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Music and Sound for Image BA(Hons) 2017-18This course also available for 2018-19 entry
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Julian talks about Music Technology
About the course
You'll have the opportunity to immerse yourself in an environment ideally suited to study the practice and theory behind working with sound in relation to music. Taught by experienced staff, you will aim to develop a foundation in how to apply sound to film, TV, computer games and other visual media. The course offers training in music composition, orchestration, conducting and performance, as well as sound recording, audio production, sound design and film semiology. It provides a valuable opportunity for you to develop musically and technically, as well as intellectually as you prepare for your future career.
• Our facilities are professionally-designed and built. We have extensive recording and composition studio space, and are continually upgrading the equipment you use, keeping up-to-date with the industries we're training you to be part of.
• You'll be at the centre of a hive of creativity. Your fellow students will be aspiring classical and pop musicians, recording engineers, programmers, audio electronics experts and interface designers.
• You'll have opportunities to learn from the very best - we have previously organised visits from leading practitioners such as Ray Russell - "A Touch of Frost", documentary film composer, and conference advice sessions from the likes of LA-based sound designer and author David Sonnenschein. Also from producers such as Charlie Russell and Brad Spence, drummers Mike Heaton, Bill Bruford and Craig Blundell, guitarist Alex Hutchins and jazz saxophonists Snake Davis and Andy Scot. Our graduates also keep in touch to share their professional experiences.
• Every year in November you have the chance to experience contemporary music in action at HCMF, the UK's largest contemporary music festival, whose main partner is the University.
• You'll be joining a large community of music and music technology students in the UK and have the opportunity to enhance your employability by taking a placement year as part of your course, organised by our award winning placement unit.
This course holds JAMES accreditation - see jamesonline.org.uk for more information
See what current Music Technology student Julian has to say about his course.
Course scholarships available – up to £3000. More details.
UCAS code:
Start date:
18 / 09 / 2017
3 years full-time
4 years inc. placement year
Course type:
Full Time inc. placement year
0300 555 4444
Course content
Year 1
In the first year you will have the opportunity to study music composition alongside computer-based composition and studio recording as well as developing your skills in counterpoint, harmony and analysis. You can also choose to study television production, interactive programming in MaxMSP or instrumental performance.
Core modules:
Computer Composition 1
In this foundation module you will study composition and technical processes for writing in a range of possible genres, and will have the opportunity to develop a broad understanding of sound synthesis, audio manipulation and music production skills. The module includes tuition on technical fundamentals while introducing composers and genres that constitute the breadth of sound computer-based composition offers. Topics include theory and practice in sound synthesis and sampling, and genres include Musique Concrète, Elektronische Musick, ambient music, and contemporary electronic music artists and styles. Assessment is through coursework: creative exercises, free composition and accompanying written documents.
Audiovision in Context
Your approach to studying music and sound for image will depend on having a good understanding of the range and context of the ways this has been achieved both historically and in the present time. Audiovision in context is a broad ranging study of how sonic and visual work together to inspire not only film and television but a range of other practices from art to videogames. You'll be encouraged to engage with the analysis of audiovisual practice and develop key theoretical concepts which will support your academic studies. Assessment is through the development of an online wiki which explores the contribution of musicians and sound designers to the audiovisual world, an essay exploring technological change and artistic practice and a practical study of a specific audiovisual approach.
Stylistic Composition
You will attend weekly lectures and seminars that explore a variety of stylistic compositional approaches from Baroque to 20th Century. The emphasis will not be on originality but on developing a heightened sense of stylistic awareness through the close examination of a work's instrumentation and compositional materials as well as its form and structure. In addition to utilising works within their original context, the module will use examples that demonstrate ways in which these stylistic idioms have been drawn upon and adapted by the modern film composer. You will produce a short folio of compositions in term one and an extended composition with commentary in term two.
Music for the Moving Image A
This is a film music composition module that explores the relationship between the soundtrack and moving image. You will aim to develop an understanding of the historical context of the soundtrack from silent film to the present day through composition work. In this way the module encourages you to develop a practical understanding of the functions that music and sound have on film, whilst teaching the elements of film composition, arrangement and orchestration. Creating believable mock-ups with sampled instruments is a core skill to develop here. While there is a strong focus on film, the module also looks at games music, TV idents, animation and music video.
Recording 1
This module is designed to introduce you to the basic theory and practice of a broad range of techniques and equipment used for studio, concert hall and location recordings. The studio recording part of the module focuses on techniques involved in modern pop/rock music production. The module includes practical recording sessions delivered in our professional quality studios equipped with ProTools HD and a digital mixing desk. The concert hall and location recording content of the module is aimed at providing you with a firm understanding of various stereo microphone techniques for acoustic recording. You'll also get the opportunity to put your learning into practice by making recordings of a classical ensemble at the University's concert venue.
Option modules:
Choose one from a list which may include-
Composition 1
This module offers an essential introduction to the fundamentals of composition by exploring the various musical parameters of melody, harmony, rhythm, timbre and texture through a series of preliminary exercises given in seminars and group tutorials. In term two you will be able to build on this knowledge through the creation of a portfolio of short pieces for keyboard, voice and strings. The second term also includes demonstrations and performances from visiting professional artists. Assessment is though portfolio of coursework.
Interactive Sound Design 1
This is a creative module using the software Max, a graphical programming language used to develop digital instruments and audio processing algorithms. You will be introduced to the software and learn its basic programming techniques, gaining experience working creatively with these techniques. Though no previous programming experience is required, you need to be interested in the technical side of the creative use of music technology (an aptitude for maths would be an advantage). The learning curve is quite steep, but Max offers you a unique and highly flexible way of manipulating sound unavailable in any other commercially available software. The assessment is solely practical, through a submitted portfolio of work.
Television Production
The module introduces a range of audio and video technologies so as to provide the essential skills necessary to produce a series of short sequences and to develop the language and concepts required to evaluate the product.
Popular Music Performance Skills
This module introduces pop ensemble playing to you in the first year of your course. You will have the opportunity to perform with your fellow students in a small, acoustic group and also have a choice of more focussed tuition on either keyboard, pop singing (in a choir) or Brazilian, African and Latin percussion. You will be assessed via a learning journal (coursework) of your journey through the module and a practical assessment consisting of an un-plugged style performance.
Performance Skills 1
This module is designed to help you to gain key skills in general musicianship. You will learn about and practice skills in improvisation and aural awareness, as well as gain experience in critical evaluation of concerts and your own development as a musician. You will have the opportunity to develop skills and experience in ensemble performance and participation. Assessment consists of practical tests and coursework assignments in which you will demonstrate your knowledge, understanding and skills through written assignments, music performance, and practical tests of your musicianship.
Introduction to Digital Media and the Internet
Serving as an introductory module, you'll study how the web can be harnessed by the music industry. The module covers how to create a content managed website with a wide range of functions including: blog, picture sliders, embedding video and social networking widgets, and adding your Soundcloud and other music-related content directly in to the pages. You'll explore the importance of interconnectivity between your hub website and your various music/social platforms, optimising each to suit your purposes. You'll also study how to plan and create digital videos and incorporate special effects. The portfolio of work you're expected to create provides an excellent tool for landing a great placement and is a springboard for further self-promotion to the world.
Year 2
In Year 2 there is further tuition in computer based composition and sound for image however you also have the opportunity to study orchestration and composing for film, as well as film semiology and audiovisual theory. Once more, optional modules provide you with opportunities to develop your traditional composition training, performance and studio recording skills.
Core modules:
Orchestration 1
This module examines a range of approaches to orchestration from the Baroque to the present day, focusing on the characteristics of individual instruments, their ranges and tone colours, as well as strategies for the combinations of instruments, including issues of balance, voicing, doubling, and effective control of orchestral textures. Assessment is through coursework.
Computer Composition 2
Building on the skills and knowledge acquired in Computer Composition 1 or Technology for Music, this module provides further study of the techniques of computer music including synthesis, sequencing, sampling, editing, processing and mixing, and an exploration of the creative potential of these techniques. The module is based around the subversive use of software, focusing on helping you to become a critical and creative user of the technology, in order to go far beyond the user manual. Assessment is mostly practical, based around two compositions created throughout the year with the support of the tutors, and a reflective commentary on the process.
Scoring the Silver Screen: the Musicology of Film and Television
Scoring the Silver Screen introduces you to a range of analytical, critical, and theoretical approaches to music and sound in film and television. You will explore the evolving relationships between technology, economics, and aesthetics in the history of moving images media, with case studies ranging from 'silent' films and classic Hollywood musicals to art-house cinema, contemporary blockbusters, and television serials.
Sound for Image A
This module aims to help you develop a practical understanding of fundamental skills for producing sound for film, television, computer games and mobile devices. You will have the opportunity to learn about a variety of sound production professions, and the processes of sound production within various media contexts. It will provide practical training in location recording, dealing with equipment, making sound effects and sound design, and preparing layers of audio for post-production, and study post-production skills for soundtrack compilation. Assessment is through coursework: touching up rough sound materials, producing original sound and creating your own soundtrack and a portfolio of accompanying technical documents.
Composing Music for Film A
You will aim to develop practical composition skills for writing film scores. Informed by your developing knowledge of film semiology and musical codes, you will have the opportunity to learn about 'spotting', how to calculate timings and prepare for composition, while applying your ability to 'read' media and compose original music for it. The module discusses musical functions in particular styles, highlighting techniques for working with themes, managing transitions and how to show diversity of skill when building audiovisual relationships in music. Assessment is through coursework: alternative soundtracks for a film extract with an academic essay, and an extended soundtrack with accompanying academic essay.
Option modules:
Choose one from a list which may include-
Composition 2: Composition Techniques and Analysis
This module builds on Composition 1 with units in Instrumentation and Analysis. You look in detail at the physical and idiomatic possibilities of instruments, how they work, and how this can be developed to explore new sounds. The analysis component examines the techniques of other composers to see how they create form and structure. You will gain understanding of how to take the material explored in Composition 1 and develop this alongside instrument knowledge and compositional technique. The module is a mix of lectures, performer workshops, and clinics with invited guest composers. Assessment is by portfolio of compositions and two analyses.
Interactive Sound Design 2
This module follows on from Interactive Sound Design 1 in developing skills for working with sound interactively using the graphical programming language Max. The module deals with more advanced programming techniques including the use of frequency domain processing and granulation, as well as exploring more sophisticated creative uses. As with ISD1 it does involve some technical skill but also offers great flexibility in terms of musical and creative potential, especially for live electronics. Assessment is by coursework.
Recording 2
This module will cover advanced concepts around the theory and practice of recording and mixing sound. It will review some of the current ideas about recording and production, and place techniques and technologies in a historical context. In combination with the content delivered during the lectures for the module, you'll have the opportunity to gain practical experience of sound recording and mixing to a high commercial standard in our digital recording studios, where a series of in-depth workshops are delivered.
The Music Industry and the Internet
In this module, you'll be expected to harness the internet to drive real traffic to a real website you will produce for you or your band. You'll be supported in creating professional social media accounts, linking music uploading accounts, using search engine optimisation, making screencasts and using special effects for videos relating to your digital profile. The model also explores money-business models for musical artists including advertising, videos, e-commerce and merchandise. The aim is that at the end of this module you will have an integrated digital footprint with an e-commerce website selling (or with the potential) real (or designed) products.
Popular Music Directed Ensembles 1
In this module you are coached as a fully formed band in more advanced groups. The ensembles you could be in are: Folk, Blues, Funk, Reggae/ska, Prog Rock, Jazz, Laptop Ensemble, Frank Zappa Band, Guitar Orchestra, Guitar Improvisation, A Capella Choir, Samba Band plus the opportunity to create original bands. Assessment comes in the form of two practical gigs through the year and a reflective report tracking your experience in the module.
Performance Skills 2 (Minor)
In this module you will be able to select one area of study from a list of performance areas, such as chamber music, directed ensembles or conducting. You will be assessed by practical examinations and coursework assignments. The module provides opportunities for you to develop your knowledge, understanding and skills in a wide range of performance areas, guided and coached by our team of expert full and part-time performance and instrumental staff.
Explorations in World Musics 1
This module will introduce you to styles of music popular around the world in the past and in the present, such as Vietnamese Pop, Baltic folk music and Aboriginal country music. It will also have a local focus, and one piece of assessment will ask you to work with musical group in the Huddersfield area, whether through musical collaboration, ethnographic research, or recording them. This course will also introduce analytical tools that will help you conceptualise these styles of music and place them within their cultural and political contexts. It will draw on a wide range of disciplines, including ethno-musicology, musicology, anthropology, popular music studies, post-colonial studies and history.
Music in Educational Contexts
This module explores the role of the musician in a range of informal and formal music education contexts. You will have the chance to develop the knowledge and skills to plan and evaluate music education activities, and enhance your understanding by undertaking a work shadowing placement.
Year 3 - optional placement year
Industrial Placement
This work placement module is designed to help you develop social and personal skills through work based activities appropriate for registration in the initial stages of professional institutions. You will be able to develop an understanding of the operating environment, in industrial and commercial terms, and of the roles and responsibilities of its staff. You will have the chance to develop an understanding of the significance of your work within the commercial operation of the company. You will have the opportunity to get involved in the planning of work and projects from the initial investigation through to conclusion, selecting appropriate methods and data. This is a pass/fail module. The criteria for success in this module depends on an employer appraisal, a technical logbook and a company profile report.
Final year
In the final year you'll have the opportunity to really start to specialise. There will be more emphasis on the development of your creative portfolio and for this you'll be asked to undertake a major applied project. With support and guidance you will have the opportunity to compose and record a full orchestral soundtrack for an animated film, produce a surround sound installation for still images, or create a full sound track, including sound design, for a short film.
Core modules:
Computer Composition 3
Building on the experience you have gained in Computer Composition 1 and 2, you will produce a composition using multi-channel sound, with or without video, or interactive sound design (ISD1 and 2 prerequisite for the latter option). You will be introduced to new techniques including the use of spatialisation, video, interactive or mixed media work. You will be supported through the creative process through weekly tutorials over one term only, where you will be helped to develop your ability to work with such techniques creatively, and you will have extensive access to the studios. The assessment is mostly practical, based on a work submitted with an accompanying reflective commentary.
Applied Music and Sound for Image Project
You will undertake a major piece of music composition and/or sound design for image. You have freedom to choose the images and supervision with this substantial undertaking. You might, for example, compose an orchestral soundtrack for an animated film, music for still images, or design a complete sound track for a short film. You will also receive guidance with evaluating and developing your professional skills in preparation for future work in this field beyond university. Assessment is through coursework: a professional skills portfolio and a 15 minute soundtrack and 1000 word commentary.
Option modules:
Choose one from a list which may include-
Music in the 21st Century
This module explores the major issues and materials of current musical thought and practice. We will draw on a wide range of styles and genres to examine the diversity of music in the early 21st Century, and will focus in particular on some of the aesthetic challenges and debates raised by this diversity. Assessment is through coursework, including a final project that provides opportunities for you to develop your own creative ways of demonstrating the findings from your independent research, including performance, composition, installations, multimedia presentations, blogs, websites and podcasts.
Researching Music, Technology and Performance
Research is often seen as something that other people do but we are all engaged in the process of researching music all the time as we make, perform or listen to music. The module takes as its basis the idea that research is something that you do and researching involves a wide range of skills and abilities, not just text-based academic research. You are therefore encouraged to think creatively in terms of what you do as a researcher and so research is seen as an integral part of your development as a musician, as a composer, analyst, historian, performer, producer, DJ, or any other musical activity you participate in. You will be assessed on a fieldwork project, a research poster and an extended research project of your own choice.
Choose up to two from a list which may include-
Research for Music
In this module, you will explore a range of reading materials relating to musicology and its sub-disciplines. Guided reading leads to an open exam paper, which is undertaken in your own time over a two-week period. The final part of the year is spend researching and writing an extended essay on a musical topic of your own devising, with supervision from your tutor. Research and writing skills training are also given as part of the teaching for this module. The assessment is therefore coursework-based, and closely matched to your own interests and specialism.
Popular Music Directed Ensembles 2
In this module you are coached as a fully formed band in more advanced groups with the expectation that you will take a leading role in the group. The ensembles you could be in are: Folk, Blues, Funk, Reggae/ska, Prog Rock, Jazz, Laptop Ensemble, Frank Zappa Band, Guitar Orchestra, Guitar Improvisation, A Capella Choir, Samba Band plus the opportunity to create original bands. Assessment comes in the form of two practical gigs through the year and an audio report tracking your experience in the module.
Explorations in World Musics 2
This module will introduce you to styles of music popular around the world in the past and in the present, such as Vietnamese Pop, Baltic folk music and Aboriginal country music. It will also have a local focus, and one piece of assessment will ask you to work with musical group in the Huddersfield area, whether through musical collaboration, ethnographic research, or recording them. This course will also introduce analytical tools that will help you conceptualise these styles of music and place them within their cultural and political contexts. It will draw on a wide range of disciplines, including ethno-musicology, musicology, anthropology, popular music studies, post-colonial studies and history.
Advanced Composition
This module offers an individualised plan of learning leading towards the production of a unique portfolio of compositions. Tuition is provided through weekly individual 30-minute composition tutorials as well as third weekly masterclasses. You will have the opportunity to write for at least one visiting artist or ensemble of international importance or explore various in-house opportunities. A variety of workshops are offered throughout the year to support your study. Assessment is through the submission of a portfolio of original compositions and an accompanying commentary.
Performance Skills 3 (Minor)
In this module, which is the Honours Level equivalent to Performance Skills 2, you will be able to select one area of study from a list of performance areas, such as chamber music, directed ensembles or conducting. You will be assessed by practical examinations and coursework assignments. The module provides opportunities for you to develop your knowledge, understanding and skills in a wide range of performance areas, guided and coached by our team of expert full and part-time performance and instrumental staff.
Music Media and Markets
You will explore different aspects of musical practice in contemporary culture. The selected case studies will introduce some of the different ways in which music is produced, distributed and represented both globally and within contemporary British society. Examples: the music business and money – who makes it and how they get it; music as software – the death of the recording industry?; music and audiences – who's listening and how are they listening?; elitist or populist? - the politics of music in Britain. These topics will be discussed in class where lively debate is encouraged. You will be assessed via an open paper exam and an essay.
Work and Professional Practice in Music
In this option, you will have the opportunity to develop skills relevant to the world of work by studying aspects of professional practice in a number of music-related professions (for example, teaching, performing, composing, journalism, studio management, editing, recording company), followed by a suitable work placement. Teaching is in the form of guest lectures from professionals. Assessment is through coursework relating to your career research and placement.
At any year of study, one module outside the named degree programme, but offered within the School of Music, Humanities and Media, may be taken as an alternative to any of the option modules listed above where feasible and subject to timetabling restrictions and the approval of your Course Leader.
Important information
We will always try to deliver your course as described on this web page. However, sometimes we may have to make changes as set out below.
We review all optional modules each year and change them to reflect the expertise of our staff, current trends in research and as a result of student feedback. We will always ensure that you have a range of options to choose from and we will let students know in good time the options available for them to choose for the following year.
We will only change core modules for a course if it is necessary for us to do so, for example to maintain course accreditation. We will let you know about any such changes as soon as possible, usually before you begin the relevant academic year.
Sometimes we have to make changes to other aspects of a course or how it is delivered. We only make these changes if they are for reasons outside of our control, or where they are for our students' benefit. Again, we will let you know about any such changes as soon as possible, usually before the relevant academic year. Our regulations set out our procedure which we will follow when we need to make any such changes.
When you enrol as a student of the University, your study and time with us will be governed by a framework of regulations, policies and procedures, which form the basis of your agreement with us. These include regulations regarding the assessment of your course, academic integrity, your conduct (including attendance) and disciplinary procedure, fees and finance and compliance with visa requirements (where relevant). It is important that you familiarise yourself with these as you will be asked to agree to abide by them when you join us as a student. You will find a guide to the key terms here, where you will also find links to the full text of each of the regulations, policies and procedures referred to.
The Higher Education Funding Council for England is the principal regulator for the University.
This course offers you the opportunity to take an optional one-year (48 week) work placement after your second year, in the UK or abroad. This provides an opportunity for you to relate theory to practice and to develop skills in a real work environment. Our teaching staff have developed excellent links with local employers and will help you to find a suitable placement if necessary.
Previous placemnt providers have included Warner Music, Pinewood Studios (Avid), WigWam, Angel Studios, Shoot Productions, the Institute for Music/Acoustic Research and Co-ordination (IRCAM) in Paris, as well as schools, audio electronics companies, radio stations and various media and production houses.
Disability should not prevent you from securing a placement and we encourage all students with a disability to aim to do a placement. We can offer support and advice on overcoming any perceived challenges.
Career opportunities
90-100% of graduates from courses in this subject area go on to work and/or further study within six months of graduating.
Previous graduates have prepared themselves for what is known as a portfolio career, setting up their own sound/music for image company; providing orchestral scores and arrangements for recording sessions, original soundtracks, library music and sound effects. They may also undertake bespoke sound design for clients. Some students have developed sample packs and set up a production company in their placement year making a smooth transition from being student entrepreneurs to professionals.
A selection of companies that have employed Huddersfield graduates in recent years include Abbey Road Studios, Calrec Audio, ITV, BBC, Kiss FM, British Grove Studios and Metrophonic. Source: Linked In
There is also support available after you graduate from our 3M Buckley Innovation Centre where you can get advice on starting your own business. The university also supports students to progress to postgraduate and research study.
Professional links and accreditations
This course holds JAMES accreditation. This is an internationally recognised accreditation which endorses relevance, quality and continuing innovation throughout the student curriculum in audio recording and music production courses. Visit their website for more information.
Teaching and assessment
17.7% of the study time on this course is spent in lectures, seminars, workshops etc. Teaching is split between large group lectures and computer and studio based seminars, workshops and masterclasses. Final year studio tutorials are in small groups of one to six students and there's a welcome community of peer evaluation and feedback that is nurtured at all levels across all degree courses.
Study and assessments will be based on your choice of modules; this can include performances, compositions, presentations, examinations, learning journals, portfolios, recitals, essays and technical documents. The final year large project is based on your choice of specialism. Your module specification/course handbook will provide full details of the assessment criteria applying to your course.
Feedback (either written and/or verbal) is normally provided on all coursework submissions within three term time weeks – unless the submission was made towards the end of the session in which case feedback would be available on request after the formal publication of results.Feedback on final coursework is available on request after the publication of results.
Huddersfield is the UK's only university where 100% of the permanent teaching staff are fellows of the Higher Education Academy.*
*permanent staff, after probation: some recently appointed colleagues will only obtain recognition in the months after their arrival in Huddersfield, once they have started teaching
Music Technology studios
One 24 I/O Pro Tools based recording studio, with two recording booths. Equipment includes: • 12-core Mac Pro • C24SSL AWS924 Analogue production console and DAW controller • SSL Alpha Link AD/DA convertor • RME MADIFace USB • UAD-2 DSP Accelerator card c/w Plug-ins • A stereo pair of calibrated Genelec 8260As • Eight channels of headphone amplification • A selection of preamps (DAV, Avalon, Manley, API) • Outboard EQ and Compression (Avalon and UA) • Soundfield processor SPS 422B • Custom Matamp 1224 mk2 all tube guitar amp with two 212 cabinets • Custom Matamp G200 mk2 tube bass amplifier and cabinet • Yamaha Studio Drum kit • A selection of microphones (see below) • A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)
Four 5.1 composition and mixing studios with plasma screen for post-production Equipment includes: • 12-core Mac Pro • RME Fireface UFX interface • UAD-2 DSP Accelerator card c/w Plug-ins • Mackie Control • Midi Keyboard controller PCR-500 • Calibrated 5.1 Genelec 8040s with sub • Widescreen LED Screen • A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)
Three Pro Tools based overdub, composition and Foley studios, each with a small recording booth Equipment includes: • 12-core Mac Pro • UAD-2 DSP Accelerator card c/w Plug-ins • RME Fireface UCX interface • Calibrated stereo Genelec 8040s with sub • Four channels of headphone amplification • Mackie control • Various preamps (Focusrite, Avalon and/or SPL) • M-Audio Axiom Air 61 Midi Keyboard and Pad controller • Calibrated 5.1 Genelec 8040s with sub • A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)
One Interactive Sound Design and new interface laboratory, with adjacent workshop Equipment includes: • Stereo pair of Genelec 1037s • 5.1 8020s with sub • Various custom and commercial sensor interfaces, controllers and actuators with MIDI and/or OSC • 24" Imac • RME Fireface UFX interface • Yamaha 01v desk • A selection of sound design and performance software including Max, Max for Live, Ableton Live, Ircam Tools One eight-channel composition and mixing studio Equipment includes: • 12-core Mac Pro • 8 Genelec 1032 A with sub • SPL 8.1 channel volume control-model 260 • 8 Ultra match pro AD/DA converter-model SRC 2496 • Mackie control • Focusrite Octopre Midi Keyboard controller PCR-500 • RME Fireface UFX audio interface • UAD-2 DSP Accelerator card c/w Plug-ins • 2 x Analogue Roland studio system -synthesiser • 2 x EMS VCS III Synthesiser • Studer B 67 tape Machine
One Spatialization and Interactive Research lab (SPIRAL) A striking 6m2 cube containing a 25-channel Digital Loudspeaker array Equipment includes:
• 25 x (Networked) Genelec 8240AP loudspeakers in a 3 x 8 vertical array – see below: The SPIRAL Array • 4 x (Networked) Genelec 7270 subs • 1 x RME ADI 6432 64 channel MADI interface • A selection of DAW's (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Ircam Sound design software, Max, Max for Live .
The loudspeakers are phase/time aligned using Genelec's GLM system. All connections in the studio are digital with analogue (Mic and Line) inputs being catered for via a Yamaha O1V with 16 channel Digital I/O card (MY16AE). All connections are connected to The ADI 6432 through a digital (AES) patch bay. The studio is used for research into the development of new control mechanisms for the spatialization and diffusion of sound in performance and composition. Additionally the studio is used for composing multi-channel electro-acoustic pieces to be played in concert and installation environments.
Equipment available for all studios • 2 Analog Roland System 100m synthesiser with keyboard • 2 EMS VCS III Synthesiser and EMS Synthi Sequencer 256 • Studer B 67 tape Machine with Dolby A • wide-reaching microphone list • ribbons (Coles, Royer) • wide-diaphragm (Neumann u87/u89) • tube (Telefunken, Neumann M147/M149, C12) • small diaphragm (dpa 4006, Neumann km104) • shotgun microphones for location recording • Numerous HD cameras (Cannon, Sony) with tripods • 2 Nikon D3300 SLR camera Plus lens kit • Various handheld digital audio recorders (Tascam, Roland, Sony, Zoom) • 3 multichannel field recorders (Tascam DR680) • Numerous acoustic guitars (Guild, Fender, Ibanez) Yamaha Electro-Acoustic, electric guitars (Gretsch, Schecter, Fender) electric basses (Ibanez, Fender, etc.) • a wide selection of outboard gear and recording interfaces.
How much will it cost me?
In 2017/18, the tuition fee for UK and EU students at the University of Huddersfield will be £9,250.
Tuition fees will cover the cost of your study at the University as well as charges for registration, tuition, supervision and examinations. For more information about funding, fees and finance for UK/EU students, including what your tuition fee covers, please see Fees and Finance. Please note that tuition fees for subsequent years of study may rise in line with inflation (RPI-X).
If you are an international student coming to study at the University of Huddersfield, please visit the International Fees and Finance pages for full details of tuition fees and support available.
Please email the Student Finance Office or call 01484 472210 for more information about fees and finance.
Course scholarships available – up to £3000. More details.
If you decide to apply for a course that includes a work placement, a Disclosure and Barring Service (DBS) check may be required to enable you to undertake that placement in settings with children (e.g. within a School). Should the organisation you are going to be working in require one to be undertaken, the School will support you to apply for a check. Please note that there is a charge for the DBS check which is approximately £44.
Further study
Progression to a postgraduate course is dependent on successful completion of your undergraduate studies, there may also be minimum qualification requirements such as a first class or higher second (2.1) degree. Please check the course details to confirm this.
If you're an international student (including EU) you can check if you meet our entry requirements (both academic and English language) by visiting our country pages.
If you do not meet the entry requirements you can consider completing a degree preparation programme (if you are from a country outside of the EU) at the University's International Study Centre (ISC). You can call the ISC on +44 (0) 1273 339333 to discuss your options. You can also complete the online application form or to ask a question please fill in the enquiry form and talk to one of our multi-lingual Student Enrolment Advisers.
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Creative Music Technology BA(Hons) Music BMus(Hons) Music Technology BA(Hons) Music Technology and Popular Music BA(Hons) Music Technology and Audio Systems BSc(Hons) Popular Music Production BA(Hons) Popular Music Production BSc(Hons) Popular Music BMus(Hons) Music Performance BMus(Hons)


text:
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Affin Home Invest-i is the perfect solution for home owners looking to purchase complete and under construction properties or refinance existing mortgages at least RM200,000 and above, up to 90% of the property value or 95% including Mortgage Reducing Term Takaful ( MRTT).
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subset: commoncrawl


text:
Survey of Income and Program Participation (SIPP)
The main objective of the Survey of Income and Program Participation (SIPP)
is to provide accurate and comprehensive information about income and program
participation of individuals and households in the United States, and about
the principal determinants of income and program participation. SIPP offers
detailed information on cash and noncash income on a sub annual basis. The
survey also collects data on taxes, assets, liabilities, and participation
in government transfer programs. SIPP data allow the government to evaluate
the effectiveness of federal, state, and local programs.
The Children's Well-Being Topical Module data set contains 159 variables and 73,257 cases. It contains certain identification variables as well as selected background (demographic) characteristics. The module asks the designated parent or guardian about the health of children in the household, care of the child by nonfamily members, activities the family does with the children (such as reading and outings), lessons and activities outside the school, rules for children's TV viewing, and the respondent's opinion about the quality of the neighborhood. The module obtains information about children in three age groups: under 6 years old, ages 6-11 and ages 12-17 for as many as seven children in each category.
SIPP core data covers a variety of topics, including labor force status and employment, earnings, business ownership, assets, income, program participation, child support collection, health insurance, and education. The core data for the 1996 SIPP panel are arranged in a person-month format, with up to four records for each sample member. Each record contains data from one of the four reference months covered by the wave. This data set contains core data collected during month four (March 2000) of the 1996 panel, which consists of 931 variables and 73,257 cases.


text:
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text: Watch the others videos "Oui mais en Champagne" ! Be surprise by Aube, "Oui mais en Champagne" ! Unusual activities Farm "Aux poils d'Assenay" Rent your vine with Champagne Rémi Massin Farm "Charme du moulin" Toutourisme Mushroom cultivation of Cussangy Hovering of Côte des Bar with a winemaker pilot Night hike "Les cadoles" Geocaching on the churches road Course "Creating a stained glass" Visit Essoyes, the village of Renoir… Unusual events Route du champagne en fête 2016 Festival "La Ronde des Feux" Rallye "Tumulte dans les bulles" 48 hours of vintage cars in Troyes Discover all the unusual events in Aube en ChampagneUnusual accommodations Aube, Oui mais en Champagne with Raphaël Mezrahi and Laurent Baffie June 1st, 2016 Grégory Davaillaud 75 results match your search NearestAlphabetical A to ZAlphabetical Z to A Filter / Search24€250€ CLASSIFICATIONS LABELS SERVICES Classifications Not Classified 1 star 2 stars 3 stars 4 stars 5 stars 1 fireplace (Excellent value for money) 2 fireplaces (High-quality hotels) 3 fireplaces (Luxury properties) Labels Accueil motard (for motocyclists) Environmental label Champagne à vélo (for cyclists) Clef verte (environmental label) Hearing disability Mental disability Motor disability Visual disability Logis hotel-restaurants Tourism and handicap Qualité Tourisme label Services Access for disabled / reduced mobility Wifi access Pets allowed Bar Private garage Hamman / Jacuzzi / Sauna Cot / Highchair / Changing Table Carpark Swimming Pool Restaurant Fitness room Clear filter Search View cart ( ) View map View A LA BELLE DAME NOGENT-SUR-SEINE View View ACE HOTEL TROYES SAINT-ANDRÉ-LES-VERGERS From 52 € (Double room) View View AKENA CITY MAIZIÈRES-LA-GRANDE-PAROISSE From 59 € (Double room) With Akena Hotels, everything is geared towards relaxation….including the price!... and everything has been designed to ensure you have a pleasant stay. We look forward to welcoming you at our brand new hotel soon! View View ARLEQUIN TROYES From 66 € (Double room) Ideally located at the entrance of the "Cork" of Troyes, this 2 stars hotel is close to the railway station and at few minutes of walk from the pedestrian downtown, which is the historic heart of the medieval town. The 28 rooms of the hotel are decor... View View AU BEAU RIVAGE NOGENT-SUR-SEINE From 85 € (Double room) Go for a getaway in Champagne. The Beau Rivage hotel-restaurant is located in Nogent-sur-Seine, a small town set at the water's edge, a crossroads of departments rich in history and gastronomy and a starting point for many tours and hikes. View View AU CŒUR DES BULLES LOCHES-SUR-OURCE From 80 € (Double room) In the heart of the Champagne vineyard, nestling in the hollows of southern Aube's sunny hillsides, Loches-sur-Ource proudly displays its history, its heritage and its wine-growing traditions. Its gentle way of life in fact makes it a stop particular... View View AU VIEUX LOGIS BREVONNES Decorated with old pictures and furniture, LE VIEUX LOGIS, a haven of Champagne privacy, sheltering in its large garden. View View AUBERGE DE LA PLAINE LA ROTHIERE From 63.8 € (Double room) In the heart of the Champagne Great Lakes area, the family 2-star hotel l'Auberge de la Plaine offers you a stay in the rustic comfort of its rooms. You will appreciate by the fire or on the terrace delicious traditional meals cooking using local pro... View View AUBERGE DE LA SCIERIE AIX-EN-OTHE From 58 € (Double room) From the 17th century, this mill crushed hemp and flax. He was then turned into flour mill and sawmill by 1900. Located in a park of 1.5 ha crossed by the river, the "Auberge de la Scierie" offers, in a rustic and warm atmosphere, traditional cuisin... View View AUBERGE DE NICEY ROMILLY-SUR-SEINE From 130 € (Double room) Situated in Champagne area, in the south of Aube, between the Marne, Burgundy and Paris, L'Auberge de Nicey (3 chimneys) will be pleasure to welcome you during your stay in Champagne. Our Chef and her team will happy to enjoy you with a gastronomic d... View Next Previous12345678Next


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Logansport Journal Newspaper Archives
November 19, 1890
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Issue Date:
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Logansport Journal
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Logansport, Indiana
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Logansport Journal (Newspaper) - November 19, 1890, Logansport, Indiana EARLY AUTUMN country limes are bright with bloom And gcntln airs come stealing through Laden with native wild perfume Qt talm and mint and honcydejv And oer the summers ruditmt flush Lies early autumns dreamy hush In wftysWe nooks the asters gleam Autl frcstfiowers dunce ubovo Ftie sod WbtJo lapsing by the silent stream Reflects the hue ot golden rod That flower wbkh lights a dusky day With of tbe sungods ray UTbo jruptvitii1 clumbers oer the hedge In foldnn festoons sumacs burn torches on the listimi ledge Or liylit the itinc tit every turn Aud ivy riot everywhere 3n red banners on the air A purple mist nf miat Borders the fjncea drifting out OT fostering corners and Its tint AB half of cheer und half of doubt H Jihfi thrdear delightful haze Wider Hie hills these autumn days Jlcd wild growths aro newly met Odd things but little prised of yore Ujftre worae old jewel well reset Take on a worth unseen before As Oook in spriug a graceless weed JB brilliant in its autumn seed Ortoo cricket and the katydid Pipe low their sad prophetic tune TiKtogh airs pulse warm the leaves amid As played around the heart of June So minor strains break on the heart foretelling ago as years depart weet old story of the year Is spinning onward to its close Vtit sounds as welcome on the ear AB In the time of opning rose May iife for all as sweetly wane comes the autumntime again 1 Fairthorne in Harpers Bazar ONE SLEIGH RIDE Where Aleck Found a Lost Love and a Wife 1 had just finished a hearty tand had ordered ray horses to be brought tOi tbe door when the landlord of the inn entered the room rubbing his hands in an awkward manner as if lie did not know just what to say In fact he was so slow about speaking xhat I removed my pipe from my mouth Jong enough to exclaim Well Still continuing his rubbing a thing always exasperated me he re pliedto my exclamation by saying is an odd request I have to make nir considering the state of the roads but there is a lady here tonight who is i desperately anxious to get to Brenton hy morning Then why dont she go the point sir she cant All horses are stormstayed somewhere ia the country and you cant hire a team hereabouts as you may know As there was no house within three miles the landlords proposition seemed incontrovertible VHow did the lady get here I asked just before you did sir one horse and the young fellow drove dont appear to have much Leastwise hes most killed the foorse and it would finish it for certain iofsend it out again on these roads I am not naturally disobliging but to asked to take a passenger in your sleigh when tho snow is deep and likely tocb0 drifted and you are in of ft hurry is not tho most agree request in the world especially the passenger is a lady and there fore more apt to bo a hindrance than an aid incaso of any difficulty arising on theway Moreover since Kate Mac donald and I had quarreled over the attentions paid her bj her rich and handsome cousin which she cither not or would not explain I had nisyor felt in the mood lor ladies sb and that It be pos sible two years ago Inhere was Katie now Iof ten won lored Perhaps at her home Tin Ken tucky possibly married to the hand some cousin A good many things may Xiappen in two years True very little had happened to me but then not much to be expected when one is oh a raiU waly survey outside the limitsof civilir nation The winter drive I was now taking was not on regular business but undertaken as a special favor for fhe head contractor who saidthat cer tain papers just received from England vcpwt reach his brother a confirmed in valid living near the little town of Bren son by a certain day Brenton was a long distance from any railway for in the days of which I write they had not penetrated everywhere Hence I had travel by team and so bad had the roads proved that I was very near being behind time As it was ifevery thing well I would get through in good season My plan was to drive through if possible but if the roads should prove impassable I resolved to loae the horses at some farmhouse and walk in on snowshoes Under these circum stances to be askod to take a lady pas senger was certainly the last request I could have desired really seems in great trouble sir because she cant go on said the landlord as I paused before replying to ais previous remark Well toll her to get ready I said suppose I will have to Say yes By the way sir said the Jandlord if you have not boon over the road be ifore yon want whon you get past thfi burnt land ton miles from here to keep a sharp lookout to the right for u road that turns oft there Take thatj The straight road leads to Brenton but oobody lives on ib Oh yes it i traveled some he added in to my question but in caso youhave leave the team you know All right Ill look out iiattellttie iady to hurry for tho horses are com Jng The landlord vanished and I pre for tho drive When I had donned my overcoats turned up the collar of Che outer one pulled down my tur cap taken two turns around my neck with a huge comforter I caught a glimpse of myself in the glass and laughed at thethought that my intend ing passenger would not be ablo to toil whether she had a yotins man or an old ncjorva indeed whether I was black or white Going out to the sleigh arranged the robea to my liking and was just be ginning to get impatient to bu off when an animated bundle of clothes with a suggestion of femininity aiout it emerged from the inndoor followed by the landlord Heres your passenger sir ho cried adding lly gracious but its a cold night A muffled voice from out ot the bun dle of clothes said something that 1 did not quite catoh but 1 made no reply to either The lady took urr place in the sleigh I sprung in beside her tho land lord and the hostler tucked in the robes bade us goodnight and we were off under the shining stars with much tinkling of bells the sleighrunners singing over the frosty snow It was twentyfour miles to Brenton and the loneliest road in the State 1 did not feel sufficiently reconciled to Having a companion to be much dis posed to conversation but as the wind oame with more than unusual fierceness through an opening in the trees I in quired of tho lady if suo felt cold She hesitated for almost a minute before re plying when sho assured me by a curt monosyllable that she was not So thought I and made no further effort to talk The going was heavy but not especially so for the way lay through the forest and was not drifted Four miles brought us to the burnt land a long windswept spnce where there were just enough fallen trees along the roadway to catoh the driven show It soon appeared tbatthe road here was a succession of drifts not deep but solid and that if any teams had been over it during the day their tracks had long since been filled in Indeed I could see in the bright star light that fine snow almost like ice dust was moving swiftly over the great white surface spread out before us The horses could no longer tfot but settled down to a walk the wind whistling through the harness and blow ing their manes and tails till they pro jected almost horizontally How cold It was In the northwest the bright disk of Venus shone with wonderful splendor and the pitiless wind seemed to come straight from the star There seemed to be a merciless glare in the splendid planet andllonged for a cloud to cover it from sight I shivered under all my clothing and began to feel un easy for my companion Are you cold I shouted for the winds rendered it useless to speak in an ordinary tone muffled as we were and not facing each other She answered thatshe waswhereupon 1 told her to get as low down in ttfb sleigh as possible which she did arid I pulled the robes over her head she nestling very close to me Somehow this was not altogether disagreeable and in my imagination I began to pict ure what my companion was like I concluded that she was young and beautiful without any reason whatever except that it would be vastly more pleasant to be taking care of such a sill than of one who was old and ill favored The windswept stretch of road was six miles long and when we had gone abouta third of the distance the horses stopped Looking ahead I found that the drifts bad deepened and that they were standing in it up to their bodies I urged them a little but soon saw that it was of no use They only plunged in a manner to endanger themselves and the sleigh There was but one thing to and break aroad Telling my companion to crouch low in the sleigh I covered her well with the robes and going in front of the horses began to tramp down the siiow The poor animals stood shivering in the wind andI worked with allmy speed yet itwas more than an hour I judge before I hada track made for them to the sleighI was thoroughly heated and as wet from per spjration as if I had been plunged into water I knew I was running a fearful risk in sitting down in that piercing wlpd but these seemed to be no alter native so protecting myself as well as possible from the blast which seemed to gtbw in strength I urged the horses along As thoj 7proceeded slowly my companion threw the covering from her head and said You must have got heated working as hard as yoii did and you will take cold unless you take something at once IE you sit there till the cold strikes you you will die The voice seemed to have a trace of tears in it batthat was doubtless due to the fact thatshe herself wasfar from comfortable I do not think there Is any danger Isaid But I know there is she answered Then throwing down the robes she stood up in the sleigh and added Give me Get down there out of the wind and cover yourself up I will do nothing of the kind I re plied You must she insisted or you will die At this moment a shudder passed over me and I realized what truth there might be in her words She di vined tho reason for my silence and said You ktiow I am rigbt Ob why will you not do what I ask But Never mind me I will be all right besides it will only be for a little while A second shudder worse thati the first rMsed Me thoroughly to my dani ger and protesting that it was only for a minute or two that I would avail my self of the1 the sleighbox I crouched down and allowed her to cover me over 1 was soon shaking like one In an arguefit growing hot and cold by turns How terribly slow we seemed to be going Two or throe times I tried to rise reins but was unable and my companion assured me each time that she was not Cold and was do ing excitement kept her warm she said 1 did not believe her then and I know now that what she said was not she sufierod terribly but I did not know until tbjiv told me weeks afterward at the hotel in Brenton that sho took off her own wraps to make my covering heavier for I was insensible when they lifted me from the sleigh I remember when the grinding of the runners on tho drifts seemed to cease and have a con fused recollection of the quicker tink ling of the bolls ac tho horses struck a trot when the woods were reached again but of the remainder of the journey I remember nothing When three weeks later weak from fevor I employed my first conscious minute in inquiring after my com pan ion the nurse told me that she had driven the horses into lirentonata gallop Not knowing about tho two roads she had naturally enough followed tho straight one and so for fourteen miles had driven alone through the forest witb me lying unconscious at her feet Tho hostler of tho only hotel that Brenton boasted was at the door looking for the mailstage when he saw a toam coming down the forest road at a terrific pace a woman standing in the sloigh and ply ing the whip with all her strength She had drawn rein before the door and springing out exclaimed Never mind me See to Mm and pointed to where I lay They carried me into the house and put me to bed while the lady fell before the fire in a faint caused half by weariness and half by the reaction of her nervous power Strange to say she was not really much the worse for her terrible expe rience but I had waked up in a fever and for three weeks had been out of my mind Where is tho lady now I asked but added Of course she has gone 1 would like to have soon her Tho nurse stepped aside without re plying I looked up for some explana tion when my eyes rested on the face of Katie Macdonald Katie was all I could say Aleck she replied and took my out stretched hand in hers Katie I asked after a moment of happiness too deep for words Is it pos sible that you were my companion and savior She smiled in her old sweet way as she answered I do not know about my being tho last but I certainly was the first And I did not know But I did she said with a merry laugh And what is more I knew you after you first spoke to me I looked at her hands There was no ring upon the small white fingers Katie 1 said they tell me you saved my life but you had better have let me lose it unless you promise to share it with me She did not speak but the look in her eyes was enough and I did not press for an answer After a fow moments she said You must not talk about foolish things but hurry and get well The horses are ready the roads are good and I want to get you safely on your homeward journey Then for tho first time my business came into my head and I spoke about it Never mind about that she said It was very Impertinent of me but I looked at your papers found out what you had to do and did it for you Seeing my look of astonishment she added Oh it was easy enough You see we came upon tho same business The gentleman whom you had como to see was my uncle and ho had written me to be sure to be here on the day we ar rived as it was important that I should sign some papers in his presence They were about property which comes to me when I am twentyone she explained and you had the papers As it turned out it did not really make much differ ence whether I got there that day or not My uncle thought it did but it seems he was wrong so I need not have compelled you to take an unwelcome companion for a sleighdrive And now to answer your question If you are satisfied to trust your future happi ness to a person who insists on going where she is not wanted and who looks over peoples papers without permis sjon why Aleck you can have me What ensued does not concern any one but Maga zine HUMORING A STRANGER A Clever English Rascal Bleeds an Equal ly Dishonest Broker A stock broker who was on his way to the city observed that one of his fellow passengers in the bus was eying him and after a time the man leaned over and asked Didnt I see you in Liver pool in 1879 The broker wasnt in Liverpool that year but thinking to humor the stranger he replied in the affirmative Dont you remember handing a poor shivering wretch a halfcrown one nigh t outside the Eoyal Hotel I do Well Im the chap I was hard up out of work and about to commit sui cide That money made a new man of me By one lucky spec and mother 1 am now worth Ah glad to hear it And now I want you to take a sov ereign in place of that half crown I can not feel easy until the debt is paid Thebrokor protested and objectedbut finally just to humor the man betook the note offered him and returned tho change The stranger soon left the bus and every thing might have ended then and there if the brokeron reaching the office hadnt ascertained that the flyer was a counterfeit and that he was out of City Press new and most useful invention Agents wantedin every part of Germany Light blankets with large labels for pigs cows and horses to pro tect these animals while feeding from the zeal of the shortsighted and zealous amateur sportsman Easy terms to farmers with large stocks Names printed distinctly in red blue or black on a fast colors and can be read from a long distanceFliejrende Blatter SUBMARINE CABLES How the tiroitt eean TKlrftrapli MllllB HIKl IToticfrll According to tho latest report of tho International Bureau of Telegraph Ad ministration tho submarine telegraph system of the world consists of 130070 nautical miles of cable Government administrations own miles while 107 546 are the property of private com panies Tho totiil cost of those cables is in the neighborhood of 00 000 000 The largest owner of submarine cables is tho Eastern Telegraph Company whose system covers tho ground from England to India and comprises 21800 miles of cable Tho Eastern exten sion which exploits the farKast has 12953 miles more Early in last year the system of West African cables which started from Cadiz only six years ago was completed to Cape Town so that tho Dark Conti nent is now completely encircled by submarine telegraph touching at nu merous points along the coast More than 17000 miles of cable have been re quired to do th s and several compa nies with more or less aid from the British French Spanish and Portu guese Governments have participated in carrying out the work The Norbh Atlantic is spanned by no less than eleven cables all laid since 1870 though I think not all are working at the present time five companies are engaged in forwarding telegrams be tween North America and Europe and the total length of the cables owned by them including coast connections is over SO 000 nautical miles Let us first see what a submarine cable is and how it is made To do this a visit must be made to the enor mous factory on the banks of tho Thames a few miles below London Here the birth of the cable maybe traced through shop after shop machine after machine The foundation of all is tbe conductor a strand of seven fine copper wires This slender copper cord is first hauled through a mass of sticky black compound which causes tho thin coat ing of guttapercha applied by the next machine to adhere to it perfectly and prevents the retention of any bubbles of air in the interstices between the strands or between the conductor and the guttapercha envelope One envelope is not sufficient how ever but the full thickness of insulat ing material has to be obtained by four more alternate coatings of sticky com pound and plastic guttapercha The conductor is now insulated and has developed into core Before going any further the core is coiled in to tanks filled with water and tested in order to ascertain whether it is electrically per fect i e that thpro is no under leak age of eiectrlcity through the gutta percha iniulating envelope The aro made from the testing room replete with beautiful and elab orate apparatus by which measurements finer and more accurate than those even of the most delicate chemical bal ance may be made Every foot of core is Rested with these instruments both before and after being made up into cable and careful records are presorved of tbe results After the core has been all tested and passed the manufacture of the cable goes on The core travels through an other set of machines which first wrap it with a thick serving of tarred jute and then with a compact armoring of iron or steel wires of mrylngthickness according to the depth of water in which the cable is intended to bo laid Above the armoring in order to preserve the iron from rust as long as possible is applied a covering of stout canvas tape thoroughly impregnated with a pitch like compound and sometimes the iron wires composing the armor are separ ately covered with Hussion hemp as an additional precaution against corrosion Scribners Magazne Riohard Backrnoroj whose name notwithstanding many Inter novels associated with Lorna Boons is a descendant of good old Dr Dod dridge and resides at Teddington oa the Thames He is averse to notoriety and is known among his neighbors for his success in market gardening and fruit raising rather than by his literary triumphs He is now past sixty and lives a retired life in his lovely home surroundei by rural scenes la the composition of his novels he exercises the greatest care and sometimes pro duces only a single paragraph at a sit ting N Y Ledger Etefeusc And all you can do is to con fess that you are guilty Prisoner sadly Yes sir Counsel Well then Im afraid the only defense we can offer is insanity Prisoner cheerfully Bully boss Then yer can prove dat dis confession of mine here is whatyercallit hallucination an Im innocent Dats Pick slio murmured I have per feet trust in you Cant you Jend Siorno tu your for awhile he iiiHrou iinx IMISV Baznr A VETERAN I nns wounded in the leg at the battle of Stone Elver Dec 31st 1862 My blood was poisoned from the efiects of the wound nndthe leg swelled to double Us natarnl size and remained so for many years The poison extended to my whole system and I suflered a thousand deaths Notnlng did me any good until I took Swifts Specific which took the poison out of my system and enabled me to feel myself u man again 8 S S to the remedy for blood poison JOHN Couwir London O Treatise on Blood and Skin Diseases moiled free SWIFT SPKCIFTC Co Drawer 3 Atlanta Go PAINLESS PIlrtLS WORTH A GUINEA A BOX For BILIOUS NERVOUS DISORDERS Such as Wind andPain in the Stomach and Swelling after Meals Dizziness and Drotitainess flushings of Heat Loss Appefife Shortness of Breath Costireness Scurry Blotches on the Skin Disturbed Sleep Frightful Dreams and all Nervous Trembling Sensations 4c THE f IRST DOSE OlVE RELIED TWENTY MINUTES BEECHAMS PILLS TAKfN AS DIKE CTED RESTORE FEMALES TO COMPLETE HEALTH For Sick Headache Weak Stomach Impaired Digestion Constipation Disordered Liver etc llio ACT LIKE MAQIC Strengthening the muscular System restoring longlost Com plexion bringing buck the keen edge of appetite and arousing wltn the ROSEBUD OF HEALTH the whole physical energy the human frame One of the best guarantees to Neroous and Debilitated le tllat BEECHAMS PILLS HAVE THE LARGEST SALE OF ANY PROPRIETARY MEDICINE IN THE WORLD only by T1IO8 BBEOHAM HI Said by OruafffftfmaieraUy B F ALLEN CO 366 and 367 Canal SL New York A WEIGHTY SUBJECT WHERE TO GET A Fall Suit or Overcoat HARRY G TUCKER THE PEARL ST TAILOR GUARANTEES To Save Money for IYou All Good JOUP Tailors receive the same scale We Employ the Best To be found and guarantee firstclass workmanship Our Goods are the Latest Designs And we have a Complete Selection NOW IS THE TIME TO LEAVE YOUR ORDER II You Cannot Decide WHERE TO GO CONSIDER WELL THEN CALL ON ;
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text: Sorting type: Most visited Most visited Alphabetical | A category containing all vehicles manufactured by Hummer. Pages in category "Hummer" Hummer H1 Alpha (2006) Retrieved from "http://ubisofts-the-crew.wikia.com/wiki/Category:Hummer?oldid=5126" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Add category Cancel Save


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The governments of Colombia and France on 25 June 2015 agreed to a new income tax treaty for the avoidance of double taxation and the prevention of tax evasion and tax avoidance with respect to taxes on income and on capital. The treaty provisions will enter into force once the treaty is ratified by both Colombia and France. Current estimates are that the treaty provisions will not be effective before 2017.
Among the provisions under the Colombia-France income tax treaty are:
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KPMG International has created a state of the art digital platform that enhances your experience, optimized to discover new and related content.


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The Welsh forward was banned for three matches for striking Jonathan De Guzman of Swansea City but his manager argues that it was no worse than the Manchester City star's actions
The forward was suspended for three games for striking Swansea City's Jonathan de Guzman in the South Wales derby on Saturday, seeing him miss Tuesday's draw with Aston Villa, while also ruling him out of Saturday's FA Cup tie with Wigan and a league clash with Hull City later in February.
|Cardiff City are 5/6 with PaddyPower to avoid relegation from the Premier League
"Everyone can see there is a big difference in the decisions. One has got three games and the other has got away with it," the Cardiff boss told reporters after his side's 0-0 stalemate against Villa.
"I think that Craig's reputation has gone before him. When you see him in training, even in games, he is a top professional.
"It is a little collision, there is no violence in it, but we have just got to accept it, we don't want it dragging on.
"Craig just wants to stay fit and be ready for the Tottenham game [on March 2] but we did not feel it was the right decision. I am sure the referee saw it.
"You look at what they did not give Toure and what they gave Craig and you are unhappy with it. I am very disappointed and, as I have said, I think his reputation has gone before him."


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11200 N US Route 12 Main St
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By Jesse J. Holland, Associated Press Writer
RENO, Nev. Democratic presidential candidate Barack Obama on Tuesday called for Americans to get behind attempts to salvage a $700 billion rescue plan for the financial sector, saying that if Wall Street fails ordinary people will also be hurt.
"This is no longer just a Wall Street crisis. It's an American crisis, and it's the American economy that needs this rescue plan," Obama told about 12,000 people at a rally at the University of Nevada at Reno.
Obama said Congress should put aside politics -- he didn't mention GOP rival John McCain by name during his remarks -- and should act quickly on the legislation.
"To the Democrats and Republicans who opposed this plan yesterday, I say: Step up to the plate and do what's right for this country," he said. "And to all Americans, I say this: If I am president of the United States, this rescue plan will not be the end of what we do to strengthen this economy. It will only be the beginning."
The House on Monday rejected the Bush administration's $700 billion proposal, its 228-205 vote sparking the largest sell-off on Wall Street since the day after the Sept. 11, 2001, terror attacks. Obama, McCain and President Bush all indicated support for the plan, but the legislation was highly unpopular with the public, as well as ideological groups on the left and the right.
Obama called for bipartisanship in a time of financial crisis.
"While there is plenty of blame to go around and many in Washington and on Wall Street who deserve it, all of us now have a responsibility to solve this crisis because it affects the financial well-being of every single American," he said. "There will be time to punish those who set this fire, but now is the moment for us to come together and put the fire out."
In response, McCain campaign spokesman Tucker Bounds said: "We welcome Barack Obama's newfound interest in passing this critical economic rescue of our economy, but the American people needed leadership last week and our next president can't wait until after the levees break to start making phone calls."
McCain suspended campaigning last week, saying he would return to Washington and stay there until the crisis was solved. He reversed course days later and headed to Mississippi for last Friday's debate with his rival. Obama did not bring his campaign to a halt, but did return to Washington to attend a White House meeting with Bush, congressional leaders and McCain.
Obama said he had talked with Bush, Senate Majority Leader Harry Reid of Nevada and other leaders Tuesday about resurrecting the recovery plan. He also sought to reassure the public, saying the plan had been "misunderstood and poorly communicated."
"This is not a plan to just hand over $700 billion of your money to a few banks on Wall Street," the Illinois senator said.
Without a rescue for the financial sector, ordinary people will soon begin to suffer, Obama said.
"If we do not act, it will be harder for you to get a mortgage for your home or the loans you need to go to college or a loan you need to buy a car to get to work," Obama said.
"What it means is that businesses won't be able to get the loans they need to open new factories, or hire more workers or make payroll for the workers they have. What it means is that thousands of businesses could close around the country. Millions of jobs could be lost," he said.
Obama and McCain announced separately their backing for a plan that some House Republicans had pushed earlier: raising the federal deposit insurance limit from $100,000 to $250,000. The aim would be to reassure nervous consumers, shore up the economy and helping small businesses.
Copyright 2008 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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by Staff Writers
El Segundo CA (SPX) Feb 13, 2012
Despite strong long-term growth prospects, the worldwide solar photovoltaic (PV) inverter space dipped slightly in 2011 as two big solar markets stalled or cut tariffs, even though overall losses in the industry were mitigated somewhat by growth in other parts of the world.
Shipments of PV inverters last year fell to the equivalent of 23.4 gigawatts (GW), down 1 percent from 23.6 GW in 2010, according to an IHS iSuppli PV Inverter Market Tracker report from information and analysis provider IHS.
The decline in shipments last year was accompanied by a large 15 percent drop in revenue, down to euros 4.4 billion ($6.1 billion) because of a sharp decline in average selling prices. Prices plunged a steep 14 percent during the year-much worse than earlier forecasts predicting only a 10 percent contraction.
Nonetheless, inverter shipments are expected to return to positive territory this year with a projected 5 percent increase to 24.5 GW, to be followed by three more years of successive expansion, as shown in the figure attached. And while revenue will still decline in 2012, the retreat will ease to just 3 percent, after which growth is expected to return and then climb to the 20 percent range by 2014 as demand from new markets begins to make an impact.
Inverters are devices that convert the energy of the sun captured by solar panels into a usable form of electricity eventually fed back into the electrical grid. "The slump in 2011 inverter shipments is mainly attributed to challenging conditions in the photovoltaics markets in the key countries of Germany and the Czech Republic," said Greg Sheppard, senior director for PV research at IHS.
"Shipments in Germany declined after the industry there stalled, while shipments in the Czech Republic fell off a cliff-after the government in Prague cut tariffs to deliberately slow down an otherwise superheated expansion. Luckily, much of the loss was made up by growth in other markets."
Inverter shipments in Germany tumbled to 6.1 GW in 2011, down from 9.9 GW in 2010, while shipments in the Czech Republic dropped precipitously to just 55 megawatts (MW), down from 1.5 GW.
China had the largest increase in inverter shipments for the year, reaching 1.6 GW in 2011 from just 691 MW in 2010. The United States was second, climbing to 2.8 GW, up from 1.5 GW. Both countries, along with Japan, will represent the largest absolute growth in inverter opportunities this year.
France and Italy also did well in 2011, but both markets are expected to run into stiffer headwinds in 2012 as government authorities recalibrate tariffs and cap installations for the time being to decelerate growth.
Other territories expected to post significant increases in 2012 are India, as well as emerging markets in Asia, Latin America and the collective region of Europe, Middle East and Africa known as EMEA.
Inverter winners
The rest of the Top 10 included three other companies from Germany-Kaco New Energy, Refusol GmbH and Siemens Industry Automation; as well as U.S. firm Satcon Technology Corp. from Massachusetts; Fronius International GmbH from Austria; Ingeteam Energy from Spain; Elettronica Santerno from Italy; and Danfoss Solar from Denmark. Together the Top 10 accounted for 75 percent of the inverter market.
A variety of products continued to be introduced to the market last year, with many companies supplementing their ground segment offerings with new models featuring grid-friendly features and water-cooled power stations. Other notable product developments saw support for German low-voltage requirements, more lower-wattage three-phase products, improved monitoring with wireless communications and better interoperability with other systems.
To maintain success moving ahead, inverter companies must either stay geographically focused or be prepared to invest where demand materializes around the globe. Europe is going to slow as the major solar countries there adjust to new policy growth corridors, while new geographic markets in the Americas, Asia, and Eastern Europe/EMEA will contribute most of the available opportunities for near-term expansion.
All About Solar Energy at SolarDaily.com
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Nanoshell whispering galleries improve thin solar panels
Stanford CA (SPX) Feb 10, 2012
Visitors to Statuary Hall in the U.S. Capitol Building may have experienced a curious acoustic feature that allows a person to whisper softly at one side of the cavernous, half-domed room and for another on the other side to hear every syllable. Sound is whisked around the semi-circular perimeter of the room almost without flaw. The phenomenon is known as a whispering gallery. In a paper p ... read more
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New developments in FeatureCAM will be demonstrated at the Huron Canada celebration.
Delcam's Québec reseller, Les Tech, will demonstrate the 2012 releases of the PowerMILL CAM system for high-speed and five-axis machining, and FeatureCAM for feature-based programming at the new Huron Canada premises in St. Laurent on 8th December. The occasion will be a double celebration for Huron. As well as being the formal opening its new site, the event will mark the tenth anniversary of the formation of Huron Canada.
The 2012 version of PowerMILL includes a number of new strategies, together with more general enhancements to make programming faster and machining more efficient with the best-possible surface finish. The most important of these new options is flowline machining. With flowline machining, the toolpath is divided between a pair of drive curves in a constant number of passes, rather than having a varying number of passes with a constant stepover. This approach gives a better surface finish on the part and minimizes wear on the cutter and the machine tool.
FeatureCAM 2012 includes a range of enhancements that give faster and easier programming, and produce more efficient toolpaths to give greater machine productivity. Two new strategies are available – back boring and spiral roughing. Back boring allows more parts to be completed in a single set-up, with larger bores able to be produced on the reverse side of the part. Spiral roughing can be used instead of Z-level roughing. It uses a single continuous toolpath instead of a series of levels and so gives a smoother finish with no dwell marks.
Nov 30, 2011
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OK, this is just plain nuts, but occasionally such are the thoughts of analysts who, after all, are at least partially in the business of synthesizing such scenarios from pieces of disparate data. And this isn't a prediction, at least not yet. I'm a Mac user at least in part because of the stability of the MacOS platform, and, while I won't ever go back to Windows (although the nightmares do seem to be much less severe over the past few years), Linux- and purely cloud-based offerings don't yet have the stability and maturity to meet all of my IT needs. The Mac does.
But considering the effort Apple is putting into iOS and their own Cloud services, and, since it is all about the apps, suppose Apple did decide to emphasize iOS over MacOS (I still think the two will converge eventually regardless) and moved all of their own apps to the cloud (like Google)? Why would anyone need a traditional computer in that case? Sure, there's video gaming, but that works in the cloud model, at least to some degree, and activities like video editing, that are highly data- and screen-intensive. These might be best addressed by a transparent local server that caches not just data but the execution of apps as well, and provides local processing horsepower purely under the direction of the Cloud. Think about that - all of your data and applications in the cloud, transparent local caching of both if speed is important, but otherwise everything is resident and managed in the cloud. You could use any subscriber device (well, any Apple subscriber device, although the model here doesn't purely require that) you like, and all of your context, not just your content, is available anytime, anywhere - the mantra of mobility. BTW - don't even think about patenting this. I'm intentionally putting the idea into the public domain here.
All of this, of course, fits nicely into my vision of infocentricity - computers, networks, and applications disappearing into the Ether, with an emphasis on convenience, low cost, and ease-of-use. Apple, of course, has never been about low cost, but they can make a very good case for the other two elements and at least cost-effectiveness. So if any major firm could move us in this direction, Apple would get my vote. And, as their restless shareholders would attest, Apple really does need to do something big - while having a family of handsets rather than simply serial introductions of minor improvements to a premium standalone product, a cheaper iPhone alone won't do the trick. Apple's making a ton of money from the Cloud already, and I'll bet that future product offerings across the board exploit that capability and position. Oh, and yes, subject to a transition period, I'd absolutely move my Mac infrastructure to what I've described here. In fact, assuming iOS becomes more MacOS-like, I can't wait.


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The Angel of Angel Hill
A Visual Journey of Smith Cemetery: 1976 - 2008
de John T. Hanou
Acerca del libro
For 32 years I have been visiting and photographing this beautiful and mysterious family cemetery.
The Angel is located in a field south of Vallonia in southern Indiana. This picturesque, tiny graveyard sits atop a hill, surrounded by a wrought iron fence overlooking 35 grave sites of the Henry G. Smith family and his relatives. Smith Cemetery has an interesting, if not colorful history. Considered a historical marker, it has long been a conversation piece and the substance of great speculation.
This book describes the speculation and, through my photographic eye, more than explores the monument's life over the past 32 years.
Características y detalles
- Categoría Fotografía artística
Apaisado estándar, 25×20 cm
60 Páginas
- Tapa dura, sobrecubierta: 9781320200981
- Tapa blanda: 9781320200974
- Tapa dura impresa: 9781320200998
- Fecha de publicación jun. 05, 2008
- Idioma English
- Etiquetas photography, Hanou, Photography, gravestone, gravestones, Cemetery, Cemeteries, Indiana, Angels, Hoosier State, Cemetery Art, Britt Kennerly, John Hanou, Columbus Indiana, The Republic Newspaper, Jackson County Indiana, Fine art photography, Grave stones
Acerca del creador
Educated as a geologist, I have had a great interest in photography since an early age. My travels allowed me to develop an eye for beauty, which I have tried to capture with my photography. My hope with this book and with more to follow, is to share my excitement and love of photography with the reader. If you like what you see, please order a book. If you wish to obtain a high quality signed photograph of any of the photos that appear in this book please email me at firstname.lastname@example.com for a price quote.
Inicia sesión o crea una cuenta para publicar un comentario.


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In humans, the prostate is a gland that occurs only in males and is part of the reproductive system. It is roughtly the size of a kiwifruit. It produces a fluid that forms about 20-30% of the volume of semen. This fluid is slightly alkaline and helps the sperm survive longer in the acidic environment of the female vagina. It also contains muscles that assist with ejaculation.
The prostate will not function unless there is sufficient testosterone in the body.
There are several diseases that affect the prostate, including cancer.


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Feeling a little off tonight. Found all of Kais hospital things, and man that hit me hard. Just flash backs of when I was pregnant and when she was born.. I have been thinking all day about our future. I kind of want to move out sooner than January. Kai is getting older and I want to have another baby sooner than I thought. I want them to be close in age and close in general. My brother was 6 years older, my sister was 5 years and the other was 3 years older than me... I was closer to the one 3 years older..but there was still that space where we couldn't connect. I don't want that to happen with Kai and our next one. I want to start trying when we are in our own place...when we know we are stable... I just don't know how to talk about it with Seth... And that stresses me out.
That said, my kiddos are six years apart and honestly they are very close. My brother and I were 7 years apart and not that close. I think it has a whole lot to do with personality and less to do with age differences.