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![]() ![]() ![]() Erik Olson, WFDW, patrols Puget Sound by night looking to catch shellfish poachers in the act. His partner, Officer Carly Peters, peers through night-vision binoculars, calling out directions to avoid floating logs or buoys. Erik Olson of Washington State Fish and Wildlife is at the helm. The boat is a Fish and Wildlife patrol vessel and Sgt. The motor’s hum and the faint spray of bioluminescence in the boat’s wake is the only evidence of its presence. A boat runs blind through the inky blackness - no onboard lights, no radar signals announcing the location. Clouds blot out the moon and the stars, making it nearly impossible to tell where the sky ends and the water begins. It’s past 11 on a rainy January night in Puget Sound. About 90 percent of the geoducks harvested in the United States are sent to Asia, where they are served raw at sushi restaurants in Japan, used in soups and stews in Korea, or cooked in a fondue-style hot pot in China. Those soaring prices have created an incentive for poachers back in Puget Sound, giving rise to an international black market. Rising demand, especially among China's growing middle class, has sent geoduck retail prices in Asia to as high as $150 per pound. Washington Department of Fish and Wildlife At the same time, the overall value of geoduck prices has risen dramatically. The total amount of geoduck catch reported by fishers (landings) has remained fairly steady since a 2.7 percent harvest rate was established in the 1980s. “When you're harvesting geoducks, it's like picking up $20 bills,” says Bob Sizemore, lead research scientist for the Washington Department of Fish and Wildlife With the average adult geoduck weighing one to three pounds, a good geoduck diver can harvest thousands of dollars’ worth in a few hours. Wholesale geoduck prices at Puget Sound docks have more than doubled from $4 per pound in 2006 to as much as $15 per pound today. ![]() ![]() ![]() $badAgents = array('rogerbot','mj12bot', 'ahrefsbot', 'semrush', 'dotbot', 'gigabot', 'archive. robots.txt This file is to prevent the crawling and indexing of certain. #DOTBOT DISALLOW CODE#If you website is built with PHP like WordPress you can add the code below to your header.php to block all link crawlers: This method is better that robots.txt as the crawlers have no choice but to obey assuming they are not changing their user-agents, or using third party crawlers. RewriteCond % (ahrefsbot|mj12bot|rogerbot|exabot|dotbot|gigabot|semrush) The issue with this method is that it requires your hosting provider to be Apache based, if your host supports htaccess you can use the code below to block most popular link crawlers:
![]() Tamag, Vigan City, Ilocos Sur, Philippines-a stone's throw away from the. Sa pagdating ng buwan ng Agosto ay ipinagdidiriwang natin ang Buwan ng Wika upang mabalik. Sa ating minamahal na Punong-guro,, mga kapwa ko guro,mga minamahal na magulang ng aming mga mag-aaral, sa mga mga-aaral at sa inyong lahat, magandang umaga. For more than forty years, even during the pre-martial law years The Dark Era of Ilocos Sur, when the most feared armed group of 'Saka-saka' barefoot armies touch down villages, DZVV-Vigan is already a household name, revered. Buwan ng Wika Sample Script for Emcee.Posted By: Teacher March 1, 2020. 48kbps Bombo Radyo Vigan is the most listened to station in province of Ilocos Sur. Bombo Radyo Vigan DZVV 603 KHz is the most listened to station in the entire province of Ilocos Sur. The station's studio and transmitter are located at Bombo Radyo Broadcast Center, Brgy. DZVV Bombo Radyo AM 603 Khz Vigan Listen Live Online, Philippines. ĭZVV (603 kHz) is an AM radio station owned by People's Broadcasting Service Inc., an affiliate licensee of Bombo Radyo Philippines. Įscuchar Bombo Radyo Vigan 603 AM en directo y más de 50000 emisoras de radio online gratis en. īombo Radyo Vigan provides news, public service, drama and music for radio listeners in Vigan City, and the province of Abra (in the Cordilleras) and Ilocos .īombo Radyo Vigan 603 AM en Directo | Escuchar Online. #BOMBO RADYO VIGAN LIVE STREAMING FREE#Free radio online at .īombo Radyo live streaming - 603 kHz AM, Vigan, Philippines. Listen to the best Ilocos radio stations and more than 50000 online radio stations for. Ilocos Radio Stations, Philippines - Listen Online - myTuner Radio For more than forty years, even during the pre-martial law. īombo Radyo Vigan DZVV 603 KHz is the most listened to station in the entire province of Ilocos Sur. ![]() Easy to use internet radio.īombo Radyo Vigan DZVV 603 KHz - Philippines Radio Live. #BOMBO RADYO VIGAN LIVE STREAMING FOR FREE#Listen to Bombo Radyo Vigan 603 AM live and more than 50000 online radio stations for free on. ![]() " Saka-saka" armies sowed terror and burned villages during Ilocos Sur's Dark .īombo Radyo Vigan 603 AM | Listen Online - myTuner Radio Tamag, Vigan, a stone's throw away from the University of Northern. The station's studio and transmitter are located at Bombo Radyo Broadcast Center, Brgy. ĭZVV (603 AM) Bombo Radyo is a radio station owned and operated by Bombo Radyo Philippines through its licensee People's Broadcasting Service. ![]() Bombo Radyo Vigan is a Radio Station in Vigan City and Ilocos Sur.īombo Radyo Vigan – Number One sa Ilocos Surīombo Radyo Vigan (DZVV AM 603 kHz Vigan City) is an AM radio station owned by People's Broadcasting Service Inc., a network owned by Bombo Radyo. ![]() ![]()
Ableton for example, has the Scale MIDI effect. Most DAWs have some sort of “musical scale” plugin. #Native instruments komplete s mk2 mainstage 3 how toThis is great because it’ll help you spark new harmonic or melodic ideas, even if you don’t know how to play the piano! With a MIDI keyboard - even a smaller model - you could experiment with notes in different octaves because you have a wider range of keys than you would on your computer keyboard! ![]() Try to imagine how much easier your life would’ve been with a real keyboard in front of you! Think about the songs you have written by playing notes with your computer keyboard or by drawing every single note, one by one, with your mouse. ![]() Thanks to advancements in music technology, a music producer only needs 4 things to make great music.Ī computer, a DAW, a decent pair of headphones, and… #Native instruments komplete s mk2 mainstage 3 proBehringer have teased a modern version of their old C4-like controllers which might be a good solution for the physical side of things if they end up making those too.īut it's not just the hardware (actually, the hardware tends to be the least critical part, as long as it has enough controls in a sensible layout), it's how it *functions*, and for that I have a fairly extensively customised controller assignments setup based off how the C4 works in Logic but working how I want it to work, and an improvement on that in development which I don't want to talk about too much at this point.īut yes, this quest for portable, consistent plugin control has been a long one that really started around the early days of Logic 7.x (and I've talked about this journey and various solutions I've pursued, together with my more current setup in other threads, so no point rehashing them again).Are you looking for the best MIDI keyboard for your home or pro studio? The closest would be something like the Mackie C4, but those units are big, and I already have a couple of MCU's that I'm not using because of their size. And while I really like the NI controllers, I do not use mine for plugin control at all at the moment, I use a different custom-developed system which implements everything I need and works great. I don't want to have to faff around trying to get things assigned, I do not want to manually map and remap things, I just want it to work, and be able to call up any plugin on any insert onto my controls. I want to flip to a plugin and instantly be able to tweak by feel. Plus, you're often interacting with multiple parameters at once (eg, filter cutoff, filter env amount and filter envelope controls) and two hands makes this a much more tactile and direct experience than constantly moving the one mouse pointer between individual parameters. It's not so much for sound design as when making music, to be able to move the sound in the direction I want to fit in with the musical role I'm fulfilling. When I load for instance a synth, I want immediate, consistent access to the most useful sound shaping features (osc/tone stuff, filter stuff, and envelopes in particular) and I always want those things in the same place. Plugins become alive and more musical when you have hands on control, because you can affect things by feel and by ear directly without having to do things by the mouse, which is a poor experience for these things. Lastly - if anyone has any info on NI company status and/or if there will be a MK3 announced soon, please let me know!įor me, not so much a performance perspective, but more a "hands on" thing. I do have NI Komplete but don't use their VIs exclusively. I just want a solid controller that's not fugly, will last a long time, and doesn't have gimmicky features, and integrates smoothly. ![]() I don't use fader controllers or pads and don't need my controller to generate sounds. I am mainly purchasing for the keybed quality and german HW engineering and aesthetics. Is that correct? Meaning you could in theory never use the Kontrol wrapper and still use these features to cruise around the interface and control the Logic somewhat? ![]() It appears that the controller has some global navigation features - like toggling between tracks, transport, quantize, etc. Can you use the Komplete wrapper to control non NI VIs? Is there a benefit to that, when you can just use the controller in midi-mode instead?Ĥ. Is that an accurate interpretation? Can you still tweak the plugs on screen?ģ. It looks like when using NI VIs, you use the Kontrol plugin as a kind of control-wrapper for the NI plugs, which connects all of the native features of the controller to the plugs. Do you find that the midi-mode works as well as any other controller for standard control of VI's?Ģ. I've been waiting for an MK3 announcement but not hearing anything, so I will probably buy one of these before the year's end. ![]() ![]() ![]() Available: Publications/AIAA-06-3560.pdf Google Scholar Boyd, Simulation of Charge and Mass Distributions of Indium Droplets Created by Field Emission, AIAA. Ramahi, Numerical solution of 3D Laplace and Helmholtz equations for parallel scatterers, Antennas and Prop. Asirvatham, Concurrent Application of Charge Using a Novel Circuit Prevents Heat-Related Coagulum Formation During Radiofrequency Ablation, Journal of Cardiovascular Electrophysiology, pp1-8. Abraham, The Robin Hood method: a novel numerical method for electrostatic problems based on a non-local charge transfer, Journal of Comp. Available: publicatio/reports/2004report/psercreport.pdf Google Scholar Evaluation of critical components of nonceramic insulators in-service: role of defective interfaces, Power Systems Engineering Research Center, Arizona State University. Typical problem areas of interest include structural analysis, heat transfer, fluid flow, mass transport, and electromagnetic potential.
![]() The spear was typically six and a half to ten feet in length, and it usually was equipped with an iron head, as well as a butt spike. The primary offensive weapon of war employed by hoplites was the spear a fusing of wood and metal that created a deadly weapon of war. While examining hoplite warfare, it is important to note that the Greeks innovated not only in the defensive department, but the offensive aspect was also redefined. So, it seems that the corselet, helmet, and shield were necessary and character-defining features of the hoplite, and it is these pieces of armor that would go on to prove the hoplite warrior as a fearsome and unmatchable force of war. While widely accepted at the time, the corselet was heavily criticized for its weight, and eventually lighter variations of the armor would be provided prior to the Persian Wars at the start of the fifth century BCE (Sage 26). ![]() Like most of the hoplite equipment, the corselet was created with bronze, and was shaped like a bell, providing protection to the lower body of the hoplite warrior. A plate corselet that could further be broken down into two separate pieces of armor notably provided increased protection to the chest and back, respectively. ![]() Finally, it is important to note that one major detriment of the shield was, as it was held in the left hand of the hoplite, the right side of the hoplite would be left unprotected, lest covered by a comrade in arms, as was often the case (Sage 26).įinally, other protective equipment was fashioned by Greek innovators to provide increased protection to their hoplite militaries. The antilabe, a leather covering that ran around the edge of the shield, was then gripped by the left hand, and ultimately allowed for a tighter and more controlled grip that optimally distributed the weight of the shield, giving the hoplite an advantage in defensive measures. The porpax for example, an armband located in the center of the back of the shield, was used to house the left arm, typically up to the elbow, and was detachable. The shield, developed around the year 700 BCE and constructed with a wooden internal frame, was often convex in shape and had a length that measured roughly three to four feet. It is important to note this distinction, as the hoplon played an integral role in the othismos, a mass shove against the enemy forces that took place when the two armies coalesced and was often the ultimate deciding factor in regards to the outcome (Hanson 15). It served to act as both an offensive and defensive weapon. The hoplon, a large and versatile circular shield, was also a supremely important piece of equipment to the hoplite soldier. Yet with every innovation utilized to afford the hoplite heightened senses, additional protection would be removed to compensate, thus making the hoplite more vulnerable to facial attack (Sage 26). Because of this, various modifications to the original Corinthian helmet would be employed. Whilst the helmets original form provided great protection (it perfectly encapsulated the whole of the skull from the top of the neck upwards), it also greatly limited the hoplites ability to see and hear. However, as previously stated, the original product was not a perfect accessory for the hoplite in any way. Notably, it is quite likely that the hoplite helmet was so widely accepted and adopted from the beginning because of its comparatively simple creation process, as the helmet was fashioned from a single piece of bronze. It would continue to develop through the years as various Greeks continued to theorize and innovate new additions to the helmet that afforded better protection and increased visibility. Modern estimates claim that the helmet itself was created in the late eighth century BCE, specifically around the year 700. ![]() The hoplite helmet is undoubtedly the most recognizable piece of Greek battle equipment and the notoriety associated with the hoplite helmet is well earned. Because the hoplites were trained with the equipment they would later employ in mind, they were quickly able to learn to maneuver with the equipment in mind, and thus were able to master the concise art of fighting, whilst simultaneously reducing their weaknesses, and so were able to essentially dominate the battlefield of Greece unrivaled. It seems quite likely that the great versatility afforded to the hoplite was an integral part of their success on the battlefield. The secret of the Greek hoplite’s success undoubtedly lies in the cutting-edge, unprecedented equipment that this new class of soldier opted to employ and utilize at the advent of hoplite warfare in Greece. ![]() |
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