop those items out of your photograph. You can use a bare wall, a design board, a display stand etc. If you’re photographing outdoors, you’ll want to make sure you do that on a calm day so that the wind won’t blow your quilt around. Use a tripod. One of the best tips I can give you is to always use a tripod! This will help ensure a nice, crisp photo. Although I don’t use one for every quilt I photograph, the use of a tripod will allow you to get a quilt square in the viewfinder or display screen. If the lens of the camera isn’t aligned with the quilt, you will get a distorted image (called keystoning in photography). It’s basically an issue with perspective. Is this a bad thing? Not always. Position your camera correctly. To minimize distortions, adjust your tripod so your camera lens is pointed at the middle of your quilt. If you need to, use a tape measure. Check the distance from the middle of your quilt to the floor and then move your camera so that the center of the lens is at the same height. Next, adjust your camera so it is parallel to the design wall. When your camera is not parallel, you get wonky photos. I take quite a bit of time looking at the view screen of my digital camera to see if the edges of my quilt are parallel with the edges of the view screen. Lighting. I rarely use the flash on my camera. I use side lighting to be able to capture the relief (highs and lows) of the quilting. If I photograph a quilt outdoors, I avoid areas with full sun and prefer to photograph them in open shade. For even lighting without completely washing out the quilts, I place the lights so they are at 4. Sometimes I’ll place one lamp on either side of the quilt. I can usually get the best coloring that way. After a few shots like that, I’ll either turn off one light or place both on the same side. That way I can create shadows and I can usually get a good shot of the relief created by the quilting stitches. Also experiment with moving your lighting closer or further away to see what shows off your quilt best. Take lots of pictures. 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Summary of changes in prehospital resuscitation since the 2010 Guidelines. The team approach is emphasised – the prehospital resuscitation team should ideally. The transfer of essential information and the responsibility for care of the patient from one health care provider to another is an integral component of. U. S. Navy. Proving highly adaptable, it was also adopted by the U. S. Marine Corps and the U. S. Air Force, and by the mid- 1. The Phantom is a large fighter with a top speed of over Mach 2. It can carry more than 1. The F- 4, like other interceptors of its time, was designed without an internal cannon. Later models incorporated an M6. Vulcan rotary cannon. Beginning in 1. 95. The F- 4 was used extensively during the Vietnam War. It served as the principal air superiority fighter for both the Navy and Air Force, and became important in the ground- attack and aerial reconnaissance roles late in the war. The Phantom has the distinction of being the last U. The McDonnell Douglas F-4 Phantom II is a tandem two-seat, twin-engine, all-weather, long-range supersonic jet interceptor and fighter-bomber originally developed for. The tree is now up. And we have had only one incident so far with the dog gobbling a fluffy sheep decoration. Actually I am not sure there was much gobbling involved. ![]() S. fighter flown by pilots who attained ace status in the 2. During the Vietnam War, one U. S. Air Force pilot and two weapon systems officers (WSOs),[6] and one U. S. Navy pilot and one radar intercept officer (RIO) became aces by achieving five aerial kills against enemy fighter aircraft.[7] The F- 4 continued to form a major part of U. Post Incident Debrief Templates For PowerpointS. military air power throughout the 1. F- 1. 5 Eagle and F- 1. U. S. Air Force, the Grumman F- 1. Tomcat in the U. S. Navy, and the F/A- 1. Hornet in the U. S. Navy and U. S. Marine Corps. The F- 4 Phantom II remained in use by the U. S. in the reconnaissance and Wild Weasel (Suppression of Enemy Air Defenses) roles in the 1. Gulf War, finally leaving service in 1. It was also the only aircraft used by both U. S. flight demonstration teams: the USAF Thunderbirds (F- 4. E) and the US Navy Blue Angels (F- 4. J).[3][1. 0][1. 1] The F- 4 was also operated by the armed forces of 1. Israeli Phantoms saw extensive combat in several Arab–Israeli conflicts, while Iran used its large fleet of Phantoms in the Iran–Iraq War. Phantoms remain in front line service with five countries. Phantom production ran from 1. American supersonic military aircraft.[3][1. The F- 4 remains in service with Iran, Japan, South Korea, and Turkey. It has been used in combat against the Islamic State. Development[edit]Origins[edit]In 1. Mc. Donnell's Chief of Aerodynamics, Dave Lewis, was appointed by CEO Jim Mc. Donnell to be the company's preliminary design manager.[1. With no new aircraft competitions on the horizon, internal studies concluded the Navy had the greatest need for a new and different aircraft type: an attack fighter.[1. The Mc. Donnell F3. H- G/H mockup, 1. In 1. 95. 3, Mc. Donnell Aircraft began work on revising its F3. H Demon naval fighter, seeking expanded capabilities and better performance. The company developed several projects including a variant powered by a Wright J6. Wright J6. 5 engines, or two General Electric J7. The J7. 9- powered version promised a top speed of Mach 1. On 1. 9 September 1. Mc. Donnell approached the United States Navy with a proposal for the "Super Demon". Uniquely, the aircraft was to be modular—it could be fitted with one- or two- seat noses for different missions, with different nose cones to accommodate radar, photo cameras, four 2. FFAR unguided rockets in addition to the nine hardpoints under the wings and the fuselage. The Navy was sufficiently interested to order a full- scale mock- up of the F3. H- G/H, but felt that the upcoming Grumman XF9. F- 9 and Vought XF8. U- 1 already satisfied the need for a supersonic fighter.[1. The Mc. Donnell design was therefore reworked into an all- weather fighter- bomber with 1. October 1. 95. 4, the company received a letter of intent for two YAH- 1 prototypes. On 2. 6 May 1. 95. Navy officers arrived at the Mc. Donnell offices and, within an hour, presented the company with an entirely new set of requirements. Because the Navy already had the Douglas A- 4 Skyhawk for ground attack and F- 8 Crusader for dogfighting, the project now had to fulfill the need for an all- weather fleet defense interceptor. A second crewman was added to operate the powerful radar.[2]XF4. H- 1 prototype[edit]. Key figures in the F- 4 development: David Lewis, Robert Little, and Herman Barkey. The XF4. H- 1 was designed to carry four semi- recessed AAM- N- 6 Sparrow III radar- guided missiles, and to be powered by two J7. GE- 8 engines. As in the Mc. Donnell F- 1. 01 Voodoo, the engines sat low in the fuselage to maximize internal fuel capacity and ingested air through fixed geometry intakes. The thin- section wing had a leading edge sweep of 4. Wind tunnel testing had revealed lateral instability requiring the addition of 5° dihedral to the wings.[1. To avoid redesigning the titanium central section of the aircraft, Mc. Donnell engineers angled up only the outer portions of the wings by 1. The wings also received the distinctive "dogtooth" for improved control at high angles of attack. The all- moving tailplane was given 2. In addition, air intakes were equipped with variable geometry ramps to regulate airflow to the engines at supersonic speeds. All- weather intercept capability was achieved thanks to the AN/APQ- 5. To accommodate carrier operations, the landing gear was designed to withstand landings with a sink rate of 2. On 2. 5 July 1. 95. Navy ordered two XF4. H- 1 test aircraft and five YF4. H- 1 pre- production examples. The Phantom made its maiden flight on 2. May 1. 95. 8 with Robert C. Little at the controls. A hydraulic problem precluded retraction of the landing gear but subsequent flights went more smoothly. Early testing resulted in redesign of the air intakes, including the distinctive addition of 1. Series production aircraft also featured splitter plates to divert the boundary layer away from the engine intakes. The aircraft soon squared off against the XF8. U- 3 Crusader III. Due to operator workload, the Navy wanted a two- seat aircraft and on 1. December 1. 95. 8 the F4. H was declared a winner. Delays with the J7. GE- 8 engines meant that the first production aircraft were fitted with J7. GE- 2 and −2. A engines, each having 1. N) of afterburning thrust. In 1. 95. 9, the Phantom began carrier suitability trials with the first complete launch- recovery cycle performed on 1. February 1. 96. 0 from Independence.[1. There were proposals to name the F4. H "Satan" and "Mithras".[1. In the end, the aircraft was given the less controversial name "Phantom II", the first "Phantom" being another Mc. Donnell jet fighter, the FH- 1 Phantom. The Phantom II was briefly given the designation F- 1. A and the name "Spectre" by the USAF, but neither name was officially used.[2. Production[edit]. VF- 7. 4 was the first operational U. S. Navy Phantom squadron in 1. Early in production, the radar was upgraded to the Westinghouse AN/APQ- 7. AN- APG- 5. 0 with a larger radar antenna, necessitating the bulbous nose, and the canopy was reworked to improve visibility and make the rear cockpit less claustrophobic.[2. During its career the Phantom underwent many changes in the form of numerous variants developed. The USAF received Phantoms as the result of Defense Secretary Robert Mc. Namara's push to create a unified fighter for all branches of the military. After an F- 4. B won the "Operation Highspeed" fly- off against the Convair F- 1. Delta Dart, the USAF borrowed two Naval F- 4. Bs, temporarily designating them F- 1. A "Spectre" in January 1. Unlike the navy's focus on interception, the USAF emphasized a fighter- bomber role. With Mc. Namara's unification of designations on 1. September 1. 96. 2, the Phantom became the F- 4 with the naval version designated F- 4. B and USAF F- 4. C. The first air force Phantom flew on 2. May 1. 96. 3, exceeding Mach 2 on its maiden flight.[2. The USN operated the F4. H- 1 (re- designated F- 4. A in 1. 96. 2) with J7. GE- 2 and - 2. A engines of 1. N) thrust and later builds receiving - 8 engines. A total of 4. 5 F- 4. As were built and none saw combat and most ended up as test or training aircraft.[2. Career Search. At Jet. 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Shop is a playground for creativity. Part fabrication and prototyping studio, part hacker- space and part learning center, Tech. Shop provides access to over $1 million worth of professional equipment and software. We offer comprehensive instruction and expert staff to ensure you have a safe, meaningful and rewarding experience. Most importantly, at Tech. Shop you can explore the world of making in a collaborative and creative environment. What We Offer: Each of our facilities includes laser cutters, plastics and electronics labs, a machine shop, a wood shop, a metal working shop, a textiles department, welding stations and a waterjet cutter. Members have open access to design software, featuring the entire Autodesk Design Suite. Huge project areas with large work tables are available for completing projects and collaborating with others. Free coffee and fresh popcorn are always available for your enjoyment. We also offer a number of experience- driven corporate events developed specifically to bring teams together and engage them in the act of making. How It Works: It’s simple. Wood Carving & Wood Burning Line Art Patterns by Lora S. Irish on Classic Carving Patterns. Delve in and grasp the opportunity to learn and expand on carving skills and techniques. If you are just beginning to discover woodcarving or already have some. Wood Carving Tools, Knives, Supplies, Power Tools, Accessories, Beginner Sets Shop for supplies in one spot! We are your Go-To woodcarving Store. Anyone may attend classes. For a monthly or annual fee, members can reserve and use Tech. Shop’s tools upon successful completion of equipment- specific Safety and Basic Use (SBU) classes. Talented staff members are available full time to help develop ideas and improve technical skills. You really have to see it to believe it. Stop by for a tour with one of our Dream Consultants and have all your questions answered. Whatever your background or skill sets, come in and prepare to be inspired!_____________________________________________________________________Arkansas. White River Artisans School. Denton Ferry Road. Cotter, AR 7. 26. Canoe Building)_____________________________________________________________________California. Ambrose Pollack. 26. Rancho San Carlos Road. Carmel, CA 9. 39. Cabinetmaking & Furniture making)The American School of French Marquetry. Utah Street. San Diego, CA 9. Marquetry/Inlay)American School of Lutherie. Allan Court. Healdsburg, CA 9. The Arques School. P. O. Box 2. 01. 0Sausalito, CA 9. Boat Building, Outfitting and Detailing)Cerritos College. Technology Division Office. Alondra Blvd. Norwalk, CA 9. Certificate program with courses on system cabinetmaking equipment and traditional machines and hand tools. The Krenov School(formerly College of the Redwoods)4. Alger Street. Fort Bragg, CA 9. Woodworking Basics & Furniture making)David J. Marks Woodworking Classes. PO Box 6. 10. 1Santa Rosa, CA 9. Woodworking, Turning, Gilding & Chemical Patination) Classes are taught in David’s workshop/studio in which he taped the television show “Woodworks” on the DIY Channel.)Essick Woodworking School. Lost Ln. Grass Valley, Calif. 9. Teaches all levels of students in furniture and cabinet making)Grew- Sheridan Studio. Third Street, #5. ESan Francisco CA 9. Woodworking Basics & Woodturning)Masterpiece School of Furniture. S. Franklin Street. Fort Bragg, CA 9. Woodworking Basics Furniture making)Palomar College. W. Mission Road. San Marcos, CA(7. Cabinetmaking, Millwork, Machining & Furniture making)Pleasant Hill Education Center Wood Shop. Oak Park Blvd, Room 2. Pleasant Hill, CA 9. Ext. 3. 99. 0(Woodworking Basics Woodcarving)School of Classical Woodworking. Dolan Avenue. Mill Valley, CA 9. Woodcarving)Vocademy. Spruce St. Riverside, CA 9. William Ng Woodworks LLC – School of Fine Woodworking. N. Dynamics St. #HAnaheim, CA. Marquetry, Tool Making, Veneered Furniture, Finishing Techniques, Woodturning, Joinery/Advanced Joinery, Carving and more)The Wood Works Furniture Design Studio(Located within The Corona Heritage Park)5. Foothill Parkway. Corona, CA. 9. 28. Colorado. Red Rocks School of Fine Woodworking and Lutherie Red Rocks Community College. W 6th Ave. Lakewood, CO 8. Furniture making. Anderson Ranch Arts Center. Owl Creek Rd. P. O. Box 5. 59. 8Snowmass Village, CO 8. A community dedicated to creativity and growth through the making and understanding of the visual arts, including woodworking.)Luthiers School of the Rockies. Whitney Place. Boulder CO 8. Harry Fleishman. Musical Instruments Specialty Woodwork____________________________________________________________________Connecticut. The Woodworkers’ Club. Westport Avenue. Norwalk, CT 0. Woodworking Basics)Durham School For Early American Trades. Maple Ave. Durham CT 0. Rick Bihlmeyer. Furniture making Musical Instruments Specialty Woodwork. Brookfield Craft Center. P. O. Box 1. 22 Route 2. Brookfield, CT 0. John Russell. Connecticut Valley School of Woodworking. Spencer Street. Manchester, CT 0. Bob Van Dyke(Basic woodworking fundamentals classes to cabinet making to woodturning classes)The Nautical Arts Workshop. Meadow Woods Road. Deep River, Connecticut 0. Peter Mc. Kenna. Woodworking classes inspired by our maritime heritage._____________________________________________________________________Florida. Constantine’s Wood Center. E. Oakland Park Blvd. Ft. Lauderdale, FL 3. Marquetry/Inlay, Woodturning, & Restoration)Infinity Tools Wood School. Mears Blvd. Oldsmar, FL 3. Local)(8. 77) 8. 72- 2. Toll free)Contact: Kurt Raschke (kraschke@infinitytools. Infinity Tools woodworking classes are designed to help beginning woodworkers through advanced sharpen and hone your skills. We offer multiple classes as well as private instruction to help get you on your way to furniture building fun. Swann Woodwork Studio. N. Albany Ave. Tampa, FL 3. Woodworking, Furniture Making & Finishing)_____________________________________________________________________Georgia. Gwinnett Woodworker’s Association. Lawrenceville, GA(7. Woodworking Basics & Furniture making)Central Georgia Technical College. Macon Tech. Dr. Macon, GA 3. Degree, diploma or certificate programs in cabinetmaking, carpentry, finish trim.)The Dogwood Institute School of Fine Woodworking. Ronald G. Peyton. Mid- Broadwell Road. Alpharetta, GA 3. Courses in woodworking basics, foundations for fine woodworking series, furniture making and wood turning.)Gwinnett Woodworker’s Association. Indian Trail Rd. Lilburn, GA 3. Demonstrations, lectures, hands- on sessions and seminars for furniture, crafts, gift items, and many other types of woodworking projects.)_____________________________________________________________________Illinois. J. Miller Handcrafted Furniture. W. Lunt Avenue. Chicago, IL 6. Furniture making)Alpine School of Woodcarving. Vine Avenue. Park Ridge, IL 6. Woodcarving. Orth Furniture Apprenticeship. Bunker Hill Road. Marengo, IL 6. 01. David Orth_____________________________________________________________________Indiana. Marc Adams School of Woodworking. E. 5. 00 North. Franklin, IN 4. Woodworking Basics, Furniture making, Woodcarving & Women’s Classes)Barnard Woodworking School. E. Owl Hollow Rd. Paoli, IN 4. 74. 54(8. Contact Email: thecabinetmakerinc@yahoo. From beginners to advanced… Arts and crafts furniture project oriented, 2 day classes to 1. Mary May's School of Traditional Woodcarving – Video lessons from a classical woodcarver. Statistical Techniques | Statistical Mechanics. Artisteer 4.3. Quick and easy-to-use web design generator for Windows with hundreds of design options and export to WordPress, Joomla, Drupal, DotNetNuke and Blogger. 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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2. 01. 0s, most effects use solid- state electronics and/or computer chips. Some vintage effects units from the 1. Leslierotating speaker, spring reverb, and tape recorder- based echo effects) or vacuum tubes. Some effects subtly "color" a sound, such as a reverb unit used on a low setting, while others transform it dramatically, such as a distortion pedal used with electric guitar, with the overdrive set to its maximum level.
![]() Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, electric piano or electric bass. While guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals.[1][2] Rackmounted or audio console- integrated reverb effects are commonly used with vocals in live sound and sound recording. Bluetooth Embedded Amplifier Configure your Bluetooth Embedded Amplifier with AmpSet BlueTM Sun’s new Bluetooth Embedded Amplifier is the fluid power industry. Return to Categories. Waterhammer - Parts 1 & 2. This waterhammer tutorial looks at the subject from a different perspective than. An effects unit is also called an "effect box", "effects device", "effects processor" or simply "effects". In audio engineer parlance, a signal without effects is. C(2952, 9.691%) C-band ==> Cバンド c contact ==> c接点 C-MACCS,Centre for Mathematical Modelling and Computer Simulation ==> 数理モデル. Examples of common effects units include wah- wah pedals, fuzzboxes and reverb units.[3]Effects are built into amplifiers (reverb and distortion are the most common in 2. DJs and record producers, a format which typically contains multiple effects; "stompboxes" and "rackmount units", or they are built into the instruments themselves, as in the case of the Hammond organ, which includes chorus and vibrato effects inside the instrument chassis. A stompbox or "pedal" is a small metal or plastic box placed on the floor in front of the musician and connected to the instrument and the instrument amplifier with patch cords. Pedals are usually the least expensive format. ![]() Typically, one or more on- off foot- operated switches control a device that provides only one or two effects, with many pedals having knobs for controlling the volume, tone and intensity of the effect. A rackmount device mounts on a standard 1. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects and a patch bay at the rear of the unit. While there is currently no firm consensus on how to categorize effects, the following are seven common classifications: distortion/overdrive, also called "fuzz", which produce the "growling" audio clipping sounds that are a key part of electric guitar playing in electric blues, hard rock and heavy metal music; dynamics effects which affect loudness, such as volume pedals and audio compressors; filters which modify the frequency range of the instrument, such as the wah- wah pedal and the graphic equalizer; modulation effects, such as the chorus, flanger and phaser; pitch/frequency effects such as a pitch shifter, a common example of which is an octave pedal, which can shift a note down an octave (or up an octave); time- based effects, such as reverb, echo effect and looper pedals (the latter can be used by a one person band to record a riff and then solo over it); and feedback/sustain effects, such as electric guitar feedback and the EBow, which are two different techniques for producing pipe organ- like sustain on the electric guitar.[5][6] Guitarists derive their signature sound or "tone" from their choice of instrument, pickups, effects units, and guitar amp and from the different settings they use with their pickups, effects units and amp.[7]Terminology[edit]. A display of assorted BOSS effects pedals. An effects unit is also called an "effect box", "effects device", "effects processor" or simply "effects". In audio engineer parlance, a signal without effects is "dry" and an effect- processed signal is "wet". The abbreviation "F/X" or "FX" is sometimes used. A pedal- style unit may be called a "stomp box", "stompbox", "effects pedal" or "pedal". A musician bringing many pedals to a live show or recording session often mounts the pedals on a guitar pedalboard, to reduce set- up and tear- down time and, for pedalboards with lids, protect the pedals during transportation. When a musician has multiple effects in a rack mountedroad case, this case may be called an "effects rack" or "rig". When rackmounted effects are mounted in a roadcase, this also speeds up a musician's set- up and tear- down time, because all of the effects can be connected together inside the rack case and all of the units can be plugged into a powerbar. Formats[edit]Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units. Rackmount devices are generally more expensive and offer a wider range of functions.[8] An effects unit can consist of analog or digitalcircuitry or a combination of the two. During a live performance, the effect is plugged into the electrical "signal" path of the instrument. In the studio, the instrument or other sound- source's auxiliary output is patched into the effect.[9][1. Form factors are part of a studio or musician's outboard gear.[1. Stompboxes[edit]Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the user's feet. Pedals are often rectangle- shaped, but there are a range of other shapes (e. Fuzz Face). Typical simple stompboxes have a single footswitch, one to three potentiometers ("pots" or "knobs") for controlling the effect, and a single LED that indicates if the effect is on. A typical distortion or overdrive pedal's three potentiometers, for example, control the level or intensity of the distortion effect, the tone of the effected signal and the volume (level) of the effected signal. Depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth and speed of the effect. Complex stompboxes may have multiple footswitches, many knobs, additional switches or buttons that are operated with the fingers, and an alphanumeric LED display that indicates the status of the effect with short acronyms (e. DIST for "distortion").[8][1. Some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An "effects chain" or "signal chain" is formed by connecting two or more stompboxes. Effect chains are typically created between the guitar and the amp or between the preamplifier ("preamp") and the power amp. When a pedal is off or inactive, the electric audio signal coming into the pedal diverts onto a bypass, an unaltered "dry" signal that continues on to other effects down the chain. In this way, a musician can combine effects within a chain in a variety of ways without having to reconnect boxes during a performance.[1. A "controller" or "effects management system" lets the musician create multiple effect chains, so they can select one or several chains by tapping a single switch. The switches are usually organized in a row or a simple grid.[1. To preserve the clarity of the tone, it is most common to put compression, wah and overdrive pedals at the start of the chain; modulation (chorus, flanger, phase shifter) in the middle; and time- based units (delay/echo, reverb) at the end. When using many effects, unwanted noise and hum can be introduced into the sound. Some performers use a noise gate pedal at the end of a chain to reduce unwanted noise and hum introduced by overdrive units or vintage gear.[1. Rackmounts[edit]. Rackmounted effects in road cases. These road cases have the front protective panels removed so that the musician can press the buttons on the face of the units to change the effect settings. The protective panels are put back on and latched shut to protect the effects during transportation. Rackmounted effects are typically built in a thin metal chassis with metal "ears" designed to be screwed into a 1. Rackmounted effects may be one, two or three rack spaces high. |
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