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Jobson vs. Emerson
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Topic: Jobson vs. Emerson
Posted: April 20 2013 at 00:04
I'm a musician, however, I'm a drummer. So I'm not qualified to judge this one. I love Eddie Jobson and Keith Emerson. I think both possess incredible skill.
But, is one technically a more accomplished player? I realize that preference is what matters, and, as I said, I love 'em both. Having said that, it seems to me that there's nothing Emerson has played that Jobson could not play, in terms of technical difficulty. Am I correct?
Do we have any keyboardists here who are really familiar with both of these guys? If so, I'm very eager to read your opinion(s). Please chime in.
Thanks so much, proggers!
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|Post Options Quote Reply Posted: April 20 2013 at 03:05
^that however in your opening sentence speaks volumes. (I think you meant to type: but I ain't a keyboard player)
I'm a massive Emerson fanboy at heart but really couldn't give a discarded fig if his technique was rated 'beyond redemption' by any so-called qualified expert. What merit does any music have that rests upon its difficulty to play or execute?
You've got ears and a brain, you're overqualified
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|Post Options Quote Reply Posted: April 20 2013 at 03:18
I'm not a keyboard player either. I have heard much less stuff from Jobson, his UK albums, Tull's A and some occasional bits of his work with Roxy Music etc. Jobson was very skilled but I prefer Emerson. You can not judge musicians simply by the technical difficulty level of what they can play, statements like 'there's nothing Emerson has played that Jobson could not play, in terms of technical difficulty' are not very relevant, perhaps he could play what Emerson played, but the fact is that Emerson did create that music, not Jobson. From this point of view I prefer what Emerson did to what Jobson did (although the UK albums especially the first one are excellent!).
One key difference is that Jobson did not play so much on the acoustic piano. The acoustic piano reveals many nuances of a player which the electric keyboards disguise, such as velocity (not meaning speed) and dynamics control etc.
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|Post Options Quote Reply Posted: April 20 2013 at 09:10
I'm a keyboard player and I even had the distinct pleasure of once having a three minute keyboard lesson with Eddie Jobson at a radio station in NY. I would have to say that I do not believe Jobson can play the things Emerson does. Emerson's compositions were much longer and require more keyboard skill. As far as I know, Jobson's one tour de force is on Presto Vivace and that is a single shorter piece by him that he probably played over and over and over. If you listen to Emerson's Piano Improvisations on WBMF, you'll find the most difficult to play keyboards in all of rock music, IMHO. I also think the Piano Concerto shows Emerson to play things harder than anything Jobson has done on record. I would like to hear other keyboardist's opinions.
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|Post Options Quote Reply Posted: April 20 2013 at 11:38
Love 'em both, but Emerson....
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|Post Options Quote Reply Posted: April 20 2013 at 13:05
There's no promotion waiting for a man like Eddie Jobson.
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|Post Options Quote Reply Posted: April 20 2013 at 13:26
I am a guitar player, but Emerson strikes me as the more accomplished of the two. Jobson, whose music I enjoy a great deal, seems more of an ensemble kind of player since the bulk of his work is with bands. He is also a violinist, so there is a different dimension to his musical approach, I think. Emerson is purely a keyboardist and a verstile one - concert piano, saloon piano, synths (especially Moog), and Hammond B3. Anything from classical to rock he handles. He also takes on the bulk of the ELP sound. His name is first not just because of the alphabet, but because he is the one who carries their music more than the others. He is at least half the sound we hear from them. So, greater versatility and greater prominence is mostly what I hear. All of this means is that his parts, often multiparts, are more difficult to maintain, perform, and yes, compose. I love Eddie's work with Tull, Roxy, and UK, and enjoy the one solo album I have of his, Theme of Secrets, but there is nothing on any of those that really matches what Emerson has done.
The world of sound is certainly capable of infinite variety and, were our sense developed, of infinite extensions. -- George Santayana, "The Sense of Beauty"
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|Post Options Quote Reply Posted: April 20 2013 at 13:43
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|Post Options Quote Reply Posted: April 20 2013 at 16:59
Another KE fan boy chiming in here, all you have to do is look at some of those classically trained piano parrots to get the answer to that. By parrot I mean those guys who wow the world with the amazing Liszt performances and other complex music. Strange that I don't recall any of them doing anything 'original' and therein lies the truth. Technical performance or knowledge isn't the real question, it's the creative element that sets Emerson apart.
I was also the sound engineer for the keyboard driven Symphonic rock band BUSKER for six years. The keyboard player for that band could play pretty much any ELP tune you can imagine, and he was playing a full Hammond D foot pedal bass at the same time, and not a push and hold bass but a walking bass. I never saw Emerson do that. But that didn't make him better technically or otherwise.
Your original question is "technically accomplished", well, that's a very vague qualifier to be sure. For instance, if a keyboard player can shift from one style to another seamlessly either within a song or from song to song does that qualify as "technically accomplished"? What about if they can maintain a rhythm like a metronome, does that qualify? What about always hitting every key in a cord exactly each and every time, does that qualify.
I guess my point is (and I'm sorry for taking so long to get to it) there are so many elements that go into any musical performance of any instrument that I don't believe there will ever be a correct answer. Only opinions.
BTW, my opinion is that Emerson is and always will be the keyboard GOD of progressive music even as age takes its toll of the physical being. He is truly the ORIGINAL !!!
See, I told you I was a fan boy.
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|Post Options Quote Reply Posted: April 20 2013 at 17:03
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|Post Options Quote Reply Posted: April 20 2013 at 17:25
I hate the concept of "rating" people against each other, whether it's on the grounds of technique, looks or whatever.
Just be thankful that we have such a variety of different styles and approaches to each instrument.
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|Post Options Quote Reply Posted: April 21 2013 at 14:55
Wasnt Jobson Violinist who also played a bit of keyboards ?
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|Post Options Quote Reply Posted: April 22 2013 at 14:11
I've been a bit of an obsessive Keith Emerson fan for a long time. I even like his flim soundtrack work (Nighthawks displays yet another side of him). As people have already nailed down well on this thread its not about technique. I bet most could name 20 or 30 keyboard players in prog that are 'better'. Ironically though most of them only have a career because of Emerson! Says a lot really. If I was to pick any guy purely on technique it would be Fred Schendel of Glass Hammer. He also writes some very good modern symphonic prog. Eddie Jobson has had a very good career but I really wish he had made more music like Theme Of Secrets. That was a possible creative outlet for Eddie that never quite took off for some reason. Shame.
Edited by richardh - April 22 2013 at 14:12
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|Post Options Quote Reply Posted: April 23 2013 at 10:51
With all due respect, I do not agree with the statement that there are 20 or 30 keyboard players in prog that
are "better" technically then Emerson. I've had about 5 years of classical piano, which isn't that much, but
I just don't agree that even 5 prog keyboard players would have the stamina or physical strength to play a whole Emerson set the way Emerson does. Again, with great respect, but most tribute bands that I've heard play ELP music
had something lacking in execution. There is something about the unique use of modal choice of notes in ELP
music that is very modern. Even though some music sounds like prog, often it's just based on major, blues,
or minor scales.
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|Post Options Quote Reply Posted: April 23 2013 at 13:25
I've seen both live and and feel that while they are both amazing, Jobson is perhaps a little bit more underrated than Emerson. I'm a huge fan of UK but it wasn't until I actually saw them live that I realized just how good Jobson is on the keyboards (I got into him through his violin work.) So in terms of popularity I would perhaps say Emerson.
In terms of playing ability I think they manage to outdo each other in different areas. Keith Emerson is all about the showmanship and playing a fairly large mix of keyboards. His playing the piano upside down thing is certainly impressive. Jobson only used the onee keyboard when I saw UK, but achieved a great deal withi t which was equally impressive. He is also insanely good on the violin, so there is that for him as well.
Basically if you just talk about their playing styles you could, maybe, come to a conclusion on, but then you have to consider all of the above as well and it get's harder to compare!
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|Post Options Quote Reply Posted: April 23 2013 at 13:59
What he said.
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|Post Options Quote Reply Posted: April 23 2013 at 23:25
Thanks for all the replies. I realize that it comes down to which player's style one prefers. They're both amazing. I suppose I'm more familiar with Jobson's piano playing than most here. On his "Green" album there is an incredibly intricate and impressive piano song. Also, I have a CD called 'Piano One' where he contributes 3 songs. It's all just grand piano. And, trust me, he is tremendous. I also saw him live in 1978. So, I beg to differ. I think he's just as skilled as Emerson, but I love 'em both.
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|Post Options Quote Reply Posted: April 24 2013 at 01:27
I understand your point of view of course and Keith is my hero so I don't want to argue my point vehemently. However the appeal of Emerson and his music for me is its originality not the technical skill involved. Emerson was prepared to break the mould.
When I say there are better players I am talking about precision which is something that Emerson was not always hot on. He cared more about ideas although he and Wakeman did have that supposed rivalry . According to Wakeman though this was encouraged by their record companies to help sell more records and then hyped up by the media at the time.
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|Post Options Quote Reply Posted: April 24 2013 at 02:42
I play kybds (and other stuff) and have always been of the opinion that there are 2 kybd players in prog, Keith and everybody else. Based on your original question, even if Jobson could play Keith's parts (which I doubt), the important distinction is that he couldn't come close to creating anything like Keith. Even if he could play them, I don't see Jobson writing the opening counterpoint organ part to Karn Evil 9 1st Imp or the opening section to Tarkus.
Keith is the man.
I'm using the chicken to measure it.
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|Post Options Quote Reply Posted: April 24 2013 at 02:46
Emerson's 'Piano Concerto No. 1' is pretty much perfection to demonstrate his skill on the piano, especially the manic Third movement 'Tocatta con Fuoco'. Keith was already tackling amazing things whilst in The Nice, and Jobson was in his late teens when he hooked up with Curved Air. His performance on their album 'Air Cut' was already at a very high level. Two truly gifted musicians, and I've never heard Emerson play a violin - Jobson is superb on that thing.........
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AMERICA/ARGENTINA - The campaign against drug abuse, a scourge for thousands of young people, restarts in Jujuy
Jujuy (Agenzia Fides) - Jointly organized by the Diocese of Jujuy and the foundation "Manos Abiertas", the campaign to combat the consumption of drugs restarts. The first campaign was launched in Jujuy in November 2010. The first initiative of this year's conference is titled "Addictions in the house, what challenges us?", which will be held on March 6 at Nostra Signora dell'Orto, in the city of San Salvador de Jujuy.
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Autumn Wedding guest
Today is the wedding of some lovely blogger pals of mine. I didn't have time or money to hunt for a new dress, so I decided to really dress up one I already own. A few easy accessories and I'm good to go.
Gray Dress - Forever 21+, 3X (last spring)
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In the Marina District of San Francisco, features a free parking spot. This inn is less than a 10-minute walk from Marina Green and renowned shops and cafes on Chestnut and Union Street.
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The best night sleep, in a very comfy bed, very clean
The front desk was very accommodating and helpful. We have been here on three previous occasions....and things have improved with the rooms being upgraded. We will definitely be back.
Air quality in room was noticeably poor. Fortunately our windows could open so an hour or so of opening them fixed that problem. 2. We had to constantly ask housekeeping for additional towels (just one each time). We were there for 8 days.
Great location. Walking distance to restaurants and bars at the Castro .
Room wasn't clean, It had an odor of dirty socks and the the comforter on the bed had brown stains. There is a a rude security guard that walks around the balcony peeking through guests windows.
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Great location. Great to be able to use laundry facilities on site. The newly renovated room was great.
The staff wouldn't let me use my travel credit card which meant I had to pay the extra hefty international transaction fee.
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room, uncomfortable bed, decor, bad odor, ac inadequate, only stair access to room, etc. Should be rates 1 star at best.
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I do wish that certain amenities were available such as a continental breakfast in the mornings. Little things such as q-tips and conditioner I feel are needed and were missing.
Clean and efficient. Nice touches. Strong internet connection. Good restaurants in area.
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On the outside, it is what it is, but the remodel of the rooms is hugely successful. The location, as far as the Castro is concerned, is hard to beat. Once you're inside the room, you'd think it cost four times as much. As I said, the building is what it is, and there's no real realistic way to change that. The rooms however, are fantastic. Because of this reality Beck's represents a rare value.
The staff, esp. Jill, Temple, Jake, Orlando and Marlon were so kind. This is a home away from home.
The beds were comfortable, nice size rooms loved the shower! Cable bus across street and close to everything we wanted to do.
Not anything bad about this place. Will definitely stay again!
Nice interior of rooms. Good location!
Thin walls. Sometimes you hear neighbours watching TV. Ear plugs recommended.
The re-habbed rooms have very modern design and fittings. Beds are very comfortable. The nights were quiet despite Market/Castro location. Free parking, some covered. The amenities are basic and few, the assumption apparently is that you need overnight comfort in a motor lodge--you are not going to live here.
No paper or pencil supplied for taking notes from phone calls.
Mainly the location of the hotel. Very easy to use public transportation from there. The hotel room was recently redesigned, so it looked very clean and comfortable.
I stayed in a place close to the ice machine that could be a little bit noisy when its engine started to work.
The newly refurbished rooms were clean and comfortable
The hotel is no frills and other then the free wifi, there are few amenities.
Right by an F train stop for easy access down town and to the piers. Freshly renovated room had a boutique hotel feel.
Location. Updated rooms are really nice, my son really like it. Third day we were in an older room, not as nice but still clean and big.
Front office staff not friendly or helpful (all 3 I talked to over the 3 days). Since I liked the place, a friendly staff would really make this a great place.
The newly renovated rooms are nice.
We had a room right next to the stairs, so that was pretty noisy. And there's no breakfast, which is ok, since there are many nice Cafés around.
Clean fully renovated room central location, tram connection to downtown
The price.
bathroom door didn't close.
Tram and bus stops in front of hotel. Great area for little shops and cafes. Perfect for people who really like San Francisco, not designed for people who want a corporate/you-can-find-the-same-thing-in-any-city hotel.
We stayed here before. Once in the older rooms which were good. But the new Renovated rooms were awesome! Very nice beds, showers. Most people say the did a reno, but this one was done very well. The staff are nice and the location can't be beat if you are looking in the Castro.
Odd noise from the street car in front in the morning. But nothing to be concerned about unless you are a very light sleeper. If you are I would recommend a room in the back.
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This is a really easy, good recipe that appeals to kidsr. Good for our "meatless" meals which we're trying to do more of. I didn't rate it higher just b'c it's not special enough for a special occasion.
Creamy Tortellini Primavera
More From Southern Living
Recipe Time
Cook Time:
Prep Time:
- 1 (10-oz.) package refrigerated reduced-fat Alfredo sauce
- 2 tablespoons dry white wine
- 1/4 teaspoon dried crushed red pepper
- 1 pound fresh asparagus
- 1 (20-oz.) package refrigerated cheese-filled tortellini
- 3 garlic cloves, minced
- 2 tablespoons olive oil
- 1 1/2 cups sliced fresh mushrooms
- 1/2 teaspoon salt
- 1 cup halved grape tomatoes
- 1/4 cup freshly grated Parmesan cheese
- 1. Stir together first 3 ingredients. Snap off and discard tough ends of asparagus; cut into 1-inch pieces.
- 2. Bring 5 qt. of salted water to a boil; add tortellini, and cook 6 minutes or just until tender. (Pasta should still be firm to bite.) Drain; rinse with cold water, and drain well again. Place in a serving bowl.
- 3. Sauté garlic in hot oil over medium-high heat 1 minute or until garlic is lightly browned. Stir in mushrooms, asparagus, and salt; sauté 3 to 5 minutes or until asparagus is crisp-tender. Reduce heat to medium, and stir in Alfredo sauce mixture. Cook 5 minutes or until thoroughly heated.
- 4. Pour sauce mixture over cooked tortellini; toss gently. Sprinkle with tomatoes and Parmesan cheese. Serve immediately.
- Note: For testing purposes only, we used Buitoni Light Refrigerated Alfredo Sauce and Buitoni Three Cheese Tortellini.
My Notes
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Creamy Tortellini Primavera Recipe at a Glance
- COURSE: Main Dishes
- CONVENIENCE: Entertaining
- CUISINE: American, Italian
- MAIN INGREDIENT: Dairy
- OCCASION: Spring, Summer
- PUBLICATION: Southern Living
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text:
"I won't regret because you can grow flowers from where dirt used to be." -Kate Nash
"A love story should never have a happy ending, because real true love stories never end."- Michelle Phan
"When I was five years old, my mother always told me that happiness was the key to life. When I went to school, they asked me what I wanted to be when I grew up. I wrote down 'happy.' They told me I didn't understand the assignment, and I told them they didn't understand life." -John Lennon
"being happy doesn't mean that everything is perfect. Being happy means that you have decided to look beyond the imperfections."
"for beautiful eyes, look for the good in others; for beautiful lips, speak only words of kindness; and for poise, walk with the knowledge that you are never alone" -Audrey Hepburn
"Her smile was not meant to be seen by anyone and served its whole purpose in being smiled." -Rainer Rilke
"Be humble for you are made of earth.
Be noble for you are made of stars."—Serbian Proverb
"Some people are so poor that all they have is money."-unknown
"Watch with glittering eyes the whole world around you, because the greatest secrets are always hidden in the most unlikely places. Those who don't believe in magic will never find it." —Roald Dahl
"Butterflies can't see their wings. They can't see how beautiful they are, but everyone else can. People are like that."
"There is a crack in everything. That's how the light gets in." —Leonard Cohen
"Anyone can love a rose, but it takes a great deal to love a leaf. It's ordinary to love the beautiful, but it's beautiful to love the ordinary."
"Your handwriting. The way you walk. Which china pattern you choose. It's all giving you away. Everything you do shows your hand. Everything is a self portrait. Everything is a diary." —Chuck Palahniuk, Diary
"Everyone says that love hurts, but that's not true. Loneliness hurts. Rejection hurts. Losing someone hurts. Everyone confuses these with love, but really love is the one thing in this world that covers up all the pain and makes us feel wonderful again."
"Everybody wants happiness and nobody wants pain, but you can't have a rainbow without a little rain"
"The 'earth' without 'art' is just 'eh'"
"The grass is greener where you water it"-Neil Barringham
"You don't have a soul. You are a soul. You have a body." ― C.S. Lewis


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Thursday, May 30, 2013
Health Science Entrepreneuers: Anatomy of a Business Venture
Thursday, May 30, 2013
Networking & Reception: 5:30 p.m.
Panel Presentation: 6:00 – 8:00 p.m.
Raytheon Room Egan Science Center 120 Forsyth Street Boston, MA
Join the Health Sciences Entrepreneurs and Bouvé College as we hear from three entrepreneurs who will share their extensive knowledge with you. All Northeastern alumni, students and faculty interested in innovation and entrepreneurship are invited to attend. Networking opportunity before and after the presentation.
Register today:
$10 for alumni
$20 for guests and friends of Northeastern
Free for current Northeastern students


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Performing Arts at Sewanee
For more than five decades the Performing Arts Series has brought Sewanee a wide array of the world's finest artists. From famous names to new faces, from the classic to the avant-garde, the Series offers Sewanee students and community members a rich sampling of the contemporary musical and theatrical scene. Through the Performing Arts Series, Sewanee expresses its conviction that live artistic performance is a powerful tool for education and an essential component of a vibrant community.
Performances are at 7:30 p.m. Central.
Ticket information
Ticket prices are $25/adult, $20/senior and $10/student. Sewanee faculty, staff and students are admitted free with university ID. Tickets are available at the door or may be ordered online (see links below). All seating is general admission; please arrive early for the best seating.
Purchase tickets for:
The University of the South is located just minutes from I-24 atop the Cumberland Plateau between Nashville (1.5 hours from campus) and Chattanooga (45 minutes from campus), in Sewanee, Tennessee. Sewanee is on Central Time.
This Season's Events
Monica Bill Barnes & Company perform
Sep 12, 2013 7:30 pm
The Blind Boys of Alabama in concert
Sep 21, 2013 7:30 pm
Hereford Cathedral Choir in concert
Nov 1, 2013 7:30 pm
Anoushka Shankar in concert
Nov 8, 2013 7:30 pm
Virtuoso organist Jeremy Filsell
Nov 22, 2013 7:30 pm
Performance by Koresh Dance Company
Feb 23, 2014 7:30 pm
Pianist Jeremy Denk in concert - CANCELLED
Apr 15, 2014 7:30 pm


text:
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Move, resize, copy, explore, and recover hard disk drive partitions.Windows Version 8.1.1 ... Added: 09/30/13Total Downloads13,806,382Last Week77,490
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text:
Michael W. Smith Recalls 20 Memorable Moments from 20 Years
- Monday, October 27, 2003
A few months later I found myself on the tennis court in a heated match with the President and his son "W." I spent more time with the younger George when I performed at his brother Jeb's inauguration as Governor of Florida. One of the biggest honors of my career came when George W. Bush asked me to perform at the prayer service honoring his own inauguration. It was the first time I ever played the song "Above All." I was nervous, of course, and I think that I actually sang a few wrong words but I kept playing anyway. I appreciate so much what the Bush family has meant to our country.
No One in the Spotlight
Several years ago we took worship in a new direction on the first night of Gospel Music Week. We gathered a bunch of artists but agreed it should not be self-serving in any way — no new songs were introduced and no one got a step-out or a solo. We all just gathered together to worship. I think that event set the mood for the entire week and has had a great impact on our industry as a whole. I think it was one of the most meaningful events I've ever attended at GM Week.
Spiritual Warfare … On the road
Probably the hardest and most rewarding tour I have been a part of was the "I'll Lead You Home" tour. We had mounted this huge production, and it seemed like there were problems at every turn. I completely lost my voice and, for the first time ever, had to cancel shows. The Jars [of Clay] boys were opening, and one of them had to have an emergency appendectomy. One of the crew guys was hit with severe food poisoning … and on and on and on. It was hard to understand at the time what was happening. Looking back, I truly believe it was a spiritual thing. It was warfare. We ended the evening every night with some clips from Billy Graham — and I know that we were making a difference out there.
The Bono Connection
Bono, of U2 fame, has been reaching out to the Christian community to enlist support of the organization D.A.T.A. (Debt, AIDS, Trade for Africa). My first contact was when Bono was in Nashville for some meetings. We spent a good bit of time together and began a friendship. And while my family was in Dublin this past summer, I called him, and he invited all of us over for lunch. He brought out a boom box and played four new songs that probably even his record company hadn't heard yet. What a thrill for my kids! His hospitality was over the top.
Ego Check
We had the incredible privilege of having the pastor of Belmont Church, Don Finto, join us on the road several times over the years. I remember standing backstage waiting for an encore at a concert on Oct. 31, 1986, in Seattle. A group of girls could see me from the balcony and began screaming, "We love you, Michael!" Just as I was starting to swell with pride, I felt Don's big, loving hand on my shoulder. He leaned toward me and said, "It's not you. It's not you. Give it up. Give it up." Don has had an incredible impact on my life, and I wouldn't be where I am today if it weren't for him.
Worship... for the record
Recording the first "Worship" record was one of the most amazing experiences of my life. We chartered four or five planes and took 20 or so artists to Lakeland, Fla., to sing on the record. We rehearsed during the day, and the time together was so great. When we all got together to pray before going onstage, the Spirit moved in a way that we lost all track of time. We wound up starting the concert/recording really late. I can't really explain what the recording was like — and the time together with the other artists after the concert — other than to say, "God showed up." It was really an amazing night, and I am still so grateful to everybody that showed up to be a part of that night.
Gavi's Graduation
In 1988, our family "adopted" a young girl in Ecuador through the child sponsorship organization Compassion International. We have always exchanged letters and photographs over the years, and I've been able to visit her several times while on Compassion trips. The culmination of this 16-year relationship was the honor I had to hand Gavi her high school diploma and reflect on how God had transformed a little girl from a poverty-stricken family into a beautiful young woman. It reminds me of the promise given in the book of Jeremiah that He has given us all "a hope and a future."
Note: Through the promotion of Compassion International during Michael's concerts, more than 22,000 children have been sponsored.
Copyright © 2003 CCM Magazine. Used by permission. All rights reserved. Click here to subscribe.
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Interactive: Remembering our heroes this Memorial Day
Published On: May 27 2013 07:53:42 AM EDT
Updated On: May 27 2013 08:08:51 AM EDT
Updated On: May 27 2013 08:08:51 AM EDT
To view an interactive Memorial Day remembrance of those who sacrificed everything for our country, click here.
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My Deviant Art
Personal Blog
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Aw yis commission for mmmmmaple done and done! Think Game of Thrones but happy lol
Also here on my dA
Matt's ugly brown suit is one of my favourite things
(Canada x Ukraine)
#MayLongWeekend #GoodMorning #LoveHer #camplife #JasperPark
So it's Rarepair Week in the Hetalia fandom and of course I couldn't help but draw my perfect babies <3I don't have a lot of spare time but I will definitely be posting lots more Cankraine in the near future
My sweet babies ; v; ♥
CanUkr doodles~
I know I normally draw Kat at Matt's shoulder height but I like the idea of Matt being significantly younger than her in the Mutant!AU shhhh
Anonymous said: Wow, that's a long time! What makes you love the pairing for that long?
Because I live in Cankraine-land
also, history
captin-taco said: *SCREAMS* You are the most perfect CANRAINE SHIPPER AND ARTIST EVER IN THE WORLD I LOVE YOU QWQ Could you draw some femcan, ukraine ?? i think they would be very cute!!
Nurse!Ukraine/college student!Maddie AU anyone?


text: Don't ask for whom the Taco Bell tolls; it tolls for millions of diners seeking a tortilla-wrapped meal. A unit of fast-food behemoth YUM! Brands, Taco Bell is the #1 Mexican fast-food chain in the US, with more than 5,600 locations. The restaurants feature a wide range of Mexican-style menu items including tacos, burritos, gorditas, quesadillas, and nachos. Taco Bell units can be found operating as free-standing units and as quick-service kiosks in such places as shopping malls and airports. Taco Bell also has more than 250 international locations in 20 countries. More than 20% of the restaurants are company-operated. Parent YUM! Brands, the world's #1 fast-food company, also operates KFC and Pizza Hut.Last Updated: February 13, 2014, 12:46 am


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Selected Community Events
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| 228247571
Literacy Volunteers' 30th Birthday Pancake Party!
Date(s): 10/26/2013
Vinegar HIll Cafe, 233 4th Street NW, Charlottesville
Join Literacy Volunteers in celebrating 30 years of literacy for all! We will be serving up delicious birthday pancakes on Saturday, October 26 from 8:00am-12:00pm at Vinegar Hill Cafe (233 4th Street NW ). Tickets are $8.00 at the door and Literacy Volunteers will receive a portion of the profits. Please join us for a morning of great food, lively conversation, and birthday games!
Literacy Volunteers, 434-977-3838, email@example.com
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text:
Indian couple defy taboo in inter-caste love story
Photo taken on July 30, 2010 shows A. Vincent Raj with his wife Tilakam at their home in Madurai
Tilakam's husband Kathir is a Dalit -- once known as the "untouchables" -- who are at the bottom of India's deeply entrenched caste system and shunned by large sections of society.
Their marriage is rare in a country where discrimination, violence and even death are known punishments for breaking strict social rules such as marrying into a lower caste. But what is even more unusual is the fact that their story has a happy ending.
"We've not faced any trouble as my father was a really open-minded person... He took the courage to face our relatives' resistance," says Tilakam, who only wanted to give her first name.
"We've been very happy," she tells AFP from her home in the southern city of Madurai.
Indian law prevents discrimination against inter-caste marriage, but, in reality, many remain resistant to such unions in a country where, despite social change and rapid modernisation, tradition still holds sway.
So-called "honour killings" in which couples are shot, stabbed, lynched or poisoned are still carried out, although in decreasing numbers, as families attempt to defend their reputation thought sullied by a breach of strict caste-based rules.
Just two months ago, police found the charred remains of Sasikala, a 21-year-old high-caste woman, who had secretly married a Dalit in a temple in southern Tamil Nadu state, outraging her parents.
The couple lived together for two years before fleeing their home, fearful of punishment from her parents, according to local media reports.
Her parents found them anyway and by the time police arrived they were burning their daughter's body on a funeral pyre after reportedly making her consume a poisoned drink.
Kathir, whose formal name is A.Vincent Raj, has formed a group to defend the rights of other Dalits to wed partners outside their caste and to work and live where they wish.
Dalits, like other down-trodden groups, traditionally perform menial, dirty and often dangerous jobs as part of the hereditary system in place for generations. Traditionally poor, illiterate and landless, many still suffer discrimination despite government affirmative action policies and laws banning caste prejudice.
"If an uppercaste man marries a lower-caste or Dalit woman, he's considered to have 'uplifted' her," Kathir says.
But it is a different story when an upper-caste woman marries a Dalit man, he says.
"The woman bears a lower-caste heir and that will be very difficult for the couple as opponents of their marriage will consider their caste is being made" 'impure' by the child's birth," he explains.
Families fear marginalisation
Such prejudices mean marriages are few, although the numbers are growing, albeit slowly. Government figures show 9,623 marriages were recorded in 2012 between Dalits and partners from higher groups, compared to 7,617 the year before -- a small figure in a country of 1.2 billion people where getting married is considered paramount.
Local newspapers are full of advertisements from parents seeking partners for their son or daughter from the same caste, and arranged marriages are still common.
"Parents may agree with their child's choice (of partner)," Srinivas Goli, a professor at the Giri Institute of Development Studies in the northern city of Lucknow, tells AFP.
"But the families' concerns about the reputation and respect for their families (by the community) often force them to go against" their child's choice in such cases, he says.
Some families themselves fear marginalisation and even physical harm from the rest of the community, particularly in rural and remote areas, if they stand by their children's choices to break caste rules.
In northern India, male-dominated khap panchayats or village committees wield huge influence in such matters and often act as a kind of moral police.
Some issue outright bans on inter-caste marriages, while at the same time supporting child marriages within the same caste, according to women's rights activist Jagmati Sangwan.
In Haryana state, for example, where khap panchayats are dominant, Dalits are almost entirely landless. And Dalits marrying into higher castes threaten to "change the balance of power" that has been in place for generations, says Sangwan.
"There's a threat of changing power equations which is intolerable for status-conscious sections of society who want to retain hegemony over economic and social resources," Sangwan tells AFP.
There are no quick fixes to these centuries-old problems, says researcher Goli, but increasing "urbanization, education and employment of women" can "pave the way for an increase in inter-caste marriages."
Sutapa, a 39-year-old researcher, and her husband met and fell in love at a university in Mumbai where they were pursuing their doctorates.
Both are from different castes, although neither is a Dalit, and they speak different mother tongues. They were determined to stay together, and after three years, they finally convinced their parents to accept the relationship.
"Living in a large city away from the village, you can more easily meet someone from another caste," says Sutapa, who did not want to give her full name.
"We had to adjust to each other, but being university graduates helped us," she told AFP.
Married now for 11 years, the couple have two boys, aged four and nine.
And she says "my sons growing up will definitely know the meaning of a love marriage sometime."
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text:
Travel to Holland, or just about any province in the Netherlands, and you're going to see a wide variety of incredible windmills just about everywhere you turn. Windmills, throughout history, have been built in a wide variety of shapes and designs and serve a multitude of purposes.
Older windmills were originally built to use the power created by wind to operate grinding mills. They have also been used to provide power to paper mills and hammer mills. In some parts of the Netherlands, where land is located beneath sea level, windmills are used to pump water and promote proper drainage.
As you travel throughout Holland, you'll see quite a number of stunning windmills, each gorgeous and serving a purpose of its own. In South Holland, however, you'll find the incredible village of Kinderdijk, where 19 of the thousands of windmills created back in the 1700's still exist in good repair.
Visiting Kinderdijk
The city of Kinderdijk is one of the best places in Holland to visit if you want to catch a glimpse of a wide variety of windmills here. As noted, most of the windmills in the village were built in the 1740's, and 19 remain in great condition.
There are several museums throughout Holland that claim to offer visitors a glimpse at the history of the development of windmills. While some outdoor windmill museums offer you an idea of how and why windmills were built, you can't always be guaranteed that you are looking at windmills built back in the 1700 and 1800's – when almost all were built.
At Kinderdijk, however, you will find original windmills in the exact locations they were first built. They've all been restored for safety, and for the sake of preservation, but all sit on the grounds upon which they were built.
The Purpose of the Mills at Kinderdijk
The windmills at Kinderdijk had a task unlike many others in the Netherlands. Instead of providing power to grind or saw, these windmills at one time had the dubious task of draining water from the below-sea-level polders. They basically pumped the water away from low-lying land and then drained it directly into the river Lek.
The government stopped using the windmills to drain the polders during the 19th century, instead opting to use a series of steam pumps, and then later electrical pumps. The windmills remained operational up until just after the Second World War and could have been used in an emergency if needed.
Back in 1997 the windmills at Kinderdijk were added to the UNESCO World Heritage List. During recent years, additional restoration work has begun in an attempt to make each of the 19 remaining windmills operational.
Visiting Kinderdijk from Amsterdam
Quite a few tourists visiting Kinderdijk do so as part of a day trip or tour leaving from Amsterdam. The village is located just over an hour outside of the city, and is popular amongst tour groups and buses.
Ask the concierge at your hotel in Amsterdam for help if you don't feel like participating in, or limiting yourself to, a formal tour group. If you have a rental car, you may want to drive yourself to Kinderdijk, enjoying the scenery, the countryside, and some other nearby windmill sites along the way. Those without rental cars may not mind taking a public transportation system out to Kinderdijk.
While there are certainly other windmills and windmill museums scattered throughout the Netherlands, the windmills at Kinderdijk, because of their age and preservation, are simply stunning. This is one sight you won't want to leave off your itinerary!


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|Egypt's aim to lure 30 million tourists by 2022 a "national priority".
Tourists visiting Islamist-ruled Egypt are welcome to pop into a bikini and down an alcoholic beverage or two, the country's tourism minister has said.
As Egypt fights to regain the ground lost in visitor arrivals since the 2011 fall of President Hosni Mubarak and the country's instability since then, it has attempted to shrug off its perceived conservative coat.
"Bikinis are welcome in Egypt and booze is still being served," the Guardian reported Egyptian tourism minister Hisham Zazou as saying.
The comments were made in an attempt to dismiss calls by some radical Salafi Muslim groups wanting to ban both bikinis and booze.
"We had talks with these Salafi groups and now they understand the importance of the tourism sector, but still you have some individuals that are not from the leadership saying these things," Mr Zazou said.
According to Mr Zazou, Egypt has set a goal to boost tourism numbers by 20 percent, with a long-term target of 30 million tourists 2022.
The first quarter of 2013 has seen Egypt welcome some three million tourists, 14.6 percent growth over the same period in 2012.


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First Second
Jon Scieszka on Fairy Tale Comics
Fairy tales and comics! This was meant to be. Like peanut butter and jelly, nuts and bolts, rhyme and reason.
Editor/writer/artist Chris Duffy has assembled a wonderfully diverse group of fairy tales – from classic Grimm and Perrault to non-European gems – and challenged the coolest bunch of graphic storytelling artists to bring them to life.
The result is a collection of absolutely powerful, funny, and pleasing fairy tales ... in the most kid-friendly form.
I was enchanted by Gilbert Hernandez's fresh retelling of Hansel and Gretel, thrilled by Luke Pearson's The Boy Who Drew Cats, and tickled by Charise Mericle Harper's The Small Tooth Dog.
But that's just me.
There is something in Fairy Tale Comics for every kid. Sweet and sour, rhythm and blues, kit and kaboodle.
Classic Tales Told by Extraordinary Cartoonists


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This Korg Z1 MOSS 'Multi Oscillator Synthesis Synthesizer is in pristine MINT condition and comes with Original User Manual, the expansive 1,000+ 'Gl!tch' preset sound library card, Original AC cable, and ships in it's original box. Free fully insured shipment is offered only for delivery in 'the lower 48′ US States. This is the missing link between the monophonic Prophecy and the contemporary Oasys descended Kronos X; but, retains several M.O.S.S. synthesizer constructs and physical interface controls that Korg has incomprehensibly not seen fit to implement into the contemporary Kronos interface -as of yet. The Bowed, Reed, Resonance, and Noise Synths are quite unique and insanely flexible especially when approached with the programmable X-Pad and pressure sensitive keyboard. The Noise Synths are fractal/chaos generators of amazing ferocity.-Check out the totally slamming & totally GUITAR-LESS video of M.I.A. rocking 'Born Free' on the Letterman Show available presently on YouTube for a taste of this brew! From the original S.O.S. review: If you're one of those readers who skim-reads the detail of a review, and then jumps to the conclusion and reads that in depth, please don't. Korg's latest hi-tech keyboard is the world's first multi-model, multitimbral physical modelling synth, and combines great strengths with the odd surprising weakness. It's a fascinating instrument, and it deserves some of your time. So, find somewhere comfortable where you aren't likely to be interrupted, take a deep breath, and join me for a thorough look at the Korg Z1.THE BASICSThe Z1 is a bit of a hybrid. It lives in the case of Korg's flagship workstation, the Trinity, and incorporates a 61-note keyboard that offers eight modes of aftertouch sensitivity, plus 13 modes of velocity sensitivity. Like the Trinity, it has effects, but as we shall see, they don't behave like the Trinity's. The heart of the Trinity's user interface, its touch-sensitive screen, has also been replaced on the Z1 by a smaller 240×64 pixel LCD, but in exchange, 23 friendly knobs have sprouted from the Z1's upper panel (including, as on the Prophecy, five assignable Performance Editor knobs below the display). The Trinity's disk drive has also disappeared, but a rectangular touch-sensitive X-Y pad makes its appearance, and this fulfils many of the functions of the Prophecy's Log controller, which the Trinity also lacked.Round the back, there are less holes than you might expect (more on this point later), with just a stereo pair of audio outs, inputs for volume, damper and two assignable pedals, plus the usual MIDI In, Out and Thru sockets. There's also a slot that accepts PCMCIA Flash ROMs and Flash EPROMs. The only other connector, apart from the power socket, is the headphone output located at the front beneath the control wheels.MODEL TYPESLike the Prophecy, the Z1 is a physical modelling synth derived from Korg's OASYS (Open Architecture Synthesis System), designed using the Synth-Kit development system (for more on the development and architecture of the Prophecy, take a look at the original preview of the instrument in SOS May '95, and my subsequent full review in the October issue of the same year). The simplest way to approach the Z1 is to think of it as a 12-voice polyphonic and 6-part multitimbral Prophecy. This is an analogy that survives initial inspection, although it doesn't tell the whole story.Like a Prophecy patch, a Z1 patch uses a pair of MOSS (Multi-Oscillator Synthesis System) oscillators plus a sub-oscillator and a noise source. Depending upon the type of model you choose to work with, you can hear the conventional outputs of each of these elements, or use the first oscillator and/or the sub-oscillator and/or the noise generator to build sounds within the second oscillator (or vice-versa). However, in addition to the nine model types offered by the Prophecy (the Standard Analogue model; VPM — for which read FM; the Brass model; the Reed model; the Plucked String model; the Comb Filter model; the Sync model; the Ring Modulator model; and the Cross-Modulation model), the Z1 offers four new oscillator models, the additions being the Resonance oscillator, Organ model, Electric Piano model, and Bowed String model. Let's take a look at each of these oscillator models.• STANDARD OSCILLATOR MODELThe Standard oscillator is the one on which many players will concentrate. This offers sawtooth and pulse waveforms as the main oscillator outputs but, like some exotic polysynths, also allows you to add a triangle wave or sine wave, each with independent volume controls. You can apply Pulse Width Modulation to the sawtooth, pulse, and triangle waveforms. The mixed output then passes to a 'wave shaper' that further complicates the waveform to create harmonically complex, more interesting sounds.• COMB FILTER & RESONANCEOSCILLATOR MODELSStill in analogue-emulation mode, we come to the next two oscillator types: the Comb Filter oscillator model and the Resonance oscillator model. A comb filter is so named because it introduces several tightly defined notches into any harmonically rich signal presented to its input, and its transfer function looks like the teeth of a comb. The Comb Filter Oscillator accepts seven different signals at its input (the 'other' MOSS oscillator plus noise; the sub-oscillator plus noise; filter1 plus noise; filter2 plus noise; pulse noise; and an impulse) and, depending upon the characteristics of the filter, the output can vary from simple modulated noise to bright and complex tonal sounds. The Resonance Oscillator is similar, except that it takes the output from the 'other' MOSS oscillator, or the sub-oscillator, or the noise generator, or filter1 or 2, and feeds them in parallel to four band-pass filters. You can tune each of these filters independently, with individual gains and Qs. Passing noise through them generates a variety of haunting 'glassy' and spectral effects, and a flick through the factory sounds shows that Korg's programmers have found such effects to be this model's greatest attraction.• RING MODULATOR, SYNC, & CROSSMODULATION OSCILLATOR MODELSThe next three models take the output (called, in these cases, the Modulator) from the 'other' MOSS oscillator, or the sub-oscillator, the noise generator, filter1 or filter 2, and use it to modulate a Carrier generated within the model. The Carrier can itself assume four waveforms with various degrees of brightness and keyboard tracking, and the interactions between the Modulator and the Carrier provide a huge range of timbres, from smooth and melodic to screeching atonal excesses.The Ring Modulator oscillator model is the first of this family, but it does not emulate analogue ring modulators. These output the sum and difference frequencies of two signals presented to their inputs, often resulting in clangorous, metallic-sounding timbres. In contrast, the Ring Modulation oscillator modelmultiplies the Modulator and Carrier signals to generate a variety of ring modulation-type effects. The Cross-Modulation oscillator model differs from the previous model only in the mathematics of the interaction between the Carrier and the Modulator. In this case, the Modulator frequency-modulates the Carrier, producing a form of 2-operator FM synthesis, albeit with more modulation options than I care to count. This model generates strong, complex sounds, and is particularly suited to aggressive timbres.The Sync Modulation oscillator model is the simplest of the Z1's oscillator models. Here, the Modulator re-initialises the Carrier waveform each time it passes '0'. This is classic 'sync' (as found on many analogue instruments) but the effect on the Z1 is more subtle than on '70s synths, and the sounds are generally less aggressive than those obtained from the Ring Modulation and Cross-Modulation oscillator models.VPM is Korg's implementation of FM synthesis, although in some ways it is closer to Casio's Phase Modulation (as used in their CZ-series of synths) than it is to true FM. There is only one Carrier and one Modulator per oscillator, but this Carrier may assume any one of four waveforms, and it is further 'wave-shaped' before being modulated. I love VPM. The results are recognisably FM in nature, from classic DX7 pianos to bells and DX-style basses, but they lack the background noise from which almost every FM synth suffered so badly.• ORGAN MODELThe Organ model offers three virtual drawbars per oscillator. Each of these drawbars may assume 16 pitches (of which nine equate to the drawbar footages of a Hammond) and four waveforms: SIN1 is a pure sine wave; SIN2 and SIN3 add the 2nd and 2nd+3rd harmonics respectively, and TRI is a triangle wave. You can add single-trigger and multi-trigger percussion with controllable delay to each drawbar. In a Z1 patch with both MOSS oscillators set to 'Organ', there are sufficient parameters to emulate almost any Hammond registration, but with a more limited amount of control. In particular, there's no way to build the patch so that you can push or pull every possible combination of drawbars.• ELECTRIC PIANO MODELThe Electric Piano model imitates a range of electric pianos by allowing you to adjust parameters relating to the shape and motion of a virtual hammer, the shape and size of a virtual tine, and the position of a virtual pickup. The results are superb, so I hope that Korg will release a 76-note 'Z1 Pro' or even an 88-note 'Z1 ProX'. If they did, the Fender Rhodes and Wurlitzer Programs would alone justify much of the Z1's price. Furthermore, you don't need two people to carry a Z1, and you don't have to tune it by soldering bits onto — or filing bits off — any tines. There's no contest.• BRASS & REED MODELSThe Brass model is actually six models — Brass1, Brass2, Brass3, Horn1, Horn2, and ReedBrass — which represent various shapes and lengths of bore. Pressure and Character parameters then emulate the action of a player's lip position and tension, the shape and resonant character of the instrument's bell, and the presence of any mutes. The Reed model incorporates no fewer than 17 sub-models (the Prophecy's offered a 'mere' 13) including a selection of saxophones, double reeds, a bassoon, a clarinet, flutes, harmonicas, and a 'reed-synth'. In both models, the huge range of fundamental tones is further augmented by a noise generator, by a peaking EQ that adds overtones, and by dual pitch-bend characteristics — smooth pitch changes as obtained by varying the bore length on a trombone, or abrupt, as obtained from an instrument of fixed length. The Reed model also offers a high-pass EQ that removes low frequencies to provide a 'lighter' sound.• PLUCKED & BOWED STRING MODELSThe final two models are the most complex. The Plucked String model simulates guitars, basses, Clavinets, harpsichords, and other, less well-known stringed instruments. Its 'plucking' parameters represent the level, attack, and noise associated with the action, and the position at which the string is struck. The strings themselves are defined by their dispersions, damping, reflection characteristics, and the positions of their harmonics. Seven further parameters determine the position and nature of the pick-up that detects the 'vibration'.As expected, the guitars and basses are rich and authentic, but the real surprise is the even greater authenticity with which this model recreates the sounds of Hohner's classic Clavinets. Having owned and played D6s and E7s for too many years to admit, and having never found a synth that even came close, the Z1's Clavinet patches are a source of sheer delight.Moving on, the Bowed String model emulates instruments such as violins and 'cellos, allowing you to define the bowing speed and the pressure with which the bow is dragged across the strings. 'Rosin' increases the friction between the bow and string (enhancing the tonal differences of different speeds and pressures) and damping parameters control the tonal characteristics of virtual 'fingering'. Parameters related to string position and dispersion characteristics imitate the playing of thin or thicker strings, and reflection parameters affect the ease with which notes sound. Finally, a peaking EQ accentuates or attenuates a range of frequencies to emulate various body cavities and sizes (the instrument's, that is, not yours!).PROGRAMS & MULTISSo, now you've mastered the Z1? Well, no… all we've described are the models that play a major part in replacing the oscillators on a conventional synth. These are but the first step to creating a patch (which Korg has, in time-honoured fashion, called a Program).The Z1 uses four sound sources in each Program. The modelled oscillators, OSC1 and OSC2, are the first and second of these and, except for the reed, brass, plucked and bowed string models (which require all the available DSP power for a single oscillator) you may allocate any MOSS model to either of them. The third is the sub-oscillator. This offers sawtooth, square, triangle and sine waveforms, may be freely tuned with respect to OSC1 and OSC2, and can track the keyboard independently from them. The fourth and final Program sound source is the noise generator, which is a white source filtered by a dedicated resonant filter that can assume low-pass, high-pass, or band-pass characteristics. You can toggle each Program sound source on and off using four dedicated buttons found alongside the real-time controllers on the Z1's front panel, but, more usefully, you can use the Program's Mixer section to determine the amount that each will contribute to each of Buss 1 and Buss 2, which together make the final sound. The mixer also has a fifth pair of inputs, called Feedback, that allow you to feed the output from the Amplifier section back into the signal chain — though this needs to be used with care, otherwise all your careful programming will result only in distortion.The mixed signal passes to a Filter Section that offers two multi-mode filters, each of which can assume low-pass, high-pass, band-pass, band-reject, or dual band-pass characteristics. The last of these is interesting because it emulates the formants of a human voice, and imitates the natural resonances of hollow bodies. You can route the signal through the filters in three ways: parallel, serial1 (in which only Buss 1 is filtered) or serial2 (in which Buss 2 ceases to exist and Buss 1 is tapped both before and after filter1). Sounds complicated? It isn't, because the on-screen graphics make everything clear. Both filters are resonant, will self-oscillate, and their keyboard tracking is variable from -200% to +200%. Note, however, that a self-oscillating digital filter needs to be 'kicked' into life, and selecting a Program with such settings will result in silence unless you excite the algorithm by playing a note.The signal next passes to an Amplifier Section that boasts a dedicated 5-stage envelope. But if one envelope appears a little mean, fear not. The dedicated EG Section offers four more of the same. The LFO Section is similarly equipped, with four LFOs, each of which can assume 17 different waveforms (including Sample & Hold). Each LFO may be independently sync'd to incoming MIDI Clock, and roughly 100 sync rates are available.Other parameters include the scale type, of which there are nine presets and two user-definable scales, and a Random Pitch Intensity parameter that introduces slight pitch instabilities to imitate analogue synthesizers (this is the direct equivalent to Roland's Analogue Feel parameter).The Z1's effects section is made up of two Insert Effects (the imaginatively named Effect 1 and Effect 2), a Master Effects section (reverb and delay) and a simple 2-band Master EQ, and these different sections lie in series on the stereo buss. In other words, everything passes through both effects; there's no assigning Effect 1 to one oscillator and Effect 2 to another, for example (more on this later). The two virtual Insert Effects units can each host one of the 15 Insert Effects, but DSP limitations mean that only Effect 1 can make use of all of the Insert Effects, while Effect 2 is constrained to the simpler algorithms. This brings me to one of my Z1 moans. The Korg Trinity grades its effects by size (1, 2 or 4 — a measure of the amount of DSP processing power each effect takes up) and allows you to select any of these up to a total size of four (eight in a multitimbral Combi). The Prophecy allows you to use six 'size 1′ effects simultaneously — although the Prophecy manual doesn't actually use the term size. Nor does the Z1 manual, but doing a straight comparison of effect types from Trinity to Z1, I concluded that the total 'size' of the Z1's Insert Effects section is two; so, for example, you can't program an overdrive followed by a twin-channel Leslie simulation, or chorus with multitap delay. Furthermore, the integrated modulators within the Insert Effects can't be synchronised with the main LFOs. But otherwise, and within these limitations, the Z1's effects are adequate.You can assign the wheels, pad, switches and pedals to modulate various parameters. Furthermore, the five knobs in the Performance Editor section on the top panel can each control up to four parameters drawn from a list of 439 Program parameters, with the range and response curve independently specified for each. Any changes made using these knobs, even during live performance, can be saved as if they were full edits. Finally, while we're on the subject of controllers, these can be software re-calibrated by the user. I've rarely seen this facility before (the Synclavier II has it) but it ensures that, in the absence of a major fault, different Z1s can always be calibrated to respond as you expect.Once you've finished programming your, um… Program, you can allocate it to one of 18 Categories and 16 User Groups, and save it to any of the 256 memories arranged as two banks of 128 (see also the 'External Patch Storage' box). You can also combine up to six Programs, with individual note ranges, independent MIDI velocity ranges, and separate MIDI channels, into a multitimbral 'MultiSet'. Each Program can be assigned a different pitch and a different scale to its siblings, and their responses to MIDI controllers can also be defined, although only one Program can respond at any given time to the Z1's performance controls and editors. Effects can also be applied to a MultiSet, and this brings me to my second moan. In my Z1 preview two issues ago, I stated that the Z1's effects were multitimbral, as on the Trinity. It seems I was wrong, which is a real shame. A MultiSet's effects buss is identical to a Program's: in other words, it's a single stereo buss onto which two Insert effects, a Master effect, and an EQ are hung, and your entire MultiSet passes through all of this in series; there's no assigning of individual effects to individual Programs in the MultiSet.While on the subject of patch architecture, I was slightly bothered by the speed (or, rather, the lack of it) at which the Z1 changes between Programs and between Multis. I suspect that, like some other DSP-based devices, the Z1 generates a deafening digital click when on-chip parameters are re-initialised, so Korg has muted the outputs during a voice change. If you need to switch sounds while playing live, make sure that you have a couple of seconds to do so, because that's how long it takes.EDITINGWithout the large display and touch-sensitive interface offered by the Trinity, editing the Z1 could be a daunting task, especially since Korg have chosen not to give every parameter its own slider (as on the Roland JP8000) or its own knob (as on the Clavia Nord Lead). But that decision is hardly surprising — if they had attempted to do so, the top panel of the Z1 would have been the size of Wembley Stadium. So Korg have reached a compromise, by employing a two-tiered editing system. (I always said that it would end in tiers!)If you want to make simple edits in real time, 14 dedicated controls (known as the Real-Time Controllers) make Minimoog-esque editing simple and immediate. But if you want to get into serious sound synthesis, you need to burrow into Korg's new software interface. This, while not as marvellous as that employed by the Trinity, is decidedly superior to those employed by the Prophecy or any of Korg's other workstations. It works like this. You decide which aspect of the sound you wish to change, then press the appropriate button to access the right section within the programming system. Each section offers multiple pages that you can step through using the Page Left/Right buttons, and you can move between related parameters by pressing in one of the five Performance Editor knobs found below the screen. Once you have selected your parameter you turn the knob (or, if you prefer, use the cursor up/down buttons or enter the desired value using the numeric keypad) to make your edit. A range of graphics guide your decisions and, for many parameters, these show exactly what's happening whenever you have a twiddle.If all this sounds a bit much for a few knobs and an LCD to handle, you can avail yourself of the excellent software editor that comes with the Z1 (see 'The Soft Option' box elsewhere in this article).For all its power and seeming complexity, and its apparent desire to be all things to all players, the Z1 is easy to understand and use. Indeed, with fewer Program options than a Prophecy, and a better editing system, it's a programmer's delight. But don't let this penetrability fool you… the Z1 still offers more sound creation possibilities than are dreamed of in your philosophy, Horatio. There are, for example, 49 modulation sources that you can route to several squillion destinations, and most of the parameters within the modulation sources can themselves be modulated by any of the other modulation sources. With so much power at your fingertips, you'll be staggered that you can programme anything meaningful at all!
Korg Z1 Synth Polyphonic Prophecy Moss Synthesis Oasys Synthesizer Keyboard Card for Sale
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I love to create and design, handmade, knitted and crocheted items that are aesthetically pleasing, quirky and unique. VISIT MY SHOP www.Etsy.com/ukshop/KnitADeeDooDah
Crown earrings, black and white jewelry.
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The glass earrings were made using silver toned earring trays and glass domed cabochons that are magnified, so they make the crown images appear to 'pop' out at you.
The studs will make a wonderful accessory to any outfit and are nickel free, so should be suitable for all.
All of the items in my shop come beautifully wrapped.


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User Reviews & Ratings - hydrocodone-acetaminophen Oral
Read user comments about the side effects, benefits, and effectiveness of hydrocodone-acetaminophen Oral.
Overall User Ratings3722 Total User Reviews
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Reviewer: 35-44 Female on Treatment for less than 1 month (Patient)
Ease of Use
i have had severe pain in my legs and hips for months the doctors don't know what it is just yet tired of taking test after test its the worst when it rains or is damp outside but the hydrocodone works for a little bit but i find it to make me very sleepy so i only take it at night and suffer during the day
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Reviewer: not strong enough, 25-34 Female on Treatment for less than 1 month (Patient)
Ease of Use
This does not do a thing for me. Has not worked at all. Try something stronger...
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Reviewer: Male on Treatment for less than 1 month (Patient)
Ease of Use
I had my tonsils taken out, along with my uvula (sp?) as a part of a surgery to treat sleep apnea (UPP). This drug caused me to have problem with constipation as noted by the potential side effects of the drug.
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Reviewer: skiddybump, 45-54 Female on Treatment for 1 to 6 months (Patient)
Ease of Use
Have been using for chronic pain associated with endometriosis and it does help but I do seem to be building up a tolerance for it after only a few weeks. I only use when absolutely necessary too! I sometimes seem to get a headache from taking this and also experience nausea if I forget to eat a little something when I take this. I also have experienced some extreme dizziness and vertigo with t ... Show Full Comment
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Reviewer: lisa, 35-44 Female on Treatment for 2 to less than 5 years (Patient)
Ease of Use
Definitely takes away my back (all over) pain due to my job...cleaning houses. On 10/500's. Was up to taking 8 a day. Was stealing them from my clients and whomever's medicine cabinets i could get into. Not proud of it, but that's a fact. In withdrawl as I'm writing this and IT"S NOT FUN. Bi-polar as well and lortab really didn't affect that. Having a very hard day ... Show Full Comment
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The iconic rockers who make up the group Aerosmith are scheduled to bring their Global Warming Tour to the Toyota Center on July 30. The group signed with Columbia Records in 1972, and released a string of multi-platinum albums including their famed "Get Your Wings" in 1974. In 1975, the band released "Toys in the Attic" which was seen by many as a break from their original sound and mainstream.
By music industry standars, Aerosmith is the best-selling American rock band of all time, having sold more than 150 million albums worldwide. The group sold 66.5 million albums in the United States alone. The band has also holds the title for the most gold and multi-platinum albums by an American group. Tickets go on sale at 10 A.M Saturday March 31st. For more information or to purchase your tickets, call 866-446-8849. You can also purchase tickets through Live Nation or through the Toyota Center Box Office.


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There is nothing better to me than a successful event that makes a huge difference in somebody's life.On Sept. 27, the Neuro Fitness Foundation held its third Annual John Nichols Memorial Golf Tournament at the Bear Creek Golf Club that benefited the Neuro Fitness Gym. Named for the late founder, proceeds from this event help make a difference in the lives of those who face great physical challenges every day, as well as their families.Individuals in our community who are quadriplegics, paraplegics, stroke victims or amputees, as well as people who suffer from multiple sclerosis, cerebral palsy or Guillain–Barré syndrome, can go to the Neuro Fitness Gym after their insurance runs out.Former MLB players Ray Burris, Wayne Tyrone and Benji Gil showed up to lend their help in this cause and to play some golf. "More people signed up and played golf for the Neuro Fitness Foundation supporting the NeuroFit Gym than ever before," said Ellie Bomar, a foundation member.Plus, the community really stepped up to help out this organization. Jeff Isler of Jeff Isler Golf was a major prize contributor, along with former Dallas Cowboys player Russell Maryland and artist Roma Misra, who donated a gorgeous abstract postmodern acrylic and mixed-media piece. Miss Bomar also had another reason to beam with pride. Her son, Luke Bomar, won the Closest To The Pin contest. Even more amazing is that this 17-year-old Southlake High School senior has only been playing golf for a year and a half. Prestigious awardSpeaking of amazing students: I can tell you that Ricardo and Angela Arce of Keller are sporting smiles on their faces today. Their daughter, Adrianna Arce, a senior at Colleyville Covenant Christian Academy, was recently recognized as a 2013-2014 National Hispanic Recognition Program (NHRP) Scholar. Arce is one of 5,300 students chosen out of 259,000 applicants to receive this prestigious award, which is given to Hispanic students who have high scores on the PSAT exam as well as a high GPA. Congratulations to you Miss Arce. Social columnist Larre Green welcomes your information and input on interesting stories and events. Contact him at firstname.lastname@example.com.
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