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For many, many years now, I have been a teacher as well as a performer/recording artist. This has always put me in a unique position when it came to finding and evaluating talent. And boy, there have sure been a lot of talented guitarists to come through my door! I have always enjoyed helping them along in the process of also being a professional musician, which is obviously, also a very important part of the learning process!
Some students I enjoy taking into the studio and recording with, especially when it's a new experience for them, and some have even become band members with me, or I have asked them to sit in with me at certain shows. This is always a thrill for them, as well as me, because it's finally a chance for them to really show their "wares. And to test all that new-found knowledge in a "real life" situation! It's always been beneficial to me to mentor players into my own band because what I have taught them is really "my" way of looking at the guitar, so if I need them to do something quite specific in a musical situation with me, they'll be able to do it with little prompting. The best musical collaborations are certainly the ones where you can trust the players as much as possible, and where they really understand, instinctively, what you are looking for. This is always a pleasure, and the kinds of players I work with may only need an occasional "nudge" in the right direction to know what I need out of them.
But the mentoring process is really a great one, and I hope someday that you too will be a musical mentor to somebody. Young players are crying out for guidance, and they soak up new knowledge like a sponge! The players I have always had in my bands are also players whom I really respect as guitarists, and I love to not only give them cool roles to play within songs, but I also love to let them "step out" and also solo as well. I also enjoy "trading off" licks with them, as this is a keen way to really encourage them to learn right on the spot…which is the true way I always learned the best, also….like my life depended on it!
So, to all you students out there, who I am either mentoring directly or indirectly, just remember that this act of "passing it on" in a mentoring fashion is just about the most giving thing you could ever do, ad it will continue to pay you back in positive dividends forever!
It's really important as we move forward in our lives as musicians, that we learn to be a good band member. This is critical, as all inter-personal relationships with other players are crucial to our overall success. It also applies to not only long term band situations, but also to temporary happenings, such as recording dates, and short-term gigs and tours. There are many times when we are basically "forced" into what we think of as a 'band" situation, and must adjust to it. It's not always a "rosy" proposition either, as we can find ourselves having to deal with major egos, attitudes and problems that we sometimes just can't foresee.
In many professional situations I have had to confront, I have often found people to be true professionals, and that they also understood the "bigger" picture, and the importance of being selfless in a "band" situation. Many times, you may notice someone helping you when you least expect it….I can recall a session I had to do one time, where there were like 40 musicians in the studio, all ready to record, and it was the kind of thing where no rehearsal was required. The conductor was simply going to count it off, and we were going to have to READ the parts, right from letter A! Well, needless to say, I couldn't read music, and the intro to the first piece was a guitar "harmony" duet! I was pretty much in a panic, and the other guitar player was so nice…he just kept saying, with seconds to spare "play this", and then "play this", each time, trying to show me what my part was! He was showing what a true professional does, and was just trying to contribute to the overall good of the session! He also was trying to help this poor non-reading kid (me!) to turn this session around into a positive for himself, rather than feeling like it was such a failure! He ended up overdubbing my part as well as his, and he certainly showed himself to be a true pro. I at least walked out of there feeling a little positive, with more of a "what can I do?" attitude, as opposed to just feeling crummy and down on myself. I suspect that he had at one time a similar thing happen to him, and that he had been in my shoes!
At early ages, many bands can get into silly and fruitless squabbles, which we then see many years later as being totally wasted energy! It's far better to channel all of this into positive, productive energy, and to understand that negativity helps nobody, but that a positive experience really helps us all! So, be sure to always stay on the bright side when it comes to your early band experiences, because being a good band member will always make you popular, and everybody will want to be in a "band situation" with you!
I know that from the very beginning of me picking up the guitar, I have always been hell-bent on developing nothing short of my own style. Part of it starts to become pride, but it's really just the nature of where I come from, and the kind of individualistic family I was raised in. I always looked up to my artist brother, who is ten years older than me, as well as my wonderful and encouraging father, also an artist as well as a cartoonist, who always encouraged me to be myself. Also, let's face it, when you're surrounded by that much creativity in your household you almost can't help but turn out as a creative artist of some kind!
I also discovered over the years, that it has always been a better thing for me to let my own guitar style develop, as opposed to forcing myself into a cubbyhole I may not feel totally comfortable with. For example, Jazz always eluded me to a certain extent, but I knew that if I played enough and let myself evolve as a player, the Jazz aspects would start to "fall into place" within my playing. Sure enough, they have, and most of all, the theory knowledge I needed has also taken hold, giving me a deeper, as well as freer, approach to Jazz. I have always been a true improviser at heart, so this of course, also helped. Some of us though, are not so lucky, and even though this always takes work, you just never know how difficult this process may be for you. I think you have to be inspired by certain players along the way…this is important. Even I, at an early age, had periods where I just ate up styles, such as B.B. King, Chuck Berry, Buddy Guy and Clarence White. The difference was, I would take snapshots of their styles and techniques and then "plug them into" my own approach on the guitar, never losing sight of my real goal of originality! Because of this, I have always loved teaching. It's rewarding to know that as I pass on my information to you, for example through Gibson.com, you are taking that material, and making it fir into your own developing style. One day, I want to hear YOU play, and want you to blow my mind!
In the end, we all teach ourselves, regardless of who helped us along the way. This is the true beauty of developing your own style, and you should relish every moment of it; it'll only make you a much better player, and whenever people hear you, they'll know it really IS you, and no one else! Best of luck on your guitar journey!
This past week I had the great pleasure of starting my own radio show for the first time. It was truly a wonderful experience, and even though I've been on the radio a thousand times, this was certainly a totally different kind of adventure! It's great fun to be able to be on the radio and speak your mind and have total control over which music you play, but it's critical to keep the pace going, and to keep the listeners tuned in to that radio (or as is often the case now, that computer!) It's on WPKN.org, for those of you who would like to track it down. They have it archived on the site now, so it can be listened to at any point. I warn you though...it's three hours!
I got to talk a lot of guitar, and we certainly played a lot of great guitar music, since that is the purpose of the show, as well as covering many topics and telling my wild and crazy stories from the road, the studio and from my life in general; especially my life in music. My sidekick on the show is my longtime friend, Roger D., who has seen me through almost all of it, and who started as my student back in 1976, when I lived in my first apartment in Manhattan. He has since that time, almost never missed any show I've ever played, and he knows every lick in my library!
I noticed that during my show, the feeling of pacing it and keeping it fresh was a similar feel to being onstage with my band, or even solo. It showed me that I had already learned a lot about this kind of thing from being a performer, and that having something like a radio show becomes an extension of this kind of ability to perform, and to keep an audience interested. I guess it's like many "hurdles" one has to overcome if one wants to be rather "public", such as public speaking, singing, or whatever it may be at the time. It's also a wonderful builder of confidence, and I'd recommend it for anybody. I certainly though, DO recommend that you learn a little engineering too if you want to ever do a radio show, because without our intrepid man turning the dials, and flipping the switches for us, we would've been totally lost and frozen in front of those mics!
So maybe one day, you'll give it a whirl, and you'll end up on the radio…it's a blast no matter which side of the microphone you're on!
It's always a dilemma when you are faced with a musical situation that emotionally affects you, and you need to speak out about it. There have been many instances for me where I simply HAD to say something, even if it meant possibly losing the gig. One thing is for sure, you never lose any respect for speaking out, in fact, you will most likely gain respect from your peers for being so up front and outspoken!
I can remember times, even with major acts, where I had simply "had it" with the pressure and the "abuse" that was being doled out that I sometimes went to extreme measures. I have certainly spoken out in situations like that, but also done things I wouldn't advise, such as slamming guitars down, and one time, even throwing my guitar! (Not advised!) One thing that cannot really be tolerated at all is the situation that can exist when a band seems to be all against you. These inter-personal relationships are critical to making good music happily, and to your overall well-being. It can really be rough when it seems like everyone is against you, and you have to be able to find some kind of advocate to stand up for and with you, or you'll have to do it on your own! No matter how it happens, you'll feel much better once it's over, and as I said, you'll gain respect as the result of it.
There was one time on the road with John Prine's band that the entire group decided to gang up on me and tell me they wanted to get rid of me, because I wasn't "one of them!" So, they decided to do this in the middle of the Idaho desert, a million miles from home, and with me being only 22 years old, and quite new to touring, it had a very devastating effect on me. I was in shock, crying, etc., and it wasn't until John's manager, Al Bunetta, who remains a great friend to this day, stood up for me. He made it very clear to the band that the reasons they were against me was because they were jealous of me, and all that I was accomplishing, even outside of the realm of playing on the road with them! I was at that time, spending a lot of my extra time on the bus writing my new book, which I was very proud of. I had a three-book deal with Music Sales at the time, for Slide, Blues and Nashville guitar, and I was rightfully proud to be doing such a cool thing at such a young age. These guys, a lousy band at that, were real losers, in my opinion, and they just couldn't handle the fact that I rather be working and doing something positive. Instead, they wanted me to be in their world, which consisted mostly of goofing off, getting high, chasing girls and generally not caring too much about the music they were playing.
In the end it all worked out, and it seemed as if that incident was what broke up the band for good, and in fact, Prine has never had another band since! Maybe he learned from that experience too! In any event, stay on top of these situations for yourself, and always be on the watch for adverse situations such as what I went through. You just never know when you'll simply have to be heard, or when you'll have to defend yourself to the max! Stay tuned for more ...
This is an important issue for any developing player, as the act of making music with others will spur you onto greater heights faster than just about anything else you will do! I always loved playing with others in my developing years, but it was very hard to find the right level of player, who would help me elevate my own abilities. These days, there are certainly many more good musicians than back then, and the lines of communication, such as the internet are also faster and broader than ever.
I used to get together with friends from school, after school, to jam on guitar, and those were some of the most rewarding "learning" times ever for me. I recently had the pleasure of getting together to jam with one of them, 41 years later, and what a thrill that was! We also talked about how much those early jamming days taught us, and we were able to compare notes these 41 years later all about our teaching, our playing careers, and all the experiences we have had since. It was also interesting since I have always been such a public figure, to see that he had really followed me and my career since those High School days. Needless to say, he was very proud of my accomplishments, and though he had not done so much professionally, I was still very proud of what a great player he had become. I guess the real reward is in knowing we each had something to do with each other's development then, and later!
During this time for you, try to find players who make the guitar and music experience as rewarding as possible. This means to try and steer clear of people with bad attitudes, folks who are bossy, people who give you no respect, and well, you get the idea! No matter what your level of ability is, it's critical that you feel respected, and that your ideas are heard. If someone just treats you like some "kid" who's hanging around (which of course, even happened to me!) you can still take away something positive from the experience. Just be sure to concentrate on the music, and to make it count! These are very critically important times for you and your development as a player and person, and all of your experiences, good, bad or neutral will play an important role in your future. Make the most of them!
The other day, a student called me who I hadn't given a lesson to for about 5 years. Totally out of the blue, as a result of running into him last September, he called me, saying he was looking for "new inspiration." This was certainly rewarding for me to hear, as he had always been one of my favorite students, and also one of my proudest teaching achievements when it came to what he went on to become!
He told me that mainly he was a guitar teacher now, and that he had lots of beginners, but was at a loss for any new material to give the kids he sees as they were becoming more advanced. We started to jam, and I was in an instant, impressed with his maturity on the guitar, and I sure heard a lot of old "Arlen Roth" licks and influence that had become such a big part of him and his playing! It was an amazing thing to witness, as I had not seen him since he was really young, and I remembered him as more of an "observer" than a "player". Yet, his playing sure reflected that his "observing" had really turned into good "playing" without a problem. I always loved how he played, but it was rare when he would feel like opening up enough to really perform in front of me. This time, he certainly had opened up, and was literally "hungry" for more input. He also credited my teaching style for always making it so clear for him, and I suspect he was trying to improve and enrich his teaching "chops" as well as his playing.
It was a really enriching for me as well, as his former and now, current teacher, to see the progress he had made over all that time, and to know that he was now enjoying teaching guitar himself. I do teach an awful lot of teachers, or certainly folks who have gone on to become teachers, and I enjoy the fact that I have made a difference to them, as well as inspired them in both the playing and teaching directions! After all, I have always found that especially being self-taught, the art of teaching has really helped me to more deeply understand what it is that makes me tick!
No body knows about giving up licks to others than myself! After all, I created Hot Licks audio and videotapes, making it a totally "cool" thing for major artists and myself to "pass on" all the knowledge it took us years to acquire. I never worried about creating "another Arlen Roth" as the result of giving up all my licks and ideas, even though I must admit, I can hear my playing all over the place in the playing of others. I look at this as more of a compliment than anything, and there's nothing really wrong with the fact that I helped accelerate the learning of others. I still feel that no matter how closely someone tries to replicate another player's licks, he or she will certainly still end up sounding like themselves more than anything else. Regardless, I like the fact that I have really changed how people learn the guitar, and that of course, includes the lessons I have for you on Gibson.com.
The art of picking up licks from others for yourself really becomes an art form, as there are inspirations everywhere for you. It becomes essential that you learn to recognize phrases and places on the neck where other guitar players are playing, and how you can then take those ideas and make them your own. Keep in mind too, that so many guitar players have meant so much, such as Chuck Berry, B.B. King and others, that their licks are incredibly recognizable, and become more "quotes" than anything else. The influence is definitely there, but the sound and identity is undeniable. These are the kinds of licks you must become more careful about quoting too often, as they have always been strongly identified with those artists.
Still, above all, you should try to absorb and be able to "quote" as many licks, phrases and solos from your favorite guitarists. This is a great way to "jump start" your learning process, and in the end, will always lead to a further defining of your own style of guitar playing. I always found that it was better to capture the "essence" of another player's sound or style, rather than copying them note for note, and then to simply move on and seek my own voice on the instrument. I hope you find yours….stay tuned to my lessons, my books, my DVDs and of course, ALL the playing you love to hear and want to emulate! You won't be able to stop your OWN real voice coming through, even though you're still "picking up licks!"
I think it's always a good idea to get started with someone who is really experienced showing you a thing or two through guitar lessons. I am a self-taught guitarist for sure, and in the end, maybe we all are, but I also had some classical guitar lessons in the beginning that helped me gain a great deal of respect for the instrument we all know and love so dearly. I showed such a quick natural talent though, that the teacher simply dispensed with the use of music, since I picked everything up from watching and listening! I guess I was also making her job a lot easier too, with even realizing it!
Still, it set me off on the right path as far as my physical relationship to the guitar was concerned, and then all the "ear" stuff I was able to acquire afterwards came to me that much easier thanks to the foundation she had given me. This I see is also very true with many of the students I have now and have had over the years in terms of seeing them really "take off" as the result of many of the ideas and challenges I have given them.
I suppose this is the best thing you can hope for, is to have the kind of teacher who really does set those challenges for you, and who dares you to keep getting better. Some of my students I can see are literally "addicted" to my lessons, mainly due to the challenge that they need to keep them going. We aren't all equally motivated, and some of you may benefit much more from a fairly structured regimen of lessons with a caring teacher, who is really tuned in to you and your level of expertise. The little bits of encouragement you may get from a teacher at the right time can really work wonders for your ego as well as your belief in your own playing abilities, and they sure helped mine.
So, as I've said before, in the end, "we all really teach ourselves", but there's nothing wrong with being taught, as well as inspired by someone whom we really respect as a teacher, and who really respects us as players/students! Best of luck in your continued learning quest!
Sooner or later, all of us will try our hand at some songwriting. I actually believe we ALL have songs within us that are just waiting to come out, and whether you are an extremely disciplined "tunesmith" with a well-honed songwriting craft, or you are just a beginner stumbling upon song ideas right and left, sooner or later, you'd like these tunes to be heard!
And what I mean by heard is not just in front of an audience, but getting them to other artists who may possibly want to record them on their own projects, in addition to folks who may need material for commercials, jingles or even movie soundtracks!
It's a very exciting prospect, the thought of your music being heard and recorded by others, and you'll be surprised at how receptive outside parties can be. I know myself for example, that even though I am a person who steadfastly writes his own material, I am incredibly open to new songs and ideas that others may have, and have many times wanted to record great songs written by others who have not had them recorded yet. Perhaps this comes from the fact that I am an artist who also loves to do my own versions, or "covers" of other well-known tunes, but I am still just as willing to listen to new creations as well!
In places like Nashville, "Music City" itself, there is a more shall we say, "structured" approach to the presentation of songs to artists. There is an entire network of artists, managers, agents and publishers ready to listen, and they are always looking…Country music is famous for being very "songwriter driven", and artists are always searching for that next big hit, as well as songs they can relate to for themselves. It's amazing to think of how many tunes so seemed to be truly "of that artist", but weren't even written by them. That's when you know it was a good song "find" for them, and that they chose wisely. I guess the key is to really be persistent, and if you get enough songs "placed", you may be able to hook up with a big publisher who will keep sending you requests for your songs by artists just hungry for new material!


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White Chocolate Chip Pumpkin Spice Cookies are a sweet and delicious treat combining the flavors of fall, perfect for Halloween parties and events!
Last weekend I was invited to attend a BBQ with a friend… about two hours before the BBQ. Being a food blogger, it is completely unacceptable to show up to a BBQ empty handed… even when you only have two hours notice!
I was trying to figure out what I had in my pantry that I could toss together that didn't require a trip to the grocery store. Luckily I had a bag of white chocolate chips and a bag of Pumpkin Spice Hershey Kisses staring at me from the pantry.
It was one of those moments where you look at two items, a light bulb goes off and you immediately think "the two of you need to meet and become friends!"

subset: commoncrawl


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May 1, 2017
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May 1, 2017
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The Most Underused Compiler Switches in Visual C++, March 11, 2014 Microsoft's Visual C++ team explains the nine most underused switches and why you should make sure to include them in your build.
/Gy and /Gw
A compiler can only optimize away data or a function if it can prove that the data or function will never be referenced. In a non-LTCG compile (i.e., a build with Whole Program Optimization (WPO) disabled), the compiler's visibility is limited to a single module (.obj), so for data and function that has global scope, the compiler will never know if other modules make use of them. As a result, the compiler can never optimize them away. The linker has a good view of all the modules that will be linked together, so the linker is in a good position to optimize away unused global data and unreferenced functions. The linker, however, manipulates on a section level, so if the unreferenced data/functions are mixed with other data or functions in a section, the linker won't be able to extract and remove. To equip the linker to remove unused global data and functions, we need to put each global data or function in a separate section. These small sections are called COMDAT.
Using the
/Gy compiler switch instructs the compiler to package only individual functions in the form of packaged functions or COMDATs, each with its own section header information. This enables function-level linkage and linker optimizations
ICF (folding together identical COMDATs) and
REF(eliminating unreferenced COMDATs). In VS2013, we have introduced a new compiler switch
/Gw that extends these linker-optimization benefits to data as well.
Additional comments:
These switches enable linker optimizations that greatly help in reducing the size of the application, thus providing better cache locality and overall "goodness" with respect to memory which also results in runtime performance gains.


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It is my pleasure to describe the opportunities and programs within the College of Agriculture and Life Sciences (CALS). Our curricula and areas of research span from the basic life sciences, to agriculture and food systems; to nutrition and health; to community development and entrepreneurship. Whether you are interested in one of the many majors in CALS or whether you are interested in pre-professional programs such as prevet and premed, we have something for you.
I am an alumnus of this college, having received my degree in biological sciences some thirty years ago. I am pleased to say that my degree and undergraduate training served me well. Having spent time at five universities and engaging myself in the rigors of a highly competitive scientific field, I am thankful for the well-rounded education that I received at UVM. Having returned to UVM, it is my extreme pleasure to work with the dedicated and talented faculty and staff who make our academic programs so special.
Our faculty excel in the classroom and many have received awards at the college, university and national level for their ability to work with and inspire students. Our scholarship and research programs are strong and with over $4M of outside grants, CALS is second only to the College of Medicine in terms of the amount of funding from highly competitive national agencies such as the NSF, NIH, USDA, and DOE. This vibrant research enterprise offers students the opportunity to bridge formal learning in the classroom with hands-on experiential learning in the lab and outside in the field, working with faculty who are at the cutting-edge of their field.
Our academic programs are designed to give students the knowledge, skills, and personal attention they need to prepare them for a career in today's increasingly complex and changing world. Check out the web pages for the departments in CALS and you'll get a better feel for what we offer. For students interested in current and emerging agricultural systems, peruse the web pages of the departments of Plant & Soil Science; and Animal and Veterinary Sciences. For those interested in the basic life sciences, check out the departments of Microbiology and Molecular Genetics, and Plant Biology. You'll find ecology, molecular biology and much more. And, because science is interdisciplinary, you'll find both basic and applied research in all four of these departments. If you have an interest in nutrition, current problems in human health such as the obesity epidemic, and in food science, surf the pages of the Department of Nutrition and Food Sciences. And for those of you who are interested in food systems, communities, and entrepreneurship, check out the vibrant programs in the Department of Community Development and Applied Economics and Food Systems Program. Finally, we offer four cross college programs in Biological Science, Environmental Sciences, Environmental Studies and Biochemistry.
CALS is a small college within a larger university. As a result, we offer a personal touch and flexibility in our programs. Please contact people listed on this website to learn more about CALS majors, departments and programs. Get to know our faculty and staff. Find out about special events in the College. Explore what our students and faculty are doing that makes a difference in the lives of people in Vermont and the world. Most of all, visit our campus! I am happy to answer your questions and make sure you have any additional information you may need.
Thomas C. Vogelmann
Dean of the College of Agriculture and Life Sciences
The University of Vermont


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BioEnergy Conference and DelegationJun 21, 2010 to Jun 25, 2010
source: German American Chamber of Commerce of the Midwest, Inc.
The German American Chambers of Commerce are organizing a delegation for German companies in the bioenergy industry looking to enter the North American Market. The initiative is supported by...
Solar Energy Business Conference and Delegation to ColoradoJun 27, 2011 to Jul 1, 2011
source: German American Chamber of Commerce of the Midwest
Germany has long been a pioneer in solar energy technologies, and its high-quality, advanced technology is used around the world to generate energy from sunlight....
German American Smart Buildings Symposium 2013Nov 3, 2012 to Mar 3, 2013
source: GACCNY
Super Storm Sandy cannot stop our efforts to promote energy efficiency! Hence, we are happy to announce that our "German American Smart Buildings Symposium 2012" is...


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I tend to test more skin care than I probably should. I'm always in search of that perfect combo to make my skin look radiant. Because when my skin is in good shape, my makeup looks better and I don't wear as much. The testing process can lead me to a sweet discovery or give me breakouts. I recently tried a line that falls into the former and I am beyond excited by the discovery. Meet My, launched in 2012 with five anti-aging products. The secret to My is a blend of antioxidant-rich Asian botanicals, namely Pili and Moringa oils indigenous to the Philippines. Pili is naturally restorative and rich with omega fatty acids, vitamins A and E, and Moringa does that as well but also has a high concentration of vitamin C (hello brighter skin!)
I've been experimenting with My's five and was blown away in the first few days. My skin is so incredibly soft and supple — not easy to do when the temps keep fluctuating on a daily basis (today is in the single digits). I cannot wait to see how My performs over the rest of winter. I admittedly have a short attention span with skin care, but these moisturizers and serums can be weaved into just about any skin care regime.
Let me introduce you to what I'm deeming the fab 'My' five:
Skin Recovery Formula wears a lot of hats. It helps brighten skin and even out discoloration from sun damage and acne and also has a special peptide that helps increase collagen production.
Multi-Purpose Mattifying Moisturizer – I was most scared of this product (the look of truly matte skin conjures up images of dry and flaky to me) but it turned out to be my favorite. If you try anything in this line, start here! It is so moisturizing and smoothing and doesn't take the life out of your skin. The opposite – skin looks glowing (in a controlled, non-oily way!) Bonus: it can double as primer.
Weightless Eye Cream – The botanicals in this target everything from puffiness and dark circles to wrinkles. I love how light it is and how quickly it absorbs into skin….just in time for me to layer on my La Bella Figura Decouverte Eye Serum. Wrinkles…I'm stopping you before you start.
Dynamic Lifting Serum – I love the gel texture of this serum that works to make everything more taut and firm. It absorbs quickly which I appreciate since I tend to layer on treatments. This is a great first step on clean skin morning and night.
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Phase noise is a differentiating performance specification when comparing voltage-controlled oscillators (VCOs). it can be estimated for VCOs operating at different frequencies by means of Leeson's expressions, although a VCO parameter other than frequencyits tuning bandwidthalso plays a key role in the phase-noise performance of the oscillator. What follows is the development of an expression that suggests that the phase noise performance of two VCOs implemented using the same approach and technology are related by the ratio of the VCO tuning bandwidths. Te validity of the expression will be put to the test against the known measured phase-noise performance of several commercial VCOs.
Leeson's equation1 relates the phase noise of an oscillator to various factors:
L(ΔΩ) = 10log{(2FkT/Psig)0/2QΔΩ)2> 1/f3)/|ΔΩ?|>} (1)
This empirical expression has been found to capture the key features of oscillator phase noise for a wide range of oscillator designs. as shown in Fig. 1, the phase noise associated with this expression can be broken into three distinct regions:
- A -30-dB/decade slope for close-in offset frequencies, due to upconversion of 1/f noise;
- A -20-dB/decade slope for intermediate offset frequencies due to limited resonator quality factor (Q); and
- Flat phase noise for large offsets where performance is dominated by the noise characteristics of the oscillator's active device(s).
Of course, these distinct regions are approximations; a real VCO has a phase-noise characteristic that is smooth and continuous. For offset frequencies of interest here, a slope in the range of 20 to 30 dB/decade will apply. A slope of "(20 + x)" will be used to represent a general case, where x is in the range of 0 to 10.
There is a wealth of literature on oscillator circuit design which relates phase-noise performance to key circuit parameters. A phase-noise figure of merit (FOM) is often used to assess a given oscillator design in a normalized sense, and can also be used to compare different oscillator solutions. This FOM takes account of phase noise, oscillation frequency, offset frequency, and DC power consumption. The FOM is given by the following expression: FOM = L(ΔΩ) -20log(Ω0/ΔΩ) + 10log(PDC)
This FOM is generally applied to offsets in the 20-dB/decade region.
In a conventional VCO, the resonator incorporates at least one varactor diode. By adjusting the varactor bias voltage, its capacitance and, hence, the VCO's frequency of oscillation, is tuned.
When a VCO is oscillating at a given varactor-diode tuning voltage, the tank AC voltage waveform associated with the oscillation imposes a swing on the varactor voltage around its DC tuning value. This AC varactor bias results in a varying instantaneous frequency of oscillation which manifests itself as phase-noise skirts around an ideal single-tone spectral response.
The greater the AC tank voltage impact on the instantaneous frequency of oscillation, the worse the associated phase noise will be. Circuit designers typically go to great lengths to optimize VCO phase noise. One method that can be employed to achieve this involves the use of back-to-back varactor pairs.2 In the presence of AC tank swing, as one of these varactor diodes shifts to a higher instantaneous capacitance value, the other varactor shifts to a lower instantaneous capacitance value. The net effect is that the combined series capacitance shifts much less than the change in capacitance for either individual varactor diode. It is this combined series capacitance which plays a key role in determining the instantaneous frequency of oscillation. A more stable frequency of oscillation and improved phase noise result.
In a similar fashion, any noise or spurious signal on the applied varactor tuning voltage modulates the varactor capacitance and instantaneous frequency of oscillation, and also degrades the oscillator phase noise. Good decoupling of the tuning port minimizes this effect.
Generally, fixed-frequency oscillators do not contain varactor diodes, so the phase-noise degradation associated with the above mechanism does not arise. Therefore, fixed-frequency oscillators tend to exhibit better phase-noise performance than tunable VCOs using the same design approach and technology.
For VCO designs based on the same circuit topology and technology, it is important to understand how phase noise is related to tuning bandwidth. Experience and common sense suggest that the greater the tuning range, the worse the phase noise. However, a more quantitative understanding would be helpful in predicting tradeoffs between phase noise and VCO tuning bandwidth.
Consider the general case of a baseline VCO with tuning sensitivity S0 (MHz/V). Assume for simplicity's sake that the tuning characteristic is linear over the full tuning range (Fig. 2). This assumption is not strictly true for real VCOs but makes it possible to draw conclusions that are approximately applicable to real VCO designs.
It follows that:
fosc0 = f00 + S0Vtune where f00 is the frequency of oscillation at zero tuning voltage.
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Assume that the VCO's tuning voltage is set to Vtune_DC. Now, consider the phase-noise characteristic. In the presence of AC tank swing, assume that the instantaneous varactor voltage traverses the range Vtune_min to Vtune_max.
The corresponding instantaneous frequency range is fosc0_min to fosc0_max, where:
fosc0_min = f00 + S0 Vtune_min fosc0_max = f00 + S0 Vtune_max
Note that Vtune_DC ~ 0.5 (Vtune_min + Vtune_max). The range of instantaneous frequencies of oscillation is given by: Δfosc0 = S0(Vtune_max Vtune_min) = S0ΔVtune The greater the value of Δfosc0, the higher and wider the skirts on the spectral response and the worse the associated phase noise.
Now, consider a second VCO, similar to the baseline design, based on the same circuit topology and technology, operating at the same center frequency, and delivering similar output power so that the tank swing (ΔVtune) is also the same as for the baseline design. Assume, however, that this new VCO has sensitivity S1. Its idealized tuning characteristic is also shown in Fig. 2, where it has been arbitrarily assumed that S1 > S0.
Since the same ΔVtune is assumed, it follows that:
Δfosc1 = S1 ΔVtune = S1/ S0 Δfosc0 = nΔfsc0
where n represents the ratio of the tuning sensitivities.
If one assumes minimum and maximum VCO DC tuning voltage settings of VDC_min and VDC_max, respectively, it also follows from Fig. 2 that the corresponding frequency tuning ranges for the two VCOs are S0ΔVDC and S1ΔVDC, where: ΔVDC = VDC_max - VDC_min
Hence, n is also equal to the ratio of the frequency tuning ranges or bandwidths of the two VCOs.
Assuming that the baseline VCO has the idealized phase-noise response shown in Fig. 3, one can immediately infer that the spectral response of the second VCO is similar to that of the baseline, but is scaled in terms of offset frequency by n. The idealized phase-noise response of the second VCO is also shown in Fig. 3, for two scenarios (n > 1 and n
Now, consider frequency offset Δfx in Fig 3, where the baseline phase noise is PN0 (dBc/Hz). The same phase noise is obtained at nΔfx for the second VCO with sensitivity S1. Assuming local slope of the phase-noise characteristic is (20 + χ) dB/decade, then it follows that the phase noise of the second VCO at Δfx is: PN1 = PN0 + (20 + x) log(nΔfx/Δfx) = PN0 + (20 + x) log(n) (2)
For example, if the tuning bandwidth of an oscillator is doubled (n = 2) while maintaining the same center frequency, then the phase noise at a given offset is degraded by 6 dB in 20 dB/decade zone, or by 9 dB in the 30 dB/decade zone.
Thus far, constant VCO center frequency has been assumed. Next, consider the following, more generalized question: Given a baseline VCO, VCO1, with parameters: center frequency f0101/(2π)>, tuning bandwidth = BW01 and phase noise at offset ΔfREF = PN01, what is the anticipated phase-noise performance PN02 at the same offset ΔfREF of another VCO, VCO2 with parameters: center frequency f0202/(2π)> and tuning bandwidth = BW02 assuming the same technology and circuit topology? Note that the tuning bandwidths alluded to are absolute values with dimension Hz, as distinct from percent tuning range values relative to the center frequencies.
An estimate of PN02 can be developed using a two-step operation. In the first step, VCO1 is scaled to the same center frequency as VCO2 by means of an ideal frequency multiplication. The scaled VCO is designated VCO1'. Assuming the same output power, Q etc., it is clear that the associated phase noise of VCO1' at ΔfREF is given by:
PN'01 = PN01 + (20 + x) log (Ω02 /π01)
Note that after this first step, the tuning bandwidth of VCO1' has scaled to: BW'01 = BW01 (Ω02 /Ω01)
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Now that the center frequency of VCO1' is the same as the target VCO2, the next step involves adjusting the tuning bandwidth of VCO1' using Eq. 2 above so that it equals the tuning bandwidth of target VCO2. In other words, the tuning bandwidth is changed from BW'01 to BW02. This further modified VCO is designated as VCO1''. From Eq. 2, the associated phase noise of VCO1'' is given by:
PN''01 = PN'01 + (20 + x) log (n)
where n = ratio of tuning bandwidth = BW02 / BW'01 = (BW02 / BW01)(ω01 / ω02).
PN''01= PN01 + (20 + x) log (ω02 / ω01) + (20 + x) log 02 / BW01) (ω01 / ω02)> = PN01 + (20 + x) log 02 / BW01>
Given that VCO'' is now consistent with VCO2 in terms of both its center frequency and its tuning bandwidth, PN''01 can be viewed as an estimate of the phase-noise performance of VCO2 at offset ΔfREF. This result suggests that the phase-noise performance is independent of f01 and f02 and only depends on the ratio of BW01 and BW02: PN (f02, BW02) = PN (f01, BW01) + (20 + x) log 02 / BW01> (3)
Given a baseline VCO design with a known level of phase-noise performance, it should be possible to estimate the phase-noise performance of a similar VCO based on the same design approach and technology, with the only information required being the ratio of the tuning bandwidths of the two VCOs. The operating frequencies do not need to be known. Of course, this conclusion is an approximation and should be applied with caution, although it is a useful relationship and can be used to assess and compare the performance of different VCOs.
To demonstrate the effectiveness of Eq. 3, consider a case study using commercial VCO products for comparison. A family of VCOs based on the same circuit topology and fabricated with the same GaAs heterojunction-bipolar-transistor (HBT) process are shown in the table.
A conventional way of analyzing these data would be to consider the relationship between phase noise and VCO center frequency. Even though it does not take tuning bandwidth into account, this is an obvious trend to investigate in the context of Eq. 1. To be precise, the relationship of interest is phase noise versus the logarithm of a VCO's center frequency. Data in this format are plotted in Fig. 4. There appears to be an underlying approximately linear trend, and this is confirmed by the R2 value of 83%. This shows a strong correlation between phase noise and the logarithm of a VCO's center frequency. Based on this, one may be inclined to conclude that this is a fundamental relationship.
However, further analysis is required. Figure 5 plots VCO tuning bandwidth versus center frequency. Again, it is clear that there is a strong correlation between these two parameters. There is nothing fundamental about this relationship, of course; but rather, for this VCO family, it is a result of the product and market requirements which have dictated that the tuning bandwidth generally increases with increasing center frequency (though there are exceptions to this general trend, as will be discussed presently). Given the more or less linear relationship between tuning bandwidth and center frequency, this introduces the prospect that the correlation shown in Fig. 4 may not be indicative of a fundamental relationship at all, but rather, may be simply a byproduct of a fundamental relationship between phase noise and tuning bandwidth (which would be consistent with Eq. 3) in conjunction with this particular VCO family's strong correlation between tuning bandwidth and center frequency.
With this in mind, a plot of phase noise versus the log of the tuning bandwidth is presented in Fig. 6. Again, these parameters are strongly correlated, and this time the correlation factor (88%) exceeds that in Fig. 4. There is stronger correlation between these parameters than shown in Fig. 4 for phase noise vs. the logarithm of center frequency.
This is further illustrated by examining two VCOs in the family, models MAOC-009265 and MAOC-009266. The general trend of center frequency versus tuning bandwidth is violated for these two VCOs, and the corresponding two points are highlighted within the red rings superimposed on the curves in Fig. 4, Fig. 5, and Fig. 6. It is clear that while these two points lie significantly off the trend lines in both Fig. 4 and Fig. 5and more importantly, the lines drawn between the two points deviate a great deal from those same trend linesthe points lie much closer to the trend line in Fig. 6, and a line connecting the two points there does not deviate so much from that trend line. For these two VCOs which are not well modeled by the trend line in Fig. 4, the trend line in Fig. 6 and hence Eq. 3 provide a significantly better fit.
Thus, the VCO family data are reasonably consistent with a linear relationship between phase noise and the logarithm of the tuning bandwidth. Also shown in Fig. 6, in addition to the R2 value, is the best-fit linear expression: phase noise at an offset of 100 kHz = -112.97 + 30.07log10(tuning bandwidth). This is consistent with Eq. 3 and suggests that the log multiplier is about 30. This in turn suggests that the 100-kHz offset phase noise is closer to the 30-dB/decade region rather than the 20-dB/decade region of the phase-noise spectral response (i.e. x ~ 10).
It should be noted that the tuning bandwidths for the VCOs in the table are the target ranges needed to meet typical customer requirements, and are not necessarily the same as the actual ranges achieved by the designs. In fact, the designs exceed the ranges listed in the table with some margin; the degree of margin is not necessarily the same for all 12 VCOs. As a consequence, it would be unreasonable to expect a perfect R2 of unity in Fig. 6. The fact that an R2 value of 88% is achieved provides confidence that using Eq. 3 as an approximate guide will yield meaningful phase-noise predictions that should prove helpful in future VCO developments. Care should be taken to ensure that a suitable value for x is assumed in the (20 + x) dB/decade local slope term.
- D. B. Leeson, "A simple model of feedback oscillator noise spectrum," Proceedings of the IEEE, Vol. 54, February 1966, pp. 329-330.
- A. Bonfanti, S. Levantino, C. Samori, and A. L. Lacaita, "A Varactor Configuration Minimizing the Amplitude-to-Phase Noise Conversion in VCOs," IEEE Transactions on Circuits and SystemsI, Regular Papers, Vol. 53, No. 3, March 2006, pp. 481-488.


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The practice is also referred to as direct seeding. Farm Manager Clair Zollinger explained how no-till is being used on the farm to conserve and protect the soil and at the same time be profitable.
This 5,000 acre farm has been under agricultural production since about the early 1900's and until recently was regularly plowed. Zollinger says that the move to no-till occurred after he decided that in order to remain in business he needed to make some changes that would cut his operating costs besides the fact that weeding and planting were not conducive to soil conservation and long-term sustainability of the land.
The farm is now in its third year under a no-till system. According to Zollinger, visible reductions in soil erosion were seen the first year as increased residue kept soil particles in place. This year the wheat crop looks as good as or better than neighboring farms under systems that use tillage and the prior two year's yields were comparable to other production in the area.
The farm is managed under a rotation that produces wheat and safflower with fallow years between each. The weed management and soil building benefits to having safflower in the rotation under no-till were discussed.
With today's increasing crop input costs, one standout advantage the farm has seen has been a large reduction in diesel fuel. Zollinger says his operation now uses a third of the fuel it did before moving to no-till. His equipment and labor requirements have also decreased; he noted that he only needs his seeder, combine, one tractor, and a sprayer to produce a crop on 5,000 acres and labor has decreased from three full time employees to two.
Zollinger's Flexi-Coil 5000 HD air seeder is original equipment with 1 inch hoe openers. Adding a starter fertilizer with seeding in the fall is something Zollinger feels is helpful under no-till.
Managing for weeds and other pests has also required some changes under this system. He sprays with glyphosate and 2-4D about once a month during the fallow year to keep weeds down and once prior to spring safflower seeding. He hasn't seen any change in pest problems since going to no-till but thinks snow mold could possibly be a problem in future with the heavier residue under this system.
The wheat is harvested about 10 inches off the ground to keep the straw length less than the drill spacing to minimize any wrapping or plugging of residue at planting time. His combine also has a straw chopper and spreader to evenly distribute residue behind the machine.
Overall, Zollinger characterized his operation as more management intensive now but feels the changes have been worth it. He's pleased with the soil being saved from erosion and the crop yields the farm is seeing.
Clair Zollinger is willing to share his information and experience on transitioning to no-till farming with any producers who are interested. If you would like more information, please contact Nathan Rice at the Monticello NRCS office at 587-2481 ext 123.


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Little-known Quinnipiac climbing out of Yale's shadow to the top of college hockey pollsLNH.com @NHLdotcom
HAMDEN, Conn. - Quinnipiac captain Zack Currie says a lot of friends and family back in British Columbia didn't even know until recently how to pronounce the name of his school.
"They would say Kwin-ah-pick, or Kwin-ah-PIE-ack, there were some pretty bad ones too," the senior defenceman said.
For the record, it's pronounced KWIN-ah-pee-ack and its making a name for itself among the elite in college hockey. The Bobcats are 18-3-3, unbeaten in their last 17 games. They are ranked second in the nation, just behind perennial power Minnesota in the latest polls.
Coach Rand Pecknold believes his team would already be No. 1 if the name on the front of the jersey read "Michigan" or "Boston College."
"There's still some old-school voters that don't have the respect maybe they should have for our program," he said. "I bet some of those people haven't even seen us play."
A lot of people haven't. Quinnipiac, a school of about 8,500 students located north of New Haven, is in just its 15th season as a Division I program. It joined the ECAC conference in 2005 and the No. 2 ranking is the highest in the school's history, for any sport.
The team began its 15-0-2 unbeaten streak on Nov. 9 with an overtime win over Colgate. The biggest threat may come Saturday when it heads seven miles down the road to face its top rival, No. 8 Yale. The game already is sold out.
Pecknold is in his 19th season at Quinnipiac. The Bobcats were a Division II program until 1998, and he has guided it to 20-win seasons 14 times, including last year. But he acknowledges this year the team has a chance to be something very special.
That, he said, is due in large part to the play of goalie Eric Hartzell, a senior from White Bear Lake in Minnesota. The 6-foot-4 netminder has a save percentage of .934 and leads the nation with a goals-against average of 1.46. And he's considered a leading contender for the Hobey Baker award (hockey's answer to the Heisman trophy), a prize normally reserved for offensive stars.
As a result, Hartzell has been getting a lot of attention recently from NHL scouts and the national media. But he said it doesn't bother him, and won't affect his focus.
"We're not going to lose," Hartzell said. "I don't use the words, 'don't,' 'can't' or 'lose.' We have lost, but it's not something I like to use for future reference."
Hartzell, who was recruited by several name programs, such as North Dakota, was among those who hadn't heard of Quinnipiac growing up. But a friend, Zach Hanson, was recruited by Pecknold two years earlier, and that put the school on the goaltender's radar.
Pecknold said he first saw Hartzell play in a juniors tournament, where he performed poorly. Many schools, Pecknold said, lost interest after that. But Pecknold had come a day early to watch practice, and was convinced Hartzell had the skills to someday play in the NHL.
"Now you look at the finished product and all these schools are like, 'Wow, we should have taken him,'" Pecknold said. "Well, they could have but they didn't want him. I think we've done a good job of finding these diamonds in the rough, because a lot of times we just outwork other teams."
It's working. The Bobcats have also landed Tampa Bay Lightning draft pick Matthew Peca, forward Jeremy Langlois, a former Eastern Junior League MVP, and a highly recruited pair of twin brothers, Conner and Kellen Jones.
It's an intelligent, but somewhat superstitious team. Twenty-four of the 28 members earned a 3.0 or better grade-point average last semester. But about the same number sport facial hair, because they believe it is helping them win.
It's a superstition that literally grew in November, when the players were growing moustaches as part of a prostate-cancer awareness campaign, "Mowvember." The team didn't lose a game, and the facial hair had to stay.
"Everyone's just having fun with it," said Currie, who is starting to resemble actor Wilford Brimley. "I'll keep this thing as long as I can."
Currie is one of 12 Bobcats from western Canada. The team also has three players from California, and one from Arizona. Just one, Jordan Samuels-Thomas, is from Connecticut.
Pecknold bristles at that. He said it's not because he hasn't recruited the state. The problem, he said, has been that the elite players here have grown up wanting to play for New England's bigger-name hockey schools. He points to Boston College star Pat Mullane, who is from Wallingford. Mullane's mom told Pecknold she gave her son a BC jersey when he was 7 years old, and he never wanted to go anyplace else.
But that might all be changing. The Bobcats are looking down on all of those programs in the rankings now, they have a resume to boast in the recruiting world, and they also have a state-of-the-art facility ??? the TD Bank Sports Center ??? that seats 3,386 fans. The Bobcats share the dual-arena complex with the basketball programs.
"Down the road, we won't lose the Pat Mullanes of the world," he said. "Those kids will get their Quinnipiac jerseys for Christmas and they'll want to come here."


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Saqlain backs out-of-favour Harbhajan
Harbhajan, who came a cropper in the tour of England, was dropped from the team for the ongoing tour of Australia. Saqlain, also an off-spinner, said any player can be off-colour for a while but his overall performance should be kept in mind before deciding on his career. "I think at the moment, the main issue for him is too much focus on Twenty20 cricket and secondly after all he is a human being ? he can`t do well all of the time and you will have your ups and downs and we should accept that," Saqlain told `pakpassion.net`.
"But, I think the media was after him when he was in England, but if you look at the pitches and conditions, they were more suitable for the fast bowlers. Graeme Swann was not even bowling that much, he was bowling 4-5 overs in one innings! All the fast bowlers were taking wickets. From India, Zaheer Khan got injured and Ishant Sharma was not bowling that well," he added.
Saqlain said the Indian team failed as a unit in England but Harbhajan was singled out for criticism which affected his morale. "I think before that series, Harbhajan was having a bit of bad form, but they kept blaming him, that was wrong I think. This added more pressure on Harbhajan," Saqlain said.
"The critics were not talking about the fast bowlers or the batsmen. The batsmen were not performing well, but they were blaming Harbhajan Singh and put him under pressure. After that, they dropped him," he pointed out. Saqlain said Harbhajan is a proven match-winner and should be given another chance.
"I think if you see the whole scenario of the last series and before that, I think the Indian cricket officials were not treating Harbhajan properly, they didn`t treat him well. I think they should trust in him and he`s done a lot for that country. Not just in one game, but he`s played for years and years in all forms of cricket, T20, ODI, Test cricket and has been phenomenal.
"I think they should call him again and should back him. I think he has a lot of cricket left in him and they should give him support. He`ll perform well and bring results for the country, they should just back him and bring him back into the squad," he added.


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BERKELEY CALLING ReBlogs Kevin Ryan "Dig Within" Blog titled "NOAM CHOMSKY AND THE WILLFUL IGNORANCE OF 9/11"
BERKELEY CALLING celebrates the living tradition of Free Speech in Berkeley. Kevin Ryan uses his freedom of speech to tell the truth about 9/11 and other political betrayals of the American people and their Constitution. Kevin Ryan's blog "Dig Within" and his new book, "Another Nineteen: Investigating Legitimate 9/11 Suspects" are highly recommended! The links to his works are posted at this BERKELEY CALLING Blog post. Be sure to read the comments section too! We have chosen a Vic Sadot music video to embed below titled "BLOWBACK OR BLOODY TREASON" at Truth Troubadour YouTube Channel. The song was released on 9/11/11, the same day that this vicsadot.com website was launched. The song was on a 16 song CD titled "9/11 Truth & Justice Songs", which is available at CD Baby as one of three Vic Sadot CD releases there.
BLOWBACK OR BLOODY TREASON by Vic Sadot at Truth Troubadour Channel. This song was released on 9/11/11 on the 10th anniversary of the treasonous 9/11 false flag operation on a 16 song CD titled "9/11 Truth & Justice Songs", which remains available in Vic Sadot's CD Baby pages. It is Vic's third release made by Discmakers and posted at CD Baby.
Blowback or Bloody Treason was created after reading Crossing the Rubicon by Michael Ruppert, the former LA narcotics detective who blew the whistle on CIA drug running and later became a 9/11 whistle-blower. "We need a great detective's logic! Forensic facts & laws of physics! Not leaps of faith! Just steps to reason! Was it blowback or bloody treason?"


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I've never seen so much talking about Microsoft. Actually, after almost 3 years at Microsoft I never talked so much about Microsoft myself… This is maybe the reason why I don't receive comments on my blog anymore :). CPB managed amazingly to put Microsoft at the center of the conversations. First with the Seinfeld/Bill Gates series and now with the "PC pride" (aka Life without walls).
Of course, Microsoft won't become the coolest brand in the world overnight (see this post).
Yesterday evening I tried to explain to my son the concepts of reason and passion and the strange relations between those two concepts. And the PC/Mac dichotomy is much more about passion than about reason. I really like this quote on youtube by a user called prmd142 who wrote: "Get over it people…. buy only Apple products… Apple will eradicate poverty from the world… it'll bring peace & prosperity to everyone… Steve Jobs is God's messanger…. He alone can lead you to salvation… amen! ". Prmd meant this as a joke of course but I'm pretty sure it's the state of mind of a lot a Mac users who really believe that, for some reasons, Apple is not truly a capitalist company.
I'm not a Mac. I'm a PC and I practice brazilian Jiu Jitsu, I'm a PC and I don't shave every day, I'm a PC and I thank you for reading this post.


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Jahn's Metal Craft is located at the address 10 Carl St in Cumberland, Rhode Island 02864. They can be contacted via phone at (401) 334-2440 for pricing, hours and directions.
Jahn's Metal Craft has an annual sales volume of 0 - 500K. . For more information contact Robert Kern, President
Jahn's Metal Craft provides Maintenance, Replacements, Custom Work to it's customers. For maps and...
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Ornamental architectural metal fabricating: ornamental iron railings, gates, fences, fire escapes. Structural materials, stairways, steel bollards, angles, bars, beams, grating, joist & decking
Jahn's Metal Craft can be found at Carl St 10. The following is offered: Metal Industries. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Cumberland there are 9 other Metal Industries. An overview can be found here.
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Hi all, the game is WONDERFUL but I think I'm really stuck now. I followed the main route of the quests, after clearing Taneliz the story leads me to the Hill Giants fortress (after reaching Torbury and killing those giants there) but I cannot enter the dungeon because of the force field. Cassam tells me that I have to finish my quests before entering the fortress, so here's the complete list of my pending quests
Of course I cleared the cave complex (but the quest still is pending), cleared the Orc Stockade (and still that quest pending) and cleared Taneliz (yeah, again quest pending); excluding the Chalice quest (that I suppose will be the final storyline), even the Slaver Lords storyline seems stuck.
Please help me, I did again every dungeon searching for some loot that I did not take the first time but nothing at all. I've done a search and it seems that I have to bring a letter to Shania at the Keep but even after beating the second spawn (the salamander along with four earth elementals) she says "I have to study now, farewell", and in my inventory now I have a voucher of 2000 gold (where I can take this money?) and a golden key from the Book of Romance (it worked for that underground passage but still that key is in my inventory, undestructible).
I saved another file and tried exploring the map, but the only place I can explore is the tower at the very east of the map, I managed to survive until the air elementals ambush and gave up because it's a impossible challenge (I believe I could break it by using slaying arrows but it seems a little bit metagaming to me).
Please tell me I'm not forced to start the game from scratch...
INFO: my game versione is 1.32


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I tend to believe Eric Holder, the embattled U.S. Attorney General, when he says he played no direct role in the Justice Department's secret probe of the Associated Press' telephone records.
Still, the clandestine infringement of one of the nation's largest news gathering organizations is a serious violation of civil liberties that Holder must own, address and fix.
The Justice Department secretly obtained two months of telephone records of reporters and editors for The AP in what AP's top editor correctly called a massive and unprecedented intrusion and "obviously distressing."
Holder said he had removed himself from the investigation because of congressional testimony he had given regarding his dealings with the news media and said he didn't want the appearance of a conflict.
"I do not know with regard to this particular case why that was or was not done….I am not familiar with the reasons why the email was disrupted in the way that it was," Holder told lawmakers on Capitol Hill Wednesday. "I have faith in the people who would actually be responsible for this case they were aware of the rules and they followed them. But I don't have a factual basis to answer the question because I was recused."
The probe reportedly related to a May 7, 2012, AP article detailing how the CIA had derailed a planned al-Qaeda-linked group. The story was published a day before President Obama planned to publicly announce the attack had been foiled, the AP said.
But the editors at AP said the Justice Department still hasn't told them what the investigation is all about and leaves journalists to speculate who is at the center of the probe.
Are seizing telephone records from journalists now going to be an ongoing policy of the Obama administration?
"I've been in this business for more than 30 years. Our First Amendment lawyers inside the AP … none of us have ever seen anything like this," said AP Executive Editor Kathleen Carroll during an appearance on MSNBC.
As a journalist myself, this covert investigation is alarming. Journalists in Washington, D.C. are more skeptical of the government now more than ever and they wonder if their phone calls to confidential sources are safe and protected.
One journalist from CNN asked Holder during a press conference this week if the seized telephone records in an indication that the Obama administration plans an all-out assault on the media.
ANALYSIS: Eric Holder Has Some 'Splainin' to Do was originally published on blackamericaweb.com


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This is an old revision of the document!
General Resources
This is an incomplete list of computing and software resources available to the UW community in general, and students taking CSS classes specifically. If there's something you want to do but don't know if it's available to you, please ask Josh (firstname.lastname@example.com) before you buy anything; if nothing else, at least I can keep track of requests so I know if there's something we ought to be buying for everyone's use.
- Email, Calendar, and Other Cloud Services:
- Email and other Google services are available through Google Apps
- Some cloud services, but not email for the moment, are available through Windows Live
- For faculty and staff, email is also available through UW Deskmail. This service will likely be retired in the next few years, so if you aren't already using it, I don't recommend starting now.
- Faculty and staff also have access to the UWB Exchange email/calendar system. For web access, visit http://mail.uwb.edu/
- You have 5GB of file storage available through your U: Drive, a UW Seattle service.
- Web publishing:
- Google Sites, part of Google Apps
- Linux/Apache-based web hosting on the UW Information Technology Web Servers
- WordPress blog hosting for faculty and staff on the UW Blogs Network
- Instructions for self-hosted WordPress for (non-staff) students.
- Database hosting with MySQL
- Web-based polls and surveys, discussion boards, and file sharing are available through Catalyst Web Tools.
- Some UWB courses used to have class sites on Blackboard, but that's being retired in favor of Canvas.
- Software:
- Sophos anti-virus software, free for use by UW students, faculty and staff on UW-owned and personally-owned computers
- SPSS and Mathematica are available remotely (to students only, not faculty or staff) through Virtual Desktop Access.
- Microsoft
- The UW IT license agreement covers:
- Windows and Office, free for students on personal machines
- Office, a $10 download for faculty/staff on personal machines
- Windows, Office, Project, Visio, Visual Studio and Expression Studio on UW-owned systems (contact Josh for more details)
- Various server software on UW-owned systems (again, contact Josh)
- The DreamSpark Program provides a number of Microsoft products for free to students of any academic institution. See the dreamspark software list or the program site itself for more details.
- The CSS DreamSpark Premium Subscription (formerly known as MSDNAA), available to any student taking a CSS course, provides a much larger variety of Microsoft products for free. See the dreamspark premium software list or the program site itself for more details. As a CSS student, you will be sent instructions for logging in to the DreamSpark Premium site to your email@example.com email address towards the beginning of each quarter. Please watch for this mail if you are interested in taking advantage of the program. If you have forgotten your username or password, or don't know if you have an account at DreamSpark yet, check out these instructions.
- Adobe Creative Suite and SPSS Statistics software are available at a steep discount through the University Bookstore Tech Center. Look for the "UW Exclusive Software" link on that page. Endnote and Parallels are also available at a decent discount, and other software at a somewhat less impressive discount, through the bookstore – see the "Academic Software" link on the Tech Center's page.
- Other software at academic prices, mainly for institutional use, can be found on the UWare site.
- MATLAB software is available to students in the CSS Linux and Windows labs, and can be purchased at a discount for faculty who require it on their UW-owned desktops or laptops.
- Hardware:
- The University Bookstore sells PC hardware and Apple hardware at an academic discount. Be sure to check other retailers when buying hardware, as the bookstore doesn't always have the best prices.
- Training:
- Microsoft IT Academy offers online training in many Microsoft products, from basic Windows and Office skills to Exchange Server configuration and management.
This page is a work in progress. If you find a useful resource not mentioned here, please either log in and edit the page yourself or let Josh know so he can add it.


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We were unable to find any products matching your requirements.
It's possible that you followed an out of date link.
If you are having trouble finding the product you are looking for try our sitemap or contact us
Explore our collection of Grey La Martina Knitwear available here at Northern Threads. We offer a wide variety of Knitwear suitable for almost any occasion.
La Martina brings you Designer Menswear that is deviated into the luxury lifestyle market, promoting elegance and expertise in strong relation to Polo. Opening it's first store over 30 years ago, La Martina is a family business which offers collections made from infinite experience.
Browse our collection of Grey La Martina Knitwear and if you need any more information please do not hesitate to contact our knowledgeable team who will be happy to help, please use our contact page or if you prefer please call 0191 454 7358. To keep up to date with our always expanding hand picked collection, follow our blog.


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Veteran director Martin Scorsese has written an open letter to his teenage daughter to guide her in her future movie career.
The 71-year-old filmmaker is father to 14-year-old Francesca, with his fifth wife, Helen Morris, and the teenager has already shown a passion for her dad's job by making appearances in a number of his pictures, including "The Departed" and "The Aviator."
Scorsese has now passed on his wisdom about the movie business to Francesca in an open letter, which was published by Italian news magazine L'Espresso.
In the note, the director explains to his daughter that she has a bright future in Hollywood, insisting the movie business is changing for the better.
He writes, "Dearest Francesca, I'm writing this letter to you about the future. … I've realized that the idea of cinema that I grew up with, that's there in the movies I've been showing you since you were a child … is coming to a close. … I don't mean to be despairing. I'm not writing these words in a spirit of defeat. On the contrary, I think the future is bright… So why is the future so bright? Because for the very first time in the history of the art form, movies really can be made for very little money. This was unheard of when I was growing up…
"You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass … (But) there is one important thing to remember: the tools don't make the movie, you make the movie… There are no shortcuts to anything. I'm not saying that everything has to be difficult. I'm saying that the voice that sparks you is your voice – that's the inner light, as the Quakers put it. … That's you. That's the truth. All my love, Dad."


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Additional copies as low as $32
Model ID: M-272
Are you still worried about what to send for Christmas and other festivals? It's not that hard to have a unique and festive gift . You can choose our preset holiday dolls series . Customized bobblehead is unique to him, and no one will refuse such a gift.
Information: *Please note that the facial expression of your bobblehead will be exactly as shown in your front view photo. You may upload your photos
via the website or simply send them directly to us by email to firstname.lastname@example.com
Front View*
Right Side View
Rear View
Left Side View
Information: The clothing colors come exactly as displayed on the product photo. If you wish to change the colors, please upload relevant photos and/or describe the changes in the comment box. We can also change the pose of the body if required. The Upload button will allow you to upload up to 5 photos.
No photos uploaded
Information: Ideally, body photos show also the required pose. Please specify the pose in the additional information section if the original (uploaded) photos do not show this.
Front View
Additional Photos
If you would like to provide us with more photos that show additional details in regards to accessories (hats, glasses, tattoos...), clothing, shoes, logos or pose you may upload them here.
Provision of additional photos is not mandatory.
You may upload up to 5 additional photos here.
Please provide clear instructions to the artist who will review your photos. Here you have the chance to tell the artist exactly what you are looking for and what he is supposed to create.
Here you can upgrade the free standard base to something more special. A custom base allows you to modify the base in the way you want. Some popular examples are: a green lawn, a sandy beach, a football field or a red heart shape. You can also modify the size of the base and add small props (e.g. a TV, a tennis racket, a ball, a guitar, a trophy etc.) if you select the custom option.
The most complex base option is a custom base plus background. With this option you are free to create whatever scenery you can imagine. Add a building, a church, a living room, a sofa or even a stadium to your creation. You can get really creative here and design something absolutely unique!
What is a Standard Base?
What is a Custom Base?
What is a Custom Base + Background?
You may upload up to 5 reference photos here.
Standard Sculpting(Free Proofing and Unlimited Revisions Included)
This option provides you with a standard sculpting turnaround time and free proofing.
Proofing means, that you will receive in-progress preview photos of the creation of your doll. You will be able to
comment and provide suggestions for modifications (if needed).
*The expected
dates assume your approval within 24 hours. Modifications may add additional sculpting time.
Fast Sculpting (Free Proofing and Unlimited Revisions Included)
This option provides you with a quick sculpting turnaround time and free proofing.
*The expected dates assume your approval within 24 hours. Modification requests will
add additional sculpting time.
Faster Sculpting (Free Proofing and Unlimited Revisions Included)
This option provides you with a very quick sculpting turnaround time and free
*The expected dates assume your approval within 24 hours. Modification requests will
add additional sculpting time.
Fastest Sculpting
This option should be used for last minute orders. Our artist will work around
the clock until your order is completed. Proofing is included, however, late replies to our emails or several change
requests will definitely add additional sculpting time.
Information: You may now add identical copies to your shopping cart at a discounted price. Additional copies can also be added at a later stage, however, you would need to inform us about your intention to order additional copies in the "Additional Information" section above or via email at the time of ordering. Please note that the production time displayed in the "Sculpting Options" is only for 1 bobblehead. Adding even a larger number of identical copies to our "Standard Sculpting" and "Fast Sculpting" options will most likely not delay the production time. Adding more than 3 identical copies to our "Faster Sculpting" and "Fastest Sculpting" option will possibly increase the production time slightly. Please contact us via email at firstname.lastname@example.com for a custom quote if you require a large number of bobbleheads in a very short time, or if you require a quantity larger than 100 bobbleheads. We will provide you with a competitive custom quote.
Add 1 to 5 more: $48 each
Add 6 to 10 more: $43 each
Add 11 to 24 more: $39 each
Add 25 to 49 more: $36 each
Add 50 to 99 more: $32 each


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1001 Leestown Road
Frankfort, KY 40601
Enter your registered email address to request a password reset link.
Structure My Deal tools are complete — you're ready to visit Frankfort Toyota!
We'll have this time-saving information on file when you visit the dealership.
Done with the tools you need? You're ready to visit Frankfort Toyota! Get Driving Directions


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Plano, TX, February 23, 2012 Cinemark Holdings, Inc. (NYSE: CNK), a leading motion picture exhibitor, is proud to partner with Paramount Pictures to offer movie-goers the opportunity to see Francis Ford Coppola's restored version of his Academy Award®-winning "The Godfather," on 55 Cinemark XD auditoriums across the country, on Thursday, March 1, 2012.
The film was meticulously restored using 5.1 digital surround sound and re-mastered using state-of-the-art technology, then transferred to files making it available to be seen on Cinemark XD screens. "There is no greater iconic film than "The Godfather"," states James Meredith, VP of Marketing and Communication at Cinemark. "It has set the standard for story-telling, launched a generation of great actors, and provided movie-goers an unparalleled experience. Cinemark is excited to give fans of this movie the opportunity to now see it like never before in our extremely popular XD auditoriums, which offer a complete entertainment environment featuring enormous wall-to-wall and ceiling-to-floor screens, plush seating, and custom JBL sound systems with higher end components and 7.1 capable digital surround sound."
"The Godfather," Francis Ford Coppola's epic masterpiece features Marlon Brando in his Oscar©-winning role as the patriarch of the Corleone family. Director Coppola paints a chilling portrait of the Sicilian clan's rise and near fall from power in America, masterfully balancing the story between the Corleone's family life and the ugly crime business in which they are engaged. Based on Mario Puzo's best-selling novel and featuring career-making performances by Al Pacino, James Cann and Robert Duvall, this searing and brilliant film garnered eleven Academy Award® nominations, and won three including Best Picture in 1972. It is considered by many to be one of the greatest American films ever made. The film has been rated R by the MPAA.
The Coppola Restoration of "The Godfather" 40th Anniversary Edition as a project began in 2006 between Paramount Pictures and the director. Archivist Robert Harris joined the project, followed by the original cinematographer of the film Gordon Willis, to complete the team who worked arduously on the film for over a year going through the original prints, re-release prints, and negatives, shot by shot, foot by foot, frame by frame and even sprocket hole by sprocket hole. Cinemark plans to also show "The Godfather Part II" on XD screens on April 19. A full list of participating Cinemark XD locations, advance ticket purchases and show time information can be found at www.cinemark.com.
About Cinemark Holdings, Inc.
Headquartered in Plano, TX, Cinemark Holdings, Inc. is a leader in the motion picture exhibition industry with 456 theatres and 5,152 screens in the U.S. and Latin America as of December 31, 2011. For more information go to http://www.cinemark.com.
About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.


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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
|Did time and space exist before the Big Bang? And what exactly is time, anyway? In this segment, Ira talks with theoretical physicist Sean Carroll about his new book "From Eternity to Here: The Quest for the Ultimate Theory of Time." Get your thinking caps on.


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QSC AG: Communication services for SMEs – simple, meaningful, efficient.
IR Releases
QSC focuses on high-margin growth and plans significantly higher profits
Cologne, March 29, 2007. Cologne-based QSC AG today presented its 2006 consolidated financial statements. During the past fiscal year, the Company... Read more
QSC posts strong revenue and profitability growth in 2006
Revenues up by 35% in 2006 to € 262.5 million EBITDA rises in 2006 from € 5.8 million to € 21.0 million First net income in the fourth quarter of 2006... Read more
QSC aims at merging Broadnet into QSC
Cologne, January 30, 2007. Today, the Management Board and the Supervisory Board of QSC AG have decided to initiate the formal procedure for a... Read more
QSC and HanseNet broaden partnership: 100 new cities for "Alice" and ADSL2+
Cologne, January 9, 2007. QSC AG, a nationwide telecommunication provider with its own DSL infrastructure, and Hamburg-based HanseNet... Read more
QSC: Strong growth in all high-margin, strategic segments
Cologne, November 27, 2006. Cologne-based QSC AG today published its report for the third quarter of 2006. There were no material deviations from the... Read more