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Recording Emergency!!!!
Me extremely lo tech. But have an urgent need for being in position to record a reasonably pro-quality demo of a drums/guitar bass/ trio, out of my home practice space. No studios for this gig.
What I already have:
*A powerful laptop ( windows pc, can upload, CUBASE/REASON on to it, if I have to )
*Can borrow a MACBOOK PRO ( with Logic Platinum )
* a multi- input AARDVARK sound card ( its a real good one)
What I need:
Mics for a 7 piece drum kit ( which mics, how many, 2 for snare, should they be the same ..etc etc, dont wanna go either super hi end or crappy )
A good mixer ( digital/analog? which one? )
How do the guitar and bass plug into the sound card and yet be recorded 'live' ?
What else might I need :
A crash course or any help with pulling this off would be highly appreciated.
Last edited by aydee; 09-16-2008 at 05:16 PM.
Re: Recording Emergeny!!!!
Right. I'm looking at the specs of the sound card to see what you can do with regards to inputs. This might be a long post - you have been warned.
So, you have eight inputs on the Aardvark. No need to get the MacBook if you can put Cubase on there - I'm not great with Cubase, but the basic principles are all the same.
If you're recording a seven-piece kit, you have to ask yourself, how many mics do you need. Obvious question, but the answer may be less than you think. There are a few ways of going about this - but in essence, you want to keep it simple, you confess you're low tech, so a low-tech solution is probably the best. I'll start with the most important mics and work down:
Basically you have two options here. An XY Crossed pair (the mics cross over each other in an 'X' shape) or a Spaced pair. The Spaced pair is more conventional and probably easier to understand and although it's not what I prefer, it's probably easier for you. Basically, you want both mics to be equidistant from the snare (assuming that's the 'sound centre' of your kit - which it is, it's the loudest bit on there!) and high enough to pick up all the cymbals and toms. Now, overheads are the most important mics on the kit. They will pick up everything and be used for everything to some extent (unless you're into 80's extreme gating). Usually three or four feet above the cymbals is a good position for the overheads, you need to give space for the sound to develop.
The old trick is to use a bit of string to determine how far away from the snare each overhead is. There are a few odd techniques in terms of placement - some prefer a mic in front, and a mic in the back, but for simplicities' sake, assume both are in front. What you have to remember is that most condenser microphones (not all, mind) have a cardioid or heart-shaped pickup pattern. Anything off-axis is harder to pick up and you'll get weird things happening, so you want as much of your kit in that zone as you can get - without it being too close to any individual cymbal. It's hard to tell you precisely where to place your overheads without physically being there - but use a bit of thought and remember: Equidistant from snare, a few feet above the kit and fitting as much in without being too close to any individual element.
In terms of mic choice, you'll want a decent-quality condenser. Now, if we're working to a budget I'd recommend the AKG C1000 or Rode NT5. Both are basically exactly equivalent- with some sound differences, but ultimate it's preference. AKG C3000's are good too. The AKG 414 is the more professional option, but also considerably more expensive - they also have switchable patterns, which is nice - but they are more. The choice is yours' but what you need is a good-quality condenser. These microphones will be the bread and butter of your recording, and everything else used for embellishment. Remember that! These will need phantom power, make sure it is switched on at the desk. Furthermore, make sure the gains on each overhead are as even as possible and that the output is basically the same - otherwise it can cause a headache having to balance them at the mixing stage. You want a good signal, in the green, but not in the amber or red. The same goes for all your mics - a good signal, but not an overloaded one.
Bass Drum:
Very simple. A large-diaphragm dynamic microphone placed where you'd imagine it to be placed. That is to say, slightly off-centre and at the bottom; where most drummers have a hole. If you don't, that doesn't matter, the same place is probably the best. Bass drum mic positioning is less critical than overheads, because bass is less directional and therefore less picky!
In terms of mic choice, there are a few: Audix D6, AKG D112, Shure Beta 52A are all basically equivalent. The D6 I've heard the best results from, but it is more aggressively EQ'd than the others. The D112 I've used and it's pretty good (although I prefer the ancestor microphone, the D12 from the 50's!) and I've heard good things about the Shure, but I've never used it.
You mention two mics. That is fairly standard practice now. Concentrate on the top mic first - the convention is to have it on the edge of the drum, pointed towards the centre and slightly raised. I've heard of a 'three finger' technique whereby the height of the mic above the rim is three finger widths - that seems reasonable enough. Make sure the tip of the heart shape is pointed at the middle of the snare! Otherwise it'll sound strange.
As for underneath - that's a matter of preference and is usually mixed very low, but it can add some depth and definition if done correctly. I haven't got much experience with this, but mount it however you can (using the rim, using a stand) and again, point the centre to the centre of the snare wires. A little more distance might be preferable here, say 2/3 inches down - just to add a bit more depth.
SM57's are probably the simplest choice here. No need to go fancy, although I hear good things about the Audix i5.
That's the simple part. The next bit is where things get interesting.
Now, I have no idea what your room is like. So, I'm going to assume it's reasonably good. If that is the case, then you shouldn't have to worry about reflections from walls, but in terms of kit placement, you want to keep it away from walls and preferably under a high ceiling. If you have any walls that directly face each other, and any right angles for that matter, I would recommend throwing some treatment in. I often find a blanket works. Or an old mattress or anything soft and porous - Auralex foam is ideal (and designed for the purpose). If you haven't got access to any of this, a quick solution to prevent dodgy reflections in the overheads is to drape a blanket or duvet over the back of the capsules and drape it between them, so you've effectively covered the back (NOT THE FRONT) of the capsules with a blanket. The bass drum and snare are less critical, because they'll get more direct signal because of their proximity to the sound sources.
When you get the recording into your computer, obviously assign each microphone a different channel. I tend to work overheads, bass, snare, snare. Some work bass, snare, snare, overheads. Do it as you feel is fit, just make sure it makes some sense to you! Pan each of the overheads left and right, and pan the snare into the correct place of the stereo field. If it's slightly to the left of you, pan it, etc. Bass is usually central (there's an historical reason for this as well as the obvious stereo field reason, but it's just a nice factoid. Basically, bass takes up a bigger groove on vinyl, so having it central made sure it took up as little space as possible. Dull fact, I find it interesting).
EQing is a tricky business and you have to think in terms of SUBTRACTIONS as well as additions. Seeing as your overheads are probably going to be used for everything to some extent, it's necessary that their response is relatively even. Listen to the recordings and if anything is ridiculously wayward, first of all play with the mic placement. Getting a good recording in is the most important thing - trying to fix it with EQ is a work-around and doesn't produce as good a results. EQ is there to shape the sound, not to correct it - unless something has gone drastically wrong and there's nothing you can do to re-record.
Without being in person, it's hard to tell you what to do with the EQ, but generally speaking, a cut around 250Hz helps prevent muddiness, and a slight boost at the top end helps add some sibilance to the sound (and makes it sound a little 'airy' if you like). Seeing as tom toms work over the range of sounds, I'd suggest taking a little out just below the top (15Khz) and keeping the rest relatively flat. Obviously, small alterations can be made to the low-mid and high-mid as you feel fit, but it's very much a case of feel rather than giving you specific instructions. I tend to work on subtractions more than additions, because it gives you a greater scope for contrast. If you're only adding EQ, you're effectively just using half of its available range, right?
What also might help (and this is where things get interesting) is a little compression on the overheads, just to take the edge off the peaks. A low ratio is probably good, say 2:1, but be prepared to just drop the level of the overhead channel slightly, as compression can make it 'louder' overall. I say can. It's often misused to do just this... maybe a little reverb too if the sound you're getting is very dry (ie. you have the blankets over the backs of the mics!).
With the bass drum mic, you'll want a peak in the EQ below 100Hz, a dip at 250Hz (I'll explain this in a minute) and you'll probably want a slight rise around 2.5Khz for the attack of the beater. It's quite simple. When I say drop the 250Hz, there is one good reason for this - most instruments tend to have something happening at 250Hz or thereabouts - guitars do, drums do, bass guitars do, cellos do, pianos do. Just go through the list and think of an instrument that doesn't have 250Hz and you'll struggle. Unless we're talking about hammered dulcimers (micing those up is fun!). So, in short, the 250 can get very crowded. When you get a 'muddy' recording, it's usually around that kind of range that gets over-powered, so if you hear any muddiness, drop the 250ish and see what happens.
A little compression is good on the bass drum too. More compression than the cymbals, say 3:1 or more. Just play with it and see what you like - it helps make it more 'punchy'.
The snare is a little trickier. Basically it's EQ to preference as to tuning. Subtract what you don't want as opposed to adding all of what you do want. The top mic will probably sound reasonably ok with a bit of compression, maybe some reverb, but not too much! The relationship with the bottom mic is a tricky one and I would say that if you can get the sound you want out of the top mic, use that. A lot of the snare will be in the overheads too, so you'll want to use some of the overheads for the snare - using the snare mics just as embellishment, effectively. The bottom mic is tricky because first of all the sound it produces can be just 'rattly' and secondly, the phase relationship is tricky. Basically, phase is when the same signal reaches two different microphones at different times and when put together, cancel each other out. If you introduce the bottom snare mic into the mix and the snare starts sounding very weird (like a reduction in volume, or choked) invert the phase of the bottom mic. There's usually a button on the desk to do this, or on your interface - or even on Cubase. That should help. Again, slight EQ to preference, cut the 250. If you don't feel you need the bottom snare mic, don't use it. It just adds a little depth.
Now, when you've all got them sounding good individually (solo each one when you're playing around, forgot to mention that) it's now a job to get them sounding good together. By using subtractive EQ, this is more likely to happen straight away. Basically, the overheads are the bread and butter of your mix and the other mics are just embellishments or 'accent' mics to add a bit extra to what's already there. So, usually a little bias in favour of the overheads is in order. Just work to where you feel the sound is nicely balanced and don't be afraid to play around with the EQ on each individual piece if you feel something is too prominent. Remember as well, the louder you mix, the more the bass will be obvious, so work at a sensible level of volume! It might help at this point to group the drums together so that one slider controls the overall level. Also, sending the drums to a buss (a group send) might be a good idea, then you can add compression, reverb, etc to the overall group. Basically - you can start to treat the drums as two channels (stereo) rather than as a collection of individual instruments.
With the bass and guitar, there are various ways of doing it. You can choose to record directly into the desk using a DI (direct input) box or alternatively you can usually plug the guitar right in using a jack and actually increase the gain there to get a good signal level. I've used that method a few times and it works. Most Bass amps have a DI built into them with an XLR output - you could use that and if it's available, do. All this can go directly into the desk. One of my guitar amps actually has a 'line out' on it - if your guitarists' does, use that - it should provide a decent signal and you might not need any extra gain.
Alternatively, you could mic the individual cabinets. This is slightly trickier, because you're likely to get the drums into the sound if you're all playing together and it's probably simpler just to DI it all, even though it doesn't always sound as good as micing. If you are micing the cabinets, a dynamic mic (Shure SM57, etc) placed about 4 inches from the cabinet and slightly off-centre and below the cone is probably the most standard practice.
With regards to mixing the bass and guitar, it's really a matter of playing around until you get what you want. Don't be afraid to really compress the bass and make it work - but also be careful of muddiness - avoiding reverb helps with this. It might also be a good idea to record the band 'live' and then record the guitar and bass tracks over the live drum recording, taking away the original guitar and bass tracks. This is the method usually used when a Click track isn't being used. If you're recording as a band, you as the drummer ought to have the click in his ear, Cubase produces its own click, so it's simply a case of hooking up some headphones to the outputs on the Aardvark (via the mixer probably, just put the click into a separate channel). Remember my advice on subtractive EQing, it works wonders. It might also be preferable
When you're trying to record into Cubase, select the right input for each sound source according to the channel on the mixer. For instance, channel one on the mixer should be plugged into channel one on the interface and this will be selected as 'Input 1' on Cubase. (Or the equivalent). This will help you organise everything properly!
I'm not going to talk about mastering right now, because I could literally could go on all day about mastering, but suffice to say, when it comes to putting your mix to a stereo output, make sure that it doesn't clip. That is to say, the output is too high. Otherwise it gets bothersome and won't sound good. If necessary, reduce the volumes of each of the other instruments until you get it within reasonable parameters.
You didn't mention if you had vocals or not. If you have, tell me and I'll fill you in on the basics there. Seeing as you didn't mention them, I kept them out deliberately to avoid confusion.
Incidentally, can we make this thread a sticky? We get this question every few weeks. And if anyone wishes to correct me, contradict me or whatever, feel free and we'll discuss it.
In terms of mixer choice, I'd suggest something reasonably high-quality. Mackie make some excellent desks. If your sound card has an interface with it (is it this one?)
then a desk isn't necessary and you can go straight into the interface box. Assuming it has preamp controls and a gain structure.
Christ, I just did a word count and that was nearly 3,000. That's an actual essay you got there. A badly-written essay!
Last edited by Mediocrefunkybeat; 09-16-2008 at 01:47 PM.
Re: Recording Emergeny!!!!
Epic post. I vote for a sticky on this one. Limbering up for those uni papers eh?
Re: Recording Emergeny!!!!
I hope my Uni papers are better written, of course, but it's nice to know I can do this in about half an hour...
Re: Recording Emergency!!!!
Happy recipient of epic post will gladly accept. It is a crash course. literally.
MFB, I'll need to study you post a bit before I respond, but thank you very much.
Here are some visual references , if it helps.
The drums are not in a corner , and the room is heavily carpeted.. but nothing on the walls.
Yes, the sound card has the interface you linked, so no need for anything there, I suppose.
Great dope on the mics. I've got a few drummer friends with strong opinions so I've no got some ammo to debate them with.
Yeah, I think this will be a great sticky from drummers transitioning to a recorded set up. good idea.
Last edited by aydee; 09-16-2008 at 02:23 PM.
Re: Recording Emergeny!!!!
Well the mics I've suggested are basic ones. Good quality, basic microphones - the Mapex ProM of microphones if you will. I hope it all works out OK, but yeah, I would need to digest that post still. I can't believe it got that long.
That wall behind you is going to need some treatment. It's big and flat and those are the two things that aren't ideal in this kind of situation. Get hold of some Auralex Foam if you can (it's not cheap though). A good trick I've seen is people making a frame and fitting the foam in the frame (out of wood) and then hanging the frames from picture rails. Makes it much easier to move them around and also means you can take them down afterwards. You're going to have to put some bass traps in the corners. Duvets are good, blankets are good. If it'll absorb sound, it's good. See if you can get a sofa or couch into that room as well - these actually make for great treatment and give you somewhere nice to sit in the process.
It also looks like my tip with the duvet over the back of the microphone capsules is going to have to be done, too. If you do have some foam, you can actually make a kind of shield out of it bu cutting a mic-sized hole in the foam and putting it over the back of the mic, like a shield, perpendicular to the capsule - if that makes sense. There's a lot of reflections in that room and I bet it sounds huge, but given the size and flatness of those walls, I would suggest some treatment. Placement is fairly simple - basically if you have a covered piece of wall, put an uncovered piece next to it. It's not too critical where you place the treatment as long as it's there.
Last edited by Mediocrefunkybeat; 09-16-2008 at 03:37 PM.
Re: Recording Emergeny!!!!
Damn thats ten pages when you copy and paste it into word and double space it.
Youtube: youtube.com/simpleplandrummer
Re: Recording Emergeny!!!!
i love it.
I've been drumming for 35 years. I'm 34 years old.
Re: Recording Emergeny!!!!
Be vewwy quiet, I'm hunting Lawwy
My kit: http://drummerworld.com/forums/showthread.php?t=44195
Re: Recording Emergeny!!!!
Well... I've said it before and I'll say it again, I want this as a sticky. We get basic recording questions all the time and this pretty much covers most of what can be asked with regards to basic drum recording. To be honest, there's no reason to get much more complicated than this - I like to keep it simple. That's the great thing about recording, the basic principles NEVER change. It's a case of working out what your polar patterns are, what each instrument will produce frequency-wise (and for those of you out there who don't know, every instrument produces more than one, except pure sine-waves!) and working out the balance.
There's nothing even vaguely complicated about recording when you grasp those basic principles, there's no dogma, there's no esoteric principles, it's just basic and simple science with a bit of common sense.
Re: Recording Emergeny!!!!
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Re: Recording Emergency!!!!
p.s. - will post a pic of the other side of the room maybe tommorow: more carpets and couches against the opposite wall..
Re: Recording Emergeny!!!!
Cool. I'm all up for suggestions and debate about recording - there are lots of different techniques that all go towards the same result so people 'in the know' tend to disagree for silly reasons. There are as many different ways as there are people, even if the basic principles are the same - but I don't think there'll be any major holes in what I've said - it's all simple stuff.
A picture of the other side of the room would be good, and some idea of perspective, too.
Re: Recording Emergeny!!!!
Is there a way to fix the typo in the thread title??!! Its driving me insane.
Here is a view of the rest of the room. It has a foyer and an alcove as you can see. The access to rest of the apartment is blocked by a heavy curtain. The couch is make -shift ( two mattresses with a bedcover and pillows )
I hope you get the geography of the room & this makes some sense.
The geeks have returned after ferreting info and are recommending the following ( all Greek to me ) :
1 AKG 112 ( Bass drum )
4 AKG C-518M ( thin design/clip - ons ( Toms )
Its cardioid polar pattern rejects overspill from nearby instruments. A continuously adjustable vise-type clamp makes it easy to fix the microphone securely on the top hoop of most drums or percussion instruments. An external shock mount provides high mechanical-noise rejection. A special snap-on stabilizer knee will keep the gooseneck bent at a defined angle. The C 518 M features an integrated, switchable bass cut for adjusting the microphone's frequency response to your instrument's sound.
2 SHURE SM-57mics ( Snare drum )
1 AKG C-1000 ( Hi hats )
2 AKG C-1000s ( Overheads )
1 SOUNDCRAFT- FX16 ii mixer ( 48 volts, individual phantom power )
Soundcraft FX16ii, EFX and MFX Mixers Soundcraft has extended its versatile, multipurpose mixer range by recently introducing three new models: the FX16ii, EFX (pictured) and MFX. Each new model features 32 Lexicon(r) 24-bit digital effects, a user settings store function, three parameter controls and tap tempo. The FX 16ii boasts 26 inputs, 16 direct outputs, four stereo returns and a rotating connector pod that allows cables to connect behind the rack to save space. The Soundcraft EFX is the smallest console in range, available in eight- and 12-channel versions. With the Soundcraft GB30 mic preamp and one aux and one FX send on each channel, the EFX suits a variety of applications. Finally, the MFX is a Soundcraft MPM with the added Lexicon effects built in. It comes equipped with two group busses, two aux sends, one FX send on each channel and two stereo input channels. Three frame sizes are offered: eight, 12 and 20 inputs. The MFX is a helpful solution when performing in small venues. All consoles in the Soundcraft FX range can be rack-mounted using optional kits.
howz that sound? overkill? underkill? I notice a few synergies with MFB's reccos.
Last edited by aydee; 09-19-2008 at 03:10 PM.
Re: You can change the thread title in a post.
You can change the thread title in a post, try to edit your first post?
Plus i wanted to subscribe. Great info Duncan.
Re: You can change the thread title in a post.
Re: Back to Recording Emergeny!!!!
Ask mods
Re: Back to Recording Emergeny!!!!
Re: Recording Emergeny!!!!
Well the thing is, for what you're doing I don't think you need tom mics, basically. Now a lot of people will probably disagree with me, but it's just another set of microphones taking up channels and complicating things when actually you can get a very good result from the overheads alone. The mixing and EQing isn't too tricky, but the muddiness can be a problem with toms and to be honest I've never really been happy with the results when I've individually mic'ed. The problem is also one of synergy and having individual mics tends to make them stand out a bit too much rather than blend. It might also be too many channels anyway if you want to mix live and have a direct feed into the soundcard without submixing.
Pretty much the same thing goes for the hi-hat mic. These guys are demonstrating the opposite school of thought to me and whilst separate mics for every instrument gives you more control, I don't think it's necessary and can over-complicate things. I just don't really see the inherent advantages when it's weighed up - but then again, I am quite old-school even though I'm only twenty! So all told, it's pretty much overkill with the mics as far as I'm concerned, particularly bearing in mind you admit to having little or no experience with recording. I mean, if I have things entirely my way, I like the idea of just using overheads! And that certainly is back-to-basics but with a bit of experiment, a lot can be had from a very simply setup and to be honest, having all of these mics just makes things awkward from my point of view. I've never been entirely happy with the sound of individual mics on toms particularly.
That said, it's a perfectly reasonable suggestion and one which other people have a lot of success with - I just don't think it's necessary which is what this is all about.
The mixer's great. Possibly overkill, but a high-quality mixer (Soundcrafts are GREAT) can only be a good thing if you need it. If you can't afford that, look at some of the mid-range Mackie mixers, they're good too.
The bass drum mic is ok. I'm not too fond of the D112 personally, but that is just a preference - it's a good mic, just one I've never been excited by. I prefer the Audix, but again, the D112 has been the standard for a long time.
As for the room, those flat walls need some breaking up, as will the right angles. The ceiling height is good though - like I said, hang some blankets if you can or get hold of some Auralex foam. Those mattresses are a really good idea in the corners, or up against the walls near the corners to trap some bass. A trick I use is to clap my hands loudly in the middle of the space. If I hear any wayward echoes, I just experiment with blankets until those go away - for instance:
Last edited by Mediocrefunkybeat; 09-20-2008 at 10:58 AM. Reason: Apostrophe n00b error...
Re: Recording Emergeny!!!!
there should be a recording sub forum.
recording doesnt fit in other to me....
IMO it should be....
>Heads and Sticks
that way other will actually be "everything else"
silver city dead
Re: Recording Emergeny!!!!
Aydee... You must remeber to set your kit up correctly before recording... Its all backwards!
Also, I would agree that losing the tom mics is a fine idea. Good luck!
Re: Recording Emergeny!!!!
[quote=Garvin;481788]Aydee... You must remeber to set your kit up correctly before recording... Its all backwards quote]
I hate all you right handed, wrong minded, chauvinist, djembe playing republicans.
Re: Recording Emergeny!!!!
MFB, I think what I get from what you're saying is that close micing ( in the extreme ) ,in principle would make the drums sound not natural, with everything in extreme sharp focus or articulation?
Would I still want to keep a kick mic? snare? The kick, snare, hat articulation is important to my sound with this music.
Sorry, stupid question: why would adding 3/4 more mics make things a lot more complicated?
Will try the blanket maneuver on the day we record
Re: Recording Emergeny!!!!
silver city dead
Re: Recording Emergeny!!!!
Given my admittedly limited recording experience, I am inclined to agree with MFB that micing the toms (especially in a situation like this) will make things more complicated, take you longer to get the sound you want, and probably come out somehow uneven no matter how much you try to change it.
I've only recorded a few times, but I've found that the best sounds come from (to a point) the fewest mics. Wasn't it those guys... uhhh, what's their name... Led something... that recorded in a room with just a mic in the corner... I think...?
Re: Recording Emergeny!!!!
That said, a hi-hat mic is potentially a good idea if done properly. By all means give it a go, but set up your overheads in the normal way you would if it wasn't there and then use the hi-hat mic only if it's necessary. The kick mic is fine - you'll need that, the kick is integral, as is the snare and they might well need to be accented.
It makes things more complicated because of the aforementioned phase problems (when two signals from one source enter two mics at different times and those signals are combined, they tend to cancel each other out slightly - rather than just adding volume) and this is much more likely with multiple mics. The other problem is like I say, in the mixing and getting the kit to sound natural. In the past I've had problems when one mic's gain is too high and not realised until it was too late (not enough time to re-record and the overheads weren't set up to compensate) and therefore had to really compress the hell out of it and use various work-around techniques to get to where I wanted, rather than just getting on with the sound I wanted being recorded. Now I'm not saying by any means that you'll do that, but it's one risk and on top of that, you've got to EQ and mix the toms in separately, which can be a dicey game without a lot of experience.
I hope that makes some sense. Really, going low-tech often yields the best results and in many respects, it is often far too complicated by engineers adding too much gear in.
Re: Recording Emergeny!!!!
AYDEE, all of that info MFB gave you and nowhere did you mention you were left-handed.
Retirement...August 21, 2015
Feel. Control the Bounce.
Re: Recording Emergeny!!!!
All that changes is where you might want to pan your snare. Usually it's panned very slightly (5-10 out of 64) to the relevant side. It doesn't really matter which way, it just helps separate the stereo field slightly and helps with the muddiness.
Re: Recording Emergeny!!!!
Man, this one thread has been a helluvan education.
Only one question - and I don't mean to derail things.
MFB: Is your avatar actually a picture of yourself? Sometimes I have the hardest time associating the gravity of your posts with that picture. It's funny and maddening at the same time. Like talking serious philosophy with a guy who has a chicken sitting on top of his head.
Re: Recording Emergeny!!!!
Oh, I talk serious philosophy too!
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OK, it helps to know that. :)
Thanks for taking the time to explain this stuff; it's quite a concise primer for newbs like me. (I second the vote for a sticky.) My bandmates and I have been talking about getting a crude recording system together, and this give me a very clear idea of what's involved.
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MFB, I re-read your post on the overhead mic positions ( x,y ).What is the difference if the werent crossed and just almost touching? What about an an a,b position? It is also often seen on drum kits. Is that a option, and if so whatr are the sonic differences in sound between the two?
Thanks, prof.
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Who's there?
Blind Tom of the Wild Left-Handed Monkey Boys.
Blind Tom of the Wild Left-Handed Monkey Boys, who?
How many Blind Tom of the Wild Left-Handed Monkey Boys do you know?
Re: Recording Emergency!!!!
Three cheers to Bernhard for fixing the typo in the title.....hip, hip........
EDIT - ...and 3 cheers to MFB, for his social service.
Last edited by aydee; 09-21-2008 at 10:28 AM.
Re: Recording Emergency!!!!
MFB, thank you very much. My band needed this
PEWFLADCC-Master Cake Baker!!!!RIP FINN!!!!
Re: Recording Emergeny!!!!
The reason that the mics are crossed in the XY is so that the cardioid patterns overlap:
I've just plagarised that from this website: http://www.pcmus.com/Condenser-Recording-Mics.htm
Which has pretty pictures and everything!
Basically, the XY technique means that there is a 'United Front' at the front of the pickup range. If the mics were side by side, there wouldn't be an even pickup at the front and you'd have a slight 'gap' in the field. Imagine drawing two hearts an inch apart, with the tip of the heart facing forward, then imagine them at 90 degrees intersecting each other - the 'round' side creates an even field and because the mics intersect and the tips of each heart shape are facing directionally, you get a greater stereo image that way. If you were to keep them parallel, you wouldn't get that good stereo image, either. If you were to place them next to each other, but 90 degrees apart from each other, rather than intersecting, you'd get a massive gap in pickup in the middle.
There's not really a massive difference between the two sound-wise, it's just that the XY pair is a little trickier to get right because the placement is less flexible. On the other hand, there is less likelihood that phase cancellation will occur because the two mics are in close proximity and their placement is relative to each other.
There is actually a third mic technique that isn't often used on drums, it's more likely to be used on pianos called 'Mid and Side' or MS, that requires a figure-of-eight pattern microphone and a cardioid. I've never used it, but apparently it's great for mono mixes. Basically you put the figure-of-eight near the source, with the pattern with the cardioid at 90 degrees halfway down the figure-of-eight (traditionally at 90 degrees) to fill in the 'gap'.
Nicely plagarised from:
This actually explains it far better than I can, but if you're in an adventurous mood and have the necessary equipment...
Anybody who thinks my explanations are rubbish, tell me! This was written in a bit of a hurry because I'm supposed to be sailing in half an hour on the River...
EDIT: Unfortunately the sailing didn't happen. Someone took my place. And I was so looking forward to capsize drill...
Last edited by Mediocrefunkybeat; 09-21-2008 at 01:09 PM.
Re: Recording Emergency!!!!
Hi all,
This has indeed been a great read! I too will be venturing into the home studio recording territory very shortly. I have absolutely no experience whatsoever as far as mixing or mic setup but I have been drumming for almost 27yrs now, so I'm doing this as a total 'jumping in headfirst and seeing what I can learn' exercise, as most of life is at times :D
First off I should say that I understand about the forthcoming issues of mic placement as I have a fairly large kit to work with- a 7 piece (3 rack & 2 floor toms) Pearl Export and 12 Zildjian's to bring into the mix. My mixer only arrived yesterday, which I am very happy with! It's a Mackie 1642-VLZ3. I opted for the 16channel as I knew I'd get into trouble with mic numbers once I got started and didn't want to chance running out of inputs.
I'm in the throws of mic selection currently and I'm tending to favor the new Sennheiser 900 series from the reviews I've seen here and there, also I had the usual Shure and AKG's in mind. I guess it's each to his own in this area and we would probably ALL get a different sound from the same combination's so I'm preparing myself for a lot of trial and error.
I like the idea of keeping it simple and using mic's sparingly. Saying that however, I do like the idea of miking all the toms for that extra control (maybe I'm just an old control freak at heart lol?), also I like the, almost 3D, spatial awareness panning can give, particularly with great fills around the kit.
Here's what I would ideally like to have-
The 5 toms individually miked.
Two overheads.
Separate Snare, Hi Hat, Ride and Kick mic's.
I will keep you all posted on how I go in the next couple weeks as I will be ordering the mic's this, or next week if all goes well.
Take care and keep practicing! : )
Re: Recording Emergency!!!!
Good luck Shauno! Pictures and recordings will be appreciated.
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text:
The Delta Government on Thursday in Asaba, disbursed about N30 million to 403 children of deceased civil servants and 101 students with physical disabilities.
The Chairman of the state Scholarship Board, Monsignor Buchi Aninye, said that the government had so far disbursed N71 million.
Aninye said that a total of 1,233 children of deceased civil servants and 346 physically challenged students had so far benefited from the scheme.
He said that the aim of the scheme was to ease the burden of the beneficiaries and their families as well as to encourage them to focus on their academic pursuits.
In his remarks, Prof. Hope Eghagha, the Commissioner for Higher Education said that the government would not relent in disbursing the funds meant for its human capital development.
Eghagha advised the persons with disabilities to be resolute in their personal goals as they could rise above their present situation and succeed in life.
He advised all beneficiaries to make the best use of their resources. (NAN)

subset: commoncrawl


text:
Stores »
Steam is awesome, you can buy video games cheap.
We are a community of shoppers sharing our best finds from across the web.
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text:
A Woman Is a Woman
No upcoming showtimes.
A Woman Is a Woman
Une Femme est une femme | Jean-Luc Godard 1961
France | French with English subtitles | Format: 35mm | 84 minutes
Godard's third film is a thing of great beauty, a "neorealist musical" (with a score by Michel Legrand—actually, in Godard's words, "the idea of a musical, nostalgia for the musical"—but no less magical for that) about a woman (Anna Karina) who wants to have a baby with the man she lives with (Jean-Claude Brialy) but who turns to his friend (Jean-Paul Belmondo)—will either of themselves be able to turn away from themselves and give her what she wants? A richly colored, funny, and moving film about one of Godard's great subjects: being a couple.
Series: Jean-Luc Godard – The Spirit of the Forms
Venue: Walter Reade Theater


text:
Gourmet overnight stay with 6 course taster menu and glass of champagne from £99*
By popular demand our famous overnight gourmet break returns with mouth watering food created by our Head Chef, Nic Edwards, a real treat of highest quality and unbelievable value.
from £99 per night |
save up to 55% for 1 night
Overnight break with 6 course taster menu, breakfast and use of The Rock Spa facilities.
Enjoy a glass of champagne with your evening gourmet meal.
1 night package includes:-
- Accommodation for two in an Superior Double or Twin Room.
- Dine in our award winning restaurant on a 6-course taster menu created by our head chef Nic Edwards
- A glass of champagne each with your evening meal.
- Use of our spa facilities, including pool, sauna, steam room, whirlpool and gym.
- Enjoy full cooked Welsh breakfast for two
This fantastic deal is also available via our online vouchers. Perfect for a gift!
Available October 2014 to March 2015 (*Please note there is additional £20 supplement per night for Friday and Saturday night stays. Family rooms can be booked with children £10 per child per night when sharing family room to include bed and breakfast for children).


text:
Hi Ann,
There isn't a backorder option at this time; a product is either in stock or out of stock.
We can add this as a feature request if you'd like. If you would like to add it as a feature request, please give any details about what exactly you're needing/wanting.
Let us know if you have any additional questions.


text:
They were called to the fire at about 6.30pm, where a digger on the back of a trailer was in flames.
Both crews used hose reels to extinguish the fire, with the driver escaping unharmed.
The road was also closed westbound for half an hour, re-opening at about 7pm, and caused major tailbacks during the incident.
However, firefighters were keen to point out that it is dangerous for drivers to leave their cars when stuck in a traffic jam.
Bracknell watch manager Michael Fulwell said: "People thought it was ok to get out of their cars and walk up and down the motorway.
"I know cars on a warm summer's evening with the engine switched off are not nice but the hard shoulder is a dangerous place to be walking about in an incident like this."
Crews left the scene at about 8pm, but it is unclear how the fire started.


text:
When I was at BMP, I worked on the Labour party advertising. Labour wouldn't use a professional ad agency. It was seen as too capitalist.
So it was just a bunch of advertising volunteers lead by Chris Powell. It was pretty disorganised with everyone doing something different.
I was given a 10 minute Party Political Broadcast (PPB) to write. We were told to turn up at 10 Downing Street on Saturday morning for a meeting with 'The Think Tank'.
So my art director, Mike Reynolds, and I went along in his VW camper van. There were no gates at the end of Downing Street in those days. So we just parked in front of number 10.
The policeman opened the door of the VW for us. When we got out all the foreign tourists started taking photos of us. A different policeman let us into number 10. Once you get inside it's quite a surprise.
From outside it looks like a row of houses. But that's a facade. Inside it's one big office building. The assistant showed us into a room and asked us if we'd like a drink.
We said, "Cup of tea please."
He said, "We can't do hot drinks, I'm afraid."
I said, "What can we have then?"
He said, "Whisky, Gin, Vodka, that sort of thing."
This was Saturday morning.
My introduction to the world of politics. Anyway we took the brief and wrote the 10 minute PPB. By the time 'The Think Tank' had finished with it, it was as ineffectual as all PPBs. Just talking heads.
Our one featured Dennis Healy, and two others I don't remember. So I just wrote all three names at the top of the script. Dennis Healy saw it and refused to do it.
His assistant said, "Mr Healy feels he's being asked to audition, and he doesn't do that."
Sid Roberson was the director. Sid was from South London, and a very muscular bloke. Think of a cross between Dennis Waterman and Mickey Rourke. Sid walked into the library where Dennis Healy was, and shut the door. Five minutes later Sid came out and said, "He'll do it."
We asked Sid what changed Dennis Healy's mind.
Sid said, 'ÄúI just said, 'ÄúLook 'Äòere Mr 'ÄòEaly, I ain'ÄôtÝ 'Äòere to muck you abaht, and I ain'Äôt 'Äòere to be mucked abaht. Alright?'Äù
And so we shot the PPB, but it was a waste of time. It was what it was. A group of professionals behaving like amateurs. Labour did have one brilliant ad, done by Tim Delaney. But they never ran it.
This was the 1970s, a decade of strikes, power cuts, and the three day week. Tim Delaney had a simple black poster, with nothing on it but a candle.
The headline just said: REMEMBER WHAT HAPPENED LAST TIME THE TORIES SAID THEY HAD ALL THE ANSWERS?
Apparently Jim Callaghan refused to be associated with knocking advertising. It lacked dignity. So he wouldn't run it.
He ran a full colour poster with a picture of himself on instead. And of course he lost.
No doubt in a dignified way. Then the Conservatives gave their account to Saatchi.
Who handled it professionally. The brilliance of Saatchi was understanding that in this country, we don't vote FOR someone.
We vote AGAINST someone. This always puts the incumbent at a disadvantage.
The government tries to defend their record. Which leaves the opposition free to just attack it.
Everyone remembers LABOUR ISN'T WORKING as the best political advertising. But it wasn't.
Saatchis real brilliance wasn't in the advertising that got Thatcher elected first time round. That was relatively easy, all they had to do was attack the Labour government. The real brilliance was the election campaigns after that.
The ones that kept The Conservatives in power. Understanding that voters usually vote AGAINST someone, Saatchi made Labour the party to vote against. They treated Labour as the incumbent.
They took Labour's manifesto, and treated it as if it was their record in government. They made everyone more scared of voting Labour than keeping Thatcher.
They went through the Labour manifesto with a fine-tooth comb. They took their policies and costed them out.
They worked out how much everyone's tax would have to rise to pay for them. Then they presented them in simple, powerful posters.
One poster featured a massive bomb. And the headline, LABOUR'S TAX BOMBSHELL
Written on the bomb was 'You'll Pay £1,250 more tax a year under Labour'.
Another poster featured two massive red boxing gloves coming out of the poster.
Written on one was 'More Taxes' and on the other 'Higher Prices'.
And the headline, LABOUR'S DOUBLE WHAMMY.
While they were at Saatchi, the Tories won three elections straight.
Personally, I don't think we've seen that sort of professionalism in any political advertising since.


text:
Things just aren't like they used to be, a point Strong Towns co-founder and president Charles "Chuck" Morohn Jr. tried to drive home with an audience gathered at the Greensboro Center Tuesday evening for a "Curbside Chat."
He used examples of ancient Ur and Rome, cities built around predominantly walking populations and how it took thousands of years to evolve to automobile-centric infrastructure in the 1940s. During that span, he said cities used new technologies and applied trial and error to incrementally advance. Since World War II, however, he said that philosophy had drastically changed and had cost cities and counties nationwide.
To subscribe to the E-edition, please click here [3].
[1] mailto:firstname.lastname@example.com
[2] http://www.starkvilledailynews.com/sites/default/files/SDN Logo_995.jpg
[3] http://www.starkvilledailynews.com/eedition


text:
James Holmes mother Arlene Holmes claims ABC News mischaracterized her initial media statement
Arlene Holmes, a San Diego woman identifying herself as James Holmes' mother, is claiming ABC News was wrong when it reported that her initial statement to a reporter was, "you have the right person," when referencing her son.
According to ABC News, who is sticking by its report, Holmes had awoken unaware of the news of the shooting and had not been contacted by authorities.
ABC News said she immediately expressed concern that her son may have been involved.
"You have the right person," the ABC News claims Holmes said. "I need to call the police," she added. "I need to fly out to Colorado."
ABC News released this statement after Arlene Holmes held a press conference through her lawyer:
[ABC News reporter Matthew] Mosk said today that he awoke Arlene Holmes and informed her that a man, he believed was her son had been arrested in Aurora and asked to confirm their relationship.
"You have to tell me what happened… You have to tell me what happened," the woman on the phone said, according to Mosk . Mosk said he told her that ABC News had learned the 24-year-old had been identified by police as the lone suspect in the mass killing in Aurora, Colo and that the details of the events were still taking shape.
"You have the right person," was her response, he said. "I need to call the police. I need to fly to Colorado."
Just prior to the press conference, Damiani contacted ABC News to determine whether there existed a recording of the pre-dawn conversation between Mosk and her client, according to Mosk .
One hour after learning there was no audio recording, Damiani held the conference and read Arlene Holmes' statement.
The incident began when a gunman wearing a gas mask set off an unknown gas and fired into a crowded movie theater in suburban Denver at a midnight opening of the Batman movie "The Dark Knight Rises," killing 12 people and injuring at least 50 others, authorities said.
Moviegoers didn't know what was happening and some thought the attack was part of the show. Then they saw a silhouette of a person in the smoke at the front of the theater near the screen, pointing a gun at the crowd.
"I told my friend `we've got to get out of here,' but then he shot people trying to go out the exits," Jennifer Seeger told NBC's "Today."
She said the shooter made his way up the aisle, firing as he went, saying nothing.
Federal law enforcement officials identified the suspect as James Holmes, a 24-year-old American. Holmes is in police custody, and the FBI says there is no indication that incident is tied to any terrorist groups.
CNN Wire Staff contributed to this report.


text:
In front of the Port of Rotterdam office on the idyllic Wilhelmina quay, the vessel BEAUMARE was Christened on the 28th of April by mrs. M. Waande
NB9404 in progress. On the shipyard in Ukraine the hull of NB is almost completed. The vessel is made ready for towage to Harlingen where the fina


text:
Page Showing 1-10 of 10 Results
TYR Competitor Men's 9" Tri Short is great!
K. Dorman
from St George, UT
on 8/29/2013
I am an avid triathlete that trains 5 - 6 days a week. The TYR Competitor Men's 9" Tri Short is the answer to years of frustrating purchases of products that either cause irritation, don't fit right, or wear thin within months of purchase. I am very pleased with the longevity and durability experienced with this tri short. They are comfortable and don't cause discomfort from heavy use. I will definitely purchase them again.
Report abuse
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High Quality Tri Shorts
from Vine Grove, KY
on 8/22/2013
These are really nice shorts. I got the solid black pair. The first thing I noticed was the size of the protective pad in the shorts. It is very similar to the one in my cycling shorts in terms of thickness, providing comfort for long distances. Some other tri shorts barely have any protection whatsoever. I also like the gel tabs around the leg openings. These prevent riding up of the short. Again, not a lot of other tri shorts offer this feature. The material is very pliable, but sturdy. It has a comfortable drawstring for the waist. Just a great all around short for any event and training. They are also chlorine resistant, which makes for an excellent training short.
Love them
from Statesville, NC
on 9/16/2013
Good fit high quality and I love the hip zip and thigh pockets. Would buy them again
Great short, but consider 1 size smaller
from Texas
on 12/14/2012
I have incorporated these as a training short in the off season. Now that I have used them some, I will probably used them for longer races in the coming season. The TYR chamois is significantly larger than others such as the Blue Seventy. It takes some getting used to, but may prove beneficial for longer rides. They are very comfortable to wear. The legs dots are very nice. I wear a medium from most manufacturers, but I will order a small next time. Overall, a great short when it's on sale.
Great Product
from Rochester, NY
on 8/29/2012
Bought this for my first triathlon. The leg grippers were fantastic and proved to be comfortable and prevent chafing for both my training and the race itself. The short is comfortable to wear for extended periods and has convenient pockets hidden within.
Great Tri Shorts
from Oceanport, NJ
on 6/19/2012
Great tri shorts. Fit comfortably under wetsuit and quality feel on the bike and run. Great value.
Excellent, true to size, worked great in a sprint tri.
from Gerry, NY
on 6/16/2012
Excellent, true to size, worked great in a sprint tri.
Great buy
from Michigan
on 6/5/2012
fit great. feels great. the shorts have rubber knobs to keep from riding up while riding the bike. everything i wanted.
Terrific shorts
Christopher D.
from Marysville, MI
on 6/4/2012
Fits beautifully and functions well. Has survived usage both in open water and indoor lap pool. Worked great in transition, dried quickly & absolutely no discomfort during bike or run legs of my recent sprint triathlon. Would recommend to anyone looking to race in triathlons.
TYR Competitor Men's 9
tommy du
from pipersville , pa
on 4/20/2012
purchased these tri shorts to use in my first duathlon, i was very pleased, they felt comfortable for the run / they gave me great comfort during the bike ride.the shorts stay in place during the ride due to elastic bands/ so the pants do not ride up your legs.


text:
Scorpa ty125 carb issues
View Single Post
Trials Evangelist
Joined: Oct 2009
Location: Minneapolis, Ks
Oddometer: 1,479
Originally Posted by
Belgian Waffles
I put my trials riding on hiatus a couple years ago as i went off to uni and the scorpa (ty125 2006) started acting up a bit. When riding down the rocks pretty steep the idle would simply slow until it died very calmly.
Now the bike has been sitting for a while and i just recently put it all back together and gave it a go. With clean fuel and full choke it started right up. Rpm was obscenely high so i turned down the idle and seemed to be doing ok. Still full choke.
As it was getting warmer it didnt like the rich fuel anymore so i started easing off the choke but had to twist the throttle to keep the revs up so it wouldnt die. I tried to adjust the idle to get it to stay alive but now when i turned the idle screw it made no difference whatsoever. I turned the screw all the way in, all the way out and everywhere in between, but no change to the idle.
I remember trying this last year with the same results. Now i want to get back on the rocks so i really want this scorpa running properly, but i cant figure out why the idle screw seems to do nothing now (even though i got it to drop the idle down right when i first kicked it on with full choke). Carb is a mikuni ucal 3106.
Suggestions or similar experiences?
Thanks. BW.
99 times out of 100, if a bike sits for more than 3 months with today's gas, the carb is gunked up. alcohol in the fuel compounds this problem since the chemicals that have to be in the gas, to keep the alcohol (and water) suspended in the fuels, last about 29days, in small quantities.
SO you need to clean the carb carefully, there are usually 2 "jets" which are screw in, gas limiting devices, AKA special bolts with calibrated hole size in it. the hole is plugged or half plugged
Just FYI, IF you can find NON ethanol gas, and add stabil (there are other brands, and yep Ima havin a brain fart on which one I have) you can extend the storage.
Dad and I started a small (antique) farmall tractor that we parked 12 years ago, or we think at least. there was 5 or more gallons of "old style" fuel in the tank. It still ran, the gas in anything lately smells like shit after a few months, this gas smelled fairly good.
ALSO, It has been a hot (drought) on the farm, I have lawnmowers that you have to re-clean the carbs between mowing (less than once a month), if you DON'T run with Stabil like products, and non ethanol fuels.
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text:
ZTE becomes world's fourth largest mobile phone vendor
IDC's latest report on global mobile phone shipments bring to light some interesting things. Mostly it's the rise of the Chinese company ZTE to the No. 4 spot in global mobile phone shipments, overtaking Apple in the process.
This promotion was brought on by the staggering 57.9% jump in growth in shipments compared to last year. Meanwhile, Nokia, Samsung and LG continue to hold on to their No. 1, 2 and 3 spots respectively.
ZTE is not the only one experiencing growth. At 23.0%, Samsung saw the second highest growth compared to 2010 while Apple saw a 21.3% growth. Nokia and LG, however, weren't so lucky. Nokia's market share went down by 3.4% whereas LG saw a massive 25.7% drop in popularity.
The entire mobile phone market grew by 12.8%, exceeding IDC's forecast of 9.3%.
ZTE becomes world's fourth largest mobile phone vendor - reader comments
- Anonymous
thats anything but true. ICS is first launching on Samsung Nexus, even if deal isnt fully concluded Google wouldnt want their relationship ending with any partner especially Samsung as they've got a droid covering all price categories entry levels to...
- Reply
- 2011-11-02 20:02
- SeLL
- Anonymous
In Australia Telstra uses ZTE as their main phone to sell- and as they are the main telecomunications provider for Australia ZTE sales are huge here. Look at any catalogue or walk into any store and you will see them- if you are with Telstra you will...
- Reply
- 2011-11-02 00:40
- Mfxg
- vendor
Nokia is still the first one because of their phones under us$100... which the other brands dont have many options. ZTE is growing because they are competing with Nokia and releasing more attractive phones, with more features and better prices. I kne...
- Reply
- 2011-11-01 18:37
- Ir6I


text:
If you don't know what to do this weekend in Barcelona, don't miss your chance! Be Hostels invites you to visit Montjuic in the night on 2nd July!
Montjuïc de Nit is a FREE annual cultural event in Barcelona, which invites everyone to enjoy the museums, theaters, parks, gardens and sports facilities in the mountain of Montjuic in Barcelona.
You can enjoy also evening swims in the pools of Montjuic, free musuem visits, concerts in various places and other fun activities from 8 pm till 3am on Saturday night on July 2, 2011. Montjuïc de Nit will have a 24 hour bike race, Film Festival, a festival in the Castle of Montjuic, and much more.
Don't miss this opportunity and go there with your Be Hostels mates to enjoy the great Montjuic's night atmosphere!


text:
My Summerslam 2012 Dream Card!
by, 04-02-2012 at 07:43 AM (4344 Views)
Hey Guys, I am new in this and I just wanna try something, so this is my Summerslam Dream Card.
[Match 1: Money in the bank: Wade Barrett vs Miz vs Jack Swagger vs The Miz vs Hunico vs Jinder Mahal vs Ted Dibease Jr. vs Justin Gabriel
I think that the MITB match will come to Summerslam, because as some of us know the WWE wanted to bring it back to Wrestlemania , and they wanted Wade Barrett to win it. But since he was injured, they thought of bringing it to Summerslam making Wade Barrett able to win. So I think that's fine. Winner-Wade Barrett
Match 2. Tag Team Championship: The Usos vs Primo & Epico vs Gabriel & Kidd vs Truth & Kingston.
I think that the Usos will be going into this match as the champs, cause they are two amazing talented guys, they have skills, I think they have it all. Though I think that Truth & Kingston Could win this; They are so talented, they both have good ring gears(That doesn't matter though) and amazing skills. Winners- Truth & Kingston
Match 3: Cody Rhodes vs Dustin Rhodes - Special Guest Referee: Dusty Rhodes.
Cody is a great Talent, he lost his championship to Big Show in Wrestlemania, and most of us wanna see brother vs brother, and the match would be better if Dusty was special guest ref. Winner- Cody Rhodes
Match 4: WWE Championship: Fatal 4 Way: Punk vs Jericho vs Mysterio vs Daniel Bryan
Okay, this is probably not going to happen, but it would be cool if it does, the four of these men our great talents, they will pull one of the greatest matches ever. We can expect Mysterio back by then, and Jericho probably won't win it but I hope he does, so he is my winner. Winner-Jericho
Match 5: Intercontinental Championship:No Holds Barred: Kane vs Big Show
Former tag champions, that would be a great match. I mean, Kane doesn't care about anything now, so facing Big show for the intercontinental Championship would make sense. Winner: Kane
Match 6: World Heavyweight Championship: Steel Cage Match: Christian vs Sheamus vs Randy Orton
This would make such a great match, Christian is a really skillful superstar, so is Randy, and Sheamus is a Power House, this would be great. Winner: Randy Orton
Match 7: United States Championship, and winner takes all match: Representing Teddy Long: Santino vs Representing team Johnny: Otunga. Winner: Santino
Match 8: Brock vs Rock
Nothing to say really, I mean this would be a great match. Don't know if it will happen. Winner: Brock
Match 9: Eve & Ziggler vs Nikki Bella & Zack Ryder Probably not going to happen, but if it would, that would be cool, Broski Wins Hoeski.
Winners: Ryder & Bella
Match 10: Kelly Kelly & Aksana vs Beth Pheonix & Brie Bella
Another Raw vs Smackdown match.
Winners: Kelly & Aksana
Match 11: Cena vs Batista
No way this will happen, but it would be kinda cool if they have another feud.
Winner: Batista
Thank You guys for spending your time here. Hope you liked this post. You can ask me to do other PPVs! Comment below!


text:
You won't be able to dismiss this by usual means (escape or click button), but you can close it programatically based on user choices or actions.
"This save the date was amazing and I am not sure if it was the picture or the design but we had so many complements! The quality was great and we worked with the designer to move some of the text around to fit around our picture."
"Loved the design for the save the dates for my beach destination wedding! The quality was great and I was surprised how great the post card came out. Also, the designer/artist was able to accommodate my request to add a line of text which I appreciated! Thank you - love my save the dates! Highly recommend!"
"Elegant, stunning, unique and amazing! People have been texting me non stop upon receiving our save the date telling us how gorgeous they are! They so far exceeded my expectations, I am likely doing my invitations here as well!"
"I was looking for something different because we are having a cocktail party as a reception. I thought it was a great idea and they were super cute coasters"
"These save the date announcements are simply breathtaking. When I received the package, I was simply blown away with how absolutely beautiful these were. The card stock is very thick, but not overly thick. The laser etching is absolutely amazing. It seems to be very fragile, but even after repeated handling, the laser etching did not bend or tear. I noticed that there is some evidence of heat being applied to the laser etching, since there are trace amounts of scorch marks, however I believe this gives a very rustic feeling and is really hardly evident. I imagine that a white backdrop might show quite a bit more of a discoloration. Our guests who received them where really impressed with them. This prompted almost all of their friends and family asking "where did they get those done!?" I am truly impressed with how well this style fits our theme and I would 110% recommend this style."


text:
Technical innovations in design, process, materials, packaging and test have enabled widespread commercialization of breakthrough MEMS products. MEMS sensing applications will track growth in mobile, industrial, consumer and biomedical markets, enabled by innovations in functional sophistication, cost-reduction, and productivity.
MEMS productivity gains arise primarily from Design, Process, Packaging and Test. The convergence of Design innovations, Process technologies, Packaging advances, and development of low cost Test technologies each plays a major role for wide scale adoption of breakthrough MEMS enabled products. Design offers greater sophistication of sensor function, specificity and sensitivity. Process advances enable previously impossible constructions. Packaging innovations provide complete solutions, more features in incredibly compact formats. Test improvements inspire trust and lower cost sensors. Integration of these elements is critical to meeting price points that catalyze volume growth and massive new market penetration.
This conference will showcase these technologies that form the basis for advancements in MEMS products, to achieve future capabilities, enabled by innovations unthinkable a decade ago.
Spend the week in California!
MEPTEC and the MEMS Industry Group (MIG) partnered this year to schedule their respective MEMS symposium and MIG's M2M 2014 event so as to encourage cross attenance at both events. M2M will be held on May 20-21, the two days preceding the MEPTEC symposium. M2M is being held at the MEMS Sensor & Actuator Center (BSAC) on the UC Berkeley campus.
• Gene Burk, IMT
• Sean Cahill, Maxim Integrated Products
• Ira Feldman, Feldman Engineering
• MaryAnn Maher, SoftMEMS
• Mark Wendman
The cost to exhibit is $645.00 for MEPTEC and MEMS Industry Group members, and $745.00 for non-members and includes:
• One admission to the conference
• 6' table, draped
• 2 chairs
•11"x17" custom table top sign with your logo and company Ndescription
• Logo, link to your URL and company description on special
NExhibitor page
• Company description in the symposium proceedings
• Printed and electronics versions of the symposium proceedings
• Marketing exposure through e-mail campaign
Click here to reserve a table now. For more information contact
Bette Cooper at email@example.com or call 650-714-1570.
Sponsoring this event will provide a valuable opportunity to promote your company brand and product/service message to attendees, while supporting your business development and positioning goals. For benefits and pricing click on the Sponsorship Benefits link below. Click on the Sponsorship Application Form link below to sign up. For more information contact Bette Cooper at email@example.com or call 650-714-1570.
Pricing for general admission is $495.00 for MEPTEC and MEMS Industry Group members and $595.00 for non-members and includes attendance, continental breakfast, refreshment breaks, lunch, and printed proceedings. A credit card is needed to hold the reservation.
Pre-registration is strongly recommended. There will be no guarantee of space or materials for on-site registrants.
Final confirmation including maps and directions will be sent before May 16.
Refunds for advance payment, less a $50 processing fee, will be given in full provided cancellation by phone or e-mail is received 10 business days before the event (Thursday, May 8). If you do not cancel by May 8 or are a no-show, the credit card provided to hold the reservation will be charged for the full amount.
A block of rooms has been reserved at the San Jose Holiday Inn (formerly the Wyndham Hotel) for a rate of $149.00. The hotel is conveniently located at 1350 North First Street, San Jose, CA in close proximity to the San Jose Airport. To reserve online click here - the Group Code box already has the MEPTEC code, MTC. Enter dates between May 20 and May 24; the $149 rate will automatically come up. You can also call 408-453-6200 to reserve your room; be sure to mention MEPTEC in order to secure the special rate.The room block and special rate expires on May 14. After that date you may still be able to get a reservation but the special pricing will not be applied.
MEMS Design Innovations
MEMS product development often involves the co-design of MEMS devices, associated electronics, custom packaging and new fabrication processes requiring collaboration between domain experts--the "one product, one process, one package" dilemma. This session will focus on design for manufacturable MEMS based products and new trends in their design including design re-use and semi-custom design as well as new design techniques in fully custom designs. The increasing importance of system level design and software for MEMS-based products will also be highlighted.
The Changing Landscape of MEMS Manufacturing and Process Technologies
MEMS product development has often involved creation of new fabrication processes, fabrication sequences, and the use of new materials. Equipment manufacturers are providing new MEMS-specific equipment with enhanced capabilities and new materials are being utilized to enhance MEMS performance. In addition, traditional MEMS fabrication processes are being combined with new technologies such as 3D printing, meso-scale fabrication techniques, and nanotechnologies creating both great opportunities and great challenges for getting products to market in a timely, cost effective manner. This session will provide a look at the changing landscape of MEMS manufacturing and process development in the context of the "manufacturing renaissance" happening worldwide.
MEMS Packaging – Impact on Devices and Volumes
Electronics packages typically allow electrical connection while allowing the devices contained within to remain as isolated as possible from their environs. MEMS devices must interact with their surroundings, they are often subjected to direct contact with the environment, and usually must sense a particular variable without contamination from other potentially interfering inputs. Packages need to allow appropriate interaction with the measurand of interest, connect to power and signal I/Os, provide some isolation from undesired inputs, and create a test interface. The ideal package does all of the above and costs almost nothing. Low cost is achieved largely by exploiting existing high-volume technologies to the extent possible.
From another viewpoint, MEMS approaches have informed packaging efforts of traditional electronics. Stress isolation, deep trenching, wafer stacking, thermo-mechanical management techniques, and 2.5D and 3D package approaches have borrowed from the MEMS playbook.
This session will include speakers with insights into packaging of MEMS and the impact of MEMS on devices and their packaging at volume.
MEMS Device Testing Challenges
Testing of MEMS has been a traditional challenge as compared to CMOS devices. The need to measure a major physical input while eliminating minor inputs over temperature and with varying performance parameters has made this aspect of MEMS device production costly and difficult. The design of test systems follows closely the "one product, one test protocol, one test system" paradigm that is developed by the product company. Our speakers will address some of the issues and solutions that have been used in testing devices and which could be used in creating standardized testing of MEMS devices for high volume low cost applications in the future.
Several converging trends are transforming the entrepreneurial process for starting MEMS companies and transitioning MEMS devices into production and into the market. First, it is well-known that recent market set-backs have caused traditional VC funds to view any hardware start-ups with renewed scrutiny and skepticism. Hardware start-ups typically require large amounts of capital ($50-$100M) and many years (7-10), before getting close to a reasonable exit. This large investment in money and time is on top of the already inherently risky prospects for such a start-up being commercially successful. Secondly, MEMS is recognized, by investors, by foundries, and by large consumer electronics companies, as a very successful new product area because of the huge up-take of MEMS components in mobile devices during recent years. Third, key strategic issues in huge upcoming new consumer markets, such as wearables and IoT, are sensors and contextual awareness; areas which are uniquely solved by MEMS devices. And fourth, the sheer number of successful, high volume MEMS devices currently on the market, has created a huge pool of skilled MEMS developers and manufacturers which can be drawn upon for new devices and new start-up companies. All these factors dramatically influence how such companies get funding and how they operate. We will discuss all these issues as they relate specifically to new MEMS companies.
Kurt Petersen received his BS degree cum laude in EE from UC Berkeley in 1970. In 1975, he received a PhD in EE from the Massachusetts Institute of Technology. Dr. Petersen established a micromachining research group at IBM from 1975 to 1982, during which he wrote the review paper "Silicon as a Mechanical Material," published in the IEEE Proceedings (May 1982). This paper is still the most frequently referenced work in the field of micromachining and micro-electro-mechanical systems (MEMS).
Since 1982, Dr. Petersen has co-founded six successful companies in MEMS technology, Transensory Devices Inc. in 1982, NovaSensor in 1985 (now owned by GE), Cepheid in 1996 (now a public company on NASDAQ: CPHD), SiTime in 2004 (still private), Profusa in 2008 (still private), and Verreon in 2009 (acquired by Qualcomm).
In 2011, Dr. Petersen joined the Band of Angels in Silicon Valley. The Band is an angel investment group which mentors and invests in early stage, high-tech, start-up companies. Today, he spends most of his time helping and mentoring such companies.
Dr. Petersen has published over 100 papers, and has been granted over 35 patents in the field of MEMS. In 2001 he was awarded the IEEE Simon Ramo Medal for his contributions to MEMS. Dr. Petersen is a member of the National Academy of Engineering and is a Life Fellow of the IEEE in recognition of his contributions to "the commercialization of MEMS technology".
World's Smallest Chip Scale Packaged MEMS TCXO for Mobile Applications
Niveditha Arumugam , Manager, Systems Design and Packaging
Engineering SiTime Corporation
Mobile applications require 32.768 kHz clock references with small form-factor, tight frequency stability, and ultra-low power at a competitive price. Legacy 32 kHz quartzbased technology has reached the limits of miniaturization, performance and cost.
SiTime's MEMS technology has enabled a 32 kHz temperature compensated MEMS based oscillator (TCXO) in a chip-scale package (1.5mm x 0.8mm CSP) with ±5 ppm frequency stability over -40°C to 85°C, making it the world's smallest and best-in-class 32 kHz TCXO. The SiTime solution enables increased functionality, smaller size and longer battery life in wearables, smartphones and other mobile devices.
This talk will provide an overview of the innovations that enabled this game-changing product for mobile applications. Topics will include innovations in MEMS/CMOS technology, chip scale packaging, and test and calibration techniques.
High-Speed Testing of Pressure Sensors
Gary Casey, President, Casey Engineering
This subject is perhaps unique in that there is no one answer that one can expect all experts to converge upon. In fact, small differences in sensor type, pressure range, and customer requirements may result in a considerably different answer to the question of how to test the sensor in production. As an example, a differential pressure sensor might be tested in essentially the same way as an absolute or gage sensor – but if there is a common mode requirement, the optimum method will likely be dramatically different.
There are essentially 4 aspects of testing, how to handle and transport the sensor, apply pressure, supply electrical power, and finally how to measure the result. Often the high-volume methodology grows from prototype and low-volume methodologies, usually leading to difficulties that could have been prevented. For example, the pressure application must be rapid, accurate and stable; and the traceability to NIST should be a short and robust path. Examples of solutions to these challenges will be discussed.
MEMS-based Autofocus in Cameras
Vijay Chandrasekharan, Ph.D., Invensas
Miniaturization of consumer electronics and inclusion of MEMS in these devices leads to a synergy of constant improvement and comes with its own challenges. This paper discusses the development and challenges of the only MEMS autofocus actuator in the world. The actuation range is a 100 um for the target focus range and can move a payload upto 4 mg to reach the desired focus range. The MEMS based design helps focus in at least half the time, with 1/100th the power with 1/5th the tilt of the current focus solution in the market that use voice coils. Large pay load with a 100 um of motion poses a significant design challenge for a MEMS device for both modeling and mechanical reliability. The non-hermetically sealed injection molded plastic package is one of the key components in the reliability of the MEMS device and is pushes the limits of the injection molding process. The device has a shock survivability of > 10,000g and over 12 drops from heights > 1.0m in a smartphone.
Passive Micro Sensors: When Power isn't an Option
Todd Christenson, Chairman, CTO and Founder, HT Micro
Microsensors requiring no electrical power to provide their monitoring function along with the MEMS approaches enabling them are discussed. Several aspects are contributing to the high volume exploitation of these zero-power devices. This family of electromechanical sensors in effect operates as their own energy harvesters and extracts energy from their physical surroundings to monitor the measurand. Their output is provided through ultra-reliable switch contacts which in turn require specific feature sizes and materials that are unique relative to semiconductor devices. Long lifetime requires that the micro-electromechanical structures reside within integrated hermetic packages. By their nature these sensors also must be able to be easily positioned and integrated into strategic or remote positions within a system. Tremendous volume demand and growth is apparent for such devices in situations such as awareness and intermittent monitoring. Examples including inertial and magnetic switches are described.
Critical Success Factors for the Commercialization of MEMS:
the 2013 MEMS Industry Report Card
Roger H. Grace, President Roger Grace Associates
Barriers to the commercialization of every industry and technology exist… Microelectromechanical Systems (MEMS) are no exception. As we have passed more than a half-century of MEMS research, design, and development, many people ask… "Why has it taken so long for the MEMS technology to realize its potential or reach true commercialization?" The presentation addresses 14 critical success factors that I have developed and consider to be the major barriers to the commercialization of MEMS and the progress made to date to overcome these barriers through the introduction of a "MEMS Industry Report Card" for the year 2013. Some of the topics addressed are: R&D, Marketing, Infrastructure Development, Management Expertise, Creation of Wealth and Profitability. The report card has been updated and presented yearly since 1998 (where it was first given at the seminal Hilton Head Conference) and continues to be given yearly to many enthusiastic audiences worldwide.
Development of MEMS micro-relays
Amit Kelkar, M Sr. PMTS (Sr. Scientist), Maxim Integrated Products
RF MEMS micro-relays offer significant advantages over conventional electromechanical or reed relays – such as smaller size, better switching performance and lower cost. A novel process flow for fabricating MEMS micro-relays is presented here. First, a bottom wafer with contact metallization is bonded to a spring wafer with complementary contact metallization. Next, the spring wafer is micro-machined to the desired thickness and MEMS structures are formed using silicon reactive ion etch. Finally, a cap wafer is bonded to the bottom+spring wafer to form hermetically sealed cavities with MEMS micro-relays. Package sizes of 3 x 3 mm (WLCSP) and 5 x 5 mm (LGA) are successfully demonstrated. Two critical vectors for micro-relay performance are investigated – low stiction and stable on-resistance. Ruthenium is used as the contact metal for low stiction and Gold is used as the bonding metal for achieving a hermetic seal and enabling a stable on-resistance through 100 million switching cycles. With the device and process developed here, excellent cycling reliability consistent with benchmark conventional relays is shown.
MEMS Ultrasonic Rangefinding Solution for 3D Gesture Human Machine Interface (HMI)
Michelle Meng-Hsiung Kiang , Ph.D., CEO and Co-founder, Chirp Microsystems, Inc.
Bulk piezoelectric ultrasonic transducers are widely used in industrial applications and medical imaging. The situation is somewhat analogous to the state of inertial sensors some ten to twenty years ago before the widespread commercialization of MEMS gyros and accelerometers. Micromachined ultrasonic transducers are poised to enter existing applications and introduce entirely new applications that take advantage of their small size, low cost, low power consumption, and compatibility with IC manufacturing methods.
This talk will discuss some of the challenges faced in the design and manufacture of piezoelectric micromachined ultrasonic transducers (PMUTs) for human machine interface (HMI) in energy constraint applications such as consumer electronics.
Standardization, Miniaturization and Cost Efficiency of MEMS and Sensor Packaging through Advanced Packaging Technologies
Charles Lee, Technical Manager, ASE Singapore Pte Ltd
Abstract to follow
Through Wafer Dicing without Saws or Lasers: High Productivity and Design Flexibility
David Lishan, Principal Scientist, Director-Technical Marketing, Plasma-Therm LLC
Wafer singulation technology is evolving. Although saws are widely accepted, the technology is running into performance boundaries regarding die strength (chipping), cutting speed for thin wafers, throughput for small die, large street widths, and are constrained to orthogonal streets. Laser dicing has been introduced to address some of these issues but limitations associated with induced damage and material incompatibilities have affected adoption.
This presentation will introduce a through wafer dicing using plasma etching that eliminates the constraints of saws and lasers, a new approach that utilizes standard dicing tapes and tape frames and enables non-orthogonal streets for layout flexibility, reduced street widths, chip/crack-free edges, and low stress corners. In addition, plasma etching dramatically increases singulation throughput as wafers become thinner to address the demands of smaller consumer form factors and volumes of smaller die (e.g. < 2mm2).
This new approach results in significantly higher yields, productivity increases, and encourages production of new die shapes. Examples highlighting this new technology will be presented along with various options for process flows.
Why cognitive silicon is a crucial companion to MEMS sensor and energy harvesting devices
Guy Paillet, CEO, General Vision, Inc.
MEMS have revolutionized the sensor field by allowing miniaturization, lower power and lower cost.
ICSD (Intelligent Connected Sensory Devices) in most cases are missing the intelligence. What developers call sensor intelligence is very often "naïve" signal processing leading to very simple, almost always, threshold bases decision. Nonlinear classification, which is the essence of the biological brain and is related to statistical data analysis (probabilistic or deterministic) is too "power hungry" to be miniaturized and powered by energy harvesting with standard methods (CPU, DSP, GPU). On the contrary, the biological brain is extremely frugal and low frequency. In order for a CPU to pull the same recognition (aka classification) and learning capability than the CM1K Neuromorphic Memory, such a hypothetical device would need to deliver more than 100,000 MIP at 500 mW with a frequency of 27 MHz. As an example, the very best Intel i7 processor delivers 180,000 MIPS but at 3.9 GHz and 47 W (not including the fan); therefore classification functions are poorly implemented by Von Neumann architecture.
Sensor and sensor fusion are very dependent of being able to filter unnecessary signals in order to convert signal to information and consolidate this information into actionable insights. This is the promise of merging neuromorphic silicon into MEMS technology for both the sensor and the energy harvester. A concept will be presented outlining fully autonomous wireless condition monitoring and anomaly detection (vibration). As IBM CEO Virginia Rometty stated, cognitive computing is the third wave of computing.
Reducing Development Time for MEMS Devices
Scott Smyser, Executive Vice President, Worldwide Marketing and Business Development
Increasing market demands and tough competition are driving MEMS companies to develop new products at an increasing rate. In this fast-paced environment, minimizing time-to-market is becoming critical. The need to quickly develop new sensor prototypes and quickly ramp into production calls for existing, proven, off-the shelf sensor signal conditioners.
Typically, MEMS product companies will develop their signal conditioner in conjunction with a MEMS sensor either by internal development or by an external ASIC design provider. The ASIC is specifically equipped with an analog front-end that converts the analog output of the MEMS to the digital domain. Consequently, the sensor and ASIC must be highly compatible to account for the analog output signal level with respect to offset, gain, sensitivity, linearity and other factors. Developing one side of this equation is challenging, but doing both in parallel is wrought with uncertainty as both the MEMS and ASIC can only be simulated and not fully tested until they both exist in silicon. The result is often a race to continuously revise the MEMS, ASIC or both until they "fit" sufficiently to be launched as a final product. This "fit" comes in addition to all other design considerations that must be given to an integrated sensor device with a physical sensor microstructure and a complex mixed-signal ASIC.
Repeated ASIC and MEMS tape-outs are costly, resource intensive and time-consuming. The risk is always that the final integrated product misses its design specification and market. Si-Ware Systems (SWS) has developed unique development platforms that combine high performance ASICs with configurability and programmability to interface with a variety of MEMS devices. With these platforms, time, risk, and cost are dramatically reduced for a MEMS product development.
Design of MEMS Piezoelectric Vibrational Energy Harvesters for Industrial and Commercial Applications
Kathleen M. Vaeth, Vice President of Engineering,
MicroGen Systems
The increasing availability of small, lightweight, and affordable MEMS sensors and RF transmitters has opened up the possibilities of smart, integrated wireless sensor networks for monitoring and control of industrial equipment, building infrastructure, and transportation vehicles. Energy harvesting technology is key to enabling increased intelligence and proliferation of these networks, which are currently limited by available battery power. In this paper, we report the design, fabrication, modeling, and characterization of MEMS-based piezoelectric vibrational energy harvesters with power output suitable for supporting wireless sensors and sensor networks. Finite element modeling of the harvester resonant frequency and peak AC power output as a function of deflection shows good agreement with experimental data over a range of frequencies, and mechanical analysis of the harvester movement provides guidance in design for robustness. Demonstrations of harvesting vibrational energy to power real world objects will be presented, including a wireless sensor network for monitoring building temperature. The data obtained and lessons learned from the installation will be discussed.


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West Union Triathlon >
The 8th annual triathlon will be held June 28, 2015, at the West Union Recreation Park. It will include a 3.1-mile run, 16-mile bike ride, and 400 yd swim. Individuals or teams can enter the competition.
Youth aquathlon (run and swim) for ages 5-11 years of age is held after the last triathlete has completed the course while results are being tabulated..
For complete 2013 race results in Excel format [click here]
PDF Format [click format]
For Complete 2014 Race Results in Excel Format [click here] Please note we had issues with the timing equipment so entries after 41 may be incorrect. We apologize for the error and inconvenience this causes you.
For complete 2014 race results in PDF Format [click here]
For complete 2015 race rsults in PDF Format [click here]
Mission Statement
The West Union Parks and Recreation Department is dedicated to providing fitness and leisure activities that promote a healthier lifestyle. The programs will include a balance of athletic, education, and recreation activities which will be properly supervised and supported financially by the board.
Welcome to the West Union Parks and Recreation Web site. This site has been created to inform you of
what programs we offer, the schedules of all the programs offered, and
downloadable sign-up forms.
Our 8th Annual West Union Triathlon will be held June 28, 2015. Please use the link on the left side of this screen to learn more about it. You'll also find the registration form online. We hope to see you in West Union this summer! Do you tri?! We also hold an Aquathlon for children 5-11 years old. They will run 1/2 mile and swim 100 yds. All participants will receive a medal and t-shirt. See additional links to the left. Deadline to enter is Thursday, June 25, 2015.
We have added an Aquathlon for the younger athletes. They will complete a half mile run around the aquatic center and a 100 yd swim while the results of the Triathlon are being calculated. Everyone who participates receives a t-shirt and medal. [Aquathlon Registration Form] Deadline to register is Thursday, June 25, 2015.
Celebrate America: Show Your Colors
There will be a Color Run held on July 4, 2015, at 9 a.m. at the Aquatic Center. All proceeds from this event held on the birthday of this great country will be given to the Wounded Warrior Project which helps our veterans. Please encourage all veterans to participate or participate in honor of a local veteran. Please check this link for further information. [Celebrate America]
Festival of Lights
Please join the Fesitval of Lights on Friday, November 28, 2014, for its Grand Lighting with Santa Claus. Each child who brings a canned good for the Northeast Iowa Food Shelf will have their name put into a drawing to help Santa turn on the lights. Donations to the Festival of Lights are always welcome as well.
City Parks
Please click on the following link to find more information on our city parks. To reserve Lion's, Rotary, Sunset, Clark Park, or the West Union Recreation Park, please contact the Park and Recreation Department at 563-422-3685. [City Parks ]


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CEDAR RAPIDS – This victory was over the top for the Dubuque Spartans.
Not in a wild-and-crazy sense. Unless you consider a bunch of long passes wild and crazy.
Four of Bryan Bradshaw's five touchdown throws in a 38-14 win over Coe on Saturday at Clark Field were of 26 yards or more. That included beauties of 51 and 65 yards to Tyler Rutenbeck.
Those weren't short balls with long runs attached to them. They were legitimate, beautifully thrown deep patterns.
"That was part of our game plan," said Rutenbeck, a junior from Maquoketa, who also had a 4-yard TD catch. Call it a small one he probably preferred to throw back.
"We knew that we had to take some shots," he said. "We were hoping to catch them in the right defense to allow us to do that. We did a couple of times."
Dubuque (4-2, 3-0 in the Iowa Conference) stunned a large homecoming crowd with three touchdowns in the second quarter for a 28-7 halftime lead. Bradshaw, a senior transfer from Division II Winona State, completed 11 of 18 first-half passes for 226 yards.
The Spartans did just enough running to keep Coe's defense honest. That set up the play-action and rollout pass, which worked time and time again, with Dubuque's receivers burning Kohawk corners and safeties.
Chris Bagley had TD catches of 26 and 28 yards to complement Rutenbeck's two long scoring grabs.
"That was our big concern," Coe Coach Steve Staker said. "They have good receivers with good speed. You wouldn't know it, but we worked on that all week. Don't let people get behind you. I just felt that once their quarterback got out on the edge running that our guys kind of took their eye off their receiver and lost a step or two. They started watching the quarterback and they got guys behind us."
"What's been good for us is that we've been able to throw the ball deep the entire year," said Dubuque Coach Stan Zweifel. "We came into this game thinking about continuing to do that. We made some big plays. Bryan played really, really well, especially in the first half. I think a lot of it was set up through play action. It was big for us to be able to run the football."
Which Dubuque did in the second half. Running back Kyle Acker had roughly half of his 151 rushing yards the final two quarters, as the Spartans chewed clock.
Even when Coe (5-1, 2-1) did have the football, it didn't do much with it. The Kohawks were outgained in the game, 520-211, with sophomore QB Josh Rekers struggling to the tune of 10-for-25 passing for 60 yards.
This was a completely foreign feeling for Coe, its 16-game regular-season win streak snapped into itty bitty pieces. The Kohawks' previous regular-season and IIAC loss came at the end of the 2011 season, also to Dubuque.
"They're an excellent football team. Well coached and physical," Zweifel said. "We have the utmost respect for Coe. But we really played well. We think we've played a difficult schedule. We're 4-2, but we think if we played a little different schedule, we'd be 6-0 right now."
Dubuque played three schools from the rugged Wisconsin Intercollegiate Athletic Conference to begin the season, losing to Wisconsin-Stevens Point and nationally top 10-ranked Wisconsin-Platteville.
Speaking of nationally ranked, Coe (which was 16th) won't be after this game.
"They humbled us pretty good today," Staker said. "But one game does not a season make. We'll regroup and be all right ... These guys are resilient."
- See more at: http://thegazette.com/2013/10/19/dubuque-goes-over-the-top-to-stomp-coe-38-14/#sthash.QjVrHE70.dpuf
Cedar Rapids, Iowa News, Sports, and Weather


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Havi B3 Pro 1
"My first quality IEM purchase was the Hifiman RE-400 when they first came out. I was used to low end Skullcandy sets at the time, and I really wanted to see what "reference sound" sounded like for a reasonable price of under $100. At the time, I felt anything above that price was absurd for me to purchase. From the first listen, the RE-400 showed me what quality sounded like. I was..." --bhazard
Meizu EP-40 dynamic driver IEMs
" The story behind this review is kind of interesting. I was in contact with Meizu about an upcoming portable audio player being released later this year. I asked for a loaner so I could do a review over at InnerFidelity. That device is still a few months out so they don't have review models yet. During the course of our conversation the Meizu rep asked if I might..." --project86