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Dsieda wrote:This story, was in it's pure epic win all by itself. For a fanfic, I don't believe I've read anything that was, so powerful! I'm sad to see it at an end, but the way it was ended was, really REALLY good! I mean, of course, it leads for there to be a sequel and boy would I hope to soon see an epilogue! But at the same time, I know your worries.
All I have to say is, this is a 'fan' fic. Although I know you want to stick to the story as much as believably possible, it's still YOUR take on what happens in the story. Fanfics are supposed to be a fun outlet for the author to take a story they love and, rewrite it for themselves to their enjoyment and the enjoyment of others. It doesn't have to be sworn by the drow tales bible the exact same thing, so don't beat yourself up for it. If you want it to suddenly rain demonic chibis and have the Tik'tikki take over the world, by all means go for it! No one should be able to tell you you're wrong for it because, as I said before I say again, it's a fan fiction story. So just have fun Aery, don't worry if it's too unlikely, do it for the sake of the story! We all love it regardless.
^-^ I'm hoping this doesn't discourage you from writing any more, I did love it all, and the ending...it's just so dramatic! I really do mean it when I say this is hands down, one of the best fanfics I've ever read.
<.< Seriously, I don't usually get inspired to draw from some, and yours, I found myself just dying to!
*Give Dsie a big hug* Not much more to say, really ^-^ And now... here comes the Big-ass Epilogue!
"Are you sure you did the right thing? Showing me to them like that?"
Lae'ryza smiled as she listened at the conversation in the next room. Screaming, demands of explanations, uncomfortable attempt to provide it... two things were sure: First, Biel and Dsieda had not been warned about her becoming the host of a Demon, and second, they were NOT happy about it.
"Of course it was the right thing to do, Mara... you're my sister now, aren't you? I'm not going to hide away my little sister!" The Demon chuckled. It was a strange sensation, talking to someone in her own mind, feeling what it was feeling... she would never look at Empaths the same way.
"I guess you're right... thank you, sissie."
"You're welcome, Kiddo."
She fell on her bed, lazily hugging her pillow as Biel sat next to her. Home, home at last, after so long... weeks spent at the healers under tight guards, recovering from her ordeal, learning with Cres'sin how to control the "empathy" she now shared with Mara, trying to prove neither of them were a danger for anyone... She felt her mate caress her hair gently. Right now, all of the Tei'kaliath were learning what exactly had happened to her, and deciding what exactly would happen to her... either they would accept for her to remain a part of the clan, or they would make her leave... none knew how they would react yet...
"Biel?" She turned to her back, looking in her mate's eye. He had supported her all along, yet she had never been able to rid herself of a nagging thought... now that the Tei'kaliath were deciding her fate, it was time to deal with it... "If I'm forced to leave... if the others don't want of me any longer... will you come with me?"
"You need to ask?" He smiled as he laid next to her, taking her hand in his own.
"I'm not the same person as I was, Biel, I never will be again..." She closed her eye, tightening her grasp over his hand...
He hugged her gently, kissing her head softly. "Isn't true... you is same... kind, loving, gentle... strong. Proving how much you are by accepting what none would have doesn't make me love you less. Is opposite."
She felt a small tear fell from her eye as they hugged each other. As long as she had him, nothing else mattered...
"Where are you taking me?" She grinned widely as Biel and Cres'sin held her hands, leading her up... well, something. "This is pretty steep, what are you making me climb?"
"Come on mommy! Stop trying to guess!" Said one of her children. "It's a SUR-PRISE!" Finished the other.
"Yeah, it's not like we'd blindfold you for no reasons y'know!" Dsieda replied, her voice indicating that she was a little up ahead. "Well, unless our name was Biel." Lae'ryza blushed heavily, noting to herself that she needed to kill her a little later on. Thankfully, her kids only let out a little sound indicating utter confusion.
"Stop worry sweet." She felt Biel give her a peck on the cheek. "You like it, I sure." She giggled, caressing his hand with her thumb. She wasn't actually worried, she was exited like a little girl!
"Hopefully both of you will enjoy it!" She felt the demon's mind stir up slightly after Cres'sin talked.
"Me too?" She said, surprised.
"Oh, shut it Mara!" She laughed as the demon started mind pouting. Sharing her mind with her wasn't half bad since both had learned, with Cres'sin's help, how and when to cut the communication between each other. When it was on, it was like having a surprisingly sweet – and naive –, little sister hanging out with her.
"WE'RE THERE!" Dsieda shouted happily, breaking Lae'ryza's ears before she started removing the blindfold...
"Whoa!" Lae'ryza – and Mara, by extension – stared at the sight before them. High from the ledge they were in, they could see all of Chel'el'sussoloth, beautiful if dangerous light within the underworld... Turning back she could see Ther'avare, buzzing with activity...
Rahil'rez watched as the Kyorl'Solenurn Warden, flanked with her Templar, attracted and sealed the demons flying around. It was a sight to behold, that was for sure... He turned his head toward the base, now laying in ruins. A few Drows, flanked with a few demons. Nothing more. Yet, these very same Drows had developed a weapon that would have been lethal if unleashed in the underworld...
"Thank you for your assistance, Warden." Had he been lost in his thought? The sealing was over, now Shirr was facing the warden, his fist on his heart in a sign of respect.
The Warden replied in kind. "We of the Val'Kyorl'Solenurn will always be there to support the pures in their struggle against the corrupted." Without any more words, she turned and left, immediately followed by her templar. Most soldiers sighed in relief after they disappeared, relaxing somewhat.
"I hope we did the right thing, deciding to involve them..." Kir'ima approached Shirr, looking in the direction in which the Templar had disappeared. "After such a close run in with a Fanatical Demon group, I wouldn't want us to end up with problems with a Fanatical ANTI-Demon group..."
"It was either this, or risk losing our men and women against a threat we were unfit to fight. We did not have much of a choice..." Kir nodded a sad approval. Did they EVER have a choice in this cursed city?
"Well, the first threat may be gone..." Tali said, walking to the two men. "But all of their notes still remain. Demons that can possess someone without touching their aura, able to go on unnoticed... Many would just LOVE stumbling upon all of this stuff..."
Shirr turned his head in direction of the building. "Get a torch, and as many Fire Sorcerers as you can get. We're burning this to the GROUND."
"I bet I can throw a stone farther than you can!"
"No, I bet I can throw a stone farther than you can!"
Lae'ryza turned her head in direction of her kids, smiling. "I think you risk to hurt whoever may be walking down under the cliff with a game like that, so I won't allow it."
Both children pouted. "Can we snuggle you instead?" Both said in pair.
"Have I ever said no to THAT!?" Both laughed at their mother's feigned indignation, sitting next to her and snuggling her as Biel, ever the proud father, ruffled their hair one after another.
"So Aery," Dsieda started. "How have things been going since you were released from the healer? I'm sorry I haven't been around much..."
She rolled her eyes in exasperation. "Sometime I wonder why people voted to let me stay... A third of the clan act as if I don't exist anymore, mostly the faceless... Another third act as if I was contagious... For the rest, there are those who accept it, and those who consider I'm now stuff for scary stories."
"Seriously?" Cres'sin couldn't help but chuckle at the last reaction she mention.
"I once found Ziakas telling a scary story to the miners, starring me. On the plus side, popping in just when he was about to reveal the big punch TOTALLY made them all crap their pants!"
"THAT was hilarious!" Mara couldn't help but add to her as the whole group laughed happily.
"Is strange, to think warriors are killing those who did this, right now..." Biel looked far away, where he supposed the warriors were fighting right now.
"Oh? Was it today?" She shrugged, picking a mushroom from the basket they had carried with them, dividing it with her children. Cres'sin's empathy was soon to pick up her feelings.
"You don't care, why?"
"It's not that I don't care, per say..." She said, resting her head against Biel's shoulder. "I'm glad they found who did it, and that they're stopping them before they can do this to anyone else. But it doesn't concern ME. Not anymore."
Cres'sin and Dsieda looked at her, incredulous. Lae'ryza groaned at the thought of the conversation to come, but Biel spoke before she could. "Demon's not getting out, even if we wanted to." He knew full well how much his mate disliked to speak of this.
"Which we don't!" One of her kid added. "Aunt Mara's funny looking!" Gleefully added the other, pointing to the left side of Lae'ryza's face, which she had never bothered bandaging ever again since leaving the healer clinic.
She nodded. "Whether they get them, whether they don't... I'm going to die with a squatter in my head. That's not changing." She grinned at Mara's reply, a heartfelt if silly sounding "Sooorrrryyyyy." She shook her head, amused.
"I'm sure many more things will happen to the clan... some good, some bad. But one thing is sure, as far as I'm concerned, this story is"


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Boca Raton Condominiums and Townhomes
The Aegean Condominiums
The Aegean is a sought-after and secluded condominium complex located directly alongside the white-sand beaches of the Atlantic Ocean, offering immediate access to the heart of Boca Raton. With stunning ocean views, exclusive amenities and a prestigious address, this is a desirable South Florida residence.
The Aegean Real Estate
The Aegean is an exclusive boutique building hosting eight luxury apartments in its two buildings, each of which is four stories high. Enjoy the expansive units that take up one floor each, featuring wrap-around balconies from which to enjoy breathtaking ocean views. The living space in each unit is over 3,000 square feet, making it an exceptional space for entertaining guests in this oceanfront luxury condominium.
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Residents of the Aegean enjoy convenient access to shopping, dining, and entertainment in Boca Raton, in addition to nearby golf courses, country clubs, parks, and marinas. Additionally, the internal amenities of the Aegean provide a luxurious environment for its residents. The complex hosts an in-ground heated pool, clubhouse, sauna, spa, billiards, fitness center and more.
The Aegean is located directly on the shore of the Atlantic, making beach access extremely convenient. Secluded white-sand beaches are just a few steps away, in addition to various popular destination beaches of Boca Raton

subset: commoncrawl


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Learn more about money with this devious word game! Look for currencies of the world, dream gifts and money terms in the grid, and make the tiles collapse as the the words disappear. But be careful you don't get stuck!


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- Product Information
Enjoy this Snowball Fight any time of year! This Fat-Quarter friendly crib quilt is made up of simple snowball and nine-patch blocks to form a tight weave of spectacular stars.
Finished size: 45.5" x 45.5"
A link to download this pattern will be included in your order confirmation email. You can also download it in your My Account under My Downloadable Products. Please save the file to your personal computer when possible as there are a limited amount of downloads per pattern.
If you need any help downloading or printing your PDF, follow the steps in our Guide to PDF Patterns. 3 pagesAdditional Information
Product Type Patterns Fabric Collection Print Shop Paper or PDF Pattern? PDF Downloadable Patterns Difficulty Level Beginner Pattern/Book Designer It's Sew Emma Patterns Pattern Type Baby Quilt Patterns, Fat Quarter Patterns, Quilt Patterns
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Tomorrow will be the shoe review that I've been promising. I've also finally made a video of curling my hair with a straightener that so many people ask for. Now, I have to admit something to you. It's rather embarrassing, but hey, it's life.
So a while back, a friend and I were chatting about random things and, I seriously don't know how this came up, but we started talking about tooting or farting or passing gas, whatever name you may have for it, while running. You know, letting one go. I told her, "Yea every now and then sometimes I just toot! It is surprising." She said, "You know what, Me too!" We were both laughing and I said, "If I have to really bad, I'll just look around and make sure that no one is nearby when I'm running." It's bad but it happens.
Sometimes when I run, and I have to, ahem, toot, I think to myself that it's like a little jet explosion propelling me forward! Like I'm playing Mario Kart on Wii and I just ran over something that made me speed up!
Then, she said the words that were music to my ears. ME TOO.
WHAT?! Another person who is propelled by toots every now and then? I know why we are best friends! How hilarious is that. Do you guys ever toot on the run and are taken back by surprise? Do you look around before you do it and see if anyone can hear you? Have you ever tooted at the gym? I think it's just hilarious.
Are you jet propelled?


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|Location information
|Permanent residents
Canada is a country in North America. It is the second largest country in the world by total area, stretching from the Atlantic Ocean in the east to the Pacific Ocean in the west, and north into the Arctic Ocean. Canada is divided into ten provinces and three territories. The capital city of Canada is Ottawa but its largest city is Toronto.[1]
Magical games and sportsEdit
Canada is home to three world-renowned Quidditch teams: the Haileybury Hammers of Haileybury, Ontario, the Moose Jaw Meteorites of Moose Jaw, Saskatchewan, and the Stonewall Stormers of Stonewall, Manitoba. The Meteorites were almost forced to disband in the 1970s because of their tradition of celebrating victories by flying over nearby towns with sparks trailing from the ends of their broomsticks. Since then, the team has limited this practice to the Quidditch pitch, and, as such, Meteorite games are still a popular tourist attraction for wizards and witches.[2]
Magical creaturesEdit
The ashwinder, bundimun, chizpurfle, clabbert, doxy, dugbog, fairy, flobberworm, ghoul, gnome, hippogriff, jarvey, jobberknoll, knarl, kneazle, merpeople, mooncalf, nogtail, plimpy, puffskein, re'em, salamander, streeler, werewolf and winged horse are all found throughout Canada and the United States of America, existing worldwide.
Known locationsEdit
Behind the scenesEdit
- Raincoast Books publishes all seven Harry Potter books in Canada, as well as the first two companion books, Fantastic Beasts and Where to Find Them and Quidditch Though the Ages. The Tales of Beedle the Bard is published by Bloomsbury.
- The French Canadian editions were published by Gaillimard Jeunesse for French speaking regions in Canada.
- Natalie McDonald, a Gryffindor student three years below Harry Potter, was named in honour of a nine-year-old Canadian fan who died from leukemia in 1999 shortly after she wrote a letter to J. K. Rowling.[3]
- Kendra Dumbledore was possibly born in the United States or Canada, as she was thought to have been of Native American descent.[4]
Notes and referencesEdit
- ↑ "Canada" on Wikipedia
- ↑ Quidditch Through the Ages
- ↑ Macleans article on Accio! Quote
- ↑ Harry Potter and the Deathly Hallows


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The Big Squeeze
Of all the processes used in modern music production, compression isperhaps the least understood. One reason is compression's sonicresults are often subtle and thus hard to hear—especially forbudding engineers. Another hurdle is presented by the various anddiffering compressor control parameters; those, too, are typicallysubtle in their individual sonic effects, and they work togetherinteractively, further complicating the stew. Then there's theconfusion that lies in the bewildering array of product types andmodels the engineer must choose from before even reaching for a controlknob. For example, for a given application, should you select aVCA-based compressor or one controlled by an opto-electrical element? Asolid-state or tube design (or a hybrid of the two)? Analog or digitalcompression? A hardware compressor or one that is software based? Andso on.
With so many variables, it's no wonder compressors andcompression remain a mystery for many users. Yet, if you want to masterthe arts of recording and mixing, learning compression'sintricacies is imperative. After all, the production processes for mostof today's popular music forms—with the notable exceptionsof classical and some jazz—rely heavily on compression. Simplyput, if you're not compressing properly, you're not gettingthe best sounds possible.
This article will guide you through the maze of compressor optionsand explain practical compression applications in plain English.I'll start with the basics of compression, citing examples ofvarious production techniques and the theories behind them. I'llalso tell you which features to look for in a compressor and whythey're important. Finally, I will survey specific types anddesigns of compressors, describe some models, and offer opinions aboutwhich models do the best jobs on which instruments.
Improvement Plan
Compression falls under the broader category of dynamics processing.The term "dynamics" refers to changes in loudness level, sodynamic range is the difference between the softest and loudest soundsthat a source produces, or that a track contains. A dynamicsprocessor's purpose is simply to increase or decrease asignal's dynamic range, which alters how the levels fluctuatewithin that range. Types of dynamics processors include gates,expanders, limiters, levelers, and compressors.
A compressor is a type of dynamics processor that"squeezes" a signal's dynamic range—that is, itreduces the difference in volume, or level, between the loudest andsoftest parts of a performance. The process of reducing volume iscalled gain reduction. Properly applied, gain reduction makes aperformance sound more consistent from beginning to end. For thatreason, compression is a great remedy for a performance in which thelevels fluctuate too widely.
By reducing dynamic range, a compressor also allows for theprocessed signal's overall level to be raised—that is,become "hotter"—resulting in increased loudnesswithout pushing the signal's loudest parts into distortion.Bringing up the overall level has the additional benefit of makinglower-level sounds louder than they were before compression. The resultis that subtle nuances such as mouth sounds and ghosted notes—aswell as burps, string buzzes, and snare rattles—are louder,clearer, and easier to hear.
Of course, you may not want to make burps, string buzzes, and otherincidental performance sounds more audible. Therefore, applycompression only when musically appropriate—when the end resultwill sound better than what you started with.
You can always add compression after a track is recorded (duringmixdown), but sometimes it is desirable to use compression during therecording process. That approach has several potential benefits. Forone, a compressor makes it easier to capture usable tracks whenrecording an instrument with a wide dynamic range. Moreover, solvinglevel-fluctuation problems during tracking frees you from having tosolve them at mixdown. That, in turn, leaves more time and brainpower—not to mention gear—for focusing on the mix'screative aspects.
For those recording to any digital medium, using a compressor duringtracking ensures that sounds are encoded at a higher level. Becausemore bits are used, better bit resolution results. Furthermore, byputting a lid on peaks, the compressor also helps avoid digitalclipping on extraloud notes. For those recording to analog tape,compressing during tracking allows the signal level to be raised higherabove the noise floor, which results in an improved signal-to-noiseratio.
Tricks of the Trade
In addition to problem solving—smoothing out roughperformances, improving digital resolution and signal-to-noise ratio,avoiding digital clipping, and the like—you can also employcompressors in numerous creative applications. For example, acompressor can dramatically change the envelope of a sound in much thesame way an envelope generator works in a synthesizer. That and othercompression tricks can give a vicious attack to a lackluster snaredrum, add crunchy edge and sustain to a mild-mannered electric guitar,make a lead vocal sound so urgent that listeners will dial 911, or pumpup an entire mix until the band sounds like it's exploding out ofthe speakers.
In simplest terms, think of a compressor as an automatic volumecontroller. Indeed, before compressors were invented, engineerstypically had to "ride gain" on a channel to maintainconsistent volume levels. (Then again, many engineers still ride gain,even when using compressors.) However, a compressor controls levelswith a speed and accuracy that is impossible to achievemanually—sort of like a magic genie adjusting the track'sfader with lightning-fast reflexes. The compressor's controlsettings determine when and how much that fader moves.
Depending on how its controls are set, a compressor reduces eithertransient peaks—the short-lived, attack portions of asound—or the average-level portions of the sound, and sometimesboth. Examples of transient peaks include the stick strike on a drumhead and guitar-string plucks. A sound's average-level portionsinclude a snare drum shell's ringing and the sustain of a guitarnote after it is plucked. Certain instruments—a wood block, forinstance—produce mostly transients and very little sustain.Others, such as vocals and organs, typically produce mild transientsthat barely peak above their average levels.
The number of controls on compressors varies greatly, depending ondesign, cost, and other factors. Units that employ voltage-controlamplifiers (VCAs), for example, typically have at least five controls:threshold, ratio, attack time, release time, and output level.Full-featured VCA models may offer more than twice that many controls,whereas some expensive opto-electrical compressors may provide only twocontrol knobs.
Note that units with fewer controls are not necessarily lesscapable; rather, they typically provide automatic control of parameterssuch as attack and release time, or they "gang" twoparameters (threshold and ratio, for example) on to one knob.I'll discuss those types of compressors in more detail later.First, I'll analyze the five controls common to most VCA-basedcompressors.
High Five
Threshold is the level at which compression kicks in and starts toreduce the signal's level, or gain; the threshold control letsyou set that level. With threshold at 0 dB, for example, all signals ator above 0 dB get compressed, while those that fall below 0 dB areunaffected. Therefore, to control peaks, set the threshold to a levelbelow the level of the peaks but above the average level of the signal.That way, peaks that exceed the threshold get attenuated while theaverage levels pass unaffected through the unit. Clearly, a properthreshold setting is critical to a compressor's performance: ifthe threshold is set too high, the unit will not process any of thesignal; if the threshold is set too low, the unit will reactto—that is, attenuate—every portion of the signal.
Ratio expresses the difference between signal increases (volume) atthe compressor's input and increases at its output; the number onthe left refers to input and the right to output. Therefore, the ratiocontrol determines how much the signal will be attenuated once itexceeds the threshold. For example, a 2:1 ratio will let a signalincrease in level only 1 dB for every 2 dB it exceeds the threshold(see Fig. 1). Likewise, if the signal exceeds the threshold by 6 dB ata 2:1 ratio, the compressor attenuates the signal by 3 dB, a net gainincrease of only 3 dB. In that case, the compressor'sgain-reduction meter (if it has one) will show 3 dB of gainreduction.
Typically, different instruments and performances call for differentcompression ratios. For example, to compress a ballad'snear-perfect vocal track, a mild 2:1 ratio would probably suffice; atthat ratio, and with the appropriate threshold dialed in, thecompressor tightens up the performance enough to ensure quiet phrasesare not lost in the mix and higher levels are not overbearing. At theother extreme, a bass guitar track that alternates between mellowfinger-pad technique and aggressive pop 'n' slap can easilyhave a huge dynamic range. To yield consistent levels from that type ofperformance, a higher ratio such as 10:1 may be in order.
Note that threshold and ratio work together to affect asignal's output level. The lower the ratio, the less control thecompressor has on the signal; the lower the threshold, the lower thesignal level subject to compression. The relationship between the twocontrols affords flexibility and sonic variation. There are, forexample, two different-sounding ways to get the same amount of gainreduction out of a compressor—low threshold and low ratio or highthreshold and high ratio.
Attack time is how long it takes—measured in milliseconds (ms)or microseconds (µ)—for the compressor to kick in once thesignal exceeds the threshold. A slow attack time lets inherently fasttransient signals pass threshold before compressing the rest of thesignal; a fast attack catches transients, but may diminishhigh-frequency content.
One thing worth noting is that manufacturers sometimes measureattack times differently. Some specify attack time as the time it takesfor the compressor to react after the threshold is exceeded, and othersspecify attack time as how long it takes for the compressor to reach,say, 67 or 90 percent of the maximum gain-reduction level it willultimately achieve. Fortunately, the exact definition is of littleimportance, as typically attack time is set by ear. Depending on whatkind of effect you're going for, simply decrease the attack timeuntil unruly peaks are tamed or increase it until average levels arelowered and desirable peaks get through unscathed. If you'rehaving trouble hearing your settings' effect, watching adownstream peak-level meter (that is, one that monitors the levelsafter the process—the compressor's output-level meter, forexample) will let you visually confirm what portion of the sound isattenuated.
Release time is how long—measured in seconds or hundredths ofa second—it takes for the compressor to return the signal tounity gain (its unprocessed state) after the signal falls back belowthreshold. That is, once the release time passes, the compressor letsthe signal pass through unaffected. In general, slower release timesresult in a more natural sound.
In general, set fast attack and release times when you want thecompressor to do its job and get out of the way quickly—forinstance, when you want to put a lid on transient guitar plucks butallow the ringing notes to pass through unaffected. Conversely, amoderate attack time coupled with a long release is perfect for thoseDavid Gilmour–esque guitar solos in which you want notes tosustain forever. At two seconds or longer, the extended release timecauses the compressor to slowly restore compressed levels to theiroriginal (higher) gain, just as the sustained notes start to naturallydie off, which counteracts the decay and makes the tails of the noteslouder.
A compressor's last control stage is its output level. Thatcontrol is also known as make-up gain because it is used to make up forthe gain reduction caused by the compressor. The usual approach is toincrease the processed signal's output level so it matches theunprocessed signal's level. That creates unity gain between thetwo signals, which makes it easier to compare them using the bypassswitch and ensures appropriate levels when recording or mixing.
Path Not Taken
A compressor can degrade or ruin an audio signal as well as enhanceit; therefore, one of the most useful features on any compressor is thebypass switch, which lets you compare processed and unprocessedsignals. After using the output-level control to balance the levels ofthe processed and unprocessed signals—a critical step becauselouder signals sound brighter and fuller—you can judge whetheryour control settings actually improve the sound by switching thecompressor in and out of the circuit.
Fortunately, most compressors provide a bypass (a notable exceptionis the Universal Audio Teletronix LA-2A). Typically, this is a switchthat disables the compressor circuitry; ideally, it also disables theinput- and output-level controls. A hardwire bypass is usually the bestdesign because it routes the input directly to the output and bypassesall compressor circuitry, such as input and output amplifiers andgain-control devices.
Actually, on some high-end units the signal is kept in circuit evenin bypass mode—a viable design as long as the signal path ispristine enough not to color the original signal. The advantage of thatdesign is it avoids the use of bypass relays and audio-pathswitches—elements that inevitably degrade during a period of timeand compromise audio quality. The bypass on the Millennia TCL-2 TwincomOpto Compressor/Limiter ($2,995), for example, defeats the unit'ssidechain control only, thus preventing compression from taking place.(I'll discuss sidechains later.)
Don't Need Your Input
Many compressors also provide an input-level control, but those areoften superfluous—if not undesirable. For one thing, a compressorwith a wide-ranging threshold control can handle almost any inputlevel. So an input-level control is necessary only if the thresholdrange is too high or too low to act on the input signal as is.
For example, if the threshold's highest setting is +2 dBV andyou're feeding the compressor +12 dBV levels, you'llcompress most or all of the time unless you somehow lower the level atthe compressor's input. That's one instance in which aninput-level control comes in handy. Conversely, if the thresholdrange's minimum setting doesn't go down very low, thecompressor may not kick in when fed low levels. In that case, aninput-level control is necessary to boost the input to an appropriatelevel.
The reason an input-level control can be thought of as undesirableis it adds yet another amplification/attenuation stage to thecircuitry, thus degrading signal quality. For that reason, high-end,minimalist compressors, such as the Millennia TCL-2 Twincom, typicallyomit the input control to maintain a pristine signal path.
Knee-jerk Reaction
In addition to the controls and parameters already discussed,several more-subtle parameters and design features often figureprominently into a compressor's performance or sound. One suchparameter is the knee, which is related to the compressor'sthreshold control. The knee determines how quickly and smoothly thecompressor will transition from no action to the full ratio of gainreduction set on the unit once the signal passes threshold. Generally,a compressor's knee is hard or soft, though some units—theAphex 661 tube compressor/limiter ($749), for example—provideswitchable hard- and soft-knee compression.
In hard-knee compression, the unit processes the audio signal at theselected ratio once the input signal passes the threshold. Althoughuseful for applications such as peak limiting and de-essing (discussedlater), a hard knee can sound abrupt, especially with higherratios.
A soft-knee compressor, or one set to soft-knee compression, beginsto compress as the signal approaches the threshold level and graduallyincreases the ratio until the signal attains threshold, at which pointit equals the selected ratio value. The gentler, logarithmic increaseof soft-knee processing tends to sound more transparent (lessnoticeable) than hard-knee compression, and thus is usually preferablefor most vocals and instruments.
In addition to manual controls for attack and release times, somecompressors offer an automatic mode, called auto mode, that does someof the tweaking for you. That is often referred to as program-dependentor adaptive processing. In auto mode, the compressor's detectorcircuitry analyzes the program content (the audio-input signal) anddynamically adjusts the attack and release times accordingly. Forexample, if a guitarist starts picking harder, the unit automaticallydecreases and therefore quickens its attack time to catch the increasedpeaks. On the other hand, an increase in average levels typicallyprompts longer release times to avoid pumping while the compressorreturns to unity gain.
Auto mode's main benefit is it precludes the need to tweakattack and release settings on performances in which the dynamicschange radically. It also lets you set up quickly yet still get goodresults when the pressure is on. The downside is you lose some controlover the sound. For example, you may like those peaks when theguitarist picks harder—in which case you probably would not wantto use auto mode.
Some compressors—such as the MindPrint T-Comp Stereo TubeCompressor ($1,099)—offer a semiautomatic mode of operation. Asthe name suggests, semiautomatic mode lets the attack and releasesettings exert some influence on the adaptive processing.
Opto-electrical compressors may or may not offer an auto mode;however, even without one, those units provide something akin toautomatic processing in that attack and release times—manuallyset or not—fluctuate based on program content. That is due to theinherent nature of opto-electrical compressors, which in general areslower and less exacting than VCA-based designs. Because the attack andrelease controls on optical compressors provide only approximateresponse times, many manufacturers simply put "fast" and"slow" on either side of the knob, rather than hash marksindicating exact times. (More on optical compressors in a bit.)
Double Duty
Most dual-channel compressors offer stereo linking, a feature thatlets you run two channels—for example, stereo acoustic guitar oreven an entire mix—through the compressor and have each channelbe attenuated the same amount. That keeps one side's level fromdipping more than the other, which would throw the stereo image out ofwhack.
True stereo linking works by having the channel that exhibits themost gain reduction determine the gain reduction for the other channel.Another form of linking establishes a master/slave relationship betweenthe two channels in which one side (typically the left) is thepredetermined master and the other follows its attenuation pattern.
It is commonly said that compression becomes limiting at ratios of10:1 and higher, but that is not the entire story. Actually, thedetector circuits in compressors and true limiters differ by design. Acompressor's detector circuit is usually designed to detect RMS,or average, levels rather than transient peaks. Therefore, transientpeaks almost always overshoot a compressor's threshold level, nomatter how high the ratio and how fast the attack time is set. A truepeak limiter, on the other hand, employs a detector circuit thatresponds to peak energy levels and thus reacts faster.
Whereas all true compressors use RMS-sensing detector circuits,detectors for different models can differ substantially in theirreaction times. That means two different compressors set to the sameattack, release, threshold, and ratio values may nevertheless respondquite differently to the same signal. (That is one of the many reasonsit is difficult to recommend specific control settings for compressingvarious instruments.)
Chain, Chain, Chain
Every compressor has a sidechain detector circuit that"sees" when the threshold has been exceeded and tells thecompressor's gain-control element or amplifier to attenuate thesignal. The sidechain is not in the audio path; it's merely atraffic cop that tells the compressor when to attenuate the signal. Thecircuits for threshold, ratio, attack, and release are also found inthe sidechain.
Full-featured compressors typically provide sidechain inserts ontheir rear panels. Think of a sidechain insert as an effects loop thatpatches into a compressor directly before the detector; like the restof the sidechain, it is not in the audio path, so its effectisn't directly heard. Sidechain inserts therefore let you processthe compressor's input signal before it reaches the detector.That permits de-essing and other frequency-conscious applications.Here's an example of how to perform de-essing.
To de-ess a vocal, first patch the send and receive from thecompressor's insert into an equalizer's input and output,respectively. Next, boost the equalizer's high frequencies andcut its lows and mids. That causes the compressor's detector tohear the vocal as having excessive highs. Whenever the whistling soundof sibilance raises its ugly head, the sensitized detector circuithears it much louder than it really is, causing the circuit tovigorously reduce gain in the audio path. With attack time set toaround 50 µ and release time between 50 and 60 ms, the compressorcan be made to quickly attenuate the sibilance and get out so the restof the vocal is left unchanged. Of course, the compressor'sthreshold must also be set properly—above the vocal'saverage levels—for that to work.
You can also use a sidechain insert to make the detector react to asignal entirely unrelated to the audio-input signal. The classicexample here is "ducking": a sidechain application in whichan announcer's voice is set to trigger a music bed'sattenuation. To set up this type of ducker, play stereo music tracksthrough a dual-channel compressor and patch the voice-over track (orchannel) into the sidechain insert's receive jack. Next, set thecompressor threshold low enough that it responds to every vocalutterance. When the announcer speaks, the detector hears the voice andinstructs the compressor to lower the music bed. You can also use thattechnique to automatically lower, say, guitar levels whenever a leadvocal comes back in. To accomplish this, patch a mult of the vocal intothe insert receive jack of the guitar's compressor channel.
Freq Show
The misconception that splitband compression is the same asfrequency-conscious compression is common. A splitband compressorsplits the audio signal into two or more frequency bands so each bandcan be processed by its own independent compressor circuitry (each withits own controls). That lets you compress, for example, aguitar's bass frequencies differently from the highs.
A compressor that offers—or is set up toprovide—frequency-conscious compression is still a full-banddevice acting on the entire signal. The difference between it andnormal compression is simply that the detector is set to be called intoaction by the prevalence of specific, user-selected frequencies.Frequency-conscious compression has dozens of useful applications, butspace limitations dictate I save that vast subject for a futurearticle.
Down and Dirty
Now I'll discuss various types of compressors on the marketand which designs and models are best for different recording andmixing applications. I'll start with analog compressors, whichcan be subdivided into four categories based on the type ofgain-control element they use: opto-electrical, Variable-Mu, FET, orVCA. Each design has benefits and drawbacks.
To increase the usefulness of this article, I tested a sampling ofcompressors chosen to represent the various design and feature setsavailable. Bear in mind that this sampling is not meant to becomprehensive, nor is it intended to overlook or denigrate units notmentioned here.
An opto-electrical compressor (opto, for short), uses a specialopto-electrical cell in its sidechain that consists of either anelectro-luminescent panel—basically a night-light—or an LEDthat shines on a light-dependent resistor (LDR). In simple terms, thelight panel, or LED, shines with increasing intensity on the LDR as theaudio-input signal gets louder, and the LDR causes a correspondingincrease in compression of the audio-input signal. Because the LDR hasan inherent memory effect, it releases slower when the light isbrighter or has been shining for a while. In practical terms, thatmeans heavy or near-continuous compression results in longer releasetimes.
Vintage-style optos generally have only two control knobs, typicallylabeled gain reduction and gain. Turning up the gain-reduction knobfeeds more signal to the opto cell, effectively lowering the thresholdand causing more compression. The gain knob sets post-compressionoutput level, or make-up gain.
As mentioned earlier, opto elements have a natural lag time in theirattack response; indeed, all the time constants are inherentlyadaptive. Optos also have, by nature, a soft knee. For those reasons,opto compressors tend to have a natural-sounding attack and release.The downside is they are usually not quick enough to catch fasttransients, so substantial overshoot is not uncommon. Typicalapplications for opto compressors include vocals, bass, and electricguitar. However, one thing I've learned is not to try topigeonhole equipment based on general design characteristics.
A case in point is the Joemeek C2 stereo opto compressor ($399). Asolid-state unit, the C2 sounds great on snare drum, serving up anoutstanding power-pop snare tone with a dark yet explosive attack (seethe sidebar "Dialing in Hot Sounds"). The ability to get adefined but warm edge also makes the C2 a good choice for creatingcrunchy electric-guitar sounds. The C2 also does a surprisingly goodjob of smoothing out levels on inconsistent kick drum tracks. Whereassome optos respond to such transient material with inconsistent attackand release responses, the C2 is rock steady. You get a bit oftransient overshoot, but overall the control is excellent. Overall, theJoemeek C2 is—at least for certain applications—the bestcompressor I've heard in its price class.
Another dual-channel opto compressor that does a good job of reiningin kick drum tracks is the Bellari RP583 ($650). This hybrid unitemploys a tube circuit for the internal processing and solid-state opamps for the input and output circuits.
An even better-sounding unit on kick drum is Joemeek's SC2.2stereo optical compressor ($799). The SC2.2 offers outstanding levelcontrol yet doesn't thin out the drum sound very much—auniversal problem when heavily compressing that instrument. It is oneof the best compressors I've heard on kick drum.
In general, opto compressors are not my first choice for compressingarpeggiated acoustic guitar tracks. That's because optos tend topump in this application; you can clearly hear the level dipping andthen recovering. Pumping occurs when the bass frequencies in a pluckednote trigger heavy compression, which in turn attenuates highlynoticeable mid and high frequencies. That said, the SC2.2 delivers asurprisingly transparent sound on acoustic guitars.
The C2 and SC2.2 also sound smooth, natural, and beautifully warm onvocal tracks. But the most venerable of vocal compressors is thesingle-channel Universal Audio Teletronix LA-2A Leveling Amplifier($3,495), a faithful reproduction of the highly coveted, '60s-eraLA-2A tube compressor. The LA-2A has an uncanny ability to warm up apiercing or thin vocal, and it smooths the most unruly vocal dynamicswith a transparency hard to match in other compressors. The LA-2A alsosounds great on bass guitar, kick drum, and snare drum.
Another unit that sounds absolutely gorgeous on vocals is theaforementioned Millennia TCL-2 Twincom, a dual-channel unit withswitchable tube and solid-state audio paths for each channel. Ifyou're looking for a compressor with stunning clarity, nuance,and depth, look no further than the TCL-2.
The Anthony DeMaria Labs ADL 1500 ($2,995) is another greatopto/tube compressor for recording and processing vocals. It's adual-channel, vintage-style (two-knob) opto with a fat sound and a softtop end.
Although out of production, the Groove Tubes CL1S dual-channelopto/tube compressor is worth mentioning in case you can find one used(the original price was $2,295). The CL1S is one of the mostlush-sounding compressors ever made; it imparts rich yet presenttextures to everything it touches. The unit's only downside is itis quite finicky; it pumps readily if not set up with painstaking care.But for dialing in huge, velvety vocals, thundering bass, orslammin' electric guitar, it's the compressor toget—if you can find one. The CL1S also sounds great on kick andsnare.
Continent of Mu
The first compressors ever made incorporated a Variable-Mu design.Those use a vacuum tube—such as a dual triode orpentode—for the gain-control element. Technically orientedreaders will be interested to know that this is a fully differential,push-pull design in which one side of the tube handles the positivewaveform phase and the other side the negative phase.
Variable-Mu compressors do not offer an adjustable ratio control.What people love about the Variable-Mu compressors is that theycontinuously increase their ratio the harder they're pushed (thehigher above threshold that the input signal rises), resulting in anincreasing desensification of sound. Though Vari-Mu compressors offerfaster attack and release times than optos, they are not as fast as VCAdesigns, and therefore they're not as effective at handling peaksas VCA-based units. Also, as a class, Vari-Mu compressors cannotproduce as much gain reduction as other types of compressors becausethe employed tube typically runs out of dynamic range sooner than othertypes of gain-control elements. A Vari-Mu usually gets 12 to 15 dB ofgain reduction and sometimes considerably more.
Few Variable-Mu models are currently on the market. I am aware ofhigh-end units made by boutique manufacturers such as Manley Labs andPendulum Audio. Because of design differences, Pendulum Audio'sVariable-Mu compressors typically offer faster attack times thanManley's.
The Manley Stereo Variable-Mu Limiter/Compressor ($4,000) soundsawesome on bass and electric guitar; it imparts a fat, lush tone withplenty of presence and clarity. When set to limit mode, the Manley alsosounds great on snare drum. However, the unit is intended primarily asa stereo-bus compressor for processing an entire mix. In thisapplication, I had to keep the attack time near its slowest setting toavoid pumping. But properly dialed in, the Manley Stereo Variable-Mucan really fatten up a mix.
FET in the Cap
FET-based compressors are scarcely available now. They use an FET(Field Effect Transistor) as the gain-control element, which hasadvantages and disadvantages. On the plus side, FETs offer attack andrelease times that are much faster than optos can provide, and evenfaster than many VCAs. The downside is FETs have a somewhat limiteddynamic range. In traditional FET designs, very hot levels can causeamplitude-modulation artifacts (for example, pumping) and waveformdistortion.
Crane Song's single-channel Trakker ($2,550) and dual-channelSTC-8 ($4,450) compressors use a unique Pulse Width Modulator (PWM) FETdesign to solve the distortion problem. Unlike traditional FET designs,a PWM FET does not modulate the gain reduction, so there is lessdistortion at high gain. In technical terms, the PWM is essentially aswitch that turns the audio signal on and off at a 1.1 MHz frequency,letting only a percentage of its energy through at any given time tocontrol the gain. A filter rids the signal of switching artifacts.Because the signal is either on or off, it doesn't modulate thegain-control element's resistance or resulting gain reduction.The result is that the distortion content is linear as gain reductionincreases. In addition, attack time can be as fast as a fewmicroseconds. Unfortunately, I have not worked with any Crane Songcompressors in my studio.
Universal Audio's reissue of the vintage (late '60sera), solid-state 1176LN Limiting Amplifier ($2,295) is one of the bestcompressors I've heard on kick drum, electric guitar, andespecially snare drum. Many of the explosive snare sounds heard on pastand present hit records were processed with an 1176LN. Thesingle-channel unit also dishes up crystalline vocals and a burpybass-guitar tone. Whereas the LA-2A shines on thin, piercing vocals,the 1176LN sounds particularly flattering on woolly vocals by improvingclarity and intelligibility as it reins in levels.
Gimme a V, Gimme a C . . .
VCA-based compressors can be lightning fast and therefore generallyoffer better peaks control than opto and Variable-Mu units. They canalso attain absurdly high gain-reduction levels—useful when youreally need to smash down a signal. The downside of VCA designs is thetendency of lesser-quality units to dull high frequencies at highgain-reduction levels. In addition, some engineers don't like thecoloration VCAs can impart to the audio path. However, VCA-basedcompressors' quality ranges widely, and some units sound farbetter than others.
I frequently use a pair of stereo-strapped Aphex Expressors (thesolid-state Model 651s, which have been discontinued) for compressingan entire mix because, simply put, they are more transparent than anyother full-band (as opposed to splitband) analog compressors I'veheard. By transparent I mean that, at reasonable settings, theExpressors exhibit virtually no discernible amplitude-modulationartifacts (pumping and breathing, for example).
The acid test for any compressor is how well it can handlebroadband, percussive material—that is, material with a lot ofsharp transients and extreme bass and high frequencies mixed together.A good example of broadband, percussive material is a full-ensemblestereo mix complete with drum set, bass, and arpeggiated acousticguitar. Most full-band compressors on the market do a mediocre if notterrible job handling that kind of material. When transients or heavybass content cause abrupt compression, full-band compressors tend topump, sucking down easily audible mid and high frequencies.
A pair of stereo-linked Expressors can really beef up a mix withoutpumping. The Expressor is also extremely stable on acoustic guitar, andit is the best compressor I've heard on kick drum. A serviceableworkhorse on bass, vocals, and electric guitar, the Expressor'sonly downside is it can be a tad noisy and thin sounding. Becausecompressing a full mix usually makes bass content perceptually louder,the latter consideration is not much of an issue—I've heardtube compressors that offer a much fatter sound but are not nearly asstable. (If you're interested in the Expressor note that theoriginal, solid-state model 651 was replaced by the Aphex 661 tubecompressor/limiter, which adds a tube in the audio path and an automode. The 661 features the same ultratransparent VCA 1001 gain-controlelement, but the audio path sounds a bit veiled compared to thatoffered in the original solid-state Expressor.)
Another really great VCA-based compressor is the Empirical LabsDistressor ($1,499 for the single-channel version, $2,899 for thedual-channel). The Distressor is a digitally controlled analogcompressor featuring a custom Class A VCA and standard Class A/B opamps in the signal path. The digital circuitry actually switches theunit between four different and independent solid-statecompressors—all in one box—making for one of the mostversatile compressors on the market.
If you buy a Distressor, order the new British mode option, whichcosts an additional $100. Simply put, British mode "kills."With the right settings, you can make a Distressor in British modesound a lot like a vintage 1176LN; it serves up unbelievably savagepower-pop snare sounds, crunchy guitars with beautifully long sustains,and in-your-face vocals with crystalline highs. (See the sidebar"Dialing in Hot Sounds" for sample control settings.) TheDistressor also delivers fat, burpy electric bass-guitar tracks (withBritish mode turned off) that sound quite similar to what a great tubecompressor would produce.
The MindPrint T-Comp Stereo Tube Compressor ($1,099) is a tube- andsolid-state hybrid, soft-knee compressor that performs transparently onstereo mixes and acoustic guitar. However, it's quite noisy andlacks the headroom to handle really hot pro levels. Just the same, theT-Comp is a good workhorse compressor for vocals, bass, and snare-drumtracks.
At the bargain end of the VCA price scale is the PreSonus BluemaxSmart Compressor/Limiter ($199). This fixed-stereo unit providesnumerous compression presets, and it also offers a manual setting withwhich you can dial in attack and release times to taste. Despite itslow cost, the Bluemax is one of the best compressors I've heardon kick drum. It also provides excellent control of acoustic guitartracks.
Rubik's Tube
Many engineers lust after the warm, round tones that great tube gearcan deliver. Tubes—especially when driven hard—generallyproduce more even-order harmonics than solid-state devices and theyalso tend to saturate in a more gradual and pleasing way. On the otherhand, the most pristine solid-state designs tend to offer a morefocused sound and slightly better transient response (detail). Bothtopologies have their place.
Quite a few hybrid devices are available for purchase. Hybriddesigns employ both tube and solid-state devices in their audio paths.The dual-topology Millennia TCL-2 Twincom lets you switch betweencompletely independent all-tube and all-solid-state audio paths in thesame box.
It's helpful to know a compressor can be marketed as a tubeprocessor and yet have a solid-state device—for example, a VCA oropto cell—in its audio path. Some purists insist a compressor isnot "all tube" unless the gain control element is alsotube-based (as in Variable-Mu designs), but that is not a practicalconcern. The gain-control element affects the compression curve'senvelope, which in turn can affect the sound's timbre. But awell-designed tube output amplification stage can certainly give thelush timbral coloration and depth most folks are looking for in a tubedevice. For example, the Groove Tubes CL1S combines an opto elementwith a tube output stage, and that box has incredible warmth anddepth.
On the other hand, just because a compressor has a tube in itdoesn't mean it's going to give a fat sound. Just bylistening to the Bellari RP583, for example, I would never know it wasa tube compressor. Also, I've heard other tube units that soundmore like distortion pedals than pieces of studio equipment. Generallyspeaking, you get what you pay for—and the best-sounding tubegear tends to cost a lot.
Interestingly, there are also quite a few solid-state compressorsthat offer wonderfully warm tones (the Empirical Labs Distressor andJoemeek units immediately come to mind). My advice is to judge eachcompressor, tube or solid state, on its sonic merits and try not to getcaught up in the hype.
Ones and Zeros
One advantage of digital compressors is most of them offer"look ahead" circuitry. (Interestingly, dbx also offers ananalog compressor with that feature.) Because the compression algorithmis in software, the compressor can analyze what it is about to processand place the attack time right at the onset of—or evenbefore—the sound, resulting in a zero attack time. However, whilea super-quick (or zero) attack time is great for catching transients,it doesn't always sound the best. Therefore, use such powerjudiciously; the crack of a snare drum without any attack justdoesn't sound right.
In addition, digital compressors usually offer incremental controlof every parameter imaginable, as well as the ability to store settingsfor later recall. Perhaps the biggest benefit of working with digitalcompressors is the ability to stay in the digital domain. Ifyou're working with a digital audio workstation or digital mixer,there are strong arguments for not re-entering the analog circuits.Most importantly, by staying in the digital domain, you avoid thesignal degradation and distortion caused by multiple conversions.
If you're considering buying a hardware digital compressor,make sure it has great-sounding A/D and D/A converters. It's alsohelpful if the software is upgradeable through user-installable EPROM,CD-ROM, or some other user-friendly method. In addition, you shouldinsist on a box with a word clock input. Without word clock inputs, youwill be limited to using only one digital compressor at a time.
The main reasons to buy a software digital compressor are easyupgrade capability and less hassles with dither and jitter—keyconsiderations in yet another vast and controversial subject that Idon't have space here to discuss. Suffice it to say that workingwithin a self-contained digital environment (such as a DAW)—asopposed to patching together peripheral digital devices—cansimplify things a great deal.
The biggest concern with all digital compressors, ofcourse—both software and hardware based—is audio quality.Quite frankly, until just a few years ago, most of the digitalcompressors on the market sounded terrible. They would just suck theair out of any audio they processed and then spit out dull, lifelesstracks with no top end or depth. That, however, is changing rapidly.Although there are still relatively few digital compressors to raveabout, some truly singular ones stand out.
Because I usually work with digital compressors only when mastering,I can speak authoritatively in that context only. The compressors inthe Alesis Masterlink ML-9600 Master Disk Recorder ($1,699) soundoutstanding. In DAW, the Waves Renaissance Compressor (sold as part ofthe Renaissance Collection bundle—$300 for the Native version and$600 for TDM) and Arboretum Systems Ionizer ($499 for the MAS version)are extremely transparent compressors. Ionizer offers great splitbandcompression and other dynamics processing, as well as EQ and noisereduction.
Fresh Squeezed
Clearly, it's important to choose the right compressor for thejob at hand. One thing I learned from years of working with variouscompressors is it's not so much the design but the execution ofthe design that makes a compressor good or bad for a specificapplication. Be wary of any generalizations about compressors.We've all heard, for example, that opto-electrical compressorsprovide transparent and natural-sounding compression—as if thatwere a given. But the fact is, some optos do and some don't. Asalways in audio, it's the sound that counts, not the hype.
Hopefully, this article not only opened your eyes to the wide,wonderful world of compression but also has helped you steer an easiercourse through the labyrinth of compressor types, features,applications, and models. Deft and artful compression takes time andexperience to master, of course. Naturally, as with any otherdiscipline, practice makes perfect. So go forth and squeeze!
Michael Cooperis the owner of Michael Cooper Recording,located outside the beautiful resort town of Sisters at the base of theOregon Cascades.
Starting From Scratch
Here's a quick guide for setting a compressor'sparameters. First, make sure the compressor is switched on and set tosoft-knee mode. If processing a mono track with a dual-channel unit,make sure the stereo link or "slave" switch is turned off.Also, disable or bypass any other special functions such astube-saturation circuitry, expansion, and so forth.
Next, set the compressor's ratio to its minimum value, usually1:1, and the threshold to its highest value. Those settings render thecompressor inactive but still in the signal path.
Now, set up the compressor for unity gain throughput. Most unitshave hash marks—typically labeled 0 dB—screened around theinput and output control knobs. If your unit provides those referencemarks, set both knobs at 0 dB for unity gain. If no marks are provided,you'll either need to call the manufacturer to find the unitygain for each knob or use a tone generator in conjunction with theunit's input and output meters to determine unity settings. Ifthe compressor has no input meter, you'll have to rely on themanufacturer's word.
To determine unity with a tone generator (the one in your consolewill do), feed a 1 kHz tone to the compressor's input and set theinput-control knob so the compressor's input meter reads the samelevel as the tone generator's output. Then switch thecompressor's meters to show output levels and adjust thecompressor's output control knob for the same reading. It'snot a bad idea to mark unity gain settings for future reference.
At this point, the compressor is set so that what goes in comes outunchanged in level. You're now ready to make ballpark settingsfor processing the signal.
Set the attack and release time controls to an average value,usually close to the twelve o'clock position, and the ratio toroughly 2:1 or 3:1. Those mild settings reduce the risk that you willovercompress the signal. Switch the compressor's meters to showgain reduction and lower the threshold until approximately 4 to 6 dB ofgain reduction is attained on peaks. It is most important here that thelowest signal levels do not exceed the threshold and trigger thecompressor. In other words, make sure the gain-reduction meters do notkick in during soft passages.
Once you've set the threshold, it's time to startvarying the ratio, attack, and release time controls and beginlistening to the results. If you want more compression, increase theratio; if you want less, reduce it. Use fast attack and release timesfor compressing only the peaks. Use slow attack and release times tomake a signal sound more dense. Most importantly, let your ears be theguide.
After finding settings that provide the results you want, adjust theoutput control to make up the gain that was lost to gain reduction. Ofcourse, you can add more or less than that amount if youwish—just make sure you're paying attention to proper gainstaging with regard to any downstream gear. That is, don't boostthe compressor's output if doing so requires you to lower theinput on the next device below its unity gain setting.
These general rules will get you started and prevent most processingmistakes. Once you have some experience, you can tweak settings formore extreme processing. Just remember: the rules are meant to bebroken!
Dialing in Hot Sounds
Ask any experienced engineer for suggestions on compressor settingsfor various instruments and you're likely to be met with a blankstare. He or she is not trying to be evasive. The best settings dependon a host of variables: the type of compressor used, the unit'sdetector-circuitry response, the amount of peak versus average energyin the track you want to process, the dynamics of the performance, whatkind of envelope shape or sound, the outboard gear's noise floor,and on and on. "Use your ears" is a tired phrase, but earsare still the best tools to contextually evaluate the sound of dynamicsprocessing.
Just the same, here are a few ballpark settings for getting greatsounds from some of the compressors mentioned in this article. Asalways, use your ears to make additional adjustments if the initialsound is not to your liking.
Joemeek C2 power-pop snare sound: Set the attack and releasetime knobs fully counterclockwise (CCW) and the compression knob fullyclockwise (CW). Boost the input almost to the point of clipping, aimingfor 16 dB of gain reduction on peaks.
Empirical Labs Distressor on electric bass guitar: Use the"Distortion 3" setting with a ratio of 6:1, attack time setto 2.2, and release set to 2. Tweak the input for 6 to 8 dB of gainreduction on peaks. Those settings preserve some of theinstrument's attack, but tame it enough to allow a hotter levelin the mix for a fat-sounding bottom end.
Stereo-linked Aphex Expressors on a stereo rock mix: Here,optimal settings depend greatly on the mix's spectral balance,the type of music, instrumentation, how much individual tracks werecompressed during the recording process, and more. To pump up thelevels and add thickness, set both units to soft-knee processing and nolow cut in the sidechain, and then dial in a 2:1 ratio, about 10 msattack time, and roughly 0.2-second release time. Set the threshold toachieve 4 to 6 dB of gain reduction and apply enough make-up gain toprint as hot as possible without clipping. If drum hits get softenedtoo much, you can increase (lengthen) the attack time or shorten therelease time.
Dress to Compress
Here is a quick reference guide for some of the compressorsmentioned in this article. Compressors that belong to a software bundleor recording device (the Alesis Masterlink, for example) areomitted.
Tube in audiopath?
AnthonyDeMaria Labs
661 tubecompressor
$499 (MASversion)
*out of production
The Squeeze Is On: Compressor Manufacturers
Anthony DeMaria Labs
tel. (914) 256-0032
e-mail email@example.com
Web www.adl-tube.com
Aphex Systems, Ltd.
tel. (818) 767-2929
e-mail email@example.com
Web www.aphex.com
Arboretum Systems
tel. (800) 700-7390 or (650) 738-4750
e-mail firstname.lastname@example.com
Web www.arboretum.com
Crane Song
tel. (715) 398-3627
e-mail email@example.com
Web www.cranesong.com
Empirical Labs/Wave Distribution (distributor)
tel. (973) 728-2425
e-mail firstname.lastname@example.com
Web www.empiricallabs.com
Joemeek/Peninsula Marketing, Inc.
(PMI) (distributor)
tel. (310) 373-9129
e-mail email@example.com
Web www.joemeek.com
Manley Laboratories (and Langevin)
tel. (909) 627-4256
e-mail email@example.com
Web www.manleylabs.com
tel. (530) 647-0750
e-mail email@example.com
MindPrint/Steinberg North America (distributor)
tel. (818) 678-5100
e-mail email@example.com
Web www.us.steinberg.net
PreSonus Audio Electronics
tel. (800) 750-0323 or (225) 216-7887
e-mail email@example.com
Web www.presonus.com
Rolls Music Corp./Bellari
tel. (801) 263-9053
e-mail email@example.com
Web www.rolls.com
Universal Audio
tel. (831) 454-0630
e-mail firstname.lastname@example.com
Web www.uaudio.com


text: Publications Refesh list AuthorsTitleJournalYearTaylor, M., D.L. Young, C. Miles "Direct Marketing Alternatives in an Urban Setting: A Case Study of Seattle Youth Garden Works." (2010) Journal of Natural Resources and Life Sciences Education2010 Washington State University Search Contact Share Print Home I Want to Give Undergraduate Program Majors & Minors Economics Degrees Minors Advising Sheets Transfer Information Scholarships & Internship Opportunities Italy Abroad Econ Club Econ Lab – Student Resources Graduate Program Admissions Job Placement MS Program Overview Benefits from our Master in Applied Economics Requirements Math Refresher Courses M.S. Student Job Placement Why WSU? Frequently Asked Questions Living in Pullman PhD Program Courses Graduate Assistantships PhD Field Requirements Job Market Guide Graduate Student Resources SES Graduate Students Association PhD Students on Job Market People Faculty Staff Graduate Students PhD-Students MS-Students Research Publications Working Papers 2019-2005 Extension Economics Community and Regional Economics Health Economics Specialty Crops Economics Wheat & Small Grains Livestock Economics Tree Fruit Economics Environmental & Natural Resources Crop Enterprise Budgets Extension Faculty Michael Brady Randy Fortenbery Karina Gallardo Bidisha Mandal Shannon Neibergs IMPACT Center Freight Policy Transportation Institute Freight DATA Warehouse Mission People In the Press Research Reports Presentations FPTI Working Papers Transportation Research Group Mission Statement Transportation Faculty Research/Outreach Publications Data and Information Eastern Washington Intermodal Transportation Study Mission Background Research Reports Working Papers Newsletters Counties Steering Committee Advisory Board Strategic Freight Transportation Analysis Objectives Background of SFTA Data Request/Inquiries Data Request Form Principal Investigators Steering Committee Advisory Committee Project Members Photo Gallery Presentations Research Reports Research Papers Working Papers Contact Us Favorite Links Alumni Alumni & Friends Banquet Seminars Archive Leigh Lecture Contact Us History of the School of Economic Sciences Planning and Assessment Living in Pullman Newsletter Current Newsletter Newsletter Archive Faculty Accomplishments CAHNRS Safety


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Summary Meeting Notes: March 21, 2013 for the Community Involvement PEG
Summary Meeting Notes
Community Involvement Policy Expert Group
Date: March 21, 2013
Time: 6:00 p.m. to 8:00 p.m.
Location: City Hall, 1221 SW 4th Avenue, Portland, Pettygrove Room
PEG Attendees: Polo Catalani, Greg Greenway, Paul Leistner/ PEG co-lead, Morgan Masterman, Linda Nettekoven, Sara Schooley, Marty Stockton/ PEG co-lead, Robb Wolfson
Guest: No guests.
Facilitator: Deborah Stein
View the original agenda, including materials, for this meeting.
Key Points and Outcomes
- Reviewed and critiqued the Working Draft Community Involvement goals and policies using the state's Goal One's Blueprint for a Citizen Involvement Program (CIP).
- Reviewed and critiqued the Working Draft Community Involvement goals and policies throught the lense of equity.
- Assigned homework – a review of a Working Draft chapter using the equity analysis questions with a report back at the April meeting.
Welcome, Meeting Overview and Introductions
Updates and Announcements
Presenters: Paul Leistner, Office of Neighborhood Involvement and Marty Stockton, Bureau of Planning and Sustainability / PEG Co-leads
- At the March meeting, the PIAC Comprehensive Plan Work Group continued work on the analysis and developing themes from the Community Involvement Survey.
- Marty reported that seven of the eight Comprehensive Plan Workshops have been completed with approximately 350 participants.
- Polo Catalani shared perspectives from the Budget Community Forum held at IRCO. One concern being that IRCO leadership did not know of the event and therefore were not included in the welcome.
- Greg Greenway summarized the quantative data from the "basic elements of good public process" within the Community Involvement Survey. Paul commented that the public feedback targets a focus on policy language on transparency. Desiree commented that one positive is that the perceived acheivement on Process Design was high. Paul highlighted key themes from the qualative data within the Community Involvement Survey.
DISCUSSION: Discuss and Critique Draft CI Policies against the Oregon Blueprint for a Citizen Involvement Program (6:15 p.m. / 45 minutes)
Presenter: Greg Greenway and Paul Leistner, ONI / PEG Co-lead
Summary: Greg presented his review of the Working Draft goals and policies through the lens of the Oregon Department of Land Conservation and Development's "Blueprint for a Citizen Involvement Program" a component of the state primer Putting the People in Planning.
The PEG discussed the connection between the Community Involvement Program, the oversight body and the program's funding needing to be strengthened and a reorganized based guidance from the blueprint. There was some discussion on whether this was more appropriate within Chapter 8 Administration and Implementation or to remain in Chapter 1 Community Involvement. Greg shared that he wouldn't advocate using the blueprint as an organizing structure, but rather confirm that all components were addressed, noting the only gap being the draft goals/policies are silent on adequate resources for the Community Involvement Program. Desiree identified a community assessment process before launching a planning effort.
- Putting the People in Planning, State ofOregon (2008)
DISCUSSION: Discuss and Critique Draft CI Policies through an Equity Lens 7:00p.m. / 45 minutes
Presenter: Desiree Williams-Rajee, BPS
Summary: Desiree presented key findings from the equity review of the draft goals and policies which lead to a group discussion on recommended improvements to the Working Draft to achieve more equitable outcomes from the Comprehensive Plan projects and processes.
The discussion focused on the first two questions within the Analysis Questions, see link below.
- Are there any unintended consequences in these policies that we need to consider?
One unintended consequence identified by Desiree was the need to bridge both early involvement AND meaningful involvement.
Sara reflected on the need to consciously target the skill sets on the community involvement "body" charged with the ongoing review of process and engagement efforts. Greg stated that the blueprint clearly highlights or avocates for a separate body from the Planning Commission or a hybrid approach. Another unintended consequence, was the tendency to over promise. Linda stated that this body shouldn't be about shame/blame. Others said there should be a link to the body and Title IV or at least familiar with navigating the Title IV process.
- Does the current chapter address Anita's comment "this chapter stops short of recognizing the inequities of community involvement."? Does this chapter "include a commitment to change the approach of outreach, involvement and engagement to build capacity in the community to do this work themselves to better inform the decision makers about the needs of the community"? If not, what is missing?
Several PEG members noted that the powershift seems to be missing. Desiree noted that the draft refers to a lot of flexibility or customization of engagement efforts, but stated that the community is also needing consistency. The discussion continued around an expectation for the City to standardize but a shared concern arose on limiting flexibility or responsiveness. What should be standardized and not was asked by the group.
- Summary of Equity Technical Memo by Anita Yap (Dec. 2012) Prepared for the Community Involvement PEG - http://www.portlandoregon.gov/bps/article/440496
- Analysis Questions - http://www.portlandoregon.gov/bps/article/440495
HOMEWORK: Chapter assignment review
Presenter: Marty Stockton, BPS / PEG Co-lead
Summary: Prior to the April PEG meeting, PEG members will review another chapter within the Working Draft. Please use Question #5 in the Analysis Questions (see Resources below) as a lens to do your chapter review:
Introduction – Greg
Chapter 2 Housing – Greg
Chapter 3 Economic Development – Morgan M.
Chapter 4 Watershed Health and the Environment – Desiree
Chapter 5 Urban Design and Development – Linda and Robb
Chapter 6 Public Facilities and Services – Polo
Chapter 7 Transportation – Marty
Chapter 8 Administration and Implementation – Sara
For other PEG members, please either choose a chapter (having multiple reviewers is good) or use the Analysis Questions below to give our own Chapter 1 Community Involvement additional review.
- Working Draft Part 1 of the Comprehensive Plan - http://www.portlandoregon.gov/bps/article/429864
- Summary of Equity Technical Memo by Anita Yap (Dec. 2012) Prepared for the Community Involvement PEG - http://www.portlandoregon.gov/bps/article/440496
- Analysis Questions - http://www.portlandoregon.gov/bps/article/440495
Public Comment
[No public comments.]
PEG Check-in and Follow up
- The CI PEG will meet four more times, once per month through June.
- In March and April the PEG will review and discuss Working Draft goals and policies, taking into consideration best practices, PEG-identified elements of good public involvement, equity considerations, and community feedback.
- On the Community Involvement Survey there is a need to disseminate the results back to the community. Once Paul has the summary report completed and posted, the City and PEG members will send notice to networks that were invited to participate in the survey. Rob and Greg offered to assist with analyzing the quantitative responses. The PEG requested the PIAC work group assist with pulling out a few key themes from the survey that concisely summarize the results. This summary could be used for getting the word out about the results. Additionally, Marty will draft a story for the BPS e-newsletter and Paul will work through ONI to connect with media outlets.
- May and June PEG meetings will be used to flesh out the structure of the Community Involvement Manual and review the draft memo summarizing the work of the CI PEG with recommendations about implementation.
- Before the May meeting, PEG members will read the state primer, Putting the People in Planning, and will review the example public involvement manuals identified by the PIAC work group as good and relevant examples.
Meeting adjourned at 8:00 pm.


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5 SEO Trends That Will Change Everything in 2017
If you're still using SEO 2016 tips for content 2017, you'll see a huge negative impact on where you're in the rankings.
Drive your competitor's site down, not your own, by updating your SEO strategy to fit these 5 2017 SEO tips.
1. Content Issues Now More Than Ever
With more content on any topic on the web than ever before, readers now have more choices about where they spend their time online.
If you write bad content that is basically just a rehashed version of what your competitors are saying, your visitors will bounce – and sooner.
It affects "residence time," AKA how long people spend on your site. If you have a short stay time, you will fall down in the rankings. Make sure your content is interesting, fresh, and avoid keyword stuffing.
2. Your Loading Speed is Very Important
How quickly or slowly does your site pay a direct impact on your bottom line. If your website takes longer than two or three seconds to load, your visitors will be happy to your competitors.
Always check the loading speed of your site, including on your mobile platform.
3. Get (Hyper) locally
Even with all the local updates for Google's algorithms, more companies are relying on local search results to get customers in their stores later that day.
If you ignore local markets, you ignore aspects of SEO that can get people into your store as soon as possible – and have them tell their friends about their new favorite local business.
To make sure you show up in hyperlocal results, always check to make sure your address is listed correctly. Including your company on Google My Business will also help you show up in local results.
4. Go Live on Social Media
If you do not use Facebook Live for your benefit, 2017 will not be your year.
This is a great way to appear on people's news feeds on Facebook, and it shows that you are promoting transparency. Plus, the more active you are on Facebook, the higher you will rise in the rankings.
Do not forget, SEO is not just about the web – it's also about where you fall on the social media platform.
5. Your Review Material
This is a short stat that is guaranteed to blow your mind. The latest industry research shows that 88% of consumers trust online reviews just as personal recommendation from a friend.
Takeaway? By 2017, what people say about your company on sites like Yelp, Angie's List, and even on your Facebook review page is important for your SEO.
High ranking companies are also bumped into the rankings. Make sure you continue to provide great service, and you share your reviews to rise in the rankings.
Are You Ready to Work with the Best?
So you have 5 tips you need to get your SEO to the next level in 2017. But do you have the skills and the time to apply it?


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A CPA Looks at Governmental Accounting, Auditing, and Financial Reporting
by FRED M. OLIVER Partner, Salt Lake City Office
Presented before the Pennsylvania Institute of Certified Public Accountants Local Government Auditing and Accounting Conference, Harrisburg—October 1970
FOR THE FIRST TIME in the history of the American Institute of Certi-fied Public Accountants, an official look is now being taken at the important field of governmental accounting, auditing, and financial reporting.
The result of its studies will take the form of an Audit Guide, currently being prepared by the AICPA Committee on Governmental Accounting
and Auditing. The Institute, with its preoccupation with accounting
for business enterprises, has left the development of accounting principles in the field of government to the National Committee on Governmental
Accounting (NCGA). The latter was originally formed in 1934 as the National Committee on Municipal Accounting and in 1949 changed its name to its present title.
The vacuum surrounding the development of accounting principles in the field of government by the AICPA has existed until very recently in the entire field of nonprofit organizations. To date, the published literature
in the field of accounting principles, including fifty-one accounting
research bulletins, four accounting terminology bulletins, and seventeen
opinions of the Accounting Principles Board are all specifically addressed
to the field of business enterprises and were at their respective dates of issue not intended to apply to nonprofit organizations generally, including government. The introduction to Bulletin 43 of the Committee on Accounting Procedure stated: ". . . Accordingly, except where there is a specific statement of a different intent by the committee, its opinions and recommendations are directed primarily to business enterprises organized
for profit."1
Historically, no effort has been made by the Institute to catalog or
1Accounting Research Bulletin, Introduction—Applicability of Committee Opinions.


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Affidavit: Carlos Ortiz heavy drug user, evaded treatment
BRISTOL, Conn. — If Carlos Ortiz is going to be a star witness in the murder case against Aaron Hernandez, he won't come without blemishes.
Ortiz has an extensive criminal record, including convictions for larceny, assault, criminal mischief and interfering with an officer, court records show.
There's more: In an affidavit for his arrest on a probation violation obtained Wednesday by USA TODAY Sports, police say Ortiz met with his probation officer on May 21 and "disclosed that he was abusing PCP, alcohol and THC daily."
Ortiz was ordered to enter an in-patient drug abuse program, but did not keep an appointment two days later, according to the document.
MORE:Hernandez's 'flop house' neighbors saw no red flags
Over the next month, Ortiz ducked treatment by claiming to have lost his cell phone and, according to the affidavit, telling his probation officer on June 18 that he would have reported but "didn't know where to go."
That was six days after a drug test showed Ortiz tested positive for alcohol, cocaine, PCP and THC, the document said.
Probation officers spent the next two weeks trying to find Ortiz, who finally surfaced on a surveillance video at Hernandez's home on the night of Odin Lloyd's murder on June 17. In traveling to Massachusetts, Ortiz violated his probation for fifth-degree larceny. Bristol police arrested him June 25.
MORE:Did accomplice ID Hernandez as shooter?
Ortiz was extradited to Massachusetts and charged with unlawful possession of a firearm. He pleaded not guilty and is being held without bail.
A message left at the office of Ortiz's attorney, John Connors of Fall River, Mass., was not returned.
Affidavits used for search warrants in Florida and Massachusetts have revealed that Ortiz told police that Ernest Wallace, the fourth man in the car that night, told Ortiz that Hernandez shot and killed Lloyd, 27, a Hernandez friend and semipro football player.
In the documents, Ortiz said the car they were all riding in stopped in an industrial park near Hernandez's home, and the other three men got out to urinate. Shots rang out, Ortiz said, and Hernandez and Wallace returned to the car, and then sped back to Hernandez's home.
Ortiz told investigators it was too dark to see who had fired the shots but that on the drive back to Bristol with Wallace the next day, Wallace told him that Hernandez had fired the shots that killed Lloyd.
Ortiz, documents showed, was the tipster who told police about Hernandez's secret apartment in Franklin, Mass. Neighbors there said Wallace and Hernandez spent time there, with Wallace using his middle name "George" and referring to Hernandez as his "cousin."
Hernandez, who pleaded not guilty to murder and five gun charges, is being held without bail. Wallace, charged with being an accessory after the fact, also is being held without bail.


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We known for a while that Comcast's "unlimited" broadband is actually not so. The monthly usage limit seemed to be near 300GB before, but reader Ace says that he got a nasty phone call warning him that his usage is in the top one percent of residential plans, and it's pissing on everyone else's internet funtime (unless he gets the more expensive business plan, natch)-yet he says his usage is only about 150-200GB a month.
Kinda interesting, since their own metered broadband plan is rumored to run up to 250GB (read why metered broadband is bad). Has anyone else gotten hit with the hammer at a lower rate of usage like Ace here? Tell us, we wanna know (or any other Comcast dirt, please send it to email@example.com)! [Thanks Ace! - Giz's Comcast Coverage]


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DailyDirt: Attack Of The Bioengineered Organisms And Clones
from the urls-we-dig-up deptWe're getting closer and closer to creating designer life forms. People can almost build a single-celled organism from scratch, so we're not too far away (in terms of logical steps, not time) from intelligently designing our own little creatures someday. Instead of a "grey goo" nightmare, maybe we should be more worried about a "green goo" disaster. Here are some quick links to research that might lead to this unexpected biotech revolution:
Dolly the sheep has been revived again. Clones created THREE years ago in secret? Yah, nothing wrong with that at all.... [url] Solar-powered hornets! Okay, these were discovered, not designed -- but it's just a matter of time before mad scientists start creating other solar-powered insects. [url] Scientists have made bacteria with genes that can be used as logic circuits. Will Moore's law apply? Probably not, but self-assembled, exponential growth of a biological "chip" would be kinda cool. [url] A mouse with two fathers still needs a mother to be born. But apparently, the rodents can be made with two genetic fathers or two genetic mothers. Weird family trees ensue. [url] A human lung on a chip could lead to more "organ on a chip" developments. Great, now we can all breathe easier. :) [url]


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This giveaway will run from December 1st-December 6th.
AllThingsCuteAndGirly is offering the following prizes:
(1) Chocolashea bath bomb and Hair Candy (Check out our review on a few Chocolashea products ♥ here ♥) CurlsOfJoy.comKash's Kisses your choice of Superman for boy or Wonder Woman for girl. The tote comes with five crayons but does not include the coloring book. Please check out the other products Kash's Kisses offers. She does super cute custom made fleece blankets, pillows and totes!
There will be THREE winners.
I want to say thank you to each sponsor for participating in this Winter Wonderland event. It is really apprecitated! (:
Please note:
You do not have to do the optional entries, but doing so will increase your chances of winning! Instructions will be included in the Rafflecopter form below. Please read each instruction carefully and thoroughly. Give the Rafflecopter widget a moment to load. If it does not load after a minute, try refreshing.


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Orthotic devices include shoe inserts that can relieve the
stress and stretching of your plantar fascia when you stand or walk. You can get the devices with or without a prescription. Orthotic devices you use for
plantar fasciitis are usually made of plastic, rubber,
or felt.
Custom-made devices require a prescription. They are more
expensive than nonprescription orthotics. Custom orthotics are made by taking
an impression of the foot with a plaster cast and then designing an insert to
control the specific mechanical problem. Before investing in an expensive
custom-made orthotic device, you may want to try a nonprescription orthotic
that you can get at drugstores, supermarkets, or sporting goods stores. This way you
can test different types of devices without great expense.
If your
foot has an unusual shape or if you have a certain problem that the device can
help, then a custom-made device may fit better and control pain better than a
nonprescription device.
Tape strapping (moleskin over the bottom
of the foot with tape strapped around it) is sometimes recommended for arch
support and heel pain and for controlling foot strikes. A foot or sports
medicine specialist would be familiar with this technique and can show you how
to do it at home.
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Last Revised:
July 14, 2011
Healthwise Staff
Medical Review:
William H. Blahd, Jr., MD, FACEP - Emergency Medicine & Barry L. Scurran, DPM - Podiatry and Podiatric Surgery
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The DOMA decision ripple effect
The Supreme Court's same-sex marriage decisions managed to do the impossible: get gay rights advocates and conservative Justice Antonin Scalia to agree.
Writing for the majority striking down the Defense of Marriage Act, Justice Anthony Kennedy was unsparing, declaring that the law's "purpose and effect [is] to disparage and to injure" those in same-sex marriages, subjecting them to "a stigma" that "humiliates tens of thousands of children now being raised by same-sex couples."
Story Continued Below
Kennedy insisted this kind of language wasn't meant to support marriage equality litigation in future state-by-state fights, but the justice often seen as the intellectual leader of the court's conservative wing wasn't convinced.
( PHOTOS: 21 landmark SCOTUS rulings)
"By formally declaring anyone opposed to same-sex marriage an enemy of human decency, the majority arms well every challenger to a state law restricting marriage to its traditional definition," Scalia warned.
Precisely, say the prospective challengers.
"Scalia's dissent is absolutely on the money," American Civil Liberties Union executive director Anthony Romero told POLITICO. "It's going to open the floodgates for litigation applying equal protection standards to laws discriminating against LGBT people."
( Full text: Supreme Court decision on DOMA)
"It gives me great joy" to find agreement with Scalia, gay rights activist and Clinton White House adviser Richard Socarides said. He said Kennedy's withering condemnation of the motivations of same-sex marriage opponents and his lamentations about the impact of discrimination on the children of same-sex couples will be a major boon for the gay rights cause.
"I think the language is going to be extremely useful because it's very powerful and it makes clear the court takes a very dim view of laws targeting gay people," Socarides said.
Several gay rights advocates noted that a decade ago Scalia predicted in his dissent in Lawrence v. Texas that the court's ruling overturning anti-sodomy laws would lead inexorably to the legalization of same-sex marriage.
"Let's hope he's right about this, too," Socarides quipped.
( Also on POLITICO: SCOTUS gay marriage rulings reshape landscape)
"It's always a sobering proposition to think that I'm in agreement with Justice Scalia," said Susan Sommer of Lambda Legal. "I certainly think it's true when the Supreme Court pronounces on equality and liberty of gay and lesbian Americans, of course it's a building block for equality nationwide…We look to our precedents and the deeper principles they enunciate and this opinion will give ammunition for the future."
Of course, the two sides are in agreement only up to a point: the cascade of pro-same-sex-marriage court rulings gay rights activists view fondly hope for seems to represent one of Scalia's greatest fears.
The celebration Wednesday among gay rights advocates can certainly be justified solely on what was accomplished in the DOMA case: obliterating the federal government's bans on tax, health, immigration and other marriage-related benefits for same-sex couples.
( Also on POLITICO: Scalia brings drama to DOMA ruling)
However, Kennedy's majority opinion in the DOMA case falls short of something both gay groups and the Obama Administration asked the court to do: explicitly declare that government classifications based on sexual orientation are subject to "heightened scrutiny" by the court.
Kennedy's majority opinion mentions that standard in passing, noting that President Barack Obama and a federal appeals court had concluded that heightened scrutiny applied to DOMA's discrimination against same-sex couples. However, while such levels of scrutiny are a central aspect of Supreme Court equal protection rulings on race or gender, Kennedy never returns to that point.
Instead, the majority borrows a more amorphous "careful consideration" standard from the court's 1996 ruling against a Colorado ballot measure that banned anti-discrimination protections for gays and lesbians.


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Many developing countries seek to improve the innovation component of their economies. For a variety of reasons, including competition, many technologies can not be bought on the market, they have to build and develop their own. One of the methods of development is the construction of parks, in which specialists live and work seeking a solution for a certain problem.
Cisco could build turnkey technology parks; sell technologies of building technology parks; certify existing parks and parks under construction by assigning them grades.
When creating a technology park Cisco will be able to integrate all of its products and technologies into one integral solution. Starting with WiFi routers, finishing Telepresence and technologies for data centers.
I also suggest quitting the view of the technology park as a job place. It should be a place for living. Company (owner of the technology park) can provide employees not only with the place and conditions for work, but also everything necessary for life behind the work hours. A solution would be to see the technology park as a small isolated society, living according to certain rules and laws (as a bed in a greenhouse).
Money is a powerful incentive to inspire people to do their job well. But there is a limit, when the stimulus ceases to work. The main incentive for working in the Technology Park is living in the park self. There are no domestic problems, the participants don't have to think about them, these problems are solved for everybody. The conditions to think, create, work are provided.
It looks like a utopian model of society. This is certainly true. Under natural conditions, such a social environment can not be created to exist for a long time. But we can create such a working model artificially and support it for the time needed to solve the problem set in the park.
David Ogilvy