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LFO Tutorial 5: LFO Child Slight Return
A while back, I wrote a series of four tutorials based around the idea of how you could generate and organize variety in Max patches. I wrote them first and foremost because that idea of generating and organizing variety by some means other than random numbers or noise sources has been an interest of mine for a long time. I thought it might be useful to show some examples of how one could make use of these basic techniques not just for generating raw material, but also for ways to transfer explicit control of a Max patch in live performance from the operator to some automated process (think of it as outsourcing) in ways that were less jarring than I often hear in live performance.
All LFO tutorials in this series:
- LFO Tutorial 1: The Zen of the Silent Patch
- LFO Tutorial 2: Making Some Noise
- LFO Tutorial 3: Extending Our Generators
- LFO Tutorial 4: Building Complexity
- LFO Tutorial 5: LFO Child Slight Return
- LFO Tutorial 6: Live If You Want It
- LFO Tutorial 7: Rattle and Hmmm
- LFO Tutorial 8: Valediction
I guess people liked the tutorials, which is always flattering. The email that followed was a mix of praise (which I always enjoy), responses that ran the gamut from requests about what to write about next to full-on patch grovels, and even some complaints that I was "doing obvious stuff" (I sure hope that these ideas appear to be obvious, in retrospect – that's how I know an idea is a good one). In the final tutorial, I'd made the specific decision not to provide any kind of prejudicial example of specific implementation, figuring that no one would be in a better position to imagine what might be done next than readers themselves.
For this tutorial, I've tried to address a variety of suggestions and feedback and to extend the ideas covered in parts one, two, three, and four of my humble set of LFO tutorials. This tutorial contains three parts:
- I've taken the basic LFO module I've used in the tutorials and extended it in some new and useful directions.
- Based on my experiences working on development for Max for Live, I've added some interesting variants on how to transfer control from a user-defined parameter to an LFO-driven process based on the Live application's "Modulation Modes."
- I've combined these changes and demonstrated one possible, if humble, future – creating a set of summed LFOs that drive the playback of the content of a buffer~.
Workin' the waveform
Throughout the previous tutorials, I've been working with a simple single LFO module that included the ability to slave the LFO output to the Max transport, provided a number of different output waveforms, and also allowed for scaling the output waveform within the -1.0 - 1.0 waveform output range. That waveform is then sampled using the snapshot~ object and the output was used to control other parameters. Here's what it looked like:
This tutorial uses a new variant of that basic single oscillator LFO with some added features.
Here's our new basic LFO:
For the sake of functionality and readability, I've created subpatches that contain those new changes. Let's look at those new features:
In our original LFO patch, the speed of the phasor~ object that generated waveforms was set using ITM-based note value settings to determine the rate. While that works just fine, I thought that I'd rather have a choice about whether or not to derive the speed of the phasor~ using Max 5 note values or to specify the phasor~ rate as a floating-point number that describes a frequency. The obvious reason for that is simple – I might someday want to use another LFO (or summed network of LFOs) to modulate the phasor~ rate. I realized that I could also consider the values stored in the umenu as representing a kind of synchronized sequence of frequencies that I could step through using some process (a counter? The contents of a coll object?). So it seemed like a good idea to build some flexibility into the LFO module here. I also realized in the course of patching that it'd be useful to know how the current tempo values represented by the ITM note values mapped to frequency in order to switch between time-synced to free phasor~ rates. So my new subpatch also includes some logic that will automatically set the frequency of the "free" oscillator to match the current value of the note value and the tempo I'm working with.
Let's look at the inside of the subpatch:
The bulk of the patch is exactly what you'd expect: some logic to select whether you want note values or numerical frequencies using the selector~ object as a switch (and that second argument to the object sets the default behavior). But I've added another useful feature in the center of the patch – the translate object that automatically converts the current note value into an equivalent frequency value in Hertz. There's some trigger-based logic added to the inlets to make sure that the calculation will be triggered whenever a new note value is chosen, and also to make sure that the frequency value is sent to the second phasor~ object before switching to it (think of the zl reg object as the symbol equivalent of a Max int or float object that stores a value and will output the most recently stored value when a bang is received in the left inlet), but the translate object is right in the heart of things. If you spend much time working with the new musical time features of Max 5, this object will become one of your best friends. It takes two arguments – one to specify the kind of value you want to translate and a second argument to specify what kind of values you want to end up with. In this case, we're translating note values (notevalues) to frequency (hz).
Choosing between manual frequency values or note values is certainly useful, but there's another reason for wanting to derive the frequency value that corresponds to a given note value. Although I've not done it in this patch, you could use that value to derive a subdivision of frequency for generating tuplets well outside of the triplets and dotted notes and intervals described by standard Max 5 note values. If you're interested in doing it, I've already done most of the heavy lifting and will leave the rest as an entertaining and potentially useful "exercise for the reader."
Here's your question: what would be the easiest way to specify phasor~ outputs that would give me tuplets that weren't duples or triples? It's not rocket science, but I've got other fish to fry, at any um… rate.
Although the wave_select subpatcher might look similar to the one we used in our last LFO tutorial, I've added a few things - things I use in my own practice, and some bits and pieces that began their lives as reader requests. Here's the inside of the new and improved subpatcher.
The first change is something simple that I can't believe I didn't add in the first place: the ability to set the phase of the output waveform. This isn't at all difficult – we're using a rate~ object already to provide a time multiplier to work LFO frequencies that are longer than a dotted whole note, it's a simple matter to send a floating point value in the range 0.0 – 1.0 to the left inlet of the rate~ object. This lets us sum multiple versions of the same waveform that differ only in their phases, and create interesting effects by being able to place the start point of an oscillator's output. It's something I use all the time.
The second addition was a reader request for a negative-going ramp. To be honest, I didn't add it because I tend to simply invert a positive going ramp waveform when I need one (Extra credit: is there a situation you can think of where this might be an important feature to have?). So I thought I'd add the new waveform as a way to point out a lovely feature of the triangle~ oscillator – its ability to use a signal input to change phase offset of the peak value. In effect, this lets us derive a standard ramp signal (the kind of output we see from the phasor~ object), a triangular waveform, and a reverse ramp signal merely by modifying the phase offset.
It may have occurred to you at this point that you could modify this patch so that there's only one triangle~ oscillator object that takes an input value between zero and one to produce a variety of waveforms along the "positive-ramp to triangle to negative ramp" continuum. A fair number of savvy Max programmers use this feature to create oscillators with morphing waveforms, in fact. I'll leave this as yet another interesting project for your edification. For this subpatch I've instantiated the triangle~ object three times, each with an argument that gives me a phasor~-style positive-going ramp (0.), a negative-going ramp (1.0) and a triangle wave output (.5).
Using square wave output in an LFO provides some interesting effects (it allows you to create ostinati, and the sudden jumps in mixed waveforms can be really useful), I thought it'd be useful to have a square wave output with a variable duty cycle that would allow me to relative amount of time at which the square wave output was high or low.
Finally, After I had the variable duty-cycle square-wave working properly, I realized that there was something else I would like to have. As nice as the square wave output is, the "jump" when it's summed with existing waveforms is always a fixed amount. I was thinking that it would be nice to be able to use a sample and hold technique to provide random jumps at ITM rates rather than the set vertical offset, so I added a noise~ source and the Max sah~ object to sample the noise output to provide that non-deterministic vertical offset.
There's more to modal modulation than Miles Davis
In the fourth tutorial, I spent a lot of time talking about what the relationship between a modulating LFO and a parameter would be, and tried to suggest some interesting ways in which you could using value scaling and value ranges to gradually turn control of a give parameter over to the LFO in a way that seemed smooth.
As you might imagine, a number of us here at Cycling '74 have been pretty intimately involved with working with the new version of Ableton Live as we prepare for the release of Max for Live. One side effect of this frenzied activity for me personally has been encountering the ways in which the Live application thinks about modulating a parameter. Although they certainly have one method for modulating parameters that matches my personal approach, Live 8 recognizes a number of what they refer to as "Modulation Modes." In brief, here's what they are and how they work:
- Unipolar: the parameter is modulated between the minimum range value and its current value
- Bipolar: the full modulation range of a parameter is equal to twice the distance between the current value and nearest boundary of the parameter's range (upper or lower). If the parameter is exactly halfway between the lower and upper range boundaries, the modulation range is equal to the total parameter range.
- Additive: The modulation range from the current value is equal to plus or minus ½ of the total range of the parameter with values being truncated if they fall outside of the parameter range.
- Absolute: The absolute mode requires that you specify a modulation range value, and uses the current value as either the upper or lower bound of the modulation range. If the current value is less than half of the full parameter range, the modulation assumes a lower range of the current value minus the modulation range. If the current value is greater than half of the full parameter range, the modulation assumes the upper range is current value and the lower range is equal to the current value minus the modulation range value.
Working with these modes in Live suggested that I generally use what Live calls "bipolar" modulation (it's what the previous tutorial did when controlling the amount of modulation added to an LFO, in fact), but that there are some interesting features to doing that in other ways. So I sat down and decided to try to create a Max patch that would implement these modes of modulation. In part, I thought it would be useful to actually see all four modes operating next to each other at the same time to get a better sense of how they worked with various parameter changes. After some quality Max time, I emerged from my studio weary and singed, but holding aloft the modulation modes patch you see here.
It uses the same value and range controls you saw in the previous LFO tutorials, but applies those inputs to four subpatches that implement each of the four modulation modes (feel free to open the subpatches up and poke around in them, of course), and then displays the new output ranges using 0-127 range slider (rslider) objects and applies the output range to a simple sampled sine wave for demonstration purposes.
This demonstration patch requires audio input to help you visualize the changes associated with each mode, and I initially kept the 0-127 range I used in the last tutorials. But when it came to adding the modulation modes to my patch, I realized that I could modify the patch just a little bit and make things easier to use. First, I really didn't need to watch the output modes, so there wasn't really any reason to be working with audio inputs, so I could remove that logic from the subpatch. After a little thought, I realized that I already had the patch functionality necessarily to scale the waveform output – the numerical outputs for the wavescale subpatch from a couple of tutorials back. All I needed to do was to modify the output of my modulation mode patch to output numbers in the range -1.0 – 1.0 instead of 0-127, and then connect the outlet of the subpatch that calculated modulation modes and I was all set. A nice bonus here was that my output was still in the signal domain – none of the waveform sampling we worked with in the last tutorial. So I sat down and removed some outlets, added a couple of scale objects to transform data ranges from 0-127 to -1.0 – 1.0, and I was ready to go.
Again - here's the handy new LFO module with all the new added features and the modulation modes built right in, ready for use as a waveform or ready to be sampled for some other means:
The careful reader will notice that I'd added some subpatches here that allow me to reset range slider (rslider) objects with the click of a button. I'm very partial to this technique – particularly for the ability to return to initial state in live situations. In I generally like to add the UI elements to the Presentation Mode and then make the buttons really tiny and position them at the position associated with a variable or locate them near to the UI I want to reset.
Putting the new LFO to work
You'll notice that I used the phrase "generating and organizing variety" at the very beginning of this tutorial to describe my interest as a Max programmer and performer. The phrase has two parts, and I've arguably only dealt with half the question. I purposely left that the business organizing variety (i.e. making noise) as an exercise for my readers last time out. This time, I thought I'd finish off this tutorial by taking the LFO module we've just made and put it to work doing something interesting, or at least audible.
The humble Max wave~ object lets you use the contents of a Max buffer~ object with which it is associated with by name as a wavetable. All you need to do is to use a phasor~ object to drive the rate at which the wavetable is read.
At low speeds, you can get something like regular buffer playback, and higher speeds will yield waveforms (that usually don't have anything to do with the pitch or the original audio sample, of course. In these cases, the contents of the buffer translate to timbre rather than the sample at normal playback rates).
But we're talking about Max patches here - the wave~ object accepts a signal input that is uses to read through the wavetable. There's no particular reason that the signal input needs to be a single phasor~ object, or even that the input needs to proceed in a stately manner from 0. to 1.0 as the phasor~ object does. Consider the little LFO object I've just put together as an input source for a wave~ object.
There might be a couple of things to consider when using the LFO to drive the wave~ object for playback:
The LFO outputs signal values in the range -1.0 – 1.0, whereas the phasor~ object produces output in a narrower range of 0. – 1.0. What happens when the wave~ object gets a negative value between -1.0 and 0, as it would for one-half of the period of a sine wave? (Feel free to try it and see what happens).
If the phasor~ object's output doesn't start at 0. and end at 1.0, will we get complete playback of the sample? What if the sample goes from 1.0 to 0. or changes direction?
Square wave output won't be particularly useful, since that kind of output won't do much interesting in terms of audio playback – the horizontal portion of the square wave output will just output a steady value associated with a particular portion of the waveform. However, what do you think might happen if we were to mix square wave output with another kind of waveform (a ramp or triangle, for example)?
These questions suggest some interesting things we can take advantage of. We can modify or constrain the range the phasor~ object whose input the wave~ object uses for playback to produce interesting playback patterns – patterns that are locked to the current tempo of the Max transport, in fact. And we can combine the output of several synced LFOs to produce all kinds of interesting nonlinear playback.
The waveplayah patch is an attempt to do just that. Simply put, it takes a trio of the LFO modules we created earlier in the tutorial, sums their output, adds some playback logic that we can use to add a little interest to the proceedings, and lets us produce various kinds of nonlinear playback.
The amount of logic we need to add to create the waveplayah patch beyond simply duplicating the LFO module three times over is pretty simple. One thing we do need to keep in mind is that since we're summing waveforms, the summed output range of the waveform will now potentially be in the range -3.0 – 3.0. We can fix that easily by multiplying the output waveform by .33 using the *~ object.
And since our summed output range doesn't match the expected 0. – 1.0 range of a phasor~, we have some interesting opportunities to modify the way that our summed and synchronized waveform drives the wave~ object. The waveplayah patch has a subpatch called playback_mode that lets us map our LFO output in one of several ways. Here's an example of how the playback_mode subpatch works.
The first example uses signal multiplication and signal scaling to move the entire waveform so that it falls into the 0. – 1.0 range. The Max clip~ object is used for the same thing we did when we needed to create square wave output – arguments to the clip~ object set the low and high ranges for the output; anything that falls above or below that output range is simply clipped at the lower or upper range (We'll leave it to you to imagine or discover what that sounds like). Finally, we're using the Max pong~ object in the subpatch to provide us with two new playback options – folding and wrapping. The pong~ object can do both things – its first argument sets the mode of signal treatment (0 for wrapping, 1 for folding) and the second and third arguments set the lower and upper ranges below or above which the signal folding or wrapping will happen. The playback_mode subpatch provides all those options by using a gate~ object together with a menu object whose index number (with 1 added to that number so that we don't have a 0 value – that would turn the gate off) sets which mode to use in playback.
Technical note: If you take a look at the inside of the playback_mode subpatch, you'll notice, too that the first choice (scale) also includes a gate to turn the output of the *~ and +~ objects off. We're doing that because the output of these two objects is always "on" and will be added to the other output waveforms if we don't.
I'm kind of stunned by the range of kinds of output this little patch will produce, and hope you enjoy playing with it. There are some obvious improvements you might want to make, such as adding objects to the Presentation Layer to create your own UI for the playback unit, or pattrizing your patch to allow for quick preset loading. Or you just might want to spend a few days getting acquainted.
Next time out, I'll show you how to turn the waveplayah patch into a Max for Live audio effect device (and, more generally, how to port a Max patch for use in Max for Live).
by Gregory Taylor on
Feb 5, 2010 7:21 PM


text:
More than one million people have been uprooted by the conflict in Ukraine, including 260,000 within the country where further mass displacement is feared due to ongoing fighting, the United Nations said on Tuesday.
Some Ukrainian nationals have fled by motorcycle to Russia, while others have escaped the crisis by spending the summer months at European spas or visiting grandparents, it said.
The total includes 814,000 Ukrainians now in Russia with various forms of status, as well as compatriots who have fled to Belarus, Moldova, the three Baltic states and European Union, a senior official of the UN High Commissioner for Refugees said.
"It's safe to say you have over a million people now displaced as a result of the conflict, internally and externally together," Vincent Cochetel, director of the UNHCR's bureau for Europe, told reporters in Geneva.
"I mean 260,000 in Ukraine, it's a low estimate, 814,000 in Russia, then you add the rest ... Belarus, Moldova, the European Union."
Of 814,000 Ukrainian nationals who have entered Russia this year, 260,000 have applied for some sort of protective status, he said. The remaining 554,000 have arrived on the basis of a visa-free regime allowing them to stay up to 270 days, he added.
"We see them arriving sometimes by foot, by bus, by motorcycle," said Cochetel, recently returned from the region.
Within Ukraine, most people displaced by earlier fighting have returned to areas retaken by Kiev's army, Cochetel said.
"In terms of people leaving, recent arrivals over the last two days, we see less people coming from Luhansk and Donetsk city themselves. Is it attributable to more controls at checkpoints or people not able physically to cross through the lines, we don't know."
"The people that are arriving now are mainly arriving from Novoazovsk and Bezimenne where fighting was reported this morning, so it's close to the sea of Azov, it's on the road to Mariupol, so south of the Donetsk area," he added.
Russian troops are strengthening their positions in eastern Ukraine and using aid shipments to smuggle in arms and other supplies to separatist forces, Kiev's military said on Tuesday.
"Risk of Further Exodus"
"In terms of the ongoing fighting, in Donetsk, Luhansk and in the south of Donetsk region, we very concerned about risk of further exodus," Cochetel said.
UN High Commissioner for Refugees Antonio Guterres is "very concerned about the risk of further displacement of major proportion in that part of the country", he said.
Guterres said in a statement: "If this crisis is not quickly stopped, it will have not only devastating humanitarian consequences, but it also has the potential to destabilize the whole region."
In all, 4,106 Ukrainians have applied for asylum in EU countries led by Poland, Germany and Sweden, UNHCR figures show. Some 380 Ukrainians have sought asylum in Belarus, but many more have gone to the former Soviet republic, it said.
"We have reached 20,000 for residence permits in Belarus, the authorities don't want to call them refugees, they have asked us not to call them refugees because we don't know what will happen to those people in the future."
"But that's the visible tip of the iceberg. We believe there are more people in Moldova," he said.
Ukrainian nationals have also gone to eastern Europe for summer months and their plans are unclear.
"You have Ukrainians also of Hungarian ethnicity, of Romanian ethnicity, of Slovak ethnicity. You have many of these people who have moved during the summer, we thought that is the seasonal movement, they go to spas, they visit relatives, kids going to their grandparents for the summer and then they will return. Are they returning?" Cochetel said.

subset: commoncrawl


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text:
Staples will close up to 225 stores in North America by the end of next year as it seeks to trim about $500 million in costs annually by 2015.
The nation's largest office-supply retailer said Thursday that nearly half of its sales are now generated online, so it will aggressively cut costs to become more efficient.
Company shares dropped more than 10 percent before markets opened.
The recession did heavy damage to the industry, which is now under increasing pressure from online retailers as well as discount stores.
There is rapid consolidation under way and rivals Office Depot and OfficeMax just completed a $1.2 billion merger.
But the overhead costs of running 'big box" stores has put companies like Staples under stress.
The closings amount to 10 percent of all Staples locations. The company has 2,200 stores worldwide, 1,500 of them in the United States.
It is unclear how many jobs will be lost or what locations will be shuttered.
The company did not immediately return a call from The Associated Press early Thursday.
Staples also posted fourth-quarter earnings and sales fell sharply.
The company's earnings nearly tripled, but that is compared to a period when it booked $176.6 million in restructuring charges as it closed stores.
Staples earned $212.4 million, or 33 cents per share, in the quarter that ended Feb. 1. That compares with earnings of $78.1 million, or 12 cents per share, the previous year.
Revenue slumped nearly 11 percent to $5.87 billion.
Both revenue and profit fell short of Wall Street expectations, as did the company's outlook for this quarter.
Staples expects sales to fall again and it projected earnings of between 17 and 22 cents per share. Analysts that follow the company had been looking for something closer to 27 cents per share.
Staples shares fell $1.35 to $12.05 in premarket trading. That price would set a new 52-week low during regular trading.


text:
Banks gets his tryout with Seahawks
The tryout candidate wearing No. 43 in white got yelled at when he screwed up, praised when he did something correct and treated just like the rest of the 80 or so Seattle Seahawks players on the field Wednesday.
Being exactly like the peers around him never felt so rewarding to Brian Banks.
''It was more overwhelming than I thought,'' Banks said. ''I had high hopes and dreams of being out here today and just to finally be out here, to have this helmet on, to have this name on the back of this jersey, to be a part of this team for a day, it's more than I could ever imagine. ''
Banks wasn't sure what to expect Wednesday morning when he boarded a shuttle bus from his hotel to the Seahawks practice facility for his first day taking part in minicamp.
When he walked into the palatial locker room, Banks found a locker specifically for him, with a No. 43 practice jersey hanging on a hook and a new Seahawks helmet waiting to be pulled on.
It wasn't the No. 10 that Banks wore when he was a prep star at Long Beach Poly. But No. 43 was just fine on this day.
''I wanted to take a picture for myself. It was just amazing to see my name on the back of it,'' Banks said. ''It's an honor. It's an honor to be taken seriously and get this opportunity.''
Late last month, Banks was still in the hopeful stage that his conviction for rape and kidnapping a decade ago would be overturned by a California court. In a strange turn of events, the woman later recanted her claim and offered to help Banks clear his name after he was out of prison, a process that led to his conviction being overturned and his record cleared.
His conviction was thrown out in late May, exonerating Banks after he served more than five years in prison and was on probation.
That was the start of a whirlwind last three weeks for Banks. He's become a celebrity and spokesman for the California Innocence Project, while also trying to return to the sport he loved as a kid and potentially ignite an NFL career.
Seattle has been the most forthright for giving Banks a chance, and not surprisingly since Banks had given a verbal commitment in the spring of 2002 to play college football at USC under current Seattle coach Pete Carroll. It started with a private workout last Thursday and an invitation to this week's minicamp. Banks had a workout for the San Diego Chargers last Friday and another for Kansas City on Tuesday before flying to Seattle for the final two days with the Seahawks.
''The flights have been probably what I've enjoyed a lot, but something to get used to, the change of time and time zones,'' said Banks, who had not been on a plane for more than 15 years until last week's flight to Seattle. ''But for the most part every time I get to the field I'm always refreshed and ready to go.''
It's one thing to put on workout clothes for a session of drills. It's another to pull on a jersey and latch up a helmet for the first time since a brief stint playing at Long Beach City College in 2007 following his prison release. Banks started to get himself ready for this chance last October when he weighed nearly 275 pounds but determined he wanted to give playing football one last chance if he could get exonerated and no longer restricted by his probation.
Banks, who weighed 239 pounds for the Seahawks last week, needed to be ready on Wednesday because Seattle didn't hold back. Every drill, every session of the two hour practice Banks was involved. And when he messed up, linebackers coach Ken Norton Jr. was right there to loudly make sure he understood what went wrong.
But when Banks was correct in what he did, like filling the correct gap from his middle linebacker position during a team drill, Norton was right there patting Banks on the helmet with encouraging words as well.
''Can he run, can he move, does he look the part? All of that is a plus,'' Norton said. ''Does he make a good first impression? He made a great first impression. Really bright, really smart, well spoken. He has a great memory. He remembers everything you tell him and that's a great plus at this point.''
Banks will take part in the final day of minicamp on Thursday and what happens from there is unknown. Seattle is the only team to bring Banks back in for a second look and there may be other teams that give him a workout along the way.
But after all Banks has gone through, just getting the opportunity is a treasure in itself.
''What I take from it all, the advice that I appreciate the most is just enjoy the moment. Enjoy the moment,'' Banks said. ''If it's for one day, if it's for a whole season, if it's for however long, just enjoy the moment. I've already won. I have my freedom. That's what's most important to me. Making this team is just additional blessings to this freedom.''


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Linesman Flags
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Staff Review
Staff reviews powered by Our TeamLinesman Flags are a must have for any volleyball game now. These make line calls so much easier because the call is instantly seen and understood. Plus, these are affordable too! The handles are wooden so they do not slip in your hand and they stand up to any movement because they are not flimsy. Also, the flag itself is a nice bright red color so it can easily be seen in any gym, no matter the lighting or surrounding colors.
With most games today needing linesman flags, these are a crucial purchase for any volleyball program to have. Plus, I think they make line judging a bit more fun because now I have a fun flag to show instead of just my hands and their motions. These flags just make everyone's job easier.
For those needing other refereeing equipment, we also have Penalty Cards. These have your basic red and yellow penalty cards which also come in a convenient carrying case to keep them separate and organized. Also, for those needing a whistle, the Whistle, Fox 40 Classic Cushion Mouth Grip is a great high quality option! This is comfortable on your teeth and is a pea-less whistle which I love.


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"We're the top of the food chain now! (unless you use said chain to decapitate us)"
Most people that know me and are good... or well, at least decent, friends of mine, know that I LOVE all things zombie. I'm a huge fan of all things zombie. I love the films, I love whatever games out there [unless they're FPS. Not even zombies can make me love FPS games(well, unless there was an actual story behind it and more to it than endlessly and mindlessly mashing your keys in order to shoot everywhere)], I'm slowly getting into reading zombie-related fiction... and well, I could go on forever with the things I do.
I'm also a huge fan of the whole "apocalypse" idea. I admit, I wouldn't make the best survivor and my surviving skills are close to none, but I'd LOVE an apocalypse. Yup, you guys guessed exactly where this is headed... the zombie apocalypse.
Looking around me, I couldn't help but notice all the bad stuff that's constantly happening everywhere. There's crooked politicians, crooked, filthy rich people, murders, violence, theft, there's little hope for the younger generations, there's fewer and fewer jobs, there's rape, there's feminism, there's plain human stupidity that seems to be affecting the younger generations, there's pollution and wars and mass destruction everywhere and slowly, but surely, Nature is losing ground, more and more species go extinct, more and more plants disappear... and well, the list could go on and on and on. People lack that connection to Nature and they lack time and they live to earn money and they turned into slaves. We're slowly headed towards social slavery. People are ever so concerned about materialistic gain and about having more and more, they are concerned about how everyone else sees them and about what society might think about stuff. They judge and they discriminate others and they hide their hatred for whoever is better than them at anything behind smiles. People are evil and mean and racist and selfish. We lie on a daily basis and we have tons of different masks for the different people we meet. I've been wondering why we should be forced to live in such a world and about ways of fixing it.
There's people out there that try their best to make this world of ours a better place, but there's few of them and their voices often go unheard.
So, after years of thinking things through, I concluded that what we needed was a massive wipe, in the form of an apocalypse. And since I'm really fond of zombies, I'd LOVE a zombie apocalypse.
Now, I know most everyone will say that this won't ever happen, that it's impossible and so on and so on and so on.... but I believe it CAN happen and maybe at some point it WILL happen. Because we all know that every single government on this Planet of ours is secretly experimenting with stuff most of us barely even imagine. I mean, research and our curiosity caused this industrial expansion and we constantly get better everything: better computers, better phones, better weapons. So, since they're doing all sorts of weird research, what makes you think they won't be trying to mess about with bacteria and viruses and parasites? We all know viruses got an extremely fast mutation rate and that they can adapt to all sorts of conditions. That's been proven. Well, imagine if someone took a bunch of those viruses and combined them with some parasitic microscopic being and tried to program it, with the goal being making zombie-like soldiers that wouldn't be limited by their brains like all of us are and could go to great lengths in order to complete a mission. Now, I know that's the usual movie cliché 90% of the time, but I've been thinking about it for a while now and well, since we've managed to evolve and go so far as to be able to clone animals and maybe even humans by now, if we managed to go so far as to have genetically modified food, and so far as to play with DNA and cells and whatnot, then what makes you think they wouldn't be messing about with deadly pathogens?
But well, that's just the way I see it. And I don't even care if, while reading this, some of you will laugh your asses off or call me crazy or whatever. And it seems I've strayed from what I wanted with this blog...
Let's say that a zombie apocalypse suddenly happened. And well, as most everyone else (except for those prepper people >.>) you aren't ready for it. You might be able to pull off a week, maybe two with whatever food and supplies you have stocked up in your house. You have access to no actual weapons (well, unless you live in the US then you're quite lucky >.>) and will have to improvise and get on the move as soon as you run out of supplies. How would you handle such an apocalypse? Would you turn your house into a fortress of sorts and try living on for as long as you can? Would you leave and try to join a group and survive with them? If it came down to it, would you be able to kill your own family members, relatives and friends to keep them from turning? Do you think you'd be able to survive? For how long?
These are a few of the questions I've been asking myself for quite a while now since I'm a hopeless dreamer of such an apocalypse. Here's what I came up with:
If such thing happened, I'd probably try to secure my apartment at first, for a couple of weeks, maybe up to a month. I know that my family and I could survive that long with whatever food and supplies we have around. Of course, once all that is about to run out and the initial outbreak and mass panic starts to settle, I'd probably try to convince my folks that we should get on the move and leave the city. Then we'd most likely grab whatever easy to handle blunt object that we can find around, fill up our backpacks with whatever essential items, get dressed in something comfortable and wear proper shoes for long walks and whatnot then quietly try to sneak away. We'd most likely scavenge about for whatever supplies and better "weapons" around the neighbourhood and then get in the car and leave. I think that we'd most likely end up grouping up with some reliable-looking people and try to live on. Now, the answer to the hardest question... it took me a long time to decide on that one, but I concluded that I WOULD be able to do the right thing and kill those close to me to prevent them from turning. I am not the survivor type, as I said before, but I think that under pressure, I could eventually pull through. My only thought would most likely be surviving so I could see the birth of a new world. So I'd give myself quite a few months and well, maybe I'd even learn a lot from it.
I know this all sounds crazy, but I stand my ground when I say that, if humankind carries on this way, we WILL need a mass-extinction in the form of an apocalypse. And well, since all things usually DO come to an end, this world of ours will too. It might happen in a million years, it might happen tomorrow... I don't know, but I'm certain that it WILL happen at some point. And if the apocalypse (whenever it may happen) ends up being a zombie one.... well, I'd be glad to some extent.
Well, now it's your turn to share your thoughts on this random almost midnight thought xD
Posted in Glaceon's Sparkly Ice ShardsViews 11340 Comments 4
Total Comments 4
The most alarming thing about this is that I constantly have these thoughts... I however, do not want such a thing to happen. Because you may thing that this world has a few shi**y people but it also has a lot of good. Think of all the babies, children, innocent animals that would be wiped out, I get upset just thinking about it jfc. I'm a wreck when I play RE. :(
I'm gonna spoiler this part bc it's quite long;
Anyway if it did happen I'd probably immediately call my Sister and tell her to lock her doors, keep her curtains closed etc and hide upstairs with her two children. As for myself - since it's only me + and my mother I'd explain everything I know and then we'd secure our house and hide out until there's no possible way of us surviving there. As for my dog, strangely this is something that I think about a lot (what would happen to him in this event bc i love him so much ;;) and I think I'd have to put him down... He's not a smart dog and he barks at anything that moves and would be a burden.
After I'd probably tell my mum to try and contact my sister and see what her situation is, we'd then drive to her house and collect her + the children and drive until we can't go any further I guess...
Posted July 20th, 2013 at 1:34 PM by Perriechu
Posted July 20th, 2013 at 2:04 PM by Ahri
You should put some research into things that currently exist that create "zombie-like" outbreaks. It might not come from the primordial ooze or fall from space or break out of a research lab, but there are naturally occurring events that can and do produce zombie like effects in people. Things like neurotoxins and parasites and even reanimation (to a much lesser extent) all exist. It's a pretty interesting read!
Posted July 20th, 2013 at 3:17 PM by Fairy
Posted July 21st, 2013 at 1:05 AM by tabor62


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Blitz Toyota Supra - Blitz/Scorch Racing Drag Supra
1,497 HP Of Pure Unadulterated Bliss
Related Video
Feature Blitz/Scorch Racing Drag Supra
Toyota Supra
1,101 LB-FT Of Torque
It's been all quiet on the eastern front, at least when it comes to the drag scene in Japan. What was once the most popular pastime for Japanese aftermarket-tuning aficionados has quietly been shoved into the corner, making way for newer motorsports like drifting and time attack. But drag racing seems to be on its way back, gaining more and more interest from privateers, who modify their rides to tackle the odd quarter-mile street race, and most importantly from well-known companies. Blitz got the attention of power-crazy drag racers at the Tokyo Auto Salon earlier this year with this Supra. A collaboration between Blitz and drag specialty shop Scorch Racing, this JZA80 is set to be one of the fastest cars in Japan when it is eventually raced later this year.
Arriving at Blitz headquarters in Tokyo, we found ourselves in the midst of some pretty special company. With the end of the Tokyo Auto Salon a few days prior, the workshop was swarming with Blitz demo cars. From the soon-to-be transformed D1-GP R35 GT-R to the Lexus LS were all contained in storage. Buried deep somewhere in the darker corners of the garage was this Supra. With true Japanese efficiency, the cars were repositioned in a few minutes to give us enough space to position the Supra for our shoot. Shibuya-san of Scorch Racing decided earlier on last year that it was time to go all the way by creating a purposely built drag car to see what he could achieve. He contacted the guys at Blitz and struck up a sponsorship deal, which would see the Supra raced under both Blitz and Scorch names.
So the work began, and the chassis was addressed first. The donor Supra was stripped down to its bare shell, which was then cleaned up from paint, corrosion, and heavy sound-deadening material. A good deal of effort went into stiffening up the chassis with plating, spot welding, and boxing off strategic areas-a much-needed process to get the best performance out of the car. A custom rollcage was then constructed and welded in place, again aiding in both rigidity as well as safety for the driver. The transmission tunnel was then modified to accept the five-speed Jerico air-shift gearbox, an item that instantly tells you this car is meant for some fast times. It was then a case of fabricating the dash and center console panels to house the few, but necessary, bits of instrumentation.
With this complete, the interior was sprayed in black to keep things looking nice and clean, ready for the accessories to be bolted in place. The seating position was measured up and the Blitz GT1 carbon-Kevlar seat fitted on custom mounts. Next, the Key's Racing steering wheel was fitted to an extended steering rack and bolted onto a super GT-style flick-up boss. The red buttons on the steering wheel, in case you're wondering, are the shift triggers for the transmission. A big Auto Meter tachometer and shift light are mounted on the door side of the rollcage, while the Blitz instruments are neatly arranged in the skeletal center console. Here the boost and oil temperature are displayed, while the SBC i-Color Spec-R boost controller keeps boost pinned at the preset level. Below, a Power Meter i-Color allows various engine parameters to be displayed-not that the driver has any time to play with this on the strip! These will be used mainly during engine setups and shakedown tests. The release for the Simpson parachute is positioned right above the driver's head, while the battery has been relocated to the passenger side of the interior to help weight distribution. The last bits of interest are the nitrous canister and the racing fuel tank, both situated in the trunk area.
With the chassis and interior done, it was onto the exterior, where Blitz helped quite a bit. Thanks to the full Aero Speed body kit, the Supra was transformed into the mean machine you see here. The factory bumper was replaced with the Blitz unit featuring a very aggressive design. Hard to miss is the huge air dam and side intakes as well as the angular corner splitters, which arch up to create very chiseled contours. The headlights joined the bumper in the bin. In their place some covers were made up, providing a simple and lightweight solution. Even the front fenders were replaced with light FRP items, helping give a more defined stance to the front end thanks to their slightly wider dimensions. The hood is extremely thin and light, allowing for maximum weight reduction. It's bolted in place with pop-up aluminium clips normally seen on F1 cars. The Blitz conversion continues with the side skirts, which create a large intake as they meet the rear fenders. Joining these are lightweight FRP doors and acrylic windows, all helping shave off precious weight.
At the rear is where things go a little crazy, and you'd expect them to, being a full-on drag machine. The Blitz rear bumper features a very evident diffuser line on the lower section of the bumper, helping with airflow as the car gets closer to the quarter-mile mark. The whole JZA80 hatch was rebuilt in FRP while the rear window was eliminated in favor of a dry-carbon cover. A massive low-set spoiler helps keep the car planted at the rear for maximum traction, while a Simpson parachute was fitted to help bring the car to a halt. In its current show appearance a set of 18-inch Blitz BRW Profile 08 wheels have been fitted and wrapped with Dunlop Direzza Sport Z1 tires. Once the Supra hits the strip it will run smaller wheels and drag radials.
With all this taken care of, the engine was next. The actual 2JZ-GTE, which will be run in competition, is far from complete as Scorch Racing is still considering various setups. Everything else is in place, it's just the engine itself that needs to be swapped out for the final unit. Initial target times are in the low 9-second bracket and with such a high goal the stroked engine (they're experimenting with 3.8L stroker kits) is in a need for serious power. That's why you'll find two Blitz Triple K K5-700R turbochargers sitting on the custom manifold. They're bigger than the unit used on the '07 D1-GP Blitz Skyline of Ken Nomura, which produces over 600 ps by itself. To get these monsters to spool up the engine will need to take some serious rpm, as well as take the high boost levels a setup like this requires. Boost will be controlled with a pair of external wastegates and the Blitz boost controller.
To help cool things down, custom piping connects the turbine outlets to the charge cooler built around a Blitz Type-C intercooler core. From there, the intake charge is taken to the intake manifold, dosed by a large diameter mechanical throttle. Before the throttle the nitrous oxide fogger has been positioned, which will help the engine get up to speed and spool up at lower rpm. Once the K5s start spinning up the nitrous will be cut. JUN Auto will supply a lot of the headgear like the cam pulleys, camshafts, and various valvetrain components.
Fuelling will consist of twin external pumps sending the fuel to the 1,000cc/min injectors. Once the engine has passed the first set of tests a secondary fuel rail will be added to provide the much needed fuel to get to the 1,500ps mark. The Ogura Racing quad-plate clutch will have the job of channeling all that power to the Jerico air-shift transmission and then on to the rear wheels. Sachs has been called in to provide the best possible suspension setup so SP-7 adjustable dampers were fitted. Helping drop speed after the run are the Wilwood four-pot front calipers, which bite down on curiously shaped rotors. The rear brakes will remain standard while the Simpson parachute will help things along after the finish line is crossed.
The first outing for the car is planned to be held before the end of the year, which should give Scorch Racing enough time to get the engine finished up and a few shakedown tests done. This Supra is closely followed by Japanese tuning magazines and is in enough limelight to further help promote the newfound popularity of drag racing. All eyes will definitely be on it when it hits the strip.
Custom stainless steel manifold
Blitz K5-700R turbine
Sard external wastegate
Wastegate dump pipes
Custom exhaust system
Custom piping
Custom charge cooler with BlitzType-C core
Custom intake manifold
Large single throttle
JUN Auto cam pulleys
JUN Auto camshafts
Custom radiator with air separator tank
Blitz radiator cap
Oil cooler system
Blitz oil filler cap
NOS system
NOS tank
Trunk-mounted fuel tank
Custom fuel lines
1,000cc/min injectors
Ogura Racing Clutch quad-plate clutch and lightweight flywheel Jerico air shifter
Suspension & Brakes
Sachs SP-7 fully adjustablesuspension kit
Wilwood four-piston front calipers
Ventilated patter-cut front discs (two-piece)
Wheels & Tires
Blitz BRW Profile 08 (metal silver) - front 9x18 +35, rear10x18 +33 (rear) (show setup)
Dunlop Direzza Sport Z1 245/40/18 (front), 275/35/18 (rear)
Blitz Aero Speed front bumper
Wide front fenders
Headlight covers
Custom lightweight hood
Blitz Aero Speed side skirts
Blitz Aero Speed lower rear bumper skirts
Blitz Aero Speed rear bumper
GT rear hatch
Lightweight doors
One-off drag speed rear wing
Dry-carbon cover for rear window
Acrylic side windows
Simpson parachute system
Fully prepped and spot-welded chassis
Custom reinforcing plates
Custom welded-in rollcage
Custom dash and center console
Blitz GT1 carbon-Kevlar racingbucket seat
Racing harness
Key's Racing Alcantara racing steering wheel
Blitz Racing Meter ELV boost gauge
Blitz Racing Meter EVL temp gauge
Auto Meter tachometer
Power Meter i-Color Flash
SBC i-Color Spec-R
Relocated Odyssey battery
1,101 LB-FT Of Torque
Estimated numbers
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text:
Some users, myself included, have had problems getting Ubuntu 5.10 (Breezy Badger) to restart correctly. When attempting to reboot my machine, it instead powered off – not ideal if I want to restart the machine from a remote location!
This thread details a number of possible solutions. One of which is to type the following line into a console:
sudo vi /boot/grub/menu.lst
and edit the following section (or similar), adding the italicised changes:
title Ubuntu, kernel 2.6.12-9-386
root (hd0,0)
kernel /boot/vmlinuz-2.6.12-9-386 root=/dev/hda1 ro noacpi nolacpi quiet splash
initrd /boot/initrd.img-2.6.12-9-386
After a restart (or power off/on), the restart functionality should work as expected. You can also try adding reboot=h as well as, or in place of, noacpi nolacpi.
Unfortunately none of this worked for me, but turning the ACPI feature off on my motherboard (an MSI 6330) did – I assume I'm losing some power saving functionality by doing this but I'm not too concerned as it's a desktop machine, not a laptop.


text:
Create a Website Account - Manage notification subscriptions, save form progress and more.
A wide variety of services targeted to senior adults are available, including information and referral, links to resources, advocacy, community education, limited case management, counseling / consultation for persons with multiple needs, home visits, access to affordable assisted living, dental services, and more.
If you're concerned about a child's well-being
or want to report or discuss a possible abuse or neglect situation, call Fairfax County CPS at 703-324-7400 or the City of Falls Church Police at 703-248-5053.
Assistance is available for parents and guardians in seeking child care.
The City of Falls Church is committed to the letter and spirit of the Americans with Disabilities Act (ADA).
If you or anyone you know is experiencing domestic violence, the city offers a number of domestic violence resources and referrals.
City residents that have experienced temporary setbacks may contact Housing and Human Services to discuss financial and nonfinancial emergency assistance.
Affordable health care, dental services, mental health services, and substance abuse services are available to eligible residents.
Efficient and reliable transportation is essential for getting to work, medical appointments, shopping, and the many other activities of daily life. In addition to the public bus and rail system, there are specialized programs for the elderly and disabled.
Find ways to get help finding food.


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SVII "First Wednesday" Innovation Society Meeting June 3, 20096:00 – 9:30 p.m. Guest Speaker: Kevin Surace, CEO, Serious Materials "Factories re-open, creating new jobs and cost savings for U.S. employees." Is this a headline from years gone by? A satirical story reported in The Onion? Or an apt characterization of the work of a 21st [...]
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CHICAGO – Carlos Boozer scored 17 of his 23 points in the second half to lead the injury-depleted Chicago Bulls to a 95-89 win over the struggling Charlotte Bobcats on Saturday night.
Luol Deng added 22 points and eight rebounds as the Bulls won their seventh straight at home and improved to an NBA-best 15-3 despite the absence of two starters and two key reserves. Richard Hamilton added a season-high 18 points for Chicago.
The Bulls played their fourth straight game without reigning NBA MVP Derrick Rose (sprained left big toe). They also were missing starting center Joakim Noah, a late scratch because of a left ankle sprain.
Gerald Henderson Jr. led Charlotte with 22 points, but the Bobcats lost their fifth consecutive road game. They have dropped nine of 10 overall.
Byron Mullens added 17 points for Charlotte.
Bulls coach Tom Thibodeau likes to talk up his team's depth and Saturday's game gave him plenty to discuss.
In addition to the missing starters, reserves Taj Gibson (left ankle sprain) and John Lucas III (left groin strain) also sat out. The Bulls had plenty of firepower left on the roster.
Omer Asik started in place of Noah and grabbed a game-high 14 rebounds. Veteran Mike James took Lucas' place as the backup point guard and had seven points and a team-high nine assists, his most since Dec. 27, 2008.
C.J. Watson started for Rose at point guard and had 11 points and nine assists. Watson is averaging 16.5 points and six assists in his last four games after missing nine games because of an elbow injury.
Charlotte started undersized point guards D.J. Augustin and Kemba Walker together in the backcourt for the fourth straight game, but the quick lineup struggled against Chicago's defense, which leads the league in fewest points allowed per game.
Walker scored just four points, Augustin had three and neither player was on the floor down the stretch.
The bright spot for Charlotte was Henderson, who is averaging 21.8 points on 32-of-55 shooting in his last four games since moving from shooting guard to small forward in coach Paul Silas' lineup.
Chicago forced five Charlotte turnovers as the Bulls built a seven-point first-quarter lead, but the Bobcats hung close behind Mullens' 10-point quarter.
The Bobcats edged ahead in the second quarter against Chicago's depleted second unit, but Deng led a late-quarter Bulls charge with nine points over the last 6:50 of the half.
Deng's putback dunk off a missed 3 by Kyle Korver capped an 11-2 Bulls run to end the half. Chicago led 50-43 at the break.
The Bulls pushed their lead to 11 in third quarter as Boozer scored 15 points and Hamilton added 10, which offset the 13-point period from Henderson.
NOTES: The Bulls have won 33 of their last 35 home games. . The Bulls are 7-0 at the United Center for the first time since 1996-97. . Bobcats forward D.J. White left with a bruised left knee during the second quarter and did not return.