text:
- Making songs this way can make you one of the best!
- Don't read this one if you haven't read the first tutorial.
- Ok, I had to make a new tutorial cause the old one was lacking several things. So this one will explain some things you all ready know, and I hope some new thing too. :)
- Took me about 200 songs to fret with FL until I really mastered it, so I give you now the knowledge I know right now. So you don't have to make over 200 songs until you master it. I want you to master it right away.
- So you should know what programs what to have. But I recommend going to www.911tabs.com and DL your tabs, by the sites recommended there use Ultimate-Guitar.
- Ok, so I have the tabs open it in FL and there I have the notes as they are played on the guitar right. You get the by accessing the piano roll in FL on an instrument (that you should know from my first tutorial).
- Ok, so if you wanna make a song, you need to mp3. Open the mp3 in Audacity. BUT most of the song start immediately. (if the song doesn't have guitar immediately, this process is not needed, but read it anyway). So I have All Along the Watchtower opened in Audacity. [Picture 1a] I go to "Generate", clicking on the "Silence". Then add 2.0 seconds of silence. This generates 2 seconds of silence to the beginning of the ogg.
- WHY? Look at [Picture 1b]. If I wouldn't have putted the silence to the beginning, the song would have started at 0.2 sec. And by using my method I have to start on a measure line (note: not always). So in this case I would have to place the first note on the second line. And force the BPM to 200. When the song starts then back to 109. What it does for the people who wanna play with variable bpm on. The song starts lightning fast, and when the first notes comes, there will be a furious break, and notes will smack right in your face. So no DON'T do that.
- Now you there is a function in dB that can make a start time on the song. Yes it works fine for GH. But not in FoF, cuz it adds an extra measure (4 beat lines) to the
beginning, which would result sometimes in a start BPM of 1200. So for the love of God, don't do that either. Just stick to my 2 second tactic and you'll do fine! :)
- PS: If you don't wanna add 2 seconds to the song. You can also go to the .ini file and make a "delay = ?". Meaning how many milliseconds you want the audio to be delayed.
- In [Picture 1c] I had a song which I knew would have a BPM around 130, which you see in FL (more in my first tutorial). So I had added the 2 sec silence. So I put directly 130 in dB. Press space, and listen where the first note comes, well now it doesn't hit a beat line, so I go back to the beginning and test different BPM's until the note hits a beat line. In this case it was 128. And It's on the third beat line, so I'll go back to the beginning and change the "Time Signature" to 3/4. So the first note hits a "measure line" (the fattest line in dB on the board). It's the same representing the fat measure lines in FL. And there I change it back to 4/4. So now it starts on a same place as in FL.
- PS: There's also a "Fade Out" function under "Effect". I use that in out fading songs to fade them out faster or on a better spot. Like a song ends with a loooong chord, then I just fade it out faster to make it better. Most songs end in a few seconds of silence. But I usually cut the "empty part" in the end so it'll take a sec until the song ends. Some songs might even have 10 seconds of silence before it really ends (cut that of), by marking it and press DEL.
- Ok, so now you know how to make the first note. That's good. Now I'm gonna explain a little bit what you're looking at in FL.
- Looking in FL right now at Bullet for My Valentine - Waking the Demon intro. [Picture 2]
- PS: I colored the notes in FL, normally they're all gray.
- In FL the lower notes are "lower" and vice versa.
- What you see in FL now, that you need to add 1/16 notes = 4 notes within the first beat line, and they're the lowest in the whole song. So without a doubt they're green.
- Right bottom corner I drag a few lines to see how many different notes there are. Well they're 6 as you can see. Fast calculated that means two different notes has to be the same color. In this situation I'm in, the only option for me was to take the yellow notes. You should never pick notes that are same color if they're after each other. So there was only two options here where it doesn't happen. The other one was the two highest notes. But I didn't wanna make them both orange blue. It just doesn't fit. But that's just a key placement question.
- The BIGGEST question IS... How to beat sync? Well now I'm gonna explain a "short cut" how you do it. It's a new "invention" I discovered recently, which makes my songs even more accurate than before.
- PS: I don't support anchors, that's just an opinion of mine, but "Typhus" does, and he wrote a mini-tutorial that should help you to get started on using anchors. If you wish, you can see his "Anchor Tutorial".
- Beat sync simply means that the notes follows the beat lines. [Picture 3a] Notes are placed on the line or in between.
- So by following my tutorial you should have placed all notes on beat lines. Most songs have variable BPM. There are a lot of new music that has a constant BPM, which you only need MixMeister for.
- The secret in my syncing are the drums. Yeah, I sync drums when I make songs. You see in the [Picture 3a] that I have written BS (not bullsh*t) left of the fretboard. It's because at those parts I have synced, that you see right of the fretboard. S means Snare drum, B means Bass. You don't have to sync this tight. Every Snare is fine or even every second Snare. A song can't go many Milliseconds of sync by doing that. What I do at the start is I put a BPM on the line so the next beat line has that B or S. Same thing I do on that line etc. This sounds pretty tough, I know. Well in the beginning when you still are a noob, I recommend following the beat lines an change the BPM when you notice the note is offline. By knowing that just go to the note press space, in this case let's say it's a snare drum. That snare drum should be make the sound exactly there where the note is.
- In [Picture 3b] you see how there are random syncing and the notes DOESN'T follow the beat lines. If you fret a song with my tutorial, if you see your fretboard looks like that, that mean you've obviously done something wrong!
- The older the song the more variable the BPM. And some 70's songs even has the guitar offsync with the drums. If that's the case, don't sync the drums.
- The only way I can help with sync is that drum thing. And always go to the note and press "space" to hear it hit's that spot exactly. And when syncing use 0.5-0.75x speed. The slower speed, the more accurate your song will get, and takes more time. So you choose what you want.
- Also remember that the more songs you make the faster you'll get. A 3 minute song takes about 30 minutes for me to do. If I don't run up with some problems.
- Another important thing is that while you're a noob. Start by doing first exactly as the tab shows you. For example a riff. Then play it up in a slower speed, look if the music corresponds to the notes you've placed there. There are always errors in tabs.
- When it comes to solo... 90% of the tabs has them wrong. You just need a good music ear to hear how it goes. But some noob advice is to listen where the "peak point" in the solos are. Meaning the highest notes. Those are easy to hear. If the tab shows the same peak point, you can fret as the tabs show you...
- Here's a vid how Kotti syncs the first note ---> VIDEO
- Well now I'm gonna explain more about the key placements. Which is of course an individual thing. But there are some rules people can follow.
- I have a song that has 4 different chords in the riff. [Picture 4a]
- You see in [Picture 4b] the 4 chords there. And you should be able to see that the first one is the highest one, the third chord is second highest! Get me? So I placed the notes in dB as I see it in dB. You should get that by just looking and using your brain. And looking at the second and third chord. You'll see that they have one of the notes in common. Meaning on real guitar if they'd come after each other, you'd only be moving one finger. So that's why I have the "BLUE" in them both.
- Now IF FL would have showed [Picture 4c]. You see they're all 3NC (3 note chords). That DOESN'T mean you have to do them to 3NC. Obviously GH did so with SlipKnot, and many people hated that fretting. So it's a matter of opinion here. I would just keep them 2NC in this case. Acoustic guitar might even show 6 or 7NC. And you don't even have an option to do so many notes in dB. So in acoustic songs try to see what fits best. regular 2NC and 3NC are used often in acoustic songs. But be easy on the 3NC's. Don't fret 4NC...never. (yeah I've done that, but I'm wiser now).
- Basically it means if FL shows 4+ NC I make them 2 or 3NC in dB. About 80% of the 3NC shown in FL I make to regular 2NC. It depends a lot on the song and the sound of the chords and the situation. So I can't really tell you obvious cases.
- Now I'll explain some easy simple key placement questions people have been asking.
- 5 notes in a row, from down to up in this case [Picture 5a]. The most commonly key placement is to put it like I've done to the first 5 notes. The next 5 are much lower and this is just an option how I would do those next 5, as they're much lower than the rest of the song. Same thing I could have done if they'd be much higher than the rest of the song and made them YBYBO. But it's not wrong to make those both just 5 notes going upwards. This situation is rare. You should always look at the bigger picture when it comes to key placment.
- Simple key placment's I've made in [Picture 5b]. The first one is 9 notes going up. And the next one are 8 notes. Those are very common in my songs. But key placement is individual. Some people might do 9 notes like 4, then 5 or vice versa. 8 notes can also be handled like GRYRYBYB. But that's a key placement made by looking on the big pic. Sorry if I've confused you. If I did, forget what I said...
- When should you make held notes? That's a hard question... It depends a lot on the fretter, but I can say to you that you've done too many of those in your previous songs. Everyone does that. Even me... Looking at newer GH/RB song you don't see held notes that often. So I'll try my best explain it.
- It depends on the BPM. Cause a held note crossing one beat line isn't the same in 100 BPM as in 200. If you look at [Picture 6a] You see that I've made a tail on the chord that is stretched to the next beat line, I accept that from about 140+ BPM. I don't do shorter tails than that.
- In [Picture 6b] You see that I've made a tail on a note that is only a half beat line. I do that if the BPM is really low like 75. That's why the yellow not doesn't have a tail cause it's 100 BPM there. The blue one has a tail cause it's a 75% of the beat line.. I do that if the BPM is about 100-130!? It's really hard to tell. It depends.
- FL Studio shows tail yes, depending on how long the gray "brick" is... But I don't rely on them. So I recommend using you ear. If a note has a long tail, just hear when it ends, then cut it of. And you should be able to hear if a note/chord has a tail. That's something you have to hear. Guitar sound still going = Tail. You hear no guitar = No Tail.
- Also a thing you might have noticed in those pics. Well I'm the only one as far as I know who does that, but it's not a thing anyone has to do. It's cutting th tails before
they hit the notes/chords. That looks a lot more professional in-game and RB/GH does it too. GH cuts the tails automatically FoF doesn't. (I've seen my songs played in GH when I had the tails going into the next note). I usually cut depending on the BPM AGAIN about 0- 119 BPM with 1/32 -> 120-179 BPM with 1/24 -> 180+ BPM with 1/16... But this isn't an important thing, I just do it to make the charts look better.
- There are two ways, GH or RB way. Well I've forgotten the GH way... So I'll explain how I make it the RB way.
- The only thing you need to know is the letter "R".
- In dB, on that place you want the section to start press "R" then type the following depending on what you want to add there:
- You don't need the numbers there. But anyway, I start the solo by adding a section named Gtr_Solo_1. End the solo where you want it to end. Add another section.
- PS: The dB functions aren't European so the "_", is "?" on European keyboards.
- Fretting drums is very easy. A lot easier than guitar. It works the same way. Just by looking in FL you know what to fret and where.
- There is nothing really I can explain about it that wasn't described in the guitar fretting... Well here it's very important that you use beat syncing.
- On the left side you see what to fret. [Picture 6b] Very simple if you already know how to fret guitar.
- For fretting drums:
* Green = Kick/Bass pedal
* Red = Snare
* Yellow = Closed Hi-hat, Tom 1
* Blue = Open Hi-hat, Tom 2, Ride
* Orange = Crash, Tom 3
- You may run into some problems while fretting, yes... it might be that the tabs are wrong or they could be right. I recommend doing as the tabs says, after that listen with 0.5x and you should clearly hear if it fits the song or not.
- Anyway, these tabs are right [Picture 8a]. The first four notes are not a problem, they're simple 1/16 (the most common note). Then you see that in the next two beat lines (marked red) has 9 notes in it. And there isn't a regular step that makes 4.5 notes in a beat line. So we have to use the "Quantization Interval" button, and it's "Q". It lets you choose any interval/step you want. This time I know that 9 notes in two beat lines means 1/18. So I just write 18 in it, and you may now move in 1/18 steps to put the notes there. These are very rare! I've used it in 2 songs of my 300...
- The next two beat lines (marked yellow) has 10 notes in them, 5 in one of them. This is also a step you don't have automatically in dB, so press "Q", make it 1/20.
- [Picture 8b] shows how it'll look in dB.
- The last to beat lines (marked green). You think it's a problem? No it's not, it's just regular 1/24 notes. The third/fifth/eight note are just 2 x 24.
- When using "Q". There's a 50/50 chance that you don't land on the spot you want. What do you do then? Yes, you double up the "Q". In the first case "the red marked place". If it wouldn't have worked with my 1/18 step, I would have used 1/32.
HOW TO ADD STAR POWER (OR OVERDRIVE) SECTIONS AFTER CHARTING DRUMS: (Written by Typhus)
After defining Star Power sections (using dB with the "8" key) for all (or any) instruments, you will need to correct your chart. Why? Because, unfortunately the program chart2mid converts the chart into mid, in rock band mode (so that the drum part is written), defining the same "code" (that is note) for star Power as it would on Guitar hero mode. And that, unfortunately is wrong. If you don't correct your chart, you'll notice that the star power sections are going to be completely random (or not shown at all if you don't use FoFiX) while in play.
And so, if you open one of your mid file in FL you'll notice that the note used for Star Power is G8, but for rock band type of charts (that is, all charts that have drums) the star power note is G#9 and not G8. This one is used for marking guitar solo sections. Therefore, after converting the chart file into mid you'll have to open FL (or another midi editor) and switch the G8 long notes for G#9. Unfortunately, FL removes section names defined in dB, therefore you'll have to add a long G8 note to mark the guitar solo sections.
For drum fills, or BRE, you'll have to mark C10+4notes up (like a 5 note chord) long notes.
Look into the following pictures to better understand this:
- Well this was it then... I hope you understood something I just wrote? If not, just ask. See I have no idea what to write about, because all of this is so clear to me, so I might have left something important behind? But by following these guidelines I just wrote will make you a great fretter without a doubt. You do as the tabs show you. Sync all notes and you're done. :)
Written by Puppetz 25th September; 5000th post!


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| Philadelphia Fashion Designer Exceeds Kickstarter Goal of $20,000 in 8 DaysUsing Social Media to Promote the Campaign, Duke & Winston Looks To Expand Their Business Through CrowdFunding
He carefully crafted a campaign for the popular crowdfunding site, allotting $5,000 to collection of samples, $10,000 to entry to major trade shows in New York City and Las Vegas, and $5,000 for the fulfillment of rewards for his backers—a total of $20,000 for the campaign to receive funding. Using their Facebook and Twitter accounts to promote the campaign, Duke & Winston encouraged backers to donate in increments of $25 to $2,500, with a custom reward for each donation. Per the parameters of Kickstarter, each campaign has 30 days to hit their goal. If the goal is not hit, the campaign will not receive any funding. In Duke & Winston's case, within 8 days of posting their "Refined Casual Gear for Gents, Made in the USA" Campaign, they have exceeded their $20,000 goal. With 21 days left until their campaign concludes, the brand is hopeful to raise even more than they had anticipated. Olubodun states, "Its been amazing how people have been able to identify with my "How to make it in America" type hustle and have been pledging without even knowing me personally, some pledging thousands of dollars at a time. In the last 8 days, I have received countless phone calls and emails from Kickstarter backers that love my story (opening a store in my apartment and driving up and down the east coast in my van selling shirts). The whole experience has been very overwhelming and I am very appreciative of the chance I now have to grow Duke & Winston in a major way in 2013 thanks to pledges from fans all over the world." Duke & Winston hopes to use the funds raised from their Kickstarter campaign to expand the line, and attract wholesale buyers that will give the brand a national reach. To back Duke & Winston's Kickstarter Campaign, visit http://www.kickstarter.com/ ### To schedule an interview with Seun Olubodun of Duke & Winston, please contact Sara Shake of Exposed PR at 954.336.3275 or firstname.lastname@example.com. Duke & Winston is an East Coast inspired lifestyle line for modern gentlemen and pets. Founded in 2009 by Seun Olubodun, Duke & Winston was named in honor of Seun's bulldog Duke, and British Statesman Winston Churchill. Based in Philadelphia, PA, Duke & Winston low maintenance clothing for the well-dressed man and bulldog that appreciate timeless style with a distinct influence from Olubodun's upbringing in the UK. Their collection includes graphic tees, hoodies, silk ties, and pet accessories. Access to the Duke & Winston showroom, located at 633 North 2nd Street Philadelphia, PA, is available by appointment by calling 267-639-5594. For more information, visit www.duke-winston.com, follow the brand on Facebook at facebook.com/ End
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Experiences with implementing common mathematical operations using field programmable gate arrays
Warne, David, Kelson, Neil A., Kok, Jonathan, Gurnett, Timothy, & Rueckert, Ulrich (2012) Experiences with implementing common mathematical operations using field programmable gate arrays. In 16th Biennial Computational Techniques and Applications Conference, 23 - 26 September 2012, Queensland University of Technology, Brisbane, Qld.
Many computationally intensive scientific applications involve repetitive floating point operations other than addition and multiplication which may present a significant performance bottleneck due to the relatively large latency or low throughput involved in executing such arithmetic primitives on commodity processors. A promising alternative is to execute such primitives on Field Programmable Gate Array (FPGA) hardware acting as an application-specific custom co-processor in a high performance reconfigurable computing platform. The use of FPGAs can provide advantages such as fine-grain parallelism but issues relating to code development in a hardware description language and efficient data transfer to and from the FPGA chip can present significant application development challenges. In this paper, we discuss our practical experiences in developing a selection of floating point hardware designs to be implemented using FPGAs. Our designs include some basic mathematical library functions which can be implemented for user defined precisions suitable for novel applications requiring non-standard floating point representation. We discuss the details of our designs along with results from performance and accuracy analysis tests.
Impact and interest:
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These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from the Google Scholar™ indexing service can be viewed at the linked Google Scholar™ search.
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ID Code: | 54454 |
Item Type: | Conference Item (Presentation) |
Refereed: | Yes |
Additional Information: | To be published in the ANZIAM Journal, Electronic supplement. |
Subjects: | Australian and New Zealand Standard Research Classification > TECHNOLOGY (100000) > COMPUTER HARDWARE (100600) > Arithmetic and Logic Structures (100601) Australian and New Zealand Standard Research Classification > TECHNOLOGY (100000) > COMPUTER HARDWARE (100600) > Performance Evaluation; Testing and Simulation of Reliability (100605) |
Divisions: | Current > Schools > School of Electrical Engineering & Computer Science Current > Research Centres > High Performance Computing and Research Support Current > QUT Faculties and Divisions > Science & Engineering Faculty |
Copyright Owner: | Copyright 2012 please consult the authors |
Deposited On: | 01 Nov 2012 07:08 |
Last Modified: | 30 May 2016 01:36 |
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Hello guys/ladies, I would like some help from you regarding Stringing Techniques for Head RIP Control. I will explain my situation first. I live in a small city, close to Rio de Janeiro - Brazil, and here we just have one person that does string jobs. Since good string here in Brazil costs about R$ 50,00 (U$ 25), I decided to bring some string from US a few months ago. I bought 5 sets of PPA and 7 sets of RIP Control. For some unknown reasons, the stringer mentioned above cannot string with Rip Control. He has been stringing my racquets for 1 year and I've never had any problems with his string jobs. He stringed all my 5 PPA with no problems at all, but the 2 times he tried to string my racquet with RIP Control, he destroyed my string when tying it. He says that after he ties the knot and the machine pulls the string, the string just gets destroyed. Now I have 5 sets of RIP and I cannot use them!! Does anyone know what might be happening? Is there a diferent technique that must be used when stringing with RIP Control? Some help from you would be great. Thanks in advance, PS: Sorry about my poor English. :???: Luiz Fernando Melao
Problemo Not sure what you mean when you say "...the machine pulls the string.." If he is finishing the knot by pulling on the knot with the machine tensioner, that is likely where the problem is--way too tight. The knot should be finished with hand tension, not machine, in my opinion. The only good thing I can think of is at least this is not natural gut he is destroying. Gut, from what I have heard, is even more sensitive to tension when its knots are tied. If I were you, I would buy a stringing machine and learn to do the work yourself. Hope this helps, Harry
Never Never ever pull knots tight with a machine. All string knot should be tied by hand. It is the stringer's fault the string is breaking.
Never pull a knot with the machine. I always use a starting clamp to tighten the knot by hand. If indeed he's using the machine to tighten the knots, I'd ask the stringer to redo the job at his cost.
I cringe every time I see someone pull knots with the tensioner. Luiz.M: Buy your own Stringing machine and learn how to string.
Like others have said, tell the guy to stop pulling the knots tight with the stringer. Either that or tell him that if he insists on doing it to do it right... i.e. tap to start the tension and then tap to stop it a second later. You NEVER let the tensioning head pull all the way like it does when you're tensioning a main/cross. Better yet, get a new stringer or just do your own racquets. If it's that expensive to buy string there, imagine how much the guy is probably costing you in labor. Buy a machine and do it yourself... you can get a good 6-point drop weight for about $400 from a reputable company and upgrade the tensioner later to an electric if needed.
The going rate here is $15/hour. I invested $800 total in a machine 5 years ago. I probably average a stringing per week. So far that has saved me about $15 x 5 years x 52 weeks = $3,900, so I've saved over $3,000!
Everyone is making the assumption that the stringer is using the machine to tighten the knot. However: This could just as easily be describing someone who starts the crosses with a starting knot. Luiz, you should seek clarification on when the breakage occurs. If he is tightening knots with the machine, ask him to do it by hand. If he is using a starting knot for the crosses, ask him if he can use a starting clamp instead.
Dags you're right but if he users a starting knot and pulls tension on the top cross properly it will not destroy the string. T ensure the knot does not skip the tail should be held when pulling tension, and I am assuming he is tying a good knot.
NICE!!!!!! I got a Klippermate for $125 shipped but needed the clamps etc so the total ended up being under $200. Which is still a lot cheaper than getting a Klipper new shipped. I figure I'll do a few stringings a year for myself only and recoup in a couple of years. I was just frustrated at my local guy stringing at 15-20 lbs higher than I wanted (I wanted 30 and 35 lbs on my POG mid and Boron OS, but for 60 and 50 respectively) and getting charged $40 a racquet for RPM Team
Barring stringer error, clamp slippage/drawback etc. you'll know that your dropweight is pulling the tension you ask for. Enjoy!! BTW, haven't heard anyone else mention problems with stringing RIP Control. Sounds like stringer error based on all of the above.
I string Rip Control for a Junior client all the time. I've never had any problem of it breaking. It is kinda waxxie, and the does tend to unravel at the cut end.
RIP Control is not much fun to string, but it's not so hard that it can't be done. It's hard to get it past blocked holes, and it hurts your fingers a little when you weave it and pull on it. I can't tell from the description what exactly is going on. Maybe the stringer is just used to stringing synthetic gut in under 20 minutes and doesn't want to mess with anything more difficult and time consuming?
Nothing at all remotely difficult about stringing RIP Control. I second the suggestion of getting a capable/economic machine and doing it yourself. Is anything available locally -- I know duty can be very high in your country (not to mention theft en-route).
RIP is a pain to unravel. And string is alittle soft and chewy. Not my first choice to choose to string with but it's definitely not hard to string with. Using the machine to tie knots demonstrates lack of experience from ur stringer. You should suggest watching Irvin's or Yulitle's youtube vid's. =) I would find another stringer or just do it yourself.
Most strings can be unwound easily if you put the coil over the handle and pull one end. Just make sure the string is not turning on the grip as the grip tends to bind it up.
I string RIP as a cross for someone with a main that didn't slide very well and it was really a pain. I had no problems stringing it, but I had to pull the crosses very slowly and the string did tend to unravel.
If you are talking about unwinding yes. Just make sure the string can unwind on the throats painted area.


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The Internet didn't see President Obama's youngest daughter at his farewell speech in Chicago Tuesday, and it's freaking out.
As Obama gave an emotional farewell address to the nation from his home turf, cameras cut to familiar faces in the front row.
Vice President Biden was there receiving shout outs from his bestie-in-chief. Oldest daughter, Malia Obama, was holding Michelle Obama's hand and wiping tears.
But. We. Didn't. See. Sasha.
The Internet has some ideas on where she might be.
Where is Sasha you ask? That child is in her bed sleeping, she has school in the morning. Y'all know Michelle doesn't play lol
— Itsloudinsidemyhead (@itsShirleyBIH) January 11, 2017
to those asking "where is Sasha" she probably at the White House setting home alone traps for Trump 😂 #imdown lol #ObamaFarewell
— CB Imprintz (@CBImprintz) January 11, 2017
"Sorry, plans." - Sasha
— Caro (@socarolinesays) January 11, 2017
Is Sasha the designated survivor? I miss her. #ObamaFarewell
— Amy Spitalnick (@amyspitalnick) January 11, 2017
Sasha Obama:"Can I get Tuesday night off, my dad is giving his farewell speech"
— Celine Besman (@CelineBesman) January 11, 2017
Manager:"Only if you can find someone to cover your shift"
And what will the 44th president's legacy be after his farewell address?
After this amazing speech, we'll all be left remembering those three little words...
— Robin Thede (@robinthede) January 11, 2017
Where is Sasha??#ObamaFarewell
But, we probably know this is true for the 15-year-old high-schooler:
White House official tells NBC News Sasha Obama did not attend @POTUS farewell speech because she has an exam tomorrow morning #nbc4ny
— Steven Bognar (@Bogs4NY) January 11, 2017
Good luck, Sasha!


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January 5, 2013, 08:26 PM | #1 |
Senior Member
Join Date: February 7, 2007
Location: Mesa, Az
Posts: 358
Can you custom order j-frames with deferent barrels?
I just sold my lcr357 and loved the gun but the awkward trigger guard made it a pain to find holsters for.
After looking at s&w's website I basically want the 340pd in steel. But the only internal hammer j-frame s&w makes in all steel is the 640 which has a 2.1 inch barrel as opposed to the 1.87 barrel of the more traditional j-frames. I love the look of the 640 but the diffrent barrel worrys me. Something as minuscule as a trigger guard made it a pain to find a good holster for the lcr. I am concerned the barrel will do the same. So my question is this: does anyone know if s&w will let you custom order the 640 with the 1.87" barrel? I would mostly be using the gun for pocket carry so the shorter overall legnth would be better for me but one can't rule out belt carry. Any help would be very appreciated |
January 6, 2013, 02:31 PM | #2 |
Senior Member
Join Date: December 1, 2005
Location: Tampa Bay
Posts: 1,592
You are talking a quarter inch shorter barrel. My personal opinion is the grip one picks makes more difference in pocket-ability. And I'd use a pocket holster.
January 6, 2013, 05:17 PM | #3 |
Senior Member
Join Date: September 23, 2006
Location: Alexandria, VA
Posts: 5,204
I agree with P5 and I doubt S&W would sell you one. You might just have to take/send it to a gunsmith who can cut the barrel.
January 6, 2013, 06:04 PM | #4 |
Senior Member
Join Date: January 2, 2006
Posts: 701
There are wagon loads of holster makers that make nice stuff for the LCR as well as all the J frame lengths.
Contact any one of them , and they will make you what you need. |
January 6, 2013, 07:19 PM | #5 |
Senior Member
Join Date: May 4, 2001
Posts: 6,986
The S&W Performance Center is S&W's custom shop.
Contact them and ask. They can do most anything you can pay for. |
January 6, 2013, 08:03 PM | #6 |
Senior Member
Join Date: January 2, 2006
Posts: 701
For the princely sum of $29, you can have a custom made, high quality pocket holster made for your LCR or 640 if you choose.
http://www.frontiernet.net/~akim/order.html A heck of a lot cheaper than have S&W PC build you a gun with 1/4" shorter barrel. |
January 6, 2013, 08:55 PM | #7 |
Senior Member
Join Date: February 7, 2007
Location: Mesa, Az
Posts: 358
As I said the lcr is gone. I understand I can order a holster from any number of places. But just about any place that sells hand guns has j-frame holsters in stock without the need to special order. Hence my desire to go the j-frame route this time.
I will be calling s&w but can't until tomorrow. I was just wondering if what I want was unheard of. Kinda sounds like it is. |
January 6, 2013, 10:19 PM | #8 |
Senior Member
Join Date: July 10, 2012
Location: Memphis, Tennessee
Posts: 2,461
A few years ago Smith & Wesson would not build a custom ordered gun. Nor would they make a custom made gun in the Custom Shop. They do make custom guns in the Custom Shop, but not to individual specifications. Tried that route myself several years ago.
But, usually your gunsmith will have a number of take-off barrels on hand that he can replace for you. Try this route. Bob Wright |
January 7, 2013, 06:20 PM | #9 |
Senior Member
Join Date: July 1, 2001
Posts: 3,477
Most std j frame holsters fit the 640 just fine. My pocket holster has the barrel sticking out 1/8th inch. . .It is a non'issue. The OWB and IWB fit like they were made for it. . .
January 7, 2013, 08:46 PM | #10 |
Senior Member
Join Date: February 7, 2007
Location: Mesa, Az
Posts: 358
S&w indeed will not do it.
Thanks nathan that is good to know. I think it will mostly be pocket carried so knowing it will fit a pocket holster helps alot |
January 7, 2013, 09:40 PM | #11 |
Senior Member
Join Date: April 16, 2000
Location: Mesa, Arizona
Posts: 1,166
I believe you will find that the 1.87" barrel is on the 38 Special version while the 2.1" version is chambered for the 357 Magnum. And, as others have said the difference in barrel length will probably not affect holster fit. Every holster maker in the world builds at least one model for the generic "2 inch" J-frame S&W.
RSVN '69-'71 PCSD Ret |
January 8, 2013, 12:12 AM | #12 |
Senior Member
Join Date: February 7, 2007
Location: Mesa, Az
Posts: 358
That's not actually the case. What you said is true for the all steel guns. But the 340pd is chambered in .357 with a 1.875" barrel. However it has a scandium frame which I don't care for
January 8, 2013, 05:44 PM | #13 | |
Senior Member
Join Date: January 2, 2006
Posts: 701
Seems an odd way to go about it to me, but hey... there's nothing stopping you from going that route. |
January 8, 2013, 11:20 PM | #14 |
Senior Member
Join Date: February 7, 2007
Location: Mesa, Az
Posts: 358
Actually there is. They won't do it. And yes that is exactly what I would do if I could. The holsters come and go. The gun I plan on keeping around for a while
January 9, 2013, 06:28 PM | #15 |
Senior Member
Join Date: January 2, 2006
Posts: 701
Any of the better gunsmiths could rebarrel a J frame for you with a custom made barrel.... for a price.
Alan Harton, Hamilton Bowen, Dave Clements, Jim Stroh etc. etc. should be able to do what you want and then some. Last edited by savit260; January 9, 2013 at 06:34 PM. |
January 9, 2013, 06:56 PM | #16 |
Senior Member
Join Date: August 14, 2011
Location: Brazos County, Texas
Posts: 1,027
I have a model 36 with a 1.875" barrel, a model 37 with a 1.875" barrel,
a model 637 with a 1.875" barrel,and a model 60 with a 2.125" barrel. They all fit in the same holster,and I don't notice any difference between them in my pocket either,other than the weight,the 37,and 637 are lighter than the 36, and 60. |
January 10, 2013, 11:16 AM | #17 |
Junior member
Join Date: December 12, 2005
Location: Land O' Lakes, FL
Posts: 99
Have you thought about just buying the M&P340? It has a steel cylinder and having shot both the M&P340 and the 340PD(own it) the M&P is much easier on your hands. After all, it is a carry gun. You can get a clipdraw for it and then you don't even need a darn holster.
January 10, 2013, 11:28 AM | #18 |
Join Date: March 17, 1999
Posts: 23,713
Unless my on-screen calculator got tired counting Bill Gates' money, 2.125 - 1.875 is .25, or 1/4 inch. There are darned few holsters made that won't allow for 1/4 inch either way. As for any other differences, they would be negligible. Velocity? Sight radius? Weight? No real differences.
Jim K |
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- status: open --> closed
- Priority: 7 --> 5
Please add a unique ID to the class PwDatabase.
Every PwDatabase should have a real unique ID.
It should be possible to generate a new unique ID or it should be considered what happens if someone copies a kdbx-file, and uses this as a second database.
Maybe an option when changing the master-password?
Maybe checking of same IDs in all opened databases?
I don't see how a database UUID could be defined in a reasonable way. The user can always copy a KDBX file, thus multiple databases could have the same UUID. The user might take a database as starting point for two or more different spawns (which are completely different), thus the UUID couldn't be used for identifying similar databases. By copying groups/entries, two databases with different UUIDs may contain the same data.
Best regards,
Log in to post a comment.


text:
Table of Contents
What is the South Carolina Court of Appeals?
Where is the South Carolina Court of Appeals?
What orders may be appealed to the Court of Appeals?
Do I need a lawyer?
When should I serve and file my Notice of Appeal?
How do I serve and file a Notice of Appeal?
What must the Notice of Appeal contain?
What does it cost to file a Notice of Appeal?
Why do I need to order transcripts?
What is the Appellant's Initial Brief and Designation of Matter?
What is the Respondent's Initial Brief and Designation of Matter?
What is the Record on Appeal?
What are the Final Briefs?
What is meant by service and filing?
When will the Court of Appeals hear my case?
When will the Court of Appeals decide my case?
What can I do if I lose on appeal?
These questions and answers are designed in part to help non-lawyers prepare an appeal to the South Carolina Court of Appeals. This material is not legal advice and must not be cited as legal authority. The information here does not replace the South Carolina Appellate Court Rules, but you should use it together with a close reading of the Rules to complete your appeal.
The Appellate Court Rules are always subject to revision and amendment. Therefore, you should consult the current version of the Rules. You may call the Court of Appeals Clerk's Office if you have a specific procedural question about how to prepare or file your papers with the Court. Although the staff will try to help answer your procedural questions, you must remember employees of the Court of Appeals are not permitted to give legal advice or make specific recommendations to you on how you should pursue your claims on appeal or respond to an appeal.
Appeal. A review by the Court of Appeals of what happened in the court below to determine whether any mistakes occurred and, if so, whether the party who filed the appeal is entitled to have the decision of the court below reversed.
Appellant. A party who appeals from the lower court's decision.
Respondent. A party against whom an appeal is taken and who responds to that appeal.
Brief. A written statement that explains the arguments of a party to an appeal.
Court en banc. The Court of Appeals en banc consists of all qualified and available members of the Court, which usually means all nine judges.
Cross-appeal. An appeal filed by the respondent, which usually is combined for processing, hearing, and decision with the appellant's appeal.
Designation of Matter. A list of the transcripts, documents, and exhibits that a party wishes to have included in the Record on Appeal. Only a list identifying each item should be submitted at the Designation of Matter stage. The documents themselves should not be submitted at the Designation of Matter stage.
Interlocutory appeal. An appeal that is filed before the lower court enters its final order on the entire case.
Interlocutory order. An order that addresses some intermediate matter and is issued before the lower court's final order.
Jurisdiction. Authority or power of a court to hear a certain kind of case.
– Appellate jurisdiction refers to the Court of Appeals' authority to review and revise a lower court's decision by way of direct appeal.
– Original jurisdiction refers to the authority of a court to hear and decide a matter before any other court has reviewed it.
Motion. A written application requesting the Court to make a specific ruling or order. The requirements for a motion are set out in Rule 240.
Petition. A written application requesting the Court to make a specific ruling or order. There is no practical difference between a petition and a motion. The requirements for a petition are set out in Rule 240.
Pro se. A person who does not retain a lawyer and appears on his or her own behalf before the Court.
Transcript. A word-for-word typescript of the lower court proceedings.
Writ. An extraordinary remedy that may be issued by the Court of Appeals if the Court of Appeals has a pending appeal in the case. The Court of Appeals has no power to issue writs unless there is an appeal pending in the Court. Although there are several different types of writs, they usually are issued to prohibit a trial court from exceeding its jurisdiction or to compel a trial court to perform a mandatory duty. In general, a writ may be issued only when the party requesting the writ does not have any other alternative legal remedy.
What is the South Carolina Court of Appeals?
The South Carolina Court of Appeals is an intermediate appellate court. It consists of nine judges, including a Chief Judge. The Court sits in panels of three judges to decide most cases.
An appeal is not a new trial. Parties before the Court of Appeals will not be permitted to conduct discovery, call witnesses, or offer any evidence that was not presented first to the court below. The Court decides appeals strictly on the basis of the record that existed in the court below and the written briefs that are filed by the parties. The Court also may hear oral argument by the parties.
Where is the South Carolina Court of Appeals?
The Court and its Clerk's office are in the Calhoun State Office Building, 1220 Senate Street, Columbia, South Carolina 29201. For correspondence and filing, you may write to Post Office Box 11629, Columbia, SC 29211. Large packages should be sent to the Senate Street address. The telephone number is (803) 734-1890.
It is the policy of the Court that all communication with the Court of Appeals is to be conducted through the Clerk's Office. No party should contact a judge directly about any case.
What orders may be appealed to the Court of Appeals?
Generally, final orders of the family and circuit courts are appealable to the Court of Appeals. This description does not nearly exhaust the possibilities, however. In many cases, the question of the appealability of an order is a complex legal issue. No answer to this question can be both succinct and complete. The rules, statutes and case law must be carefully consulted to determine appealability.
Individuals may appear before the Court of Appeals without a lawyer. Corporations are required to have a South Carolina lawyer represent them.
Although an individual is not required to have a lawyer, most people find that having a lawyer on appeal is helpful to them. If you would like the assistance of a lawyer, you may be able to obtain legal assistance by calling The South Carolina Bar. If you pursue your appeal without the assistance of a lawyer, you nevertheless are required to comply with the South Carolina Appellate Court Rules. You may find it helpful to refer to various legal resources in preparing motions and briefs. These resources include the South Carolina Appellate Court Rules, the South Carolina Code of Laws, the case law of South Carolina as published in the Southeastern Reporter and the South Carolina Reports, and South Carolina Jurisprudence. These resources are available at various libraries throughout the State, including some libraries in county courthouses.
When should I serve and file my Notice of Appeal?
For Circuit Court orders and judgments of the Court of Common Pleas, the Notice of Appeal must be served on all respondents within 30 days of receipt of written notice of the entry of the judgment or the order. It must be filed within ten days thereafter.
For the Court of General Sessions division of the Circuit Court, the Notice of Appeal must be served within 10 days of sentencing, if the appeal is from a conviction or revocation of probation. Notice of Appeal from other orders must be served within ten days of receipt of written notice of the entry of judgment.
From Family Court the time for service is 30 days in domestic relations actions and ten days in juvenile actions.
You must consult Rule 203 of the South Carolina Appellate Court Rules for details on this point. The time for serving the Notice of Appeal cannot be extended by the Court. If you miss your deadline, you cannot appeal.
How do I serve and file a Notice of Appeal?
Rule 262 defines filing and service. These may be accomplished by direct delivery or by mailing with the United States Postal Service. When the USPS is used, service and filing of the notice of appeal are complete upon mailing. Delivery to a private carrier, such as U.P.S. or Federal Express, does not constitute service or filing. See What is meant by service and filing?
What must the Notice of Appeal contain?
The form and contents of the Notice of Appeal are set out in Rule 203. Samples are provided in Form 1, Form 2, Form 3, Form 4, and Form 5. Reference to these two sources will give you all the guidance you need to prepare a Notice of Appeal, with one exception: When listing a lawyer's name on any document in the Court of Appeals, you should also list the firm name for that lawyer.
When filing any document in the Court of Appeals, you must see that its form complies with the requirements of Rule 267 regarding appearance, binding and covers.
What does it cost to file a Notice of Appeal?
The filing fee is $100.00. There is no filing fee for criminal appeals or appeals by the State of South Carolina or its departments or agencies. The Court of Appeals will consider motions to proceed without the payment of fees, but the circumstances in which this motion is granted are very limited. Be aware of Rule 222 which allows the winning party in an appeal to receive costs from the losing party.
Why do I need to order transcripts?
The transcript shows what evidence and arguments were put before the lower court. This information is required for the Court's review of the appeal. In some cases, a transcript is not required, because all necessary information appears in court papers.
Rule 207 requires the appellant to order the lower court transcript from the court reporter when a transcript is required for the appeal. Generally, this must be done within ten days of serving the notice of appeal in civil cases and within 30 days of serving the notice in criminal cases. Refer to Rule 207 for exact details.
The transcript referred to in this rule is the circuit court transcript, not the transcript from proceedings before a magistrate, municipal judge, probate judge, or the like.
This transcript must be ordered from the circuit court reporter. Do not attempt to order it from the Court of Appeals, from the Supreme Court, from the lower court judge, from the Circuit Court Clerk, or from the Office of Court Administration. If you do not know the name of the court reporter, you may contact the Office of Court Administration to learn the name. However, you must still order the transcript within the time limits established in the Rule.
If a transcript is not required for the appeal, you need not order it.
What is the Appellant's Initial Brief and Designation of Matter?
The initial brief and designation of matter set forth the arguments and the evidence that you want to put before the Court of Appeals. For guidance in these matters, you must carefully study Rules 208 and 209 along with Forms 12 and 13.
Only one copy of the initial brief and the designation needs to be filed.
When filing the designations, you should not send copies of the documents themselves. Simply make a list of what you want included, in the manner shown in Form 13. Keep in mind that nothing can be designated that was not included in the proceedings before the lower court.
What is the Respondent's Initial Brief and Designation of Matter?
In form, the Respondent's Initial Brief and Designation of Matter is the same as that of the appellant. See Rules 208 and 209 and Forms 13 and 14.
The respondent's brief sets forth the reasons that the Court of Appeals should uphold the decision of the trial court.
The respondent need not designate any item that the appellant has designated. However, if the appellant has not designated an item that the respondent deems should be included in the appeal, the respondent should designate that item.
What is the Initial Reply Brief and Designation of Matter?
After the respondent serves the Initial Respondent's Brief and Designation of Matter, the appellant has ten days to serve and file a Reply Brief. Rule 208. The appellant is not required to file a Reply Brief. No new grounds for appeal can be raised in the Reply Brief. The appellant may make additional designations at this point.
The content of the Record on Appeal, as well as the time for serving and filing the Record on Appeal, are found in Rule 210. The appellant must make sure that the Record on Appeal complies with this Rule.
The Record on Appeal is permitted to contain only the material that the parties have previously designated. If an item does not appear in a Designation of Matter, then the appellant cannot include it the Record on Appeal. By the same token, everything designated by a party must be included in the Record on Appeal.
The appellant must make sure that the Record on Appeal is properly bound. The requirements for this step are found in Rule 267. The cover must be of 50 pound weight cover stock or more. Your local copy shop can help you with this step.
Final briefs are identical to the initial briefs except in three ways: 1) cover and bindings; 2) number of copies served and filed; and 3) references to the Record on Appeal. Rule 211.
The appellant's brief has a blue cover; the respondent's brief is red; the reply brief is gray. The covers of these briefs must be of stiff cover stock, like the Record on Appeal. See Rule 267.
Three copies of each brief are served on the opposing party; the original and 14 copies are filed with the Court.
The references in the initial briefs must be revised to show where the material appears in the Record on Appeal.
What is meant by service and filing?
Service is your mailing or delivery of a document to the opposing party. Filing is the mailing or delivery of a document to the Court of Appeals. The general rule on service and filing is Rule 262. Also see above: How do I serve and file a Notice of Appeal?.
Note that filing of a petition for rehearing or a petition to reinstate is complete only when the document is actually received by the Court of Appeals.
When a party is represented by counsel, service should be on counsel.
When will the Court of Appeals hear my case?
As soon as the Record on Appeal and the Final Briefs are served and filed, the appeal is ready for consideration by the Court. Most cases are taken under advisement within four to six months of being ready for consideration. Most of this time period is attributable to preliminary work on the case by the judges. Some of the time is delay caused by the large number of cases pending in the Court.
Some cases are heard in oral argument. Others are taken under consideration without oral argument, a process called submission. The judges of the Court determine in each case whether they will hear oral argument or take the case on submission.
When will the Court of Appeals decide my case?
The judges decide each case by means of a written decision. These generally appear within two to eight weeks after the case has been taken under consideration. It is not unusual for the process to take rather longer. If the controlling law is clear, this decision may be very short. The decision is mailed to the parties by the Clerk's office.
What can I do if I lose on appeal?
Within 15 days after the decision in your case is filed, you can file a petition for rehearing under Rule 221. If the petition for rehearing is unsuccessful, you may petition the South Carolina Supreme Court for a writ of certiorari under Rule 242. The purpose of this petition is to ask the Supreme Court to review the decision of the Court of Appeals.


text:
DENVER – Gunfire erupted at a Denver park Saturday, injuring two people and sending tens of thousands gathered for an annual pot celebration fleeing, police said.
A crowd of marijuana smokers expected to swell to 80,000 had gathered at the park to mark the counterculture holiday known as 4/20 on the first celebration since Colorado and Washington made pot legal for recreational use. The shooting happened about 5 p.m., shortly after pot smokers shared hugs and joints in a mass 4:20 p.m. smoke-out.
Police spokesman Sonny Jackson confirmed two people had been shot and both were taken to a hospital with injuries that did not appear to be life-threating. The gunshots quickly dispelled the festive atmosphere, with police swarming the scene.
Witnesses said they heard three or more shots and crime tape was around the pavilion where the celebration was being held.
Aerial footage showed the massive crowd frantically running from the park.
A sizable police force on motorcycles and horses had been watching the celebration. But officers didn't arrest people for smoking in public, which is still illegal.
Authorities generally look the other way at public pot smoking here on April 20. Police said before the event that they were focused on crowd security in light of attacks that killed three at the finish line of the Boston Marathon.
"We're aware of the events in Boston," said Denver police spokesman Aaron Kafer, who declined to give specifics about security measures being taken. "Our message to the public is that, if you see something, say something."
Were you interviewed for this story? If so, please fill out our accuracy form


text:
FORTUNE -- The battle between a new generation of video game consoles is, in reality, still months away. Consumers won't be choosing between Microsoft's Xbox One and Sony's Playstation 4 until later this fall, when both devices become available. But the contest between the two has already heated up online, as the details of both devices have come out. Microsoft's media-friendly box will cost $499, while Sony's game-oriented machine will cost $399. Fortune caught up with Jack Tretton, president and CEO of Sony Computer Entertainment America, to talk about how the company sees its position going into another round for dominance in the $78 billion games market. A lightly edited transcript follows:
Did Sony win E3 (the Electronic Entertainment Expo)?
I've referred to E3 as the Super Bowl for our industry, and people grade everything. I certainly read a lot of positive reports about us. As far as I'm concerned, we got our message across.
How did the launch strategy for the Playstation 4 come together?
We've really been planning [the Playstation 4 launch] since 2008. We spent a lot of time talking to consumers. We also spent a lot of time talking with the development community, asking what they wanted. The E3 press conference in the spring and the rollout was a culmination of that vision. The reaction is a testament that we got the strategy right. It's a long, ongoing process. The work going into E3; the presentation was months in the making.
There's some conjecture out there that you're putting stuff up and pulling stuff down five minutes before the doors open. It just doesn't work that way. You've got to execute against a strategy. If you start second-guessing and looking over your shoulder, you open yourself up to mistakes. If you did your homework the consumer is going to respond.
MORE: 5 reasons the Xbox One will dominate
Speaking of mistakes, your chief competitor Microsoft (msft) had to backtrack on some policies consumers seemed to reject pretty loudly. How did you react to that?
I've followed [Microsoft] closely; and, I watched their reveal. I've read the stuff that's been online and in the press. I haven't watched their entire press conference. I'm so caught up in executing our strategy that I haven't spent a lot of time looking at their strategy from anything other than a consumer perspective.
OK, but did you feel any validation of your strategy in the changes of direction Microsoft ultimately announced?
Yes. I firmly believe we had the right business model and the right vision for Playstation 4. The validation of that was from the analyst community, the press, and most importantly the consumers out there. You don't know what your competition is going to do, but we felt we had the right plan.
How early in the planning process did Sony (sne) settle on the $399 retail price?
You look at the feature set first. Then you look at manufacturing costs, and you're trying to manage P&L. You're trying to get to the most consumer-friendly price you can. The goal is to always get as low as you can without breaking the bank. At $399 we had a proposition consumers would respond favorably to. We honestly didn't know whether that was going to be more aggressive or less aggressive than competitors.
Will you turn a profit at that price?
We're not commenting on that.
You got credit from the gaming press for showing off a lot of smaller, independent games. Why do they matter?
Looking back, the fear was always that you'd have a few giant publishers making middle of the road games. But the opposite has happened.
Thanks to independent developers and smaller studios, you have the Steven Spielbergs of our industry coming out of one- and two-man teams, out of university development projects, where somebody just has a really creative mind and they come out with a game that maybe doesn't have $100 million, 300-person team polish but is absolute genius. That bodes extremely well. You've got creativity flourishing. It's great for the medium and validates that this is mainstream entertainment. It guarantees there's going to be something for everyone.
MORE: 5 reasons the Playstation 4 will crush the competition
What's your long-term outlook on physical vs. digital media?
The mantra we've always had is "choice." Never try to shove something down a consumer's throat that they don't have an appetite for. It goes back to when we first introduced online gaming. We allowed a gamer to get involved without paying a fee, we allowed a gamer to get involved with an analogue connection vs. a broadband connection. We've also offered consumers a choice, whether it's movie format or game format. Do you want to buy digital goods or physical goods? The choice is yours.
You've been with Sony since 1995. How would you size up your position with this launch compared to the Playstation 3 launch?
We're in a much better position. There are a couple of key factors: We came to market later than what proved to be a formidable competitor in the Xbox 360 -- that won't happen this time around. We came to market at $599 -- that's obviously not going to happen this time around. In spite of all that, we went on to sell 70 million units. There were a lot of lessons learned in things we did not want to repeat. I really relish the opportunity to come to market in a timely way at $399.
The current hardware generation was remarkable for lasting so long. Do you think the PS4 will last as long?
I believe it will. The irony is that the PS1 and PS2 didn't go away for lack of consumer interest. They went away because of the ability to manufacture them profitably. As the technology got longer in the tooth, the cost of goods and the chipsets that were state of the art when you originally launched the Playstation become difficult to manufacture cost-effectively. So in both cases, there was still plenty of demand out there. If we could have manufactured it profitably, there's no reason why it couldn't still be out there on retail shelves.
Your boss, Sony CEO Kazuo Hirai, oversaw the Playstation unit during the PS2's heyday. Seems like that would create a lot of pressure.
It's a dream come true because when I first started at Playstation, you questioned the level of understanding and support for gaming in the corporation. To now have somebody who understands gaming and understands its importance to the corporation in the senior-most position is everything you could hope for. He understands the challenges; he understands the opportunities. He deserves a lot of credit for the focus of our division.


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Difference between revisions of "EBC Exercise 17 Using ALSA for Audio Processing"
m (→Assignment: Added more assignments) |
m (→Part c - Audio Loopthru) |
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== Part c - Audio Loopthru == | == Part c - Audio Loopthru == | ||
− | In this part, you will combine | + | In this part, you will combine parts a and b into a single loopthru application. |
=== What do we need to change? === | === What do we need to change? === |
Revision as of 15:27, 9 December 2011
This lab demonstrate the Linux ALSA driver as well as basic file I/O. Parts a and b are inspection labs. While c requires you to combine the previous two parts.
- Part a analyzes the function calls necessary to record audio from line input to a file.
- Part b examines the function calls necessary to playback audio from a recorded audio file.
- Part c combines a and b into a single application that loops the audio from input to output (i.e. audio loop-thru) without recording to a file. For an extra challenge, advanced users may want to try to build c without referring to the procedure.
Much of this lab was adapted for the Beagle from OMAP™/DaVinci™ System Integration using Linux Workshop.
Part a - Audio Record
The goal of this part is to analyze the function calls necessary to record audio from the Beagle's a line input to a file.
Note: The 1/8 inch audio in jack on the Beagle is a line in jack, not a microphone in. It doesn't not have the extra amplification needed for a microphone.
- Copy the AudioThru files from here to your Beagle.
- Change directories to AudioThru/lab06a_audio_record
- List the files used to build this application:
File Inspection
- Use a text editor to examine the new files in this application.
$ gedit *.c *.h
This is the entry point for the application. main() does the following:
- Creates a signal handler to trap the Ctrl-C signal (also called SIGINT, the interrupt signal). When this signal is sent to the application, the audioEnv.quit global variable is set to true to signal the audio thread to exit its main loop and begin cleanup.
- Calls the audio_thread_fxn() function to enter into the audio function.
- Upon completion of this function, the main routine checks – and reports – success or failure returned from the audio function.
audio_thread_fxn( ) encapsulates the code required to run the audio recorder. The lab06a_audio_recorder application is single-threaded, so the motivation for encapsulation in this manner may not be initially obvious. We will see in later labs – when combining audio and video in a multi-threaded program – why declaring this function (as opposed to running everything from main) is useful.
audio_thread_fxn utilizes the following:
- audio_io_setup
- Opens and configures the audio input driver. See audio_input_output.c for details.
- while()
- will execute until the envPtr->quit global variable is set to true.
- Inside the while() loop, snd_pcm_readi() is used to read data from the audio input driver (ALSA) and fwrite() is used to write the data into a file. The i in snd_pcm_readi() means the left and right channels of the stereo sign are interleaved. At is, one 16-bit value is the left channel, the next 16-bit value is the right channel.
- When the envPtr->quit variable is set to true (occurs when the user presses Ctrl-C in the terminal) this capture (record) process exits and the application proceeds to the cleanup phase before exiting.
It goes without saying, writing robust code – and debugging it – can be a tedious chore; it is further exasperated when using printf() statements as the primary means of providing debug information back to the programmer. To this end, we have employed an initMask to help keep track of resources opened (and closed) during the program.
The audio_thread_fxn() uses an initialization mask (initMask) to keep track of how many resources have been opened and initialized. Each bit in the mask corresponds to a resource; the bit positions in the initMask variable are #defined towards the top of the file.
/* The levels of initialization for initMask */ #define ALSA_INITIALIZED 0x1 #define INPUT_BUFFER_ALLOCATED 0x2 #define OUTPUT_FILE_OPENED 0x4 /* Only used to cleanup items that were initialized */ unsigned int initMask = 0x0;
- When you OR the initMask with a #define'd value, the associated bit will get set in the initMask variable. For example,
This is useful so that if an error occurs, the application will not attempt to close or free resources that were never opened or allocated. If you look down at the cleanup part of our audio_thread.c, you'll see how we used the initMask variable to accomplish this.
Build and Run the application
- Build the application using make, i.e. "make all".
- Test your audio connection:
arecord –f cd | aplay –f cd
This command uses the arecord ("ALSA recorder") utility to capture audio and, instead of sending to a file, uses a Linux process pipe to send the data to the aplay ("ALSA player") application. This will loop audio through the board. If you have a working audio input and the board is connected to a speaker, you should hear the audio play over the speakers. Press ctrl-c to quit.
On arecord and aplay, the –f option lets you change the format:
Quality | # Channels | Bits | Rate |
default | mono | 8-bit | 8 KHZ |
cd | stereo | 16-bit | 44.1 KHz |
dat | stereo | 16-bit | 48 KHz |
- Execute the ./app_DEBUG.Beagle application.
The application is hard-coded (using a #define statement in audio_thread.c) to save the audio data to the file /tmp/audio.raw. Execute the application.
- Press Ctrl-C to exit the application.
After a suitable amount of time press Ctrl-C in the terminal to exit from the application. You can list the /tmp/audio.raw file with the –lsa options to see the size of the file and verify that it has recorded properly:
ls –lsa /tmp/audio.raw
Recall that a signal handler was placed in main.c to trap the SIGINT (Ctrl-C) signal. When Ctrl-C is placed, this signal handler will execute, signaling the audio thread to exit its main loop, proceed to cleanup, and then exit.
- Use the Linux aplay utility to confirm successful recording.
Because this application saves the audio as a raw stream you may also check that the record has operated properly using the aplay utility.
$ aplay –f dat /tmp/audio.raw
DBG vs ERR
Let's explore the debugging features we're using in our lab files. We are using two macros defined in the file debug.h. They are DBG() and ERR() – essentially, they are wrapper functions around an fprintf() function.
- Add a new debug statement to your file.
In main.c, immediately after the signal handler function, add a DBG() statement:
// Set the signal callback for Ctrl-C pSigPrev = signal( SIGINT, signal_handler ); DBG( "Registered SIGINT signal handler.\n" );
- Build both debug and release profiles on the Beagle, run then and compare their outputs.
$ make // Defaults to making the DEBUG version $ PROFILE=RELEASE make // Make the RELEASE version $ ./app_DEBUG.Beagle // Runs the DEBUG version $ ./app_RELEASE.BEAGLE // Runs the RELEASE version
Does your new statement show up in the terminal when you execute the program app_DEBUG.Beagle? Does it show up when app_RELEASE.Beagle?
- Switch from DBG() to ERR(), then once again, build, run and compare both profiles. What is the difference between DBG and ERR?
- Either Delete the new ERR() statement, or switch it back to DBG().
We don't really need this statement, so feel free to remove it. On the other hand, if you want to leave the new debugging statement, we recommend that you, at the very least, change it back to a DBG() statement.
Part b - Audio Playback
The goal of this part is to analyze the function calls necessary to play back audio from a recorded file to the driver.
- Copy the AudioThru files from here to your Beagle.
- Change directories to AudioThru/lab06b_audio_playback
- Use a text editor to examine audio_thread.c.
Only audio_thread.c has changed from the lab06a_audio_record application. Let's look at some of the differences:
- The 'create' part of the audio_thread_fxn():
- Uses the fopen() function call to open a file for playback.
- Uses audio_io_setup() and configure the audio output driver.
- The malloc() function allocates a RAM buffer to store the audio data from the input file before it is written to the audio driver.
- Inside the while() loop:
- fread() method is used to read audio data from the input file (/tmp/audio.raw)
- snd_pcm_writei() method is used to write the data to the ALSA driver. The i, like in the snd_pcm_readi(), mean the data is interleaved.
- When the envPtr->quit variable is set to true, the loop exits. (This occurs when the user presses Ctrl-C in the terminal.)
- Finally, review the "cleanup" phase, which runs right before exiting. (This basically undo's the steps in the create/setup phase).
- The 'create' part of the audio_thread_fxn():
Build and Run the Application
- Build the application using make.
- Make sure that audio.raw was created properly.
List the contents of /tmp with the "-lsa" flags setting to verify that /tmp/audio.raw exists and has a greater than zero filesize.
The application is hard coded (using a #define statement in audio_thread.c) to read data from the file /tmp/audio.raw.
Note: If the Beagle is rebooted after running the lab6a_audio_record application, the /tmp/audio.raw file is erased. If this happens, run it again in either DEBUG or RELEASE mode to re-record the /tmp/audio.raw file
Finally, you can return to lab06b_audio_playback and run the playback utility.
- Execute the ./app_DEBUG.Beagle application.
The application should play back the audio that was recorded in lab06a_audio_record and then exit. If you do not wish to hear all of the audio, press Ctrl-C to exit.
Questions about: audio_thread.c
- Which function call is used in the while() loop to read audio data from the line input via the ALSA driver?
- In the while( ) loop there is an fread() function (similar to fwrite() function, lab06a). For the file read (or write) function, a FILE pointer is the last parameter passed. What is the purpose of the FILE pointer, and where does it come from? (In other words, what function is used to generate valid FILE pointers from which read and write operations can be made?)
Part c - Audio Loopthru
In this part, you will combine parts a and b into a single loopthru application.
What do we need to change?
Before we start copying, cutting, and pasting files and code, let's think about what must be done to get the loop-thru lab to work.
- In our Lab06a_audio_record application, we used fwrite() to PUT (i.e. write) the audio data to audio.raw. Which function was used to GET (read) the audio data from the ALSA driver?
GET audio data: | ________________________________________________ |
PUT audio data: | fwrite() inputBuffer -> audio.raw |
- Similarly, in the Lab06b_audio_plaback application we used the snd_pcm_writei() function to PUT the data to the ALSA driver. But, how did we GET (i.e. read) the audio data?
GET audio data: | ________________________________________________ |
PUT audio data: | snd_pcm_writei() outputBuffer -> hSound |
- Now, in Lab06c_audio_loopthru we want to create an audio pass-thru application. Which two functions should be used to read and write data to/from ALSA driver?
GET audio data: | ________________________________________________ |
PUT audio data: | ________________________________________________ |
File Management
- Begin by copying all files from lab06b_audio_playback into lab06c_audio_loopthru with the following:
$ cd .. $ mkdir –p lab06c_audio_loopthru $ cp –R –f lab06b_audio_playback/* lab06c_audio_loopthru
The mkdir "–p" option prevents an error if the directory already exists.
The cp "-R" options says to recurse directories, while the "-f" option forces over write if the file already exists.
Note: Since lab06c is a combination of lab06a and lab06b - and only file that differs between them is audio_thread.c. Sure, you could have copied the files in reverse order, but we highly recommend copy them in the order above so that the following steps are consistent with your files/directories.
Modify audio_thread.c
- Open audio_thread.c in a text editor.
Navigate to lab06c_audio_loopthru/app/, then:
gedit audio_thread.c &
- Begin by removing the #define statement that sets INPUTFILE. While not absolutely necessary, we might as well clean up anything that will not be used later, and removing it here will help us catch any errors if we forget to remove some filerelated commands. (In the place of the #define INPUTFILE, in the next step we'll add the proper command needed for the ALSA driver.)
- In audio_thread_fxn() in the declarations, modify the #define bit settings for the initMask to have three initialization states:
It doesn't matter which bit you allocate to each, as long as they are each independent bits in the mask, i.e. 0x1, 0x2, 0x4, 0x8, etc.
- Remove the input file initialization code
- Remove the following code section in audio_thread_fxn() of audio_thread.c:
/* Open input file */ ...
And this one, too:
/* Record that input file was opened in initialization bitmask */ ...
- Modify the mode field of the sound device attributes to enable bidirectional operation. Before editing the sAttrs.mode variable, let's first check what options are available in
This needs to be fixed.
- Declare a new Buffer_Handle hBufIn and initialize it to NULL.
Since we're doing a pass through application we could get by with a single buffer; reading into it using Sound_read(), then writing it back out with Sound_write().
However, when we add our audio processing to this thread, it will be helpful to have separate input and output buffers. So, in this lab we'll go ahead and create a separate input buffer. Add the new buffer handle next to the one already allocated for hBufOut. Buffer_Handle hBufIn (Note: In place of audio processing – which we'll add in a later lab exercise – in step 28 we'll use the memcpy() function to copy the data from the input buffer to the output buffer.)
Fix the above too.
- Allocate an audio input buffer.
Because we copied lab06b (audio playback) into lab06c, we already have a section of code that creates the audio output buffer. Inspect the code after the following banner:
/* Initialize the output audio buffer */
We still need this code. However, we need to add the INPUT side; i.e. the audio input buffer. The simplest way to do this is to copy this section of code (thru and including setting the initMask bit) from lab06a. When pasting, place it BEFORE the output section and modify it appropriately for the INPUT audio buffer. Copy the entire section from:
/* Create input read buffer */
/* Record that the output buffer was allocated in bitmask */ initMask |= INPUT_BUFFER_ALLOCATED;
INCLUSIVE. Then, paste it right ABOVE the output section. Change the hBufOut handle in the copied section to hBufIn and … … change the INITMASK bitmask to INPUT_BUFFER_ALLOCATED.
- Prime the Pump using Sound_read() rather than fread().
You'll find the call that needs to be changed in the "// Prime the Pump" section just before the while() loop. As earlier in step 23, you canmcheck the Sound.h header file for the Sound_read() prototype. For convenience, we've reprinted here: Int Sound_read (Sound_Handle hSound, Buffer_Handle hBuf) Also, don't forget to change the DBG() statement that follows to reference hBufIn, instead of inputfile.
Note: Following the Prime-thePump Sound_read(), you'll notice two single writes. These writes avoid any potential underflow condition on the output driver and does not add any noticeable distortion. There is nothing you need to modify here – just FYI.
- Within the while() loop, replace fread() call with Sound_read() call.
If you need a hint, you can reference the audio_thread_fxn() in lab06a_audio_recorder. Once again, don't forget to change the DBG() statement to use hBufIn vs. inputfile.
- Create an audio pass-thru using memcpy() to copy data from the input to the output. You will need to use the Buffer_getUserPtr() function to get the memory pointer associated with each buffer. (The handles hBufIn and hBufOut are pointers to structures, not pointers to the underlying memory buffers).
For example, if you wanted to specify the pointer to the input buffer, you would use: Buffer_getUserPtr(hBufIn) You will also need to use the Buffer_getSize() function to determine how many bytes to transfer. In this case, use the size of the output buffer: Buffer_getSize(hBufOut) The memcpy() prototype is as follows: memcpy(void *write_to, void *read_from, int num_bytes); In your code, substitute the functions provided above into the memcpy call to perform the audio pass thru.
- Replace the file cleanup code with the Buffer_delete cleanup on hBufIn.
Locate the Thread Delete Phase after the "cleanup:" tag in the audio_thread_fxn of lab06c. Remove the code section labeled: /* Close input file */ Replace the file cleanup code's fclose() with the proper Buffer_delete() of hBufIn.
- If you opened audio_thread.c in lab06a_audio_record, you can close it now.
Note, you should not need to save audio_thread.c from lab06a_audio_record because you should not have modified this file, only copied sections from it to paste into lab06c. 31. Update the variable declarations at the beginning of audio_thread_fxn. After cutting-and-pasting the code in the last few steps, a few new variables have been added and one was removed. Update the variable declarations at the beginning of audio_thread_fxn. The following can be removed: FILE *inputFile = NULL; Make sure the following variable is declared: Buffer_Handle hBufIn = NULL;
- Save and close audio_thread.c.
Build and Test
- Build and run the application.
$ make $ app_DEBUG.Beagle
You should hear audio playing.
There are many interesting things you can do now that you have the framework for bringing live audio into and out of the Beagle.
- What is the delay, in ms, from the input to the output?
- How does BLOCKSIZE (initially 48000) impact this delay. Try changing it and keep detailed records of your experiments.
- In audio_input_output.c there is a parameter called periods which is initially 4. How does changing this impact the delay?
- What's the minimum delay you can get an not drop samples? Report values for 8k and 48k sampling rates.
- Use htop to esitmate the total % of CPU time being used to pass through the audio.
- Try changing the sampling rate. How does the % CPU change when switching from 48K to 8K sample per second?
- Verify that the left input is going to the left speaker and the right input to the right. Replace the memcpy() with code to switch the left and right channels.
- Write code the independently change the gain on the left and right channels.
- Write code to delay one channel by N samples. Be careful, You'll need to carry some samples over from one buffer to the next.
- Apply a filter to the audio.


text:
MONTICELLO — A husband, wife and son from Callicoon took guilty pleas this week in a series of June 2013 burglaries in western Sullivan County, District Attorney Jim Farrell announced Friday.
Edward Curtis, 55, and son Dylan Curtis, 21, each pleaded guilty to two counts of burglary and admitted to break-ins at two Town of Delaware homes in which items, including jewelry, were stolen.
Under the plea deals, Edward Curtis faces up to 121⁄2 years in prison with five years of post-release supervision by parole, and Dylan Curtis faces up to 10 years in prison plus post-release supervision.
Mitzi Dunkelberger, 52, pleaded guilty to one count of burglary and admitted participating in a break-in at a Town of Delaware home with her husband and son. Under the plea, she will be sentenced to up to five years in prison plus post-release supervision.
The three were arrested on June 20, 2013, by sheriff's deputies and state police, due in part to a homeowner who had noticed something unusual and reported it to deputies.
A search of the suspects' home turned up stolen property, Farrell said. Sentencing is set for June 11, and restitution will be part of the sentence.
--Heather Yakin
Family of burglars plead guilty to Sullivan break-ins
Mar 15, 2014 at 2:00 AM


text:
In Oct. 1884, E. Crampton, working for M. P. Ayers and Co., surveyed the Vermilion Slough (probably the Little Vermilion River in Sidney, South Homer, and Ayers Townships in Champaign County). His notebook includes data on elevations and cuts in the slough, for the purpose of designing changes in it. Also included in the notebook is a rough map and a profile of the slough. The letter, dated June 28, 1887, is from E. N. Rayner, in Homer, to Messrs. A. E. Ayers & Co. Rayner states that he is sending Crampton's profile by mail and compares Crampton's survey figures with those of a Mr. Kyle, another surveyor.
These items were donated to the Library in 1973.
Privacy Policy


text:
Lucian Cook, Director of Residential Research at Savills, takes us through the changing landscape of residential real estate.
1. Five years on from the credit crunch, what does the
residential real estate market look like?
The legacy of the credit crunch has been a weak economic recovery
and constrained mortgage availability. As a result we have seen a
partially functioning market since 2007, with housing transactions
45% lower than 5 years ago. There are, however, big differences
across the market.
The average UK house price is 11% lower than 5 years ago in nominal
terms (24% lower in real terms) but the market is very diverse. The
North East has seen the biggest drop in house prices (over 20%)
whilst London prices are on average above where they were
2. What does the future hold? What will be the main trends
in the next 5 years?
House prices are set to grow again in nominal terms, at an average
of 11.5% in the five years to end of 2017. The extent of that
growth will be limited by interest rate rises. These will
contribute to the fact that in real terms prices are expected to
decrease marginally by 3%, though we expect continued regional
In addition, we expect the big differences in the amount of housing wealth controlled by different generations to continue to change the shape of the housing market.
Already the level of owner occupation amongst baby boomers and
downsizers is 77% while that of first-time buyers, or
"rentysomethings", is only 36%.
With long term constraints on the availability of mortgage debt, private renting amongst younger households is set to rise and rise. This expected growth means £200bn needs to be invested in the private rented sector. But only 25% of this funding is expected to come from "buy-to-let" mortgage finance, which means there are opportunities for funds and institutions, as well as property companies and private equity.
Those investors should be able to capitalise on rental growth which
is expected to reach 18.2% in the 5 years to the end of 2017 at a
UK level with growth in the Greater London area expected to be
To find out more about our residential real estate capabilities, please contact Caroline Vernon.


text:
Kentucky Tech-Harrison County Area Technology Center, or as it has been known these many years in the four counties it serves, the "Vocational School" recently turned 40.
The ATC was built in 1968 while Martin Carr was serving as Superintendent of Harrison County Schools, and William E. Boswell served as the Chairman of the Harrison County Board of Education. Over the years, the school has helped educate and prepare thousands of young people by expanding student career options to post secondary education or successful employment upon graduation.
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text:
The Black Shield
Speak with Captain Garran Vimes in Theramore.
Ah, I almost missed this... The leather strap on the back must have burned off, but it seems like it was made to fit a large person. I'd guess a tauren, actually.
That's about all I can tell you. Tell Captain Vimes I'm sorry I couldn't be of more help.
You will also receive:
- 3,140 experience


text:
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Infection, Acquired Immunity and Externalities in Treatment
This paper considers a model of infectious disease, such as swine flu, in which privately costly treatment confers immunity on recovered individuals. It is shown that under decentralized decision making, infected individuals ignore the externality that their treatment has on susceptible individuals and thus seek treatment only if it is privately optimal to do so. In contrast, a benevolent central planner who does take this externality into account in choosing the level of aggregate treatment, may choose to either eradicate the disease or to retard its eventual dissemination into the population even when individuals would not find it privately optimal to do so. The analysis shows that when immunity from future infection is obtained through recovery, treatment resembles vaccination in its effects on infection dynamics, but important differences remain. Vaccination is shown to more effectively curb infection than does treatment. Last, the inefficiency associated with decentralized decision making can be corrected through subsidized treatment offered on a first-come first-served basis.
If you experience problems downloading a file, check if you have the proper application to view it first. In case of further problems read the IDEAS help page. Note that these files are not on the IDEAS site. Please be patient as the files may be large.
As the access to this document is restricted, you may want to look for a different version under "Related research" (further below) or search for a different version of it.
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Date of creation: | Nov 2010 |
Handle: | RePEc:cpr:ceprdp:8111 |
Contact details of provider: | Postal: Centre for Economic Policy Research, 77 Bastwick Street, London EC1V 3PZ. Phone: 44 - 20 - 7183 8801 Fax: 44 - 20 - 7183 8820 |
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References listed on IDEAS
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Scott Barrett, 2003. "Global Disease Eradication," Journal of the European Economic Association, MIT Press, vol. 1(2-3), pages 591-600, 04/05.
- Barrett, Scott & Hoel, Michael, 2009.
"Optimal Disease Eradication,"
HERO On line Working Paper Series
2003:23, Oslo University, Health Economics Research Programme.
- Barrett, Scott & Hoel, Michael, 2007. "Optimal disease eradication," Environment and Development Economics, Cambridge University Press, vol. 12(05), pages 627-652, October.
- Michael Hoel & Scott Barrett, 2004. "Optimal Disease Eradication," Working Papers 2004.50, Fondazione Eni Enrico Mattei.
- Boulier Bryan L. & Datta Tejwant S. & Goldfarb Robert S, 2007. "Vaccination Externalities," The B.E. Journal of Economic Analysis & Policy, De Gruyter, vol. 7(1), pages 1-27, May.
- Goldman Steven Marc & Lightwood James, 2002.
"Cost Optimization in the SIS Model of Infectious Disease with Treatment,"
The B.E. Journal of Economic Analysis & Policy,
De Gruyter, vol. 2(1), pages 1-24, April.
- Goldman, Steven M. & Lightwood, James, 1996. "Cost Optimization in the SIS Model of Infectious Disease with Treatment," Department of Economics, Working Paper Series qt0r88q87t, Department of Economics, Institute for Business and Economic Research, UC Berkeley.
- Steven M. Goldman and James Lightwood., 1996. "Cost Optimization in the SIS Model of Infectious Disease with Treatment," Economics Working Papers 96-245, University of California at Berkeley.
- Toxvaerd, Flavio, 2010. "Recurrent Infection and Externalities in Prevention," CEPR Discussion Papers 8112, C.E.P.R. Discussion Papers.
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