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Melanie Ehrlich
Creator/Writer/Executive Producer/Lead Actor
Melanie Ehrlich is a New York-born actor and filmmaker based in LA.
Melanie plays Helen in The Miseducation of Cameron Post, winner of the U.S. Dramatic Grand Jury Award at the 2018 Sundance Film Festival, and has also appeared on Netflix's The OA, AwesomenessTV's My Dead Ex, Ryan Murphy's Feud: Bette and Joan, FX's Legion, and in Alexander Payne's Downsizing. A voice actor as well, Melanie can be heard as lead female protagonist Vella Wilde in surreal RPG YIIK, as well as a number of characters in Disney Junior's P. King Duckling and Adult Swim Games' Battle Chef Brigade.
Melanie is the owner/head producer of LTM Productions, a full-service production company that specializes in voice-over production for animation and video games. Under the LTM moniker, she fully cast and directed the voice acting for the game Norse Noir, notable for including veteran voice actors from games like League of Legends, Grand Theft Auto V, Super Smash Bros., and Bioshock Infinite alongside up-and-coming voice-over talent.
Why is this project meaningful to you?
I have been struggling with grief and survivor's guilt from the suicide of my first boyfriend, Andrew, for nearly half of my lifetime. I felt for too long like I had no one to talk to who would understand what I was feeling or experiencing, and it has impacted every area of my life and development ever since. It is only now, having finally found the right treatment for my own mental health after decades of struggling with depression and anxiety, that I am able not only to find joy in my life after years suffocated by darkness, but to even make this film. It has been just as difficult as it is healing, but my hope is that it can provide some insight and empathy to others, whether they are struggling with suicidal thoughts or know someone who is or who has, and let them know that they are NOT alone. If I can bring even a few people some of the relief I so desperately would've wanted in the aftermath of this incredibly traumatic experience, I will consider it a success.
Leah Gottfried: Director
Leah Gottfried is an award-winning director, writer, producer and actor, and founder of Dignity Entertainment – a full-service production company dedicated to creating meaningful visual content. She is the creator of the hit comedic web series Soon By You, which centers on young Orthodox Jews dating in NYC and currently has over 900K views on YouTube, as well as the creator and first graduate of the Film Studies program at Stern College for Women. Her short film The Setup won Best Short Film at the Washington Jewish Film Festival and has screened in numerous film festivals all around the world.
Why is this project meaningful to you?
I've always been drawn to stories that were about more than just entertaining. Film is such a beautiful medium for giving people a place to feel less alone, that's what it's done for me and as a filmmaker, I want to do that for others. Mental health affects all of us and for those particularly struggling with it, this film will be a much-needed light of hope, reminding you are not alone.
Natalie Procter: Editor
Natalie Procter is the co-creator of That's Gay, an LGBTQ comedy news segment that challenges the often clueless media portrayal of LGBTQ stereotypes. On That's Gay, she supervised the full post-production process, including editing, audio finishing, and color correction, and led concept development, graphics, storytelling, and delivery of the show for air. Natalie's editing experience also includes serving as lead editor for the half-hour show Infomania, a weekly satirical news show, as well as freelance editing work for the comedy website Funny or Die and rock band The Scissor Sisters.
Why is this project meaningful to you?
I currently work as a mental health clinician with clients who struggle with severe mental illness, many of whom have survived a teenage suicide attempt or who know someone who has not survived. It is something that is not addressed as purposefully as possible in the media, and we are still afraid to discuss suicide. The most likely response to a suicidal threat from a teenager is NOTHING. We need to raise awareness around this subject and normalize it to the extent that people feel comfortable discussing it with the children, their friends, and their peers. Working on this film will afford me the opportunity to be part of the solution in a delightfully creative way.
M.W Leitzel: Art Director
M.W Leitzel is a visual storyteller whose video and design work has appeared on CNN, Comedy Central's The Daily Show, Time Magazine, the Boston International Film Festival and various film festivals and galleries across the country. He has worked with clients such as Dreamworks, Fox, Sony, SEGA, Ford, and many more. Additionally, he has worked with local organizations and mentorship programs to bring the arts to those who need it most in the community.
Why is this project meaningful to you?
There are so many people who suffer silently, and yet many more who won't get the help they call for, time and time again, before it's too late. Art not only helps survivors heal, but by being able to provoke questions and emotions that resonate in our past experiences, we might find ourselves more willing to extend a hand to those who need it most.
Jay Tholen: Music Director
Jay Tholen is a game designer, artist, and composer who lives in Braunschweig, Germany with his wife and doggie. Jay is the lead designer of indie adventure games Dropsy and Hypnospace Outlaw. He's also a prolific solo musician and has released almost 30 genre-bending art-rock EPs and LPs over the last 12 years.
Why is this project meaningful to you?
I only work on creative projects that can make someone's life better for having experienced them. Danse Macabre is very much this kind of project. The whole thing has me super jazzed: The script is great, Melanie is cool, I get to arrange an incredible piece of music, AND I get to use video game sounds. (Tastefully implemented, of course.) For real though, I'm honored that Melanie has entrusted me with scoring a work that is this intensely personal and can't wait to begin working with her and her team.
Jen Brucker
Jen is a full-time project management professional and aspiring actor. She is a Jen-of-All-Trades; having worked in retail, broadcast terrestrial radio, pharmaceutical research, film, and as a marketing manager for a fitness education company. When she is not organizing the world around her, she is polishing up her VO reel, building her website, working on the launch of a blog/podcast with a friend, and studying graphic design.
Gabrielle Keller
Tim Rodriguez
Tim has been involved with interactive digital and industrial design for over 20 years and found his niche in game development. He is also a publisher, voice actor, musician, and crowdfunding veteran, having run and/or contributed material to 10+ successful Kickstarter campaigns. He has been recognized on the Games 100 list for his work in board games and is a judge and curator for multiple game festivals.
Why is this project meaningful to you?
Many of my best friends deal with mental health issues and so this story hits very close to home for me. As someone who does not personally deal with depression or suicidal thoughts, I feel it's my own personal responsibility to listen to these experiences and learn how I can help support those who do.
Grace Sin: Supervising Producer
Grace is a producer, director, and voice actor for animation and games. Her work in children's media has been recognized by the Parent's Choice Awards, the Webby Awards, and included in Apple's App Store Best of Year selection.
Additional production staff
Brett Thevenot: Webmaster / Graphic Designer
Brett is an award-winning graphic designer, corporate web designer & visual designer, corporate eLearning designer and 2D animator/illustrator. BFA/MFA in 19th-century inky mechanismus. Digital velociraptor and grandmaster at Photoshop & Illustrator.
Why is this project meaningful to you?
As someone who has dealt with depression since my teens it helps me to help others take this seriously and to try to reach out to as many people as possible to help and help inform.
Jeremy Einhorn
Jeremy Einhorn is a Boston-born, Montreal-educated and LA-based actor, voice actor, writer, singer, and linguist. He has acted in the Montreal independent film Lover's Lost, directed by Alexander Kasstan, Everfall by Ashton Avila, and co-hosts a podcast about zombie movies called Podcast of the Living Dead. Apart from his other creative work, he holds a BA in Linguistics and Hispanic Studies from McGill University and has lived and worked around the world, including, Spain, France, Argentina, and Peru.
Grace Fiamengo
Grace Fiamengo is the mother of two talented young men. One is a writer and voice actor, and the other a musician, composer, and actor. Raising these two helped her discover her spiritual gift: organizing the creative mind. Grace's passion is assisting creative projects with all things organizational.
Why is this project meaningful to you?
When I was in middle school my best friend was murdered. The counseling I received back then consisted of one sentence, "if you need someone to talk to, we are here for you". There was no follow-up after that, even though looking back now I can see I was exhibiting behavior that cried out for it. As a middle and then high school student, I did not know how to ask for help, and probably did not even realize I needed it. This movie speaks to me because it addresses the grieving process of the people left behind. Everybody suffers loss at some point in their life, but some of us get stuck. It is my hope that this movie encourages the 'stuck' people out of the darkness and inspires others to be more aware of their needs.
Loretta Golden
Loretta Golden is an audio/video freelancer. She holds an associate's degree in Radio and Television and is working towards a bachelor's in Communications. She also works at F.R.E.E. which supports college students with disabilities, as well as interning at the university radio station as Public Service Announcements Coordinator. Loretta has also spent time volunteering for community non-profit organizations and working in collaboration with others in the radio and television fields. Additionally, she is certified in Strategies for Crisis Intervention and Prevention (SKIP) and completed a national certificate program in Mental Health First Aid.
Why is this project meaningful to you?
While in high school I knew a few friends who were contemplating suicide and came to find out that some had already attempted suicide, but never completed as someone intervened. One event that comes to mind is, while spending time with a close friend, I heard noise from another room and decided to investigate, only to find him with a rope around his neck and standing on a chair. By making a noise, I think, in his own way, reaching out to me for help that day. I was glad that I was able to intervene that day. I know not everyone is so lucky.
SunMok Hwang
Sun Mok Hwang (Michael) does whatever needs to be done. He has previously worked on sets as a camera operator, boom operator and sound mixer camera assistant, production assistant, stunt coordinator, and slate guy. No job is too small. He has also dabbled in script writing and photography.
Why is this project meaningful to you?
This is a very personal project for a good friend of mine, and so I look forward to helping and seeing how it comes together, from idea to screen. How this artist's memories and thoughts of the event and its aftermath, search for understanding, and years of healing come together and translate into this work of art.
Eunsea Min
Eunsea Min was born and raised in South Korea. Ever since Eunsea wrote her first song in the late 2000s, her life has been an interesting adventure. Eunsea earned a Bachelor's degree in songwriting at Berklee College of Music in 2017, and now studies at the USC Thornton School of Music, pursuing a Master's degree in Music Industry.
Why is this project meaningful to you?
Although suicidal thought has dwelled near me throughout a major part of my life, I still can't dare to say that I understand why people decide to leave. I also can't even imagine what it would be like for the ones who are left behind. I guess they might be the ones who endlessly struggle to give closure to a story that can never be finished. I hope this project will be healing for people who have similar experiences.
Nicholas Patrella
Nicholas Patrella has dipped his hands in many projects over the years as an actor, writer, and producer. He has narrated over twenty audiobooks including the Detective Byone series by Ricardo M. Fleshmen, Troubleshooters by Ian Thomas Healy, and volumes 2 and 3 of the fantasy/romance series, Dark Order of the Dragon by Sandra Bischoff. He also worked at AM 1460 WVOX in New Rochelle, NY as a producer and board operator, and hosted his own on-air show called The Drawing Board, where he talked about animated series, particularly their creators, wrote and produced short audio plays for air, and interviewed different voiceover artists (including Melanie, in an amusing twist of fate!) Check out his radio work at thedrawingboardshow.com.
Arthur Rehak
Arthur Rehak was born in the Peruvian jungle and raised in the American Rust Belt. Arthur is a systems engineer and aspiring actor and writer.
Why is this project meaningful to you?
This project matters because I have personally been affected by this issue – not just by the incident itself, but by the inability to heal from it, because it isn't discussed. I hope that by participating in this film, we open the door for someone else's healing process.
Mary Taft-McPhee
Mary Taft-McPhee was raised in Minnesota, paid taxes in Brooklyn and Oakland, and now lives on a ranch in Port Orchard, Washington. She is a horseshoer, voice actor, finance professional, data scientist and work in progress.
Why is this project meaningful to you?
I lost my mom to suicide eleven years ago, and it changed our family forever. After she passed, folks came out of the woodwork to share their stories with me and let me know I wasn't alone. I'm proud to be working on this project and speaking honestly about what we've lost in the hope that it can help other survivors.


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- Name
- 19' Jack Ivanic - Guilford - Rockford
- Position
- Forward-Guard
- Height
- 6'3"
- Weight
- 187
- Current Team
- 19′ Jack Ivanic – Guilford – Rockford, Class of 2019
High School Program: Rockford Guilford
Travel Program: Rockford Elite/Illinois Stars
Jack is fundamentally sound and extremely coachable. Jack's best basketball will be in college, no question. Jack has really come out and been more aggressive as he gets older and it is fun to watch.
Jack had break out games this Spring scoring 22 pts against the New York RENS to lead us in scoring and helped his Illinois Stars team with the nationally recognized upset. Jack continually turns coaches heads and has proved he can play with the best of them. Jack is looking to pursue a Business Degree and looks forward to playing basketball in college.


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This last Saturday Chris and I participated in a code jam organized by a friend using processing, a programming language oriented towards enabling interactive visualization and graphics. I used processing to create all of the graphs in the recent Nature Biotechnology paper – I came to it because I was frustrated with an inability to create exactly the graph type I wanted. In the end each of my graphs is created by a small program, but I'm happy with putting in that effort to get something that looks great.
For the code jam I had been wanting to create a browsable tree of life akin to the fractal-like tree of life comic I made a while back. To this end I created a Newick format tree, working my way back from humans. I filled in only organisms and names that were familiar to me, reasoning that obscure organisms only serve to make a tree confusing, cluttered, and unapproachable. So far I'm only as far as unikonts, you can get a copy of it here if you like. (Please consider this as licensed under CC-by-SA if you'd like to use it.)
Chris found and applied some java code for interpreting a newick format file and creating a tree data structure, and I worked out a simple recursion for drawing the tree out to a given depth from a given node. Clicking on a node redraws the tree from that location; pressing any key zooms back out by one level. Here is a screenshot of the base:
One of the nice aspects of processing is that visualizations should be portable to java applets. Although we haven't done it yet, hopefully we'll be able to do that. If you have processing installed, you can download a copy of what we wrote. (You'll need to fix the file path in the source code to point at the tree.) Other improvements I'd like to do: to make zooming smooth rather than jumping (this can be disorienting when a large change occurs) and add the ability to search and choose an organism, then color the tree according to distance from that organism so you can click "warmer" colors to get closer to it.
The theme of the event was "clocks" and although I had intended to work on this anyway, it did fit into the theme fairly well: we called the program "Evolutionary Time". We were thrilled to be awarded the "wealth" prize by processing founders Ben Fry and Casey Reas: a gift certificate to the MIT Press Bookstore, which I intend to spend on a reference or two for processing, hopefully to further improve our program. 😉


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Generally, department stores are open 7 days a week from 9 a.m. to 5 p.m. Some locations offer longer
hours on certain days of the week.
Please be warned that if you buy items on tour to be shipped to your home, customs import charges are
hardly ever included in the price. Sales tax or GST (Goods & Services Tax) is normally already included on
price tags; GST refunds, if applicable, are processed at the departing airport from the relevant country.
Buying Local Aussie Goods


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"The heart of the Waldorf method is that education is an art – it must speak to the child's experience. To educate the whole child, his heart and his will must be reached, as well as his mind." – Rudolf Steiner
We are currently offering grades 1st through 8th. The curriculum can be represented by an ascending spiral of integrated learning which is built upon year by year. The lessons are alive and meaningful, so the children are always actively engaged as they are called upon to draw upon the artistic, analytical, physical and social elements within themselves on a daily basis. Through this rigorous process, independent thinking and sound judgment are trained. Social, emotional and intellectual intelligence are recognized and developed.
The curriculum includes:
Literature, English, History, Math, Science, Geography, Foreign Language (Spanish), Music, Art, Handwork, and Physical Education.
Unique classes that we are also proud to offer are Latin, Knitting, Fiddle, and Yoga.
Children are encouraged to revel in the wonder of their childhood and a strong sense of community is nourished at Riverwood. Community is at the heart of Riverwood School. Festivals, parent meetings, guest speakers, and volunteer opportunities provide many options to learn, celebrate with, and support one another.
Please contact us for more information if you are interested.
For prices and additional information please visit the Admissions section.
View the Daily Class Schedules
View the Main Lesson Blocks


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text: Over the past weekend, I had so much fun photographing the cherry blossoms at Central Park! Spring is my favorite season to shoot because of the blossoms everywhere in the city. I loved this session because my couple came in coordinated outfits without looking too matchy matchy 😀 R had a belt that matched the fabric of D's suit. I also LOVED the organza kimono that R wore over her white dress.


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When it comes to visiting an iconic baseball park, the only real way to do it is by watching a baseball game. Except, that statement isn't true at all! Though designed with baseball in mind, baseball stadiums serve as excellent venues for an array of other events throughout the year. Whether or not you enjoy baseball does not have to be related to whether or not you visit a ballpark.
Ways to Enjoy Fenway Park Without Watching a Baseball Game
The argument could be made, and we make it often, that the most iconic park of all is Fenway Park. Being one of America's oldest baseball parks, Fenway has a rich history and an invested fan base. Visiting the park is an unforgettable experience that leaves one feeling more connected to the culture of Boston, and the U.S. in general.
As you plan your next trip to Boston, we highly recommend you take a glance at what events are happening at Fenway Park during your stay. Some of this year's options include:
July 5 & 6
Zac Brown Band
August 31 & September 1st
The Who
September 13
Billy Joel
September 14
It is truly a magnificent experience to listen to music surrounded by thousands of other people all swaying and signing within Fenway Park. The energy within the park during a baseball game is incredible, but there's something even more profound that occurs during a concert.
In case the timing doesn't work to see a baseball game or attend a concert, you can also take a tour of Fenway Park nearly anytime!
As you plan your trip, consider staying with us here at Copley Square Hotel, right in the heart of classic Boston! We are within easy public transit of Fenway Park, and have a team of Boston experts that will assist you with further suggestions and logistics if you so desire!


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Setting the time on the AS/400
You Can View User Feedback To This Expert Response
Is there a way that I can set the time on the AS/400 to match the time on a Windows NT system that uses the Web to set its time? I would like to have my NT network and AS/400 times to be synchronized.
The operating system (OS/400) does not support auto updating of the time via the Web. The only way you can do it is by changing the system value of QTIME. If you could write a program that uses the socket API and send the request to return the Web page that you are using to access via the NT server. Once that page is returned, you can parse the page and call a CL program to update the system time. The problem is that by the time the program completed, the time would no longer be correct.
All things being equal, once the two systems are in sync, they should stay very close. I'm unclear of the way NT can access the Web to get the time, but I wonder if you could mimic the Web page on the AS/400 Web server that the NT server is currently using and use the AS/400 to set the time on the NT server.
Depending on the types of applications you are running on the AS/400, the difference in time could cause problems if the programs are using the system time. Also the job scheduler could be affected if the options are not set to run the jobs past the assigned time. In other words, if you skipped a minute from 11:59 to 12:01 and there are jobs to run at 12:00, they would not run. Changing the time on a regular basis on the AS/400 can open the door for problems since OS/400 and many programs rely on the system time.
As a foot note, if using the AS/400 mail server remember to correctly set the system value of QUTCOFFSET, which is the Coordinated Universal Time offset. The value set is plus or minus to Greenwich Mean Time. To match EST I believe it's 5.00 hours.
- The NT system probably uses an NTP (network time protocol) or SNTP (simple network time protocol) to adjust its time to a standard. At least in V5R1 of OS/400, there is an SNTP client. It's listed in OpsNav under Network->Servers->TCP/IP as a "server" but it's a client. Be sure your QUTCOFFSET is set properly. In earlier releases an SNTP client is available through ConsultLine. It used to be $400 for an entire company - installable on all the 400s you have. — V. Hamberg


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The roof repair process usually involves a thorough clean to eliminate any developed moss and dirt, repairing of harmed sheets or tiles, then repainting of the entire roof to restore it to it's former splendor. Roof repair can extend the life of your existing roofing, prevent more pricey repairs as well as add value to your house thanks to its better street appeal. We can bring your old roofing system back to life with our professional roof restoration service. Restoring your roofing will not just improve the street appeal of your home, it will increase it's worth and can enhance energy effectiveness.
Metal Roofing Replacement & Re-roofing
In some cases it's not always possible or worthwhile bring back or fixing your roofing due to its age or significant flaws. We specialise in roofing system repairs to harmed or dripping roofings due to wear and tear or roofing systems that have actually been inadequately installed.
Re-roofing services in Melbourne CBD will offer your old, tired roofing a fresh look and lasting wear. We will remove and deal with your existing roof covering, battens and sarking. If your roofing system is asbestos we can organize a fully-licensed and accredited business to eliminate and deal with this hazardous material. We work closely with these business to offer you with a smooth roofing system replacement from 'start' to 'finish'.
Roof Upkeep
Your roofing is among your most important assets. However as your house ages, your roofing begins to age and it will require maintenance. However, most people overlook their roofs till it is so deteriorated that it needs to be replaced. We understand that proper repairs and upkeep can conserve money in the long run. That's why we provide comprehensive roofing system maintenance and service plans to fit your needs and budget.
Why Choose Us?
· Professionalism – Our roof experts are trained to perform the job professionally and in close coordination with you.
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· Quality and Safety – Quality of material and security standards are principles that are similarly vital for us.
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Roofing Contractors You Can Trust To Deliver Extraordinary Work In Melbourne CBD
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Give us a call today or contact us through the enquiry form on our site. We are always available by phone so you will have the ability to get all your roofing system repair work concerns addressed on the spot. If it is after hours please submit our query form and we will attempt and return to you as soon as possible. Keep in mind no matter what the kind of task you have, no matter how big or little, do not hesitate to get in contact with us – we will offer you the most competitive quote we perhaps can. If your job is outside the bayside suburbs, that is no problem, we work all over town and more than happy to come and quote you for any type of roof remediation task.


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The Origin Photography Backdrop certainly has multiple uses. With the look of shimmery silver. Great for all high school seniors.Shipping and Return Policy
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On Saturday 17th March 2018 Local Band Tax the Heat played here and signed copies of their latest album "Change Your Position" this was the first time we have had live music at our shop in Cheap St Frome, and the first time that the band had played a live acoustic session.
The event was organised by our neighbours Raves From The Grave who is the largest independent record shop in the vicinity.
As the event was such a success we plan to work together on future acoustic sessions with other artists, we will communicate these via Facebook and Twitter , as and when we have firm bookings.


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Blackpool Council is actively a part of You Can Foster, the north west foster carer recruitment campaign.
You may have seen advertising online or seen us in the pressor on TV. We've worked hard to bring a realistic insight into what fostering is all about, but to remember the core focus - foster children have hopes and dreams too - and you can help make them a reality!
Here at Blackpool Council we need new foster carers for children of all ages, and would love to hear from those who have ever considered fostering.
This month sees the return of our TV adverts, so keep your eyes peeled. Link in with our Facebook and Twitter for updates regarding news, events and other exciting things yet to be revealed!
We hold regular informal events where you can talk to a friendly member of our team to learn more about the fostering process and to have an opportunity to ask any questions you may have.


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"Growing up in a traditional family, it was not an easy path for me to tell my parents that I wanted to be a professional musician. I didn't blame them as most East-Malaysian parents do not view music as a career option. To them, music is a hobby. But I've always believed that I could do something for the music industry – or at least something to elevate the standard and quality of East-Malaysian musicians.
Back then, I didn't know who to consult with when it came to music matters. I didn't know of any established East-Malaysian musicians who could guide me. I dived in head first! Thankfully, I soon had the support of my parents, pastors and life mentor. Playing drums for Juwita Suwito and being a part of the Flippin' Pages also gave me a support system that has shaped the person I am today.
That's why I am determined to do what I believe I'm called to do today; to be a mentor. I don't see myself as just a performer, I see myself as an educator, motivator and mentor. I believe the next generation of musicians should be far better than my generation and I will continue to do whatever it takes to make it happen." – Wagner Daniel, mentor & musician
#MySongsAndStories #LoveMalaysia 📷Photo by: Graato


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Are your emotions out of control?
We often hear people talk about terms like emotional mastery or emotional resilience and yet for some people these concepts can be pretty hard to fully comprehend. Mainly because until you've experienced something, you can't quite get your head around it.
So, I'd like to help shed light on this by taking the opposite approach and instead taking a closer look at what is going on when emotions go bad. Sometimes, when we understand a bit more about what bad looks and feels like, we can start to get a better grasp of what the good version is like.
In today's podcast I explore the darker side of emotions
- the 3 ways that emotions GO BAD
- how to recognise that you might be over run with BAD EMOTIONS
- what the possible causes might be
- how you can use The Emotion Code to help
- how to return to a place of healthy emotional expression
Enjoy the show!


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1. Register at Lecturio
2. Log in
3. Enter your university e-mail and the name of your institution at "Account Settings" -> "My Institutions" -> "Request membership".
4. You will receive an e-mail in the specified university address. Click the link in the e-mail to confirm.
5. Now you can start learning!
If you have registered directly with your university e-mail address, skip points 3 and 4. The system automatically recognizes your membership.


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@blasay_ @duck_butler @tommyp408 @AnisMarley I can't predict the value of the USD but I'll eat my own dick if one b… https://t.co/CuGfmlBUXo
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Open tomorrow at 11.00am
Blog | Contact Us | Gold Coast
Harbour Town is conveniently located only 15 minutes from the City of Adelaide, 5 minutes from Adelaide Airport and 10 minutes from the seaside suburb of Glenelg.
Coming from the South on Tapleys Hill Road?
Approximately 5km on the right hand side of Tapleys Hill Road after you pass Anzac Highway (before Sir Donald Bradman Drive).
Coming from the North on Tapleys Hill Road?
Approximately 2km on the left after you pass Sir Donald Bradman Drive.
Are you travelling from interstate or overseas? Click here for information on our Tourist Discount Card!
Coming from Glenelg?
Where to catch it from
Bus J1
Monday to Sunday & Public Holidays
Approximately every 30 minutes before 9.00am, all other times - approximately hourly, weekends and Public Holidays
Glenelg Interchange Colley Terrace, Glenelg
Bus 300
Monday to Sunday and Public Holidays
Coming from The City?
Stop S1 Grenfell Street, City.
For more information, click here.
Coming from The Adelaide Airport?
Find the pick up point at the Atura Hotel & simply call 13LIMO to quote the code VIP5511 to book your free ride.
Monday to Sunday and Public Holidays, during Centre trade hours. *Closed Good Friday and Christmas Day.
Atura Driveway, Adelaide Airport adjacent to the International arrivals
*For tourists and travelers from the Adelaide Airport only. This service is limited to travel between Atura Hotel and Harbour Town Premium Outlets only. The Service is only complimentary when quoting VIP551.
For more information, click here.
Adelaide Independent 13 22 11
Suburban 13 10 08
Yellow Cab 13 22 27
Car Hire
Go to http://www.carrentalbuddy.com.au/car-hire/adelaide for discounted car rentals in Adelaide from Avis, Thrify, Budget, Hertz and many more.
If you are still having trouble, why not give us a call on 08 8355 1144 we would love to hear from you!
Find hotels near Harbour Town Adelaide through HotelsCombined to compare accommodation rates in the area.
Complimentary Tea, Coffee and Cool Filtered Water
Free Tourism Club Card Accepted at a Wide Range of Stores
Comfortable Airconditioned, Modern Environment
Complimentary Taxi Phone Service
Complimentary Luggage and Shopping Storage
Friendly and Helpful Staff
Free Stroller Loan
Free Wheelchair Loan
Free Wi-Fi Access
Tour Bus Drop-off and Pick Up
Visitor Information Brochures
Lost & Found
Centre Information
Need some help finding Harbour Town Adelaide?
The Tourism Lounge is located at the south west entry to the Centre and can also be located via the maps available throughout the Centre. A convenient taxi and tour bus drop off point is also located at the Tourism Lounge.


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from a step into darkscape novel
Explore the layers of lands and settlements where ancient lords would roam, 'tween trees and hills, cross mountains and streams, through valleys and dark old ravines.
Come with us into the darkest forests, where cold shadows are said to groan.
Darkscape Town
Residing in another layer of the world to our own is the town of Darkscape, a settlement upon a hillside of an uncharted coast. Having grown over many hundreds of years, the town hosts its own market, shops and stalls, and appears self sufficient. But on the other side of the hill rises the tall palace of the Goddess Romany, who sustains and controls the townsfolk of Darkscape with her ancient followers, the Order of the Luna.
Overlooking the sea, a short distance from the town, is a temple said to be in honour of Romany and the ancient Order of the Luna, but it houses something much more mystical. A portal, and a step into Darkscape.
Bookshop of Britanus
Within Darkscape, off of the main thoroughfare, is a rare bookshop—rare in the fact that many of the townsfolk cannot read and therefore have no need of the old books within. It is owned by the town Scribbler, a man with a tale to tell and a large volume full of wondrous texts that involve both Romany, and the Assassin Princess.
Currington House & Shack
Hidden away within our own layer is a large Manor House owned by an elderly brother and sister, Ben and Grammy Manning. While living in the house themselves, they rent out holiday cabins at the rear of the property close to a wild woodland.
It is here that Ami feels the pull of power-calling-power, and though she arrives at Currington House to retreat from living, the old shack within the wood calls her to adventure, its derelict rooms seething magic, its broken steps leading…somewhere.
Explore the Book
the characters | the creatures | the world
↩ Back to the Book
Other ebook retailers · Read free sample · Amazon reviews · Goodreads reviews


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�The only thing that I have ever successfully made in the kitchen is a mess. And several little fires�
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Determination of claim
- • payment
- • reimbursement
(1) The Department of State Lands shall consider any claim filed under ORS 98.392 (Claim for unclaimed property delivered to Department of State Lands) and may hold a hearing and receive evidence concerning the claim. If a hearing is held, the department shall prepare findings and a decision in writing on each claim filed, stating the substance of any evidence heard by the department and the reasons for the decision. The decision shall be a public record.
(2) If the claim allowed is for property deposited in the Common School Fund Account, the department shall return the property or make payment of the proceeds of the sale of the property to the claimant.
(3) If the claim allowed is for funds deposited in the General Fund, the department shall pay the claim and file a request for reimbursement with the State Treasurer. The State Treasurer shall reimburse the department within five working days from the fund against which the check or order represented in the claim was issued. [1957 c.670 §22; 1983 c.716 §19; 1989 c.183 §3; 1993 c.694 §18]
3 OregonLaws.org assembles these lists by analyzing references between Sections. Each listed item refers back to the current Section in its own text. The result reveals relationships in the code that may not have otherwise been apparent.


text:
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Theodic script
|Created by
|Miles B Huff
|Regulated by
|The Theodian government
(via the Jury of Linguistics)
|a priori
|Featural alphabet
|Influenced by
|Roman alphabet, Runes, Hangul, Bimodular numerals; ergonomics
|Writing direction
|Number of styles
|Number of characters
|Number of diacritics
The Theodic script is a featural alphabet originally designed by Miles B Huff for use with the Theodian language. It is designed to be more ergonomic and intuitive than most existing scripts, while remaining easily extensible (unlike, say, Hangul). The basic form of the alphabet has 25 letters (16 consonants and 9 vowels), each yielded from one of 2 IPA-esque tables. There are 7 "styles" of the alphabet, each with a different intended purpose; and an extended version is being developed, intended to be able to support a wider array of languages than basic Theodic.
Like with the Latin alphabet, each language that uses the alphabet changes it to suit its particular uses. Each letter also has a prototypical name, and the base alphabet has a typical ordering. The first
n consonants of the alphabet typically double as numerals.
Development of the alphabet began in 2014, and the basic form was completed in early 2016. This article was current as of 2016, March.
- Note that, although Theodic is a vertical script, it has been written horizontally in this article so as to better fit English typesetting constraints.
- Note that the convention in Theodic is to have sounds from earlier in the vocal tract occur earlier in charts. This is per the following reasoning: Having close vowels be higher up in the chart makes more sense than having them lower in the chart, since the mouth literally rises to make them. Since having close vowels at the top causes the F1 axis to be inverted, it then makes sense to have back vowels come at the beginning of the chart, so that the F2 axis is inverted as well. Accordingly, the consonant-chart also places sounds made further back in the vocal tract earlier in the chart, and (generally) sounds that are more close, it places higher in the chart (although the vertical axis is, in Theodian tradition, more formally defined by sonority).
The 16 consonants in basic Theodic are assembled by placing 4 basic symbols into a 4x4 place-manner chart, such that one axis has its symbols rotated 180°, and such that the symbols overlay each other. This generates a very regular and schematic set of consonants with which to work, and provides a language with 4 places and 4 manners with which to work (using the extended version if more be needed).
- Design-notes
Like with the rest of basic Theodic, these consonants were designed specifically with Theodian in-mind.
Miles, who is thought to have a kind of dysgraphia, drew a number of graphemes innumerous times in quick succession to see what they reduced to, in order to find the stablest forms. He finally came up with a set of symbols, seven of which had central stems. Realizing how 6 of them were just rotations of each other, that they could be merged along their stems, and seeking to design a featural alphabet, he placed them into a 4x4 place-manner chart.
The place axis was decided to have the most fundamental phones, the laryngeals, represented by the most fundamental shapes, and so laryngeals were represented by a line, dorsals by a bar, coronals by a hook, and labials by a bowl (also representative of lip-rounding. This order also makes sounds that are easier to lip-read more complex. However, it also graphically pairs coronals with labial sounds, when it would perhaps be most appropriate to pair them with dorsal sounds (as both are actuated by the tongue).
The manner-axis was decided to have the more complex shapes represent the more sonorous manners, and so plosives were decided to be represented by a line (as they are acoustically characterized by silence, and articulatorily have no gaps between the passive and active articulators), fricatives by a bar (representing the airstream created between the articulators), nasals by a hook (representing the shape of the velum), and approximates by a bowl (representing lip-rounding). This ordering also makes it very clear which sounds can and cannot (typically) be voiceless, as voiced-only sounds have rounded graphical elements. This ordering is, however, not without its drawbacks, as it pairs nasality with coronals, when it would be more appropriate to pair it with dorsals (given that nasality is caused by a lowering of the velum); and it pairs frication with dorsals, when it would be more appropriate to pair it with coronals, as the only sibilant in Theodian is coronal — but it could be argued that the coronal-nasal association is indeed appropriate, given /n/'s cross-linguistic propensity to assimilate to place, and the lack of a reasonable association between hooks and fricatives.
As for the combining of these two symbols, manner was decided to be at the tops of the shafts, and place at the bottoms, as this would make manner most graphically salient for approximates, and place most graphically salient for plosives. For readability purposes, it was decided that letters should be variously positioned on the sentential centerline according to their dominant feature, this being determined by a trumping hierarchy: bowl over hook over bar over line, with the feature highest on the hierarchy being placed on the centerline. If the two features in the letter are identical, the whole letter is centered on the centerline.
Note that these events are presented out of order here, that there were many unmentioned intermediate stages, and that many of these changes happened simultaneously.
The 9 vowels in basic Theodic are assembled by rotating, flipping, and duplicating one basic shape (<c>) and placing them into a vowel-quadrilateral. This generates a regular and schematic set of vowels, with 3 heights and 2 backnesses, with which to work (using the extended version if more be needed).
- Design-notes
<> was one of the stable graphemes Miles came up with (as mentioned above), and he had long liked the apparent symmetry between the <>, <>, and <> runes (each being the next with an extra line). Once having finished the consonants to some appreciable extent, it became clear that these symbols' lack of a central line could fundamentally differentiate them from the consonants, thus making them ripe for depiction of vowels. <>, <>, and <> were graphically rounded to <>, <>, and <>, and were then chosen to represent /i/, /e/, and /a/, respectively. The reasoning behind having this specific association, as opposed to the inverse, follows this thought-process: (1) /i/ has the highest-pitched F2 of all vowels, and /a/ the lowest of all front vowels; (2) higher frequencies by definition have shorter wavelengths; (3) which means that <> literally looks like the F2-wave of /i/ when compared to that of /a/; (4) as /e/ and /a/ have progressively lower F2's, they should get progressively less repetitive graphemes (hence, <> and <>). However, <> was not <>, and it was necessary to decide which direction the letters were to face. Eventually, Miles settled on the modern <>, <>, and <>, as when reading them left-to-right, they open up, and these are all unrounded vowels; the flipped variants (<>, <>, and <>) were used for front rounded vowels (which no longer exist phonemically in the language), as they round off when read left-to-right. These 'rounded' variants were later repurposed for the back vowels of modern Theodian. <> was adopted for /ə/, as its being a circle was thought by Miles to be a good representation of the laxest vowel, and a good graphical middle-ground between the shapes of the front and the back vowel-graphemes. The symbol for /ɨ/ was later decided to be <> — simultaneously two <>'s (/ə/) stacked atop each other and a combination of <> (/i/) and <> (/u/) — very appropriate, because both of these descriptions are essentially accurate descriptions of the sound /ɨ/. The symbols for the back-vowels were later removed for to make Theodic less confusing when read boustrophedonically (as all letters flip along their y-axis at the start of each new line), and replaced by <>, <>, and <> — the old rounded vowel symbols rotated 90° counterclockwise. These symbols still provided something of a rounded form for the eyes when being read, and were never ambiguous with the front vowels in reading.
In early 2016, the phonemic values of the letters were, in Theodian, changed to what they are today, so as to present a more ergonomic inventory. This change, however, would have made /ə/ <>, since /a/ was now the lowest central vowel, and this arrangement struck Miles as weird, given that /ə/ is used throughout the language as the default/unmarked vowel, yet <> was arguably the most complex shape of all the vowel-graphemes. After consideration, and per their apparent roundness, the round letters (<> and <>) were chosen to represent /u/ and /ɔ/, respectively; and a new intermediate symbol was introduced to represent /o/: <> (one which had been considered, but avoided, earlier-on, due to its complexity). This had the added benefits, that <>, the symbol for /u/, was now very similar in design to that for /w/, <>; and that, when the vowel-chart is flipped along its y-axis and placed immediately below the consonant-chart, such that /u/ is placed below /w/, then /i/ ends up below /j/. The symbols previously used to represent the back vowels, were then taken to represent the central vowels, since they were more graphically rounded than the front vowels, but less so than the back vowels. This had the interesting side-effect of generating a symbol (<>) for a vowel ([ɨ]) which is no longer used in the language.
After the Theodic script was somewhat decoupled from the Theodian language, a change, which would improve the schematicity of the vowels and which had been pending for some time, was finally put into effect. The chart was changed to be divided between
-Front and
+Front rather than into back, central, and front. The unrounded vowels were left the same; but the rounded vowels were now defined as the graphemically rounded forms of their unrounded counterparts. This resulted in <> and <> now respectively representing /y/ and /ø/; as well as the addition of two new characters, <> and <>, respectively representing /u/ and /o/. <> and <>, although generated by these rules, are not a part of basic Theodic; but, rather, a part of extended Theodic.
In 2019's March, the central / back-unrounded set was flipped along the x-axis, in order to make Theodic cursive a little easier to read and write. (TODO)
The Theodic script currently has 3 primary 'styles' (Carving, Reading, Writing), 4 secondary ones (Sketching, Feeling, Pinging, and Tapping), and 0 tertiary ones. The primary styles are all direct degeneracies of each other (with Carving being the least degenerate), and thus are all highly mutually comprehensible. The secondary styles are not necessarily directly derived from either each other or from the primary styles, and are designed for use in certain important niches. The tertiary styles are styles that, due to one reason or another, do not or can not express the full 25 letters of the basic Theodic alphabet.
The Carving style derives the general aesthetic of its graphemes from the Milic runes (and thus has no horizontal strokes), and is used for carving and signatures; it is considered a special and ornamental way to write Theodic.
The Reading style is optimized for reading long texts, and is the most commonly encountered style on digital apparatuses. It's considered the reference-form of Theodic.
The Writing style is a cursive and designed to be written by hand. Each syllable can be written without lifting the writing instrument, and the writer writes only in the direction preferred by ser handedness, with right-handed people typically writing BtTtB-LtR, and left-handed people writing typically BtTtB-RtL.
All 3 primary styles are used in calligraphy, but the Carving style is traditionally preferred for this purpose.
Of the 5 secondary styles, only 4 are yet complete.
The Sketching style is a shorthand and designed to be capable of transcribing speech in realtime. It is yet to be developed.
The Feeling style is a 6-dot Braille, and is the first secondary script to have been completely implemented. It is very similar in design to the standard scripts, except that the relation between sonority and graphemical complexity has been reversed (this was largely necessary, given the characteristics of such scripts). <> is <⢟⢺⢄ ⠷⠺⠠> in the Feeling style.
The Pinging style is a Morse-style code. It uses a variable bit-count to encode the letters of the Theodic alphabet. A variable bit-count was chosen over a fixed bit-count, so as to reduce the number of bits necessary to unambiguously encode information (a maximum of 4 is needed with a variable count, whereas a maximum of 5 is needed with a fixed count). Pauses are placed between letters. Bits were chosen over trits (even though trits are the norm for the language), as they are significantly less subject to interference and much easier to make (although trits would reduce the lengths of all utterances to just 3 characters). Given the unique nature of Morse-style codes, a binary search-tree was utilized to schematize this style of Theodic. Of the three ways of going about schematizing this (alphabetical, frequency, and primitiveness), primitiveness was used, as it was deemed the most mnemonic.
The Tapping style is a tap-code/knock-code. Given the nature of tap-codes, a 5x5 chart was utilized for schematization. The letters were then placed into this chart in alphabetical order, for to make it easy for laypeople to remember. The first group of dots is equal to
5(n - 1), and the second to
n; these two values are then added together to yield the alphabetical index of a letter. As the current alphabetical order of Theodic is yet tentative, the exact ordering in this chart is subject to change. A slight irony is that the Tapping style's numbers are effectively in base-five, which is essentially a simplification of base-ten; whereas the language's numbers are in base-twelve. The tap-code also has an extended form.
The Scanning style is a linear barcode based on the Pinging style, where dits are thin black bars and dahs are thick black bars. Bars comprising the same character are separated by thin white bars, and a thick white bar is placed between each character.<> is < llll llll lll lll llll lll > in the Scanning style.
|This article or section is in the middle of an expansion or major restructuring. You are welcome to assist in its construction by editing it as well. If this article has not been edited in several days, please remove this template.
- Alphabetical order
The alphabet is ordered similarly to in Theodian, but with the addition of <>:
- Names of letters
The common names of Theodic letters are designed to be unambiguous in high-noise radio-environments. Currently, the names of the letters are, where possible, much the same as the names used in the ICAO spelling alphabet, due to the robustness of this system; but there may eventually be a native system designed, such that it is relatively mnemonic, and such that they will be minimal overlap with existing systems, like the IACP, which will facilitate system-mixing.
- Ligatures
In the primary styles, certain graphemes can merge together to create ligatures, such as < >. These ligatures are typically only used in the Carving style; the Reading and Writing styles use only the circle-circle consonantal ligatures.
Ligatures in Theodic are always composed of two or more consonants, and are meant to graphically unify consonant clusters to make the script more visually appealing. Although most consonant clusters have their own ligature, some do not; and not all ligatures are formed in exactly the same ways.
As shown above, if any two letters present circles to each other (eg, < > / < >), then the circles actually merge together (eg, < > / < >). If the two letters present stems to each other (eg, < >), then they merge along their stems (eg, < >). Arch letters, like < >, can also merge at the edge of their arches (eg, < >). Bar letters can likewise merge along their bars <eg, >. Many hypothetical ligatures represent clusters that can't happen when Theodian is spaced syllabically (the norm), like < >; and others are even phonotactically illegal in Theodian, like < >.
- Writing-direction
- Alignment
Theodic has two typical ways of aligning text: flush end (vertical), and justified (vertical). Justified works much the same that it does in Latin, in that it stretches and shrinks the spaces between words and letters in each line, so that each line has an equal width. Flush end, however, is a novel alignment, and one created for the unique needs of a boustrophedon script. In flush end alignment, each line starts at the point where the line before it ended. It results in jagged edges on both sides of the passage, but even spacing, and easy eye-tracking. In Theodic, the difference between justified and flush end is slight, as the script breaks everything up into syllables, meaning that flush end will never be particularly jagged. As well, the last line in justified text is, in Theodic, flushed end.
Flush left (vertical) and flush right (vertical) are also used, but typically only in the writing and sketching styles. Here, right-handed people conventionally flush left, and left-handed people flush right.
As Theodic is boustrophedon, it is possible to start text from the top of a page, instead of the bottom (which is more common). This is useful in some lists.
Theodic does not hyphenate, as everything is already written syllabically. Words simply wrap wherever there is a space.
- Punctuation
The following table details the punctuations used in the various styles of Theodic, providing an equivalence-table (with Latin included) and a description.
|◌ ◌
|For spaces between syllables**
|◌ "◌" ◌
|◌ ·◌· ◌
|For literals
|◌, ◌
|◌ : ◌
|For pauses***
|◌. ◌
|For the ends of sentences
|Primary stress
|Secondary stress
|Prosodic stress
- Note that most of the above symbols are currently just unicode approximations of the actual forms.
- Note also that the carving style only applies diacritics to the first vowel-symbol of a syllable.
- * The high tone is indicated by adding <⢀> to the symbol, the low tone by adding <⡀>, and prosodic stress by adding <⣀>. All feeling diacritics expand the symbols to 8 dots.
- ** This makes the orthography be, in effect, not only featural and alphabetic, but syllabic — at least for most styles.
- *** Unlike in Latin, these pauses are not syntactical; they simply indicate that there is a pause in speech at that point.
Primary stress was decided to be represented by an overline, as in Theodian it only occurs in the first syllable of a lexeme, which are more likely to have free space above them than below; secondary stress, once used by Theodian in clitics, was decided to be represented by an underline, as they are guaranteed empty space below them; and prosodic stress was decided to be represented by both, as it is stronger than either. These diacritics can also easily be adapted to indicate simple register tones. Lines were chosen over single-letter diacritics, at least in most styles, as they are more noticeable, being that they are capable of traversing multiple letters; as well as more compact (thus increasing legibility at small sizes).
A special punctuation-mark is used when Theodic is written boustrophedonically in Carving or Reading. This mark shows how the lines wrap, and is essentially an elongated parenthesis (in Reading) or an elongated angle-bracket (in Carving) that is placed relative to the centers of the lines which it connects.
See also


text:
The wah pedal has been with us since 1967, and like most effects, it's undergone changes during its long run.
Some of the most tonally significant revisions have involved the wah inductor. Of all the components in a wah pedal, nothing gets as much attention from guitarists as the inductor, and with good reason: It's the part most responsible for the effect's character. Depending on the type of inductor in a wah, the effect can be smooth and vocal-like, clean and quacky, or harmonically rich and cutting. If you're looking for a specific sound from a wah, it can be helpful to know the differences between inductors and then look for a pedal that uses the type that can most closely achieve your tonal goals.
A wah pedal is an audio filter that achieves its sound in one of two ways: either using a narrow band-pass filter with a highly resonant peak, or by using a low-pass filter with dual resonant peaks near its roll-off frequency (known as an overcoupled filter).
Regardless of the method used, the result is the same. As the user rocks the foot pedal back and forth, it moves a potentiometer inside the pedal, which in turn changes the amount of current flowing through a capacitor. The inductor responds to this change in the capacitor by moving the filter's resonant peak up or down, accordingly. This produces the distinctive "wah" guitar sound we've come to associate with everything from psychedelia to funk to reggae to hard rock and metal.
An inductor consists of wire coiled around a magnetic core, usually one made of iron. When electric current is passed through the inductor, it temporarily stores the energy as a magnetic field until the current is turned off.
But here's the thing: Because inductors resist a change in energy, the current in them can't change instantly. As a result, once the electric current is cut off, the inductor will gradually release its charge until its stored energy is completely released. This lag in the inductor's response has the effect of smoothing out abrupt changes in current—which is one reason why you'll find inductors in power supplies, where they work with capacitors to smooth out potentially damaging ripples.
Here's a video that explains how inductors work and demonstrates an application of them.
So what does an inductor do in a wah pedal? As we said above, it works together with a capacitor to move the cutoff frequency. Thanks to its ability to even out the changes in the current passed by the capacitor, the inductor produces a smooth and natural-sounding sweep as it shifts the filter's resonant peak. In addition, inductors have sonic properties all their own that they impart to the filter and can add a sweetness to its tone.
Bear in mind, the inductor isn't the only factor in the effect's tone. The capacitor used in the circuit is also important—smaller values increase the filter's sweep range, while larger values decrease it. Resistors, meanwhile, affect the sharpness of the resonance: larger values make the resonance band narrower and peaky, while smaller values spread it out and dampen the wah effect.
Still, the inductor is the main component that affects a wah's overall character. Let's look at the main types of inductors used in wah pedals.
There are many varieties of inductors, but the main types are halo, Fasel, stack of dimes and TDK.
The halo inductor appeared in the original Clyde McCoy wah created by the Thomas Organ Company in 1966. This variety gets its name from its shape, which is round with a hole in the center (although it's also known as a trash can inductor for the same reason). The halo inductor produces a smooth, vocal-like tone, but original examples could add undesirable microphonic squeal. The designs of many modern examples have overcome this problem. Dunlop has its own trademarked Halo inductor that improves upon the original's microphonic deficits. Fulltone uses its MU-80 halo-inspired inductor in its wahs, and BBE, Mission Engineering and Arteffect also have their own versions.
Available in red and yellow varieties, the Italian-made Fasel inductors are among the most popular of these components, thanks to their sound. Spectrum analysis shows that they generate ear-pleasing second- and third-order harmonic distortion. Fasels were used in some of the early Vox wahs, and they are frequently found in modern wahs. The red version tends to have a deeper tone and stronger emphasis of the fundamental frequency, whereas the yellow model has a smoother-sounding sweep. Most guitarists feel the yellow Fasels have a more vintage sound and the red ones sound more modern. Bear in mind, however, that the tolerances of Fasels will vary, so whether you prefer red or yellow, no two of either variety will sound exactly alike.
Stack of Dimes
The Stack of Dimes inductor looks like three or four dimes atop one another and covered with a dark reddish brown material. Originally found on 1968–'69 Vox wahs, they're known for their harmonically rich and cutting vocal quality. Few modern pedals are made with this inductor, and original stack of dimes are hard to find, but modern versions do exist. Arteffect Audio makes both halo and stack of dime inductors. In addition, the company makes the Bonnie Wah, which features a halo-style inductor, but at present it does not offer a wah that uses its stack of dimes inductor.
The Japanese TDK 5103 inductor is a dark reddish brown rectangular box. There was also a round variety, which is reportedly rare. The 5103 appeared in some Thomas wahs, and Vox used it in its King Wah. Of all the inductors, the 5103 seems to produce the widest variety of opinions. Some guitarists dislike it, while others say it's warm and vocal. I know of no modern wah pedals that use the TDK 5103, so consult the vintage market.
There are several other varieties of inductors, and if you like to mod pedals, you can take advantage of them. One popular option is the Whipple inductor, a hand-wound inductor manufactured by Dandy Job. The company offers complete upgrade kits for those who want to do the job themselves.
Most modern wahs use inductors based on the halo and Fasel designs, but a couple of manufacturers make pedals using vintage or modern stack of dimes inductors. We've separated the options out for you in the galleries below.
The popular halo-style inductor can be found on many modern pedals, including these varieties from Vox, Dunlop, Fulltone, Mission Engineering, BBE and Arteffect.
Stack of Dimes
There aren't many places to turn if you want a wah with a stack of dimes inductor. Short of finding a vintage model, check out these excellent modern offerings from Real McCoy Custom and Joe Gagan.
Fasel or Fasel-Style Design
The pedals in this group feature the Fasel inductor or an inductor modeled after it. The Dunlop Cry Baby Classic GCB95F and JAM Pedals Wahcko+ use a red Fasel, while the Mission Engineering Rewah ST uses the yellow inductor. (Though it appears to be discontinued, the Rewah ST can be found at some online stores as well as eBay and Reverb.com.) The Budda Budwah features a Fasel-inspired inductor, and Dunlop's CAE WAH has both the yellow and red Fasels, with a switch to let you choose between them.
In 1966, an engineer at the Thomas Organ Company in the U.S. named Brad Plunkett created the first wah pedal using a midrange circuit from the Vox Super Beatle amp. (Thomas was the U.S. importer for the U.K.-based Vox company.)
When Vox subsequently marketed the pedal in 1967, it was called the Clyde McCoy Wah-Wah. Odd as it seems, the American-born McCoy was not a guitarist but a then-64-year-old trumpeter who was famous for creating a distinctive vocal-like sound with his instrument by cupping his hand over a mute that he stuck in its bell. In the U.S., Thomas went a different route and named the pedal the Cry Baby, which is how the wah pedal was largely known among guitarists. (If you want to know more, read here.)


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Changed the archive feature on AtHomeDaddy so that this blog will only archive monthly.
It might be easier to find old entries this way, but it also might take a little while longer for the page to load. Especially if you are cool, like AtHomeDaddy, and still use dial-up.
8 years ago