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This User Guide explains the Sensel Morph hardware, features, software and, most importantly, how to use it. This User Guide is maintained in its own github repository. If you have suggestions, corrections, or improvements, you can log an issue or even fix it yourself and make a pull request.
Overview - What is Morph?
The Sensel Morph is a multi-touch, pressure sensitive, and reconfigurable control surface for artists, musicians, coders, and other creative people.
There are several different Overlays for the Morph - each provides a different interactive interface for different creative softwares. Simply remove the current overlay and put down a new one - the Morph reconfigures and adapts to the new task at hand - playing music, editing video, drawing, playing games, or programming your own interface with the Sensel API.
The Morph can be connected with USB or wirelessly via Bluetooth 4.0LE.
Highly Sensitive:
- 185 x 105 sensor elements ("sensels") at a 1.25mm pitch (approx. 20,000 pressure sensors)
- 5g - 5kg sensing range per touch
- Each contact can sense approximately 30,000 levels
Extremely Fast:
- Full Resolution Mode: 125 Hz (8 ms latency)
- High Speed Mode: 500 Hz (2 ms latency)
Precise Tracking:
- 6502 dpi
Versatile Connectivity
- Bluetooth LE, USB, Serial (enabled with Innovator's Kit)
On-the-Go Power
- USB, Rechargeable Lithium Ion Polymer Battery
1 - Overlays received in your box depend on Overlays ordered.
Supported Operating systems
Operating system | USB MIDI | Bluetooth LE MIDI | SenselApp |
Mac OS X/macOS 10.10 + | Yes | Yes | Yes |
Windows 7 and 8 | Yes | No | Yes |
Windows 10 Anniversary Edition | Yes | Yes | Yes |
Ubuntu/Debian-based Linux1 | Yes | Yes3 | No |
Android | Yes | Yes2 | No |
iOS | Yes | Yes | No |
1 - Many linux distributions will support USB MIDI. Only distributions that use the bluez stack will support BLE MIDI.
2 - Supported in Android Marshmallow and up
3 - Guide is specific to Ubuntu 16.04
Quick Start
This guide will help you get your Morph out of the box and working with your computer or mobile device.
1 Download Software
Download the SenselApp mapping and configuration application from the Sensel website. This is a great tool for getting the most out of your Morph, and essential for updating its firmware.
2 USB connection
- Remove the Morph and the supplied USB Micro cable from the box.
- Connect the Morph to your Windows or MacOS computer with the USB cable.
- The Morph will power up and automatically connect to your operating system.
3 Update Firmware
Make sure you have a reliable internet connection and launch the SenselApp on your computer with the Morph connected. The application will query our servers and find out if there is a firmware update available. If there is an update available, update your firmware by pressing the red button. You'll be alerted of progress and completion.
It's best to update firmware with a direct connection to a USB port to your computer, rather than through a hub.
4 Launch the Visualizer
The Visualizer is the easiest way to see activity on your Morph and confirm that the hardware is communicating with your computer.
Turning On, Turning Off
- Turn the Morph off by holding the button down for a few seconds. When the red LED light goes off, release the button. If you release the button before the light goes off, the Morph will still be drawing power.
- The Morph will automatically turn on when connected to a USB host.
- If off, hold the button down for a second or so to turn on. Release when the LED light turns white (USB) or turns blue (wireless).
- If the Morph is plugged into USB, disconnecting from USB will turn power off.
At first glance, the Sensel Morph appears a fairly simple piece of hardware. It consists of a flat rectangular area of force-sensing circuitry, a slightly raised area that contains additional processing circuitry, LEDs, a button, and micro USB connector. This sleek hardware is actually quite powerful, as you'll find out.
There are two locations for LEDs on the Morph. The single LED on the top right corner of the device can show a variety of colors, and the LED strip which will always be white.
Status RGB
This LED changes colors to indicate different statuses. The different color and blink patterns are as follows:
- White: Communication is happening to the device over USB
- Blue stable: The device is in bluetooth mode
- Blue pulsing: The device is in bluetooth pairing mode
- Yellow: The device is in update mode (this means you should open the Sensel App and update the firmware on your device)
- Purple: The device is communicating through the Developer's Cable (you won't see this unless you're using the Developer's Cable from the Innovator's Kit)
- Red: Indicates a low battery or powering off device. To turn off the Morph, press and hold the power button for 5 seconds. After 2 seconds the red LED will turn on. Wait until the LED turns off before releasing the power button.
There is a strip of 24 white LEDs. These light up when areas are pressed on the Overlays and can be controlled with the API.
Use to power the device on/off and put in Bluetooth pairing mode.
- Press to turn on
- Hold for a few seconds to put in pairing mode (blue pulsing LED)
- Hold for a few seconds to turn off (wait for red LED to flash and then go off)
- Click to see battery level (indicated by the fullness of the LED strip)
- Double click to disconnect from current device and put Morph in pairing mode
USB Connector
The Morph has a single USB micro connector for charging the battery and providing a serial connection. The Morph is a composite HID device, so it is always a MIDI, Keyboard, Gamepad, Digitizer, Mouse and serial communication device so we can send events to the appropriate output based on the overlay layout and mapping.
Bluetooth Transmitter
The Morph can seamlessly switch between Bluetooth and wired operation. Read on for details on connecting to your device with Bluetooth.
Force Sensor Surface
Without an Overlay, the force sensing surface can be used with the Visualizer in the Sensel App to view pressure levels and contact regions. It is no more or less durable than the rest of the case.
Battery Life
The Morph has a built-in rechargeable 3.7 volt Lithium Ion Polymer battery rated at 420 mAh.
Care and Feeding
The Overlays are made of silicone rubber with a silicone top-coating for a smooth feel. You can clean them with warm water and soap. While we have tested a variety of substances to ensure quality, it is known that some sunscreens and lotions can be contaminants to plastics. So, to ensure longest life for your Overlays, try not to use Overlays when your hands have excess lotion or sunscreen on them. Additionally, silicone is susceptible to tears. Once torn, it's difficult to stop. Use the handy case we provide to keep your Overlays away from loose change, hairpins, keys, or other sharp items!
The LiPo battery's charge is handled by the Morph's internal electronics. However, a general rule-of-thumb for LiPo batteries is that they should not be stored at full charge. If you will not be using the Morph for a while, turn it on and let the battery charge down.
The black surface of the pressure sensor is made of durable PET (Polyethylene Terephthalate) plastic.
Chemical Testing
The Overlays have been tested with a variety of food and chemicals. * Ketchup * Coca Cola * Banana Boat Sport Sunscreen * 91% isopropyl alcohol * 95% denatured alcohol
We tested an overlay for approximately 25 hours contact in room temperature of about 62 deg F (~17 deg C).
- All materials were wiped off with paper towels
- The overlay was washed with liquid dish detergent and lukewarm water and dried
- No visual change was observed in any of the exposure areas
We concluded that coated and uncoated overlays have similarly good resistance to the tested chemicals, with the exception of ketchup, which causes a lingering and noticeable vinegar smell.
Thickness measurements are with the rubber feet. Subtract 0.75 mm for thickness measurements without the rubber feet.
The Overlays are the modular interfaces that are placed on the Morph and change how the hardware responds to inputs. There are eight (8) magenets on each overlay that hold the overlay in place and identify the overlay to the microcontroller firmware. Visit the Sensel video page to watch videos that explain many of the overlays in depth.
There are scripts for Bitwig Studio and Ableton Live that provide deep integration and context sensitive mapping. Documentation for the scripts for Bitwig Studio and Ableton Live are in the Software Setups portion of this guide.
The QWERTY Overlay works like a regular QWERTY keyboard. It's great for using the Morph as a keyboard for iPads and other tablets. You will need to configure it for your Operating System using the Sensel App.
The AZERTY and DVORAK Overlays provide access to more internationally-used keyboard layouts.
The Piano Overlay sends MIDI data on Channel 1 from the Morph to your device so you can play software synths and samplers. By default, the Piano Overlay sends notes on MIDI channel 1 and the default octave starts at note 60 (C31). You can transpose up and down two octaves with the arrow keys. Additionally, you can create vibrato by moving your fingers side-to-side, bending the note.
The play, stop, and record buttons send MIDI Machine Control (MMC) commands to enable those features. Some software products, such as Ableton Live, do not recognize MMC, so they will seem to not work in those cases. You may want to remap these to a MIDI CC or note, or use the Control Scripts for Bitwig or Ableton Live.
Since there is no standard MMC message for "loop," the loop button sends a MIDI note, allowing you to use software MIDI latch (or learn) to use it to control the Loop function in your software.
1 - MIDI notes conventionally start at note number 0, named C-2. This is not a standard, as this convention has been broken many times, but most music software today tends to call MIDI note 60 C3.
The Drum Overlay sends notes on MIDI Channel 10. The Default notes start at 36 (C3). The arrow keys transpose all notes up or down 16 semitones to better work with many software drum machines, which work in banks of 16 notes.
The play, stop, and record buttons send MIDI Machine Control (MMC) commands to enable those features. Some software products, such as Ableton Live, do not recognize MMC, so they will seem to not work in those cases. You may want to remap these to a MIDI CC or note, or use the Control Scripts for Bitwig or Ableton Live.
Music Production
The 16 Pad grid sends on MIDI Channel 2, the controls send on MIDI Channel 2, the "piano keys" send on MIDI Channel 3.
The play, stop, and record buttons send MIDI Machine Control (MMC) commands to enable those features. Some software products, such as Ableton Live, do not recognize MMC, so they will seem to not work in those cases. You may want to remap these to a MIDI CC or note, or use the Control Scripts for Bitwig or Ableton Live.
Buchla Thunder
The Buchla Thunder overlay is made in conjunction with synthesizer company Buchla U.S.A. Based on Don Buchla's Thunder MIDI controller, the Buchla Thunder Overlay provides an ergonomic interface for playing and controlling hardware and software synthesizers. It is an ideal interface for using MIDI Polyphonic Expression (MPE), as it is designed for slides, glides, and pressure.
There are nine (9) presets of different settings. Hold the top "programmer's bar" in combination with the 1-9 keys to change presets. By default, presets 1-4 provide different scales using MPE, presets 6-9 use standard MIDI on channel 1, and preset 5 provides several MIDI CC messages to create sliders and momentary buttons. Use the SenselApp to program different controls for the different sets.
The large, bottom hexagonal controls are used as XYZ MIDI controllers, sending MIDI CC commands from horizontal, vertical, and pressure actions. These are wonderful for sound design and exploration.
MIDI Mapping XYZ Controls
If you need to use a software MIDI learn function, it can often be difficult for the software to choose from the three messages send when you touch the controls. You can use the SenselApp to disable two of the dimensions when learning one. For example, set the CCs for X and Y to "none", then "Send Map to Morph." Then press the control when your software is in MIDI learn mode:
It is admittedly cumbersome, but worth it. We hope software will soon adapt their ease of use for such innovative controls!
We have a step-by-step video of how to map XYZ controls on our YouTube Channel.
Buchla Thunder Presets
The Buchla Thunder Overlay can store nine different mappings for the layout. These can be any combination of MIDI notes, continuous controllers, keyboard commands, and other messages. By default, presets are different scales. Presets 1-4 use the MIDI Polyphonic Expression (MPE) standard. Presets 6-9 use standard MIDI on channel 1. Preset 5 is a collection of MIDI continuous controller (CC) messages useful for mapping to parameters in your software. The large hexagonal controls are setup to act as 3-way CC controls (vertical, horizontal, and gesture).
Changing Presets
Hold the top middle "programmer" bar, then select a preset with buttons labeled 1-9 to load a preset at any time.
Editing Presets
Use the SenselApp to edit the presets for the Thunder Overlay. Select a preset to edit from the top Preset Selectors. Then, edit the controls on the Thunder by clicking on them, and changing values in the Inspector. If you want to copy and paste a preset to another, simply select all (CMD or CTL-A) then copy (CMD or CTL-C), then select a Preset at the top. Select all again, then paste (CMD or CTL-V). This copies all the settings to the preset.
Video Editing
The Video Editing Overlay is a control surface that sends keyboard and mouse events to enable professional video editing.
By default, the Sensel Morph works with Adobe Premiere on Windows. For Premiere on macOS, the macOS Sensel App contains the macOS mapping which can be sent to the Morph. Open the Video overlay in the Sensel App and click the "Send Map to Morph" button to send the Map.
If you require a specific mapping for your program, you can use the Sensel App to create your own mappings for each program.
If you are using Premiere CC, you may need to add a keyboard shortcut in Premiere to change focus to the timeline panel, which has been removed in some versions. By default, the Sensel Morph will send Shift+3 when you click the timeline button.
No driver is required for the Video Editing Overlay.
Jog Wheel and Navigation Controls
The central Jog Wheel and surrounding navigation controls serve as the primary means of moving along a video timeline.
The Jog Wheel moves one frame for each of the eight detents around the knob. You can modify the speed of the jog wheel by pressing the modifier keys.
The Shuttle Buttons are pressure sensitive buttons that repeatedly press a key at different pressure levels, allowing you to shuttle quickly along the timeline. When you release the Shuttle Button, a halt key is sent. In Premiere, J or L is sent as you push on the Shuttle Button and K is sent when you release the Shuttle Button.
The Video, Audio, and Zoom sliders all send key events as you move along the slider. In Premiere, the sliders adjust the size of the video, audio, and zoom of the timeline elements. The Navigation Slider is a slider that sends scroll events for moving along the timeline. In Premiere, the timeline requires you to click on the timeline before you can scroll. The Navigation Slider is not remappable.
The other buttons in the central navigation area all send key events that are used to move through the timeline.
Jog Wheel Modifiers
The Jog Wheel Modifiers change the function of the Jog Wheel while you hold down the buttons. By default, these modifiers are set to Slip, Slide, and Nudge in Premiere and can be customized using the Sensel App.
Other Control Buttons
The rest of the control buttons on the Video Editing Overlay send key commands that can be customized using the Sensel App.
The Gaming Overlay converts the Morph into a game controller. Based on popular controllers, the Gaming Overlay has all the controls you need to play games.
The Gamepad Overlay sends standard Human Interface Device (HID) gamepad events to your computer or smartphone. While most devices support this standard, not every game does. To bridge this gap, emulators can be used to change HID gamepad events to events that the game can understand, such as XBox controller, Playstation Dualshock, or keyboard events.
If the buttons on the overlay don't perform the right action in the game, use the SenselApp to customize the event values.
For other cases, you can use software to emulate controllers.
USB Game Controller - comes with Windows 10. Open the USB Game Controller in Windows, select "Sensel Morph" and click "Properties" to see the available buttons and joysticks.
TocaEdit Xbox 360 Controller Emulator - software lets a controller emulate an Xbox 360 controller and customize gamepad events. Download our mapping file. Unzip and put this map and the x360ce.exe
executable file in the same directory as the game executable.
The emulator Enjoyable maps HID events to joystick for game control compatibility.
Some browsers support gamepad input using the Gamepad API. Gamepad support can be found on the Can I Use website
Gamepad-over-Bluetooth will be supported in future releases.
The Art overlay is more than just a new stylus. Offering several modes for drawing styles, tools, and methods, the Art overlay takes full advantage of the Morph's powerful pressure sensors to give the visual artist new and old ways of creating digital drawings. Not only can the Art overlay enable the use of an arbitrary stylus (pen, pencil, chopstick, fingernail), but it also allows use of the "natural" artist tools: brushes, crayons, chalk, charcoal, and more. What's more, the Morph's 32,000 levels of pressure is vastly more sensitive than any other drawing tablet.
With the proper setup, your drawing software will adapt to brush size and orientation of the tool, letting instinct and muscle memory translate into great digital art.
When the Art Overlay is placed on the Morph, it shows up as a USB HID Graphics Tablet. You can press the "hand" button to immediately begin navigating your computer's desktop and file folders. Once you open a graphics application, you can use the other modes to start creating. Any graphics software that accepts input from a stylus will work with the Art Overlay. The top buttons stay out of the way of your drawing hand providing macros (the "dot" buttons) and mode selection. The side buttons and slider add navigation and macro control. These are arranged symmetrically to allow for left or right hand artists. Normally, you would disable the side buttons on the dominant-hand side (to avoid an accidental trigger with a knuckle), and use the off-hand on the slider and buttons.
- USB only.
- Mac OS 10.11 and below
- Windows 10
Don't use a sharp object as a stylus. Silicon is prone to tearing and slicing, so you can easily damage the overlay with a sharp object. Retract your pens, and think twice about using a mechanical pencil directly on the overlay!
Pen Button - Pen Mode with Paper
Pen mode lets you draw with real ball-point pens and graphite or colored pencils so you can use the medium and tools that feel most natural to you. Drawing on paper makes digital drawing easier to learn, since you can use the familiarity of paper to see where your strokes will be drawn, without the learning curve of most graphics tablets. For paper mode, it is wise to place two sheets of paper over the Art Overlay (a single thin sheet might let sharp pens poke through) and watch as your pen or pencil-strokes appear on the screen. The morph will act like a graphics tablet wherever it recognizes the pointy tip of a pen or pencil, so you can use it to draw in any standard drawing program.
This mode features the Sensel Stylus Detection (a.k.a. "palm reject") algorithm so you can rest your hand on the Morph while you draw. Paper Mode may work with a variety of drawing implements, as long as they have a relatively small and hard drawing tip.
Pen Button - Pen Mode without Paper
This mode transforms the Morph into a drawing tablet. To enable paper-less drawing, check the "Use without paper" check-box in the Sensel App, and press the "Send Map to Morph" button. You can use any hard stylus-like objects such as the back of a pen or paintbrush, a retracted ball-point pen, or even a fingernail to draw using the Morph. A light touch with the stylus will show a drawing cursor, so you can see where your stroke will begin. A harder force will start drawing the stroke. You can adjust the drawing force using the slider in the Sensel App.
Brush Button - Paint Mode
Paint mode brings the richness of physical media such as artists' charcoal, or conté crayons, brushes, or finger-smudging to your drawing software. Paint mode lets you map the width, orientation, and pressure of your physical brush to properties of your digital brush. Since fingers and brushes can look much alike, this mode does not support palm rejection, so make sure not to rest your palm on the surface surface. Note that for soft brushes Paint Mode works better with no overlay on your Morph. You can set the default No Overlay mode to Paint Mode in the Sensel App.
Hand Button - Touchpad mode
Touchpad mode transforms the Morph into a giant touchpad, so you won't need to carry along a mouse to interact with your art software's GUI. You can also scroll around your project using two finger swipes, right-click with a two-finger tap, or click with a firm press of your finger.
All buttons are re-mappable with the SenselApp. Default behaviors provide popular controls and pan-zoom navigation.
- Dots - can be customised to your most frequent commands. By default, these are mapped (in order form left to right) to Undo/Redo, Step Back, Step Forward (in Adobe products), Tab, Page Up, and Page Down.
- Top Slider - controls zoom level in Adobe products by default. You can use the SenselApp to re-map it to change brush size, transparency, or other continuous parameters.
- Function Buttons - are available for your most common functions. By default these three buttons are are mapped to Shift, Command, and Option in OS X and Shift, Ctrl, and Alt in Windows.
- Navigation Button - is mapped to the spacebar for easy navigation in Adobe products.
Your turn to make an Overlay! The Innovator's Overlay works with the API. If you want to use the API with Arduino or other microcontrollers, the Developer's Cable turns the microUSB port on the Morph into a UART connection for microcontrollers.
Much more detail about working with the API is in our API documentation.
At a higher level than the API, the Overlay Designer works in the SenselApp to let you draw out and define control areas for keyboard, MIDI, game controls, mouse actions, and more.
There is also an object for Cycling 74's Max, which provides much of the same data as the API, but in the Max programming environment. It is available through the Max package manager: Similarly, the Pure Data object for accessing raw touch information is available in Deken and the L2Ork Purr-Data version of the open source software.
Music Overlay Default Note Assignments
Below are guides showing the default note numbers/names assignments for the MIDI overlays:
SenselApp Software
The SenselApp is fully documented on a separate page
Bluetooth connection
The Sensel Morph is a Bluetooth 4.0 LE wireless device. This means it can function as a wireless controller for your music, drawing, or writing. While the latency can be higher than a USB connection (from the device, 5 ms average for USB, 20 ms average for Bluetooth), it is still very useful and very convenient. This section describes how to pair and un-pair your Morph to a bluetooth connection on a number of operating systems. Once the Morph is paired to your device, it will automatically connect when in range.
In general, the process is as follows. Screen images for different operating systems are below.
- Unplug the Morph from any USB computer connection.
- Open the bluetooth control panel for your computer.
- Hold the button down for about one second. The Morph LEDs will flash and a blue LED will turn on after three seconds.
- Click the "pair" button in your computer's control panel.
- The Morph will be paired to your device.
Currently, the Morph can be paired with only one device. If you want to pair the Morph to a different device, you'll need to unpair the connected device and the Morph.
- Turn off the Morph
- Unpair or forget the Morph from the previously connected device.
- Unplug the Morph from any USB computer connection.
- Open the bluetooth control panel for the new computer.
- Hold the button down for about one second. The Morph LEDs will flash and a blue LED will turn on after three seconds.
Switch Pairing
Once you have un-paired the Morph from the computer, you will need to enter pairing mode again.
- While the Morph is on and the blue light is on, double click the power button. The Morph lights should flash again and the blue LED will turn on after three seconds.
- Click the "pair" button in your new computer's control panel.
- The Morph will be paired to your new device.
OS Specific Pairing Guides
Connection guides for macOS, Windows, and Linux follow.
Open System Preferences and click the Bluetooth icon. Put the Morph into pairing mode. The control panel will look like:
Click the "pair" button on screen. Your Morph is now paired:
Open the Settings panel for Bluetooth. The easy to get there is to use the Windows search bar:
Windows will find the Morph as ready to pair:
Double click the Morph listing and it will connect:
Open Settings and select Bluetooth. Put the Morph into pairing mode. Select Morph in the available devices and pair.
Once you have paired with the Morph, you will be able to use it with the different Overlays. Here are some sample screen captures of how it shows up in different apps:
Put the Morph into pairing mode. In Android's Settings app, select Bluetooth, select "Morph" from the available devices and pair:
Once paired, you can use the Morph. If you are using the QWERTY Overlay, you'll probably want to setup your keyboard so you can easily switch between on-screen and Morph. Use the keyboard icon on the bottom of your screen:
There are many flavors of Linux. We are documenting one of the most common, Ubuntu 16.04. Open the Settings panel and select the Bluetooth panel
In the lower left of the "Devices" panel, click the "+" button to search and add the Morph.
Most Linux relies on the bluez bluetooth stack. You can also use the command line tools to pair. Once you run the bluetoothctl devices
command, you'll be in the bluetoothctl interactive shell:
> bluetoothctl devices
[NEW] Controller 00:15:83:3D:0A:57 sensoruser [default]
[NEW] Device 71:11:32:B0:12:A0 Morph-0194
[bluetooth]# pair 71:11:32:B0:12:A0
[bluetooth]# pair 71:11:32:B0:12:A0
[bluetooth]# connect 71:11:32:B0:12:A0
[bluetooth]# trust 71:11:32:B0:12:A0
If you want to disconnect, you can
bluetoothctl remove 71:11:32:B0:12:A0
Update bluez
If you want to update to the latest bluez software, you can get the link from the bluez site. At the time of writing, the current version is 5.44. This has some support for Bluetooth MIDI:
sudo apt-get update
sudo apt-get install -y libusb-dev libdbus-1-dev libglib2.0-dev libudev-dev libical-dev
cd ~/Downloads
wget http://www.kernel.org/pub/linux/bluetooth/bluez-5.44.tar.xz
tar xvf bluez-5.44.tar.xz
cd bluez-5.44
sudo make install
While we can't explicitly support all Linux, this should at least get you started.
Bluetooth MIDI configuration
If your operating system supports MIDI over Bluetooth, you can have a wireless MIDI controller.
Open the AudioMIDI application in macOS. Open the MIDI Studio window (cmd-2) and double-click the Bluetooth logo. If you have successfully paired the Morph with Bluetooth, you'll see your device listed here. Press "connect" and the Morph will be available to any MIDI applications as an input device.
Windows 10 Anniversary Edition and after support Bluetooth MIDI, so make sure you have the latest update. This support, however, is limited to applications that use the UWP MIDI API (or the Win32 wrapper for UWP MIDI) (read more details here). As a result, for common use, you might need a couple additional pieces of software:
The loopMIDI application creates virtual (or loopback) MIDI ports. MIDI berry provides a connection between the Morph's Bluetooth MIDI ports and the virtual MIDI ports. In your music application, you connect to the virtual port created in loopMIDI. Screenshot examples below show loopMIDI with the virtual port, MIDIberry with the connection made, and a couple of applications using the vitrual port to get MIDI input from the Morph.
virtual port "MorphMIDI Port" created in loopMIDI (type in the field, then click "+")
connection between Morph bluetooth and "MorphMIDI Port" made in MIDIberry (just tap on an input port and an output port to connect them)
virtual port "MorphMIDI Port" selected in the MIDI setup prefs of Bitwig Studio
virtual port "MorphMIDI Port" selected in the MIDI setup prefs of FL Studio
iOS version 8 and above support Bluetooth MIDI. These devices have Bluetooth LE support:
- iPhone 4s +
- iPad3 +
- iPad Mini +
Once the Morph is paired with the iOS device, it's available as a MIDI device to most iOS MIDI-capable apps. You'll need to go into an app's preferences or setup panel to enable and configure MIDI control.
In some cases, you may need the midimittr app to create a connection with the Morph which will expose the Morph's MIDI input to other apps.
Android version Marshmallow (6) and above support BLE MIDI. However, some devices support this connection type, and some don't. The best way to find out is to pair your device with the Morph via Bluetooth, then use the free MIDI BLE Connect app from the Google Play store. Open it after paring the Morph to your Android device. If there is a connection to be found, MIDI BLE Connect will scan and find it.
BLE MIDI has some support in the latest bluez stack. This site has a detailed explanation of setting up MIDI Bluetooth for Ubuntu 16.04. You are welcome to experiment! Instructions for updating to the most recently release of bluez are above.
Use it! (Troubleshooting)
As the name implies, there are a lot of different ways to use the high-resolution sensor that is the Morph. What follows in this section are the nuts and bolts on getting your morph working with your device and making use of the different Overlays in different softwares.
Test it!
Because the Morph is capable of so many different modes and protocols, you may need some reassurance and ways of testing. Here's some tools and suggestions for some of the different modes.
If you are unsure that your Morph is properly connected and providing MIDI input to your computer, you can test with some simple programs. If you don't know what MIDI is, it's a simple serial protocol that electronic music hardware and software uses to interoperate. Learn more at wikipedia.
Bluetooth MIDI is available on Windows 10 Anniversary Edition, so make sure your version of Windows 10 is recently updated. It is limited to apps that use the native Windows MIDI implementation, so it probably won't show up as a MIDI input in most software.
MIDIberry provides native MIDI hooks to Windows 10, so it can connect to the USB MIDI and the Bluetooth MIDI ports created by the Morph. MIDIberry provides a monitor function that makes it easy to confirm MIDI data input from the Morph.
If you want a GUI monitor, you can find something in the "others" link above.
The easiest way to test on Linux is to use ALSA's amidi
in a terminal. Plug in the Morph to your computer's USB port, then list the MIDI devices with:
amidi -l
You'll get something like
Dir Device Name
IO hw:1,0,0 Sensel Morph MIDI 1
Armed with the portname, you can now start dumping MIDI input to the terminal:
amidi -d -p hw:1,0,0
Open text editor or word processing program. Try typing. Use command and option keys. Everything work? If not, you'll need to either check your connection, or use the Sensel App to make sure your QWERTY Overlay is configured for your OS.
Software Setup
Documentation for setting up the Sensel Morph with several popular music and art software titles is on a separate page.
There's a software API for Python, Processing, and C/C++. Find out more at our github.


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UC Berkeley's Division of Computing, Data Science, and Society (CDSS) has named four new associate deans, selecting pioneering academic researchers with backgrounds from computing to sociology.
The appointments include Charis Thompson as associate dean for campus partnerships; Catherine Ceniza Choy as associate dean of diversity, equity, inclusion, belonging, and justice; Armando Fox as associate dean of online programs; and John DeNero, who was named associate dean of undergraduate studies in May. Kathy Yelick will be executive associate dean, transitioning from her previous role as CDSS's associate dean for research.
"I'm excited to have such a dynamic and accomplished team at CDSS," said Jennifer Chayes, the division's associate provost. "Their leadership will be crucial as we collaborate with others on campus, using computing and data science to help find solutions to society's most intractable problems."
The five associate deans – Yelick, DeNero, Choy, Thompson, and Fox – started in their new roles July 1 for a one-year term.
Berkeley launched CDSS in 2018 to expand teaching and research in data science, recognizing the profound impact of data and computing in a rapidly evolving digital world. CDSS brings together programs, schools, and departments across campus to tackle the technical, scientific, social, and human dimensions of urgent challenges in biomedicine and human health, climate and sustainability, and human welfare and social justice.
Meet CDSS's Newest Associate Deans
Yelick, who joined Berkeley in 1991, is also the Robert S. Pepper Distinguished Professor of Electrical Engineering and Computer Sciences and a senior advisor on computing at Lawrence Berkeley National Laboratory.
Yelick's research centers on high-performance computing, programming systems, parallel algorithms, and computational genomics. She is well known for her Partitioned Global Address Space languages work and has won several awards. She earned her Ph.D. in electrical engineering and computer science from the Massachusetts Institute of Technology (MIT).
Thompson returns to Berkeley from the London School of Economics and Political Science (LSE) and the Princeton Institute for Advanced Study, where she is a visiting professor of sociology. Before that, she worked at Berkeley for 15 years in several roles, including professor of gender and women's studies and director of the Center for Science, Technology, Medicine & Society. She previously worked at Harvard University.
Thompson is writing a book on living in a time of science and technology elites. She has won several awards, including the Society for the Social Study of Science's Rachel Carson Prize for one of her books, "Making Parents: The Ontological Choreography of Reproductive Technologies"She received her Ph.D. in sociology from the University of California, San Diego.
Choy comes to CDSS from Berkeley's Department of Ethnic Studies, where she is a professor of ethnic studies. She joined Berkeley in 2004 and her scholarly interests include Asian American history, Filipino American studies, race, gender, and migration, nursing history and adoption studies.
Choy is the author of the books "Empire of Care: Nursing and Migration in Filipino American History" and "Global Families: A History of Asian International Adoption in America," and co-editor of the anthology "Gendering the Trans-Pacific World." She earned her Ph.D. in history from the University of California, Los Angeles.
Fox is a professor in Berkeley's Department of Electrical Engineering and Computer Sciences and faculty advisor for digital learning strategy in the Office of the Vice-Chancellor for Undergraduate Education and a campus equity officer. Fox has worked at Berkeley since 2006, researching digital learning, programming systems, and software engineering. Before that, he taught at Stanford University.
Fox has won several awards, including the Association for Computing Machinery's Karl V. Karlstrom Outstanding Educator Award for his work related to Berkeley's massive open online courses. He received his Ph.D. in computer science from Berkeley.


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Putin luck stretches twelve years of unchecked American accountability due to the election of two consecutive presidents who, each for his own reasons, ignored Vladimir Putin's trespasses. Donald Trump's two-year remaining in office provides Putin with a last big splash to solidify and add to the gains started under Barack Obama.
Holding ex-Marine Paul Whelan hostage is to distract from the big prize he is after, which, we believe, is to conquer Ukraine. So are all the announcements the Kremlin made about its new hypersonic weaponry it claims the United States has no defense against. Add to that witch's stew Russia placing new missiles in the arctic supported by military exercises. Putin's big prize is the Ukraine and he knows that Donald Trump will not move a finger to confront him.
Putin luck stretches twelve years of unchecked American accountability.
However, Putin building all those side distractions provide him with exchange possibilities for the Ukraine. Why? Because he knows Trump is always looking to negotiate something, somewhere, with anyone. Whelan will make Trump look good if freed just prior to 2020 elections. Putin is counting on Trump turning a blind eye on the Ukraine by claiming victory on those side distractions.
Vladimir Putin know Donald trump more than his mother knew him.
On the Ukraine front, a December first story by AP cites the following:
Russia is building up its land forces and weapons along the border, Ukraine's president said Saturday as German Chancellor Angela Merkel warned Russia not to block Ukrainian ports in the Sea of Azov.
Tensions between Russia and Ukraine were still escalating a week after a naval clash in the Black Sea on Nov. 25 in which Russia fired on three Ukrainian naval ships then seized them and their 24 crew members.
Across the world in Argentina, foreign leaders grilled Russian President Vladimir Putin about Russia's actions, but he remained firm, squarely blaming Ukraine for the confrontation, saying its vessels violated Russian territorial waters. He didn't address Ukraine's accusations of a Russian military buildup.
Under the previous administration of Barack Obama, Putin moved on Syria and the Ukraine during a two-term president many experts inside the beltway have nicknamed him "The Wimp". Obama was Putin's dream American president. The golf-or-do-nothing president knew about Russian interference in 2016; yet, he did nothing except slap some symbolic sanctions that have no or very little impact. "The Wimp" made Putin.
Meanwhile, the United States military is not standing still. This CNN video describes U.S. reaction and moves against the thug Vladimir Putin. The commander-in-chief may have a friendly disposition towards Putin (or worse), but our military can cock and be ready when it matters.
America is a country of institutions before individuals. Unlike Russia or any other thuggish dictatorship.


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Handwritten letter to Captain Porter concerning the accidental death of Lieutenant Cocke on the American ship Fox in the port of San Juan, Puerto Rico
1823. 1 handwritten letter, dated 6 March 1823, from Lord Thomas Cochrane to Captain David Porter of the U.S. Navy expressing condolences over the death of Lt. Cocke, who was killed when the Spanish commander in San Juan fired to warn the American ships from entering the port. Lord Thomas Cochrane (1775-1860), later Admiral, had earned the nickname The Sea Wolf during the Napoleonic Wars before being dismissed from the Royal Navy in 1814 following a conviction for fraud on the Stock Exchange. In 1818 he went to Chile and became First Vice Admiral of its navy, leading it during the Chilean war of independence against Spain. In 1820 he was was active in achieving independence for Peru. He left the Chilean Navy on 29 Nov. 1822. Cochrane was apparently on his way to Brazil on 6 March 1823 when this letter was written. On 21 March 1823 he took command of the Brazilian Navy. He left Brazil in 1825, fought for Greece in 1827 and 1828, and was restroed to the Royal Navy in 1832 as a Rear Admiral. In Very Good+ Condition: occasional fading; a few small stains; otherwise, clean and solid. Very Good +. Item #008208
Price: $1,850.00


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- Arsenal legend Thierry Henry has called on Mesut Ozil to step up
- With Alexis Sanchez gone, Henry says this can be Ozil's team
- The German playmaker was superb in Arsenal's 2-1 win over Chelsea
- READ MORE: Arsenal prepare fresh bid for £20million star as major rivals pull out of transfer
- READ MORE: 5 strikers Arsenal should go after as they struggle to get Pierre-Emerick Aubameyang transfer over the line
Arsenal legend Thierry Henry has named Mesut Ozil as the player who should step up and make this team his after Alexis Sanchez's move to Manchester United.
Ozil was in inspired form last night as Arsenal earned a surprise 2-1 victory over Chelsea in the semi-final of the Carabao Cup to set up a final clash with Manchester City for next month.
While the Germany international has often showed his class for Arsenal, he also has something of a reputation for going missing in big games and for generally not being consistent enough.
Displays like last night showed what he can do when he's at his best, and Henry feels now is the time for the 29-year-old to step up after Sanchez's exit.
The Chilean forward was a commanding figure in the Arsenal team during his three-and-a-half years at the Emirates Stadium, often demanding a lot of the ball as the play largely flowed through him.
However, Ozil has it in him to be that kind of focal point of the side and Henry has urged him to make Sanchez's departure count.
Speaking on Sky Sports before the game, the pundit said: 'He (Ozil) has to make it his team. 'Alexis Sanchez is gone. If he plays all the time like he did against Crystal Palace, he's unplayable.'
Ozil was superb against Crystal Palace and followed it up with another big game against Chelsea – perhaps he was listening to Henry's pre-game comments?


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In news that will shock nobody, Radio Catalunya have announced that Barcelona have reached a 'preliminary agreement' with Cesc Fabregas over his transfer to the club this summer.
According to Sport (Spanish – Google translation), they said in their sports talk show 'El club de la mitjanit' that Cesc's agent will travel to Barcelona on Friday to discuss the strategy to enable the move to happen.
The two keys to this are:
1 – Arsene Wenger will not stand in the way of the player leaving
2 – Cesc should cost less than what Barcelona offered last year because he's spent another year at Arsenal and his value has 'amortised' accordingly.
This ignores the possibility that:
1 – Arsene Wenger might very well stand in the way of the player leaving
2 – Barcelona's attempts to pay less for the Arsenal captain do not have to be taken seriously by the club.
In a market which sees Sunderland's Jordan Henderson rated at £20m, the Catalan club will need to make an offer significantly greater than the €30m they came to the table with last summer and at which their bidding is supposedly starting.
It might well be a spurious comparison but it is unthinkable that a player of Cesc's quality could leave Arsenal for less than what Liverpool paid Newcastle for Andy Carroll.
There is a strong belief that for the right price Arsenal would be prepared to let Fabregas go but only if the price is right. Barcelona have a long way to go before they reach that figure and if they think they can get him on the cheap they will have to think again.
They need to test Arsenal's resolve, at the moment they're not even coming close.


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Sengkang Recreations
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Game Details | |
Name | The Estates (2018) |
Accessibility Report | Meeple Like Us |
Complexity | Medium Light [2.32] |
BGG Rank | 765 [7.42] |
Player Count (recommended) | 2-5 (3-5) |
Designer(s) | Klaus Zoch |
Buy it! | Amazon Link |
The Estates is a well-designed game and I don't like it. Worse, I don't want to like it. That's an awkward pitch for a review. The last time I had a similar issue was when I reviewed Catan – a game that makes me so angry I can only play it on the app because it doesn't hurt anyone else where I throw the damn phone against a wall. It's never possible to separate out the personal context in a review. They're inherently subjective artefacts. Sometimes though you know that every thought you have about a game is shaped by the way it makes you feel, and any attempt to masquerade as impartial is going to do a disservice to the reader. Authenticity, not objectivity, is the hard currency of criticism.
That currency has to be backed by something though, and in the case of a review it's applicability. The New Board Games Journalism stresses the personal perspective, but it's folly to think that self-indulgence is, in and of itself, a worthwhile goal. The job here is to shape personal experience into general insight, and it's a tough ask.
So let me try to outline a thesis of why The Estates is a good game that I'd only play again if forced at gunpoint.
Let's begin with a brief description of how it works.
You're collaboratively working together on a board where you'll be placing buildings of various value. Sometimes as single units on the grid, and sometimes in towers. The value a building has is equal to the face value of each cube in its pillar, plus the roof tile that sits atop. Every round, the active player will pick a wooden component to auction. The bid goes around once, and at the end the auctioneer has two choices. They can decide to keep the item themselves, paying the highest bidder the price they stated. Or they can give the item to the highest bidder and collect the cash offered. Everyone begins with $12m in building loans, and it's a completely closed economy.
So, let's say someone puts up a purple six for bid. It goes around the table, and someone ends up picking it up for $6m. They place it in one of the grid segments in the estate, and if they're the first person to place a cube of that colour they also pick up the ownership certificate. From this point on, all purple buildings belong to them.
Then a green five gets auctioned. Here, the buyer can take that cube and place it in a new square of the board…
Or they can place it on top of the existing cube. Ownership of a building is determined by the colour of the cube on top, so they take ownership away from purple and claim it for themselves.
The game ends when two rows of the board are completed, which means every square in the muddy city block is filled and every building in that row has a roof. Then you count up points and declare the winner.
Except, as usual, there's a bit more to it than that.
Here, the twist in the Estates is that if you have buildings in an uncompleted row, they're worth negative points, and the length of a row is variable. Building contracts are available for auction and they'll extend or shorten the requirements for a row to be completed. There's also a one-use cancel cube that will undo a contract someone places. Finally there's a mayor that will double the point value, positive or negative, of any one row in the game.
That's all the pertinent information you need.
Now let's dig down into why I think this is a borderline poisonous design for a game.
There are a lot of games on this blog that have gotten high ratings despite being intensely competitive. Brutal, even. Look at Imhotep – it's one of the most unabashedly mean-spirited games I've played and it's glorious. I don't mind games that offer opportunities for screwing over other players, and I positively adore games that can create interesting economies where naked self-interest will result in a capitalist charnel house.
But I don't think the Estates is a mean game. I think it's a spiteful game, and that's a different proposition entirely. It might seem like a mere semantic difference, and if you grabbed a random thesaurus they'd probably agree. I think though this is an existential issue.
Meanness, for me, implies a kind of low, base sordidness. Acting in one's self interest with disregard for any nobler accomplishment. Grabbing the last life-boat off the sinking ship while others plunge to their death – that's mean. Mechanisms that encourage meanness are exploring a rich design space, because we rarely get an opportunity to really transparently give in to that instinct in real life. Where we do, it must always be accompanied by a justifying pantomime. Society takes a dim view otherwise. The focus of meanness though is usually in self-improvement. Of wealth, of standing, and sometimes just of mercurial mood patterns.
Spite is something else though. It's built not on a lack of edifying motivation, but the active application of lower motivation. It's not just stealing the life boat, it's punching holes in all the other ones. It's not an urge to enrich yourself at the expense of others, it's the pathological need to rob others at the expense of their dignity. This isn't an endearing basis upon which to build a game.
And yet, if The Estates has an overriding philosophy in its design it's in the weaponizing of spite.
It looks like someone else is going to cap off a row, so you place a building contract that massively extends the work they need to do. Someone bids on an item that you want in order to push up the price, so you give up on it and force them to buy it themselves. And then you take over one of their buildings later as a punishment. Technically you're always acting in your self interest here, but it's a question of emphasis. It's a matter of motivation. A lot of the time you're just setting yourself on fire in the hope that you catch everyone else in the blaze.
It's possible in the Estates for example to win without owning a single building. Every round you get to slip a cheque into your illegal stash, and it's worth a point at the end. So if you do that, and then focus on extracting the most money from everyone else you'll end up with a positive score at the final accounting. That's often enough to win the whole thing by itself. But in doing this you lose any meaningful stake in the outcome of the building other than 'I need to push other people down so they don't get to where I am'. If someone has built up an impressive real estate holding in a finished row, then maybe you want to buy their next cube and seed it into the row that's not going to be completed. Take over, on their behalf, a tall structure that is only going to be a massive drag on their balance sheet. And then maybe you buy the mayor and set it on that row so the penalty is doubled. What do you care, you've no skin in the game. All you have is an incentive to screw over everyone else. It's unbearably petty.
Underlining all of this is the systemic cruelty built in to the game mechanisms. A cruelty so invisible that you don't even notice how corrosive it is. People say that The Estates is an auction game, but it absolutely isn't. It uses the mechanisms of auctions but has a fundamentally different goal in mind. The goal of a standard incremental auction is minimise regret for everyone. It's not a perfect system for that – human psychology gets in the way – but mathematically that's the desired goal. The auctioneer gets the most money they can for the item they were selling, and nobody is forced into bidding more than the maximum they have to spend to acquire the item. If the auctioneer is happy with $20, and I'm the one that wants it most and I'm willing to spend $25, then that's where the balance of the auction will live.
But look at how the auctions in The Estates work. The bid goes around once. When it gets to the auctioneer, they either buy or sell the item. Nobody gets to increase their bid. This is a system for maximising regret. Early bidders have to bid to the maximum of what they're prepared to spend rather than being able to work their way up to from the minimum. It doesn't even maximise value for the auctioneer, because often they won't want the item and also won't want anyone else to have it.
Usually here you're not bidding on something just in terms of the value it brings to you, but rather the negative value it can bring to someone else. You're also forced into protectionism where you're paying, Not for advantage, but for the active negation of applied disadvantage. You're paying money with menaces to stop yourself from being bullied. And the game is gleefully built around this as a system.
This isn't bad, in and of itself. I don't much care for it but I can see that it's a rich mechanism for driving conflict, and conflict is an important part of competitive games. What makes it bad, in my view, is that this creates a game that is unbearably fragile. It's sort of a wasted insight to say that a game depends on its group, because that's true of every game to a greater or lesser extent. But sometimes it's such a factor that it bears emphasis.
If even one person in a group playing The Estates isn't entirely on board with spending hours sitting on a spiteful merry-go-round full swinging lump hammers, then the whole equilibrium of the experience swings painfully in on that person. They'll be the easy target that magnetises the cruelty of the table. They'll be swindled and undercut with such electric ferocity that it's like they're the ground in the whole system. All the pull of the negative current gets sent, inevitably, in their direction. It's your own personal Stanford Prison Experiment. Welcome to the mouse utopia! Tuck in!
But also in this, the game becomes… well, boring. And vaguely sad. The Estates needs all the nastiness to course around the system in an endless, amplifying loop. It requires continual positive reinforcement of negative interaction so that the feedback eventually explodes in the final round of scoring. If two players are co-operating, or simply not actively undermining each other, the game becomes utterly listless. At best it becomes a playground in which one or two people try to bully the others, but nobody is getting any joy out of it.
So, if The Estates is working well as a game I find it utterly exhausting. It's like walking down a dark alleyway in a drug-ridden scheme. It's tiring, and not in a good way, to be constantly on the lookout for the knife that's headed towards your back. If it's not working, I just find it unpleasantly nasty.
In both scenarios, I don't like how the Estates makes me feel.
But even that isn't bad, in and of itself. I would forgive all of this if the game was actually one that gave you opportunities for this viciousness to really grow. I might even like it if created opportunities for cleverness and rewarded you for finding them. But it doesn't, because in the end mostly what defines the Estates is anarchy and cruelty. It's so ridiculously swingy because the delta between winning and losing will flip with every single placement. There are moments where people can make smart plays, but they're usually so easily undone or redirected that there's no real point. Sure, you just took my valuable building away from me. But look, I just extended that row so that it's a space longer than before. Oh, you cancelled that? I only extended it so you would, now I'm extending it three! Oh no, now you've put one of my cubes in that row, so our fates are bound together! So then I'll…
And so on, and so on, and so on, and so… on…
It just feels meaningless. All accomplishment is temporary. All positive momentum will be redirected into a future penalty. You can't take joy in what you've built because it's only a matter of time before someone comes along and kicks that sandcastle into your face.
At the end of a game evening I want to feel good. I want to reflect fondly upon the time I just spent. The Estates, fundamentally, doesn't give me reasons to do that. The Estates works well for what it is – a game of dicking people over until the final dick has been dicked. But fundamentally what it undoubtedly achieves in its design is just something of which I want no part. I appreciate the skill that goes into engineering the absolutely perfect mugging, but that doesn't mean I want to be a participant in the event. Don't get me wrong – some people will love the energy this game brings to the table. I'm just not one of them.


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Dear Customers,
Please note the variances in voltages when purchasing our soldering stations, irons, desoldering and rework stations. It is essential to purchase products with right voltages for the product to work in your country as a wrong voltage may cause the product to burn out.
The voltages of products sold in each country corresponds to the country's supplied voltage. This means that all HAKKO products sold by Hakko Products Pte Ltd/Tokimeku Pte Ltd in Singapore are of 230V, while all HAKKO products sold by Hakko USA in the United States are of 120V.
When purchasing online, kindly ensure that you are purchasing the right voltage as many listings available on American e-commerce platforms such as Amazon are of 120V and are not suitable for use in South East Asia. As such purchases were via resellers and not our official sales channels, they are not under warranty from Hakko Products Pte Ltd.
Voltages | Countries |
100V | Japan |
110V | Taiwan |
120V | USA, Canada |
220V | Philippines, Vietnam |
230V | Singapore, Indonesia, Myanmar, Thailand, UK and EU |
240V | Malaysia |
At the same time, there are many counterfeit products in the market that are not produced by HAKKO and are not created to standard. Such products have no certifications and may burn out easily. Click for more information.
With that,
- Our distributing website (www.tokimeku.com)
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- Our SEA branches and partners as mentioned on our contact us page.
All products sold on our website and on Lazada SG/Shopee SG are of 230V, and all products sold on Lazada Malaysia are of 240V.
If you are looking for 220V or 240V, kindly reach out to our sales staff for assistance.
We thank you for your continuous support.


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I replace fear with faith. Practice breathing.
When we breath, let's be intentional with it.
Feel the ground or floor or chair beneath you. Breath in and accept that truth.
Close your eyes and breath in allowing your lungs to expand and count to 5.
Ready, set, let's go.
As I approach this upcoming cycle, it is imperative that I pay attention to my emotional states. I realize how easily it is to be triggered at this time. I let go of those emotions that fail to support me, such as fear, and usher in faith, instead.
Inhale. 22.214.171.124.5. Exhale.
I constantly monitor my thoughts and feelings. I take a barometer reading of where I am on the happiness scale. I move the dial up when it gets below neutral.
Inhale. 18.104.22.168.5. Exhale.
I choose to unplug from the negative news. I choose to take a break from social media. I let go of people in my life who try to bring me down.
Inhale. 188.8.131.52.5. Exhale.
I let go of my addiction to negative subjects. I let go of the constant bantering of political media. I turn off my television and computer. I take a break from the external world.
Inhale. 184.108.40.206.5. Exhale.
I choose to spend my time in nature. I walk my dog or I sit by a tree. I go barefoot in the grass.
Inhale. 220.127.116.11.5. Exhale.
I read uplifting books. I subscribe to positive publications. I find positive people to have congenial conversations with.
Inhale. 126.96.36.199.5. Exhale.
I find positive ways of using my time. I use exercise programs that fulfill me. I choose healthy foods that help me to have a healthy body.
Inhale. 18.104.22.168.5. Exhale.
I notice what lifts me up and I do more of that. I find positive articles that support my faith in life.
Inhale. 126.96.36.199.5. Exhale.
Today, I recite positive affirmations throughout the day. I feel my mood improving each moment. I am on my path from fear into faith.
Inhale. 220.127.116.11.5. Exhale.
Self-Reflection Questions to help further your mindfulness practice:
What can I do to strengthen my faith?
Who can I talk with who will help lift me up?
How can I be an example of someone who has overcome fear and applies faith principles to their life?


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Below is a compiled list of the most interesting facts about Ian Somerhalder. Check it out!
Ian Somerhalder was born and raised in the small southern town of Covington, Louisiana. His mother, Edna (née Israel), is a massage therapist, and his father, Robert Somerhalder, is a building contractor. He has Cajun (French), English, and Scots-Irish ancestry. Boating, swimming, fishing and training horses filled much of his recreational time growing up, as did the school drama club and performing with the local theater group. With his mother's encouragement, at age 10, he began a modeling career that took him to New York each summer. By junior high, he opted to put modeling on the back burner and focus more on sports and school. A few years later, when the opportunity to model in Europe arose, Somerhalder grabbed it, embarking on an enriching path of work, travel and study that took him to cities, including Paris, Milan and London. At 17, he began studying acting in New York and, by 19, had committed himself to the craft, working with preeminent acting coach William Esper. His fate was sealed while working as an extra in a club scene in the feature film, Black and White (1999). A talent manager visiting a client on the set spotted Somerhalder in a crowd scene of 400 and immediately signed him for representation. He was cast later for the drama Changing Hearts (2002) directed by Martin Guigui. Happy to be anchored in New York, Somerhalder spends much of his time studying acting, writing and practicing yoga. His recreational interests include water and snow skiing and horseback riding.
Interesting Facts about Ian Somerhalder
- He has a brother, Robert (Bob), and a sister, Robyn. Their parents divorced when he was thirteen.
- Played varsity soccer and baseball.
- He has a brother, Robert, a wood worker, and a sister, Robyn, a broadcast journalist. Boating, swimming, fishing and training horses filled much of his recreational time growing up, as did the school drama club and performing with the local theater group.
- (April 26, 2015) Married his girlfriend of a year Nikki Reed at Topanga Canyon in Malibu, California following a 2-month-long engagement.
- In 2005, he bulked up, adding about 20 to 30 pounds of muscle to his slim frame, so he would be considered for more leading-man-type roles.
- Ian supports the charity Love Letters to the South, which pays tribute to all those affected by Hurricane Katrina.
- Created the Ian Somerhalder Foundation on December 8, 2010 aiming to empower, educate and collaborate with people and projects to positively impact the planet and its creatures.
- His favorite film is The Graduate (1967).
- Named one of the 'sexiest men' in Glamour's "50 Sexiest Men of 2010" list.
- His favorite actor is Sean Penn.
- Has a daughter, Bodhi Soleil Reed Somerhalder, born July 25th 2017.
- Grew up with his mother, whom he has described as being "very spiritual".
Personal Quotes by Ian Somerhalder
Love is tested in so many ways. How do I articulate this? Two people are together. There are stakes, strife, struggles, all these things that make us fall for someone, love someone even more, leave someone.
Ian Somerhalder
When you're really close to someone, they can make fun of you a lot and get away with it. But they sort of poke you in all of the right places.
Ian Somerhalder
I kind of think too much, I try do too many things at once.
Ian Somerhalder
I can't let time move on without fighting tooth and nail and hopefully being a part of a revolution that is positive.
Ian Somerhalder
Oceans are one of the most important things in the world now and that is a national security threat of the United States of America, to be honest with you. That is why seeing the habitat destroyed is so short-sighted by us.
Ian Somerhalder


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An Indian man had been slapped with a fine of AED 5,000 for allegedly taking photos of a woman who was involved in accident with him without her knowing or permission.
ALSO READ: UAE Do's and Don'ts: Tips for Newcomers
The Court of Appeal of Sharjah had ordered the man for payment of the fine imposed after he was convicted for taking pictures of the woman involved without getting her consent, as shared in a report by Gulf News.
Taking Photos of Other People Could Get You Fined in the UAE
On top of the fine imposed, Judge Abdullah Yousuf Al Shamsi also ordered the Indian national to pay the court fee for the proceeding.
According to the Emirati woman's lawyer, Eman Sabt, his client filed a complaint with the police after she learned that the man had been taking photos of her as she was getting out of her car.
After the incident, the woman decided to take the case to court on accounts of breach of privacy, and taking photos without her consent.
The accident was reported in Abu Shagara earlier in March of this year.
The case was first raised to the Sharjah Misdemeanor Court, which had acquitted the man of the charges. However, the public prosecution put up an appeal to court, and eventually won the case in their favour.
The case brings light to the severity of breach of privacy and confidentiality in the UAE. Whether you're an expat or a citizen of the country, you must be careful not to step onto other people's privacy by crossing their personal boundaries through the act of taking photos without their consent or permission. Otherwise, this could get you into serious trouble, and you will either have to pay a hefty fine or serve at least one to three months in jail in the country, when proven guilty as charged.


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The Tarot Towel | Cotton Tarot Deck Wrap
"Protec yr deck!" Wrap your tarot deck in the soft black cotton of The Tarot Towel. IT can also be laid flat for card readings or used as an altar cloth. After a reading, prevent scratching when you wrap up your deck.
The emblem is hand screen printed with gold metallic ink and the edges are hemmed with gold metallic thread.
- 15 x 18 inches
- 100% cotton
- Hemmed with gold metallic thread
- Designed by Killerpancake Illustration in Pittsburgh, PA.
- Printed and hand stitched hem by Commonwealth Press in Pittsburgh, PA.


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This study provided a partial test of Klinger's (1997) postulations on the ecological correlates of police vigor using data drawn from the Project on Policing Neighborhoods (POPN).
Klinger's theory hypothesized that a form of police behavior he called vigor would vary inversely with district crime levels because officers would be more cynical of residents, view crime as normal, perceive victims as less deserving, and have less time to devote to calls in high crime districts. Although data limitations precluded a full test, the current study examined two of the four mediating variables (officer cynicism and district workload) and their influence on the crime/vigor relationship. Findings revealed variables other than those examined might mediate the effect of district crime on vigor or the relationship between district crime and vigor might be spurious. Implications for future research and theoretical development are discussed. (Published Abstract)


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Ibbotroyd Clough sale
From Julie C
Sunday, 4 June 2017
Has anybody else realised that the owners of the land above Nutclough Woods, to the lefthand side of SandyGate is up for sale for £100,000.
This is such an intrinsic part of this amazing Valley, it would be great if it could belong to the Community, and be kept as a wildlife area. Anyone got a spare 100 grand, or could we raise it between us all somehow?


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This season's First Night opened with the first musical tribute marking the half-century anniversary of Apollo 11's landing on Mare tranquillitatis. Zosha di Castri's commissioned work Long is the Journey, Short is the Memory incorporates textual elements by Giacomo Leopardi, Xiaoulu Guo and Sappho into a glittering orchestral sound-world that makes lavish use of tuned percussion, trombone slides, menacing low brass, and harp notes that change pitch after sounding. The piece is slow to build, but there are magical moments: an almost-Latin rhythmic drive to the Sappho sections; some bluesy clarinet runs; and a magnificent harp-and-woodwind whirl leading to a unison choral statement referencing the Chinese mission to the moon's dark side (and the sprouting of the first plant there), followed by the triumphantly separated syllables of A-po-llo!. The BBC SO under Karina Canellakis tackled the complex orchestral material with verve and surety, but the BBC Singers, although on-point with their largely homophonic note clusters, were perhaps too few in number to do the work justice: not only were there were occasions when they were lost in the instrumental dynamic, but there were moments where the piece would have gained a more effective punch from a choral wall-of-sound.
This year also marks the 150th year of Henry Wood's birth, and some of the programming reflects his early Proms model. Dvořák's The Golden Spinning Wheel, the first of a series of what Wood would have styled 'novelties', received its first Proms performance on Friday. It was an oddly controversial work for the composer, as its folk-tale nature seemed to mark his transition from absolute music to a more programmatic idiom. There's nothing to frighten the horses in it – some jolly dances, a gallopy-gallopy section for the nobleman's hunt, a charming harp-infused spinning-wheel theme – and Canellakis and the orchestra made effortless work of it, delivering a nuanced and accessible account that bounced along unthreateningly. But goodness, it's dull; it's definitely music that you'd want playing on the radio while you got on with something else. The 1896 Musical Times reviewer opined that "… a piece of such length, containing so few striking ideas and so little of interest in the workmanship … has not been heard … for many a day". Sadly, this remains true.
The Czech theme continued in the final work, Janáček's Glagolitic Mass, a glorious orchestral-choral-and-organ interpretation of the form that is more secular than sacred – notwithstanding its use of an arcane ecclesiastical language. The orchestra was joined by the BBC Symphony Chorus and a quartet of soloists mostly from Eastern Europe: Asmik Grigorian (soprano); Jennifer Johnston (Mezzo); Ladislav Elgr (tenor) and Jan Martiník (bass). All of these conspired to produce an electrifying performance that brought to the fore Janáček's fractured style that resists all accusations of romantic wallowing: a reluctance to hang about on any note, and the harmonic centre ground barely sketched in, allowing the extremes of pitch to stand out. The choral passages had a co-ordinated exactitude to them, such that the interjections in the 'Kyrie' were bang-on, and the scatter-gun 'Amens' at the conclusion of the 'Gloria' melded perfectly with the mercurial orchestral material; the composer's dynamic requirements (he was fond of crescendo/diminuendo pairings) were beautifully observed. Johnston's creamy tone enlivened her brief couple of lines in the latter movements; Grigorian's big, spread voice was spot on for the soprano sections, and was balanced by Martiník's solid edginess for the bass solos; Elgr's clear tenor glistened over the chorus in the 'Credo'. With Peter Holder's cheekily over-the-top choice of a generous registration for the penultimate, organ-solo movement, this year's Proms season was well and truly declared open.


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Our final day on this beautiful island and I was so sad but determined to make the most of every moment! We booked online for a boat trip a couple of days earlier so we were up and raring to go. We booked through Santorini Boat Tours which was super easy and they offer a huge range of tours and trips not just the one we went on. The first stop was the volcanic island of Caldera where we hiked up to the top and wandered around this natural wonder. It wasn't a long trip and not the easiest in the greek heat but it was so stunning and a great view of Santorini from a different angle. Following this we headed over t the hot springs for a dip and relax. I have to admit it was a bit like swimming into a pool when someone has just done a wee! but apart form that it was lovely (we didn't get any pictures because we forgot the go pro…duh) but it was a lovely experience and I always love diving off the side of boats especially into the beautiful clear greek waters.
After the hot springs we stopped off at Thirasia which basically was a tiny island with not a lot on it. I feel as though it's more for the restaurants linked to the boats to get some money from the tourists but we had a packed lunch so we found a lovely spot on the harbour, threw out our tiles, relaxed and stuff our faces with watermelon. It was probably one of my favourite moments with my boyfriend, nothing fancy or expensive, just us two in our own little world under the sunshine. Absolute heaven.
Once the boat trip had finished we headed back to Imerovigli where I was desperate to do this hike up Skaros Rock to watch the sunset. As you can see form the pictures below it did not disappoint if you are ever going to Santorini this is where you'll see the most stunning sunset, no crowds of people like in Oia.


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Updated 1/13/19…..News-Herald article on the Auditor's position:
Here is a link to the News-Herald article dated January 10, 2019
(LFC Comment on the update: As we suspected, if Mr. Zupancic does not believe he can continue, the Republican Party gets to appoint a replacement. If Mr. Zupancic cannot continue, It is our humble opinion that there should be a special election to allow the Lake County voters to choose a new Auditor. It could lead to the perception in the community that the secrecy of the illness was more than complying with the HIPAA laws, but one of political manipulation to ensure a Republican retains the position. Just for the record, we are pulling for Mr. Zupancic's complete recovery. He is a very fine, honorable man, and a great Auditor.)
LFC is very sad to hear that Mr. Ed Zupancic, Lake County Auditor, has a health issue, and we sincerely wish him a speedy, and complete recovery.
We received the following document that indicates Mr. Zupancic has terminated his position as Lake County Auditor, effective January 31. 2019, for his current term ending March 10, 2019 because of health reasons.
However, the letter also indicates that he is not resigning his position from his four year term that he earned with the support of the voters on November 6, 2018 election, and commencing on March 11, 2019.
The draft resolution is required since the commissioners will appoint his temporary replacement.
This has us a bit perplexed, and will need to ask more questions at the Commissioners' meeting today. We will update this article when we get more information.
Update: Per the County Prosecutor, Mr. Charles Coulson, although limited in what he could say because of HIPAA laws, did say the Mr. Zupancic believes that he will be able to return to work on March 11, 2019 in full capacity.
There is more to be posted…..this is not over….
Categories: Lake, Uncategorized


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Some percentage of website traffic ends up on webpages that do not exist or have been moved resulting into 404 error page. It is important to channelize this traffic, instead of displaying dead end 404 error pages. Microsoft has released Bing API Web Page Error Toolkit. It allows you to
Your Funny & Witty 404 page with Error Page Generator
Bored of seeing usual 404 error pages? Well, get creative with the help of Error Page Generator. It is a simple web based tool to create funny


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The Missouri Tiger baseball team just keeps moving up the national rankings. The Tigers were ranked as high as 19th this week, in the Collegiate Baseball Poll. They were 20th in the National Baseball Writers Poll and 23rd in the Baseball America Poll. The Tigers will one poll. They'll travel to Southeast Missouri State Wednesday for a 6PM game and host Texas A & M this weekend. The Tigers are 23-5 and tied with Nebraska for the Big 12 league at 5-1 in conference play.
Mizzou sophomore pitcher Max Scherzer has been named the Big 12 Conference's player of the week and he was also tabbed as the national pitcher of the week by the Nation Baseball Writers Association. He and John Cole combined for a no-hitter against Texas Tech last Friday. Scherzer is 6-1 with a 1.02 ERA.


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The University of Maryland, The Clarice Smith Performing Arts Center, Kay Theatre
College Park, Maryland
October 13, 2016
Carmel Morgan
I'll cut to the chase. If you have an opportunity to see Wallflower, or probably anything else by the Inbal Pinto & Avshalom Pollak Dance Company, go. This award-winning contemporary dance company out of Israel has a lot going for it, if Wallflower is a typical example. Wallflower won the Israel Critics Circle award as the "Best Dance Show of 2014," and I understand why. As a critic myself, I have practically nothing critical, in the negative sense, to say about this work. From the costumes, lighting, set and music to the choreography and the dancers, I wouldn't change a thing. And that's rare.
Everything deserves note. The original music, by three Japanese musicians — Umitaro Abe, Mayu Gonto and Hirofumi Nakamura — is quirky and beautifully composed. The soundscape is intriguing throughout — clinks of an old music box, clanks of an old clock, muffled breathing like Darth Vadar, Buddhist bells, drips, dings, rings, maybe even the whooshing zoom of traffic and finally, classical strings and vocals like angels.
The striking colorful costumes, a collaborative project between Moriel Dezaldeti, Rinat Aharonson and Pinto and Pollak (sewing by Ela Givol and Rosalind Noctor), are incredibly successful in their own right as art. The unitards with distinctive woven designs, like striations of earth or parts of a Navajo rug, make the dancers stand out against the two stark white high walls that form an angle of half of a box and the white marley floor.
One older dancer, Zvi Fishzon, wore a different costume that for most of the performance covered his face. Was he a slug, a turtle, an insect or just a blob? In woolen grayish brown garb, with some pinkish swirls, he crawled, swallowed some of the dancers by enveloping them within his blanket-like folds, and eventually stood with stubby upper limbs pushing out on an angle, like a tree. The rest of the dancers conjure animals sometimes, too. Huddled in a line, hunched over, bent forward and curled atop each other, they look like segments of a caterpillar. Lifted onto the wall or flinging themselves into it, they look like frogs, climbing with splayed hands.
In this abstract dance, the dancers show off impressive acrobatic skills. A lot of the movement resembles contact improvisation — bodies rolling, lifting and swinging. The choreography is not without humor. The brownish gray creature wobbles about. The dancers, in down dog, walk on all fours, their rears in the air. They hold hands in a line against the back wall and lean over, tilting, then collapsing like dominoes, ultimately resembling a pile of sleeping children. Subsequently, a pile of dancers looks more like an upturned laundry basket, or a half dozen snuggling kittens. In a duet, a woman stands on a man's back as he is face down on the floor. She rides him like a surfboard. The dancers also play games, freezing, for example, in various poses.
As the dancers move, the landscape on stage constantly changes. Sometimes the dancers seem like building blocks being put together by unknown forces in interesting ways. Constantly, gravity challenges them, whether trying to soar up the wall in a basketball-like leap, or sinking against it, with their backs sliding downward. At one point, the dancers voices burst forth as they breathe loudly as a group. I kept looking forward to what came next, because it was never clear what that would be, how the music or movement would change. Despite the variety of ideas at work, Wallflower seems seamless. I was completely engaged.
Toward the end of Wallflower, silver metal hangers on long thin poles descend from the ceiling above the stage. The dancers peel off their knit costumes to reveal white tanks and underpants. They hang up their costumes, and then the costumes ascended, twisting and casting headless human shadows against the tall white walls. In this final section, the movement quality changes somewhat, and the dancers appear more balletic, gentler, more akin to their former skins floating in the air above them.
For me, what is best about Wallflower isn't the dancing, although the choreography is creative, but the spectacular execution of all of its elements. Like every choreographer I've heard, Pollak, in a conversation with the audience afterward, denied that Wallflower has a particular meaning. He welcomed whatever interpretation people choose to give it. Indeed, Wallflower invites multiple interpretations, which is part of what makes it so entertaining.


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Küryakyn plans return to V-Twin Expo in Cincy
News release
Küryakyn Holdings LLC, a leader in the aftermarket parts industry, is gearing up for a big return to Cincinnati, Ohio, and the V-Twin Expo hosted by Easyriders, taking place February 7-8, 2015.
Exclusive insights into Küryakyn's latest product developments for 2015 along with outstanding dealer incentive programs will be presented by onsite representatives in our all-new 50' x 20' display located at Booths 575 (Küryakyn) and 581 (Crusher). Küryakyn will be showcasing the premium Bahn line of forged and precision-machined products, as well as the all-new XKürsion luggage line, and sleek series of Tri-Line accents for the new '14-'15 Harley-Davidson Touring models. Crusher, the Performance Division of Küryakyn that made its debut at the 2014 Sturgis Rally, will be presenting its entire line of exhaust and performance products, including the skillfully styled and acoustically tuned Maverick Series Slip-Ons, 2-into-2's and full systems that are made in the U.S.A.
"We have great potential for growth with the addition of new brands that complement Küryakyn's core product line," said Holger Mohr, President of Küryakyn. "We want to reach out to those who aren't aware of the evolving Küryakyn portfolio and leverage our staff's knowledge to form new partnerships, both domestic and international, while also reinforcing existing relationships through educating our current dealer and distributor base. The V-Twin Expo provides the perfect opportunity for us to do that while introducing new brands like Crusher and Bahn to the entire industry. It's an exciting time for Küryakyn, and we're thrilled to showcase what we've been up to and what we have planned for the future."


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Head coach Andy Reid has always had a lot of respect for head athletic trainer Rick Burkholder.
But after the yeoman effort it took to get guys like Kevin Curtis, Brian Westbrook, Lito Sheppard, Juqua Parker and Tra Thomas ready to play against the Falcons on Sunday, Reid heaped heavy praise on Burkholder and his staff.
"It's important for these guys to work with Rick and continue to follow his rehab program and do the job they're doing," Reid said. "My hat's off to them. Going into the bye week, we had quite a few guys on this (injury) list. They worked their tails off to get themselves back."
Reid did say that wideout Reggie Brown is feeling better after tweaking his groin earlier in the week, but that he is listed as questionable for Sunday's contest.
"We're being smart with it, with the practices, to have a chance at the game here," Reid said. "That's important right now."
Reid added that the swelling in Parker's knee is down, that Sheppard, Thomas and Westbrook each practiced on Friday and that Curtis will indeed start against the Falcons.
Reid is a little anxious to see what Curtis, who's been out since the preseason with a sports hernia, can add to the Eagles' offense.
"He, obviously, had a great year last year. He was our leading receiver," Reid said. "He's another person that (quarterback) Donovan (McNabb) trusts. He's got trust in all of our receivers. This is a guy that he utilized quite a bit last year. Kevin is very consistent and he brings another speed player out there to the mix with the other guys."
Guard Shawn Andrews is the only Eagle definitely listed as out for Sunday. Andrews is currently resting in a Los Angeles-area hospital after having successful back surgery earlier this week. Reid said that was no current timetable for his return to the football field.
"They said the earliest he'd be back would be six weeks," Reid said. "I'm just going to see how he does here in the next couple weeks, three weeks, four weeks. I'm not sure when we'll make that decision."
Of all the players coming back to the Eagles' lineup this week, Westbrook's return is perhaps the most surprising. Westbrook fractured two ribs less than three weeks ago, but he's planning on playing a big role for the Eagles on Sunday.
"It depends on the ribs that you break," Reid said. "That's part of it, and where they are, where they're located. Brian's a quick healer, normally. I think that's the case here. I think he's on schedule."
Reid added that Westbrook seems like he's feeling fine, that there isn't that "grinding" that comes with broken ribs and that he should be fit to play against Atlanta. The bigger question in Reid's mind is whether or not Westbrook will be up to game speed.
"He does (look good), with the exception of playing in the game," Reid said. "He hasn't done that for a while here. He feels good and he's was able to put a hard week of practice in and take all the reps there. We'll see how he adjusts during the game."