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The 2017 NAMM Show kicked off today, and that means it's time to unveil some rad new gear. If you're at the show this year, make sure to come and check out all the great new stuff in person at our booth—#4568, Hall C. If you can't make it, then here's a preview of what Dunlop has in store for 2017.
The 50th Anniversary Cry Baby® Wah celebrates the 50 years that Cry Baby Wahs have been opening up new worlds of sonic expression for guitar players, ever since the original pedal hit the market in 1967. This masterpiece is a limited edition GCB95, plated in 24k gold.
The MXR® Dyna Comp® Mini Compressor combines classic tone and modern convenience in a housing that's nearly half the size of the original, featuring an all-new Attack switch to toggle between slow and fast attack times.
The MXR® Il Diavolo Overdrive—designed in collaboration with premier Italian pedal designer Carlo Sorasio—delivers a wide range of symmetrical and asymmetrical tones, from a smooth organic boost to sweet, smoky overdrive to full on-grind.
The MXR® Sub Octave Bass Fuzz combines two different fuzzes with a growling sub octave signal, featuring an array of controls to fine-tune your sound, including a separate Dry volume control to ensure clean low end retention.
The MXR® Six Band EQ covers all the essential guitar frequencies and has been upgraded with noise-reduction circuitry, true bypass switching, brighter LEDs for increased visibility, and a lightweight aluminum housing.
The MXR® Ten Band EQ lets you tune your bass or guitar rig in seconds, and it's been upgraded with noise-reduction circuitry, true bypass switching, a lightweight aluminum housing, brighter LEDs, and a second output.
The Way Huge® Russian-Pickle Fuzz dishes out smooth, creamy fuzz tones with a clear midrange to cut through the mix and a fat bottom end that keeps your sound thick and full.
The Way Huge® Conquistador™ Fuzzstortion is an aggressive gated fuzz that conquers sonic frontiers with ease and simplicity—just use the classic Volume, Tone, Fuzz control setup to dial in your sound and then play a soundtrack to shred the space-time continuum.
Tortex® Flex Picks combine the memory and durability of Tortex with the flexibility and warmth of nylon. Available in either Standard or Triangle shapes in standard Tortex® gauges (.50mm, .60mm, .73mm, .88mm, 1.0mm, and 1.14mm).
Our Primetone™ Sculpted Plectra line continues to be a huge hit, so we're expanding it to include three new gauges for the grip and non-grip Standard shape: 2.0mm, 2.5mm, 3.0mm.
We're also expanding our line of MXR® TRS Cables to include TRS cables for all of your onstage stereo needs.
Stay tuned here as well as Facebook, Twitter, and Instagram for more information and content featuring these and other products that we'll be releasing this year.
The MXR Super Badass Variac Fuzz delivers a big, aggressive, and biting square wave tones with a nice touch of smooth compression. Its Tone, Output, and Gain controls provide plenty of fine-tuning potential, but what makes this pedal a dream come true for tonechasers is its Variac control.
The Variac control allows you to vary the pedal's voltage from 5 to 15 volts, which also changes how much headroom is available—lower voltage means lower headroom and vice versa. Many pedals sound radically different depending on how much headroom they have.
Setting the Variac control around 12 o'clock gives you what is essentially Super Badass Variac Fuzz's default 9-volt sound. It's great with the Gain and Output controls turned up and pushing hard into a somewhat driven tube amp for a very stoner rock or shoegaze vibe, depending on what other effects you're running.
Players chasing vintage tones will want to turn the Variac control counterclockwise to drop the voltage below 9V for the sound you get from a battery that's running out of juice. The resulting decrease in headroom will produce a spitty low-fi fuzz reminiscent of psychedelic rock. The only way to get this sound back in the day was to manage a collection of half-dead batteries, but now you can do it with the twist of a knob.
Turning the voltage up past 9V gives you a totally different sound. Going clockwise form 12 o'clock, the Variac control opens up the Super Badass Variac Fuzz to something more like an organic overdrive with fuzzy edges.
That's just the start of what you can do with the Super Badass Variac Fuzz. Use the Output, Tone, and Gain controls to feel out the range of tones provided by the Variac control. Use your guitar's volume knob to play with the intensity of the fuzz. Try it with different amps and pickup types. Experiment with other effects—this thing sounds killer with a Cry Baby Wah, for example.
Bottom line, the Super Badass Variac Fuzz is an incredibly versatile pedal with a range of textures and timbres that can be dialed in quickly and easily. Now put one on your pedal board and start chasin' them tones.
Tags: fuzz, MXR, super badass, Variac Fuzz
Category: MXR
MXR set the standard for phase pedals with the release of the Phase 90 in 1972. That little orange box went on to become the sole iconic example of its effect category, and it has been used by the world's greatest guitar players—such as Jimmy Page, David Gilmour, and Eddie Van Halen—to record some of the most iconic songs ever cut to vinyl.
Several Phase 90-based phasers have been released since then, and this year, we're introducing the Phase 95—it packs the evolution of the Phase 90 circuit into a single housing, and at half the size of its forebear, it's the first ever mini pedal from MXR. The Phase 95 is the most versatile phaser we've ever produced. Before we get into the how and why, let's look at the MXR phasers that brought us to this point.
It all started with the Phase 90, created by engineer Keith Barr after he decided that he could build a more reliable and better sounding phaser than the bulky and poorly built options on the market at the time. The resulting pedal's compact size, superior construction, and refined sound put MXR on the map, and it set the standard by which all other phasers are judged.
A couple years after MXR released the Phase 90, the Phase 45 was born. In contrast to the Phase 90's 4-stage phasing, the Phase 45 was designed with a mellower 2-stage circuit that is favored for its ability to easily blend into a band's mix.
As MXR transitioned from script logo to block logo housings, MXR's engineers added a feedback resistor to the Phase 90 circuit. Whereas the first Phase 90 circuit—now called Script—had a subtle and more subdued swoosh, the feedback resistor gave what is now called the Block circuit a dirtier, more pronounced phasing sound. A small number of early Block logo housings contain the original Script circuit, so it's not always accurate to rely just on the pedal's housing when identifying a vintage Phase 90.
In the late 1970s, MXR released the Phase 100, which has an altogether different circuit from the Phase 90 and Phase 45, with a different range of sounds. Along with the Speed control, it features a 4-position rotary switch that selects between four different intensities.
MXR went out of business in the early 1980s, but Dunlop resurrected the brand toward the end of the decade. The first pedals to be released under Dunlop's stewardship were the Distortion+, the Dyna Comp® Compressor, the Blue Box™ Fuzz, and of course the Phase 90, all in Block form with the on/off status LEDs and AC power jacks that MXR eventually added. Since then, Dunlop has re-released each of MXR's original phasers and has continued to develop new ones along the way.
Our first Phase 90 innovation came in the form of the EVH Phase 90.
When Eddie Van Halen expressed interest in recreating some of his classic MXR pedals, Dunlop engineer Bob Cedro thought of the spacey swirls and hypnotic warbles heard on early Eddie's early recordings and pulled out his original 1974 script logo Phase 90. Using that as his base, Bob built a prototype Script-style Phase 90 that he hot-rodded for increased headroom and dynamic range. For testing purposes, he included a switch that Eddie could use to toggle between the two sounds for comparison. Eddie loved it, but he wanted to keep the Script/Block switch so that he could have both circuits in hot-rodded form.
The huge success of the EVH Phase 90 led Bob back to his original 1974 Phase 90. He used it to create the '74 Vintage Phase 90, which features a hand-wired board with select resistors and hand-matched FETs and comes housed in the classic orange finished box with the unmistakable Script logo. For further authenticity, this box has no LED and can only be powered by a battery. For those who wanted a Script version with modern upgrades such as the on/off status LED and an AC power jack, Bob and the MXR team created the Script Phase 90.
To date, Dunlop has only produced one standalone version of the Phase 45: the '75 Vintage Phase 45, a reissue of the original built to exacting specifications. As with the Vintage Phase 90, it features hand-matched FETs and a hand-wired circuit board.
Now let's talk about the incredibly versatile Phase 95. First, you get both the mellow two-stage phasing of the Phase 45 and the more intense four-stage phasing of the Phase 90, with a 45/90 switch to toggle between the two. Once you select between those two iconic MXR phasers, you can choose to go with the lush, subdued sound and clarity of the original Script circuit or the light harmonic distortion and accentuated swoosh of the modern Block circuit thanks to the Script switch. As always, the familiar Speed control sets the rate of the effect.
What you're getting with the Phase 95 is four different pedals in one: a Script Phase 45, a Script Phase 90, a Block Phase 45—which has never been offered before—and a Block Phase 90. Oh, and as we mentioned, it all comes in a mini housing that takes up a fraction of the space occupied by a standard pedal. Here's how it looks on a mini travel board with a Germanium Fuzz Face® Mini Distortion and a Cry Baby® Mini Wah:
Tags: cry baby mini, Fuzz Face Mini, Mini, modulation, MXR, Phase 45, Phase 90, Phase 95, Phasers
Category: MXR
Overdrive pedals are rad. They're one of the quintessential components of any guitar player's pedalboard. But are you getting the most out of yours? That depends on what your sonic goals are. For a lot of players, just plugging in, cranking the gain, and kicking the switch is all they need to get the job done. But that's not all there is to using an overdrive pedal.
In this article, we're going to look at three of the most common ways guitar players use overdrive pedals and discuss some important things to consider when using your overdrive pedal with certain types of pickups and amplifiers.
But first, we want to introduce you to the MXR Double-Double Overdrive. It combines a classic Japanese overdrive circuit, famous for its rich, fiery midrange, and a modern American overdrive circuit known for its abundant supply of gain and greater emphasis on high and low frequencies. The result is a versatile array of overdrive tones that are designed to enhance the sound of your guitar and amp setup. Rather than a simple tone control, the this pedal features separate Treble and Bass controls for greater control over the tone of your overdriven sound.
We'll be using the Double-Double Overdrive to help explain some of our points below.
What do you want your overdrive pedal to do for you?
Boost. Sometimes, all you need is a touch of boost with a little bit of color. In other words, you want to bump up the output of your guitar signal so that it's mostly clean, but it has just a slight bit of tonal coloration. Like getting the sound of a blackface type amp on "10" but at a lower volume.
Getting this colorful boosted sound would go something like this: Set your amp to your preferred clean setting. Using the Double-Double Overdrive, choose the Hi or Lo setting for your preferred tonal profile and keep the Drive knob nearly fully counterclockwise. Then use the Treble and Bass controls to shape the sound of your signal and the Level control to set how much you want to boost it. Obviously your taste will vary, but that's a place to start.
Complement. Players often use overdrive pedals to enhance or complement an already overdriven amplifier. One reason might be to boost the signal with a little bit of color. Another reason might be to fill in or focus specific frequencies for a sound that better cuts through the mix. Or maybe you just want a bigger and more intense sound by adding a whole new gain stage to your signal chain.
Set your amp to your preferred level of overdrive. From there, it's all up to your experimentation with the pedal's controls. The Double-Double Overdrive provides plenty of options with its two different OD circuits and separate Treble and Bass controls—tweak until you find a sound that works well with your amp's natural overdrive.
Replace. Sometimes the sound of your overdrive pedal is so good that that's all you want to hear. This is pretty much the "plug in and go for it" approach, but if you have a tweakable pedal such as the Double-Double Overdrive, you should take some time to figure out the breadth of options available to you. Since you're starting with a clean amp, you've also got a clean slate. Set your amp the way you want it and tweak the pedal to your heart's content.
Pickup & Amp Considerations
Your overdrive pedal is just a small part of your tonal recipe. A number of other factors can affect your sound depending on how elaborate your setup is, but we're going to focus on two components that every electric guitar player has in common: pickups and amplifiers.
Pickups. Most players use single-coil pickups or humbucking pickups. Generally speaking, single-coil pickups produce a greater tonal range (more highs and lows) with a lower output, while humbuckers sound more focused in the mids and low mids and produce a higher output. What does this have to do with overdrive pedal settings? Well, a setting configuration that sounds great with single-coil pickups may not sound that great with humbuckers, and vice versa.
Take the Double-Double Overdrive as an example. To get a good baseline, set the Volume at noon, the Drive very low, Bass off, and Treble at noon. Listen to how everything sounds and adjust as necessary. If you need beef up your single-coil signal, choose the Hi setting, you'll want to turn up the Drive, roll off the Treble, and add some Bass. If you want to tighten up your humbucker signal for a more focused lead tone, try the Lo setting with Bass off, Treble at 2 o'clock, and Drive to taste. Ultimately, it depends on what your goals are: do you want the overdrive sound to complement the tonal profile of your pickups or give it something it may be missing?
Amps. Two of the most popular amp styles are the plexi and the blackface. Plexi-style amps generally have more mid-focused gain, whereas blackface-style amps have a cleaner, more scooped sound. The same question applies here as it does with pickups and any other piece of gear: what sound do you want?
If you're running a guitar with single-coil pickups through a blackface-style amp and your overdrive signal sounds a bit thin, try turning up the Drive and Bass on the Double-Double Overdrive. If you're running a guitar with humbuckers through a plexi-style amp, you may want to accentuate and boost the mids for a searing solo that cuts through the cacophony of the band. Try a lower Bass setting and bring the Drive down while letting the amp providing most of the distortion.
A quick note on blackface-style amps: they have a lot of headroom. Cranking them into overdrive territory can result in unusable volume levels. So how do you combine the natural overdrive of a blackface-style amplifier with that of an overdrive pedal? Use the pedal's volume control—it'll make the amp work harder than it normally would at usable volume settings, and you'll get the best of both worlds.
Dialing in Specific Tones
Now let's look at how all those factors might come into play to create a specific sound.
For a classic rock sound, you'll want a guitar with low to medium output humbuckers and a plexi-style amp that's already pushing into overdrive territory. Try the setting the Double-Double Overdrive to its Lo setting with the Treble control around 1 o'clock, the Bass around 11 o'clock, Level around 1 o'clock, and Drive around 12 o'clock.
For a Texas blues rock sound, use a guitar with single-coil pickups and a blackface-style amp turned up loud. Set the Double-Double Overdrive to its Lo setting, with Bass set low, Treble turned up, and Drive to taste (but not too much).
For a classic thrash metal setting, use a guitar with active humbuckers and a high-gain 6L6 blackface-style amp that's already overdriven. With the Double-Double Overdrive's Lo setting selected, set the Bass knob low, Treble around 12 o'clock, Level around 2 o'clock, and Drive about 11 o'clock.
Remember, these are just guidelines. Your gear and sonic needs may require different pedal settings, but hopefully you have a better understanding of some of the ways that an overdrive pedal such as the Double-Double Overdrive can interact with your guitar and amplifier. Always use your ears to dial in the sound you want, not your eyes.
Tags: Double-Double Overdrive, MXR, overdrive
Category: MXR
From time to time, the MXR design team likes to invite guest designers to collaborate on pedals. It's one of many things we do to keep a fresh and forward-thinking perspective, serving MXR's ultimate mission to provide players with innovative, practical stompboxes that will stand up to the rigors of the road. In 2014, we worked with Italian pedal designer Carlo Sorasio to create the Il Torino™ Overdrive, and in 2015, we worked with Fuzzrocious Pedals' Ryan Ratajski to create the MXR Bass Distortion.
This year, we worked with Shin Suzuki, Japan's most celebrated pedal designer and the owner of Shin's Music, where he also builds custom amps and guitars for artists. He leant us his intimate knowledge of a legendary boutique amp to create the Shin-Juku™ Drive, a pedal that provides smooth, wide open overdrive with tons of sustain and incredibly fast response time to every playing detail. The Shin-Juku Drive's simple three-knob interface allows you to call up a wide range of sounds, from an organic boost to full on grinding overdrive, with a Dark switch to cut high frequencies for a darker, mellower sound.
During a recent visit to the US, Shin sat down to tell us a bit about himself and the Shin-Juku Drive.
How did you get into the pedal-making business?
Shin Suzuki: I first became interested in building pedals when I was in middle school. By the time I was in high school, I was already building pedals for my musician friends. Basically, I taught myself how to repair and modify equipment as well as build new equipment from scratch, and one day I decided to do it for a living. Today, many Japanese artists and even some famous American artists use equipment that I have made or modified in some way.
What was your goal when you designing this pedal?
Shin: I wanted to create a pedal that would match the big, wide open sound, the smooth overdrive, and the fast response of a particularly mythical style of boutique amplifier. I know the style very intimately because I have not only played and listened to them, but also repaired them. I think that the resulting pedal, the Shin-Juku Drive, really nails it. Not only the sound, but also the feel and response to your attack.
It's not simply an overdrive—it's like an amp in a pedal box. At certain settings, the Shin-Juku Drive is perfect to use as an "always-on" effect to put the finishing touch on the tone coming straight out of your guitar.
How were you able to achieve that sound?
Shin: Well, I knew exactly what sound I wanted, and as I said, I am well-acquainted with the inner-workings of the amp that produces that sound. I had a good idea of where to start the design process. I chose a bunch of different parts that I thought would get me close to the sound of that legendary amplifier, and then I made a pedal. I tested the pedal again and again, changing parts as necessary, until I matched the sound I wanted. This is the same process I go through for most of the pedals I design.
What does the Dark switch do, and why did you include it as a feature?
Shin: I included the Dark switch to give players the option of a slightly warmer sound. Pushing the switch cuts some of the high end, which is perfect for taming the brightness of silverface or blackface-style amps, or for when you just want a smoother, mellower sound.
Look for the Shin-Juku Drive at your favorite online or brick-and-mortar retailer today.
Tags: MXR, mxr custom shop, Shin Suzuki, Shin-Juku Drive
Category: MXR
The Echoplex® EP-3 tape machine was the secret ingredient in some of the most iconic tonal recipes from the '60s and '70s. Top guitar players loved its deliciously warm, organic modulation and sweet musical voice of the preamp so much that they'd use it as a tone-sweetener with the delay effect turned off.
The problem for modern players is that the original EP-3 machines are expensive, temperamental, and larger than a VCR. They require a ton of maintenance, and it's increasingly difficult to find the correct tape cartridges. So even if you can find and afford a perfectly running EP-3, a single gig can take quite a toll on the machine as well as wear out your precious tape.
But that doesn't mean you can't have the EP-3's sonic mojo for yourself. We created the Echoplex line of pedals to give you that sound in a convenient, pedalboard-friendly form that you can take on the road. Last year, we came out with the Echoplex Preamp. This year, we're releasing the second component of the EP-3's signature sound in the form of the Echoplex Delay. Like the Echoplex Preamp, it's the size of a Phase 90, and it delivers the EP-3's legendary tones with a simple control interface and a hi-fi all-analog dry path.
If you're not an advanced tonechaser, you may never have heard of the Echoplex EP-3. But you've definitely heard what it can do. Eddie Van Halen is known to have used them religiously in the early days, even taking his units on tour. Jimmy Page, who originally used the Echoplex EP-2 unit, switched over to the EP-3 as soon as it came out, and it remains an essential part of his rig. Brian May had his EP-3s modified to extend delay time. Eric Johnson has used them for years, even putting them directly on his pedalboard on occasion. And that's just to name a few.
To get at what made the EP-3 so appealing to these and other guitar greats, we had to focus on the EP-3 in two separate elements: the preamp and the delay effect.
There's nothing transparent about the EP-3. If your signal goes through it, your tone changes—even if you don't use the delay effect. Turned out some guitar players loved that tonal seasoning. It's all thanks to EP-3's preamp.
The Echoplex EP-1 and EP-2 machines sounded rich and warm thanks to the tubes in their preamp sections, but their repeats tended toward muddiness. The EP-3, on the other had, uses a solid-state preamp—providing much needed clarity—with a Field Effect Transistor (FET) supplying depth and warmth in place of tubes.
The Echoplex Preamp sweetens up your sound in the same way. Its circuitry follows the exact same signal path as the EP-3, including the FET circuit, so when you kick it on, you're adding the same secret ingredient to your tonal recipe that was favored by the aforementioned guitar greats. The Preamp's single Gain control sets the pedal's volume and can boost your signal up to +11dB. At higher settings, you'll hear slight asymmetrical clipping for some very smooth and organic grit.
The charm of the EP-3's delay effect is that each repetition is unique. When you play a note, it's recorded onto the tape and played back. The first repeat is clear, but because of the slight pitch changes inherent to tape machines that are imparted onto the signal, it's not identical. That slightly imperfect first repeat is itself recorded for the second repeat, which now includes new imperfections in addition to the old ones.
We created the Echoplex Delay pedal to provide that same charming "copy of a copy" magic and more. Rather than just recreate the sound of a pristine EP-3, we wanted this pedal to give players the full range of tones available from an EP-3 machine throughout its lifetime.
To start, we gathered up seven different EP-3 units. These machines are 40 or so years old by now, so quality and condition are all over the place, and we wanted to be sure we had a good selection of units to evaluate. We chose five of them to be serviced and calibrated, and then we picked the best sounding one—the one with the least wow and flutter—to be the default sound.
We used the other machines to dial in the range of sounds for the Age control, which allows you to "age" the delay signal from clean and clear to dark and distorted. Tape echo machines have a lot of moving parts, and over the years, they lose functionality and break down. This can add gain, distortion, and wow and flutter while darkening up the tone—characteristics that many guitar players have come to love about their maturing EP-3s. We simulated those changes so you can use the Age control to make your repeats sound like a brand new EP-3 or one that's been sitting in your garage for a few decades. Taking the Age control fully clockwise can take you into freakout territory, beyond the aging effects found in any of the units we worked with.
With the Delay control, you can set the time between repeats to anywhere from 40ms to 750ms, but the Echoplex Delay can be connected to an MXR Tap Tempo Switch to set delay time up to 4 seconds.
Combining the Echoplex Preamp and the Echoplex Delay pedals allows you to condition your guitar tone as an "always on" effect with the preamp and kick on the delay effect as you need it.
All you need to do is put the Echoplex Preamp in front of the Echoplex Delay in your signal chain. While the Echoplex Delay's effect signal is already conditioned with the tonality of the Preamp, putting the Preamp in front of the Delay ensures that the "dry" signal going through the Delay is also sweetened up by the Preamp.
It's like having the full EP-3 on your pedalboard, but instead of having to dial the delay function up or down with a knob, you can step in and out of it with a footswitch.
Tags: delay, Echoplex, Echoplex Delay, echoplex preamp, effects pedals
Category: Dunlop Electronics
Since we came out with the Cry Baby® 105Q Bass Wah, it's been the #1 choice for bass players who want to sweeten up their grooves with the rich expressiveness that only a a Cry Baby Wah can deliver. With a specially designed potentiometer and custom EQ circuitry, the 105Q applies the wah effect to the mids and highs only, leaving your low end big, full, and round.
We took all that funk and functionality that made the 105Q the go-to for the world's top bass players, and we put it into a housing that's half the size and made from lightweight-but-sturdy-aluminum.
The Cry Baby Bass Mini Wah may be small, but it doesn't skip on a single detail. Just like the 105Q, the Bass Mini Wah has Volume and Q controls to fine-tune your wah sound. Stepping in and out of the wah effect to sweeten up fills and solos is simple and seamless thanks to convenient auto-return switching. Players of downtuned and extended range guitars, take note—this little beast will sound great with your rig, too.
With such a small footprint, the Cry Baby Bass Mini Wah will fit nicely on your downsized travel board. Take a look…
We picked out four effects to stick on this Pedaltrain Nano board—the MXR Bass Octave Deluxe, the Cry Baby Bass Mini Wah, the MXR Bass Fuzz Deluxe, and the MXR Bass Preamp—that will cover your tonal and utilitarian needs while still allowing you to travel light. The first three effects take you all over the musical landscape, from funk and R&B to hard rock and heavy metal, while the Bass Preamp lets you shape your overall sound and run your signal direct to FOH.
Pick up a Cry Baby Bass Mini Wah at your favorite online or brick-and-mortar retailer today. Travel light and groove heavy.
Tags: bass wah, Cry Baby, cry baby mini, cry baby mini bass wah
Category: Cry Baby
The John Petrucci Primetone® Jazz III Pick is a whole new take on one of our most popular pick designs: the Jazz III. As the man himself describes it, "this pick's custom bevel is based on the edge of one of my own well-worn picks. It'll glide off your strings like glass with a loud, bold sound thanks to its super durable Ultex® material. The Jazz III tip provides precision and clarity, while the custom grip ensures ultimate control." John's new pick comes in two colors: tried-and-true Black and the new and appropriately badass Oxblood.
In order to to get this pick right, we had to build on John's preferred shape and material. "I've always found the original black nylon Dunlop Jazz III size and shape to be perfect for getting the most clarity and articulation out of my playing," John says. "That's why it was important to me that we began with that proven design when creating my second signature Dunlop pick. Several years ago, I discovered that picks made from Ultex had a louder sound, a smoother attack, and a greater level of stiffness than a nylon pick, as well as a more precise pick response."
Armed with John's preferences, we started out by making him a black version of our Ultex Jazz III pick, but John wanted to check out our newly released Primetone Jazz III. Primetone Sculpted Plectra feature bevels sculpted onto the pick's tip for increased speed and accuracy when playing fast rhythms and solos. We sent him some samples, and he immediately fell in love. But we wanted to take that a step further for John. We asked him to wear out a pick while on tour so that we could copy that natural bevel onto his new pick.
It ain't easy holding onto one pick through all the moving between hotels and venues and playing onstage for a whole tour, but John pulled it off. He used a single pick for four weeks, providing us with exactly what we needed to make him the perfect customized pick. "This unique bevel," he says, "is a result of my forward and downward angled picking technique and really adds to an effortless picking experience with no drag felt on the strings."
The custom bevel is a bit steeper than that of the standard Primetone Jazz III pick, but the result is even greater speed and precision. Shredders usually hold their pick at a steeper angle in order to reduce drag as much as possible—the steeper the angle, the less drag you experience. But too much angle can trip you up, and it takes years of experience to find the right balance. Thankfully, John did all that work for us.
The next issue was the grip. John tried a variety of types, from Max Grip and Primetone to the standard raised lettering found on the Ultex Jazz III picks. After some experimentation, John felt most comfortable with the raised lettering. He feels that it's the perfect balance between having a solid grip while being able to move the pick around if needed.
John Petrucci Primetone Jazz III Picks are available now. Go get yourself a pack. Shred on.
Author: admin
Tags: Jazz III, john petrucci, primetone, sculpted plectra, Ultex
Category: Picks
One of the coolest things about using effects is all the different ways you can combine them to create entirely different tonal palettes, so we put together a handful of our favorite MXR Bass Innovations combos. We've given our preferred order for these combinations, but your mileage may vary, so feel free to experiment.
Bass Compressor + Bass Octave Deluxe
Running the Bass Compressor into the Bass Octave Deluxe makes for a tighter, more focused octave effect with an even thicker sounding thump. We can't say for sure, but a lot of bass players are convinced that Pino Palladino used the compressor+octave combination to get his iconic tone for Paul Young's "Tear Your Playhouse Down."
Bass Octave Deluxe + Bass Envelope Filter
Combining these two pedals is the perfect way to get funky synth sounds without having to double up on keys. Run the Bass Octave Deluxe into the Bass Envelope Filter for best results. Check out this clip of the great Tim Lefebvre demonstrating the great range of deep, expressive tones these pedals are capable of when paired:
Bootsy Collins used this effect combination quite often—listen to the song "Bootzilla" for another great example.
Bass Octave Deluxe + Bass Fuzz Deluxe
Combining the Bass Octave Deluxe and the Bass Fuzz Deluxe is all about subterranean chainsaw grind. Putting the octave pedal in front of the fuzz pedal can fill out the sonic space, fattening up and adding some depth to your signal. Check out "All the Love in the World" from Nine Inch Nails or "No Hassle Night" by the Dead Weather to hear how the octave/fuzz combination sounds when done right.
Bass Envelope Filter + Bass Fuzz Deluxe
This combo is all about liquid, percolating funk with a more aggressive attitude. Just run the Bass Envelope Filter into the Bass Fuzz Deluxe and pluck away. Bootsy Collins liked to use this combination a lot, as does Les Claypool.
Bass Octave Deluxe + Bass Envelope Filter + Bass Fuzz Deluxe
This combination gives you thick, funky synth-like tones that cut through with hard-charging authority and dynamic expression. Just run the Bass Octave Deluxe into the Bass Envelope Filter into the Bass Fuzz Deluxe. Bootsy strikes again with this one, just listen to "What's the Name of this Town."
Bass Distortion + Bass Chorus Deluxe
Combining these two pedals—Bass Distortion into the Bass Chorus Deluxe—gives you the dark, spectral sounds chorus pedals are known for, but the distortion adds a whole 'nother level of texture and attitude. For a subtle but effective use of this effect, listen to Puscifer's "Galileo." Type O Negative's "IYDKMIGHTKY (Gimme That)" has a more obvious example.
There's a ton of other effects combinations available to bass players, but we feel these are the the most basic, foundational combos you should get to know as a bass player. Line 'em up and dig in.
Tags: bass chorus deluxe, bass compressor, bass distortion, Bass Fuzz Deluxe, bass innovations, Bass Octave Deluxe, fx combos, MXR
Category: MXR
Reverb is that sense of place and depth you hear when sound is reflected off of solid surfaces. Architects have been designing concert halls and other enclosed spaces to enhance this effect with live music for more than a hundred years. Recorded music, however, can sound flat and unnatural if it doesn't sound as if it actually exists in a physical space, so musicians and producers have relied on a number of methods to recreate the sonic characteristics of playing in acoustically rich environments.
The MXR Reverb offers players the history of these methods and then some in a standard MXR box, featuring six distinct high end styles exquisitely crafted and tuned by the award-winning MXR design team. It's got a simple three-knob setup, a hi-fi analog dry path, and a massive 20 volts of headroom thanks to our Constant Headroom Technology™ so that it plays exceptionally well with distortion, modulation, and other effects.
Musicians have a number of utilitarian and creative needs that the MXR Reverb handily addresses. If your recorded signal sounds dull and flat, for example, the MXR Reverb can give it a sense of place and atmosphere, making it sound more natural and alive. The same goes for an acoustically dead venue—adding some reverb can open up a room and breathe some life back into your signal. The MXR Reverb also adds a whole new range of tone-shaping options, whether binding the different elements of your sound together or creating atmospheric, otherworldly environments for your compositions to move and breathe within.
The MXR Reverb's six different styles can help with all of these uses and more. We encourage you to experiment with all of them, but here's a quick explanation of what each can bring to your sound.
With the advent of recorded music, one of the first solutions to the "flat sound" problem was to play music inside of an enclosed space with a microphone sending the signal to a mixing board. The first of these "reverb chambers" was a bathroom, but specially designed rooms were eventually built into the recording studios themselves.
The Room setting captures the sound of those reverb chambers, adding subtle body and projection to your guitar tone at shorter decay times while longer decay times yield rich organic space that doesn't wash out. Think old blues and jazz recordings. This setting is also great for livening up a dead recording sound.
Plate-based reverb—which creates its effect through the vibration of large, thin metal plates—was the next step in studio reverb evolution. It became the standard for recording studios because of its clean, bright sound, and, while quite heavy, they could actually be moved around.
The Plate setting provides a shimmering smooth wash of space that's a go-to choice from the studio recording world. Use this setting to give your signal a classically lush, "hi-fi" sound, make up for dead venue acoustics when playing onstage, liven up a flat recorded sound, or bind all of the elements of your tone together.
Spring-based reverb as we know it today uses a transducer to vibrate one or more springs while a pickup transmits the generated sounds. Whereas plate units were large and expensive, spring units were small enough to put into amplifiers, and their low cost meant that the average guitar player could afford them. This style became a crucial component of old school surf rock tone.
Use this setting to recreate the classic bounce and twang of classic amp-style reverb. Like the Room and Plate styles, Spring style is great for revitalizing a flat recorded sound, and like the Plate style, works great as a "tone binder."
The Epic setting sounds like you're playing in a large, voluminous space such as a cathedral or a cavern. Think Pink Floyd. This setting is perfect for creating atmospheric, otherworldly environments.
The Mod setting combines smooth plate reverb with richly organic modulation in the feedback path. Use this setting to get classic shoegazer tones, liven up a dead recording, or create fluid, ethereal textures.
The Pad setting generates long synth sounds with a unique combination of sub-octave and octave-up with echoes mixed with synth/organ modulation and reverb, unlocking an expressive tonal palette that's perfect for creating rich, arresting soundscapes.
Look for the MXR Reverb to hit stores in April—check with your favorite retailer to see if you can preorder yours now.
Want a closer look at this pedal's advanced features? Check out this video from our buddy Paul Riario from Guitar World Magazine.


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Christine Han
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|I am a photographer in Brooklyn, NY. I love film, the outdoors, traveling, eating, and drinking, and I love shooting weddings! My foodie journalist friend and I have embarked on a new project together, where we snoop around food enthusiasts' kitchens to show you what they've got. Lots of eye candy, insider tips, and recipes! Check it out: http://www.pantryconfidential.com/

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Contrast layering: Late clearance of contrast dye-A novel angiographic phenomenon of early atherosclerosis
Caglar I.M.,Bakirkoy Dr Sadi Konuk Research |
Demir B.,Bakirkoy Dr Sadi Konuk Research |
Caglar F.N.T.,Istanbul Research and Education Hospital |
Vural A.,Bakirkoy Dr Sadi Konuk Research |
And 6 more authors.
Angiology | Year: 2015
Patients with angiographically normal coronary arteries sometimes exhibit delayed clearance of contrast medium. This contrast layering (CL) was tested with intravascular ultrasound (IVUS) and markers of endothelial dysfunction and oxidative stress. The study group (n = 26) consisted of patients with CL and the control group (n = 32) comprised patients with normal coronary arteries despite angina symptoms. The CL was observed in 36 coronary arteries of 26 patients in the study group. Total antioxidant status and nitric oxide levels were significantly lower; total oxidant status, malondialdehyde plasma levels, and oxidative stress index were significantly higher in patients with CL than in controls. The IVUS studies revealed that atherosclerotic plaque burden, fibrous tissue, dense calcific tissue, and necrotic core ratios were significantly higher in the coronary segments with CL compared with adjacent normal segments. These results support the concept of CL as a new angiographic appearance of early atherosclerosis. © The Author(s) 2014. Source
The high effect of chemomobilization with high-dose topside + granulocyte-colony stimulating factor in autologous hematopoietic peripheral blood stem cell transplantation: A single center experience
Guner S.I.,Istanbul Kemerburgaz University |
Yanmaz M.T.,Istanbul Kemerburgaz University |
Selvi A.,Istanbul Kemerburgaz University |
Usul C.,Istanbul Research and Education Hospital
Hematology Reports | Year: 2016
Autologous hematopoietic stem cell transplantation (auto-HSCT) provides hematopoietic support after high-dose chemotherapy and is the standard of care for patients with multiple myeloma (MM), chemo sensitive relapsed high or intermediate grade non-Hodgkin's lymphoma (NHL) and Hodgkin's lymphoma (HL). However, yields of hematopoietic stem cells vary greatly between patients, and the optimal strategy to mobilize hematopoietic stem cells into peripheral blood for collection has not been defined yet. We investigated the efficacy and safety of chemo mobilization with an intermediate dose etoposide (VP-16; 200 mg/m2 on days 1-3) and granulocyte-colony stimulating factor (G-CSF)(5 μg/kg twice daily from day 4 through the final day of collection). We reviewed our institutional experience with 91 patients (71 MM, 12 HL, 8 NHL) mobilized with this regimen. VP-16 + G-CSF resulted in successful mobilization in 95.55% of the patients (on one patient stem cell collection with plerixafor was applied), including 76 patients (83.52%) whose stem cells were collected successfully in a single day. Collection was managed between min. D8 and max. D17. Patient age, gender, exposure to previous irradiation and chemotherapy, previous mobilization attempts, and disease characteristics were not considered during selection. Adverse effects of the regimen included supportive transfusions and fevers requiring hospitalization or intravenous antibiotics. VP-16 and GCSF appears to be a safe and effective mobilization regimen for patients with multiple myeloma, non-Hodgkin's lymphoma and Hodgkin's lymphoma undergoing autologous stem cell transplantation, producing excellentstem cell yield with the majority of patients requiring 1 day of apheresis. © Ș.I. Güner et al., 2016. Source
Abali R.,Namik Kemal University |
Temel Yuksel I.,Okmeydani Research and Education Hospital |
Yuksel M.A.,Istanbul University |
Bulut B.,Okmeydani Research and Education Hospital |
And 5 more authors.
Journal of Obstetrics and Gynaecology | Year: 2016
The aim of the study was to evaluate the fatty acid-binding protein-4 (FABP4) and irisin concentrations in women with polycystic ovary syndrome (PCOS). Forty-nine women with PCOS, diagnosed according to Rotterdam criteria and 39 healthy women matched for body mass index (BMI) and age. Serum irisin and plasma FABP4 concentrations were measured in both groups. The association of irisin and FABP4 concentrations with metabolic parameters were also tested. Women with PCOS had significantly lower mean serum irisin concentrations than control subjects (158.5 ± 123.3 versus 222.9 ± 152.2 ng/ml, p < 0.05). Concentrations of FABP4 in PCOS and control groups were not significantly different (10.5 ± 4.4 versus 10.9 ± 4.2 ng/ml, p > 0.05). FABP4 concentrations were correlated with BMI, waist–hip ratio (WHR) and HOMA-IR (r = 0.57, p = 0.001; r = 0.26, p = 0.03; r = 0.26, p = 0.03, respectively). No associations between irisin and all the others parameters except serum levels of LH were found. Serum irisin concentrations of women with PCOS were lower compared to the controls. Moreover, there were no difference in plasma FABP4 concentrations between women with PCOS and controls. © 2016 Informa UK Limited, trading as Taylor & Francis Group Source
Ozel L.,Haydarpasa Numune Training and Research Hospital |
Krand O.,Haydarpasa Numune Training and Research Hospital |
Ozel M.S.,Haydarpasa Numune Training and Research Hospital |
Toros A.B.,Istanbul Research and Education Hospital |
And 7 more authors.
Renal Failure | Year: 2011
Purpose: Aim of this study was to report our experience in elective and emergency surgery on chronic hemodialysis (CH) patients for end-stage renal disease (ESRD). Methods: All patients on CH for ESRD who underwent various surgical procedures in our unit within the past 9-year period (20012010) were included in this study. These patients were divided into two groups according to the type of surgery performed: elective or emergency. Demographic data, indications for surgery, primary causes of ESRD, surgical procedures, postoperative complications, and mortality rates were studied. Results: Of 130 patients, 121 underwent elective surgery while 10 were addressed for emergency operation. In the elective surgery group, the most common diseases were secondary hyperparathyroidism, kidney diseases, cholelithiasis, and diabetic foot gangrene. Complications occurred in nine patients (morbidity rate, 7%) and only one patient died (mortality rate, 0.8%). In the emergency surgery group, the most common diseases were diabetic foot gangrene and obstructed sigmoid colon cancer. In this group, complications occurred in seven patients (total morbidity rate, 70%) and two patients died (mortality rate, 20%). Conclusions: Elective surgery in patients on CH for ESRD can be performed with acceptable surgical risks provided careful preoperative preparation, intraoperative, and postoperative precautions are taken. © 2011 Informa Healthcare USA, Inc. Source
Retrospective analysis of factors that affect the success of single-dose methotrexate treatment in ectopic pregnancy [Ektopik gebelikte tek doz metotreksat tedavisinin başarisini belirleyen faktörlerin retrospektif analizi]
Var A.,Istanbul Research and Education Hospital |
Ozyurt R.,Istanbul Research and Education Hospital |
Sk B.A.,Istanbul University |
Kumbasar S.,Sakarya University |
And 5 more authors.
Turk Jinekoloji ve Obstetrik Dernegi Dergisi | Year: 2015
Objective: Detection of factors that affect the success of single-dose methotrexate treatment in ectopic pregnancy. Materials and Methods: We investigated 99 patients who had been treated with single-dose methotrexate for ectopic pregnancy in our clinic between January 2009 and June 2014. Demographic, clinical, and laboratory results of possible factors that affect treatment success were retrospectively analyzed. Successfully and unsuccessfully treated patients were compared based on their pre-treatment results. Results: The success rate of single-dose methotrexate treatment was found to be 70.7%. No significant difference was found between succesfully and unsuccessfully treated patients before treatment in terms of factors such as gestational weeks, mass size, presence of yolk sac, and presence of free fluid (p=0.224, p=0.201, p=0.200, p=0.200). Serum β-hCG values in patients whose treatment was unsuccessful was found to be higher compared with the successfully treated group (mean β-hCG value of unsuccessful group: 4412±3501 mIU/mL; mean β-hCG value of successful group: 1079±942 mIU/mL; p<0.001). Conclusion: Single-dose methotrexate treatment is an effective and reliable method in the treatment of ectopic pregnancy. Elevation of serum β-hCG value stands as the main prognostic factor that affects the success of single-dose methotrexate treatment. © 2015, Turkish Society of Obstetrics and Gynecology. All rights reserved. Source


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Chertsey Museum
33 Windsor Street, Chertsey, KT16 8AT
01932 565764
Thu, 11am-12.30pm or 2pm-3.30pm
6 years to 12 years
Halloween Nightlights
Create a spooky nightlight to put in your window at Halloween to scare your neighbours!
There is a 50p discount per session for children who are Friends of Chertsey Museum. 5 year olds may come if accompanied by an adult.
For a booking form, please visit the Museum's website: www.chertseymuseum.org or telephone 01932 565764.
Times and prices are subject to change. Contact venue before setting out.
Please login first.


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Is the law on product liability adequate? Our correspondent hears both sides of the argument
Have you been let down recently by your top-of-the-range motor not quite living up to its euphoric billing? Or have you experienced family trauma when your teenage daughter's video player failed to record a favourite soap? If so, then shouldn't you sue?
In the US, earnest litigators can make a good living from serial product liability cases — or so we are led to believe. But in the UK we just don't sue enough. At least that is the view of Shane Sayers, of Kennedys. Having practised in America, Sayers is surprised by the willingness of the British to soldier


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I find the milkshake (from Myer) trakkies pretty good quality. They don't pill very much, so I stock up on them each winter.
As for winter jackets, I tend to but pricey stuff, it lasts and makes good hand me downs for the little brothers. Quicksilver and industrie for boys are my pick.


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Leica, the legendary German camera maker, has been making cameras since 1913. Their cameras have been used by the masters, from Henri Cartier-Bresson to Robert Capa to Annie Leibovitz. Known for the quality and resilience of its cameras and lenses, Leica cameras are still mostly assembled by hand.
The Leica Store @ Raffles Hotel Arcade is the first of its kind in the region. The store design is an international concept which originated in Germany, with a focus on the signature red and black of the Leica brand. But the Leica Store isn't just a shop, but also has a dedicated in-store gallery space to showcase the work of local and international photographers.
So if you're in the neighborhood during the weekend, here's one more shop to check out.
I like coffee and cameras, but not together.
FREE GIFTS of up to $50,000 when you shop selected Lenovo products!
Find out which tech products and services won the honour.
Enjoy free extra 3GB data for 6 months when you sign up to any 4G plan
Experience AR with Phab 2 Pro today. Register your interests now.
The world's first mini workstation designed for CAD users


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The follow-up to 'Rogue's Gallery' has an even wider range of talent.
Various artists, Son of Rogues Gallery
* * * (out of four)
Famously eclectic producer Hal Willner's follow-up to 2006's Rogue's Gallery: Pirate Ballads, Sea Songs & Chanteys has a looser, more whimsical feel than its predecessor and boasts an even more diverse array of talent, including some intriguing combos: Shane McGowan with Johnny Depp and Gore Verbinski; Tim Robbins with Matthew Sweet and Susanna Hoffs; Angelica Huston with the Weisberg Strings.
REVIEWS: Nick Cave, Bobby Rush, Atlas Genius
PLAYLIST: The Relatives, Fleetwood Mac, Beethoven
The 36 tracks include some missteps, but there are also evocative numbers such as Beth Orton's cover of Bamboo (River Come Down) and Marc Almond's Ship in Distress.
Other artists put textural twists on the folky fare with inspired results such as Todd Rundgren's Rolling Down to Old Maui and Sally Racket, courtesy of Katey Red and Big Freedia with Akron/Family.
Download: Bamboo (River Come Down), Rolling Down to Old Maui, Sam's Gone Away


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Compare Trusts attorneys near you. Read reviews, see Avvo Ratings, and contact them directly.
5.0 stars 6 reviews
Avvo Rating: 8.3
Review: "Mr. Elias played a very important role in assisting me through a most difficult period in my life. It was he who settled my mother's estate. It was he who led me through the very difficult procedures of putting a clo...
Practice areas & skills: Trusts, Probate, Wills & Living Wills, Elder Law, Residential
5.0 stars 18 reviews
Avvo Rating: 8.0
Review: "It has been a pleasure to work with Juliet Gavriel. She has been patient, professional and answered all of our questions. For our family creating a trust was a very daunting endeavor, but she has made the process easy."
Practice areas & skills: Trusts, Elder Law, Probate, Estate Planning, Wills & Living Wills
5.0 stars 3 reviews
Avvo Rating: 7.9
Experienced representation. Flat fee.
Practice areas & skills: Trusts, Bankruptcy & Debt, Divorce & Separation
Fixed-fee services: Create a prenuptial agreement - $895, Document review: Uncontested divorce (without children) - $495, and more
5.0 stars 2 reviews
Avvo Rating: 7.4
The Law Office of George H. Dippel provides high quality affordable legal services in the areas of wills, probate, trusts, real estate closings (house, co-op, condo, commercial), business sales and purchases, business incorporation and commercial...
Practice areas & skills: Trusts, Probate, Wills & Living Wills, Business, Real Estate
5.0 stars 1 review
Avvo Rating: 7.2
Review: "I am very pleased to give Nathan my highest endorsement! He has been extremely responsive by email and phone, responding immediately every time. His answers to my questions are always clear, complete, and demonstrate a so...
Practice areas & skills: Trusts, Residential, Corporate & Incorporation, Marriage & Prenuptials, Litigation
Get the legal help you need at a fixed price. No hidden fees or long-term commitment.
A trust is an arrangement whereby someone owns and manages money or property for another person's benefit. Like a guardianship, a trustee has decision-making authority over the trust property, but no court is involved in the trustee's action–the person who creates the trust defines the scope of the trustee's power. There are many different trust types, including probate trusts, income trusts, spendthrift trusts, and educational trusts. For example, a living trust allows you to manage your property while you are alive and to direct who will manage it if you become incapable of doing so. In essence, you choose your own "guardian" in advance and avoid having the court do it for you. A trust attorney reviews the many reasons for establishing a trust with you, and can ensure your trust will be legally valid.


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Nasal subunits marked out on fresh cadaver specimen (A and B). Heminasal skin removed from fresh cadaver specimen demonstrating that the transition from the nasal dorsum subunit to tip subunit is brought about by the lower lateral cartilages raising the nasal tip skin above the septal angle, not from a clinically significant change in histological characteristics (C and D).
Patient with cutaneous defect of the nasal tip/dorsum junction (A). Postoperative result showing reconstruction with a forehead flap, but without following the subunit principle (B). Note how the hole was simply "plugged" and the forehead flap is conspicuous because it runs across the subunits rather than along their margins. (Permission granted from Shumrick KA. In: Lucente FE, ed. The Art and Science of Nasal Reconstruction: Highlights of the Instruction Courses. Vol 7. St Louis, Mo: Mosby–Year Book Inc; 1994:213. Figures 19-2 A&B.)
A, Patient with a nasal defect primarily located on the nasal dorsum. B, Postoperative picture showing result of repairing just the dorsum with a forehead flap. Even though the contour is not optimal, the primary reason for an aesthetic failure in this case is the poor tissue match between the forehead flap and the skin of the nasal tip.
A, Patient with nasal defect confined to the nasal tip. B, Postoperative result showing replacement of the nasal tip with a forehead flap. Aesthetic failure is primarily due to the disparity between the forehead flap and remaining skin of the dorsum.
A and B, Patient with nasal defect confined to the nasal tip. C and D, Postoperative result with replacement of both the nasal tip and dorsum subunits with a forehead flap. Note that the tip and dorsum are covered by a single unbroken sheet of skin without a line of transition between the forehead skin and nasal skin.
A, Patient with superficial spreading melanoma of the nasal tip, dorsum, and side wall. B, Intraoperative photograph showing the resection. The cheek and side wall defects were managed with bilateral cheek advancement flaps. C and D, Postoperative result showing replacement of the tip and dorsum with a forehead flap.
Photomicrograph showing comparison of forehead skin (A) and skin from the nasal tip region (B) harvested from the same patient with similar magnification (hematoxylin-eosin stain). Note the increased thickness of the nasal skin dermis with an increased number of blood vessels (small arrow) and sebaceous glands (large arrow). This histological picture would be expected to make forehead skin appear paler and smoother when placed next to nasal skin, and this is what is commonly encountered in clinical situations (Figure 2, B, Figure 3, B, and Figure 4, B).
Shumrick KA, Campbell A, Becker FF, Papel ID. Modification of the Subunit Principle for Reconstruction of Nasal Tip and Dorsum Defects. JAMA Facial Plast Surg. 1999;1(1):9-15. doi:10.1001/archfaci.1.1.9
© 2017
From the Department of Otolaryngology–Head and Neck Surgery, University of Cincinnati, Ohio (Drs Shumrick and Campbell); Facial Plastic Surgical Center Inc, Vero Beach, Fla (Dr Becker); and Facial Plastic Surgicenter Ltd, Owing Mills, Md (Dr Papel).
This article reports our observations on, and modification of, the subunit principle with regard to reconstruction of nasal tip and dorsum defects. Forty-two patients who underwent reconstruction of a nasal tip and/or dorsum defect with a forehead flap were reviewed. These patients were categorized by how the subunit principle was used in their reconstruction and graded on the aesthetic outcome of the reconstruction. We found that the patients who had both the nasal tip and dorsum replaced obtained better results than those who had just 1 subunit replaced (P=.008). Review of postoperative photographs shows that the reason for this discrepancy in aesthetic outcomes is the line of transition between the forehead skin and remaining nasal skin if only 1 subunit is replaced. With this observation in mind, we feel that patients undergoing reconstruction of the nasal tip and/or dorsum should be evaluated for discrepancies in tissue type between the recipient nasal site and forehead donor site. If the tissues are noted to be significantly disparate, the reconstructive surgeon may consider replacing both subunits with a single forehead flap.
In the early days of modern nasal and facial reconstruction, surgeons were content to simply provide viable tissue to the site of the defect with little discussion regarding contour or tissue match. However, in the 1950s several surgeons began to advocate not only supplying viable tissue for facial and nasal defects, but also contouring this tissue accurately enough that key visual cues were provided so that the viewing eye would be more inclined to perceive the reconstructed area as normal. These authors noted that if a reconstructive effort did not blend in with the normal architecture and topography of the face, it caught the eye and detracted from the final result. Gonzalez-Ulloa et al1 laid the groundwork for improving facial reconstruction when they made the observation that there were distinct regions (or units) of the face with lines of transition between them. Gonzalez-Ulloa et al felt that the underlying reason for these lines of transition and the various units was the histological variation of the surface epithelium covering the different facial units. They postulated that placing the borders of a reconstructive effort along these lines of transition between facial units (where the eye expected to see a disparity between the 2 regions) would render the reconstructive effort less conspicuous. Millard2 took the theory of facial units and put it into practice. Millard wrote strongly and compellingly against simply filling holes with tissue, advocating instead replacing entire facial units or planning the reconstruction so that the scars run within the lines of transition.
Building on Millard's foundation, Burget and Menick3-4 further defined the utility of the unit theory of facial reconstruction and in particular how the unit theory could be applied to nasal reconstruction. Gonzalez-Ulloa et al1 had considered the nose a single unit of the face, but when Burget and Menick examined the nose they found several visual topographic regions they referred to as "subunits" of the nose (Figure 1, A and B). Burget and Menick showed convincing clinical evidence that reconstructing nasal defects by replacing entire subunits provided consistently better aesthetic results. They also provided supportive data from the field of perceptive psychology to strengthen their observations.5-6 The subunit theory of nasal reconstruction, as described by Burget and Menick, stated that if a nasal defect involved more than 50% of a nasal subunit, then the defect should be enlarged to encompass the entire subunit and then the entire subunit replaced.4 For defects that are less than 50% of a nasal subunit, Burget and Menick felt that the reconstruction should be accomplished with local tissues in the standard fashion.
We have found the subunit concept of nasal reconstruction valuable and agree with its general theory. However, several years ago, one of us (K.A.S.), while reviewing the results of a series of nasal reconstructions with defects large enough to require forehead flaps, noted that the nasal defects that required replacement of both the nasal dorsum and tip subunits consistently obtained better aesthetic results than smaller nasal defects in which just a single subunit (tip or dorsum) was replaced with a forehead flap. On critical review of these cases, it became clear that the reason for the improved results in patients with larger nasal defects was that when a forehead flap was used to replace just a nasal tip or nasal dorsum, the junction between the forehead flap and remaining nasal skin was noticeable and detracted from the final aesthetic result. This clinical observation, confirmed over a large group of patients with nasal defects, has led us to reexamine the subunit principle of nasal reconstruction (as described by Burget and Menick) and propose a modification that, in our hands, has improved the aesthetic results of our nasal reconstructions.
Gonzalez-Ulloa et al1 had originally proposed that the determining factor for the lines of transition between facial units was due to changes in the underlying histological characteristics of the 2 areas. A good example of how changing histological makeup gives rise to a line of transition would be the cheek and lower eyelid. Histologically, the cheek skin has a thick dermis with a moderate amount of sebaceous glands and a distinct subcutaneous layer. Conversely, the lower eyelid skin has a thin dermis with a paucity of sebaceous glands, and it lies virtually on top of the underlying orbicularis muscle with no intervening subcutaneous tissue. Looking at these 2 histological landscapes, it is not difficult to appreciate that the external visual appearance of these units would be quite distinct.
However, when one considers the nose and the histological basis for distinguishing between the nasal subunits, the situation is less clear. In fact, the actual point of transition between the different nasal subunits (eg, the nasal dorsum and nasal side wall) is much more subjective than the other facial units, and the location of a clear line of demarcation between the nasal subunits may vary substantially among observers. Close examination of the nose shows that in actuality the lines of transition between the nasal subunits are due to surface highlights determined by the underlying skeletal architecture rather than substantial changes in the histological characteristics of the tissue. For example, the line of transition between the nasal tip and nasal dorsum is not due to a change in histological structure; instead, the transition between the tip subunit and the dorsal subunit is primarily determined by the lower lateral cartilages raising the nasal tip skin above the septal angle and creating the supratip depression (Figure 1, C and D). Patients with poor tip projection typically do not have a distinct line of transition between the nasal tip and dorsal subunits. In our review of nasal reconstructions, we noticed that the major shortcoming of the subunit principle in achieving an aesthetic result occurred when reconstructing a single nasal tip or dorsum subunit with a forehead flap. In each case, the reason for this aesthetic failure was owing to a failure of the forehead skin to blend with the remaining nasal skin of the other subunit. Furthermore, we found that patients who had both subunits replaced with a forehead flap (who presumably had larger initial defects) obtained superior aesthetic results compared with those patients who had only 1 subunit replaced.
Based on these observations, we have proposed a modification of the subunit principle which states that if a forehead flap is to be used for reconstruction of a nasal tip or dorsum defect, and there is a noticeable difference between the forehead skin and nasal skin, then a superior aesthetic result will be achieved if both subunits are replaced en bloc. Thus, the visual disparity between forehead skin and nasal skin is avoided as seen when a single subunit is replaced with a forehead flap. The purpose of this report is to expand on our original observations with additional patients, a more formal review of the patient series, and histological observations of the disparity between nasal and forehead skin.
There is no universally accepted method of judging the aesthetic success of a proposed nasal reconstructive procedure. Observations on flap survival or failure are of little importance in trying to determine whether a nasal reconstruction has achieved a successful aesthetic result. The ultimate success of a nasal reconstruction is determined by how closely the reconstructed nose resembles a normal nose. Obviously, whether a reconstructive effort achieves a satisfactory result is a subjective determination. Therefore, there are inherent difficulties in designing a study to assess the aesthetic outcomes of a reconstructive procedure.
In large part, the readers must make their own determination on the merits of a proposed procedure based on 3 considerations: (1) knowledge and experience with the reconstructive problem and the theoretical soundness of the proposed procedure, (2) supporting basic science material, and (3) consistent, high-quality photographic documentation. If these 3 criteria are met, then informed readers may be able to agree or disagree with an author's proposal, but it is only after applying the technique to their own patients that a final opinion will be possible. In an attempt to meet these requirements, this study was designed with both subjective and objective criteria.
The first portion of this study consisted of reviewing the results of a series of nasal reconstructions from the practices of the 3 senior authors (K.A.S., A.C., and F.F.B.). The requirements for inclusion in the study were that the patients had to have a cutaneous defect of the nasal tip and/or dorsum large enough to require a forehead flap for repair. Defects extending to additional nasal or facial subunits or involving skeletal components or mucosa were excluded. Additionally, to be included, the patients had to have adequate preoperative and 6-month postoperative photographs.
The patients' postoperative photographs were then reviewed by 7 board-certified surgeons involved in the management of cutaneous facial carcinomas and defects (4 board-certified plastic surgeons, 1 Mohs surgeon, and 2 facial plastic surgeons) and scored on a scale of 1 to 4 for the aesthetic success of the reconstruction (1 being a poor result with the reconstructive effort obvious and 4 being an excellent result with the reconstructive effort noticeable only on close inspection). The patients were then placed in 1 of 3 groups according to how the subunit principle had been used to direct their reconstruction: group 1, patients in whom the standard subunit principle of nasal reconstruction was not followed (Figure 2, A and B); group 2, patients in whom just 1 nasal subunit (tip or dorsum) was replaced (Figure 3 and Figure 4); group 3, patients in whom both nasal subunits (tip and dorsum) were replaced (Figure 5 and Figure 6).
The decision as to which form of the subunit principle was to be employed on each patient was left to the individual surgeon's judgment, and patients were not randomized in the treatment groups. It is noted that as experience was gained and the improved results were noted, the replacement of both subunits became our preferred modality for patients with notable nasal tip or dorsal defects.
The scores for each patient evaluation were averaged and ranked. The Mann-Whitney U test was then used to determine the statistical significance of the variations between groups. To lend objective support to our contention that there is a visual discrepancy between forehead skin and nasal skin, 6 specimens of nasal skin and forehead skin from patients undergoing nasal reconstruction were submitted for histological examination and microphotographic documentation.
A total of 42 patients had appropriate defects and suitable documentation for inclusion in this study. There were 17 women and 25 men. Five patients did not have the subunit principle followed; 14 patients had 1 subunit replaced; 23 had 2 subunits replaced. Analysis of the aesthetic results showed the following average (or mean) scores (1 being a poor result with the reconstruction obvious and 4 an excellent result): 1.65 for patients who did not have the subunit principle followed; 2.22 for patients with 1 subunit replaced; 2.61 for patients with 2 subunits (tip and dorsum) replaced.
Statistical analysis showed that patients in whom the subunit principle was not followed had a significantly poorer result than both the groups for whom the subunit principle was followed (P=.005). Additionally, patients who had 2 subunits replaced had a significantly better result than those patients who had just 1 subunit replaced (P=.008).
Review of the histological sections of forehead and nasal skin (Figure 7) confirmed the visual impression that there is a significant histological difference between forehead and nasal skin. The nasal skin, in all 6 cases where histological material was available, was seen to have a considerably thicker dermis than forehead skin with markedly increased content of sebaceous and sweat glands. In addition, the nasal skin was noted to have increased vascularity compared with forehead skin based on the number and size of vessels seen in the dermis and subdermis. Visually, these disparities would be expected to manifest in nasal skin as a more irregular surface (owing to gland pores) and redder coloration than forehead skin, which has a smoother and paler appearance.
The human eye and mind are designed to deal with the visually complex world we live in by pattern grouping and recognition rather than focusing on each detail.5, 7 We focus on the unexpected and gloss over, or take for normal, the expected. This ability to consider normal that which fits within the expected is important because one can never truly re-create a nose (or any part of the body). We can, however, "fool" the viewing eye (and attached mind) into assuming a reconstructive effort is normal by providing the proper visual cues for one to assume that the visible scars and replacement tissue are normal, and avoiding stimuli (prominent scars, incorrect contour, and lines of transition out of the expected position) that would be perceived as abnormal. To accomplish this goal, the subunit principle was developed and holds that the surgeon should repair nasal defects by replacing complete topographic subunits rather than simply "plugging holes."1-2,4, 6, 8
In a major article dealing with the subunit principle of nasal reconstruction, Burget and Menick4 stated that they excised the tissue remaining in a subunit and replaced the entire subunit only if the defect was more than 50% of the subunit. We feel that the subunit principle is an important concept in nasal reconstruction and strive to employ it in most of our patients. However, we have noted a discrepancy in our results with regard to the success of the subunit principle in achieving an aesthetic result for defects of the nasal tip and dorsum that require a forehead flap for reconstruction. Specifically, we have observed that patients who had both subunits replaced with a single forehead flap achieved a better overall result than those who had just a single subunit replaced, even though the patients with both subunits replaced generally had larger initial defects. On review of postoperative photographs, the explanation for this discrepancy in results between patients with replacement of 1 vs 2 subunits is caused by the excessively prominent junction at the supratip region between the forehead flap and the nasal skin of the remaining subunit. This junction is less noticeable at the interface with the alar and side wall subunits. Patients who had both subunits replaced with a forehead flap contoured to the nostril rims, columella, alar creases, and side wall achieved a much more natural-appearing result primarily because of the unbroken skin coverage of the tip and dorsum.
Objective evidence for the superiority of replacing both subunits is found in the results of this patient review where patients who had both subunits replaced scored 2.61 of 4 for overall aesthetic result of the reconstruction and patients who had only 1 subunit replaced scored 2.22 (P=.008). Both groups of patients in whom the subunit principle was employed scored higher than the group in whom it was not (P=.005). These results should not be too surprising because forehead skin, while one of the closer matches to nasal skin, is still relatively histologically distinct from nasal skin, and a noticeable line of transition is inevitable. As noted in the "Results" section, forehead skin is microscopically quite different from nasal skin and, visually, this results in forehead skin appearing smoother and paler than nasal skin.
Based on these observations, we have modified our approach to nasal defects such that if a defect of the tip and/or dorsum is large enough to require a forehead flap for coverage, and there is a substantial difference between forehead skin and nasal skin, then the skin of the remaining subunit(s) is excised and the tip and dorsum subunits are replaced en bloc. Care is taken to place the anterior scar over the nasal tip and onto the columella, contouring the flap to the nostril rims and alar crease. The forehead flap is left in place for 2\batchmode \documentclass[fleqn,10pt,legalpaper]{article} \usepackage{amssymb} \usepackage{amsfonts} \usepackage{amsmath} \pagestyle{empty} \begin{document} \({1}/{2}\) \end{document} to 3 weeks and then divided close to its pedicle in the medial brow region; the donor site is closed primarily. The distal portion of the flap (previously the proximal portion) is then debulked and contoured to the remaining portion of nasal dorsum. The distal end of the forehead flap can be substantially thinned without fear of vascular compromise because the supplying vessels lie in the superficial subcutaneous tissue.9-10 The remaining skin of the dorsal subunit is then excised and the flap inset.
At first thought, excision of a large portion of ostensibly normal skin may seem a somewhat radical notion, but further reflection shows that this approach has merit, providing advantages beyond just aesthetic considerations. First, the nasal tip and dorsum are replaced by a continuous, unbroken sheet of forehead tissue with the scars hidden anteriorly on the columella, or camouflaged by following the nasal rim, alar crease, and side wall crease. The underlying cartilaginous and bony framework provide surface contouring that preserves the appearance of separate tip and dorsal subunits without a scar or juxtaposed nasal and forehead skin. Second, with standardization of techniques for harvesting forehead flaps, provision of a flap with adequate length and volume should not be a difficulty. Third, replacement of both tip and dorsum subunits for a defect that primarily involves the tip makes better use of the proximal portion of the forehead flap, which would otherwise be discarded if just the tip were to be replaced. Fourth, removing the remaining nasal skin and submitting it for histological examination has revealed inadequately excised carcinomas and second primaries. Fifth, while not advocated on a routine prophylactic basis, removal of the remaining nasal subunit(s) and resurfacing both the nasal tip and dorsum with a forehead flap replaces actinically compromised nasal skin with forehead skin that is at less risk for developing subsequent carcinomas. While none of these advantages alone would be an indication for excision of normal tissue, when combined with the aesthetic improvements achieved, we feel they offer ample justification for this approach.
This approach may not be appropriate for patients who are not particularly concerned with aesthetic results or who have risk factors for wound healing problems or difficulties with safe forehead flap transfer. Such patients would include those with dementia, those who smoke, those with diabetes or peripheral vascular disease, and those with short foreheads or compromised forehead skin (from radiation, previous surgery, etc).
A successful nasal reconstruction provides not only the 3 layers of the nose but assembles them in such a way that an aesthetic result is achieved. A major advance in nasal reconstruction has been the development of the subunit principle. We have presented evidence to support the concept that in selected cases where there is a significant histological variation between forehead skin and nasal skin, a better final result may be achieved by replacing both subunits en bloc with a single forehead flap.
Accepted for publication October 14, 1998.
Presented at the 1996 American Academy of Facial Plastic Reconstructive Surgery Fall Meeting and Biotechnology Forum, Washington, DC, September 26-28, 1996.
The authors would like to gratefully acknowledge the editorial input of Kathy Deters and assistance in procuring anatomical material by Craig Murakami, MD, at the Otolaryngology Department, University of Washington, Seattle.
Reprints: Kevin A. Shumrick, MD, University of Cincinnati, Department of Otolaryngology–Head and Neck Surgery, 231 Bethesda Ave, ML #528, Cincinnati, OH 45267.


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7 Open-Ended Questions You Should Ask in Customer Interviews
Customers can tell you a lot about how and why they use your products and where they fall short. Yet so many product managers fail to make the most of customer interviews by asking probing, insightful questions. As a result, they receive shallow, rote, and rather wasteful answers.
Open-ended questions often


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Hotfrog SouthAfrica provides information regarding IN2FLOORZ(PTY)LTD in Kempton Park Gauteng. IN2FLOORZ(PTY)LTD is located at 88 DANN ROAD ASTON MANOR, Kempton Park Gauteng 1619 and provides Flooring services. Contact them on (08) 1750 2999 or by visiting them on their website http://www.in2floorz.co.za.
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Mission Statement
Vision StatementStudents at Enloe Magnet High School Gifted and Talented/International Baccalaureate Center for the Humanities, Sciences, and the Arts will capitalize on their strengths through a curriculum offering a wide range of opportunities where integrity, diversity, and talents are nurtured.
Doors open 6pm, program starts 6:30 til 8pm. See senior work displayed and have the opportunity to hear from students, alum and teachers about the IB Programme.
Online registration for AP exams runs from Wednesday, February 1 through Friday, February 24.
Click HERE for more information
The application can be found at https://sites.google.com/a/wcpss.net/mbsa-enloe-hs/application and are due by May 1st.
ENLOE HIGH SCHOOL is a place where differences, diversity and disabilities are encourage and celebrated. The student body is comprised of scholars from all over the triangle and represent a range of talents, skills and abilities. ENLOE is a school where disability awareness is celebrated ALL YEAR LONG. Here's a video that showcases a group of scholars and one of our very own ENLOE teachers' experience with disabilities and special education services.
Click here to read an article about Annual Enloe Charity Ball to benedit Urban Ministires.
Apply to a new school for next school year, 2017-18.
Elementary, middle school parents' info sessions for accelerated student learning now through March
There's been overwhelming interest from students and parents.
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Vlade Divac says the Kings had better offers two days before trading DeMarcus Cousins to the Pelicans.
Kings GM says team had better offers for Cousins
Publish Date: Today, 05:20 PM ETDuration: 00:58
Kings GM says team had better offers for Cousins
Stephen A. calls Cousins trade 'a heist'
All-Star weekend in NOLA did not disappoint
Calipari certain both Cousins and Davis want to win
Stephen A. can't imagine Revis was instigator
NBA All-Stars showed up to entertain
KD, Westbrook go vintage, briefly, in ASG
Stephen A. says 'All-Star weekend stinks'
Baylor's stumble brings clarity to top of Power Rankings
Scherzer's wife threw away no-hitter jersey
Will Westbrook continue to give KD icy treatment?
Stephen A. says Carmelo is keeping Dolan close
Can Cousins control emotional outbursts in New Orleans?
Cousins worth the risk for Pelicans
Steph tries different approach against the Greek Freak
Westbrook has fun with reporters asking about Durant
- Making an NFL Mount Rushmore from current players
- (01:46) Today, 03:10 PM ET
- Dolphins, Jags trade discussions heat up
- (01:56) Today, 02:12 PM ET
- Stephen A. challenges Will Cain about Romo's 'greatness'
- (02:05) Today, 11:40 AM ET
- Stephen A. can't imagine Revis was instigator
- (02:06) Today, 10:59 AM ET
- Who's going to make a difference in NFC West?
- (02:42) Today, 03:40 PM ET
- Kansas State fans give well wishes to Bill Snyder
- (00:48) Feb 15, 2017, 10:31 PM ET
- Finebaum: Revenue withholding a 'very bad sign for Baylor'
- (01:01) Feb 8, 2017, 11:13 AM ET
- Finebaum shocked by Sarkisian leaving Alabama
- (01:26) Feb 7, 2017, 12:36 PM ET
- Does Chip Kelly have a future at Alabama?
- (00:40) Feb 7, 2017, 02:11 PM ET
- Finebaum disgusted over latest Briles allegations
- (02:45) Feb 3, 2017, 01:06 PM ET
- Scherzer's wife threw away no-hitter jersey
- (01:53) Today, 09:23 AM ET
- Francona takes managing lessons from cribbage
- (01:18) Today, 08:49 AM ET
- Harper shows Randy Scott around Nats' clubhouse
- (03:22) Today, 09:10 AM ET
- Kipnis, Indians putting 2016 behind them
- (02:16) Today, 10:56 AM ET
- Bryant's offseason was one for the books
- (01:59) Yesterday, 10:50 AM ET


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Bibliographic details for "The One Ring (role-playing game)"
- Page name: The One Ring (role-playing game)
- Author: Tolkien Gateway contributors
- Publisher: Tolkien Gateway
- Date of last revision: 29 November 2012 14:51 UTC
- Date retrieved: 25 February 2017 06:02 UTC
- Permanent link: http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101
- Page Version ID: 221101
Citation styles for "The One Ring (role-playing game)"
APA style
The One Ring (role-playing game). (2012, November 29). In Tolkien Gateway. Retrieved 06:02, February 25, 2017, from http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101
MLA style
Tolkien Gateway contributors. "The One Ring (role-playing game)." Tolkien Gateway. Tolkien Gateway, 29 Nov. 2012. Web. 25 Feb. 2017.
MHRA style
Tolkien Gateway contributors, 'The One Ring (role-playing game)', Tolkien Gateway, 29 November 2012, 14:51 UTC, <http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101> [accessed 25 February 2017]
Chicago style
Tolkien Gateway contributors, "The One Ring (role-playing game)," Tolkien Gateway, http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101 (accessed February 25, 2017).
CBE/CSE style
Tolkien Gateway contributors. The One Ring (role-playing game) [Internet]. Tolkien Gateway; 2012 Nov 29, 14:51 UTC [cited 2017 Feb 25]. Available from: http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101.
Bluebook style
The One Ring (role-playing game), http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101 (last visited Feb. 25, 2017).
Bluebook: Harvard JOLT style
Tolkien Gateway, The One Ring (role-playing game), http://www.tolkiengateway.net/wiki/The_One_Ring_(role-playing_game) (optional description here) (as of Feb. 25, 2017, 06:02 GMT).
AMA style
Tolkien Gateway contributors. The One Ring (role-playing game). Tolkien Gateway. November 29, 2012, 14:51 UTC. Available at: http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101. Accessed February 25, 2017.
BibTeX entry
@misc{ wiki:xxx, author = "Tolkien Gateway", title = "The One Ring (role-playing game) --- Tolkien Gateway", year = "2012", url = "http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101", note = "[Online; accessed 25-February-2017]" }
When using the LaTeX package url (
\usepackage{url} somewhere in the preamble), which tends to give much more nicely formatted web addresses, the following may be preferred:
@misc{ wiki:xxx, author = "Tolkien Gateway", title = "The One Ring (role-playing game) --- Tolkien Gateway", year = "2012", url = "\url{http://www.tolkiengateway.net/w/index.php?title=The_One_Ring_(role-playing_game)&oldid=221101}", note = "[Online; accessed 25-February-2017]" }
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An important quality that will help the child in school and future adult life, it's perseverance.
Plodding people better remember information, have a more developed thinking and logic, they are more attentive and effective.
To all these qualities were a child, you need to develop perseverance daily.
Once the baby is born, pay attention,on what subjects he often focuses. Help him as much as possible to consider and study the same thing, to find out what functions it has.
In the first drawing lessons with the child Add a small detail to figure the kid that he is developing observation, I found that it has changed its image.
While playing with the children by exampleshows how to perform the task. Involve the whole family to the games, it will help to awaken interest in the kid to fulfill the conditions of the game and develop a child perseverance.
When choosing entertainment, game exercisesbaby, always consider its age features. Any game to teach a child to bring to its logical conclusion. For example, after molding clay figurines clay residues must be removed in a box, scattered parts designer collected in a container for its members, after the occupation of painting brushes should be washed and dirty water poured from the cup.
If your child is doing something very slowly, do not rush it. The most important thing at this stage that he had learned all alone finish.
During the lessons with the child does not communicate with him by fiat tone. Try to express all the tasks in the form of a request.
Do not buy a child is too many toys. A great variety has a negative impact on the ability to concentrate. The smaller toys a child, the more value they represent for him. Among the many toys sold, choose the ones that primarily have a developmental function. If a child has already accumulated a lot of toys, remove the part of the child's access zone and periodically change hoarded toys to those available to the child at any time.
Among the different creative activities that requirefocus kid, help your child choose what he is most like. It will help to develop perseverance as painting and sculpture, and the fascination with applique, embroidery, beading.


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You have searched for American Film Company (2008)
LAST UPDATED : 28 Feb 2017, 23:41 IST
- Three planning organizations of Kolkata merging into one
After the merger of three transport PSUs – Calcutta State Transport Corporation (CSTC), Calcutta Tram Company (CTC) and West Bengal Surface Transport Corporation (WBSTC) – the state government is all set to merge three organizations – Kolkata Metropolitan Development Authority (KMDA), Calcutta Improvement Trust (CIT) and Kolkata Metropolitan Water and Sanitation Authority (KMWSA).
- Tata Housing announces two new projects in Maldives
New Delhi, Feb 28 () Realty firm Tata Housing today announced expansion in Maldives real estate market with launch of two luxury housing projects in Male. The company, which is the real estate arm of the Tata group, has launched two high-end property developments at Odeon and Nadhee.
- Mohit Chauhan makes his debut in Gujarati films
Gujarati movie music has seen a steep rise in last couple of years. Not only has it found a wider audience thanks to a more contemporary feel and a young appeal, a number of Bollywood singers have also taken keen interested. Names like Sonu Nigam, Alka Yagnik and Udit Narayan to Armaan Malik and Shankar Mahadevan, Dhollywood movie music is surely going big. Adding another big name to the ever growing list is versatile singer Mohit Chauhan, who makes his Gujarati movie debut with Jag Re Banda Jag from Sanjay Maurya starrer Last Chance. The song, which is an inspirational rock based song, has been composed by popular Gujarati music director Maulik Mehta and is one of the few fast paced songs that is sure to grab a lot of audience attention. Talking about the song, composer Maulik Mehta says, "It was a great working with Mohit Chauhan. I sent him the first draft of the song to Mohit, and after listening to it he readily agreed to record. Having Bollywood singers singing for our films has really helped the films as they not only create a wider reach and buzz but also gives the songs more credibility."
- I am open to doing a Gujarati film: Deven Bhojani
Action films in India surely have their own fan base, and when you have Vidyut Jamwal starring in the film, the action sequences are bound to be stunning. As the stars of Commando 2 came visiting Ahmedabad for promotions, Vidyut Jamwal, along with his director Deven Bhojani, shared how action films, even though one of the most popular genres in India, are yet to achieve a cult status. Unlike Hollywood, where action heroes have their own standing, action heroes in Bollywood still have a long way to go when it comes to gaining stardom and popularity. The actor-director duo opened up for a chat with AT. Excerpts: Why are all Bollywood action movies invariably compared to Hollywood films? Vidyut: There is always a reference point. And when it comes to action, Hollywood films have paved a path for years. But things are changing as our films are creating extraordinary action as well and I think it is only a matter of time when this would stop. Deven: Action films in Bollywood are one of the most popular genres in India, but these films are not yet respected as much other films are. But the fact is that action films require a lot more hard work. Designing, implementing and successfully pulling off those action sequences is not easy. But we still don't take them so seriously. So how did action film became you directorial debut in Bollywood Deven, considering they have a limited audience? Besides you have always been associated with comedy and family dramas. Deven: I did a television series some time back and it had some action in it. That got me really interested as I enjoyed doing it. Wahin se mujhe action films ka keeda laga. And I feel I perform much better when I am out of my comfort zone. And that is what I wanted to do with my first film as a director. I wanted to push myself and work out of my comfort zone, to challenge myself. And I really enjoyed it. Vidyut, you must be following a tough fitness regimen considering the kind of action you do. Vidyut: Unlike many other actors, who follow a strict diet and quit eating food that they actually like, I totally indulge myself. I eat everything and how much ever I feel like. The only thing is that I exercise regularly and follow a tough exercise regimen. That is my philosophy, eat everything and burn it out with hardcore fitness schedule. When we see your stunts, the first reference that comes to mind is that of Tony Jaa (Ong Bak fame). Do you follow other action stars from across the world? Vidyut: Actually, everyone has their own reference points. Someone asked me that if I take inspiration from Arnold Schwarzenegger. But yes, I do follow other action superstars, but I have a style of my own. I, like many of us, grew up watching stars like Amitabh Bachchan and Vinod Khanna, who would beat up the bad guys and save the girl. And whenever I used to come out from the theater after watching these films, I would feel I could do it as well. And that inspired me too. Although things have changed quite a lot since then, but that sure remains a fine memory. Deven, now that you have made your directorial debut, any plans of making a Gujarati film debut? Deven: I am a Gujarati, and I would love to be a part of the Gujarati film industry. Actually, I did get a few offers, but either I didn't have the dates or the project was not that interesting. But I have heard that in the last two years, the Gujarati film industry has seen tremendous growth and few films have done really well. So I am all game for making a Gujarati film debut. If I get something interesting, I will surely sign it.


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All Entries Tagged With: "nightfall"
Nightfall for iOS devices has arrived at the App Store
Posted by Mary Ann Neder | Apr 06, 2012 | Comments 1Playdek and Aldrec Entertainment Group are pleased to announce that Nightfall for iOS devices has arrived in the App Store and is ready for download. Soon iPad and iPhone users everywhere will be controlling minions from the underworld right in the palm of their hand! The press release appears below:
Read More
First preview trailers of Playdek and AEG's Nightfall for iOS
Posted by Mary Ann Neder | Mar 26, 2012 | Comments 0Will you be a Master or a Minion when the night falls?
Read More


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I am always trying to learn more. This is a page I am starting that will list courses I have taken, conferences I've attended, and books I have read.
- Converge Florida 2013, Conference
- CSS Summit 2014, Conference
- Aquent Gymnasium, Responsive Web Design, Course
- RWD Summit 2016, Environments for Humans
- WordCamp Jacksonville 2016
- Web Performance Testing, Mijingo.com, 2016
- Code Your Own Damn Website, Girlsonwp.com


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Pay-Off - Scene 4
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Duration 18m, 23s
Tags Anal Licking, Anal Sex, Blowjobs, Cum on Hands, Cum on Stomach, Fingering, Handjobs, Hardcore
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There's nothing better than spending a romantic night in bed with your homosexual lover. These two guys, Luke Sabre and Trey Hunter, kick things off with some excellent 69. They lie on their sides, sucking each others' cocks to perfection. One man has a long and thin penis, while his buddy's dick is shorter but thicker. Next they move into a double ass licking position, tonguing each others' sphincters. The two men take turns buggering each other, rampaging all over each others' anuses. The anal action is fast and furious, the plugging furious - these guys are desperate to ejaculate! The two men cover each other with their sticky loads.
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Kobe X / STRIKE WITH PRECISION
In the Kobe X Men's Basketball Shoe, speed and precision become one. Improved traction and more flexible cushioning help you capture the game and strike without warning.
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