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Classes and Objects
In the Object Orientation chapter the conceptual topics inheritance, polymorphism, and encapsulation were introduced. Every OO language has its own variation of object orientation with some syntactic differences. Not all OO languages share the same features. However, the majority of the concepts and features can be found in the most popular OO languages. In this and subsequent chapters, we will explore how C# implements object orientation. We use the approach of developing a number of classes to demonstrate the OO topics.
Code Review
To get started, you can either create a new solution or add the ClassesAndObjects project to the ITSE1330Solution-1. Code Program.cs as shown. Notice the ClassesAndObjects namespace on line 7. The other three classes we add to this project will also use the ClassesAndObjects namespace. Even though we specify the namespace in the other class files it is not required since ClassesAndObjects is the default namespace for the assembly. However, VS automatically includes the namespace directive and we will retain it for clarity. The default namespace of a project can be verified by R-clicking the project name | Properties | Application as shown.
The Rectangle class is specified on lines 9 - 41. Recall that a class is just a blueprint and that no memory is allocated until an object is instantiated from the class. Variables, properties, and methods are all known as members of the class. Lines 11 and 12 contain the instance variables length and width. They are known as instance variables since every object (instance) created from the class gets its own copy of the variable. On the other hand, member variables can also be shared by all objects of the class by using the static keyword which we discuss in the next chapter.
Notice the keyword private on lines 11 and 12. It is known as a "member access specifier". This means that length and width are "private" to the class and can only be accessed by other members of the class. This is an example of information hiding and encapsulation in which access to class members are provided on a "need to know" basis. It is common practice to designate member data (variables) as private and member methods as public. Note that all member methods of the class (e.g. lines 14, 18, 25) are set to public. There is another access specifier (protected) but that is beyond the scope of this introductory course.
In Program.cs, lines 14-17 and 18-24 designate special member methods known as constructors. A constructor method is automatically called when a object of the class is created. Rectangle objects are created on lines 46 and 47 and a constructor is called when each is created. However, since line 46 includes no arguments and line 47 includes arguments, different constructors are called when objects rectangle1 and rectangle2 are created. Class constructor methods must be public and have the same name of the class. So, both constructors are public and have the name Rectangle which is the same name as the class.
The constructor on lines 14-17 is a PDDC (see table). It is programmer-defined since we write it and it is a default constructor since it has no parameters. A default constructor is called when an object is created that does not have arguments in the constructor call. C# includes a hidden default constructor (DC) if no constructors are supplied by the programmer. However, if a non-default constructor is supplied (PDC), then C# requires that a PDDC also be supplied. You are encouraged to test this point by including a PDC without a PDDC.
|How Supplied
|Default Constructor
|System supplied (hidden)
|Programmer-Defined Default Constructor
|Written by programmer
|Programmer-Defined Constructor
|Written by programmer
Line 46 is an example of a Rectangle object being created that does not include arguments. That is, the parentheses after Rectangle are empty. Since no arguments are supplied, a default constructor is called. When line 46 executes, the compiler looks for a matching constructor (one that has no arguments) and finds it on lines 14-17. We can see the result of line 46 in the output where the WriteLine statement is written to the command window.
Lines 18-24 specify a PDC (see table) that will be called when two doubles are supplied in the argument list which occurs on line 47. An object of type Rectangle, named rectangle2 is created on line 47. Two arguments ( 10, 20) are supplied in the constructor call. The constructor that matches that signature (a parameter list of two doubles) is located on lines 18-24. Recall from the Object Orientation chapter that this is an example of polymorphism which enables methods of the same name to exist but must contain different parameter lists. The CLR determines which method to run by matching the argument list in the method call (line 47) with the parameter list in the method header (line 18).
The next four methods of the class are known as accessors (getters) and mutators (setters). When we work with properties below, we use the term accessors to refer to both getters and setters. But, when working with separate methods like those in the Rectangle class, we use the more formal terms accessors and mutators to distinguish between getters and setters. Many classes have these two types of methods that are used to work with class data. Getters are used to return object data to the calling location and setters are used to set object data. The getters on lines 25 and 33 return the values of length and width that are stored in the object. The setters on lines 29 and 37 set the values of length and width when those methods are called. The parameter in SetLength() is named paramLength to distinguish it from the member data variable named length. We can also use the keyword "this" to accomplish the same thing which we do in the Circle class below.
Lines 42-149 comprise the Program class which includes the Main() method of the program and is thus the main class. On lines 46-52 seven objects are created. The type of each object is specified by the class and constructor names used. For instance, on line 50 an object of type Triangle is created with the name triangle1. Notice that on line 50 the default constructor of the Triangle class is called since no arguments are supplied. PDCs are called on lines 47, 49, and 51 since each of those calls contain arguments.
Notice that in addition to Program.cs below, there are three other files for the Circle, Triangle, and Cone classes. Unlike the Rectangle class which was declared in Program.cs on lines 9-41, the Circle, Triangle, and Cone classes are each declared in separate files. To declare a class in a separate file R-click on the project name in Solution Explorer | Add | New Item | Class and name the class file accordingly.
All of the constructors in these classes are similar to those reviewed for the Rectangle class. However, there are a few notable differences. Notice on line 18 of the Circle class that the keyword "this" is used which is a reference to the current object. The technique used here is to differentiate the parameter radius (which is a variable local to the method) to the instance variable radius which is associated with the object.
The "this" reference on line 18 refers to the instance variable while radius (on the right side of the assignment operator (=)) is the parameter that was passed when the method was called (line 49 of the Program.cs file). Some developers recommend using "this" when accessing all instance variables since it enhances code readability. That technique is also used in the PDC in Triangle.cs on lines 19 and 20. The this keyword cannot be used in a static method since those methods reside at the class level and therefore no object is associated with it. More on static methods in the next chapter.
There is another difference in the class constructors. Notice that the Cone class in Cone.cs does not have a constructor listed. When a constructor is not supplied by the programmer, the compiler provides a hidden default constructor (DC). The creation of a Cone object on line 52 of Program.cs uses the hidden DC since no arguments are supplied. Recall that if a PDC is used, a PDDC must also be written since the compiler no longer supplies the DC.
Using Member Methods and Member Data
On lines 54-60 of Program.cs seven double variables are declared and defined. Note that the variables have meaningful names. For instance, triHeight is used to store the height of a triangle. This is considered a "best practice" and should be employed. However, there are times when small identifiers are suitable like as i, j, or k such as iteration control variables or others with limited scope.
For the most part, from this point forward in the course, concepts in the code that have already been covered will not be reviewed. For instance, there is nothing new on lines 64-67, 87-90, etc. On line 69, a mutator (setter) member method SetLength() of the Rectangle class is called (a.k.a. invoked). The variable recLength that was obtained from the user is passed as an argument to the method. When items (variables or literals) are included in a method call like on line 69, the items are known as arguments.
On the other hand, line 29 is the method header and the items in parentheses are known as parameters. Arguments are passed from the method call to the appropriate parameter in the method declaration. The SetLength() method is declared on lines 29-32. The recLength variable is passed to the method and is assigned to the instance variable length on line 31. Analogous steps are performed with the call to SetWidth() on line 73.
On lines 75 and 76 the accessor (getter) methods are called and return the length and width values of the rectangle1 object. The accessor methods of rectangle2 are called on lines 82 and 83. Unlike with rectangle1, the mutator (setter) methods were not called for the rectangle2 object. How then are the length and width variables set for rectangle2? See line 47 for a hint.
The section of code from lines 87-102 works with the circle1 and circle2 objects. Most of the steps are similar to that covered with the rectangle objects. The notable difference is the calls to the CalcArea() member method on lines 95 and 102. The CalcArea() method is declared on lines 30-35 in the Circle.cs file. It is neither an accessor or mutator but rather a member method dedicated to calculating and returning the area of the circle object based on the radius supplied by the user and set by the SetRadius() mutator.
The section of code from lines 106-127 works with the triangle1 and triangle2 objects. The Triangle class uses a new technique known as a property. Properties combine the getter and setter operations in one data type. In Triangle.cs, see the instance member variables tbase and height on lines 11 and 12. The properties associated with the instance variables are on lines 24 and 37. Tbase is the property for tbase and Height is the property for height. It is a naming convention that properties use the upper camel case version of the instance variable name.
Now, back to Program.cs to see the properties in action. Note the use of Tbase and Height on lines 111 and 115. Only the property name is used and the compiler calls the set accessor within the property since the assignment operator is used. Recall with the Rectangle and Circle class the setter methods were called. With properties, the property name is used and the compiler determines whether to call the set or get accessors. Note that the get accessors of the properties are called on lines 117, 118, 125, and 126. Take a look at the properties again in Circle.cs. Notice the get and set accessors.
In the last section of code in Program.cs the Cone class is used. Recall that a constructor is not specified in the Cone class but rather the DC is used. Like the Triangle class, the Cone class also uses properties. On lines 136 and 140 set accessors of properties are called. And, on lines 142 and 143 the get accessors are called. The new technique featured in the Cone class is located on lines 11 and 12 of Cone.cs. ConeRadius and ConeHeight are known as "auto-implemented properties" (a.k.a auto properties). They have the same capabilities as the properties located in the Triangle and Circle classes but are much more compact. Not only are the get and set accessors provided, it is not necessary to specify instance members associated with the properties. With auto properties, private fields (instance variables) are created and can only be accessed via the auto property get and set accessors.
Output Program.cs
What's Next?
In the next chapter, we discuss static methods, static fields, and method parameters.


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by Susan Glaspell (1921)
Act 4
Madeline - Female, Under 25 yrs
Scene partner - Holden
Monologue - Dramatic, Under 1:00 min
Prosperous, I suppose. That seems to set things — set them in fear. Silas Morton wasn't afraid of Felix Fejevary, the Hungarian revolutionist. He laid this country at that refugee's feet! That's what Uncle Felix says himself — with the left half of his mind. Now — the Hindu revolutionists! I took a walk late yesterday afternoon. Night came, and for some reason I thought of how many nights have come — nights the earth has known long before we knew the earth. The moon came up and I thought of how moonlight made this country beautiful before any man knew that moonlight was beautiful. It gave me a feeling of coming from something a long way back. Moving toward — what will be here when I'm not here. Moving. We seem here, now, in America, to have forgotten we're moving. Think it's just us — just now. Of course, that would make us afraid, and – ridiculous.

subset: commoncrawl


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Vittore Carpaccio (c. 1465–1525), perhaps the most charming of Venetian artists, produced Venetian scenes full of color and incident, as well as ostensibly religious paintings with dreamlike images set in fairy-tale landscapes. Carpaccio was a pupil of Lazzaro Bastiani and Giovanni Bellini, and was inspired by Antonello da Messina. Through his lavish use of deep Venetian red, and because an exhibit of his works was on in 1950, just when Harry's Bar invented a new dish of thinly sliced raw beef, he has also lent his name to a classic antipasto, and hence to any meat, fish or produce served raw and thinly sliced.
Because most of Carpaccio's works never left Venice, in themselves they are a pretty good reason to visit lagoon land. Little is known of his life: he was the son of Piero Scarpazza, and was born either in Istria or Venice, and changed his name to Carpaccio.
His Two Venetian Ladies in the Museo Correr is considered Venice's first genre painting; originally it formed half of a painting called Hunting Cormorants in the Lagoon (see Eating and Drinking), now in the John Paul Getty Museum in Los Angeles.
There are major cycles at the Scuola di San Giorgio degli Schiavone (The Legend of St George) and at the Accademia (The Legend of St Ursula). Other works are San Vidal, in the Ca' d'Oro, San Domenico in Chioggia and San Giorgio Maggiore.
Images by: carulmare, Creative Commons Licence, PD Art, carlumare


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Eskadron Sheepskin Bell Boots
Eskadron Sheepskin Bell Boots
These bell boots are topped with Sheepskin to help alleviate horses with sensitive skin of any irritation. The rest of the boot is made from 5.5mm thick neoprene which is very hardy whilst being soft and flexible around the hoof but still protecting the fetlock. The boots are finished off with a double Velcro fastening so you can be sure the boots are secure.
Eskadron Sheepskin Bell Boots Feature:
- Sheepskin topped
- Neoprene fabric
- Double Velcro fastening
Write Your Own Review
Delivery & Returns
We can deliver to virtually any address in the world. Note that there are restrictions on some products, and some products cannot be posted to international destinations.
When you place an order, we will estimate delivery dates for you based on the availability of your items and the delivery options you choose. Depending on the delivery provider you choose, delivery date estimates may appear on the delivery quotes page.
If you aren't happy with your purchase, you can return any undamaged items within 30 days for a full refund. We now offer free returns, simply follow the instructions inside your package for a dpd return.*


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Treat yourself and loved ones to an Authentic High Tea Experience. Crisp linens, fine china and tea pots in exquisite floral patterns, tiered luncheon servers, accompanied by our wonderful vintage atmosphere and music.
We have two High Teas Experiences for you to choose from, either the Victorian Royal High Tea Experience, or our more Traditional Elegant Afternoon Tea.
Our Royal High Tea is not served the same as our lunch menu service. Abigail's Victorian Royal High Tea is a more elegant presentation. A delightful experience, preferably shared with the company of family or friends. Our friendly staff will create an impressive table setting and serve your tea and savories in true Victorian Style. Leaving you and your quest with a unique and memorable experience.
The Best Of Abigail's Victorian Royal High Tea
All menus items are subject to change. All prices are subject to change without notice.
A 20% gratuity is added to all parties of 8 or more. Please, parties of 8 or more, only one check.
Parties/Special Events-Interested in having a Bridal or Baby Shower, Birthday, or any other special gathering, Red Hatters? We can accommodate your group up to 40 people. Please inquire within for more information, a reservation is required.
Here are the reasons for our decision on children in the Tea Room:
So, while you are visiting with us, please keep in mind our wishes for a quiet, clean establishment. Many of our guests come to Abigail's to relax and enjoy socializing with their family and guests, and this is hard with screaming babies/toddlers. When making your reservations, please notify us that you would like to bring children.


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What to expect from Fenty Beauty By Rihanna
- by Lisa Niven
5 things we wish make it to the make-up line
At last, we have a date – Fenty Beauty by Rihanna, the singer's much-anticipated make-up line, is launching in autumn 2017. The singer posted an Instagram teaser on Wednesday to confirm the news, having first announced her foray into make-up back in 2016 when she signed a deal with the Kendo division of LVMH, which also produces Marc Jacobs Beauty and Kat Von D Cosmetics. A spokesperson for the brand has told Vogue that Fenty Beauty will be available exclusively via Harvey Nichols in the UK and Ireland, and an Instagram page has been set up.
The first sighting of the line was backstage at the Fenty x Puma by Rihanna spring/summer 2016 show – at which a holographic lip product from the collection was debuted. Aside from that, Rihanna has kept uncharacteristically quiet. However, we're confident we have a fairly good idea of what the new range will entail, regardless. See five things we expect from her make-up line here.
Image: Instagram.com/badgalriri
At Least One Great Red Lipstick
One thing to remember is that this isn't Rihanna's first foray into make-up – the singer created a series of products with MAC back in 2013 and 2014. The first product she created was RiRi Woo, a lipstick inspired by MAC's classic red Ruby Woo. "Working with MAC, it's difficult to get a red lipstick that beats Ruby Woo," she told WWD at the time. Well, Rihanna, we challenge you to create one. Get set, go.
Image: Instagram.com/badgalriri
Some Seriously Good Nudes
Has Rihanna ever looked better than she did with a scraped-back ballerina bun and neutral-toned make-up at the Grammys 2015? Note the use of a soft peachy blush and a tonal brown eyeshadow to subtly contour, letting her flawless skin take the focus. From this new collection we expect a series of seriously good neutrals – as well as the ultimate nude lipstick for darker skin tones.
Image: Instagram.com/badgalriri
Lashings Of Lashes
It's rare to see Rihanna on the red carpet without a set of false lashes, so we imagine she'll see the launch of her own beauty line as opportunity to create her own. A great liquid liner to accompany them wouldn't go amiss either – her cat-eye flick is never less than perfect.
Image: Instagram.com/badgalriri
A High-Octane Highlighter
Rihanna already boasts some of the glowiest skin in the business, but she knows how to make it truly gleam when the occasion calls for it. We're hoping for an illuminating product to replicate her near-celestial radiance – and ideally the Dior gown to go with it.
Image: Getty
Nineties Eyeshadow Shades
If there's anyone willing to experiment with pastel, Nineties-style eyeshadow shades, it's Rihanna. We'd like to see something along the lines of the frosted lilac hue she sported at the Brit Awards in 2016, please.
This article originally appeared on Vogue.co.uk


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Moog EP-3 Expression Pedal
Yeah, Moog makes an expression pedal.. I was very surprised to find that Moog manufactured products outside of the realm of synthesizers and FX pedals. I was even further surprised by the fact that they produced a product that I could easily afford. I was in need of an expression pedal, and considering the fact that Moog is well known for creating high-quality products across the board, I thought I would give the EP-3 a try. The EP-3 also falls in an extremely reasonable price range, around $40, making it considerably cheaper than most expression pedals on the market, despite being produced by a company known for selling expensive products.
Build Quality: 10/10
I am unsure as to how Moog can keep producing such a high quality product for such a cheap retail price. The pedal is extremely sturdy, and though it isn't a full metal construction, it certainly functions like it is. There is no wobble to any of the function. The pedal glides absolutely effortlessly back and forth. I cannot think of a single way that Moog could have built a stronger product.
Design: 8/10
As is typical of Moog products, the EP-3 has a very aesthetically pleasing design. The adjustable foot-pedal portion of the product is treaded for perfect grip and printed with Moog's logo. Sleek in all black, the pedal fits in with the style of any preexisting rig. The 1/4" attachment cable is inserted at the very front of the pedal, making cable organization very easy. I do have two small complaints about the pedal design, however.
1) The pedal is built quite high, making it slightly uncomfortable to use if you are currently working with a low-profile stand.
2) There is little to no weight behind the pedal, making it very easy to move, and thus, not very satisfying to use.
Short Summary:
If you don't yet have an expression pedal as a part of your rig, Moog's EP-3 will fill that void with ease and perform above and beyond your needs. Worth far more than $40.
Korg microKORG XL
The microKORG XL has been around for a long while now, and it still remains a staple component within the rigs of musicians everywhere, be they casual or professional. Though portability is the draw of this instrument, it still comes with a bold and unique sound that places its worth far above a travel instrument..
and it has a vocoder... which is very cool.
That being said, I still do have my complaints, but none of them are about the sound.
Sound: 9/10
This little keyboard is extremely versatile and impressive in terms of sound. It isn't exactly cheap for a travel instrument, so I suppose a big sound should be expected. The sounds are separated into various genres, like HipHop, Electronica, and 70's Vintage, then further refined into categories such as bass tones, lead syths, strings, and vocoder input. Soundscaping from the ground up with the microKORG XL isn't possible, but it still puts forth a large capability for sound customization. Beyond the sound selection wheels to the left, there are 12 parameters to the right side of the keyboard available for further modulation. The keyboard is both monophonic and polyphonic, depending upon the patch selected, and the sound production is entirely digital (which some say is a bad thing... but I don't share this sentiment). The microKORG XL's sound is certainly its strong-suit, but there is room for improvement when it comes to the keyboard's hardware...
Keybed: 2/10
So... mini keys...
In short, I hate them. I do not see the appeal nor the practicality. I have absolutely no idea why keyboard manufacturers continue to make them. They make any great synthesizer nearly impossible to play properly, and that is a shame because of how excellent this keyboard had the potential to be. Oh well.. nothing can be done about it now. Maybe it's just me. Some people seem to be completely content with their mini keys, so I suppose it comes down to personal preference. But if you value the comfort and fluid playability of an instrument, I don't suggest picking one with mini keys.
Hardware/User Interface: 5/10
When I first got my microKORG XL, I tore open the packaging to get to it. This was many years back, and it was the first synthesizer I had ever owned. I hooked up the instrument and started to play, searching through and sculpting sounds. But when I pressed the keys at the upper octave, I felt the entire keyboard rock to the right, and then back to the left when I released. Upon inspection, I found that the entirely plastic body of the keyboard was warped, causing the corners of the instrument to tap back and forth on my desktop while playing. Obviously, I returned the defective instrument, but when researched this problem online, I found that I wasn't the only person experiencing this issue. Maybe they have worked out the kinks since then, but it was certainly a bad first impression.
Other than that, the build of the keyboard feels very sturdy. The knobs are wiggle-free, and the octave switch lever is very satisfying to flick. If it weren't for my unstable first encounter, I wouldn't hesitate to give it microKORG a 9/10 in this category, but I can't be sure that the wobble kink has been worked out.
Short Summary:
Overall, the microKORG is a great choice for a musician in need of a synth/vocoder for travel, provided they don't mind playing on mini keys. At $500, the price is very reasonable for what this keyboard brings to the table. It's no longer a part of my rig, but it may very well fit within yours.
Korg SV-1
The Korg SV-1 is a keyboard for a niche market, being a performance oriented instrument specifically designed to emulate vintage sounds that many musicians believe are not well achieved by even more expensive keyboards. Everything about this keyboard screams vintage, from the glowing vacuum tube on the left of the user interface, to the knob design borrowed directly from Fender amplifiers from years gone by. It is definitely a beautiful instrument, and it doesn't just provide good looks.
Sound: 8.5/10
The very fact that Korg's team decided to route all sounds produced by the keyboard through a genuine vacuum tube says so very much about their dedication to sound. This is the quintessential feature of vintage instruments that allows them to sound like the era they come from, and I cannot think of a single other manufacturer bold enough to include vacuum tubes in their digital keyboards. This tube allows Rhodes tones to go from clean, smooth, and chimey, to brutal and crunchy with a simple turn of a knob. Built into this keyboard is the ability to emulate any vintage amplifier of the 50s, 60s, and 70s, amplifiers that, should they be bought on their own, can cost upwards of $3000. Korg really stepped up their game here. The piano tones are good, the organs are okay, but the SV-1 really shines through its Rhodes, Wurlitzer, and clavinet sounds. They are so close to the real deal vintage instruments, that only serious experts would be able to tell them apart.
Keybed: 8/10
The keybed is great, but not perfect. The key action feels familiar and comfortable, but there is a small something about key build quality that feels... well, plastic-y. That's not enough to take too many points away, however, because the potential of this instrument is not at all seriously jeopardized. It could be better, but it's good enough.
Hardware/User Interface: 10/10
I cannot say enough good things about the build quality and user interface arrangement of this keyboard. Everything about it is so deliberate, and so perfect. There is no screen on the keyboard, and there is a separate knob or button for every function. The knobs are extremely sturdy and firm, providing a satisfying click upon each turn. The UI begins on the left with a glass plate exposing a real vacuum tube, glowing orange, which is a sight not often found in new age keyboards. This tube is a clear sign to the player that they are going to get a true vintage tone out of their keyboard, not a flimsy, simulated replica sound. Everything about the UI and build quality of this keyboard is stellar, from the metal chassis, to the power switch, to the paint job. Korg's design team definitely did their homework when working on the SV-1.
Short Summary:
You would be very hard pressed to find a single genuine, restored vintage instrument at anywhere near this price. With that said, this instrument includes Rhodes, Wurlitzer, and clavinet sounds, all able to be routed through classic amplifier emulators, and if all of these vintage instruments/amps were to be purchased and restored, you would be in well over $30,000... so the pricetag of $1,700 for the SV-1 sounds extremely reasonable to me.
Behringer KXD12 & KXD15
Behringer's KXD series of PA monitors comes in two styles, the KXD12 and the KXD15. These numbers mean nothing more than the size of the bass speaker within the monitor, that being in inches. Behringer has a great reputation of "borrowing" the designs for instruments and audio equipment from massive companies like Roland and Bose, then creating cheaper versions. Behringer did just this to Roland's KC series of amplifiers, and in my opinion, they do it just as well.
Sound: 8.5/10
Whether you choose to pick the 12 or 15 inch version of this PA monitor, you are going to get all the volume you could ever need (unless you're playing in stadiums, but most of us are not so lucky). The sound is, more often than not, crisp and clear. I am always sure to keep this amplifier located off of the ground, as to save my downstairs neighbors from the constant noise radiating from my apartment. I have run into a few problems regarding the headphone output jack, as my first KXD amplifier created a fair bit of static noise. This problem was quickly rectified by Sweetwater customer service, as they sent me out a replacement immediately upon my request. The bass tones have the capability to get fairly muddy, depending upon the instrument or audio patch you have running through the monitor, but this issue is easily mitigated by the on-board equalizer.
Hardware: 7/10
The product itself is pretty solid, but it is lacking in a few areas. The monitor is very light and portable, with a sturdy faux-leather strap across the top for transportation. Great for gigging and casual sessions with friends, but not exactly perfect for large venues. The number of input and output jacks is far more than adequate, but sometimes I find their quality to be slightly subpar. Now and again, I run into issues with noise from the speaker running through my output cables and into external amplifiers, but it is not significant enough to make the monitor not worth its price. The on-board equalizer is an extremely helpful and worthwhile addition to the monitor, and that has definitely scored Behringer some points with me. Very few of my instruments have equalizing capabilities, so I make use of the equalizer often.
Short Summary:
For amps of this wattage and power at the prices of $350 and $450 (for the 12 and 15 inch models, respectively), it's hard to go wrong. They are by no means professional studio monitors, but they do the job for casual sessions, and they do it well.
Alesis SR-18
The Alesis SR-18 is a powerhouse drum machine available at an excellent price. The SR-18 is the successor to another Alesis drum machine, the SR-16, that has been a fan favorite for 28 years... Yes, that number is correct. The SR-16 was released by Alesis in 1990, and was featured on albums by celebrated musicians such as Bruce Springsteen, Mariah Carey, and many, many more. Despite the years going by, the technology within this little machine has stayed relevant and useful, so much so that when the new model was released (the SR-18), Alesis didn't even make any changes to the drum patches... they just added more memory! (They also added a bass function... but it's not really worthy of mention... shame). The fact that an instrument from 1990 is still being produced by the manufacturer in factory-new condition, only to be immediately purchased by wanting consumers, says so very much about the product. With that said, this machine does come with its fair share of flaws, but despite that fact, it is a legendary piece of equipment worthy of endless praise for its prolific contribution in so many musical works.
Sound: 9/10
The drum sounds are perfect. Each one sounds realistic enough that, if paired with their acoustic counterpart, any expert would be hard-pressed to determine the difference between the two. The catalog of drum sets available for use in the SR-18 is impressive to say the very least. There are 99 separate drum kits that can be manipulated and selected for custom kits of the user's choice. These 99 kits are not the only sounds available in the machine, however. For each one of these kits, a simple press of the "PERC" button allows the user to access another bank of percussion sounds for each kit, including sounds like triangles, wood blocks, cowbells, and many more. The sonic capabilities of this instrument are virtually endless, and a drum machine is an absolute necessity for any home studio. Looping drum lines to play another instrument over will take any practice session to a whole new level of immersion. In terms of sound, even after 28 years, the SR line is among the best of the best.
Hardware/User Interface: 3.5/10 (Shocking, eh?)
Yes, I am disappointed too. It's not terrible! But it's not very good either... The layout and function of each and every button feels very unintuitive... Learning how to use this machine takes such a very long time that by the time you figure out how to perform a task, you could have worked for hourly pay and hired a session drummer to work on some tracks. Maybe that is a bit harsh... but I promise it is a very difficult machine to get the hang of using. BUT, once you DO learn how to use it, the SR-18 is definitely worth your while!
Other complaints:
The buttons that Alesis should have poured money into making extra responsive and comfortable... are extremely unresponsive... If you do not hit the drum pads in exactly the way that your particular machine prefers, you might not get any sound out of them. While this is a painful and avoidable reality, if you take the time to practice and figure the proper intensity and position that these buttons need to be pressed, then they should start working fine. I don't have any idea as to why Alesis would skimp on this extremely important detail, but that's the way it is, so I guess we all just have to put up with the downsides to reap the benefits...
Short Summary:
Pros - Powerful, relatively cheap ($259 new, but I found one for $100 used on Reverb.com), portable, and ready right out of the box.
Cons - Takes some serious studying to understand all of the functions... and the buttons don't always work perfectly.
Behringer's XENYX line of mixing boards is an extensive list, with certain models running into the realm of professional studio quality, with a matching price tag. But, as Behringer's slogan suggests ("We Hear You"), they did not forgot about the little guys. The XENYX line has a plethora of mixing boards designed specifically to cater to the needs of consumers looking for total sound control over their casual musical production, small podcast studio, and ballroom multi-microphone PA system.
The two XENYX mixers that caught my eye are the X1204USB and the 1202FX. These mixers sit in a comfortable middleground between casual and professional, providing and often exceeding the expectations of audio producers coming from both ends of the spectrum.
The X1204USB is, as it looks, marketed toward a more professional audience, as it includes level-control sliders for each audio channel, a trait typical to professional studio mixing boards. The 1202FX does not include sliders, but it does have level-control knobs that serve the same purpose in every way... but they just don't look as serious and professional.
Though the X1204USB is more expensive and marketed toward a more professional audience... Behringer somehow found it reasonable to include four extra inputs on the 1202FX. Strange. With that said, the X1204USB provides a very many more output capabilities, from 2-way USB communication with computers, to XLR outputs for stereo monitors, to the expected 1/4" outputs. The 1202FX does not have a USB output, but Behringer more than makes up for this lack with their own 1/4" to USB converter cable, which works absolutely perfectly (though it comes at an extra price of $20).
Another interesting lack in the more expensive model is that the X1204USB seems to have much, much fewer internal FX capabilities than the cheaper 1202FX. I don't understand this design choice whatsoever, but maybe someone who values FX potential less than me may find the lack insignificant for their needs.
Sound: 8/10
It does its job as a mixing board exactly as one would reasonably expect. It takes in the signal of your many instruments/microphones and routes them through a single output to your speakers or computer for recording. It does all of this with little to no interference noise. But if it wasn't able to do this, it wouldn't be much of a mixing board... it would just be a paperweight.
In terms of the internal FX processor, the addition of this capability is very welcomed. The effects within are great, but leave a little to be desired. They sound great when applied to each input signal, but are not as tweakable as I would have liked. The way I look at it, Behringer did not need to add this fun capability to their mixers, but they did anyway, and I'm going to give them kudos for the courtesy.
User Interface/Hardware: 8/10
The layout of the XENYX mixer line is top-notch. Almost everything about these mixers seems to be thoughtfully placed. The knobs, buttons, sliders, and switches are all extremely sturdy and reliable. The zero-dents on the knobs are deep enough to stop a turn once they reach a null setting, and they turn smoothly all the way through. All of the input and output jacks are perfectly placed and sturdy as can be, producing no cross-over noise between cables and working beautifully.
I can point out two problems with the 1202FX design:
One: There is no on/off switch located anywhere on the board. I have absolutely no idea what might have motivated this design decision, but it is severely disappointing. It is easily repaired by the purchase of an on/off outlet switch, allowing the user to power down the mixer without unplugging the machine each and every time they are finished using it.
Two: The bottom of this mixer gets really, REALLY hot with use, as the ventilation area on the bottom of the metal chassis sits flush with the surface on which it is sitting, allowing the exhaust heat no mode of escape. I worried about this issue causing internal damage to the machine, but after purchasing an elevated mesh-metal stand for the mixer, the heat seems to ventilate out properly.
I think I prefer the 1202FX, considering its extra inputs and longer list of FX possibilities, but the lack of an on/off switch is painfully unintuitive and difficult to manage. Every problem encountered with the 1202FX is easily mitigated with external parts, but these parts come at a cost.
With that said, once these external parts are purchased, the 1202FX still comes at a cheaper price than the X1204USB, and provides more modulation capabilities and input jacks all the while.
The choice was easy for me... but if you love the feel of sliders enough, I think you could convince me of you reasoning for purchasing the X1204USB.
Roland VR-09
The Roland VR-09 V-Combo organ is advertised as light, portable, and battery powered! Pretty intriguing, and for $900 one could assume that it probably has some other great features, but it really only delivers on the aforementioned three. It certainly is light and portable, and batteries definitely make the thing work, but they don't make it work well. Neither does he A/C input... What I'm getting at here is that I did not have a pleasant experience with this keyboard. I have my fair few gripes about it. Far more gripes than I should have about a piece of equipment costing just under one thousand dollars.
Sound: 6/10
I would expect the sound bank of a $900 keyboard to be much better than what Roland brought forth with the VR-09. Too many of the voices immediately sound digital and cheap. The piano tones are largely worthless. The big draw of the keyboard is that it can serve as a combo-organ, complete with drawbars, but the organ tones are so much better executed by every other manufacturer currently producing combo organs. The tine and reed keyboards are pretty decent though! And the clavinets aren't half bad either! All said, about 50% of the sounds are good, 40% are bad, and a tiny 10% are worthy of professional use. I'm not impressed, considering Roland is a big-name keyboard manufacturer. I guess they felt they had nothing left to prove.
Keybed: 3/10
The keys on this instrument are extremely disappointing, to say the least. Every key is just slightly thinner than the full-size, giving the illusion that you're playing on a full-size keyboard, but every note played just feels... strange. Fingertips are always leaking over onto the neighboring keys and playing unwanted notes. It's hard to decide which is worse... slightly small or mini-keys... but I think these pain me so much because they did not need to be small. Roland could have very well produced an instrument with full-size keys without sacrificing anything significant in terms of weight and size, but they decided the best route would be to make the product entirely disappointing by skimping on the keys.
Beyond that, they keys are extremely spongy and flimsy, rocking back and forth when played, clicking and clacking on every up and down movement.
Hardware/User Interface: 8/10
Roland didn't do half bad in this department! The FX and instrument selection layouts are really well designed and intuitive. The knobs are sturdy and the drawbars slide smoothly and reliably. The LCD screen is bright and crystal clear. The modulation stick does exactly what its supposed to. Combine all of these awesome traits with a great keybed and some professional sounds, and you'd have an instrument worth buying!! Unfortunately, there was no such luck with the VR-09... Maybe Roland will think of the consumer with their next clonewheel model.
Short Summary: Lackluster. Not much worth buying here. It's cheap in price, and cheaper in manufacture. I'd recommend looking elsewhere for a quality keyboard.
Novation Bass Station II
Novation has gone largely unrecognized as a keyboard manufacturer until very recently, as their instruments have previously not been among the groundbreaking creations of the contemporary manufacturers. As of today, however, Novation has built quite a résumé of powerful analog and digital synthesizers, some of which are becoming first-choice picks by musicians over the synthesizers produced by fan favorite companies like Moog and Oberheim. Novation's Bass Station II is a little blue beast, capable of producing massive soundscapes, and everything it has to offer is packed tightly into a very manageable, portable package.
Sound: 10/10
Put simply, the soundscaping possibilities of this tiny synthesizer are truly impressive. Genuine analog synthesizers are increasingly hard to come by in recent times, particularly with the advent of "digital-analog" into the synthesizer scene, but there is still (and likely will always be) so many merits held by true analog synthesizers over their digital counterparts. The Bass Station II includes capability to create sounds via two full oscillators, as well as a sub-oscillator for extra bass power in creation of synth tones. The on-board arpeggiator is reliable, consistent, and highly customizable. Along with the oscillators, the Bass Station II includes the sound modulation capabilities of two LFOs and a sweeping LP/MID/HP cutoff knob. All together, the sound of this synthesizer is absolutely miles ahead of synthesizers in its price range. Actually... it might be the only analog synthesizer anywhere close to the price of $400! In addition to all of these capabilities, the engineers at Novation were kind enough to include on-board distortion, overdrive, and noise effects to the mix.
Keybed: 9/10
There is not much bad to say about this keybed. It has aftertouch capability, the keys are full-sized, and they are as reliable and comfortable as any I have ever come across. The one-point dock comes from the fact that the pitch range only covers two octaves (though this downside is easily mitigated by the use of the octave +/- buttons conveniently located near the pitch and mod wheels on the left side of the keyboard).
Hardware/User Interface: 6/10
While everything that exists in the user interface of the Bass Station is top notch, the 6/10 rating comes from the fact that this synthesizer is not one-knob, one-function. The engineers at Novation decided that, in order to keep the user interface simple and sleek, they would move some of the synths lesser capabilities to be edited by way of the user holding a "function" button while simultaneously pressing a key on the keybed that is labeled for this function. I suppose the fact that these capabilities being a part of this keyboard at all is a massive upside, but the complication of their usage because of their layout makes them almost too tricky and convoluted to understand. Outside of that complaint, the existing knobs and buttons are sturdy, responsive, and very well arranged. The outputs on the back of the keyboard are also plentiful and very helpful for sound export and pedal inputs.
Short Summary:
This synthesizer is portable, pretty, powerful, and comes at an extremely fair price. If you are on a budget, but in need of a true analog synthesizer, you can't go wrong with the Bass Station II
Yamaha MX Series
Yamaha is a powerhouse when it comes to workstation synthesizers. While the MX series is not exactly a first-round pick for a dedicated workstation, it has so many benefits outside of the main keyboard realm. With the MX49 weighing in at a featherweight 8.3lbs, it is the perfect keyboard to have for quick runs between jam sessions and rehearsals, as there is no way this machine is going to put a strain on your back before the show. The MX series borrows all of it's voices from Yamaha's highly acclaimed Motif series, one of the absolute best workstations in the game time and time again. The MX series takes all that producers and musicians loved about the Motif and packs it into a sleek, light, quick-draw chassis, making it perfect for the musician on the run.
Sound: 8/10
As mentioned previously, the MX series is a benefactor of Yamaha's long-time favorite machines, the Motif series. The sounds cover an extremely broad spectrum of genres, from grand pianos and Rhodes tines, to an "ethnic" section full of sitars and dulcimers, to full orchestra strings and fat synth leads. Put simply, there is nothing left out. Any sound you may think you need for music production, it is packed somewhere within the MX series. But, quantity does not always come hand-in-hand with quality. The pianos can tend to be slightly lackluster. The synth tones are much better done by a dedicated analog synthesizer. With that said, not everyone has a cast of roadies available to carry hundreds of pounds of gear along with them so they have the best of every sound at their fingertips. The MX series creates a very comfortable bridge between quantity and quality. It has every sound that you could ever need, and it does them well enough for a casual musician to get by.
Keybed: 5/10
Full-sized keys... but pretty spongy... and noisy too. The bulk of the positive end of this five-point review comes from the fact that Yamaha was wise enough to produce this line of keyboards with full-sized keys, even though the main appeal of this keyboard line is its portability. With that said, full-sized is not even close to being everything a consumer has to ask of producers in the realm of keybeds. These keys are pretty clacky, and the noise can become quite distracting unless you have your speakers turned high or you're playing with some quality over-ear headphones. In addition to the noise, these keys have a cheap, sort of spongy feel to them. Not rock solid by any stretch. I tend to be a bit obsessive about keybed quality, because in my eyes, if a keyboard isn't haptically pleasing to play, why play it? I truly believe that the MX series, however, presents more than enough upsides to excuse the terrible keybed and make this keyboard worth the purchase.
Hardware/User Interface: 7/10
LCD screen? Small, tiny even (but bright!).
One knob, one function? Nope.
Deep sound edits? Complicated, convoluted.
AI Selection Wheel? Awesome, as always from Yamaha.
Input/output options? Many.
Sound category selection? Perfect. Extremely intuitive.
The keyboard hardware/UI has its downsides, but they are not many. The main appeal of this keyboard has always been and will always be its weight. For everything it puts on the table, within its weight class, the MX series is a steal.
Short Summary:
Powerful. Portable. Ready to go. If you're on the run, the MX is an easy choice.
Kawai MP7
The choice of a flagship workstation keyboard for a musician's rig is made difficult by many factors. Along with this item becoming the most essential aspect of a complete keyboard lineup, a workstation keyboard will likely prove to be the most expensive portion as well. While only a select few manufacturers produce specialty items such as analog synthesizers and clonewheel organs, almost every keyboard manufacturer has their production teams focused on creating the next best flagship keyboard model. The market is big, and it is filled with many companies fighting for the spotlight.
Kawai is one of a very select few keyboard manufacturers that is also known for production of world-class acoustic pianos. Being that Kawai is a leading name in the realm of grand piano producers, consumers expected top notch piano sampling in their line of flagship workstation keyboards, and Kawai did not disappoint.
It is not an easy feat for a lesser known keyboard manufacturer to make a big splash in the workstation keyboard arena while competing with massive opponents like Yamaha, Korg, Roland, and Clavia/Nord, but Kawai's MP series has proved themselves more than capable of fighting alongside these heavyweight keyboard producers.
Sound: 9/10
Kawai's MP series presents a sound bank of 256 patches, with an additional 256 user-programmable presets, capable of being layered and split exactly to the player's preference. The onboard sounds range from true-to-live samples of Kawai's top-tier grand pianos, to electric tine and reed keyboards, to brass, strings, and everything in between. The instrument really is a multi-purpose musical powerhouse, with many options for production of every genre and style.
Every sound in the keyboard is able to be modulated and shaped to an amazing degree via Kawai's onboard effects processors, as well as individual instrument editing capabilities such as piano string resonance, key noise, damper noise, piano lid height, and many, many more nuanced sonic choices.
The electric keyboards (Rhodes and Wurlitzer clones) do leave something to be desired... These voices do sound true to life, but there are not many usable options other than the "Classic" and "Bright" presets. In contrast, the piano section has a massive selection of 32 different pianos, from 9-foot grands to honkey-tonk uprights.
Another downside: user sampling is not available with this keyboard. This means that users are not able to mix and match sounds from outside the keyboard to be uploaded to and played on the keyboard, which is a feature well-loved by owners of Nord and Korg workstations.
Keybed: 10/10
Being that Kawai is a company that makes real acoustic pianos, it is fair to expect a lot out of their digital keyboard keybeds. Kawai lives up to every expectation, providing a hyper-realistic playing experience when it comes to key action. The signature Responsive Hammer II action found in their MP series is absolutely perfect, with the MP11 even boasting the use of real, wooden keys in its production. If for no other reason, these keyboards would make great MIDI controllers, as their keybeds are so unfailingly smooth and responsive.
Hardware/User Interface: 8.5/10
This keyboard is HEAVY. It is surrounded by a full-metal chassis, making it very sturdy, but at 46lbs, it can be a real pain to handle when transporting from gig to gig. But, if you just need a keyboard for in-house or studio, that shouldn't be enough to turn you away from it! The UI is very intuitive, with every button feeling as though it exists exactly where it ought to. The LCD screen is separated into four quadrants, each containing an effect/aspect of the sound that is able to be modulated by turning a (sometimes too sensitive...) dedicated knob.
Short Summary: Overall, the keyboard is a powerful, sturdy, aesthetically pleasing, well-organized instrument that would be welcome in any keyboardist's arsenal.. so long as they are willing to carry it around.
Honest keyboard reviews.


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That is a tough one since you are both selling the same product. unless he has a trademark on the term popshop, I dont think you would have a problem, but it could be kind of gray since your names are so close, he could argue that you are using your name, that is a lot like his to steal his business, in that case, you would have some problems..
Don't worrry, we abuse the old timers here, too.
What you have here is a very specific concern in a fact-sensitive area of the law and not enough facts.
As these are hypothetical terms, you mention that others "call it the popshop". Trademark rights do flow from consumer perception , but originate with what the TM claimant uses as a trademark. Whether "popshop" is used there or elsewhere as a general term for candy shops, or whether the term "popshop" is distinctively and nearly exclusively used as a reference to that particular candy shop in that area.
Now.. It looks like there are two purposes afoot. Is the intent of the newspaper ad also to induce local readers to visit the website by causing at least some of them to think it might be the URL of what everyone seems to know is the particular "popshop" that they normally mean when they use the term? If that's the intent or even the effect of the newspaper ad, then there is an aroma of some form of unfair competition.
There's a difference between "popshop" and "burger shop", though, because something like "burger shop" might not be capable of acting as a distinctive term if it is generally understood to mean "any" burger shop. So, I wouldn't suggest reaching any conclusion about your particular circumstances on the basis of hypotheticals. The point, though, is to consider objectively whether the ad would generate at least some response due to consumer confusion as to the identity of the advertiser...
Many thanks for all the insights.
Mvannote, o.k. he does not have any trademarks, checked into that.
J berry, they do not have a trademark and in this business hundreds of companies online use the hypothetical term sweet in their names. Its not really used as popshop though. My addition of sweet to this doesn"t get me off the hook?.
Yes Berry I was going to try to capilize on their reputation so I will have to think about this a little deeper.
Many thanks for all your comments, Very helpful.
As long as that is the objective, there is isn't really a good way to go about doing that...
Little wiser now.
I think I will keep a low profile here on that name. Just keep cashing in on the ppc and maybe an online candy company will want to brand it as the name has all domain name markings of ca-ching that I look for.
Domain name memory recall.
Domain name traffic.
Domain name branding.
I started a brick and mortar store and sold lots of different tourist items. Among the items besides sterling jewelry, gifts, plants, etc I started to carry some candy items.
Well this store thinks it can push me around and went to my landlord and the two of them are pretty controlling of the area, they came up with a plan to get me to quit selling candy. If I did not guit selling it I would have to move. My response was see ya, Sure it's a hassle to pick up lock stock and barrel and move, but if I agreed to that how many other products would I have to run by the " good ol boy's club. So I got lucky and found a great landlord that I stayed with for years and years. He was glad I was with him as I had the only really visitors information center in this beach tourists area.
His goal was to promote this beach resort and he liked my strong customer base.
That relationship ended last year when they sold out to a very large timeshare condo for resort living. So I had to tear down my years work (including the building) and pack it all up.
Well domainers have a ace up their sleeve and that is domain ownership. I now own the name of the timeshare and the steady pay per clicks from that makes me feel a little better! By the way the name of the timeshare is a beach term, so no tm. there.
Thanks friends.


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As noun
an object, usually marked with concentric circles, to be aimed at in shooting practice or contests
any object used for this purpose
anything fired at
a goal to be reached
an object of abuse, scorn, derision, etc
; butt
the portion of a fencer's body where a touch can be scored
a disk-shaped signal, as at a railroad switch, indicating the position of a switch
the sliding sight on a leveling rod
any marker on which sights are taken
a small shield, usually round, carried by a foot soldier; buckler
As adjective
that is or may be a target or goal:The target group consisted of college graduates who earned more than $, a year
As verb (used with object)
to use, set up, or designate as a target or goal
to direct toward a target:The new warheads can be targeted with great precision
to make a target of (an object, person, city, etc
) for attack or bombardment
As Verb phrases
target (in) on, to establish or use as a target or goal:The club is targeting on September for the move to larger quarters
As Idioms
on target, properly aimed or on the right course toward a target
accurate, correct, or valid: Their description of the event was on target
filling or meeting a requirement or expectations: The amount of supplies we took was right on target
As noun
a color like that of egg yolk, ripe lemons, etc
; the primary color between green and orange in the visible spectrum, an effect of light with a wavelength between and nm
the yolk of an egg
a yellow pigment or dye
yellow light
yellow jacket (def )
As adjective, yellower, yellowest
of the color yellow
Disparaging and Offensive
designating or pertaining to an Asian person or Asian peoples
designating or pertaining to a person of mixed racial origin, especially of black and white heritage
having a sallow or yellowish complexion
(of a newspaper, book, etc
) featuring articles, pictures, or other content that is sensational, especially morbidly or offensively so: yellow rags;yellow biographies
dishonest in editorial comment and the presentation of news, especially in sacrificing truth for sensationalism, as in yellow journalism; yellow press
jealous; envious
As verb (used with or without object)
to make or become yellow:Yellow the sheets with dye
The white stationery had yellowed with age
As noun
a brief fall of rain or, sometimes, of hail or snow
Also called shower bath
a bath in which water is sprayed on the body, usually from an overhead perforated nozzle (showerhead)
the apparatus for this or the room or stall enclosing it
a large supply or quantity:a shower of wealth
a party given for a bestowal of presents of a specific kind, especially such a party for a prospective bride or prospective mother:a linen shower; a baby shower
a fall of many objects, as tears, sparks, or missiles
air shower
showers, a room or area equipped with several showerheads or stalls for use by a number of people at the same time
As verb (used with object)
to bestow liberally or lavishly
to deluge (a person) with gifts, favors, etc
:She was showered with gifts on her birthday
to bathe (oneself) in a shower bath
As verb (used without object)
to rain in a shower
to take a shower bath
As Idioms
send to the showers, Baseball
to replace (a pitcher) during a game, usually because he or she is ineffective: The coach sent him to the showers after he walked three batters in a row
to cause (a pitcher) to be replaced in a game, as by getting many hits off him or her; knock out of the box: Two home runs and a line-drive double sent her to the showers
As noun
a hanging piece of fabric used to shut out the light from a window, adorn a room, increase privacy, etc
a movable or folding screen used for similar purposes
Chiefly New England
a window shade
a set of hanging drapery for concealing all or part of the stage or set from the view of the audience
the act or time of raising or opening a curtain at the start of a performance: an : curtain
the end of a scene or act indicated by the closing or falling of a curtain: first-act curtain
an effect, line, or plot solution at the conclusion of a performance: a strong curtain; weak curtain
music signaling the end of a radio or television performance
(used as a direction in a script of a play to indicate that a scene or act is concluded
anything that shuts off, covers, or conceals:a curtain of artillery fire
a relatively flat or featureless extent of wall between two pavilions or the like
the part of a wall or rampart connecting two bastions, towers, or the like
curtains, Slang
the end; death, especially by violence:It looked like curtains for another mobster
As verb (used with object)
to provide, shut off, conceal, or adorn with, or as if with, a curtain
As Idioms
draw the curtain on / over, to bring to a close: to draw the curtain on a long career of public service
to keep secret
lift the curtain on, to commence; start
to make known or public; disclose: to lift the curtain on a new scientific discovery
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The Role of Resource Consumption Accounting (RCA) in Improving Cost Management in the Jordanian Commercial Banks
- Abdulkhaliq M. Al-Rawi
- Hiba Abd al-Hafiz
This research aims to demonstrate the ability of the resource consumption accounting system to create an addition to cost management at the Jordanian commercial banks through the following dimensions: providing appropriate information, reducing costs, and improving the quality of the cost accounting outputs of Jordanian commercial banks. The researchers relied on several study methods, represented in descriptive methodology for the purpose of scientific organized analysis and interpretation, the use of the questionnaire adopted on the basis of the theoretical literature of the previous studies and the analytical approach to describe the phenomenon as it is in fact and then to analyze, interpret and link it with other phenomena, in addition to the statistical approach by using statistical methods in processing and analyzing data pertinent to the subject matter of this research. The conclusions of the research have shown that resource consumption accounting system plays a positive role in cost management by providing appropriate information, reducing costs and improving the quality of banking services in Jordanian commercial banks. The most important recommendations were to urge the decision makers in Jordanian commercial banks to use of the resource consumption accounting system because of its positive impact on cost management, and the raise of awareness of cost accountants in Jordanian commercial banks of the need to develop the cost systems currently used to meet cost management needs.
- Full Text: PDF
- DOI:10.5539/ijef.v10n10p28
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Work is moving ahead on the secret project. Hope to have the first draft done by the end of this week so I have time for editing/rewriting before it has to go to the real editor. *nervous twitch*
Also, started on the second Dark Leopard story today. 1900+ words there and I think it's going to be a pretty good story. We're going to spend some time talking about how she got into crime-fighting to begin with and how her origin relates to a case she's getting involved with, whether she wants to or not.
Received an invite to a new (to me) convention for Dec 11-13, 2015. Geekonomicon in Biloxi, Mississippi. Did a quick check – airfare is not bad (if you don't mind the two-hour layover in Atlanta), the hotel is very reasonably priced, and I've already got an offer to pick me up at the airport. Plus a table to sell stuff at. Can't hardly shake a stick at all that, now can I?
Also, I'm going to be attending the Brooklyn Book Festival in August with my friend, Steve Roman. I'll be helping him with his StarWarp Concepts booth at the show as well as touring around the Big Apple. It's always fun to visit with Steve and he's a damn good writer, so I'm happy to help hawk his books.
And speaking of books, I have the first rough sketch for the "For a Few Gold Pieces More" cover from Shane Braithwaite. I sent back my first impressions and I think we're going to have another winner from him, folks. I consider myself very lucky to have hooked up with a talented artist like Shane.
Big thing is now to start updating the web site for when Terra Incognito and For a Few Gold Pieces More go live. I want to separate my "publishing" side from the author page based on some suggestions/feedback I've gotten from other people, especially if I'm going to be running a Kickstarter. Definitely want to show a good professional side to my publishing endeavors.
So, all in all, an outstanding day today.
Originally published at Richard C. White. Please leave any comments there.


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News & Events
EC Presents at 19th Annual Abandoned Mine Reclamation Conference
Earth Conservancy was both a presenter and exhibitor at the 19th Annual PA Abandoned Mine Reclamation Conference, which was held on June 22 at Genetti's in Wilkes-Barre. The day featured many interesting speakers who shared their thoughts and plans of dealing with AML impacts across the country – and in some cases, the world. We were also happy to host guests at our Askam Borehole AMD Treatment System who toured sites showcasing – and solving – the impacts of legacy coalmining in the region the day before. A big thanks and congratulations to all involved! Images, from left to right: 1.) Dr. Elizabeth Hughes staffs Earth Conservancy's informational exhibit.; 2.) The always popular, AML-themed magnetic poetry.; 3.) Staff of EPCAMR, celebrating near the end of a well-done conference.
Sugar Notch Park Access Trail Renamed in Memory of Jacqueline Munro
On National Trails Day 2017, Earth Conservancy officially renamed part of its Sugar Notch Trail after our late colleague, Jackie. Beginning in the Broadhead Avenue playground in Sugar Notch, the Jacqueline Munro Trail features an updated sign with a memorial penned by Jackie's friends and co-workers. It reads: "Jacqueline Munro (1962-2014) was a smart and spirited member of Earth Conservancy's team for 11 years. Throughout her life, she graced the world with her generosity, optimism, and wit. For those who knew Jackie, her kindness and affection were boundless – especially for her four-legged friends. We dedicate this trail in celebration of her memory."
Earth Conservancy Receives $800,000 in EPA Grant Awards
It was great afternoon for us at Earth Conservancy, as we hosted the U.S. EPA Mid-Atlantic Region's Regional Administrator Cecil Rodrigues to announce three $200,000 brownfields cleanup grants for our continuing work on reclaiming Bliss Bank and restoring Espy Run. Also part of the celebration: another $200,000 award from the EPA's Environmental Workforce Development and Job Training program, which Earth Conservancy will use to start its Environmental Workforce Training Program with its partner, Penn State Wilkes-Barre. In addition to Mr. Rodrigues, speakers included EC's President/CEO, Mike Dziak; Congressman Lou Barletta's District Director, Conrad Falvello; and Penn State Wilkes-Barre's Chancellor, Dr. Dale Jones. Other partners on the EWT Program include the Luzerne-Schuylkill Workforce Investment Board; the Lackawanna County and Pocono Counties Workforce Development Boards; the Northern Tier Regional Planning Development Commission; EOTC; and EPCAMR. Our thanks to everyone who helped make this an amazing event and continue to support our work.
Pictured below, left to right: 1.) EPA Project Officer Jeff Barnett chats with Dr. Dale Jones, Chancellor of PSU Wilkes-Barre; 2.) EPA Region 3 Acting Administrator Cecil Rodrigues talks with PSU Wilkes-Barre faculty and staff, including Jane Ashton (center), Director of Continuing Education; 3.) Crowd awaiting the award announcements; 4.) Mr. Rodrigues; 5.) Mr. Dziak; 6.) Mr. Favello; 7.) Dr. Jones; 8.) View of Hanover 9 field, where event occurred.
Earth Day Cleanup at Sugar Notch Playground
EC continued its Earth Day celebration on Sunday with a cleanup of the Sugar Notch playground, home to one trailhead of the Park Access Sugar Notch Trail. The group was small but mighty, picking up trash, clearing planting beds, and spreading new wood chips from EC's compost facility. Our thanks to the volunteers, especially the students from Wilkes University's Environmental Club. What a difference!
EC at Earth Day along the Susquehanna | 2017
Earth Conservancy was happy to be part of another excellent celebration of Earth Day along the Susquehanna in Nesbitt Park with over 1,000 students in attendance! This year, we discussed the problems associated with acid mine drainage in the region and how we can assess stream health through macroinvertebrates. Thanks to sponsors Pennsylvania American Water, the Wyoming Valley Sanitary Authority, Pennsylvania Department of Conservation and Natural Resources, the Penn State Cooperative Extension, and the Riverfront Parks Committee for organizing the event; and all the other great environmentally-minded partners for making the day a success! Below, from left to right: 1.) EC's Earth Day display and activity; 2.) Working to identify macroinvertebrates; 3.) View of one section of the Earth Day activities; 4.) More group work on ID-ing stream inhabitants.
EC Supports Purchase of New ATV for Newport Township Police Department
Earth Conservancy joined State Senator John Yudichak, State Representative Gerald Mullery, Newport Township officials, and many others to congratulate the Newport Township Police Department on the acquisition of two new vehicles to help in off-road patrols. Earth Conservancy, along with a grant from the Pennsylvania Department of Community and Economic Development, helped fund the purchase of the new ATV, which will be used in ongoing work to prevent illegal dumping, trespassing, and vandalism in the lower South Valley, especially on hard-to-reach sites. We're glad to be a partner in this community effort. Pictured, from left to right: 1.) The new Newport Township Police ATV; 2.) Senator Yudichak; 3.) Representative Mullery; 4.) Mike Dziak (far left), EC's President & CEO, joined municipal officials and other project supporters for a group shot.
Earth Conservancy Celebrates the 2016 Northeast Environmental Partners Awards
Earth Conservancy was pleased to be a sponsor for the 26th Annual Evening for Northeast Pennsylvania's Environment. Held on October 20, 2016, at the Woodlands Inn and Resort, the event highlights environmental protection and improvement efforts within the region, and celebrates the individuals and organizations who are making a difference through their environmental work. Dr. Elizabeth Hughes, EC's Director of Communications, is pictured at left sharing Earth Conservancy's own environmental accomplishments with attendees.
The Northeast Environmental Partners represents seven organizations: Northeastern Pennsylvania Alliance, Pennsylvania Department of Conservation and Natural Resources, Pennsylvania Department of Environmental Protection, Pennsylvania Environmental Council's Northeast Office, PPL Corporation, Procter & Gamble Paper Products Company, and Wilkes University. Read more about the 2016 honorees here.
EC Testifies at Hearing on the Benefits of Coal Waste Facilities
On October 11th, Earth Conservancy presented testimony to the Pennsylvania Senate Environmental Resources & Energy Committee about the role coal waste facilities play in its reclamation work. These facilities remove previously unburnable coal waste from legacy sites and use it for energy production, thereby cleaning up the environment and supporting the economy with zero costs attributed to taxpayers. Hear from us and others about this important industry by watching the full public hearing here. Seen at left is Earth Conservancy President & CEO Mike Dziak, speaking Senators Yudichak, Argall, and Yaw.
Pennsylvania DCED Awards $85,000 to Support Askam Borehole AMD Treatment System
More good news for Earth Conservancy's ongoing work at the Askam Borehole AMD Treatment System: The Pennsylvania DCED has awarded EC $85,000 through its AMD Abatement & Treatment Program, part of the Act 13/Marcellus Legacy Fund. The monies will help underwrite upgrades to the system, as well as operation and management costs for the next three years. We sincerely thank all of the agencies and individuals involved for their support of this project, allowing EC to continue its efforts towards cleaner waters and a heathier watershed in the South Valley.
EC Talks with Senator John Yudichak
Video Spotlight: In June, Senator John T. Yudichak (D-14) invited Earth Conservancy to discuss its recent mineland reclamation and watershed restoration work. His conversations with EC's President and CEO, Mike Dziak, are available here as part of the Pennsylvania Report series.


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Anyone can win!
Twitter Giveaway
I didn't create this site to bash on Magic books. This site was created to celebrate the rich and flavorful Magic: The Gathering universe that we all love, but fate decided otherwise. My first chapter by chapter Read Through was for what ended up being the worst book I have ever read. If this was anyone's first time exploring beyond the cards, listen to me, I assure you that Scars of Mirrodin: The Quest for Karn is absolutely not reflective of the quality of plenty of the Magic novels of the past.
To help counterbalance what I hope is the darkest moment in Magic novelizatoin, I'm going to be giving away one copy of Artifacts Cycle I - A Magic: The Gathering Omnibus. This book collects the two best Magic novels I have read to date, The Thran by J. Robert King and The Brothers' War by Jeff Grub.
Want to read for yourself how Yawgmoth the Ineffable rose to power and became the Father of Machines? Want to witness how a falling out between the two brothers Urza and Mishra escalated into a war that devastated all of Dominaria? Well you're in luck!
Enter to Win
To be eligible for a random drawing for a brand new Artifacts Cycle I - A Magic: The Gathering Omnibus, tweet or RT the following tweet by Wednesday, May 25th:
#Giveaway! @mtgfiction To celebrate Magic fiction, RT to be eligible for a copy of the Artifacts Cycle I novel http://t.co/fGkK6hV #mtg
- @mtgfiction
Help me fix the karmic balance of this site. I've shared the worst Magic has to offer, and now one lucky person can experience (or re-experience) the best.
(Everyone else will just have to wait, I'll get to those books eventually. Or go ahead and treat yourself , I won't stop you.)
The drawing will take place on Thursday, May 26th. The winner will be announced both through twitter and on this site.
And this should be obvious, but... To be able to claim the prize, the winner will have to supply me with an address for the book to be shipped to. If there is no response within 24 hours of announcing the winner, another winner will be chosen. Good luck!


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It's a mystery
There is a name for people like me – "relationship virgin". It is apt and accurate because I have managed to get to 54 without ever having had a boyfriend.So, being standoffish, reactive, and self-overrated is a handicap to pursuing relationships? Who would have ever imagined that? The truth is we see this sort of behavior in men as well; being a man, I see it even more often. The "pointy elbows, 2/10, would not bang" meme perfectly mocks this ridiculous, self-destructive behavior.
It is hard to believe, given that I haven't been living in a cave at the bottom of the ocean, but it is the truth. I have never had a significant other, never been someone's other half, never been asked out. Come to think of it, I've never even had a Valentine's card – well, not unless you count the piece of paper with a love heart drawn in blue pen that Kevin from Sunday school shoved into my coat pocket when I was about seven....
I honestly don't understand it. I am gregarious, have loads of interests, work out, have good dress sense – or so I am told – and am no more or less attractive than my friends, most of whom are happily married, or at least know what it feels like to be in love.
Just recently, my best friend – someone I have known since junior school – said to me that she wishes she had given me a good shake when we were at university. She was studying in the next city and would visit me for hall parties and other socials, and now says she could see what I was doing wrong. She says I made it such hard work for any boy who approached me, that I was too much of challenge.
I was invited to four weddings (no funerals, thank goodness) the year I turned 37. That is when I decided to join a dating agency, but it turned out to be one soul-sinking encounter after another with men who were inadequate, unsuitable or both.
Look, men are not special because they are attracted to supermodels and women are not special because they are attracted to successful alpha males. That's the exact opposite of special.
This doesn't mean that you can't trade up in one area where she trades up in another. But it has to be an area of superior value to them, not to you. No woman gives a damn about your loyalty, devotion, white-knighting or romantic nature anymore than you care about her academic credentials, knitting skills, or gossip network.
Never forget that in love, as in war, the other party always gets a vote.
Labels: Alpha Game


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BE A BUSINESS BOOSTER! We offer four levels with great benefits including exclusive programs just for you and your employees.Learn More
radio and television at our
interactive galleries!
get involved and give back!
for the NCRTV 2019 Annual Spring & Fundraiser Gala
Welcome to the National Capital Radio and Television Museum
We offer guided tours on Friday (9-4) and Saturday and Sunday (12-4) and by appointment. Our tours are interactive.Learn More
The Museum is looking for volunteers to serve as docents. There are several other volunteering opportunities, as well.Learn More
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Current Exhibits
Gallery 1: Wireless Beginnings
In the late 19th century, inventors and experimenters sought to send telegraph signals without the use of wires. They used the term "wireless telegraphy" (or simply wireless) to describe sending Morse Code (dots and dashes) through the air. Once wireless telegraphy was shown to be feasibl...
- September 14, 2018
- Current Exhibits
Gallery 2: Birth of Broadcasting
Walking into the first upstairs gallery brings the visitor to exhibits about the inception of radio broadcasting. A handful of radio stations begin to offer a planned schedule of programs—mostly music with some talks—in 1920. They were typically on the air but an hour or two in the evenin...
- September 14, 2018
- Current Exhibits
Gallery 3: Radio Comes of Age
Our second upstairs gallery highlights important radio developments in the late 1920s. Radio receivers became items of well-designed furniture, often in handsome wooden cabinets. And for the first time they could be plugged in, avoiding the need for cumbersome batteries. They were far easier ...
- September 14, 2018
- Current Exhibits


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|Last Update: 5-27-09
Parts Page
I felt the need to get this page going asap. I have a few places that I have dealt with and recomend to everyone. They are listed below. These places have saved me lots of money.
If you have places that you have dealt with and would recomend them to other people ( Selling ATV wheeler parts ), then send me the info.
I would like to have this info:
Name of the place:Company name
Located: City and State
Phone number(s):
Web site address:
Description:(What kind of ATV parts do they sell ( after market parts, OEM parts, Accessories, services, custom built parts, paint, tires, ect. ).
If you have a place that should be listed on here E-mail me by clicking right here. NOTE: You will need to remove the "_NOSPAM_" for the email to work.
If your looking for USED parts PLEASE Post what you need in the Classified section of our Forums. This Page is for Web Sites that sell ATV parts only.
Please Do not Email me wanting parts from this page.
Thanks, Howdy
NOTE: We are not affiliated with any of the sites listed Below.
Here is a couple for starters:
Company: K&H Kawasaki
Located: Cortland, NY
Phone Number: 1-800-628-1215
Description: They are a Kawasaki Dealer which makes then nothing special. What does make em cool is that they are allways cheaper than the other local shops, the people are usually really cool. And for the coolest part, They have a National Parts Finder, where they can find an OEM part from some dealer in the middlle of no where.
Company: Curry Bros
Located: Columbus, NE
Phone Number: 1-402-563-2224
Description: Service, Parts, and Sales.
Company: BEATRICE ATV
Located: Beatrice ATV 118 N. 7th Street Beatrice, NE 68310
Phone Number: To be added
Web site: Click here for their Web Site. Link Fixed 9/1/03
Description: These Guy's have a ton of ATV stuff listed. They concentrate on the atc70's 90's and 110's. But Jack said eventually they will add more for the larger three wheelers. ( I hope. lol )
Company: Service Honda
Located: Hammond, Indiana 46320
Phone Number: 1-800-828-5498
Web site: Click here for their Web Site
Description: They sell OEM Honda parts up to 30% off list price. These guys are very good. Fast and reasonable on OEM parts.
Company: The Nation Parts Depot
Located: I can't remember ( brain Fart )
Phone Number: 1-888-780-8544
Web Site: I think they have one but I don't know the address yet
Description: They sell OEM Yamaha and Suzuki parts up to 30% off.
Located: College Park, GA 30349
Phone Number: 1-888-421-8473
Web Site: Click here for their Web Site
Description: They sell ATV tires at very reasonable prices.
Company: Dennis Kirk
Located: Rush City, MN 55069
Phone Number: 1-800-328-9280
Web Site: Click here for their Web Site
Description: They sell lots of aftermarket parts and accessories.
Company: Rocky Mountain ATV
Located: Payson, Utah 84651
Phone Number: 1-800-336-5437
Web Site: Click here for their Web Site
Description: Tires and lots of them at good prices.
That is all for now. Got any other places? We need your input.
Help keep the Dunes open, Visit the ASA's website and support them.
Advertise here, Sponser us ( very cheap ), Add a Link, Add pictures, Ect. ?
The contact information is above.
Do you like this site? Can you donate a little money to help pay for the web hosting cost? If you can donate please email Billy ( HondaATC ) or Howdy and they will give you the info on how to donate. Thanks!!
Thanks For visiting
Page Visit's
|F.A.Q. � Copyright 1999 - 2006 3WHeeLeR WoRLD. All rights reserved. Legal


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