text:
Thanks for the traninng Kiritsugu :D
-Waits under the midday sun in a forest clearing-
Last edited by Abon; 12-09-2012 at 02:41 PM.
You missed a T in my name. xD
Alright, well, why do you want to learn Genjutsu?
>.> Darn Spelling Nazis *fixes Mistake* lol
-I would like to learn genjutsu, because is can be used more than most shinobi technqiues strategitcally. Being used to bind opponets for length of time depending on the power of the Genjutsu Technique. And is useful against swift opponets to catch them off guard. Also, it makes RP intresting-
Yeah, I'm extremely OCD when it comes to English, haha, my apologies.
Hm, alright, decent reply, but there's one major point when it comes to Genjutsu, and that is Creativity.
Why might Creativity be so vital in Genjutsu?
No Worries Bro
-Creativity is vital to the techniques of genjutsu as it because the stronger the imagination of the user the more "real" the illusions become. This is why genjutsu is so versitile, it comes from the imagination of the user. The more possibilities the user can come up with during genjutsu and the more elaborate it is, the more potent it is to the opponet.So creativity used in conjuction in terms of chakra. If you have a creative mind and can force your chakra into the senses/mind of the opponet the more effective the genjutsu is.-
o_o Perfect!
Now, how might a shinobi inflict a Genjutsu? What exactly is the process?
-A shinobi inflicts genjutsu on the opponet by injecting/forcing their chakra into the opponets nervous system. Depending on the tech the user makes the nesscary handsigns (if any) and depedning on range. Forces their chakra into the opponets nervous system.This allows them to completely tamper with all 5 senses of the opponet and even their memories in some cases. But detail is key, this why genjutsu is one of the most challenging types of techniques to learn.-
Perfect. o_o All five senses, keep that in mind.
So, say that you were trapped in a Genjutsu right now. In what ways could you get out?
-When trapped in a genjutsu there are several way to escape depending of the level/power of the techniqe. The shinobi under genjutsu can preform the techniqe called "Kai". In activating the Kai tecnique the user stops thir chakra durning the genjutsu and then applies a stronger burst of chakra to break out. Or as an alternative to the Kai technique the shinobi under genjutsu can cause sef harm. Although this has a down side besides the obvious not only are you causing damage to the body but th amount of damge varies to how powerful the genjutsu is, so you could end up fatally woudning yourself as a means for escape. Also most Dojutsu users the Like users of the sharingan (Me ) or Byakugan can see the disturbance to the chakra flow and then thus knowing they are in a genjutsu. Which is a key thing, the Shinobi must know their in a genjutsu are else they will not know to break it.-
Alright, good, you covered three main ways. I'll go into more detail later on each of them.
However, what do you know of full body surges as well?
-Ahh, yes yes. The full body surges. A pulse/surge of chakra that can cause a genjutsu to be broken. This can happen through the activation of a Dojutsu or a mode such as sage mode. Also full body surges can be activated by a jinchuuriki. One that has significant control over the bijuu, the bijuu can send a surge of chakra that can dissrupt the injected chakra sent in my the genjutsu user.However fullbody surges are not limited to these things, they are simply a chakra surge sent the through the chakra network that disregulates the chakra to which break the genjutsu.
Excellent. So which jutsus may be considered a full body chakra surge?
Assuming you're talking about Techniques and not awakening doujutsu >_O
__________________________________________________ ____________
-Jutsu that can be considered a full body surge would be Chidori Nagashi or Raiton Armour because it affects the brain synapes of the body and stimpulates them in a "shocking" way...-
Haha, perfect, however, which rank can that go up to only?
-Full body surges can only go up to Rank A-
Excellent...but Nagashi can go up to B only, I believe.
Let's start simple now. First, try and transform our surroundings into anything you want.
You must first concentrate on your chakra and then release it out of your body onto me, then deliberately control each of my five senses to get me to see what you want.
-Nods Head
I make the Snake handseal, concentrating intensely. Gathering my chakra, and then forcing into you. I then on manipulatate the chakra. First by manipulating the Sight making you see nothing but blue sky and and blue ocean as far as the eye can see. That we even seem to be standing on it. I then manipulate your Smell, further manipulating my chakra in you. Making you smell the Fresh and Salty sea breeze and Tasting the crisp, clean and refreshing air. I go even further letting you hear the Sound of sea gulls and other fowls making sounds and splashing water. I then go manipulating further making you feel the water's cold liquidy texture texture as the water splashes upon you.-
Excellent. So, I'll now teach you a very important concept that will come into play for most battles.
It is called cause and effect. For example, you used a Wind Jutsu to blow away the explosive tag, thus, I can follow up with a prepared fire move to disregard your Wind Jutsu, so that it overcomes it and is sent back at you two times stronger.
By taking the upper hand, you can juggle your opponent around and have them react the way you want to, as we are all forced to make moves and survive in a battle. This is most often used in chess, where it is necessary to be able to predict several moves ahead of the opponent.
Alright, so considering the circumstance and the environment you created, how might you use this against me?
Taking advantage of all the senses. I would relase a Fireball at you, taking advatage of the smell of the sea water to hide the smell ash and flames along with the feel of the heat. Because you are feeling the spra of the water. Also i Take advatage of sight wth you seeng nothing but water and blue sky. You could not see the fireball. You also could not taste the hot air in the back of your thraot because in the genjutsu you are tasting the crisp air. And you can not hear the roar of the flames due to you hearing the sounds of waves and birds.
( Magen: Kokoni Arazu no Jutsu ) - Demonic Illusion: False Surroundings Technique
Rank: D
Type: Supplementary
Range: Short-Mid
Chakra Cost: 10 (+5 if you use it double)
Damage Points: N/A
Description: The user casts an illusion over an area that allows him to manipulate the way an area looks to fool an opponent. He can only change the way the terrain looks, and not any other feature.
Let me teach you about handseals now.
Let's say you had one jutsu that required only one handseal, but your opponent had one that required five.
How would you take advantage of this?
By me having only one hadseal to do, obviously i would use the jutsu first before my opponrt got a chance to use theirs. And also as a follow up, depending on the tech use. I would follow up with taijutsu.
Yes, it makes your move faster, so in reality, you should be able to move faster than him. Taijutsu is a good choice, but only if you're in close range.
It pays a lot to notice things like that during fights. Small attention to important things can really make a huge difference.
So this next jutsu has five handseals.
I want you to focus your chakra into me once more and make it appear that you've dissolved into many petals. Actually, cherry blossom petals... Then, make those cherry blossoms around me and make sure you obscure my vision.
Then describe what purpose this serves in a battle.
I make the five handseals and then again start injecting my chakra into your neuro system. I then manipulate my chakra within you making you think i have dissolved into many bright light pink sakura petals. As i dissolve more and more petals come into the scene from what seems like no where and dance in the breaze. The petals then move into every point of your line of sight, clouding your vision of what is to come next.
This technique serves a logical purpose in battle, making the opponet think that the user has left the battle field, Thus the user can take advantage of the situation and attack from behind. This also works better when you are on a plain the sakura petals all ready around you. Further decreasing the possibilty of the opponnet deducing it a Genjutsu.
Well put.
Field of vision.
By knowing where your opponent's eyes are directed at all times allows you take advantage of this and send a jutsu from a direction where you know they won't be looking at. This is also especially important when you are battling against Doujutsu users, especially Byakugans, because they only have one blind spot out of their 360 vision.
This jutsu blocks your opponent's field of vision, so that you are able to execute other moves upon him while he scrambles to see again.
( Genjutsu: Kahen Tonsou ) - Illusion Technique: Flower Petal Escape
Rank: D
Type: Supplementary
Range: Short-Mid
Chakra Cost: 10
Damage Points: N/A
Description: The user makes five handseals, appearing to dissolve into a shower of cherry blossom petals. These petals surround the opponent, blocking his vision. This allows the user to mask his movement effectively.
This is one of the many ways to be creative when disguising your next move in a battle. By outplaying your opponent or tricking them, it allows you to defeat them in battle.
This next jutsu allows the use of an explosive tag.
The explosive tag is a very important ninja tool. Tell me several ways to use it and how it works in battle.
A paper bomb is a ninja tool. piece of paper when a seal that is pre set on it that explodes when the user wills it to. The often can be used startegically in battle. They can be stuck on to be people without their notice and explode them to do fatal damage. They fan also be used in traps and set up to trip wires. When the opponet steps through them they explode and surprise the opponet.
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Eileen Joyce – The complete Parlophone & Columbia solo recordings
APR7502 Download only
No 01 in D minor: Orage, tu ne saurais m'abattre. Allegro molto agitato
No 02 in D flat major: Pensez un peu à moi, qui pense toujours à vous. Allegro moderato
No 03 in B minor: Exauce mes vux. Tempo giusto
No 04 in B flat major: Repos d'amour. Allegretto sostenuto
No 05 in C sharp minor: Vie orageuse. Tempo giusto
No 06 in F sharp major: Si oiseau j'étais, à toi je volerais. Allegro
No 07 in D major: C'est la jeunesse qui a des ailes dorées. Presto animoso
No 08 in E flat minor: Tu m'attires, m'entraînes, m'engloutis. Allegro agitato ed appassionato
No 09 in F major: Jeunesse d'amour, plaisir céleste . Allegro
No 10 in E minor: Comme le ruisseau dans la mer . Moderato
No 11 in E flat major: Dors tu, ma vie?. Allegretto sostenuto ed amoroso
No 12 in B flat minor: Plein de soupirs, de souvenirs . Moderato ma con moto, con afflizione
The turbulent first étude ('Orage, tu ne saurais m'abattre'/'Storm, you will not fell me') plunges without ado into wide-ranging arpeggio figures for the left hand, over which a simple melody is declaimed in octaves. A central section transfers these to the right hand over a sequence of descending diminished chords. The opening section is repeated in a modified manner and the storm is assuaged. From the whirlwind to the world of bliss, Henselt, defying all tonal considerations, symbolizes the change by stepping down a minor second for the second étude ('Pensez un peu à moi, qui pense toujours à vous'/'Think a little about me, who thinks always about you'), one of his most ardent outpourings. Technically, the more demanding right hand has to promote a legato between the second and fifth fingers over the span of an octave, whilst maintaining the melody with the third and fourth fingers – a severe test, but with poetic results.
No 3 ('Exauce mes vœux'/'Fulfil my desires') features one of Henselt's rather stern melodies in the right hand, over rapid descending broken chords paired between the hands. No 4 ('Repos d'amour'/'The repose of love') is a leisurely moving 'song without words' featuring a characteristic melody in the tenor register shared between the hands. With the arrival of the middle section, the soprano voice, hitherto an accompaniment, develops its own little song which, over the tenor, burgeons into an effective duet. There is an obvious connection between this étude and the second of Clara Schumann's Trois Romances pour le piano, Op 11 (Dresden, November 1838).
Formally and musically, the fifth étude ('Vie orageuse'/'Stormy life') ranks amongst the finest in the collection. It deserves close attention for the manner in which it grows from its iambic opening two bars in the right hand to their inversion in the left hand in the central section. Its cascading end should not blind us to its probable origins in the keyboard works of J S Bach and Hummel. No 6 ('Si oiseau j'étais, à toi je volerais'/'If I were a bird, to you would I fly') is the best-known of the studies. It follows the words of a German folk song: 'Wenn ich ein Vöglein wär, und auch zwei Flügel hatt', flog' ich zu dir', which were set by, among others, Schumann (Op 43 No 1 and Op 81 No 9) and Weber (Op 54 No 6/Jähns No 233). A glittering effect is obtained by the chords of fifths and sixths, with closely spaced alternating hands, perfectly placed over the black keys. This original effect was passed down to, among others, Brahms (the slow movement of the F minor Piano Sonata, Op 5), Rimsky-Korsakov (Op 11 No 3) and Arensky (Op 24 No 2). Godowsky's arrangement augments the difficulties, distorting the feathery texture.
No 7 ('C'est la jeunesse qui a des ailes dorées'/'It is the youth who has golden wings') is an endearing, swift-moving octave study. It opens with a rising figure, having a resemblance to a melody in Hummel's Rondeau Brillant, Op 109, on which Schumann based his song Mit Myrten und Rosen, Op 29 No 9. Such fingerprints are pointers to a particular composer's idiom and help to show how a specific piece of music relates to other works. A very different view is expressed by Gino Tagliapietra in his edition of Henselt's Op 2 studies (Ricordi), where he suggests that the opening bars are a kind of rhythmic transformation of Chopin's G flat Étude, Op 25 No 9. The connection can be better appreciated if one transposes Chopin's opening bars into D major. In No 8 ('Tu m'attires, m'entraînes, m'engloutis'/'You attract me, you carry away, you engulf') the right hand divides, with rapid triplets for the fourth and fifth fingers providing an overlay to the chromatic scales underneath. The left hand combines with its own material – an orchestra in itself. These effects are not well represented by others of the period and Henselt's model may well be Hummel's Étude in F major, Op 125 No 23. The concluding barrage of chords recalls Schubert's songs, for example An Schwager Kronos and Aufenthalt.
No 9 ('Jeunesse d'amour, plaisir céleste, ah tu t'enfuis, mais la mémoire nous reste'/'Love's youth, celestial delights; ah, you fly away, but the memory stays with us') is a mellifluously flowing chordal/octave study. The direction innocente in the first bar belies formidable difficulties involved in maintaining a legato in the full writing for both hands. The opening section is followed by a slightly longer repeat which magnifies problems of execution by introducing repeated semiquavers an octave below the melody – a pattern that, as usual with Henselt, tests both hands. This device (also found in 'Reconnaissance' from Schumann's Carnaval, Op 9) probably derives from Cramer's Study in B flat, No 70 of his set of 84 studies. In No 10 ('Comme le ruisseau dans la mer, se répand, ainsi, ma chère, mon cœur t'attend'/'As the stream pours out into the sea, so my love, my heart awaits you') the movement of the stream is depicted in rapid two-note cells, functioning chromatically within the confines of the key, which surge up and down the keyboard, passing between the hands. Under and over the perpetual motion, the yearning heart sings a slow-moving melody reminiscent of Mendelssohn. The piece evaporates in a most beautiful flurry of arpeggios, ending in the tonic major. A superficial connection with parts of Chopin's Étude in C sharp minor, Op 10 No 4, may be felt, but it is evident that an earlier model of Hummel's Concerto in A minor, Op 85, lies at the root of this music, as indeed it does with that of Chopin.
The beguiling melody of No 11 ('Dors tu, ma vie?'/'Do you sleep, my life?'), similar to that found in the F major Étude, Op 2 No 9, and elsewhere, is stated in the right hand throughout in bare octaves (except for the short coda). The constantly flowing, greatly stretched arpeggios in the left hand, and the 'thumb-under' activity, look forward to the slow movement of the Piano Concerto, Op 16. (Attention should be drawn to the piano piece Loreley by Han Seeling, 1826–1862, modelled on Henselt's study and at one time widely played.) No 12 ('Plein de soupirs, de souvenirs. Inquiet, hélas! Le cœur me bat'/'Full of sights, of memories. Restlessly, alas, my heart beats'), written in Henselt's favourite 'Russian' key of B flat minor, is an impassioned conclusion to Henselt's lovelorn state, as expressed in the Op 2 studies. It is important how one interprets the rhythm, and how the notation is read: some editions give the time-signature of 2/4; that by Emil von Sauer in the late-nineteenth-century Peters edition revised the time-signature to 12/16. The regularity of the flow of the melody is displaced in the middle and the end of each bar, producing a kind of rocking effect. The motion, subject to certain accents, is the same as that in the conclusion of Henselt's 'Donizetti Variations', Op 1, and rhythmically approaches that in Chopin's F sharp minor Prelude, Op 28 No 8.
from notes by Richard Beattie Davis © 2005

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Federation Commander
A NEW fast paced board game of starship combat!
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Federation Commander Training (Update 8/12/13)
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Captain Nebula
Lieutenant JG
Joined: 13 Jun 2011
Posts: 86
Posted: Sat Aug 10, 2013 4:18 pm
Post subject: Federation Commander Training (Update 8/12/13)
So here I sit again with my sleep disorder and figured I'd do something constructive. I've been reading that some people are looking for Training Scenarios and one person was talking about running a 'Training Academy' at their FLGS. So I sat down and figured out how to set up some training. Mostly just an outline right now, I don't have scenarios for all of this yet, but I've included the names (in ALL CAPS) of some existing scenarios that could work within the system. 'Piloting a Ship out of Stardock', 'Battle Drill', 'Under Attack', and 'Buoy Data' can be found
. Made by someone named Mike Bennett (Converted from StarFleet Battles scenarios). 'Training' is a scenario in the back of both Klingon Border and Romulan Border and 'The Mighty Hood Goes Down' is in .pdf around here somewhere. If you know of any scenarios that could go with this, please post a name or link. Also, if someone were to take one or more of these ideas and translate them into a scenario... I know I would be grateful, and I'm sure others would be, too.
The first group is Academy Training Exercises and is pretty much movement and combat. The second group is A Proper Shakedown for other ship systems and repair. The last is, of course, the real battle that they're being trained for. The think the only thing I think I skipped was Boarding Parties. I figured someone could get that later.
I'd like to be able to sit down with someone or even a small group and be able to go through the game bit by bit with training scenarios.
Should I work this out or is it too much trouble?
Let me know what you all think about this.
See posts below for new Scenarios. I'm going to designate these Scenarios 8BTA for 'Basic Training Academy' with a secondary designation of either '-ATE' for 'Academy Training Exercises' or '-APS' for 'A Proper Shakedown', and then the number of the Scenario in the order I listed them. I'll try to keep editing the original outline I posted here with updates as long as the forum lets me.
* * * * *
Federation Commander Basic Training Academy
1.) Only ships seen in the TV show. Federation Heavy Cruiser, Klingon D7, or Romulan Warbird for players.
2.) Fleet Scale only for easy training - First Missions scale
3.) 5 'Academy Training' Scenarios
4.) 5 'Shakedown Cruise' Scenarios - no battles
5.) First Battle Scenario
6.) About 5 hours to complete 'Course'?
Academy Training Exercises
'Full Impulse Launch' Simulation
- Driving Test
- .a. Energy Allocation
- .b. Maneuvering (moving and turning) around the board
- .c. Checkpoints - a different maneuver to get to each one
- .d. Advanced Maneuvers
- .e. PILOTING A SHIP OUT OF STARDOCK
'Light Combat' Simulation
- Target Practice
- .a. Academy Firing Range
- .b. Primary Weapon
- .c. Secondary Weapons
- .d. Non-Moving Objects
- .e. Moving Objects - Drones
- .f. Small Ship
- .g. Damage Allocation
- .h. TRAINING/BATTLE DRILL/UNDER ATTACK
'Navigational Hazards' Simulation
- Obstacle Course
- .a. Non-moving Objects
- .b. Planets, Moons, and moving Asteroids (Meteor Storm)
- .c. System Traffic - avoid other moving ships
- .d. Chase and Catch the Drone
'Testing Ground' Simulation
- Other Ship Operations
- .a. Specialized Systems - Cloaking Device, etc...
- .b. BUOY DATA
'Heavy Combat' Simulation
- Final Exercise
- .a. The Ashikobay Naru 'No-Win' Situation
- .b. A Distress Call
- .c. A Freighter Under Attack
- .d. Across The Neutral Zone
- .e. 3 Enemy Starships
- .f. You Have To Rescue The Ship
- .g. Can You Handle It?
- .h. Similar to THE MIGHTY HOOD GOES DOWN
A Proper Shakedown
(No Combat - Routine Deployment)
Milk Runs
- Cargo Operations
- .a. Pickup and Deliver Cargo
- .b. Different planets and stations
- .c. Use Lab boxes as Cargo boxes on the SSD
- .d. Both by Transporter and Docked
Galactic Survey
- Information Gathering Operations
- .a. Laboratory and Probe
- .b. Scavenger Hunt?
- .c. Dilithium deposits
- .d. Lifeforms and Civilizations
Diplomatic Courier
- Shuttlecraft Operations
- .a. Ambassador doesn't like transporters
- .b. Launch and Land on Planet
- .c. Retrieve Shuttle
First Battle
Adversary Duel
- .a. Federation, Klingon, or Romulan
- .b. Choice of Adversary?
Last edited by Captain Nebula on Tue Aug 13, 2013 8:59 pm; edited 12 times in total
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Fleet Captain
Joined: 01 Feb 2007
Posts: 2929
Location: Seattle, WA
Posted: Sun Aug 11, 2013 1:35 am
Post subject:
I'll keep up with your progress, as I will be starting a new round of training friends, later this year.
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Captain Nebula
Lieutenant JG
Joined: 13 Jun 2011
Posts: 86
Posted: Sun Aug 11, 2013 10:03 am
Post subject:
Sounds great!
Here's the first I've finished.
* * * * *
A Freighter is stranded near the Neutral Zone after it's engines failed, and has sent out a rescue call. Your ship has been dispatched for a Rescue Operation to tow the disabled Freighter back to the nearest base, and your ship has just reached the Freighter.
(8BTA-APS3a) NUMBER OF PLAYERS
This is a solitaire scenario for one ship. The freighter does not move on it's own. Circumstances concerning the freighter are in the text below.
(8BTA-APS3b) INITIAL SETUP
Any fixed
Player's ship is placed at one end of the map.
Freighter is placed adjacent to the Player's ship.
(8BTA-APS3c) OBJECTIVE
To tow a disabled Freighter with a Tractor Beam (section
in the rulebook) to the opposite side of the map.
Time Limit:
The scenario continues until the Player's ship reaches the opposite side of the map.
The Player's ship must reach the opposite side of the map with the Freighter Crew evacuated before the Freighter explodes.
(8BTA-APS3d) SPECIAL RULES
When the ships have gotten half way to the opposite side of the map, the Freighter's engines begin to fail and overload. An explosion is immanent.
Roll one six-sided die and add 1 to the result. This is how many Turns before the Freighter explodes.
The Crew must be Transported off of the Freighter using Emergency Evacuation (section
in the rulebook).
The Player must 'drop' shields, evacuate the Crew, then 'reactivate' the shields (section
in the rulebook).
* * * * *
This Scenario was created to give a beginning familiarity with using Tractor Beams, Emergency Evacuation Transporters, and Shields. Designed by Kel Kollman. I kept it as generic as possible so it can be used with any race. For some strange reason, the Forum won't let me post Designer's Notes.
I'm happy to hear any Comments, Questions, or Suggestions.
Last edited by Captain Nebula on Mon Aug 12, 2013 2:10 pm; edited 9 times in total
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Klingon of Gor
Lieutenant SG
Joined: 01 Jun 2011
Posts: 138
Posted: Sun Aug 11, 2013 4:45 pm
Post subject:
CaptainQuirk wrote:
First Battle
1. Adversary Duel
- .a. Federation, Klingon, or Romulan
- .b. Choice of Adversary?
The last time I introduced a new player to the game, I set up a duel between a 140 point Fed CA (Which he played), and a D7 (Which i played). He had played SFB back in the days and liked playing Feds. He lost, because Fedcom is a different game, the tactics aren't exactly the same, and he made some duffer's mistakes. But he had a good time, and went out and bought Klingon Border and Romulan Border. I think there's something to be said for teaching people the game using ships they saw on the old TV show. It gives them a familiar point of reference.
Doing a "No win" freighter rescue is kind of an interesting idea. It might or might not teach them about how we deal with life and death, or what have you, but they might learn something about how drone/disruptor races can be a bear to deal with in groups. Something we must all learn at some point, frequently the hard way.
"Reality is that which, when you stop believing in it, doesn't go away" - Philip K Dick
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Captain Nebula
Lieutenant JG
Joined: 13 Jun 2011
Posts: 86
Posted: Mon Aug 12, 2013 4:26 am
Post subject:
Klingon of Gor wrote:
I think there's something to be said for teaching people the game using ships they saw on the old TV show. It gives them a familiar point of reference.
I hope that's the case. If it can draw in new people, then it definitely works, right? It's too bad First Missions doesn't have a Romulan opponent. That would work great.
I'm going to give it a shot with a No-Win game. I am a little worried that it might turn a new player off of the game, tho. I'm hoping that presenting it as a Training Simulation and the Player knowing ahead of time that they can't win will make it easier. You gotta lose sometime.
Here's another.
* * * * *
As your ship makes it's way back to base, your sensors pick up a strange energy reading from a nearby moon. Before you can react, the moon explodes!
Your ship rocks from the impact!
Fragments hammer the hull!
Energy discharges throughout your ship!
Eventually, the explosion dissipates. As Damage Control reports come in, you realize your ship is in pretty bad shape, and Communications are down. Your crew begins Repair Operations as you try to limp back to base, and Enemy ships could show up at any time.
(8BTA-APS5a) NUMBER OF PLAYERS
This is a solitaire scenario for one ship.
(8BTA-APS5b) INITIAL SETUP
Any fixed
Player's ship is placed at one end of the map.
(8BTA-APS5c) OBJECTIVE
To repair the damaged and disabled ship (section
in the rulebook) and reach the opposite side of the map. See SPECIAL RULES
Time Limit:
The scenario continues until the Player's ship reaches the opposite side of the map.
The Player's ship must reach the opposite side of the map with the following repairs: All Control systems must be repaired. All Shields must have at least one box regenerated (section
in the rulebook). At least 1 Phaser or Disruptor must be repaired. The ship must be able to produce at least 8 Energy Points per turn without using a Battery.
(8BTA-APS5d) SPECIAL RULES
The ship is damaged as follows: The ship's Shields are down. Every system is hit, but no frame damage. Select one box in every system on your SSD and mark it off. If the system only has 1 box, it is disabled. Mark off all Warp Power boxes. This only leaves 1 Impulse box to generate power (presumably for life-support) and 1 Battery.
* * * * *
This scenario is designed to give a Player a beginning familiarity with Repairing a ship and regenerating Shields. Designed by Kel Kollman. It's strange that it won't let me post a Designer's Note. I wonder if it has anything to do with the code at the beginning of the section.
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Joined: 07 May 2007
Posts: 1565
Location: South Carolina
Posted: Tue Aug 13, 2013 1:20 am
Post subject:
The coding is preventing it. I've had that problem plenty of times.
"Sometimes our best is not enough. We must do what is required." -- Winston Churchill
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Captain Nebula
Lieutenant JG
Joined: 13 Jun 2011
Posts: 86
Posted: Tue Aug 13, 2013 4:04 am
Post subject:
Thanks, Mike. I thought it was something with my computer, maybe.
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the fact that you send free samples and offered free shipping sold me. i never would have ordered just seeing the colors on screen. i had gotten estimates from three in the home sales people as well as other web sites. you offer excellent value.
your web site was slightly difficult to use. i was not familiar with all the categories of shades.
This is the 2nd time I've ordered from Select Blinds. They do a great job!
THESE SHADES WERE EXACTLY AS ORDERED. dELIVERED IN A TIMELY MANNER; AND THE INSTALLATION WAS EXTREMELY EASY.
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Ticket prices for 'Skins playoff game
WTOP's Kristi King reports
Kristi King, wtop.com
WASHINGTON - The last two times the Washington Redskins made it to the playoffs, the Seahawks knocked them out in games played in Seattle.
But the NFC wild-card game Sunday gives the Redskins a home-field advantage at FedEx Field.
As of early Monday morning, there were still plenty of tickets. The least-expensive tickets were for standing-room only (SRO) in the upper decks.
Two tickets in section 437 were in the $345 range at both StubHub and GreatSeats, including service and delivery fees.
Vivid Seats offers the same deal for about $50 less, at $295.51.
The official Washington Redskins website offers two standing-room only tickets for $368.35, including fees, through the NFL ticket exchange.
To sit down in an actual seat in Section 450, Row 23, for example, the team's ticket exchange website offers two seats for $402.85 after service charges.
There are numerous transportation options to get to FedEx Field. Parking passes tend to cost $60-$166.
Some sellers offer passes for what might seem like exorbitant prices. As game time gets closer though, ticket turnover websites such as StubHub may find buyers for parking passes that are currently offered for as much as $600.
Upon finding a $600 parking pass in Platinum Lot F, WTOP staffer Tommy Griffiths exclaimed that for that price, "They better buff my shoes and feed me grapes while I'm parking."
Game time next Sunday is 4:20 p.m. It will be broadcast on Fox5.
WTOP's Kristi King contributed to this report. Follow @KingWTOP and @WTOP on Twitter.
(Copyright 2012 by WTOP. All Rights Reserved.)


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Indeed, in today's world of big data, the need for a chief data officer is emerging as a hot topic. According to market-research firm Gartner, this trend, combined with the increasing need to understand how data is being used within a company, is driving the demand for CDOs.
As the name suggests, a chief data officer is responsible for governing enterprise data and leveraging customer data as an asset. That means overseeing how data is collected, analyzed, and secured.
CDOs obviously need to work closely with others in the C-suite, including the chief technology officer, chief information officer, chief marketing officer, chief security officer, and of course the CEO. In fact, depending on how responsibilities are allotted, there can be considerable overlap between the duties of a chief data officer and the CTO or CIO on the technology side, as well as the CSO on the security side, and the CMO on the marketing side.
CDO's Stock Rising
Gartner predicts that by 2015, 25 percent of large global organizations will have appointed CDOs. The Gartner research also estimates that 65 percent of CDOs are in the U.S., while 20 percent are in the U.K. To-date, the CDO role can be found in more than a dozen counties, and more than 25 percent of CDOs are women.
Not surprisingly, the position is most commonly found in heavily regulated industries, media and government. But it doesn't stop there. So the question, then, is, does your company need a CDO?
The answer may be yes if you need a peer and partner who can manage data and who has the knowledge, background and skills to do so, Debra Logan, research vice president and Gartner Fellow, wrote in a blog post. That, she said, is because the CDO makes room for CIOs to focus on the more than full-time jobs that they already have.
Owning It
CDOs are appearing more rapidly in some industries than in others. "Banking, government and insurance are the first three industries to adopt the CDO role and in that order. However, we are now seeing other industries following," Logan said. "For example, we saw the first significant appointments in the advertising industry in 2013."
Logan stressed that CDOs don't "own the data." They may, however, own key processes around the data and be "in charge" of some data. (continued...)
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|Apr 12, 2011 3:00 PM PDT
Build It Green Offers $450 Training Scholarships for Alameda County Contractors
For immediate release:
April 11, 2011
(Oakland, CA) - Build It Green announced today that they will be awarding $450 scholarships for GreenPoint Rated Elements and GreenPoint Rated Core trainings for contractors working in Alameda County. The trainings will help contractors get certified so they can qualify to participate in Energy Upgrade California's Green Upgrade Option. These trainings will be offered only once this year, on May 16-17th and June 14th- 15th respectively.
Energy Upgrade California is a one-stop-shop for home improvement projects that lower energy use, conserve water and natural resources, and make homes healthier and more comfortable. Homeowners have the option to add the Green Upgrade Option with measures that will further reduce the home's environmental impact.
In Alameda County, homeowners will receive a rebate of up to $1000 for getting their home GreenPoint Rated. A media campaign educating homeowners about Energy Upgrade California will be launching in Alameda County in early May. Thousands of California homeowners will be directed to the website's green contractor list to find qualified contractors.
Contractors interested in providing Green Upgrade Options must possess green building certification in addition to meeting the qualifications for either the Basic or Advanced Upgrade Package. By June 2011, contractors must obtain Build It Green's GreenPoint Rated certification in order to continue to be identified as providing the Green Upgrade Option.
All contractors will also get a $200 referral fee for any project that they refer that leads to a GreenPoint Rated label.
For more information or to download a scholarship application, visit Build It Green's event registration pages for GreenPoint Rated Elements and Core trainings.
For more information about Build It Green, explore www.builditgreen.org, email email@example.com or follow us on Facebook and Twitter.
|For additional information on this release, please contact:
|Janine Kubert
|(510) 590-3360
|Source: Build It Green
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Graun: Der Tod Jesu
CDA67446 2CDs for the price of 1
No 01. Choral: Du, dessen Augen flossen
No 02. Tutti: Sein Odem ist schwach
No 03. Recitative: Gethsemane! Gethsemane!
No 04. Aria: Du Held, auf den die Köcher
No 05. Choral: Wen hab' ich sonst als dich allein
No 06. Recitative: Ach mein Immanuel!
No 07. Aria: Ein Gebeth um neue Stärke
No 08. Recitative: Nun klingen Waffen
No 09. Aria: Ihr weichgeschaffnen Seelen
No 10. Tutti: Unsre Seele ist gebeuget zu der Erden
No 11. Choral: Ich will von meiner Missethat
No 12. Recitative: Jerusalem voll Mordlust ruft
No 13. Aria: So stehet ein Berg Gottes
No 14. Tutti: Christus hat uns ein Vorbild gelassen
No 15. Choral: Ihr werde Dir zu Ehren alles wagen
No 16. Recitative: Da steht der traurige, verhängnisvolle Pfahl
No 17. Duetto: Feinde, die ihr mich betrübt
Uta Schwabe (soprano), Inge Van de Kerkhove (soprano), La Petite Bande, Sigiswald Kuijken (conductor)
No 18. Recitative: Wer ist der Heilige
No 19. Aria: Singt dem göttlichen Propheten
No 20. Tutti: Freuet euch alle Ihr Frommen
No 21. Choral: Wie herrlich ist die neue Welt
No 22. Recitative: Auf einmal fällt der aufgehaltne Schmerz
No 23. Accompagnement: Es steigen Seraphim von allen Sternen nieder
No 24. Choral: Ihr Augen, weint!
No 25. Chor: Hier liegen wir
Der Tod Jesu forms part of the long Christian tradition of musical settings of the Passion story for the period before Easter. The first suggestions of such a tradition date from as early as the late-Roman period. In the middle of the fifth century, Pope Leo the Great ordained that St Matthew's account of the Passion story be read on Palm Sunday, with the St John Passion on Good Friday; the St Luke and St Mark versions were later also accorded appointed moments on, respectively, Wednesday and Tuesday of Holy Week. The Bible texts were originally chanted by the celebrant alone; only in the course of the fifteenth century were polyphony and an element of drama introduced into the genre.
There were two basic forms within the genre: the through-composed, fully polyphonic 'Motet Passion', and the 'Chorale Passion', in which the words of the evangelist were chanted monophonically, while the interventions of the 'crowd' (the so-called turba sections) and sometimes the words of Christ were set polyphonically. In the same period, some versions deviated from the standard gospel texts, in works known as summae passionis: texts compiled from the 'highlights' of the different gospels. This development towards greater variation and freedom, found initially in the Catholic liturgy, was continued further after the Reformation, although it met with some degree of resistance. For Luther, the suffering of Christ was to be experienced to the full by all believers, and not only in words alone. The musically heightened reading of the Passion story thus received an important place within the liturgy and its telling was spread throughout Lent. In Germany, the Passion thus became an important musical genre in which German translations of the gospel were generally used, as well as the summae passionis on German or Latin texts and shortened versions of the gospels. In musical terms, there was a tendency to hold fast to the simple Chorale Passion, in which only the turba sections were set to music in a simple form of polyphony. The composer actually would only provide music for these sections, as the largest portion of the text was chanted.
Halfway through the seventeenth century, a fundamental revolution in this tradition took place in northern Germany: composers added a continuo part and several solo instruments to accompany the vocal parts. This led to the creation of a new genre: the 'Oratorio Passion'. There was more to this than simply the addition of instruments; the text of the gospel still formed the basis of the story but other sections were now added to the usual Bible text, including instrumental sinfonias, as well as hymns, parallel Bible passages and general reflections on the events. In the eighteenth century, this evolution developed further as a new form of Oratorio Passion arose which freed itself completely from the gospel text. New texts were written, such as B H Brockes' Der für die Sünden dieser Welt gemarterte und sterbende Jesus, a text that composers such as Telemann, Handel and Mattheson set to music. The final stage of this evolution began around 1730 in Italy, in the development of the genre of Passion Music. Here not only the Bible text was abandoned but also the dramatic element. The result was a meditation on the Passion story, without dialogues, such as La passione di Gesù Cristo on a text by Metastasio and set to music by a number of composers, including Caldara, Jomelli and Paisiello.
Graun's Der Tod Jesu may be numbered among these later works. The text is by Carl Wilhelm Ramler, written at the behest of Princess Anna Amalia of Prussia, the king's sister. This text was almost simultaneously set to music by Graun and Telemann, the two works receiving their premieres in March 1755, Graun's version on March 26 in his opera house in Berlin, Telemann's a week earlier, on March 19, in Hamburg. The rivalry between the two composers seems to have been a friendly one, however: the two corresponded extensively concerning the technical and aesthetic aspects of setting the text to music and would later perform each other's work. The stylistic differences between the two works are nonetheless striking. Telemann represents the North-German, late-Baroque tradition, with all its complexity and preference for structure and colour. Graun, influenced by Italian opera, chose the path of lyricism and spontaneous melodies, using the harmonic language that had emerged from Classicism. In Der Tod Jesu there are fugal passages reminiscent of Bach but the horizontal nature of polyphony generally yields to a strong sense of harmonic progression. If a feeling of timelessness, an expression of higher things, is characteristic of Bach's works, here personal expression gains the upper hand in a freer style. The text includes no dialogues or dramatic personages such as an evangelist-narrator or soloists with assigned roles. The soloists alternate (also exceptionally joining for duets) to present a free version of an episode from the Passion story in a recitative, followed by a poetic reflection on these events in an aria. After one or two of these individual interventions, the choir makes its answer, crowned by a chorale that could be sung by the whole congregation.
The central position of the chorales was an important factor in the success of the work. Graun's Passion Der Tod Jesu was so well received that it was performed again the following year on Good Friday, a tradition that was then maintained at the Berlin court until 1884. Der Tod Jesu is thus an interesting case study in the continuity of performance practice. The work breathes the lyrical mood of the Italian opera which long enjoyed great favour with audiences. This, in combination with the central role of the chorales that were ideally suited to the Lutheran liturgy, ensured that this work would be one of the first great occasional works to enjoy a performance tradition of more than one hundred years.
We are left only with the question of why Der Tod Jesu disappeared from the repertoire at the end of the nineteenth century, to be replaced by the rediscovered Bach Passions. The answer may perhaps be found in the somewhat light tone of the work. The introverted passages are replaced by a cheerful and festive mood. This accorded with the theological vision of the Enlightenment, in which Jesus was worshipped primarily as a hero and the Passion story was set to a music that reflected the great joy brought to mankind through the effects of his suffering and death. This no longer suited the late-nineteenth-century vision of the Passion story, in which the sorrow at the injustice and suffering undergone by Jesus took the central place, aspects that are much more clearly present in Bach's Passions. Der Tod Jesu thus disappeared from the repertoire, ripe for rediscovery in the twenty-first century.
from notes by Dirk Moelants © 2004
English: Stratton Bull


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At the same time that the failures of our educational system have given rise to the call for universal standards for achievement in basic subjects, criticism has also been heard that the pressure for academic achievement has led to a constricted education that does not serve well either young people or society. The �race to the top� has become a race in which the prize for the winners is economic success and acceptance to elite schools, and are the goals of parents and therefore of their...
Tip of the Week
Tip of the WeekInstead of a hefty investment in a full bathroom remodeling, some simple and affordable changes can make a noticeable difference. Here are some that can be done in a single weekend:
July 29Word of the Day, This Day in History, Number to Know, Website of the Day, Today�s Featured Birthday and Daily Quote.Word of the Day
Only halfway through the National Tractor Pullers Association (NTPA) Grand National season a 20-year old Tim Skelton has done what only some dream of.
Paul Koontz was a long way from home during the National Tractor Pullers Association (NTPA) Grand Nationals on the last weekend of the 2014 Ionia Free Fair.
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Four or five passengers were on board when the cable snapped, and the brakes deployed as they were supposed to, fair officials said
- Events Calendar


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Millions pay $12.95 a month for TiVo and millions more the same for satellite radio. The question is, will they pay $12.99 per month to control their homes?
The Schlage LiNK Home Control system starts with a Schlage door lock, which comes in many different finishes and arrangements, from brass entry locks to brushed nickel deadbolts. Each has the same basic features, a keypad for keyless entry and the ability to communicate with a Z-Wave wireless RF "mesh" network.
Add to the lock some Z-Wave lighting modules — the system includes one plug-in dimmer module — a wireless IP camera, and a Trane thermostat, and you have the beginnings of a complete home control system.
But what makes the system worth the $12.99 a month is the Schlage Bridge and the software that comes with it. All of the devices on the Schlage LiNK network can be accessed from the Internet, a BlackBerry or an iPhone. The software is easy to use, intuitive and simple to set up.
The first step is to install the lock and configure it on the Z-Wave network. The lock uses some sophisticated security procedures to ensure that only the right Z-Wave devices can unlock it. The directions are easy to understand, though it took three tries to get the lock on the network. Once the door is programmed, the dimming module that comes with the system needs to be plugged in within 50 feet of the lock to communicate with the Z-Wave network.
The thermostat is added the same way. The thermostat needs a "C" wire, but most homes do not have this, and Trane does not put the instructions in the box. I know all the green reasons why, but it was annoying to have to go to my computer, look up the website, print the directions and then go back to the install.
The IP camera that Schlage provided was capable of either wireless or wired communication. Installation was clean, but a little cumbersome, and the software asked me to reconnect the camera once because it "lost" it, but once communication was established, it worked very well.
Setting Scenes, Schedules
The Schlage solution is right up there in ease of use and simplicity. In less than 10 minutes I had the devices uploaded in to the system. The software allows you to set scenes, schedules and get messages based on specific events. You can also change the setting of any device, like turn on a light or changing the temperature on the thermostat.
One limitation is that you can only start a scene when you unlock a door and not lock one. And only one trigger can start a scene, which limits the types of scenes available.
Setting up my cell phone was also a breeze. In less than three minutes, I was able to manage all of my devices, scenes and schedules right from my phone. I was also able to:
I travel quite a bit, and it was fun to be able to see what was happening back home while I was on the road.
So will people pay $12.99 for the features of the Schlage LiNK system? The hardware I installed retails for about $1,000 and includes: the lock, Bridge, the thermostat, camera and all of the lighting controls. Once the necessary hardware is paid for, $12.99 is a very small price for the convenience.
Schlage LiNK Overview
Video via Crackberry.comFollow Electronic House on Facebook and Twitter.
>Signals up to 100 feet
>Can add over 200 components to one interface
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>$12.99 monthly subscription
>Easy to add Z-Wave devices to the system
>Excellent software
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>No documentation included in the box (needs to be printed off the website)
>Thermostat screens could be less cluttered
>Scene control is simple, only one trigger per action
>Lock will not trigger scene when locked, only when unlocked
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text:
Guitar World Staff Picks: Paul Riario's Top 5 Electric Guitars of 2012
January 22, 2013 at 7:26pm
Where's the new GJ2 Arete 3?
December 28, 2012 at 1:34pm
How about that Johnny Marr Jaguar?
December 13, 2012 at 11:03pm
What wold be the difference between a Les Paul Studio that is solid Mahogany and a Les Paul standard that is chambered? If I'm looking for a very bright sounding guitar, what do you suggest looking for?
December 28, 2012 at 2:01pm
Usually if you're looking for a bright sound Fenders guitars are the solution.
If you don't need a vibrato bridge the Telecaster will give you what you are looking for.
If you want a vibrato Bridge a Stratocaster is the ticket.
Both are available in models that include a humbucking pickup if you like more warmth than the stock pickups. Both have models that are available with noiseless pickups if you like.
Hope this helps.


text:
Hearts + Minds
U2 Shop
Tour News
> 'One touch and annihilation...'
jump to another tour
Complete Willies Diary
360°: 2011
360°: 2010
360°: 2009
Vertigo: 2005/06
'One touch and annihilation...'
25 October 2009
'One touch and annihilation...'
Sunday 25th October 2009. Los Angeles. Show day.
Today was not an unambitious day, even by U2 standards, with the Rosebowl show being shot for DVD and streamed live on YouTube in its entirety. As it happened, very little went wrong and many of the intangible factors ended up playing very much in our favour. First and foremost, the venue turned out to be ideal for the 360 show in two ways. It's an old stadium, so is almost entirely composed of seats, rather than the acres of corporate boxes that are the fashion these days. These glass-fronted boxes are death for acoustics, but also break up the mass of the audience in an unattractive way.
Here at the Rosebowl it's all seating and the seats are small and jammed together meaning you can get a huge number of people in here (96,000 I heard). Perhaps it was this mass proximity, but for some reason tonight's audience was as far from the traditionally cool 'L.A. crowd' as you can imagine. They really went off and looked great too which was a huge bonus.
Half of Hollywood was present of course, but there was only one guest who I made a point of going to meet. Buzz Aldrin had come to the show and I found him in the hospitality area, where I introduced myself and shook the hand of a man who'd walked on the moon. He was very polite though was a little distracted as he desperately wanted to meet Paris Hilton who had just arrived. This he did and the two were photographed together (it's funny, you'd think that would be like intellectual matter and anti-matter - one touch and they'd annihilate, taking the universe down with them). I did chuckle though, Buzz Aldrin and Paris Hilton. I guess when you've walked on the moon it's OK to lower your ambitions a little bit.
The rest of the night is history and available for your viewing pleasure on YouTube. It all went remarkably well, although as soon as we were locked and loaded at the top of the show I could feel myself starting to get sick. We've been building up to tonight for a long time and once we were under starters orders the adrenaline dropped and all hell broke loose. I was very happy that all had gone well, but even by the time I got back to the hotel I just wanted to curl up under the duvet and die. Hey ho.
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mickeyamc - 10 November, 2009
Intellectual matter and anti-matter
WIllie, that phrase is pure brilliance and so appropriate for that meeting!
macfrodo - 10 November, 2009
Until Then
Willie, I hope your sickness didn't follow you to Vancouver and you were able to end this leg of the tour on a somewhat healthy note. I want to take this opportunity to thank you for all of your unbelievably well-written, witty, funny and insightful entries. I never missed an entry and always looked forward to reading them. Your perspective of the tour is so fascinating and you tell it in a way which makes you feel you're right there along side of you. I attended the Rose Bowl show and, no doubt, it didn't disappoint. I feel the same way about LA shows in general. The crowds do tend to be "too cool" and hold back a lot which can ultimately bring the vibe down, however, that was not the case in Pasadena. It was a pretty amazing feeling being a part of an audience that left their egos at the door and got involved in what is the U2 experience. Your anecdote about Buzz Aldrin and Paris Hilton was hilarious!!! Only in LA would such opposite worlds collide. Thanks again for taking the time to entertain us die-hards. I look forward to reading from you again come the second leg...until then. Amanda
hicksong - 09 November, 2009
Hi Willie, Thanks for the posts.......Have you ever tried using Airborne ? It works very well and gives the body's immune system a nice boost for those on the go. Full of Vitamins and minerals and boy the zesty orange flavor sure does taste great. Available everywhere here in the states...(Trader Joe's) Thanks..........hicksong
dianep - 09 November, 2009
On the edge of the known universe
Must engender some serious form of travel sickness. Bet that's what it was, but thank you for taking us there, Willie. Pure inspiration.
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21 Nov, 2006
Travel day, Melbourne - Auckland.
Within the bands entourage (certainly by comparison to the crews clockwork scheduling) travel departure times are often a little loose. This morning was especially so, due to three contradictory memos which had been emailed out last night and this morning.
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20 Oct, 2006
There was a 6.30pm conference call arranged between Bono (Dublin), The Edge (Los Angeles), Steve Matthews (London) and myself (also London) to blow the cobwebs off our brains and discuss the reincarnation of the Vertigo Tour.
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15 Mar, 2006
I was planning on resurrecting the tour diary today, being the day we were scheduled to fly to Auckland for the load-in tomorrow. However, its now old news that the remainder of the tour dates have been postponed, so Im not going anywhere further than the corner cafe. Its been a very weird week indeed - much akin to driving into a wall.
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When you're talking about home theater, what's more important: a big picture or big sound? What if you could only choose one? Most people are undoubtedly drawn to an enormous screen than a suite of boxy-looking speakers. That's their eye-candy. But having that big sound is what makes the movie really come to life.
Big sound has a far greater impact than a big picture. Don't believe me? Here's a test: Watch an exciting lap from a NASCAR race on a 100-inch projection screen and listen to the sound through an iPod-connected speaker on the coffee table. Next, watch that same lap on a 50-inch flat-panel mated to a full-blown surround-sound system complete with a subwoofer. Which experience was the more memorable of the two? Which one captivated your attention and quickened your pulse? If your answer was the big screen and the teeny, tiny iPod speaker, well, you may want to get your ears checked.
It's important to note that a surround-sound system isn't only useful in the media or family room. If you have a TV in the bedroom, you've surely noticed that most of prime time and late night TV now broadcasts in 5.1. If you're tired of lowering the volume due to loud music, yet still straining to hear the dialogue, a dedicated center-channel speaker with its own level adjustment will be just what the doctor ordered. Furthermore, if your kids are into gaming, and they have a TV room for playing console games, most if not all modern games feature multichannel soundtracks designed to suck you into the action.
Surround sound may have taken hold in the home theater, but it comes in handy anywhere you enjoy TV-based media.
Surround Sound: Easy as 1-2-3
1. Source: Blu-ray Disc Player. A modern surround-sound system is comprised of a few basic elements. Tackling the signal chain from end to end, it all starts with your source device—the content you wish to listen to through your speakers. Because not everyone "watches television," and as there's a lot of variety among cable TV boxes, satellite TV receivers, and rooftop antenna installations, we're going to focus on movie and music playback. For most people, this will mean a Blu-ray Disc player. You may know that all Bluray Disc players are backwards compatible with DVD. However, you may not know that several Blu-ray Disc players can also handle DVD-Audio and Super Audio CD (SACD) discs. These ill-fated, high resolution, multichannel music formats never fully caught on, but there's still a lot of great music out there in one or both formats, so it pays to be able to play them.
2. Audio/Video Receiver or Preamplifier/Processor. For many people, the next step in the surround-sound chain is an audio/video receiver (AVR) connected directly to a Blu-ray Disc player. Depending on your Blu-ray Disc player's decoding capabilities, and the quality of its Digital-to-Analog Converters (DACs), the connection to your AVR will typically be made with either a High Speed HDMI cable or numerous (6 or 8) RCA-style analog audio cables. The more common HDMI method is used when you wish to send a "bitstream" output of the digital signal to your AVR and let the AVR perform the surround decoding. A multichannel analog connection is typically employed when your Blu-ray Disc player sports higher quality DACs than those in your AVR. In this case, you'd want the player to tackle the decoding and rely on your AVR purely for its amplification and switching capabilities. An AVR does many things, but its primary function in a surround-sound system is to decode the incoming signal (e.g. the DTS-HD soundtrack on a Blu-ray movie), provide amplification, and send the appropriate audio channel to each of your connected loudspeakers and subwoofer(s). That is job number one and what matters most is how well it handles this.
Which formats can it decode? Does it use high quality DACs? Can it provide ample power with low distortion? Integrated networking, automated calibration, and colorful user interfaces are nice-to-have extras, but always remember what's most important. And if the highest quality sound is of paramount importance, forgo a combination AVR in favor of a separate preamplifier/processor and a separate multichannel amplifier (a combination often called "separates").
3. Loudspeakers. After the AVR or multichannel amplifier has provided the power, the final destination of that Blu-ray soundtrack is your array of loudspeakers. For most television series and movie soundtracks, you'll be dealing with at least a 5.1 sound mix. In a 5.1 soundtrack, the "5" refers to five fullrange channels around the room (left, center, right, surround right, surround left) and the ".1" is a low-frequency channel dedicated to bass for your subwoofer(s). Speaker options are myriad, from small satellite speakers to on-walls to in-walls to in-ceilings and of course, floorstanding towers. Aesthetics and room logistics often dictate your choice of speaker type, but most audiophiles will agree that freestanding speakers, will outperform all else.
5.1? 7.1? 7.2? 9.1? 11.1?!?!
As you may be aware, many Blu-ray soundtracks go beyond 5.1, some delivering 6.1 or even 7.1 channels of sound. These soundtracks employ one or two "surround back" channels that are centrally located on the rear wall behind the listener. Taking things further, Dolby recently introduced its Pro Logic IIz format, which adds a pair of height channels to the front sound stage, thus transforming a 7.1 soundtrack into a 9.1 experience. Not to be outdone, DTS is pushing the envelope with its new Neo:X technology, an advanced algorithm capable of delivering up to 11.1 channels of sound. However, these advanced surround-sound implementations have yet to go mainstream. Most movies, games and other content is still in 5.1; even 7.1 has yet to become commonplace. Before you even consider wiring your room for 9.1 or 11.1, your money would be better spent investing in additional subwoofers to even out your bass response and give every listening position a better chance at becoming the best seat in the house.
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Tips for Improving Your Surround Sound
Calibration. Use an inexpensive Sound Pressure Level (SPL) meter and a home theater setup disc such as Disney's World of Wonder (WOW) to properly adjust speaker level, size, location, and distance from the listener.
Size Matters. Those tiny cube speakers may be cute as a button, but don't expect them to move a ton of air and deliver deep bass without help from a serious subwoofer.
Matched Speakers. Loudspeaker manufacturers take different approaches when coming up with unique sound signatures for their particular model lines or series. Different materials are used when constructing woofers and tweeters; some enclosures are boxy while others are curved; crossovers are wired differently. The point is, speakers come in all shapes and sizes. You want a consistent quality of sound as music and voices pan from one speaker to the next in your listening room. Although some variation is often possible, using identical speakers in every location is a safe and popular route when designing a surround-sound system.
Proper Crossover. Be sure to select the appropriate crossover frequency—the point at which your subwoofer takes over the heavy lifting for low-frequency sound. THX recommends 80Hz, but small cube speakers may require a setting of 120Hz or even 150Hz.
Proper Placement. Try to keep your front speakers evenly spaced and equidistant from the center channel. Similarly, don't put one surround speaker right next to your ear and the other 20 feet away. Also, keep your front three channels on roughly the sample plane and place them as close to ear height (when seated) as possible.
Go Lossless or Go Home. Many older Blu-ray titles (and even some of the newer ones) default to standard Dolby Digital. If you don't go into the pop-up menu, you might never realize there's a far superior, lossless Dolby TrueHD or DTS-HD Master Audio soundtrack just waiting to be selected.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.
Home automation system helps wounded war veteran live more comfortably.
Check out our recommendations for the season's best new TVs for home theater, living room or anywhere.


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Can anyone weigh in on this subject please, I know there is someone out there who knows the answer to my question...thank you
I am wondering, I have been told that for me to stay blood i need to have more armor pen. Last night i managed to pull 7.1k on rot face and 7.7k on saurfang in ICC 25. Now i had replaced 5 of my strength gems with armor pen gems prior to going in there. My ap prior to the change was 6240 now it is 5912. My question is this. I know i do not have enough gear out of ICC with armor pen on it to make it to the Armp cap, but just how many of those strength gems can i change out before i start to see a fall in my dps because i have changed out to many of my strength gems for Armpen? Could someone enlighten me, if i do go unholy will i be able to pull as much or more dps with the gear i have, and do i go reaping or no reaping? Thank you for you help I sincerely appreciate it.
Armory: http://www.wowarmory.com/character-sheet.xml?r=Korgath&cn=Latormenta
Last edited by latormenta; 04-12-2010 at 09:17 AM.
Can anyone weigh in on this subject please, I know there is someone out there who knows the answer to my question...thank you
I dont undestand your question, you achieve ArP cap by selecting gear with ArP and gemming for it. So when the gear with ArP drops you attempt to acquire it, you get the Tier pieces based on how big an upgrade they are over current gear, and if you can afford it you create the crafted legs.
There is his Armory. For the record giving us that link to start with is quite a bit better than me needing to go look for it.
so far you can only gain 160 more armor pen assuming the pot and arp food, you can see with the gear you are wearing around 440 ArP which i think may be a neutral DPS swap. ( speculating dont have a spreadsheet infront of me)
Reccomendations if you are attmepting to ArP hard cap.
BoV, you want ArP in nearly every slot and it's proc is only a few dps loss over your whispered skull fang
frost cape, it beats what your wearing has a slot and Armor pen pick one up
To swap for your deaths verdict, you appear to be clearing higherlevel content so this is a drop you are going to want to push for.
New Weapon
Arp passivly no meh proc and two sockets for extra ArP
Grab those and you will be at or near ArP cap, i dont know that bonuses for a DK to do it but thats my $0.02 hope it helps
Thank you Tiny i appreciate the response, the question i am asking for those who dont understand it is this......" I have replaced five of my strength gems with armor pen, and it dropped my attack power from 6240 to 5912'ish, how many more strength gems can i drop for armor pen and still be able to do the dps i am now or more dps with the higher Arp. The DK's main stat is strength and i know there has to be a happy median i can reach to where i dont have to little Arp and to much strength and conversly to little srtength and to much Arp?
It's sometimes hard to show someone how to get ArP cap, so here's my armory:
I am ArP capped with Hearty Rhino (+40 ArP). Warriors have a bit easier time of it, as we get two weapon slots (and both of mine have ArP, whereas Bryntroll has none). From what I can tell, you have a good bit of excess Hit (I believe Blood DKs use the same hitcap as other 2H melee, that being 8% or 264. If I'm wrong, someone correct me.) and Expertise (I think it should be around 26). Pieces that jump out at me as good candidates for upgrades/swaps: Cloak (Recovered Scarlet Onslaught Cape from Frost Emblems), Gloves (Gatecrasher's Gauntlets), Belt (Vengeful Noose, not sure if this is good for DKs, but I know it's great for Pallies and Warriors, and I'm fairly sure DKs get more out of ArP than Paladins), and legs (Leggings of Painful Death, as you're well over Expertise cap you may want to consider getting these for more ArP), ring (Dexterous Brightstone Ring is an easy upgrade with some good ArP, again I'm not sure how good agility items are, but if I'm right in believing that you are wasting the hit on Bloodshed Band, it should be a good upgrade). I'm not suggesting you make all these changes, your T10 Gloves and Pants are good pieces, but these are all possible options if you want to increase your ArP. Getting Titanium Spikeguards crafted could be good if you need to lower your Hit rating.
Recovered Scarlet Onslaught Cape may be the biggest upgrade, but after that try to work on getting rid of your excess Hit and Expertise.
As for your attack power, obviously it will be lower if you itemize for ArP than it would be if you itemized for Strength. The point of ArP gearing is that at a certain point, ArP is more beneficial for DPS than Strength is (point for point). Once you get there, ArP will always be better than an equal amount of Strength until you hit the cap. Normally people start with an ArP proc trinket like Needle-Encrusted Scorpion, and gem their gear to get to 100% when it procs (about 722 passive ArP rating), then once they upgrade more gear and get more ArP, they replace NES with another trinket and go all out ArP to try to hit the cap (1399). I'm not sure if NEs would be an upgrade for you over either of your trinkets, but it might be. If you don't get it, I'm not sure that gemming ArP is the best thing for you now, you would probably be better off sticking with Strength for the time being.
ArP Swapping shouldn't be done till you can go about 65%(debatable-ish) I am recommending that you farm all the gear. I am no Dk Dps so my math is adjusted from my little understanding of Death knights and my fury warrior failness.


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Assuming Frost is your tank spec, since your Unholy spec has no defensive talents...
I've found that it is -really- hard to keep solid threat against good dps as Frost. If your DPS are focusing 2-3 targets instead of large-area aoe (warriors, blood dks, ret pallies, then you're going to lose mobs. For single-target, I find that even as blood, my threat is terrible until I get a string of rune strike procs.
One thing I found helpful for aoe is to drop plague strike completely out of your aoe rotation, and glyph for howling blast. I also specced Deathchill for extra burst when I didn't have a KM proc for an aoe pack pull, but that's just using a flavor point.
HB > D&D > BB > tab rune strike/frost strike > HB > Obl > (HB if Rime procs) > BB > BB


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We can all agree that Atlanta's Hartsfield-Jackson International Airport is the worst in the United States? Like, way worse than O'Hare or Newark, right? Nevertheless, this story that originated with New Orleans Saints backup quarterback Chase Daniel clearly shows that flying into Atlanta should only be done if a) Atlanta is your final intended destination and b) no other reason whatsoever.
Wow, as we're boarding buses on the Tarmac @ Atlanta airport, we start getting eggs thrown @ us by airport workers! Guess they do hate us!— Chase Daniel (@ChaseDaniel) November 29, 2012
Tight end Jimmy Graham also corroborated Daniel's account.
Bus just got egged after landing in ATL by the ramp workers. Classy! "RISE Up" smh— Jimmy Graham (@TheJimmyGraham) November 29, 2012
Safety Rafael Bush? He's just confused by the whole thing.
That was random— rafael bush (@rbush36) November 29, 2012
As for linebacker Will Herring, ain't no big deal for him.
First time my bus has been egged by opposing fans! Tomorrow should be fun!!#WhoDatNation— Will Herring (@wherring54) November 29, 2012
Meanwhile, wide receiver Joseph Morgan has different problems to attend to:
Eggs, that's cool. Broken outlet in the hotel room #immadnow #aintnobodygottimeforthat— Joseph Morgan(@jmthegreat) November 29, 2012
Ain't nobody got time for that, indeed.
New Orleans Saints team charter reportedly egged in Atlanta [NOLA.com]


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Dear Members,
If you have an active GFX Shop, send a pm (don't forget the link) to a staff member and it will be moved to the appropriate subsection.
Thank you, NarutoBase Staff
[QUOTE=Mina..;4743343]Here's some old ones of mine if someone wants them:
taking this one
Another avas i dump
I want this one
i'll be handing these over
I am taking this one. Thank you.
Note that I have several that are unused on the first page.
Originally Posted by Adore
ill be taking this one.
Originally Posted by Dragonfly X
I am taking this one. Thank you.
Your welcome and you can take that one
Can't edit my original post so here are some more avas I wanna dump
Originally Posted by Mina..
Here's some old ones of mine if someone wants them:
Taking this one D
for this one ask sanji if he is usin it or not
I have more
Last edited by ~WastelandSociety~; 11-29-2011 at 06:27 PM.
* *
tyvm, I'm taking this.
this dosen't belong in a dump, imo
Last edited by novaboi24; 11-29-2011 at 07:05 PM.
Originally Posted by novaboi24
tyvm, this dosen't belong in a dump imo
And that s doesn't belong there.
Taking this... it somehow amuses me
I will be taking this
* ]
I'll be taking this one...
Taking this
Originally Posted by Adore
Note that I have several that are unused on the first page.
I'll be using this one in a few days.
Originally Posted by ~Drizzy~
ill be taking this one
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Found April 24, 2013 on The Roosevelts:
The popularity of our favorite sports teams can be adjudicated using a hundred different methods, from merchandise and tickets sold, to global team familiarity. We've decided to take the web approach and scoured internet for the top four means of collecting information about North American sports teams, aside from visiting an official team URL. Using Facebook Fans, Twitter Followers, Google search results and number of Wiki-searches, we've created an algorithm to find out The 50 Most Popular Sports Teams in North America on the Web. The algorithm: The pool consists of every team from the MLB (30 Teams), MLS (19 Teams), NBA (30 Teams), NFL (32 Teams) and NHL (30 Teams) – 141 teams in total. Of those 141 teams, we've given each team a score (1-141) based on the ranking of their team in every online category. For example the team with the most Facebook Followers will get 141 points and the team with the least will get 1 point. Each one of the four online categories are worth the same a...
Original Story: http://www.rsvlts.com/2013/04/24/50-m...
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In Depth Vertex Illumina ReviewThe Vertex Illumina LED light is the topic of toda ...
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Previously Asked Questions
by Ray Casper on March 8, 2014, @2:16 AM
I have the 5 ft fixture and would like to know how many of the UV leds should be added for a sps tank. Tank is 180 gal
Thank you
Bulk Reef Supply Hi Ray,
When it comes to added color modules I would get 3 on a 5ft fixture in order to get good spread across the entire tank.
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6325 Sandburg Road, Suite 400
Golden Valley, MN 55427 Map
Customer Center
View Larger Map 6325 Sandburg Road, Suite 400, Golden Valley, MN 55427


text:
Charge & Drive Police Car
18 months & up. The Charge & Drive remote control vehicles are easy for young children to use. With only 2 buttons on the remote, one to make the car move and one to change directions, driving is a cinch for little ones. The 2-in-one steering wheel is a remote and charging station! The engine roars when it moves forward and the car honks and spins when it changes directions.
The vehicle runs on a built-in rechargeable NiMH battery pack and the infrared steering wheel runs on four 1.5 Volt "AA" alkaline batteries(not included).


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Roleplay Battle Hall Challenge - Dare234
Discussion in 'ASB' started by TheWolfe, Jan 1, 2013.
Page 1 of 2
Page 1 of 2


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Linen Lux Duvet Cover + Sham, Blush
No longer available
- Overview
Our linen bedding lets the rest of your room show off by providing a crisp, clean foundation for you to layer on the color and patterns.
- Cotton/linen blend.
- Duvet cover and sham reverse to self.
- Duvet cover has interior ties and a hidden button closure.
- Twin-sized duvet cover fits both standard twin and twin XL dorm mattresses.
- Duvet cover, sham and insert sold separately.
- Machine wash.
- Imported.
Mix + match our bedding to create your own unique look with our Design Your Own Bed Tool.
- Dimensions + Care
Duvet Cover
- Twin: 68 x 86"
- Full/Queen: 88 x 90"
- Standard: 20 x 26"
- Euro: 26" square
- 100% cotton percale interwoven with 5% organic fibers. A percale weave is noticeably denser and wears well over time.
- Oeko-Tex certified, the definitive mark of excellence for products that are healthy for people and the environment.
- Our Easy-Care finish ensures that bedding emerges smooth from the dryer.
- Machine wash in cold water; gentle cycle.
- Use only nonchlorine bleach, if needed.
- Tumble dry on low heat; remove promptly.
- Warm iron as needed.
- Shipping Info
- Please allow 5-7 business days for delivery. Delivery estimate includes monogrammed and gift-wrapped items.
Duvet Cover
No longer available
Sham (Sold Separately)
No longer available
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