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|21 Jun 2014
Windows will not install to 80 GB IDE
I had an HP Pavilion A805N that had 7 64-bit running on an 80 GB Western Digital IDE drive which was working perfectly... until the motherboard started locking up (due to blown capacitors). I got a new motherboard along with RAM and CPU. I am trying this hard drive on this new board and the BIOS does recognize the drive. When I go to setup, the drive is seen there. However, I cannot install windows for an unknown reason. I have tried changing to AHCI mode and the problem persists. I know this drive is good because it works on another computer. Is it possible to install 7 on this setup?
Specs of old build:
-CPU: Intel P4 3.4Ghz Hyperthreaded
-80GB IDE hard drive
Specs of new build:
-MoBo: MSI 760GM-E51 (FX)
-CPU: AMD Athlon II X2 255 3.1Ghz
-The same 80GB hard drive
|My System Specs
|21 Jun 2014
Win7 Enterprise, Win7 x86 (Ult 7600), Win7 x64 Ult 7600, TechNet RTM on AMD x64 (2.8Ghz)
Welcome matt965,
Did you erase, clean, & format the old 80gb HD and reformat it ? Or are you trying to use it as is ?
Is the jumper on the IDE in the correct position, if any other IDE devices are on the same cable ?
Could you describe the error messages you get in more detail as to why win7 will not install.
|My System Specs
|21 Jun 2014
Originally, I was trying to use it as is. Before I pulled the old board, I uninstalled all the drivers (graphics, Ethernet, etc.). When I tried booting, the PC acted like there wasn't a bootable volume anywhere. I then went to set-up, deleted the partition, and added a new one. Format doesn't do anything either.
The message I see says "Windows cannot install to Disk 0 Partition 1 (Show details)"
When I click that message, a window says "Windows cannot be installed to this disk. This computer's hardware may not support booting to this disk. Ensure that the disk's controller is enabled in the computer's BIOS menu."
The jumpers are set correctly. Nothing has changed as far as disk setup goes.
|My System Specs
|22 Jun 2014
Win7 Enterprise, Win7 x86 (Ult 7600), Win7 x64 Ult 7600, TechNet RTM on AMD x64 (2.8Ghz)
Sounds like you may have to use a bootable CD of FREE Partition Wizard to make this a raw HD again.
Partition Wizard : Use the Bootable CD
|My System Specs
|22 Jun 2014
Does your new mobo have UEFI? If so you'll need to either reinstall to UEFI (Unified Extensible Firmware Interface) - Install Windows 7 with - Windows 7 Forums or enter BIOS setup to enable CSM or Legacy mode to either adjust your old Win7 to boot or Clean Install Windows 7 normally after deleting all partitions l as shown in Steps 7 and 8.
Before you wipe the drive you can try to Adjust Win7 to boot on new hardware with Paragon Adaptive Restore CD.
If it doesn't start after P2P Adjust, confirm the Partition Marked Active then run Startup Repair - Run 3 Separate Times from the Win7 disk.
Let us know how this goes as it may be necessary to proceed with Overcoming Windows 7 Installation Failures - Windows 7 Help Forums
|My System Specs
|22 Jun 2014
Partition Wizard completely erased the drive and formatted with success, but the installer still won't install.
This MoBo does not have a UEFI option nor does it have a legacy boot option. I tried the formatting options in cmd off the setup DVD. The problem still persists.
|My System Specs
|22 Jun 2014
Then, again, work through the steps for Overcoming Windows 7 Installation Failures - Windows 7 Help Forums which resolve most installation failures.
|My System Specs
|22 Jun 2014
I don't have a "custom install" option when trying to install. I went through the format partitioning part and the drive is now marked active, but windows still refuses to install.
|My System Specs
|22 Jun 2014
Windows 7 Ult, Windows 8.1 Pro,
Mumbles something about terabyte drives for 50 bucks.
Why deal with an outdated low capacity IDE drive when you can get a new SATA drive with more than ten times the capacity for 50 bucks.
|My System Specs
|22 Jun 2014
Please take pictures showing install screens. Impossible there would be no Custom choice if installer is booted and not modified somehow. Where did you get it?
Try a new installer from tutorial. Are you skipping any other steps? The skipped step is often the solution.
|My System Specs
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randy's Recent Posts
(in response to Aalto VST crashes in mint Live 10.0.3 and 10.0.4 (macOS))
OK thanks for the info, I'll be in touch here about a plugin update.
(in response to Aalto VST crashes in mint Live 10.0.3 and 10.0.4 (macOS))
In the first crash with the VST, you can see at Line 30:
Crashed Thread: 5 AudioCalc
So you can scroll down to thread 5, which starts at line 114. The function calls are in order of most to least recent. Each line has the name of the executable module that is running, followed by hopefully the name of the function inside of it. For com.ableton.live you don't usually see function names, just numbers, because the function names have been stripped from the executable.
Roughly speaking, thread 5 tells you that the crash was in the kernel library, called by the C ++ standard library, called by Aalto, called by Ableton Live. My own code is trying to print some debug information, which it shouldn't be doing in a release build for various reasons, one of which being that the string library might allocate memory as we see here. Allocating memory in an audio processing thread is always something to avoid. Even so, it should not be crashing, so I will look to see what is causing the crash before simply removing the debug printing.
(in response to Aalto: value lists for parameters possible?)
This change would be a fundamental one and is not going to happen in a minor update. It is exactly the kind of thing I will be looking at for a major update (Aalto 2).
(in response to Aalto VST crashes in mint Live 10.0.3 and 10.0.4 (macOS))
Sorry you are running into problems. These are new to me. I appreciate the detailed reports.
You seem very on top of the latest from Ableton so you probably heard that Live 10.0.3 had some bad bugs with AU parameter updates. You say you are using 10.0.4, and I think these have been fixed in that version. Just FYI.
The VST crash report does not indicate the JuceVSTWrapper is the problem. It does point to some debugging code of my own. I should be able to post a beta very soon that I hope will fix this.
The AU crash you sent later does not point to Aalto. It looks like purely an issue with Live. If you want to experiment you might try the same track copying operation with a different AU instrument plugin.
(in response to Unexpected result from scala file)
Hi, if you give the .kbm file the same name as the .scl file except for the extension, the mapping will load for that scale. Do you have a mapping you are using with the other programs? If so, try loading it using this method and you should get the same results.
If you are not using a mapping, you could try transposing the notes to get the same results.
I'll check out werck3 when I get a minute here.
(in response to Virta and MIDI Program Change)
Ah yes, it only loads them when the plugin starts, good thing to go into the docs. Glad it's working.
I'm happy to announce that our home here on teh interwebz, has a brand new look. The old site got the job done, but was not working on mobile and was generally starting to look a little, well, old.
Now we have a better-looking interface that's more usable. An update from 2009 to 2019, if you will. A year in the making, this overhaul brings our look up to date and supports mobile browsing. It should also respond quicker, and the infrastructure sets the stage for new features I want to add over the coming years.
Big thanks to the friends who have helped with this work: Joel Marchand, Brit Hansen and Philip Kobernik.
(in response to Virta and MIDI Program Change)
Hi Greg, yes I know this works because I've used it in a performance. Maybe check the spelling of the "MIDI Programs" folder?
(in response to Current design of "MIDI Programs" is a nightmare)
Yes, yes, I know this feature is not the best. It is just a stand-in that allows the job to be done, until I have time to make a good UI for associating patches with numbers. So far there have always been more critical things to do, and unfortunately it's just me writing the software.
Thanks for the feedback, though. If it's any consolation I have to use it for my own shows as well. I'll definitely change this for Aalto 2, which is the next update or very nearly so.
(in response to Aalto suggestion: add parameters for controls with quantized positions)
Because you say "go to the GUI" I guess you are talking about using the controls of your Push here? From the GUI itself the dials snap to the quantized positions. The shift modifier allows a fine adjustment from there.
I should really get a Push 2 and do a run-though thinking about usability in general. It's a nice controller!
(in response to Aalto: value lists for parameters possible?)
Thanks for the feedback. What format are these other plugins in? I'm not sure that VST2 for example supports this concept. I agree it would be a nice usability improvement for formats that support it.
(in response to Aalto: seq_wave parameter doesn't select any Preset waves)
seq_wave is only there to communicate between the interface and the parameter system within Aalto. It shows up automatically as an automatable parameter but is not useful.
Later I added the concept of a non-automatable parameter, but to remove this one would break patches by changing the order of parameters. I could rename it "unused1" or something.
(in response to Virta 1.3.2 REAPER vocoder 256 bands preset not reloading correct)
Hi Wolfgang, I'm sorry to hear this bug is still happening after the update. I'll check into it using Reaper.
(in response to A new look)
@brianleu You can still find all the DIY stuff at madronalabs.com/DIY. Feel free to download it all!
(in response to Any news on Sumu?)
Well OK, last in this series anyway. These four instruments make a great kind of group and next I need to do something different. I could put a patcher in the middle of something again, someday. But it will probably look different. Hopefully I'm always learning.
Fedor Pereverzev, AKA Moa Pillar, is an artist who specializes in deep, dark electronic sounds. Hailing from Moscow, Fedor works by day as a sound designer for the audio company Monoleak. His recent album Humanity was released by the label Full of Nothing. A label based in Karelia and run by Anya Kuts and Ivan Zoloto of the noise duo Love Cult. Humanity is a beautifully textured journey through the Moa Pillar world, all while showcasing Pereverzev's sound design expertise. We were happy to have the chance ask him some questions after learning he used Aalto as the main tool on his new album.
You've described your music as "Spiritual Bass". Can you elaborate on what this means to you?:
Spiritual bass is a journalist's term. I used tag "spiritual" only in track's description on Soundcloud. This word is important because it allows me to show that this music is not only about dancing (although I attach great value to this aspect as well) but about my own way of understanding the world. The tag "Spiritual" points out that this music is a result of my own discoveries and experiences regarding to metaphysics of the world.
What is Moscow like as a place to be making electronic music like yours? Would you say that where you are physically, and a sense of place, is important to your work? Do you enjoy performing live?
I think Moscow, like any other big city, is a comfortable location for music making. There is always something going on. You can feel this eternal motion that motivates you to move on. You can always find somewhere to go or to be inspired. But at the same time, I can't say that Moscow inspires me. I'm not interested in reflection on the aesthetics of the city or its metaphysic in my music.
I've truly started to enjoy live gigs just recently. Until now I had pretty mixed programme that didn't allow the most important thing to happen - going deep into the music. It didn't allow me to do this. Today meeting people is important for me. New programme is strong and solid. This is where the magic happens. Anyway, live performing is still a tricky thing for me technically. I never write music keeping in mind the way I will perform it. I always consciously choose building complicated structures instead of the ease of performance. So the question "how to play it?" is always acute. My music has lots of layers and I can't play them all. You have to find balance between audio, that plays automatically, and structures, that should have been manipulative. This kind of analysis of my music is an interesting game for me.
You mentioned that you work as a professional sound designer by day. How does this line of work relate to your personal musical expression? What can you tell us about Monoleak?
Monoleak is a full service audio production and music agency, formed by me, Savely Shestak and Savva Rozanov. We've been producing music for movies, advertisement and shows for almost five years now. For the last couple of years we've worked with dozens of automobile brands with their launches in Russia and abroad. Our latest significant achievement is creating original soundtrack and sound design for the biggest show in world history of 3D-mapping created by Sila Seta Inc. covering huge Ministry of Defence building in Moscow.
The working process helps me with my own music growth. Working on the projects as part of Monoleak I better understand what is really interesting for me in music and what is superficial. I can realize all of my spontaneous desires, not allowing them to get into my personal field. For example I can write "sweet" house music, edm and so on. It's also a constant improving of technical skills. By the way, we use Aalto pretty often in production. It's perfect for background atmosphere and sound design.
You mentioned on our forums that your new album is 85% Aalto. What is it about Aalto that you connect with so well? Can you tell us anything about how it fits into your process? For example, do sounds tend to come first and lead to rhythms or vice versa?
Yes, that's true. In fact I used Aalto (and sometimes Kaivo) for all the sessions except melodic bass and rhythm. Tracks without rhythmic structure (Essence and Magnets) had been made with Aalto. I can honestly say that I'm in love with this synth. I like its clarity, intuitive interface and certainly the sound! I had a feeling that I was working with a live instrument because with Aalto you can achieve tones and rhythm imperfection. And I really appreciate it. Should also note the ability to download different musical temperaments. It's great! I was really impressed when I found variety of my favorite composers (Terry Riley and La Monte Young) in the list of "key tuning". I dream about modular synth by Madrona Labs (as many other people I think).
My work starts with opening the session where all the knobs of Aalto are connected to Launch Control XL. Further, if I don't have any specific idea, I just turn on the recording and improvising. Most often something impressive comes out during this process and I use it in further work. This approach and scopes of Aalto were very useful during my trip to the Caucasus, Kabardino-Balkaria. The purpose of the trip was the musical commination between me and the guys who play and learn traditional Kabardian folklore. The result of it was a documentary "Bonfires and Stars", which is now being prepared to be shown at international festivals. It was filmed by Stereotactic team.
profile: Josh Leibsohn
photos: Fedor Pereverzev
Listen to Humanity: http://everything.fullofnothing.net/album/humanity
Moa Pillar:
Rastko Lazic is a composer and improviser of electronic music based in Yangon, Myanmar. Through the magic of the internet, by which our shared love of weird devices and ideas about sound transcends time and space, many of his works made their way to Seattle. What's in them? A devotional attention to the basic qualities of sounds both found and generated, it seems, and a purposeful collection of digital and analog devices for focusing it.
In a recent video you posted online, you made a very expressive connection between the Soundplane and a Serge Modular Synthesizer. What are the aspects of the Soundplane that inspired you to use it in this way?
I have been interested in controlling the modular synthesizer with either movement (Serge Modular and the Theremin https://vimeo.com/42150452 and Tuning a Performance https://vimeo.com/86026852 and Tape002 https://vimeo.com/46954260) or touch and pressure (Popcorn https://vimeo.com/31022576) for a long time.
The Soundplane fits perfectly into this exploration. The Soundplane sends information from three dimensions and can do that from multiple touches simultaneously. From the four touches, I use one could take the difference between touched values and use that as a new value. Or any other equation. Like Wiard JAG https://malekkoheavyindustry.com/product/jag/ but with a possibility of 32 inputs. In this way, you get a lot from the touches and movements.
What is most important is that the Soundplane works and feels really well when played. A beautiful instrument.
For the connection between the Soundplane and the Serge I used the Expert Sleepers ES-3 module. For the translation from OSC into CV, I created a custom Max/MSP patch.
You seem to be a big user of modular synthesizers. What is it specifically about modular synthesis you enjoy?
The first thing I loved about the modular synths was the sound or either the vast possibilities to create new and alter existing sounds very fast. I love the way Serge (I have a Serge Modular synth) managed to make so many functions in a very compact space and I love the fact that nothing was forbidden and that with mistakes and chances one came to sounds never thought of or heard before. Many modular synth manufacturers are now expanding on this idea and are involving digital technology as well.
Modulars are great open systems and for the most part, the only limit is one's imagination.
You can hear some of my first recordings with my modular here on "This Room Is Too Small" https://rastko.bandcamp.com/album/this-room-is-too-small and see me playing my synth on my friends boat and on his artificial island (a movie prop he got as a present) in my favorite part of Belgrade, Serbia on the river: Rastko And His Serge https://vimeo.com/19058233
This love for modular begun with me listening to a lot to older electronic music from the late sixties. I bought a lot of old library books about the music and the techniques used and read through every manual for old modular synths I could download. I found out about the Serge modular synth from these books.
I really got obsessed with my Serge in a very good way and it makes me happy. Modulars can give you this childlike happiness of discovery and this is great. I always think about new ways to connect things and wonder what would happen. I love the feedback patches and the sounds coming from them, it is like a living organism. These patches never end to surprise and excite me. This is something I can not find in computer software.
The thing I discovered is that smaller modular systems are much better for performances and playing. At least for me.
I now use more software but I learned a lot from modular and I am creating presets in a similar way I would patch a modular.
Most of the software instruments I now use is inspired by the modular instruments so it is not so hard for me to adapt and understand them. Now I am creating more and more Max/MSP patches to add more control, randomness and the chance to midi that is sent to software instruments.The software instruments maybe do not sound as good as the Serge but they sound different and are sounding better and better. The reason why I do not use the modular so much anymore is that I like the idea of a static instrument in a sense that I separate patching and playing.
With modular I use a long time to patch and then after recording it is gone. In one way this is great but I also like to be able to just switch on the instrument and play it. This is what software is good at. I use them to create the patch in, for instance, Aalto and with a dial, I can come to that sound again and play it. This with live preset switching becomes very powerful.
I started performing and working like this with the wonderful Nord Modular Micro and, here again, I play with a controller but this time, I limited it to knobs and faders: Micro Modular Patches https://vimeo.com/65191738
In addition to modular synthesizers, you also employ Madrona Labs' Aalto and Kaivo in your compositions. How do Aalto and Kaivo fit into your workflow?
Aalto and Kaivo work really well with the Soundplane. They are a perfect match. Aalto has a great interface and with the constraints, it has it forces the user to think of new ways to create presets and sounds. One can use some elements which are not intended to be used in some conventional software instruments. For instance envelope as a sound source. This is very much the thought of Buchla and Serge.
On the other hand, Kaivo sounds incredibly acoustic and often it is unreal when touching the wood surface of the Soundplane that these gorgeous string sounds come out. It really becomes an acoustic instrument and one forgets the computer and the electronics. Really you could think that these strings are somehow under the wood. Every subtle pressure or rub creates sound. These sounds can be wonderfully weird and abstract.
On these latest recordings, it is mostly Kaivo played live on the Soundplane: Yangon Miniatures: http://rastko.bandcamp.com/album/yangon-miniatures
Your website states that you have been composing music since 1996 for contemporary dance, theater, and television. What are some of your favorite compositions you have done?
Well, maybe the two beginnings are my favorite.
The first one was the soundscape for the Copenhagen Culture City 1996. The composition was performed from the underground toilet under the main square in Copenhagen. They had a joystick and 8 channels of audio I could move on a large array of speakers under the square. The speakers were in the water drains. This was the first time I was doing musique concrete. The first time doing soundscapes as well.
I just came back from studying audio engineering in London and amazingly enough on this whole audio engineering course there was no mention about the history of electronic music and sound. It was all about types of microphones, technique and industry. Now I am much more interested in the history and the art of sound.
The second favorite piece was done for Dalija Acin and her "Handle With Great Care" performance. This composition was important for me as I realized that I have to do what I feel like and not to try to please everybody and follow the rules. We created a long and loud noise piece that we felt is perfect for the choreography. At that time, some colleagues told me it is impossible to do such a thing and that these frequencies can not be used. The performance was a great success and while watching it I was really touched. My sound was just a part of this. Dalija and Ana are great performers.
This is actually a recording of the whole performance but it is hard to understand it from the video as it has to be loud and just being in the audience is different than watching it on Vimeo: https://vimeo.com/11601471 What is really funny is that somebody posted the same performance but decided to put on something I assume he or she thinks is real music: https://www.youtube.com/watch?v=LRLfjBhK2XM
Much of the music you have shared online shares a unique style of electronic ambiance. What about this style of music speaks to you and what are your creative goals in terms of music composition?
It is a mix of a lot of things I am interested in. I like noise music and I use it subtly almost always. Then I like the self-generating patches and I made a lot of recordings of that. Right now I am interested in minimal music and just enjoy playing and recording simple short structures. Here in Myanmar, I play a lot of gongs and local percussions and now finally I have a possibility to record that properly so that should be on the net soon as well.
All these different sounds I make come from my surroundings and I am very much influenced by the people and the sounds that surround me every day. I am very lucky that I traveled a lot and lived in a lot of places so the sounds and smells from these places influence me and the music I play and record.
Often it is also some events in my life that put me usually in a rather melancholic mood. There is a reason for that and I think this is not so bad actually.
I really do not have any goals. I let the sounds play and I record them, then I like them or not. I try not to edit so much but to record as much as possible live.
I love sound. Melody and sound are for me equal. Sometimes in these sound textures there is a melody hidden, discovering this melody is the beauty.
profile: Josh Leibsohn
photos: Rastko Lazic
Serge Meets Soundplane from Rastko Lazic on Vimeo.
interview by Geeta Dayal
At age 29, Kaitlyn Aurelia Smith is a rising star in the world of electronic music. Her music was shaped by her years spent exploring the pastoral landscapes of Orcas Island in the Pacific Northwest, which led to a chance encounter—via a neighbor—with a Buchla 100 modular system. This, in turn, led to an affinity for the Buchla Music Easel, a unique, portable synthesizer invented in the 1970s. After several experiments with releasing her own material, her first full-length album, Euclid, was released in 2015 on the label Western Vinyl. Her new album, EARS, is receiving major acclaim; NPR recently raved that it "elevates the warm pulse of the Music Easel into the realm of the divine" and Spin wrote that Smith's album is "startlingly, richly fulsome, commingling the mysticism of Smithsonian Folkways LPs, IDM's furrowed futurism, and the free fall questing of Laurie Spiegel's 1980 landmark, The Expanding Universe."
What drew you to composing electronic music in the first place? Can you talk about some of your early inspirations?
I studied orchestral music and composition in school, and my first introduction into making electronic music was on a Buchla 100. Immediately I felt like I had a personal orchestra at my fingertips with only my time to worry about.
In the beginning of my experience with electronic music, listening was my inspiration. Taking time to listen to one oscillator and then adding another and hearing how they interact. I spent a lot of time with the Buchla 100 trying to learn what It seemed like the machine wanted to do, rather than what I wanted it to do. I found this approach to be more enjoyable and less frustrating.
You've talked a bit in interviews about the natural environment of Orcas Island in Washington, and the profound effect it had on you. Can you briefly describe the landscape, for people who have never been there?
There are endless evergreen, aspen, madrona and cedar trees. The ground is lined with thick pads of moss. Lots of mushrooms. It is an island in the Puget Sound, so it is surrounded by other islands that look very similar. No poison oak. Lots of deer, rabbits, hawks, eagles. A lot of moisture in the air.
I was struck at how you are able to coax beautifully tonal music out of the Buchla Music Easel. It's not an easy instrument to play in the way that you do. Can you talk about why and how you use the Easel? Some of your techniques and tricks?
Thank you. I approach the Easel in a similar way that I did the 100 but with a bit more intention now. I have spent enough time with it that it feels like an extension of my limbs, like how an acoustic instrument does. When I am composing, I use a mixture of intention and happy accident to guide the intention. If I could, I would use a Buchla 200 but since I don't have access to one, I am more than happy with the Easel. When I compose electronic music, the electronic part is always secondary to me. Composition is first.
You've used a combination of hardware and software instruments. Can you talk a bit about how you've used Aalto?
I love Aalto; it feels like a software version of a Buchla. Very intuitive to work with. Inspiring interface. It has a very complimentary tone to the Buchla. I like to map it to a hardware device and compose with it in real-time along with the Easel.
What's your setup like at home for making music? How do you work?
My setup changes a lot depending on the project. Sometimes it is just a piano and sheet music; sometimes it is notation from Finale sending MIDI to the Easel; sometimes it is really elaborate with many synths connected to each other using the same clock, and a vocal mic so I can make everything in real time.
I find that I create best when I experience novelty, so I tend to not stick to a routine or similar setup when I create.
What are your plans for future projects? What are you looking forward to in the coming year?
I have a new album that I am very excited about — it combines synthesis with orchestral instruments and voice. I will be touring a lot over the next year and making more music.
Kaitlyn Aurelia Smith's EARS is now available from Western Vinyl and at bandcamp.com.
Kate Simko can trace her musical journey back to the age of five, when she began studying classical piano and music theory. Throughout her time growing up in the Chicago suburbs, music was a constant creative outlet but never something she considered as a career plan. Then in the early nineties, as a teenager, she found her way to the underground Midwest rave scene in the wild and full flower of its youth and something clicked. Having dance music as an abiding inspiration alongside her classical training led her to center her life more and more around music. She writes: "I was just starting to figure out who I was as an individual, and electronic music opened my mind and passion for life and self-discovery. It was through dancing til dawn at raves that I started absorbing new music and ways of thinking."
Kate began DJing on WNUR radio in Chicago in the early 2000's. In 2002, she studied composition in Santiago, Chile, and recorded her first album Shapes of Summer with Chilean electronic producer Andres Bucci. Since then her catalogue has grown to include releases on a wide variety of labels Kupei Musika, Get Physical, Hello?Repeat, The Vinyl Factory, Leftroom, No.19, Sasha's Last Night On Earth imprint, and Jamie Jones' Emerald City.
She now lives in London, having recently completed a Masters in Composition for Film and Orchestra at the Royal College of Music. She works on a broad range of musical pursuits: producing dance music, composing soundtracks, remixing, DJing, and playing live with her group the London Electronic Orchestra. Through all of these her work projects her unique voice, combining classical orchestration with dance music's jack.
When I listen to your work, from earlier tracks on labels like Kupei Musika and Hello? Repeat to your latest work with London Electronic Orchestra, I hear a lot of careful attention to timbre. Instead of the kind of sound that references a certain genre, yours always seem more tailored to the particular composition and not so easily described. Can you talk about your process for coming up with these sounds?
Yes, I imagine the sound I'd like to create, then work towards creating it. Sometimes it's achieved by an instrument with a lot of effects. For example, I might take an accordion, because it has a slow attack and release, and then add some distortion, a drastic EQ, panning, and delay or other modulation plug-ins to achieve a desired synth sound. I often lean towards "organic" sounding aesthetics, so taking a sound recording and manipulating it works well to have a warmer, less digital sound.
I take it that Aalto is a part of your process somehow. Is there a certain kind of sound or situation you use it for?
Aalto is fantastic for spatial sound design and pads and dense sounds with a sense of movement. Personally, I find myself drawn to Aalto for film scores, and actually am using Kaivo and Virta on a soundtrack right now too.
This film score, a science documentary, is working well with rhythmic synths, and these synths are ideal. They don't sound too repetitive yet there is a sense of constant movement, which works well against the film.
You've talked about how, in your recent work with London Electronic Orchestra, you are giving what would normally be synthesizer parts to the acoustic performers. Do you end up composing in the same way you would for synths, or have you found a different approach is needed?
In general I compose for orchestral parts in an electronic song in the same way. I usually pull up the section of the orchestra I'd like to use (ex: French Horn for brass, Cello for low strings, etc). and record ideas from the MIDI piano. I don't focus on the timbre of the orchestral samples, just the melody and rhythm, as I know the sound and orchestral instrument will change.
It many of the LEO pieces it sounds like the band is playing to a master clock. Do you use a click track? Has getting the group to feel right rhythmically been difficult?
The LEO musicians are excellent players with a great sense of rhythm, so they make it seem easy, not difficult! We always record to a click track, but they know they have freedom (especially when it's a solo line) to express themselves and get back in time to hit the next phrase.
I'm curious about the path that led you from doing solo productions to becoming a bandleader. Is this something you've been trying to move towards for a while?
This was a surprise turn of events for me too! I moved to London in 2012 to get a masters in Composition for Screen (film and orchestra) at the Royal College of Music, and I was at the RCM recording studio (which charged only £20/hour including the engineer and Pro Tools recordings!) as much as possible. I started writing for an amazing harpist, Valeria Kurbatova, and our LEO violinist Kamila Bydlowska, and tried out every orchestral instrument possible. After two years I had a collection of songs which is the core of the debut London Electronic Orchestra album.
Between dance music, film/video work and the live performance you have a lot of irons in the fire. Are there any new projects coming up you'd like to mention?
Yes, it's a balance between DJing, producing, film scores, and LEO. Right now the most exciting project on my plate is a collaboration with Jamie Jones called 'Opus 1.' Jamie and I have released a couple orchestral-electronic tracks together, and we debuted a show with live orchestra in Bogota, Colombia in December 2016. Now we are creating new material and bringing the show to the Barbican in London this November. It will be an expanded LEO full orchestra of 25 players, and Jamie and I on electronics. Hopefully we can take this show on tour next year, including to the states!
Alex Menzies is a Scottish producer and DJ. As Alex Smoke, he has carved out a unique path through the dance music world since 1994 with three albums and numerous singles that display a rare talent for combining modern compositional ideas with the demands of the dancefloor. His most recent album, the self-titled Wraetlic, marks a new project that is based more on stripped-down pop structures and expressive sound design.
Long Glasgow-based, Alex has recently moved to Berlin. By email, I asked him a little about his new music and his writing process.
I like this new music and also the name "Wraetlic" very much. It and the track titles prime me to delve into a particular kind of kind of story, but leave ample room for mystery.
Cheers! Yeah anything too explicit, and the mystery has gone……things are better left unsaid and just skirted around. Just ask David Lynch.
You are working in an territory that I think of as in between tracks and songs, from where a lot of my favorite music has come. Can you point to any influences in this area?
Yeah it's very fertile ground as far as I'm concerned, somewhere you can experiment completely but still be able to keep it comprehensible by having a vocal narrative. You can have the weirdest stuff happening in the background, but if there's a vocal, it's suddenly very accessible. People who do it well are Matthew Dear, Khonnor, How To Dress Well, Autre ne Veut, Hype Williams, to name a few. They all come from totally different angles, but the voice is like a hook for the brain to latch on to.
You said that Aalto was an inspiration on the album. Are you able to say anything about how that happens? For example, some people talk about synthesizers as tools that help you get sounds you've imagined in your head out into the world. Others approach them more as boxes of mystery and possibility.
Firstly, yes it is no lie that Aalto was a big part of the production of this album, and came along at the time I was just starting the project. It really inspired me. There are several things about it which immediately made it stand out and invited me to experiment, the first thing being the simplicity of the layout which just makes it so approachable, despite the fact that it is semi-modular. I know I can create interesting sounds if I have access to that routing, so it is instantly creative, and encourages experimentation. It has a purity of conception about it, if that makes sense!
I am also the kind of producer who likes to have the ability to really make the sounds in my head, and again Aalto has some very unusual features which make it possible to create timbres which I am very fond of, especially bells and clicky, unpredictable tones. The Waveguide too is a big part of the appeal for me. That sound is so much more alive than a normal oscillator, and you get the sense that you are playing with a living thing, that has to be coaxed to do what you want of it. Unlike the standard oscillator, which just blurts out its noise for you to cosh into submission with a filter.
I hear some short melodic parts that could have been done in Aalto's sequencer. Was it useful that way?
I tend to use the sequencer as a control source for the pitch only when the sequence is either very simple or if the pitches aren't so important. For normal melodic sequences, I prefer the control of piano-roll, as it is much easier to create many pattern variations that way, and also to use that MIDI information for other parts etc. Where I do use the sequencer in particular is with the oscillator's linear pitch input to create huge fast jumps between pitches, resulting in strange beeps and noises, especially in conjunction with the noise oscillator. Also, altering the offset of the sequencer at the same time creates some brilliantly complex tones.
What was your setup like for making this music? Do you stick to one software environment for recording? Do you do any hardware mixing or processing?
I am a simple man….I just use Logic for the sequencing aspects, although I also use Kyma as a sound design tool which is a separate environment. For me the most important thing of all is getting the ideas down fast so as not to lose any ideas, and software wins this battle hands down. I care a lot about my sound sources but again, the software is now so good that external synths are a largely unnecessary luxury for me. That's not to say I don't hanker after a Jupiter 4 or a Buchla, but they aren't strictly required, especially now that I have Aalto to fill that Buchla-shaped gap in my sound-arsenal! There is a certain amount of fetishism about hardware gear, and many people I think just have it for that added appeal. I am also less of an experimenter, in the sense that I want to write the stuff in my head, and hardware is especially suited to open experimentation where you approach with an empty idea.
Place is always important to making music, and software tools offer interesting possibilities that way. Some of this album sounds to me like it could have been made in a remote cabin or monastery. Any truth to that?
I will actually include a picture of my studio at exactly the time I was making the Wraetlic album, and you will be heavily underwhelmed……haha…… In a way you're right, in that my head is somewhere between a remote cabin and a monastery! I would still love to go on a retreat to write an album and I have always intended it, but this album was not the one. It is all down to your inner world, and that is I think the most brilliant thing of all about making music now. That you can take your inner world and express it, whilst surrounded by the most abject banality, anywhere at all. But it's that inner world that matters.
Would you like to mention any other tools (hardware, software, consumables, rituals) that are important to your process?
My working processes alternate between the shockingly simple (such as doing vocals using the MacBook's inbuilt microphone) and the heavily labour-intensive (programming Kyma), but the only common threads are a lot of tea and working late at night. I have favourite software (there's a list on my website if it's of any interest) but I find that ultimately you need very few tools, as long as they are just the right ones. I know I could have just Aalto, Absynth and Soundtoys and still make 90% of what I want to. Although I'd also miss Kyma for that last 10% of madness.
Alex Smoke presents: Wraetlic is out now on Convex Industries.
(in response to Missing presets for Virta?)
I've posted the Virta update with all the patches. Since the plugin code hasn't changed, the new installer is also v.1.8.3 but with all the patches.
This year it seems desirable and possible for Madrona Labs to make a Soundplane to CV device. This would be primarily a Eurorack module, but the circuit could also be built into its own enclosure for use with vintage synths etc.
Normally I do most of my design work in private, and only announce a product when it's pretty much done. But we (Brian and I) are going to change it up this time. Because neither of us is that deeply into the Eurorack world, it makes sense to solicit input early on in the process this time. This is going to be a utility device (though hopefully an elegant one) — so before we get too far along, let's make sure it will be useful to you!
The basic idea
USB jack for powering the Soundplane. Module puts out CV / gates / mod outputs for individual touches. Like the Soundplane app, a zone map decides how the Soundplane surface is divided up into notes and what those notes are. You can switch between zone maps, and the name of the current one should be displayed somehow. Aside from this, visual feedback will be at least an LED per Z value. To keep costs low, probably nothing too graphical or fancy.
We're looking for input on things like:
How many voices?
Each voice of touch output will probably have 4 outputs for pitch, x, y and z. Setting up many voices on a modular is not the way most people use them, so I'm guessing that two voices of output will take care of 90% of what people want. We would probably add an expander module for more voices.
Any interesting modes?
A switch that changes z (pressure) into a strict on/off gate might be useful. Any other things like this?
individual voice groups vertical or horizontal? voice outputs at bottom or top? I'm thinking top, because a USB jack on the bottom will go to the Soundplane.
The module will need roughly 250mA at 5v to power the Soundplane. Brian will correct me if I'm wrong. Then there's whatever computing and display the module needs to do, and the outputs. Do we need our own power supply, or a list of compatible Euro power supplies that we can point people to? Any choices in connectivity to make here?
Finally, we're still looking for a great name…
(in response to Call for input: Soundplane to CV module)
We put on a big push for Superbooth, which was exciting. I'm working full time on Sumu (the next plugin) now. When Sumu ships I can return to work on the module.
(in response to Missing presets for Virta?)
Wow, so I looked at the installer and found some issue in my build here that clobbered most of the presets. Totally my problem and it was just something so weird I wasn't checking for it. I'll release a full update with all the presets tomorrow.
Meanwhile here's a .zip of all the presets separately:
(in response to no license after paying)
sorted, please see your email.
(in response to Aalto. the versions appear in a disorderly manner)
No worries! I'm here to help.
(in response to Aalto. the versions appear in a disorderly manner)
OK, I get it now. I did not know if you meant versions of patches, or of the plugin. Updating to Aalto 1.8.3 should fix this. It's a free update.
(in response to Aalto. the versions appear in a disorderly manner)
Sorry, can you explain in more detail? I don't understand what you mean.
When the problem happens,
- what operation did you do immediately before the problem?
- what did you expect to happen next?
- what happened instead?
(in response to Aalto - MPE voices influence each other when modulating level with aftertouch)
Of course having any sort of sound engine begs the question of why aren't there more sounds! I think just a few really solid ones might be a sweet spot though. Like some old analog synths that had 8 presets or whatever.
(in response to Aalto not following beat position in Cubase)
You can email me at support @ madronalabs.com if you like.
If you start from the default patch, which has no patch cords going into the sequencer, and just set the int/host toggle to host, you'll have a simple patch that should track the clock repeatably.


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Jack London (1876-1916) was an American novelist, journalist and social activist. Pioneering the genre of magazine fiction and prototyping science fiction, he became one of the first writers, who gained worldwide fame and a large fortune. Partially based on the author's voyage around Cape Horn on the Dirigo in 1912, this novel tells the story of Mr. Pathurst who books passage on a cargo vessel sailing from Baltimore to Seattle. To his surprise, the hero becomes a witness of a mutiny that starts with the sudden death of the captain.
From the cosmodrome of planet Geya controlled by the Founders, travel to a distant planet a new batch of "Gods". Head of the Gods appointed Zef Seth, recently returned from prison Abyss… but the story originates on Earth, for 10,000 years before the events, where ASS of Russian conducts space research on Venus, with the help of two androids remotely controlled from Earth. Upon arrival on the planet, the researchers lose sight of each other, and one is in Hell, and the other in Paradise…
On October 4–6, 2017, The International Scientific Conference «Capital of Revolutions» was held at the Financial University under the Government of the Russian Federation, timed to coincide with the 100th anniversary of the epoch-making event – The Great Russian Revolution of 1917, which predetermined the course of the world history of the 20th century. The conference was organized by the Financial University and the Institute of Russian History of Russian Academy of Sciences. The concept of the event is distinguished by the original approach of analysis of revolutions from viewpoints of various types of capital: political, economic, social and cultural. Revolutions are ambiguous, but very important historical phenomena on the significance of their causes and consequences. Within the framework of the conference, scientific discussions took place on the most important substantive issues: what are the costs and benefits of revolutions, the causes and driving forces, technologies and processes, and the consequences of such events? Particular attention was paid to the relationship between the state, elites and society in a revolutionary situation. This scientific monograph summarizes the scientific discussions and creates an idea of the multifaceted nature of the phenomenon of revolutions, as well as the ways and methods of researching them.
This new edition of Occupational and Environmental Medicine concentrates more on the newer kinds of occupational disease including those (like "RSI" and pesticide poisoning) where exposure and effects are difficult to understand. There is specific emphasis on work, health and wellbeing, with links to public health, health promotion, the value of work, disabled people at work, the aging workforce, vocational rehabilitation, evidence based practice, and further chapters on the health effects of climate change and of occupational health and safety in relation to migration and terrorism.
Ohio: A History of the Buckeye State explores the breadth of Ohio's past, tracing the course of history from its earliest geological periods to the present day in an accessible, single-volume format. Features the most up-to-date research on Ohio, drawing on material in the disciplines of history, archaeology, and political science Includes thematic chapters focusing on major social, economic, and political trends Amply illustrated with maps, drawings, and photographs Receipient of the Ohio Geneological Society's Henry Howe Award in 2014
In this provocatively compelling new book, Michael Luntley offers a revolutionary reading of the opening section of Wittgenstein's Philosophical Investigations Critically engages with the most recent exegetical literature on Wittgenstein and other state-of-the-art philosophical work Encourages the re-incorporation of Wittgenstein studies into the mainstream philosophical conversation Has profound consequences for how we go on to read the rest of Wittgenstein's major work Makes a significant contribution not only to the literature on Wittgenstein, but also to studies in philosophy of language
Полный вариант заголовка: «A dissertation on enthusiasm : shewing the danger of its late increase, and the great mischiefs it has ocasioned, both in ancient and modern times : with an examination of the claims in general now laid to immediate revelations, calls, gifts, or extraordinary communications of the spirit : likewise some observations on the most distinguishing tenets of our modern enthusiasts : to which is added, by way of appendix, an extract (with some additional remarks) from Mr. Rimius's late account of the Moravians, and their doctrines / by Thomas Green».
A Companion to Persius and Juvenal breaks new ground in its in-depth focus on both authors as «satiric successors»; detailed individual contributions suggest original perspectives on their work, and provide an in-depth exploration of Persius' and Juvenal's afterlives. Provides detailed and up-to-date guidance on the texts and contexts of Persius and Juvenal Offers substantial discussion of the reception of both authors, reflecting some of the most innovative work being done in contemporary Classics Contains a thorough exploration of Persius' and Juvenal's afterlives
Полный вариант заголовка: «An expose on the dissentions of Spanish America : intended as a means to induce the mediatory interference of Great Britain, in order to put an end to a destructive civil war and to establish permanent quiet and prosperity, on a basis consistent with the dignity of Spain, and the interests of the world : respectfully addressed to His Royal Highness the Regent of the United Kingdom / by William Walton».
Praise for Team Players and Teamwork «In the new edition of Team Players and Teamwork Glenn Parker updates his landmark compendium on the essential effect of cross-functional teamwork to encompass the added complexities of globalization facing team leaders and team members in the twenty-first century. Anyone participating on or managing members of a cross-functional team will benefit from reading this essential guide to successful teamwork.» -Jeffrey W. Warmke, vice president, global project management and leadership, Daiichi Sankyo Pharma Development «Glenn Parker has the unique combination of sound thinking and clear writing. In his recent version of Team Players and Teamwork he succeeds in taking this combination of skills to a higher level.» -Sivasilam «Thiagi» Thiagarajan, president, Workshops by Thiagi, Inc. «Glenn's book is a must-read for team leaders and team members who are looking for a comprehensive set of tools and ideas to help teams perform more effectively. Glenn offers practical wisdom-based on years of first-hand experience-that is unparalleled in the field of team dynamics.» -Robert Hoffman, executive director, organization development and talent management, oncology business unit, Norvartis Pharmaceuticals Corporation
This unique and long-awaited handbook on this important topic in the hot field of stereoselective organic synthesis covers several types of nucleophiles. Top international authors deal with modern forms of achieving stereoselective conjugate additions based on the use of chiral auxiliaries or asymmetric catalysis, such as P-N ligands, organocatalysis, domino reactions, Lewis acid and base catalysis. There is also a discussion of the employment of enantioselective conjugate addition transformations in total synthesis of important molecules. With its reliable and previously unpublished experimental procedures, this is a true source of high quality information.
An inspirational selection of quotations on love from the works of one of the world's most celebrated authors. A beautiful and thought-provoking collection of quotes on the eternal subject of love, selected from the works of one of the world's most widely read and respected authors. With beautiful full-colour artwork throughout, Love contains inspirational quotes from such beloved Coelho titles as Eleven Minutes, The Valkyries, The Zahir and, of course, the international bestseller The Alchemist.
Intercession Cathedral on the Moat, better known under the name of St. Basil's Cathedral, was built in 1555-1561 in fulfilment of a vow made by Ivan IV before the conquest of the Kazan Khanate. The unique project of an edifice consisting of many chapels, conceived by Metropolitan Makari, was meant to embody the image of Heavenly Jerusalem. Intercession Cathedral became the symbol of Russian architecture. The building houses the holy relics of two famous Moscow wonderworkers - Basil the Holy Fool and Ivan nicknamed "Big Cap".
Cellular domains play vital roles in a wide range of cellular functions. Defining cellular domains and understanding the molecular basis of their formation is essential to the study of cell functionality. This authoritative reference provides the most comprehensive analysis available on cellular domains, with emphasis on the definition and molecular composition of the domain as well as the functional implications of domain organization.
Полный вариант заголовка: «The power of religion on the mind in retirement, affliction and at the approach of death : exemplified in the testimonies and experience of persons distinguished by their greatness, learning, or virtue / by Lindley Murray».


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Palm Beach Yacht Show
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Hereditary colon cancer essay
Colon cancer essay, colon cancer research paper, term paper help. Essay instructions: need to cover the genetics and carcinogenesis of colon cancer(major pathophysiology concepts)in detail use 3rd edition understanding pathophysiolofgy by huether and mccance published by mosby as primary reference. Serving those with polyposis and non-polyposis syndromes including familial adenomatous polyposis, lynch syndrome, and more. Genetics are a known factor when it comes to colon cancer learn more about the role genetics play and what you can do if you are at high risk. Familial adenomatous polyposis (fap) is an inherited disorder characterized by cancer of the large intestine (colon) and rectum people with the classic type of.
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Hereditary colon cancer essay
Hereditary nonpolyposis colorectal cancer (lynch syndrome or hnpcc), an autosomal dominant disorder, is a disease in families where multiple members have. Essay title: colon cancer essay cancer is considered a genetic disease cancer is a group of abnormal cells, known as a tumor, that grow uncontrollably' cancerous tumors invade and destroy surrounding tissue cancer is named according to the type of organ tissue from which it develops. Lynch syndrome is the most common cause of hereditary colon cancer myriad myrisk ® hereditary cancer uses next-generation sequencing technology to identify patients. Essay on cheating in examination in hindi x12 research papers genetics and crime graphics persuasive essay outline 5 paragraphs worksheet, simple essay about myself. Colon cancer research papers this is typically what happens in the case of colon cancer inside the colon breast cancer genetics - breast cancer genetics.
1 hereditary breast and colon cancer presented by ann stapleton, rn nurse practitioner z23 pairs of chromosomes zchromosome is a strand of dna zgenes are. Risk for colon cancer increases after age 50 genetic testing for hereditary colorectal cancer (centers for disease control and prevention) also in spanish. Hereditary colon cancer colon cancer is one of many cancers to plague united states citizens there are four known types of colon cancer fourteen percent of all. The tools you need to write a quality essay or colon hereditary nonpolyposis colorectal cancer colon cancer of the large bowel, or colon and rectum is. Get information about family cancer syndromes here menu search cancer helpline 800 lynch syndrome (hereditary non-polyposis colorectal cancer.
· changes in many different genes are usually needed to cause colorectal cancer inherited if you have a family history of colorectal polyps or cancer. Cancer genetics risk assessment and counseling components of cancer genetics risk assessment and hereditary colon cancer may be due to familial. Colorectal cancer which involves the colon genetic screening for colorectal cancer essay - introduction due to the human genome project and other genetic.
- Learn about genes and cancer, signs of hereditary cancer, genetic counseling lynch syndrome, aslo known as hereditary non-polyposis colorectal cancer.
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- Lynch syndrome (formerly known as hereditary nonpolyposis colorectal cancer) is associated with an increased risk of colon and rectal cancer, as well as other forms of the disease including endometrial, ovarian, gastric.
Answers to frequently asked questions about hereditary colon cancer, published by the national human genome research institute. This executive summary reviews the topics covered in the pdq summary on the genetics of colorectal cancer (crc), with hyperlinks to detailed sections below that. Mutant genes cause colon cancer the human body is composed of trillions of cells inside each cell are two sets of 23 chromosomes, one set from each parent each. Colon cancer essaysso many factors are thought to come into play in determining who gets colorectal cancer and who doesn't that it's hard to choose one as the most. Essays on colon cancer we colon cancer is one of the most there are several identified risk factors for colon cancer including environmental and genetic.
Hereditary colon cancer essayRated 4/5 based on 19 review


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Pedaltrain Voodoo Lab Pedal Power Mounting Kit
The Pedaltrain PT-VDL-MK is used to mount all Voodoo Lab Power Supplies underneath the Classic, Novo, and Terra series boards.
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The art of magic involving the banishing or protection against creatures not from the world you are on. Usually defensive in nature. Also, you have to be a nerd to really get this. Go figure.
Person A: Quick, cast an abjuration spell!
Person B: I can't; I'm a conjurer.
Person B: I can't; I'm a conjurer.
by deathinacan December 10, 2013
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I do) malcolm gladwell will teach you how to write nonfiction that people can't stop talking about bob woodward will give every october, open university, a distance learning institution based in the uk, gives writers like you the opportunity to hone your creative writing skills through a range of engaging. Participants will share and discuss their own works-in-progress, and will be encouraged to try out fresh approaches during the course. Humber's creative writing – fiction, creative non-fiction, poetry graduate certificate program is a distance studio program offering aspiring writers the exceptional opportunity to work at home there are no formal classes on site individual courses are offered in a non-traditional way with a distinguished faculty member.
(our definition of narrative non fiction includes biography, travel, history, life writing, true crime, sports and other forms of sustained and structured nonfiction storytelling) in summary: this new course is the first of its kind in the uk, and aims to tap into the flourishing narrative nonfiction publishing market the course, run. Developed in response to the currently burgeoning public interest in "life writing" and other forms of writing that occur on the boundaries of fact and fiction, this course provides a critical guide to the wide variety of genres, forms, traditions and outlets available to the writer of creative nonfiction and offers students a closely. Twenty years ago, just out of my ba, i joined the novel-writing ma at manchester university i've never believed creative writing courses can teach you to write if you have no talent, but i knew this course would give me dedicated time to write, feedback from tutors and fellow students, and that most useful of. Content of course week one: state of the art the health of creative non fiction who are the great exponents of nonfiction writing what makes them so special is nonfiction writing as vibrant today practical exercisedoes your writing pack a punch we do a practical exercise to find out your areas of writing strength and.


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Vol - Tui - Jusqu'à -75% sur vos Vols. D., BCPS, University of Missouri – Kansas City School of Pharmacy at MU, Division of Pharmacy Practice and Administration, 815 Lewis Hall, Columbia, MO 65211, Telephone Number: (573) 884-7678, Fax Number: (573) 884-2166, Email: Salvatore [email protected] Increased utilization of antibiotics has contributed to greater resistance among pathogenic bacteria. Tui.
Complicated urinary tract infections practical solutions for the. It is used to treat a number of bacterial infections including acute bacterial sinusitis, pneumonia, urinary tract infections, chronic prostatitis, and some types of gastroenteritis. Urinary tract infections UTIs are among the most common infectious. Before 2003 most ESBLs seen were in Klebsiella spp. and were mutants of TEM and. but a recent randomized multicentre study demonstrated that levofloxacin for 5.
The Role of Levofloxacin in Treating Urinary Tract Infections A urinary tract infection (UTI) is a condition where one or more parts of the urinary system (the kidneys, ureters, bladder, and urethra) become infected. Do you see a role for fluoroquinolones in prophylaxis to avoid recurrent UTI. Enterococcus faecalis 22%, Pseudomonas aeruginosa 20%, Klebsiella spp.
Urinary Tract Infections in Adults - American Family Physician This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the orinal work is properly cited. Selection of empiric antibiotics for urinary tract infections (UTIs) has become more challenging because of the increasing rates of multidrug-resistant Enterobacteriaceae (MDRE) infections. This retrospective study was conducted to determine antibiotic resistance patterns, risk factors, and appropriate empiric antibiotic selection for MDRE UTIs. Uncomplicated urinary tract infections are caused by a predictable of susceptible. Escherichia coli Staphylococcus saprophyticus Proteus mirabilis Klebsiella pneumoniae. Levofloxacin Levaquin, 250 mg per day.
Levofloxacin - pedia Along with other antibiotics it may be used to treat tuberculosis, meningitis, or pelvic inflammatory disease. Common side effects include nausea, diarrhea, and trouble sleeping. Levofloxacin, sold under the trade names Levaquin among others, is an antibiotic. It is used to treat a number of bacterial infections including acute bacterial sinusitis, pneumonia, urinary tract infections, chronic prostatitis, and some types of gastroenteritis. as Escherichia coli and Klebsiella pneumoniae have developed resistance.
Levaquin levofloxacin Label - FDA Despite an increasing population of patients with chronic renal insufficiency, the literature on the management of urinary tract infections (UTI) in these patients is sparse. LEVAQUIN® levofloxacin in 5% dextrose Injection, for Intravenous Use. Complicated Urinary Tract Infection and Acute Pyelonephritis 2.1 9/2007. 5 This regimen is indicated for cUTI due to Escherichia coli, Klebsiella pneumoniae.
Acute Uncomplicated Urinary Tract Infections In pyogenic liver abscess is as hh as 78% in Taiwan and 41% in the USA (55, 218,267). Acute Uncomplicated Urinary Tract Infections Online Medical Reference - from. Other gram-negative microorganisms causing UTI include Proteus, Klebsiella. 500 mg twice daily for 7 days or levofloxacin 750 mg once daily for 5 days.
Treatment Options for Urinary Tract Infections Caused by Extended. Serious side effects may include tendon rupture, tendon inflammation, seizures, psychosis, and potentially permanent peripheral nerve damage. Treatment Options for Urinary Tract Infections Caused by Extended-Spectrum Β-Lactamase-Producing Escherichia coli and Klebsiella.
Activity of levofloxacin and ciprofloxacin against urinary pathogens Back to Top The term uncomplicated urinary tract infection refers to the invasion of a structurally and functionally normal urinary tract by a nonresident infectious organism. Urinary tract infections UTIs are among the most common bacterial infections. of extended-spectrum β-lactamases ESBLs, 24 Klebsiella pneumoniae.
Urinary Tract Infections due to Multidrug-Resistant. O., Hunter Holmes Mc Guire Veterans Affairs Medical Center, Richmond, Virginia EDWARD S. D., Virginia Commonwealth University, Medical College of Virginia, Richmond, Virginia Am Fam Physician. Urinary tract infections remain a snificant cause of morbidity in all age s. Selection of empiric antibiotics for urinary tract infections UTIs has. UTIs were snificantly greater than non-MDRE UTIs levofloxacin, 72% versus. including Klebsiella pneumoniae carbapenemases KPC and New Delhi.
Urinary tract infection - Urinary tract infections UTIs are a common type of infection caused by. Klebsiella species, Proteus mirabilis, and Enterococci account for most of the. ciprofloxacin Cipro, generic, and levofloxacin Levaquin, generic.
Oral Urinary Tract Infection Treatments - MPR A list of oral antibiotics used to treat urinary tract infections in adults. levofloxacin, Levaquin, soln, 25mg/mL, Uncomplicated UTI 250mg once.
Levaquin for klebsiella uti:
Rating: 98 / 100
Overall: 89 Rates


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All actors and actress | all rights reserved | photos by googler | design by en000t


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