text:
SEATTLE — Rising acidity levels in the oceans pose a serious threat to shellfish and other marine life, and tackling that problem in Washington state will require reducing carbon dioxide emissions, keeping polluted runoff out of marine waters, and increasing monitoring at hatcheries, a group of experts said Tuesday.
The panel of scientists and policy experts convened by Gov. Chris Gregoire recommended dozens of actions to combat changes to ocean chemistry detected several years ago when oyster larvae in Pacific Northwest hatcheries began dying in large numbers.
"There are ominous signals coming from the ecosystem on this issue, as ominous as anything coming from climate change," said Jay Manning, former state ecology director who headed the panel with former Environmental Protection Agency administrator Bill Ruckelshaus.
Gregoire, who formed the group as part of a state and federal initiative to help protect the state's $270 million shellfish industry, signed an executive order Tuesday directing the Department of Ecology to work on the problem. She also announced $3.3 million in funding for some actions in her proposed budget.
However, with Gregoire leaving office in January, it's unclear where the state would find money to pay for the ideas. The state faces a projected $900 million deficit for the next two-year budget ending in mid-2015.
But the problem known as ocean acidification also is a concern for Gov.-elect Jay Inslee, said his spokesman, Sterling Clifford.
"He's pleased with the executive order today, and he's looking forward to continuing to address carbon pollution and ocean acidification," Clifford said.
Clifford declined to make budget commitments when asked if Inslee would include money for ocean acidification projects in his budget.
Jane Lubchenco, administrator of the National Oceanic and Atmospheric Administration, said the report draws attention to a problem that exists internationally but has hit particularly hard in the state of Washington.
Acidification is caused when oceans absorb human-generated carbon dioxide, mostly from the atmosphere and also from nutrient runoff and other sources.
Studies have shown that corrosive water has a dramatic effect on oysters, clams and corals, and could potentially affect the broader marine food web.
Washington state is the nation's top producer of farmed shellfish. The problem affects the industry along with consumers and anyone who has ever dug up razor clams or picked oysters on the coast, Manning said.
The panel, the first of its kind for a state, recommended 42 wide-ranging actions. It cited 18 priorities, ranging from finding innovative techniques such as seaweed farming to capture and remove carbon to reducing greenhouse gas emissions.
The state has already taken action to reduce carbon emissions, including adopting a renewable energy standard and negotiating an agreement to shut down the state's only coal-fired power plant. But the panel said more could be done, such as adopting a low-carbon fuel standard.
Gregoire also proposed a new center for ocean acidification at the University of Washington to be paid for by existing taxes collected on hazardous substances and revenue from leases on state-owned aquatic lands.
Ocean acidification likely affects marine organisms to varying degrees, but research has shown those using the mineral calcium carbonate to make shells, skeletons or other body parts are more sensitive to changing sea chemistry. The organisms include oysters, clams, scallops, mussels and coral.
In February, scientists in Oregon found evidence that higher levels of carbon dioxide in the Pacific Ocean were responsible for the failure of oyster larvae to survive in 2005 at Whiskey Creek Shellfish Hatchery on Netarts Bay.
The panel said Washington's waters are particularly vulnerable to ocean acidification because seasonal ocean upwelling brings water rich in carbon dioxide — and more acidic — up from the deep ocean toward the continental shelf.
"We're still struggling with what we know and what we don't know about the biological impacts. We do know a whole lot about what happens to oyster larvae," said Richard Feely, an oceanographer at NOAA's Pacific Marine Environmental Laboratory in Seattle and a panel member.
Scientists are learning that other organisms such as pteropods — tiny free-swimming snails that are a primary food source for salmon — are already being affected by acidification, Feely said.
More recent work has found that acidifying oceans can affect behavioral responses of some organisms, such as whether a fish will go toward or avoid a predator, he said.
"We now need to have a better understanding of how the changes are taking place at the very bases of the food chain and how those changes permeate through the food chain up to fish and birds and mammals," Feely said.
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text:
BERLIN (TheBlaze/AP) — For nearly 30 years, the Berlin Wall was the hated symbol of the division of Europe, a gray, concrete mass that snaked through neighborhoods, separating families and friends. On Wednesday, it took hundreds of police to guarantee the safe removal of 15 feet (less than 5 meters) of what's left of the wall.
Construction crews, protected by about 250 police, hauled down part of the three-quarter of a mile (1.3-kilometer) strip of the wall before dawn to provide access to a planned luxury apartment complex overlooking the Spree River.
Even though most of the strip remains intact, the move angered many Berliners, who believe that developers are sacrificing history for profit.
The site, known as the East Side Gallery, has become a major tourist attraction, painted by 120 artists with colorful scenes along the gray concrete tiles.
It is the longest remaining portion of the 96-mile (155-kilometer) wall that surrounded Western-occupied West Berlin from 1961 until the peaceful revolution against the communist East German government in 1989. At least 136 people were killed trying to escape over the wall.
The flap over the future of the East Side Gallery flared last month with the announcement that developers wanted to tear away part of the wall. The announcement triggered a series of protests, including one attended by American celebrity David Hasselhoff.
Hasselhoff is remembered here fondly for his song "Looking for Freedom" that became the unofficial anthem of the 1989 revolution.
"It's like tearing down an Indian burial ground," Hasselhoff said during the March 17 protest. "It's a no-brainer."
After the protests, demolition work was suspended while local politicians and the investors looked for alternative access to the apartment site, located in the heart of the German capital.
When no other access route could be found, the main investor, Maik Uwe Hinkel, decided to resume the project. Work began at 5 a.m. Wednesday when few people were out on the streets.
In an emailed statement, Hinkel said the removal of parts of the wall was a temporary move to enable trucks to access the building site. He said that after four weeks of fruitless deliberations with city officials and owners of adjacent property, he was no longer willing to wait.
As word of the demolition spread, small crowds of Berliners turned out to watch although no one sought to block the effort.
"I can't believe they came here in the dark in such a sneaky manner," said Kani Alavi, the head of the East Side Gallery's artists' group. "All they see is their money. They have no understanding for the historic relevance and art of this place."
The irony of Berliners trying to preserve part of what was once a hated symbol of repression reflects a growing public belief that the German capital needs to preserve symbols of its past — both the good and the bad — for future generations.
Much of Adolf Hitler's capital was destroyed by Allied bombing and the 1945 Soviet ground assault that ended World War II in Europe.
With the end of the Cold War, however, Germans have worked to preserve other sites, including those that do not flatter the country.
A museum to Nazi atrocities has been built over the site of Gestapo headquarters. Tourists can wander through dungeon-like prisons operated by the Soviets and the East German secret police — as well as underground complexes built in the west of the city to protect civilians against nuclear attack.
It's all designed to allow new generations to understand the painful history behind a country that is now Europe's economic powerhouse.
"The Berlin Wall is the most significant symbol of the division of Berlin," said Maria Nooke, the deputy director of the Berlin Wall Foundation. "On the one hand it illustrates the repression in East Germany, on the other hand it symbolizes how Germans peacefully overcame that repression."
It took years for Berliners — both easterners and westerners — to develop such feelings for the wall.
"After a while, there was a growing need to deal with that part of history and to preserve it for future generations," Nooke said.
In an effort to give visitors and Berliners a taste of life in a divided city, a 70-meter (-yard) stretch of the wall on Bernauer Strasse was restored to its original state, including an East German watchtower from which guards would shoot at people trying to scale the structure.
The East Side Gallery was recently restored at a cost of more than 2 million euros ($3 million) to the city. It is now covered in colorful murals painted by about 120 artists.
Scenes include the famous image of a boxy East German Trabant car that appears to burst through the wall; and a fraternal communist kiss between Soviet leader Leonid Brezhnev and East German boss Erich Honecker.
"I heard it on the radio, so I quickly took my son to nursery school and then came here," said Jana Voigt, a kindergarten teacher who grew up in East Berlin. "I feel so betrayed that they tore down that piece of the wall while I was asleep. They knew that so many Berliners don't want the wall to be touched."
She said part of the wall needs to be protected for future generations "in order to understand what happened here."
Karl-Heinz Richter was a 17-year-old teenager when he tried to escape from East Berlin three years after the wall was erected. His escape failed and he was jailed.
"What you see happening now is capitalism in its purest form: it's all about money and power, history doesn't matter anymore. That's disgusting." he said. "For me the wall is a holy site. I'm outraged that they would even dare to touch it."

subset: commoncrawl


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Otis Erford Burt 2nd died at home, as he wished, on Feb. 19 after a period of declining health. He was 77. With his passing, the Island is a quieter and less funny place.
Otis was born on the Island on July 16, 1936, the son of Percy Leighton Burt and Emma Patricia Doolan Burt.
From the beginning, Otis was not afraid of living life to the fullest, nor of venturing forth on his own. This was evidenced early on when, at the tender age of three, he was found toddling down Main street in Vineyard Haven, naked as a jaybird, having made his way all the way down from his father's poultry farm on West Spring street (where Garden Gate nursery school is located today); a phone call from the First National Market alerted his mother that Otis had made a successful getaway. This set the tone for the life he was to live, and it was a fairly epic life lived mostly within the confines of this small Island. When asked about him 70 years after he was her student, his former teacher, Alma Spearwater Benson, responded "Oh, he was quite the little dickens." And so he was.
The family moved to Arrowhead Farm in 1940, then to Seven Gates Farm in 1945 when Otis's father became the farm superintendent. Later the family moved to Music street where Percy had bought the very decrepit Harry West farm, referred to by Otis's grandmother as "Percy's Folly" in her journals. In spite of her concerns for her son's sanity, it turned out that buying 50 acres on Music street in 1948 was a pretty good investment.
Otis was a true son of the up-Island community — fishing, beachcombing and exploring with his brother Dick and assorted friends. It is likely that these adventures were viewed with a more tolerant and benevolent eye than they would be today, whether it was riding home from the north shore with World War II ordnance in their bicycle baskets, or the time they carted a dead deer out of an up-Island property in the rumble seat of Otis's car. As a teenager, he got rides to the square dances at the Chilmark Tavern in the back of Ernest Correllus's truck. There he met his future wife, Ann Raymond, a lifelong summer resident from Lexington. Little did Ann know what she was getting into when she saw this handsome young guy from across the room. After graduating from the Tisbury High School in 1954, he attended UMass Amherst, paying his tuition by driving a tractor, spraying power lines in the area, as well as working as a short order cook at a diner in town.
Otis and Ann were married in 1958, and after a short stint for Otis in the Air Force, they returned to the Vineyard. Ann worked as a registered nurse at the hospital and Otis worked for Everett Poole, running the Texaco station in Menemsha. Everett remembers that between Otis's quick wit and his own sharp sense of humor, there were days when it wasn't safe for most people to cross the threshold into the Texaco station. Otis then went to work for carpenter Lawrence Winterbottom, followed by several years with Roger Engley before hanging out his own shingle. He became one of the Island's most respected builders, and over the years many of his crew went on to become talented and successful builders in their own right, not to mention one longtime building and zoning inspector for the towns of Chilmark and Edgartown.
Otis and Ann built a house on part of the West Farm on Music street, and proceeded to fill it with four children. Despite the marriage ending in divorce in 1969, they remained very much on board with each other about certain things. Namely that their children would work hard, get educated as best they could and make their own way in the world, which all four of them have done. If any of the kids ever thought there was an end run to be made around one parent or another because of the divorce, they were quickly and firmly disabused of that notion. Otis was very proud of his family, and particularly proud of his four grandchildren, whose pictures cluttered the surface of his desk and counter tops. It sometimes seemed that he couldn't quite believe that he had anything to do with all these people being in his life, this family he and Ann had made.
For the last 15 years, he rented out his house in Oak Bluffs, first spending summers in a cabin he built up in Madrid, Maine (one town over from New Vineyard, Maine), then moving out to Boothbay Harbor on the coast. He loved Maine because both the land and the people reminded him of the vanishing Vineyard life and community that he had grown up with. Wherever he went, he always managed to cobble together a "family," which in Boothbay was centered around the Chowder House, where he spent many afternoons on the harbor playing cribbage, visiting with friends and telling stories.
If you were his friend, you knew it, and if he didn't care for you or something you had done, you knew that, too; friendship and kinship with Otis didn't suffer for lack of clarity. He liked nothing better than doing for the people that he cared about, showing up with an extra car to loan, or with his crew to frame a roof for someone, loaning money or giving a job to someone in need. These gestures of friendship came back to him in spades, from his many excellent and true friends far and wide, right up to the end of his life. His family is so appreciative of the thoughts and good wishes sent his way over this last year. He loved people and was loved in return.
Otis is survived by his former wife Ann Burt of West Tisbury, his four children, Percy Burt 2nd of Vineyard Haven, Molly Burt Reed (Christopher) of Boston, Prudy Burt of West Tisbury and Patrick Burt (Sandy) of Oak Bluffs, and four grandchildren: Olivia and Colby Reed of Boston, and Caleb and Emma Burt of Oak Bluffs. He is also survived by his brother Dick Burt and his sister Shirley Burt Howell, both of West Tisbury, and numerous nieces and nephews. He was predeceased by an infant daughter, Julie Ann; by his parents, Percy and Pat Burt; and his well-loved stepmother, Peg DeLys Burt.
As Dad wished, there will not be a memorial service, but we hope that you will remember him, each in your own way. He was truly one of a kind and we will miss him like hell.
Donations may be made in his name to Hospice of Martha's Vineyard, P.O. Box 1748, Vineyard Haven, MA 02568.


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Jigsaw/JSR 294 on JavaPosse
I listened to most of the JavaPosse interview with Mark Reinhold and Alex Buckley about Project Jigsaw and JSR 294. It's nice to see some technical details emerging and I can start to see why OpenJDK would prefer a different design for modularity to that of Apache Harmony.
I was moderately surprised to find that the design point is to load multiple Jigsaw modules with "local" dependencies into the same class loader. I wonder how many class loaders the JRE will end up having? There was even talk of putting all the bootstrap classes in a single class loader. So maybe the answer is most of the JRE code will be loaded by in the bootstrap class loader and subdivided using JSR 294 constructs. Time will no doubt tell.
For the record, I hope I've never claimed that Apache Harmony has shipped runtime modularity. The Harmony class libraries are divided into bundles with OSGi metadata. A prototype that enforced those class loader boundaries in the JVM was built, but never shipped. It had a rather different design for bootstrap class loading to that being proposed for OpenJDK, but I suppose Harmony had the benefit of having modularity in mind from the start.


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Viladecans, Catalonia, Spain's Internet Speeds
August 2023
This information on internet performance in Viladecans, Catalonia, Spain is updated regularly based on Speedtest® data from millions of consumer-initiated tests taken every day. After you've learned about median download and upload speeds from Viladecans over the last year, visit the list below to see mobile and fixed broadband internet speeds from additional cities within . Then compare your internet experience by taking a Speedtest below.
For additional up-to-date information about internet speeds in Spain as a whole, visit the Speedtest Global Index™ or read our recent Market Reports for provider information.
Viladecans Fixed Speeds
Download Mbps
Median download speed
Upload Mbps
Median upload speed
Latency ms
Median latency
To be added to this list for mobile or fixed broadband, 75% of a city's monthly unique user totals over a 13-month period must have a minimum of 200 monthly unique user results.
To be updated for mobile or fixed broadband, 75% of a city's monthly unique user totals over a 13-month period must have a minimum of 100 monthly unique user results.
An operator or ISP must account for 3% or more of total test samples in the market to be on this list. We display data if at least two operators or ISPs meet this threshold in a designated region or city.
Cities in Catalonia
- Badalona
- Barberà del Vallès
- Barcelona
- Cambrils
- Castelldefels
- Cerdanyola
- Cornellà de Llobregat
- El Prat de Llobregat
- Esplugues de Llobregat
- Figueres
- Gavà
- Girona
- Granollers
- L'Hospitalet de Llobregat
- Lleida
- Lloret de Mar
- Manresa
- Mataró
- Molins de Rei
- Mollet del Vallès
- Olot
- Pineda de Mar
- Reus
- Rubí
- Sabadell
- Sant Adrià de Besòs
- Sant Boi de Llobregat
- Sant Cugat del Vallès
- Sant Feliu de Llobregat
- Sant Vicenç dels Horts
- Santa Coloma de Gramenet
- Sitges
- Tarragona
- Terrassa
- Tortosa
- Vic
- Viladecans
- Vilanova i la Geltrú


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Staff Quarters on Axial Line Leading to Government House, Delhi. Designed by Sir Edwin E. L. Lutyens, R.A.. Source: Academy Architecture and Architectural Review.
Scanned image, caption, and formatting by George P. Landow. [You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the Internet Archive and the University of Toronto Libraries and (2) link your document to this URL in a web document or cite the Victorian Web in a print one. ]
Academy Architecture and Architectural Review. Ed. Alexander Koch. London: Academy Architecture. Internet Archive copy from University of Toronto Libraries. Web. August 31, 2011.
Last modified 20 May 2013
Last modified 20 May 2013


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Encode::HanConvert - Traditional and Simplified Chinese mappings
This document describes version 0.35 of Encode::HanConvert, released January 27, 2009.
As command line utilities:
b2g.pl [ -p ] [ -u ] [ inputfile ...] > outputfile
g2b.pl [ -p ] [ -u ] [[ inputfile ...] > outputfile
In your program:
# The XS-based implementation needs Encode.pm 1.41;
# otherwise, autoloads the Perl-based Encode::HanConvert::Perl
use Encode::HanConvert;
# Conversion between Chinese encodings
$gbk = big5_to_gb($big5); # Big5 to GBK
$big5 = gb_to_big5($gbk); # GBK to Big5
# Conversion between Perl's Unicode strings
$simp = trad_to_simp($trad); # Traditional to Simplified
$trad = simp_to_trad($simp); # Simplified to Traditional
# Conversion between Chinese encoding and Unicode strings
$simp = big5_to_simp($big5); # Big5 to Simplified
$big5 = simp_to_big5($simp); # Simplified to Big5
$trad = gb_to_trad($gbk); # GBK to Traditional
$gbk = trad_to_gb($trad); # Traditional to GBK
# For completeness' sake... (no conversion, just encode/decode)
$simp = gb_to_simp($gbk); # GBK to Simplified
$gbk = simp_to_gb($simp); # Simplified to GBK
$trad = big5_to_trad($big5); # Big5 to Traditional
$big5 = trad_to_big5($trad); # Traditional to Big5
# All functions may be used in void context to transform $_[0]
big5_to_gb($string); # convert $string from Big5 to GBK
# Drop-in replacement functions for Lingua::ZH::HanConvert
use Encode::HanConvert qw(trad simple); # not exported by default
$simp = simple($trad); # Traditional to Simplified
$trad = trad($simp); # Simplified to Traditional
This module is an attempt to solve most common problems occured in Traditional vs. Simplified Chinese conversion, in an efficient, flexible way, without resorting to external tools or modules.
If you are using perl 5.7.2 or earlier, all Unicode-related functions are disabled, and Encode::HanConvert::Perl is automagically loaded and used instead. In that case, please consult Encode::HanConvert::Perl instead.
After installing this module, you'll have two additional encoding formats: big5-simp maps Big5 into Unicode's Simplified Chinese (and vice versa), and gbk-trad maps GBK (also known as CP936) into Unicode's Traditional Chinese and back.
The module exports various xxx_to_yyy functions by default, where xxx and yyy are one of big5, gb (i.e. GBK/CP936), simp (simplified Chinese unicode), or trad (traditional Chinese unicode).
You may also import simple and trad, which are aliases for simp_to_trad and trad_to_simp; this is provided as a drop-in replacement for programs using Lingua::ZH::HanConvert.
Since this is built on Encode's architecture, you may also use the line discipline syntax to perform the conversion implicitly (before 5.7.3, you need to use 'cp936' in place of 'gbk'):
require Encode::CN;
open BIG5, ':encoding(big5-simp)', 'big5.txt'; # as simplified
open EUC, '>:encoding(gbk)', 'gbk.txt'; # as gbk
print EUC, <BIG5>;
require Encode::TW;
open EUC, ':encoding(gbk-trad)', 'gbk.txt'; # as traditional
open BIG5, '>:encoding(big5)', 'big5.txt'; # as big-5
print BIG5, <EUC>;
Or, more interestingly:
use encoding 'big5-simp';
print "¤¤¤å"; # prints simplified Chinese in unicode
Although Lingua::ZH::HanConvert module already provides mapping between Simplified and Traditional Unicode characters, it depend on other modules (Text::Iconv or Encode) to provide the necessary mapping with Big5 and GBK encodings.
Also, Encode::HanConvert loads up much faster:
0.04 real 0.03 user 0.01 sys # Encode::HanConvert
0.19 real 0.18 user 0.00 sys # Encode::HanConvert::Perl
1.68 real 1.66 user 0.01 sys # Lingua::ZH::HanConvert (v0.12)
The difference in actual conversion is much more significant. Use 5mb text of trad => simp as an example:
0.77 real 0.25 user 0.00 sys # iconv | b2g | iconv
0.64 real 0.59 user 0.04 sys # Encode::HanConvert b2g.pl -u
13.79 real 13.69 user 0.02 sys # Lingua::ZH::HanConvert trad2simp (v0.12)
The b2g above refers to Yeung and Lee's HanZi Converter, a C-based program that maps big5 to gb2312 and back; iconv refers to GNU libiconv. If you don't mind the overhead of calling an external process, their result is nearly identical with this module; however, their map falls short on rarely-used characters and box-drawing symbols.
Please note that from version 0.03 and above, this module support the more expressive range GBK instead of EUC-CN. This may cause incompatibilities with older fonts. Programs using an earlier version of this module should rename euc-cn-trad into gbk-trad; sorry for the inconvenience.
This module does not preserve one-to-many mappings; it blindly chooses the most frequently used substitutions, instead of presenting the user multiple choices. This can be remedied by a dictionary-based post processor that restores the correct character.
As of version 0.05, the mapping from Big5 to GBK is complete: All displayable Big5 characters are mapped, although substitute characters are used where there's no direct corresponding characters.
However, there are numerous GBK characters without its Big5 counterparts: grep ¡¼ map/g2b_map.txt from the distribution directory should show all of them. Any help on completing this mapping are very appreciated.
grep ¡¼ map/g2b_map.txt
The conversion table used in this module comes from various sources, including Lingua::ZH::HanConvert by David Chan, hc by Ricky Yeung & Fung F. Lee, and Doggy Chinese Big5-GB Conversion Master from Doggy Digital Creative Inc. (http://www.miniasp.com/), Rei-Li Chen (rexchen), Unicode consortium's Unicode Character Database (http://www.unicode.org/ucd/), as well as mappings used in Microsoft Word 2000, Far East edition.
The *.ucm files are checked against test files generated by GNU libiconv with kind permission from Bruno Haible.
Kudos to Nick Ing-Simmons, Dan Kogai and Jarkko Hietaniemi for showing me how to use Encode and PerlIO. Thanks!
Encode::HanConvert::Perl, Encode, Lingua::ZH::HanConvert, Text::Iconv
The b2g.pl and g2b.pl utilities installed with this module.
Audrey Tang <email@example.com>, Kuang-che Wu <firstname.lastname@example.com>.
Copyright 2002-2009 by Audrey Tang <firstname.lastname@example.com>. Copyright 2006 by Kuang-che Wu <firstname.lastname@example.com>.
This program is free software; you can redistribute it and/or modify it under the same terms as Perl itself.
See http://www.perl.com/perl/misc/Artistic.html
1 POD Error
The following errors were encountered while parsing the POD:
Non-ASCII character seen before =encoding in '"¤¤¤å";'. Assuming CP1252
To install Encode::HanConvert, copy and paste the appropriate command in to your terminal.
cpanm Encode::HanConvert
CPAN shell
perl -MCPAN -e shell
install Encode::HanConvert
For more information on module installation, please visit the detailed CPAN module installation guide.


text:
Airbus' latest Global Market Forecast (GMF) identifies a need for some 28,200 passenger and freighter aircraft (of 100 seats or more) between 2012 and 2031 worth nearly US$4.0 trillion, reconfirming an upward trend in the pace of new aircraft deliveries. Of these over 27,350 will be passenger aircraft valued at US$ 3.7 trillion.
Passenger traffic will grow at an average annual rate of 4.7 percent in the next 20 years, during which some 10,350 aircraft will be replaced by new efficient models. By 2031 the world's passenger fleet will have expanded by 110 percent from slightly over 15,550 today to over 32,550. In the same period, the world's freighter fleet will almost double from 1,600 to 3,000 aircraft.
Emerging economic regions will represent more than half of all traffic growth in the next 20 years. Increasing urbanisation and the doubling of the world's middle classes to five billion people is also driving growth. By 2031 mega cities will more than double to 92 and over 90 percent of the world's traffic will be between or through these points.
"Aside from growth in international traffic, by 2031 four of the world's biggest traffic flows will all be domestic – US, China, Intra Western Europe and India – and these account for a third of world traffic," says John Leahy, Airbus Chief Operating Officer Customers. "In 20 years from now, China's domestic passenger traffic will overtake the US domestic traffic to become the number one traffic flow in our forecast. Aviation is not just essential for international commerce, but also for domestic economies too."
Asia Pacific will account for 35 percent of all new aircraft deliveries, followed by Europe and North America with 21 percent each. In value terms, the single biggest market is China followed by the US, UAE and India.
Over 1,700 Very Large Aircraft (VLA – 400 seats and above) like the A380 will have been delivered by 2031, valued at US$600 billion. Of these over 1,330 are passenger aircraft valued at some US$500 billion (13 percent by value of passenger deliveries, 5 percent of units). Asia Pacific leads demand (46 percent) for these high capacity aircraft, followed by the Middle East (23 percent) and Europe (19 percent).
Demand for twin-aisle aircraft (250 to 400 seats), like the A330 and the A350 XWB, some 6,970 new passenger and freighter aircraft will be delivered valued at some US$1.7 trillion. Of these, 6,500 are passenger aircraft valued at US$1.6 trillion (44 percent by value of passenger deliveries, 24 percent of units). Leading demand is Asia Pacific (46 percent), Europe (17 percent) and the North America (13 percent)
In the next 20 years, over 19,500 single-aisle aircraft worth over US$1,6 trillion will be delivered (43 percent of passenger deliveries by value, 71 percent by units). A third of deliveries will be in Asia Pacific followed by North America (25 percent) and Europe (22 percent). Some 30 percent of all deliveries in this category will be for Low Cost Carriers.


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The Husqvarna Soff-Cut 4000 self-propelled petrol saw is designed for heavy-duty commercial, industrial and paving applications. Features include a 20 hp twin-cylinder engine with overhead valves, heavy-duty air cleaner, electric start, full pressure lubrication, hydraulic valve lifters and a mechanical fuel pump. Three blade widths can be used, allowing different joint widths and crack control simultaneously.
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Husqvarna Soff-Cut® is a unique patented system for early entry concrete sawing. This technology enables concrete to be cut within the first one or two hours of finishing and before final set. Husqvarna Soff-Cut® provides the best solution for minimising the risk of random cracking, and it simplifies the working process, compared to conventional sawing.
With over 325 years of innovation and passion, Husqvarna provides construction professionals with support, service and a wide range of machines, diamond tools and all accessories that you need to cut, saw, drill, demolish, grind and polish concrete. We let high performance meet usability and safety, making you ready to get the job done efficiently. Our best reward is seeing Proud Professionals succeed.
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text:
This product has been discontinued.
More Than a Mixer—a Complete System
You'll never go back to an old-skool analog mixer once you've used StudioLive™. With its incredible signal-processing power on every channel, easy store and recall of every setting, and the ability to record it all with just two mouse clicks, you'll get spoiled fast! Easier to use, better sounding, and flawlessly integrated with state-of-the-art software, it delivers the most creative environment possible for both live performance and studio music production.
But StudioLive is not simply a mixer, it's a rapidly growing family of state-of-the-art, integrated hardware-software mixing and recording systems that deliver the features you need for live sound, live recording, and studio recording.
The StudioLive 24.4.2 is a fine choice for those who want to mix small to medium-sized shows and worship services, and it's a great choice for club systems, corporate applications, and educational institutions. And it's the perfect hardware core for a project studio.
Or daisy-chain two StudioLive 24.4.2s to form a 48x4x2 performance console for mid-sized shows and events.
Here, in one device, are high-headroom XMAX™ microphone preamplifiers, a built-in FireWire recording and playback interface, more than 90 signal processors, a big library of DSP effects, 10 aux buses, 4 subgroups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more.
Yet despite its many controls and features, it's compact and easy to transport.
Build live mixes that glisten with clarity and detail—then record and enhance the performance with the power of StudioLive 24.4.2. Get creative in the studio. Build mixes, loops, sound effects, and more, then bring them out to your show and mix them with the live performance. Process channels using your favorite plug-ins and completely automate your entire performance.
That's just the start. Control the StudioLive from your Mac, PC, or iPad®. Manage monitor mixes from an iPhone® or iPod touch®. Tune your system to the room and fix feedback problems with integrated Smaart Measurement Technology™.
StudioLive 24.4.2 revolutionizes music production, opening endless creative possibilities.
Control Your Sound Your Way!
With a PreSonus StudioLive-series digital mixer, you not only get high-end sound and tremendous processing, mixing, and recording power, you can control all of this sonic might from virtually anywhere. Want to touch your mix with the physical feedback of real faders and rotary knobs and an intuitive, analog-like user interface? The StudioLive delivers big time; sound people who have only mixed with analog boards quickly become comfortable working with a StudioLive.
See it. Touch it. Change it. The ease of analog meets the power of digital.
Among the employees of PreSonus, there are more band members than you can shake a mic stand at. All of us have lived with conventional mixers for years. And many of us have struggled with the less-than-intuitive interfaces of earlier digital mixers — bank switching, layers, nested menus, etc.
So when we designed StudioLive, one of our primary goals was to provide a familiar interface that would keep all critical controls visible and accessible —not buried inside multiple menus.
Sit down at a StudioLive 24.4.2, and you see easily accessed, color-coded function buttons for Mute and Solo; rotary trim controls; and clearly labeled, individual knobs for EQ and dynamics processing. Aux sends have their own physical controls. Every channel has a big, bright meter display. The master section comes complete with Talkback, Monitor, Cue, and a choice of control-room sources—looks just like the master section on an analog board but with far more power and flexibility.
Bottom line: If you've ever used an analog mixer, you'll be right at home with a StudioLive 24.4.2. And even if you've never used a mixer before, you'll quickly be able to create professional mixes and recordings.
Virtual StudioLive: The magic of computer control.
Despite its analog-like mixing surface, this is very much a digital console, and it offers features no analog mixer—and very few digital boards—can match. For example, the ability to control the StudioLive mixer from a laptop adds tremendous flexibility and convenience—and with the bundled Virtual StudioLive bidirectional control/editor/librarian software, you get it all for free.
Written exclusively for StudioLive mixers, Virtual StudioLive (VSL) provides a complete visual representation of the mixer, allowing you to control the features with a mouse, trackpad, or trackball on a FireWire-equipped Mac® or PC. Add third-party VPN software, and you can even control StudioLive mixers over the Internet—ideal for contractors. To get a competing mixer with computer control even close to this complete, you'd have to pay several times as much.
Learn more about Virtual StudioLive.
Even better: wireless control!
You're mixing a live show with an old-skool mixer—make that any mixer other than StudioLive—and you need to check the sound underneath the balcony—or in the balcony, for that matter. Or you're sound-checking and want to hear the stage monitors for yourself. If you can't leave the mixing station, you have to rely on someone else's ears. If you don't have a reliable crew, you don't have a chance.
You can say goodbye to that problem if you use a StudioLive 24.4.2 and an Apple iPad®! With StudioLive Remote for iPad—available free from the Apple App Store—you have complete, real-time, wireless remote control over Virtual StudioLive, which in turn offers real-time control over the StudioLive mixer. As long as you have a wireless connection between your iPad and computer (and are connected via FireWire to the 24.4.2), you are in control of the console. StudioLive Remote is easy to use, provides control of almost every feature of the StudioLive, and looks and feels like an iPad app should.
Learn more about StudioLive Remote.
Yet even better: control of monitor mixes from iPhones and iPod touches!
We've given you a lot of sonic control with the StudioLive, Virtual StudioLive, and StudioLive Remote. It's only fair that we help you give the band control of their sound, too. With PreSonus' free QMix™, each band member can control their own StudioLive aux (monitor) mix from an iPhone® or iPod® touch. QMix lets you adjust a single aux mix per iPhone. Select inputs and levels for your custom monitor mix, and then use the Wheel of Me to get, well… "more me"… quickly during performances.
You can even set permissions to ensure that the bass player, always the practical joker, can't mess with the hot-tempered lead singer's monitor mix. Otherwise, that bass player is going to get in trouble someday. We're just sayin'….
The level of control you get with PreSonus StudioLive-series mixers is beyond cool—it's absolutely ice! Now you can control your sound from anywhere you choose—no limits! Only with PreSonus StudioLive.
A gigantic console in a small package thanks to the Fat Channel.
If StudioLive 24.4.2 were an analog console, it would have 4-foot-long channel strips packed with knobs and buttons or it would require a massive outboard rack of expensive signal processors! That's because each channel has its own studio-grade compressor, limiter, gate, 4-band parametric equalizer, and high-pass filter. In all, we've packed 43 compressors, 43 limiters, 43 gates, 24 high-pass filters, and more, into one remarkable Fat Channel.
Meet the Fat Channel.
Engaged by pressing any Select button, the Fat Channel features extensive equalization and dynamics processing for every input channel, every aux output, the FX outputs, and the main outputs. The high-pass filter and EQ algorithms deliver extremely musical results. Also included in the Fat Channel are limiters, plus compressors and a downward expander, providing extensive dynamics control.
To let you get the most from all of this processing power without descending into menu purgatory, we designed the Fat Channel with clearly labeled, physical knobs; an ingenious, multifunction, 16-ladder LED display; an in-your-face Selected Channel display; and even a separate horizontal pan display. It's easy to instantly access any function and get clear, visible feedback.
Not just effects. Effects you'd expect from a $600 stand-alone processor.
You get two programmable, 32-bit, stereo DSP effects engines, loaded with 50 reverbs, delays, and time-based effects that you can really use. The reverbs are so rich and detailed that you feel like you're there. Delays are precise. Slap echo sounds like old-school tape effects.
All 50 effects have easy-to-use parameter adjustment, tap tempo, store, recall, and Scene selection for ultimate creative flexibility.
The StudioLive 24.4.2's fifty practical 32-bit digital effects
Some of our competitors include a lot more than 50 digital effects. But frankly, many of their "effects" are so weird that they aren't good for much more than a hearty chuckle or the most drunken karaoke party in history.
Instead, we armed StudioLive with an essential library of serious, down-to-earth reverbs and delays, created by seasoned sound professionals. Each is useful, practical, and very rich, thanks to 32-bit floating-point processing and exquisite algorithms. None of them sound like a dog gargling—unless you want them to, since each has multiple adjustable parameters.
- Natural
- Lively
- Closet
- Studio A
- Studio B
- Bedroom
- Kitchen
- Tile Floors
- Tile Bathroom
- Concrete Floors
- Radio Booth
- Small Club
- Big Club
- Brick House
- Linoleum Room
- Tile Room
- Log Cabin
- Wood Floors
- Brick Club
- High Ceilings
- GateVerb Short
- GateVerb Med
- GateVerb Long
- GateVerb Extreme
- Church
- Cathedral
- Gymnasium
- Arena
- Shimmer
- Thick
- Drums
- Vox
- M: Short Slap
- M: Long Slap
- M: Triplet
- M: Triplet
- Analog Slap
- Analog Trip
- Analog 8th
- Slap Quick
- Long Slap
- Spacey
- Long Tail
- ST: Triplet
- Quick
- Slap
- Spacey
- Trip
- Purple Rain
The reverbs are so rich and detailed that you feel like you're there. Delays are precise. Slap echo sounds like old-skool tape effects. All 50 effects have easy-to-use parameter adjustment, tap tempo, and store and recall selection for the ultimate in creative flexibility.
The StudioLive 24.4.2's 4 dual, 31-band graphic equalizers can be applied to the main, subgroup, and aux outputs so you can compensate for room acoustics, speaker response, and much more.
Furthermore, with Smaart Measurement Technology™, you'll be able to really put StudioLive's graphic EQ to work improving the sound of your P.A. Precisely identify nasty feedback frequencies. Get your loudspeakers to play nicer with the room they're in — all without having a degree in acoustical engineering.
What was then is now: complete store and recall.
Two factors work against getting that Perfect Mix with an analog mixer. First, the Perfect Mix can be hard to reproduce a week, day, or hour after you perfect it. And second, a good mix should be dynamic: levels, effects, and EQ should be tailored to each song or segment of the show, service, or presentation. This adds up to a lot of settings to remember and reset at every performance.
That's where the power of digital comes in: StudioLive lets you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer or save just the Fat Channel settings. Copy-and-paste settings across multiple channels. Save individual DSP effects for ultimate ease, speed, and control.
This means that for fixed applications like clubs, churches, and auditoriums, you can always count on the same sound and can fine-tune Scenes for different songs and call them up instantly. And it lets rank amateur volunteers successfully operate the StudioLive 24.4.2.
Powerful store and recall made easy.
StudioLive solves the problem getting of a Perfect Mix by letting you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer. Save just the Fat Channel settings. Copy-and-paste settings across multiple channels and buses. Save individual DSP effects for ultimate ease, speed, and control.
This means that for fixed applications like clubs, churches, and auditoriums, you can always count on the same sound. It means that you can fine-tune Scenes for different songs and call them up instantly. And it lets rank-amateur volunteers run the StudioLive and achieve pro-quality sound.
We've included a whole library of individual channel settings as starting points for optimizing the sound of instruments, vocals, and spoken word. And an Automatic AutoStore feature regularly saves your current settings in case the power fails.
And of course you can store an unlimited number of settings and scenes on your laptop with Virtual StudioLive.
"WOW! How did you get that snare to sound so good?"
Don't tell them it was one of the 50 StudioLive Fat Channel channel presets.
StudioLive's Fat Channel lets you apply the equivalent of a six-foot rack of signal processors to every input. If you're an experienced sound person, you'll love all the options. But if you're new to pro audio, gating, compression, limiting, semi-parametric equalization, and so on, can seem pretty complicated—which is why we've built in 50 excellent preset starting points.
Before we released the StudioLive, we sent some out to professional sound mixers and engineers, let them tweak to their heart's content under actual live and studio conditions, and then stored the results in factory presets. You get the benefit of their years of experience at making drums, percussion, guitars, keyboards, horns, vocals, and spoken word sound their best.
And of course you can alter, rename, and generally customize each preset and save it in any of 50 empty storage locations. Here's a sample:
- Kick, Funk, Jazz,
- Fat Snare and Snare Crackalak
- Toms Low and Hi Overhead
- Rock
- and 9 more
- Electric 1, 2
- Slap
- Upright
- Rock 1, 2
- Funk
- Metal
- Acoustic
- and 3 more
- Bright Piano
- Warm Piano
- Jazz Piano
- and 3 more
- Trumpet
- Trombone
- Sax
- Solo Sax
- Congas
- Bongos
- and more
- 3 male presets
- 2 female presets
- 2 spoken-word presets
Recording made easy with Capture™
If you have a computer with 6-pin FireWire, you have a 26-track digital recorder instantly ready to capture your gig, church service, or presentation. That's because StudioLive 24.4.2 features a tightly integrated FireWire interface that delivers up to 32 channels of recording and up to 26 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre- or post-Fat Channel signal processing, delivering total flexibility and power.
Just two mouse clicks engages Capture™ recording software. When you install it on your laptop, it automatically "maps" to the outputs of the 24.4.2 to automatically record all 24 input channels.
Recording with Capture
Because StudioLive 24.4.2 can so easily return FireWire playback channels from your computer, you can pull off nifty tricks. You can "virtually" soundcheck your band and fine-tune the P.A. and monitors in a new venue, even when the band's not there yet. (The drummer got stuck in traffic again.) Or create backing tracks at your studio and seamlessly blend them with live performances.
Here's a particularly cool feature: Capture lets you insert markers during a live recording — between songs or parts of a worship service or presentation—with a single mouse-click. Later, when you are ready to edit the performance, you can export each region you have marked as a separate file, using a single command. This saves hours and hours of work!
And Capture can run simultaneously with Virtual StudioLive and SL Remote, so you can personally soundcheck every part of the stage and house.
Studio One® Artist — A serious digital audio workstation.
Once you're recorded studio tracks or a live multi-track performance, it's time to finish it with effects and a good mix (not to mention editing out that huge burst of feedback during the third song).
Studio One is a groundbreaking music-creation and -production application for Mac OS X and Windows® that makes audio recording and MIDI sequencing ridiculously simple right out of the box.
Studio One changes the rules of the game with fresh code, innovative drag-and-drop features, advanced MIDI mapping, auto-configuration with your StudioLive 24.4.2, insanely good audio quality, unlimited tracks and plug-ins per track, and a powerful, inventive Start page. Studio One Artist also comes with a Native Effects™ 32-bit effects library, complete with dynamics processors, reverbs, modulation effects, amp simulators, and more. And with Studio One's free Nimbit® extension, you can immediately start selling your music.
Inside, it's pure PreSonus.
Ease of use and powerful features only count if the sound quality is equally impressive. After all, it really comes down to how good those microphone preamps are, how clean the signal path is, and how well the algorithms perform.
That's why you should choose a digital mixer made by PreSonus, a company already famous for its analog mic preamps, pristine digital interfaces, and well-regarded signal processors.
XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. Ultra-high-headroom, 32-bit floating-point processing is used for all digital mixing. All analog inputs and outputs use the highest quality digital converters available.
The XMAX difference
At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. The StudioLive includes custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.
The job of a microphone preamplifier in a digital mixer is to boost a microphone-level signal to line level before conversion to the digital domain.
A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results.
But with XMAX preamps, the sonic quality is limited only by what microphone you plug into it.
XMAX preamplifiers are built with three key elements:
- High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.
- Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.
- Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.
The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between. [/EXPAND]
Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology, resulting in great stereo separation and clear, transparent audio.
Superb sound from the interface experts.
Ease of use and powerful features only count if the sound quality is equally impressive. After all, it really comes down to how clean the signal path is and how well the mixing algorithms perform.
That's why you should choose a digital mixer made by PreSonus, a company already famous for its analog mic preamps, pristine digital interfaces, and well-regarded signal processors.
Ultra-high-headroom, 32-bit floating-point processing is used for all digital mixing. All analog inputs and outputs use the highest-quality digital converters available, with +118 dB dynamic range, for spectacular sonic results and unmatched musicality.
Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology. JetPLL™ incorporates noise shaping to virtually remove all audio-band jitter, ensuring near-perfect clock performance and optimal converter performance when networking two or more digital-audio devices.
JetPLL quickly locks to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies.
As a result, you'll experience better stereo separation and clearer, more transparent audio.
StudioLive expands with your input needs.
Need more than 24 channels for mixing live shows and don't need to record? Daisy-chain two StudioLive 24.4.2s via their FireWire ports to get up to 48 input channels and 8 submix buses.
If you need more than 24 channels for recording, and you don't need a full channel strip for the additional inputs, you can daisy-chain a StudioLive 24.4.2 with any PreSonus FireStudio-series interface. It could not be simpler.
A Smaart addition to your system.
Building a great mix is almost impossible unless you tune your system to account for the acoustic properties of the room—and every room is different. If the room overemphasizes the lows, sucks out the highs, or emphasizes frequencies that tend to cause feedback, you could have a long night ahead of you.
With other mixing systems, you use your eyes, ears, and EQs; wade in; and do the best you can. If you're a top pro, you know how to read a difficult room and compensate, but the rest of us usually just muddle through—with uncertain results.
Fortunately, it's a lot easier with StudioLive mixers because the included VSL control/editor/librarian software incorporates Rational Acoustics' Smaart Measurement Technology™. Smaart is a collection of visual audio-measurement tools and techniques for sound-system analysis and optimization that makes tuning the system and squelching feedback much easier and more precise—and you don't need an engineering degree to use it.
Which StudioLive is best for you?
Why choose the StudioLive 24.4.2 rather than the StudioLive 16.4.2? Let's say you want more than 16 channels but want to keep your system compact. Perhaps the acts and events you mix require lots of monitor mixes, so you need more than the six auxiliary buses in the 16.4.2, and you want fully parametric EQ, rather than semi-parametric. You could use an enhanced gate with Key Listen and Key Filter features, and a Threshold control on the limiter would be handy. A stereo graphic EQ on the mains is mandatory but you also want graphic EQ on the subgroups and auxes at times—four dual-mono, 31-band graphic EQs would do the job nicely. No problem! You get all of these enhancements and more with the 24-channel, 10-aux, StudioLive 24.4.2.
If your needs and budget are more modest, you might want to consider the StudioLive 16.0.2. The StudioLive 16.0.2 provides fewer channels, mic preamps, aux buses, FireWire streams, graphic EQs, and meters than the StudioLive 24.4.2, and it does not have subgroups, digital outs and analog direct outs. Its faders are 60 mm instead of 100 mm, and you can't daisy-chain two 16.0.2s to create a larger system. And the StudioLive 16.0.2's Fat Channel is less elaborate than the 24.4.2 Fat Channel. However, the StudioLive 16.0.2 is much lighter and more compact than the 24.4.2, it's considerably less expensive, and it has a very cool feature that the larger StudioLives don't offer: MIDI control over main output level, effects levels and routing, and Scene change.
The StudioLive 32.4.2AI is the new top-of-the-line. In addition to providing more channels and aux buses than the other models, it has much more computing power and offers additional features, such as Quick Scenes, and the ability to store and A/B two complete Fat Channel settings for each channel and bus. It also provides direct wireless connectivity via an included USB LAN adapter and has an I/O-card slot that accepts optional Thunderbolt and Ethernet-AVB cards, so if you want the latest in connectivity, the StudioLive 32.4.2AI is the way to go.
You've read the book. Now see the movies.
We've provided plenty of written material about StudioLive. In addition, you can go to the Media tab at the upper section of this page and watch a whole series of instructional videos showing StudioLive mixers in church, club, and project-studio applications. Video blogs go into detail about various powerful StudioLive features. And we regularly add new videos.
Reading about the StudioLive 24.4.2 is a good start but nothing beats actually getting your hands on one, so visit your nearest PreSonus dealer today. Use our Where to Buy section to locate your nearest PreSonus dealer.
You'll see what we mean about intuitive ease-of-use. You'll hear what we mean about Class A preamps, rich DSP effects, and overall sound quality. And when you have seen and heard it for yourself, you'll understand why your new mixer should be a StudioLive—the most exciting small-format digital mixer on the planet.
Includes Studio MagicPlug-in Suite.
This suite of plug-ins adds a wealth of fresh virtual instruments and effects to Studio One. Cherry-picked from the first names in virtual instruments and effects, each plug-in brings a different flavor of practical magic to your songs. These plug-ins aren't gimmicky one-trick ponies — these are real-deal workhorses that you'll rely on for countless mixes.
Read more about the Studio Magic Plug-in Suite
Content and terms of the Studio Magic Plug-in Suite are subject to change.


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I Love Art, Adore the Handmade and Treasure the Vintage. I am the Fun Mom, the Silly Friend and the Writer who wants to make more room for beauty in the everyday.
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text:
- Home Toys for Little Ones
- Melissa And Doug Responsibility Chart
Melissa And Doug Responsibility Chart
Sold out.
Type: Toys for Little Ones
Vendor: Melissa and Doug
Catch children in the act of behaving well and reward them with a magnet on their hanging chore chart . . . then watch those good habits multiply! Open the fabric-hinged boards to reveal a behavior chart on one board, while the other board keeps all the magnets close at hand. A sturdy cord is attached for hanging. Includes dry-erase board and 90 magnets, including responsibilities, positive behaviors, and rewards.


text:
I'm having problem with a school assignment. I'm almost done with my program but I have one problem that I can't solve. The problem is with one of my SQL query's that are supposed to show players with different scores. When running my program I get the following error: Syntax error near expression..
My code:
The picture shows the GUI and how it is supposed to work. By entering 0,3 and 0,4 in the textboxes should filter out the player "Jack Blue".
Can someone please help me and explain what I can do to solve this problem?
// Moff
My code:
// Filters players. WORKS
private void button1_Click(object sender, EventArgs e)
view.RowFilter = "LastName like '%" + textBox1.Text + "%'";
if (textBox1.Text == "") view.RowFilter = string.Empty;
// Connection to the database. WORKS
private void Form1_Load(object sender, EventArgs e)
DataTable datatable = new DataTable();
SqlConnection connection = new SqlConnection(@"Data Source=.\SQLEXPRESS;AttachDbFilename=C:\Users\Mattias\Dropbox\C#\Databases\Baseball.mdf;Integrated Security=True;Connect Timeout=30;User Instance=True");
datatable.Load(new SqlCommand("select * from players", connection).ExecuteReader());
dataGridView1.DataSource = view = datatable.DefaultView;
// The following doesn't work
private void button2_Click(object sender, EventArgs e)
decimal minimum = Convert.ToDecimal(textBox2.Text);
decimal maximum = Convert.ToDecimal(textBox3.Text);
[B]// This is where the debugger throws the exception[/B]
view.RowFilter = String.Format("BattingAverage >= {0} AND BattingAverage <= {1}", minimum, maximum);
if (textBox2.Text == "") view.RowFilter = string.Empty;
if (textBox3.Text == "") view.RowFilter = string.Empty;
Can someone please help me and explain what I can do to solve this problem?
// Moff
Last edited:


text: GetMedia-3 By Greg Hendrickson August 5, 2019 facebook-letter-logo twitter-logo linkedin-logo pinterest-logo Facebook Twitter Pinterest LinkedIn About the Author Greg Hendrickson Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website This site uses Akismet to reduce spam. Learn how your comment data is processed.


text:
Searched for: author%3A%22Garcia+Ferrin%2C+Patricia%22
(1 - 1 of 1)
- document
Indoor positioning has several variants as a result of multiple years of study on the topic. Using WiFi signals as the technology to compute the position of the target device is one of the most extended and researched techniques. WiFi Access Points are extensively deployed in all indoor environments where WiFi indoor localization has a potential...master thesis 2019


text:
I am a big fan of iPhone/iPad games Fruit Ninja and Veggie Samurai, the latter being a clone of the former. In the game, there is a concept of a "Mega-Veggie". Essentially, normal veggies stop being thrown up, and one huge veggie comes out and you have to dice it many times to score a bunch of points.
In the current iteration of the game, there are three mega veggies I am aware of:
1) Mega Onion (Turns into Onion Blossom, +100 points)
2) Mega Carrot (Once diced grants +500 points)
3) Mega Pepper (Once diced grants +100 points)
4) Mega Potato (Once diced grants +100 points)
While I have certain intuitions about how to proc these mega veggies, there must be some underlying rules as to what makes them pop up.
What do you need to do to trigger each mega veggie type?


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Microsoft's privacy protection feature in Internet Explorer, known as P3P, is impractical to comply with while providing modern web functionality such as cookie-based features, Google said Monday in response to an accusation from Microsoft that Google had bypassed privacy protections in Internet Explorer.
Google is already facing allegations that the company circumvented privacy settings in Apple's Safari browser to plant cookies on users.
[ InfoWorld's Woody Leonhard says Google's cookie runaround in IE? Not a big deal. | Get your websites up to speed with HTML5 today using the techniques in InfoWorld's HTML5 Deep Dive PDF how-to report. | Learn how to secure your Web browsers in InfoWorld's "Web Browser Security Deep Dive" PDF guide. ]
"We've found that Google bypasses the P3P Privacy Protection feature in IE," Dean Hachamovitch, Microsoft's corporate vice president for Internet Explorer said in a blog post. The result is similar to the recent reports of Google's circumvention of privacy protections in Safari, even though the actual bypass mechanism Google uses is different, he added.
IE by default blocks third-party cookies unless a site presents to the browser a P3P Compact Policy Statement describing how the site will use the cookie and pledging not to track the user. Third party cookies are those dropped by domains other than the one in the user's browser address bar.
Google sends a P3P policy that fails to inform the browser about Google's use of cookies and user information, and is in fact a text statement that it is not a P3P policy, Hachamovitch said. The company is taking advantage of a technical nuance in the P3P specification, as in an attempt to leave room for future advances in privacy policies, the P3P specification states that browsers should ignore any undefined policies they encounter, he said. "P3P-compliant browsers interpret Google's policy as indicating that the cookie will not be used for any tracking purpose or any purpose at all," Hachamovitch said.
Google's senior vice president of communications and policy, Rachel Whetstone, countered in an emailed statement that Microsoft's policy is "widely non-operational".
Newer cookie-based features are broken by the Microsoft implementation in IE, Google said. These include features such as Facebook "Like" buttons, the ability to sign-in to websites using a Google account, and hundreds more modern web services. It is well known that it is impractical to comply with Microsoft's request while providing this web functionality, Google added.
Google said it has been open about its approach on P3P, and so have other websites including Facebook.
The cookies Google uses to secure and authenticate an user's Google account, and store his preferences, may be served from a different domain than the website the user is visiting, Google said on its support site. "The P3P protocol was not designed with situations like these in mind. As a result, we've inserted a link into our cookies that directs users to a page where they can learn more about the privacy practices associated with these cookies," it added.
Whetstone also referenced a Facebook statement on its website, that the P3P standard is now out of date and does not reflect technologies that are currently in use on the web, so most websites currently do not have P3P policies. "The organization that established P3P, the World Wide Web Consortium, suspended its work on this standard several years ago because most modern web browsers do not fully support P3P," it added.
Facebook social plugins are built and designed to protect privacy by providing users with social experiences on other websites without requiring any additional cookies to be set, the company said in a statement. "Therefore, our P3P policy is not intended to enable us to set additional cookies or to track users," it added.
Lorrie Faith Cranor, an associate professor of computer science and of engineering and public policy at Carnegie Mellon University, said in a blog post last week that companies sometimes use invalid CPs (compact policies) to circumvent Internet Explorer cookie blocking. CPs include codes that summarize the privacy policy for the cookie. A 2010 study by researchers from Carnegie Mellon collected CPs from 33,139 websites and detected errors in 11,176 of them, including websites of Facebook and Microsoft.
Facebook said that P3P, which was developed many years ago, is not effective in describing the practices of a modern social networking service and platform. Facebook has instead posted a public notice describing its practices which is consistent with Section 3.2 relating to policies in the P3P specification, it said.
The section of the P3P 1.0 specification states that in cases where the P3P vocabulary is not precise enough to describe a website's practices, sites should use the vocabulary terms that most closely match their practices, and provide further explanation in a human-readable consequence field or policy.
Google said last week that it did not intentionally install tracking cookies in response to a report about alleged privacy violations of Safari users. "We used known Safari functionality to provide features that signed-in Google users had enabled," Whetstone said in a statement last week. "It's important to stress that these advertising cookies do not collect personal information."
Three lawmakers from the U.S. House of Representatives have asked the Federal Trade Commission to investigate if the allegations of privacy violations of Safari users by Google is in violation of a consent agreement the company reached with the FTC last year.
[Nancy Gohring in Seattle contributed to this report.]
John Ribeiro covers outsourcing and general technology breaking news from India for The IDG News Service. Follow John on Twitter at @Johnribeiro. John's email address is firstname.lastname@example.com


text:
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text:
written by Adam Mann
|Juvenile (photo by Adam Mann)
|Adult (photo by Mizuki Takahashi)
Natural History
The Black Ratsnake is
one of the most common snakes found in West Virginia.
It is considered to be the state's largest serpent.
Individuals normally reach an adult size of 4 to 6 feet; however,
specimens have been known to exceed 8 feet in length.
In cross section, the bodies of ratsnakes are not round, but instead
resemble a loaf of bread. The
dorsal scales are weakly keeled, while the lateral scales are smooth.
Anal plate is divided.
Adults: The
bodies of adults are generally black on the dorsal side.
Red, yellow, or white areas of skin appear between the scales, often
showing evidence of the blotched pattern characteristic of juveniles (Conant and
Collins, 1998). The ventral side is
bright white in the throat and neck region, yielding to mottled black and white
checkers along the midbelly. Posteriorly,
the ventral scutes are uniformly black.
Juveniles exhibit a strong pattern consisting of 28 to 40 dark brown or black
dorsal blotches on a uniformly gray background (Mitchell, 1994).
The venter is checkered black and white. There is also a distinct brown or black stripe on each side
of the head, extending from the eye to the posterior jaw.
Normally, the pattern begins to become obscure and darken in individuals
over 2.5 feet, but can be retained much longer.
Similar Species:
Black Ratsnakes are
often confused with Northern Black Racers (Coluber c. constrictor), Black
Kingsnakes (Lampropeltis g. nigra), Cornsnakes (Elaphe g. guttata), Eastern Milksnakes (Lampropeltis t.
triangulum), and sometimes Northern Copperheads (Agkistrodon contortrix
mokasen). Racers are uniformly
black (except under the chin) with smooth scales on the dorsal side.
They are generally more slender and are round in cross section.
Kingsnakes have smooth scales and single anal plates. They also possess
white or yellowish flecks bordering the lower sides of the dorsum, which
sometimes form indistinct chains around the body. Most confusion in Black Ratsnake identification is due to the juvenile
pattern. Juvenile racers have a blotched pattern on the body,
but have a black tail. Cornsnakes
have a pattern consisting of red and orange blotches, which is retained into
adulthood. Milksnakes have a red
and white pattern, but have smooth scales and a single anal plate.
Copperheads have a banded pattern that is wider on the side than the top,
and juveniles have yellow tails.
Habitat and
Black Ratsnakes are
generally woodland dwellers, but are often found in a variety of habitats such
as swamp borders, river flood plains, rocky hillsides, mountain ledges, and open
fields (Green and Pauley, 1987). They
are often found in more developed areas, residing in houses, yards, and farm
buildings where they obtain food.
Black ratsnakes are
powerful constrictors. They are
semi-arboreal in nature and are often seen climbing trees to take shelter in
hollowed cavities and to search for food. They
feed almost exclusively on warm-blooded prey such as mice, rats, shrews, voles,
squirrels, chipmunks, rabbits, and birds. They
have been known to raid bird nests and devour the eggs.
Juveniles have been seen eating small amphibians and lizards as well. Black Ratsnakes are chiefly diurnal, but also remain
active at night during hot summer months.
The behavior of
Black Ratsnakes is unpredictable. Most
are aggressive when cornered or captured. They
often vibrate their tails in leaf litter, making some believe that they are
venomous rattlesnakes, ultimately leading to their demise.
However, some individuals are quite docile and show no objection to being
Mating occurs in
late April, May or early June. One
clutch of 4 to 25 eggs is laid in rotten logs, decaying leaf litter, sawdust
piles, or fallen hollow trees during late June or July.
The eggs are white and oblong, averaging less than 2 inches in diameter.
Incubation takes approximately two months. Hatching occurs from late August into October, with young
measuring 11 to 16 inches in length. Sexual
maturity is reached after 4 years of age.
Black Ratsnakes are very common in West Virginia and are found statewide. They have been observed from the lowest elevations up to 3,760 feet (Green and Pauley, 1987).
Black Ratsnake is extremely common and prolific. Thus, it is not listed as rare, threatened or endangered on
the state or federal level.
Interesting Facts
Black Ratsnakes are more commonly known in WV as "blacksnakes," a
name that probably groups them together with Northern Black Racers and Black
Black Ratsnakes are sometimes called "pilot snakes" because of their
hibernative association with venomous species.
It is believed that they pilot the other snakes to the safety of the den.
This is untrue, of course.
3) It is believed that Black Ratsnakes interbreed with copperheads, producing a venomous ratsnake. This is not possible. Most likely, the confusion arose due to the juvenile pattern of Black Ratsnakes superficially resembling copperhead juveniles.
*Taxonomic Changes
The scientific
classification of the Black Ratsnake is currently in dispute.
With further investigation, the name is likely to change to an entirely
separate genus, species, or both.
Recent publications
by Frank T. Burbrink (see below) have determined that the Black Ratsnake has
evolved from separate evolutionary lineages and can no longer be classified
under a single species name. Instead,
it must be considered one of three separate species (Elaphe obsoleta,
E. spiloides or E. alleghaniensis) based on
geographic distribution throughout the eastern United States.
A new publication by
Urs Utiger in the Russian Journal of Herpetology has determined that Old and New
World ratsnakes are phylogenetically different, requiring a change in genus (Utiger
et al, 2002). The proposed genus
name for New World Ratsnakes is Pantherophis, which is resurrected
from a previous taxonomic synonym. This
is very similar to the change from Natrix to Nerodia several years
ago for North American watersnakes.
Burbrink, F. T., R. Lawson, and J. B. Slowinski.
2000. Mitochondrial DNA phylogeography of the North American rat snake (Elaphe
obsoleta): a critique of the subspecies concept. Evolution 54: 2107-2114.
Burbrink, F. T.
2001. Systematics of the
Eastern Ratsnake Complex (Elaphe obsoleta).
Herpetological Monographs 15: 1-53.
Conant, Roger, and Joseph Collins.
1998. A Field Guide to
Reptiles and Amphibians: Eastern/Central North America.
New York: Houghton Mifflin Company.
Green, N. Bayard, and Thomas K. Pauley.
1987. Amphibians and
Reptiles in West Virginia. Pittsburgh:
University of Pittsburgh Press.
Mitchell, Joseph C.
1994. The Reptiles of
Virginia. Washington, DC:
Smithsonian Institution Press.
Utiger, U., N. Helfenberger, B. Schatti, C. Schmidt,
M. Ruf, and V. Ziswiler. 2002.
Molecular Systematics and Phylogeny of Old and New World Ratsnakes,
Elaphe AUCT., and related genera (Reptilia, Squamata, Colubridae).
Russian J. Herpetol. 9(2): 105-124.
|Page created by Adam Mann
|Last Updated - February 2003
|Questions or comments on the web site? Email Dr. Thomas K. Pauley at firstname.lastname@example.com


text:
What's Opening in Theaters Today
Friday means movies are opening! Though dreary January is a bleak time for cinema, there are a few prospects opening today. There's a crazy, mean old witch, plus some movies that don't star Gwyneth Paltrow.
Country Strong
Gwyneth Paltrow aims for the heartland with this country music redemption story that was, apparently, inspired by the tragic rollercoaster life of Britney Spears. Tim McGraw and Leighton Meester costar, blah blah, so what. All that matters is that Garrett Hedlund makes a mighty fine-lookin' cowboy. (Wide release)
Season of the Witch
Nicolas Cage's totally normal career continues to be totally normal with this regular-seeming movie about demons and witches in the olden times. It's too bad Nicolas Cage makes such regular, not-weird movies these days. (Wide release)
The Time That Remains
This visually intriguing movie tells a semi-autobiographical story of a group of Palestinians from 1948 to the present. So nothing bad ever happens and everyone's happy all the time, basically. (Limited release)
If I Want to Whistle, I Whistle
The current Romanian cinema boom continues apace with this award-winning story of a teenage boy facing his last two weeks in a juvenile detention center while on the outside his home life unravels. The hot new generation of Romanian filmmakers aren't exactly known for their sunny stories, it's true. (Opened in NY on Wed.)


text: Hair in convertibles just doesn't work the way it does in the movies. If you've ever driven around with the top down and hair of any length beyond cropped, you know it doesn't flow back like the sleek pin feathers of a majestic eagle in flight. It blows forward to attack your face, tying itself in tiny knots so as to better lash the lenses off your eyeballs.


text:
This Extra-vehicular visor assembly was worn by astronaut Neil Armstrong on the lunar surface during his historic Apollo 11 mission in July, 1969.
The A7-L Lunar Extravehicular Visor Assembly consists of a polycarbonate shell onto which the cover, visors, hinges, eyeshades, and latch are attached. It has two visors, one covered with a thermal control coating and the other with a gold optical coating. It also has two side sunshields which could be raised and lowered independently.
This helmet was worn over the pressure helmet and fastened with a latch during EVA periods, and provided impact, micrometeoroid, thermal, ultraviolet and infrared light protection.
Transferred to the National Air and Space Museum from NASA in 1971.
Exterior Visor: Gold-laminated polycarbonate
Interior Visor: UV plex
Fittings: Aluminium, steel
For more information, visit the Smithsonians Terms of Use.


text:
JPMorgan Ordered to Improve Controls After 'Whale' Loss
NEW YORK/WASHINGTON, Jan 14 U.S. banking regulators on Monday ordered JPMorgan Chase & Co to tighten its risk controls after the bank lost billions of dollars due to bad bets from a trader known as the "London Whale."
The Federal Reserve and the Office of the Comptroller of the Currency issued the consent orders which levy no monetary penalties and place no specific blame on any individuals.
Instead, JPMorgan and its board agreed to submit an improvement plan to the Fed within 60 days, including taking risk outcomes into account when considering top executives' pay packages.
In a separate action, the banking regulators also ordered JPMorgan to improve its compliance with the Bank Secrecy Act and anti-money laundering requirements.
The OCC began asking JPMorgan last April about its derivatives trades after press reports described contracts arranged by a London-based bank trader, nicknamed the London Whale by hedge funds for the size of the positions he took.
The company, which reports its fourth-quarter earnings on Wednesday, ultimately lost $6.2 billion on the trades, saw its reputation and stock price badly damaged, and for six months lost government approval to buy back its own stock.
Monday's enforcement actions remove one small cloud hanging over the bank, but it still faces probes from the U.S. Department of Justice and the Securities and Exchange Commission, among others.
The UK Financial Services Authority issued a statement on Monday saying it is also continuing to investigate the trading losses.
JPMorgan neither admitted nor denied the findings. Spokesman Joe Evangelisti said the company "has been working hard to fully remediate the issues" cited by the regulators over the losses.
Evangelisti added that complying with anti-money laundering responsibilities "is a top priority."
"We have already made progress addressing the issues cited in the consent orders, which contain no allegations of intentional misconduct by the firm or any of its employees," Evangelisti said.
The public filings from the two regulators do not include names of bank officials or details of who the investigators believe did what wrong to lose the money.
The Fed order, besides concluding that there were deficiencies in risk controls, said broadly that senior management had failed to bring problems with the trades to the attention of members of the company's board of directors.
While JPMorgan pay contracts include so-called "clawback" provisions to take back compensation from executives after losses, the Fed order requires JPMorgan directors to consider "further enhancements to the firm's compensation processes for senior executives," including ones that factor in poor risk controls.
The Fed also puts new reporting requirements on the company, including quarterly progress reports on compliance with the order.
Jaret Seiberg, senior policy analyst at Guggenheim Securities, said despite the lack of monetary penalties, the enforcement action still shows that regulators are turning up the heat on risk management systems.
"I don't think that detracts from the overall message here," Seiberg said about absence of any fine.
U.S. regulators have also been cracking down recently on lapses at banks on their anti money-laundering controls. Banks are supposed to flag suspect transactions from sanctioned countries or those from customers with ties to drug trafficking or terrorism.
Britain's Standard Chartered Plc last year agreed to pay a total of $667 million to U.S. and state regulators to resolve anti-money laundering probes, while HSBC Holdings Plc , also headquartered in Britain, agreed in December to pay $1.9 billion to settle a U.S. inquiry.
In April, the OCC identified major lapses in compliance systems at U.S. bank Citigroup Inc, which did not pay a monetary penalty.
The anti-money laundering inquiry of JPMorgan, the biggest U.S. bank by assets, dates back several months, Reuters reported last week in a story that said an enforcement action was expected.
As the regulators continue to comb through JPMorgan's anti-money laundering system, they could find additional lapses and issue a monetary penalty, said Peter Djinis, a former Treasury official who helped develop some U.S. anti-money laundering regulations.
Even if the bank does not face a monetary penalty, it is likely to be forced to spend millions of dollars on bolstering its anti-money laundering program.
"They can't do this on the cheap," Djinis said.
Copyright 2010 by Reuters. All rights reserved.


text:
"Oh, the anonymity of the internet makes people behave badly!"
"If we just used real names, there people wouldn't be as vicious."
"Oh, that's just 20-something guys in internet chatrooms. That's how they all are."
On the contrary, the viciousness we see, isn't just a side effect of the internet. It's a side effect of our culture.
No, I would go beyond that. It isn't a side effect of our culture. It *is* our culture.
Why would I ever say this? I mean, everyone knows that those anonymous trolls on reddit would *never* act like that in the real world. It's the structure of the internet that allows them to be assholes. Everyone knows that if we just avoid the problematic sites, like reddit, or the skeptics movement, or, well, anywhere else online, we wouldn't have to deal with this.
People do act like that in the real world.
(If you don't know Emily's blog, you ought to. She doesn't post often, but what she does post is really good. This one from last year still gets me.)


text:
Library Search
The NRFC Library is a collection of materials to build a knowledge base around fathers, fatherhood, and operating a Responsible Fatherhood program. It also houses all resources created by the NRFC, including fact sheets, PSAs, and past webinars.
Use the search options provided below to find resources that you are interested in.
In the present study, we examine the associations between the amount of time that U.S. employed fathers took off from work after the birth of a child (i.e., paternity leave-taking) and trajectories of how frequently fathers engage with their children and take responsibility for them. To do so,…


text:
- This event has passed.
May 29 @ 12:00 pm - 1:00 pm
|Recurring Event (See all)
An event every week that begins at 12:00 pm on Monday, repeating until September 15, 2023
Kabbalah Lunch & Learn
Every Monday. 12 PM.
Currently over zoom: https://us02web.zoom.us/j/88381277291
Kabbalah is the ancient Jewish mystical tradition which teaches the deepest insights into the essence of G‑d, His interaction with the world, and the purpose of Creation.
Kabbalah is more about losing ourselves than about finding, becoming more other-centered and less ego-centered. The literal translation of the word Kabbalah is 'that which is received.' To receive we must be receptive.
Looking forward to learning new things with you!
Questions: firstname.lastname@example.com


text:
So You Want to Build a Guitar? Pt. 7
February 7, 2008
The guitar, taking shape, but before contouring Rear Routes Things start moving quickly at this point as we see the guitar really starting to form. We are going to
Things start moving quickly at this point as we see the guitar really starting to form. We are going to be flipping the guitar face down – this is where our tooling holes help align everything for the routing operations. We lose access to the third tooling hole on the rear of the headstock while upside down, but by recessing the fretboard into the fixture it helps keep everything lined-up during machining.
Tummy Contour and Neck Shape
This is the single, longest running machine program for me, taking approximately 30 minutes to cut the tummy contour and the neck shape using a 5/8" ball nose cutter. If you're doing this manually you can rough-in the tummy contour by slicing it on a bandsaw while attached to an angled jig. The jig is simple – two flat boards, two hinges, an angle adjustment and then lock it in place. Trace your final tummy contour shape from the rear and side view and saw as close to the lines as you are able. With a little finesse, you can also sand the final shape into the contour with a spindle or edge sander by employing the same angle jig.
Routing the rear tremolo cavity is all that is left, so we can flip it back over for the home strech. This is performed using a 1/2" end mill to route the spring cavity and the deeper tremolo block cavity.
Now we put our first fixture back on to complete the control cavity, pickup routes, input jack, top tremolo route and the body perimeter, all using a 1/2" end mill. We currently have all three of our tooling holes in use during this operation until the body shape is completely cut out. If routing manually, a hand-held plunge router using 1/2" router bits with 1/2" bearings will do the job nicely for pickups, controls and tremolo routes. A standard table router (hand-held router mounted upside down in a stand or tabletop) is great for routing body shapes. If you have a pin router, you're loving life and can sail through many of these operations like a human CNC with better quality cuts than hand routers and bearing cutters.
There are a few steps to finalizing the headstock. First is drilling our tuners. We have a flat surface on the rear of the headstock, but we also have the 12 degree headstock pitch to deal with. We already have a center mark for our tuner locations from earlier, so we will drill using a 25/64" brad point drill bit to a minimum depth of .750" for a set of locking Sperzel tuners. For this we need to have an angled fixture to get our headstock square to the drill bit, so we have a 12 degree ramp pinned in place on the table; just slide the guitar around to drill all six tuners.
Next we move over to the bandsaw, place the face of the headstock against the fence and resaw our headstock to a thickness of .700", cutting from the tip of the head to about an inch shy of the nut. Once complete, we freehand the final excess material as it slopes into the neck's back shape with the bandsaw.
Then it's back to the CNC – I use a jig that has a relief cut for both the front and rear of the headstock so the head self-aligns easily. For the first operation, place the headstock face down and fly cut the rear to a final thickness of .580" using a 2" diameter fly cutter. The headstock thickness could also be fly cut manually on a drill press with a Wagner Safe- T Planer.
Finally, we flip the headstock around – face up – and route the pocket to drop in our gold pearl b3 logo using a .031" end mill. Any headstock inlays could be routed using a Dremel tool with router base.
Next month we'll get to all the final hand operations as we get this baby ready for the paint department.
Gene Baker
Any questions or comments visit
email me at email@example.com
Fine Tuned Instruments LLC, home of his "b3" instruments.


text:
The Seven Dwafs (W CP1-02)
Roger Joseph Armstrong was a funny animal artist for the Dell/Western/Gold Key comic books from the 1940s to the 1980s. Under the Disney label, he did stories with characters like 'Hiawatha', 'The Seven Dwarfs' and 'Super Goof'. Throughout the 1940s, he illustrated such Warner Bros titles as 'Mary Jane & Sniffles', 'Bugs Bunny' and 'Porky Pig', as well as several Walter Lantz titles.
From the mid-1960s to the early 1970s, he did several Hanna-Barbera features, such as 'Flintstones', 'Funky Phantom' and 'Where's Huddles', while also working as a storyboarder for the H-B cartoons. He was also a versatile artist for the daily press. In the 1950s, he drew the daily 'Ella Cinders' strip, originally created by Bill Conselman and Charles Plumb.
Little Minnehaha (W WDC43-04)
From 1978 to 1988 he did the daily and Sunday 'Scamp' pages. His other daily credits include 'Bugs Bunny' (1942-44, 1979-81), 'Napoleon & Uncle Elby' (1950-1960) and 'Little Lulu' (1963-67). Armstrong was active throughout the 1980s, doing illustrations for juvenile books with Disney characters. He has additionally taught art classes at several art school.


text:
Pause Bracelet Black
Price: $37.49
In Stock
CMC *Supporting Members* pay only $33.74
To become a CMC *Supporting Member* click here
Meaning to Pause® Bracelet — black
You must check one of the sizes above when ordering.
Today we move too fast. We are too busy. We are on the go trying to get it all done. Try as we might we seem not to rule the kingdom of our minds. Our heads are filled with lists, errands, work, family, and just too many obligations. Our intentions are good. We want to remember our A Course In Miracles Workbook Lesson of the day every hour, but time slips away. The evening comes and many of us realize that we forgot to practice our lesson every hour, or even to remember it at all past our morning practice.
The Meaning to Pause® bracelets help ACIM students remember their daily Workbook lesson throughout the day using a charming bracelet with private reminder technology. Every 60 minutes the bracelet vibrates on the wearer's wrist. Its gentle vibration is a private, but deliberate, reminder that helps wearers remember that it is time to think of their Workbook lesson. At the end of the day, the wearer will have lived their best and most purposeful day by giving the Workbook lesson meaning to the hourly pauses.
Bracelets come in three sizes: small 6.5 to 6.75 inches, medium 7.0 to 7.25 inches, and large 7.5 to 7.75 inches. Bracelets fit snug on the wrist so measure your wrist and choose the appropriate size from list above. Bracelets come with spare battery and a tool to open bracelet and replace battery. Bracelets also come in a natural/light brown color with Jasper beads. See the link below.
Get ready to step up your practice of the ACIM daily lessons.


text:
Hotel Bliss
Hotels Saint-Tropez
1 place de la Republique
83310 Saint-Tropez
The Bliss Hotel is a great place for a summer vacation on the splendid bay of Pampelonne, in the Var area, Southern France. Situated in Cogolin city center, the property is only a few minute's drive from the vibrant nightlife of Saint-Tropez and the lovely beaches of Sainte-Maxime seaside resort. Recently renovated, this French Riviera hotel boasts contemporary designed interiors and comfortable rooms decorated in a zen, minimal style, ensuring guests a relaxing stay in Cogolin. The Bliss Hotel also features a welcoming, spacious lobby and a luminous breakfast room, where guests can enjoy a tasty continental breakfast before a day's sightseeing in Cogolin and Saint-Tropez, relax and check their e-mails thanks to a free wireless Internet access. If you plan to ckeck in after 8 p.m., please contact the hotel in order to get your access code.
|Private parking
|Internet/Email services
|Room service - limited hour
|Multilingual staff
|Air conditioning
|Baby cots/cribs available
|Rooms with view
|Hairdryer in each room
|Non-smoking rooms
|Satellite TV
|Wireless Internet access
|LCD flat screen TV


text:
Notes on the Gospels: Principally Designed for the Use of Sunday School Teachers and Bible Classes
Religious Tract Society, 1799 - 394 pages
From inside the book
Page 181
... one to another , Did not our heart burn within us , while he talked with us by the way , and while he opened to us the scriptures ? ' Our heart burn within us . ' This is an expression denoting the deep interest and pleasure they felt ...
... one to another , Did not our heart burn within us , while he talked with us by the way , and while he opened to us the scriptures ? ' Our heart burn within us . ' This is an expression denoting the deep interest and pleasure they felt ...
Other editions - View all
Common terms and phrases
Acts answered apostles appear bear behold believe blessings body called cast character Christ christians coming command Compare dead death denotes desire disciples doctrine enter eternal evidence expected expression faith Father favour fear feast feelings follow friends gave give given glory gospel hand hast hath hear heard heart heaven Holy honour Jerusalem Jesus Jews John judge King kingdom knew known light live Lord Luke manner Mark Matt means Messiah mind miracles Moses nature never pass Peter pharisees Pilate poor prayer presence priest probably proof proper prophets reason receive refers regard religion saith unto Saviour say unto seek seen sent servant sinners sins soul speak Spirit sufferings supposed teach temple thee things thou took true truth unto viii whole word
Popular passages
Page 111 - Or what king, going to make war against another king, sitteth not down first, and consulteth whether he be able with ten thousand to meet him that cometh against him with twenty thousand...
Page 105 - O Jerusalem, Jerusalem, which killest the prophets, and stonest them that are sent unto thee; how often would I have gathered thy children together, as a hen doth gather her brood under her wings, and ye would not!
Page 157 - Then let them which are in Judea flee to the mountains; and let them which are in the midst of it depart out; and let not them that are in the countries enter thereinto. 22 For these be the days of vengeance, that all things which are written may be fulfilled.
Page 163 - But ye shall not be so : but he that is greatest among you, let him be as the younger ; and he that is chief, as he that doth serve. 27 For whether is greater, he that sitteth at meat, or he that serveth ? is not he that sitteth at meat ? but I am among you as he that serveth.
Page 171 - And Pilate, when he had called together the Chief Priests, and the rulers, and the people, 14 said unto them, " Ye have brought this man unto me, as one, that perverteth the people : and, behold, I, having examined him, before you, have found no fault in this man, touching those things, whereof ye accuse him : 15 no, nor yet Herod : for, I sent you to him ; and, lo, nothing worthy of death, is done unto him. 16 I will, therefore, chastise him, and release him.
Page 83 - And he from within shall answer and say, Trouble me not : the door is now shut, and my children are with me in bed; I cannot rise and give thee.
Page 320 - The Jews then which were with her in the house, and comforted her, when they saw Mary, that she rose up hastily and went out, followed her, saying, She goeth unto the grave to weep there.
Page 238 - So Jesus came again into Cana of Galilee, where he made the water wine. And there was a certain nobleman, whose son was sick at Capernaum.
Page 43 - And devils also came out of many, crying out, and saying, Thou art Christ, the Son of God. And he rebuking them suffered them not to speak : for they knew that he was Christ.
Page 136 - They did eat, they drank, they married wives, they were given in marriage, until the day that Noe entered into the ark, and the flood came, and destroyed them all.