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MAR represents Maryland REALTORS® by making your voice heard in Congress and at the State Legislature. Our primary concern is protecting your professional and business interests. Our Legislative and Public Policy Committees develop a straightforward political agenda to: support and develop legislation that helps our industry and oppose legislation that hurts the free transfer of real estate. The Legislative Committee typically reviews over 200 pieces of legislation and regulations each year...
Local RPAC Bowling Fundraising Event
It's that time of year where we are asking ALL local associations/boards to host a RPAC Bowling Fundraiser during March – possibly around St. Patrick's Day for a
lucky, charmed themed event!
FHA Slashing Mortgage Insurance Premiums by $900 a Year
According to Inman News, after raising them six times during the housing bust, the Obama administration is reversing course and rolling back mortgage insurance premiums charged by the Federal Housing Administration by enough to save homeowners an average of $900 a year.
New Legislative Districts/Reps for the Upcoming Session
Do you know who your Maryland General Assembly legislators are for 2015?
Help us help you advocate about REALTOR issues for the upcoming General Session by being an informed REALTOR advocate.
Realtors® Applaud Final Passage of Legislation to Extend Key Real Estate Tax Provisions
National Association of Realtors® President Chris Polychron stated today (12/17/14), "The package of tax extensions approved by the U.S. House and Senate late last night, and headed to the President's desk for signature, includes important provisions that will help distressed homeowners and commercial property investors with transactions made during 2014."
Senate Fails to Reauthorize TRIA
"The U.S. Senate's alarming failure to renew the federal terrorism risk insurance program before adjournment will stall commercial real estate development around the country," according to NAR President Chris Polychron.
Lead Paint Law Changes Taking Effect in January
Are you a property manager or owner of pre-1978 residential rental units? Click below to read the Frequently Asked Question (FAQ) document regarding the new lead paint law changes taking effect January 1, 2015.
USDA Update Response to Rural Lending Delays
See updated,
official response from USDA to 2014 MAR President Russ Boyce
per Senator Mikulski's outreach. In USDA's response letter, dated September 24th, Administrator Hernandez states, "
To mitigate processing time delay in Maryland, additional staff is temporarily assigned to assist with this effort."
New Regulation for Recommended Service Providers Effective August 18th
- The new regulation regarding real estate licensee "service recommendations" is now final and will take effect August 18, 2014. If you choose to recommend service providers, the Real Estate Commission has indicated that it is reasonable for you to verify license status of contractors at least once a year.
A Must-HAVE for Successful REALTORS® on the Go
Engaged REALTORS® are naturally on the go and so should be your advocacy tools. Now they are! Simply text
to receive the download link for the REALTOR® Action Center mobile app, empowering you to take action on an important REALTOR® issue from anywhere, anytime. Once downloaded, login to
FEMA Flood Rate Relief Effective May 1
Update, reminder:
Effective May 1, 2014,
buyers of older properties ("pre-FIRM") will see a premium rate
under the Homeowner Flood Insurance Affordability Act of 2014.
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text:
Free Knitting Pattern from Lion Brand Yarn, formatted for input to refreshable Braille displays or Braille software
Knit Striped Magic Vest
Lion Brand® Magic Stripes
Pattern Number: 30219
Knit with one color of Magic Stripes and the yarn does all the work! Watch the stripes magically appear as you knit this easy vest.
SKILL LEVEL: Easy (Level 2)
SIZE: Small, Medium, Large, 1X
Finished chest measurements 38 (42, 46, 50)inches.Length 21 1/2 (22 1/2, 23 1/2 , 25)inches.
Note: Pattern is written for smallest size with changes for larger sizes in parentheses. When only one number is given, it applies to all sizes. To follow pattern more easily, circle all numbers pertaining to your size before beginning.
CORRECTIONS: None
310-201 Magic Stripes Yarn: Denim Stripe Denim blue, cream, light blue highlighted with red and copper.
Quantity needed: 3 Skeins
Estimated Price: $ 22.47
Alternative Quantity: (4, 4, 5)
Lion Brand Stitch Holders
Quantity needed: 1
Estimated Price: $ 5.99
Lion Brand Split Ring Stitch Markers
Quantity needed: 1
Estimated Price: $ 2.49
28 sts + 36 rows = 4" (10 cm) in St st (k on RS, p on WS) on larger needles. When you match the gauge in a pattern, your project will be the size specified in the pattern and the materials specified in the pattern will be sufficient. The needle or hook size called for in the pattern is based on what the designer used, but it is not unusual for gauge to vary from person to person. If it takes you fewer stitches and rows to make your swatch, try using a smaller size hook or needles; if more stitches and rows, try a larger size hook or needles. Making a Gauge Swatch
Exact gauges is not imporant to this project.
3-Needle Bind Off With RS together, hold in one hand 2 needles with equal number of sts on each.
With third needle, knit tog one st from each needle, *knit tog one st from each needle, pass first st worked over second to bind off, repeat from * across to last st.
Cut working yarn and pull through last st to secure.
ssk (slip, slip, knit) Slip next 2 sts as if to knit, one at a time, to right needle; insert left needle into fronts of these 2 sts and k them tog.
BACK With smaller needles, cast on 133 (147, 161, 175) sts.
Work in K1, P1 Rib for 1", ending with a WS row.
Change to larger needles and work in St st until piece measures 2 (21⁄2, 21⁄2, 3)" from beg, ending with a WS row.
Shape Waist Continue in St st, decreasing 1 st at each side edge every 4th row 3 times, then every 6th row 4 times ñ 119 (133, 147, 161) sts.
Work even until piece measures 71⁄2 (8, 8, 81⁄2)" from beg.
Increase 1 st at each side edge every 4th row 4 times, then every other row 3 times ñ 133 (147, 161, 175) sts.
Work even until piece measures 12 (121⁄2, 13, 14)" from beg.
Shape Armhole Bind off 7 (7, 8, 9) sts at the beg of the next 2 rows; bind off 4 (5, 6, 7) sts at the beg of the following 2 rows; bind off 2 (3, 3, 4) sts beg of the next 2 rows; then decrease 1 st at each armhole edge on next 3 right side rows ñ 101 (111, 121, 129) sts.
Work even in St st until armhole measures 81⁄2 (9, 91⁄2, 10)", ending with a WS row.
Shape Back Neck K 35 (39, 41, 43) sts, bind off center 31 (33, 39, 43) sts, attach second ball of yarn and knit remaining sts.
Working both shoulders at the same time, bind off 3 sts at each neck edge once; then bind off 2 sts at each neck edge 2 times ñ 28 (32, 34, 36) sts remain on each shoulder.
Work even until piece measures 211⁄2 (221⁄2, 231⁄2, 25)" from beg.
Place shoulder sts on holders.
LEFT FRONT With smaller needle, cast on 63 (71, 77, 85) sts.
Work as for Back, working waist and armhole shaping on right side edge only, until piece measures 19 (20, 21, 221⁄2)" from beg, ending with a RS row ñ 47 (53, 57, 62) sts after armhole shaping.
Shape Neck Working shaping on Front neck edge only, bind off 7 (8, 9, 10) sts; bind off 5 (6, 6, 7) sts; then 4 (4, 5, 6) sts.
Bind off 1 st at neck edge on next 3 rows ñ 28 (32, 34, 36) sts remain on shoulder.
Work even until armhole measures same as Back.
Place sts on holder.
LEFT FRONT With smaller needle, cast on 63 (71, 77, 85) sts.
Work as for Back, working waist and armhole shaping on right side edge only, until piece measures 19 (20, 21, 221⁄2)" from beg, ending with a RS row ñ 47 (53, 57, 62) sts after armhole shaping.
Shape Neck Working shaping on Front neck edge only, bind off 7 (8, 9, 10) sts; bind off 5 (6, 6, 7) sts; then 4 (4, 5, 6) sts.
Bind off 1 st at neck edge on next 3 rows ñ 28 (32, 34, 36) sts remain on shoulder.
Work even until armhole measures same as Back.
Place sts on holder.
RIGHT FRONT Work as for Left Front, reversing all shaping.
FINISHING Seam shoulders using 3-Needle Bind Off.
Sew side seams.
Armhole Bands With smaller circular needle and RS facing, pick up and knit 168 (176, 186, 194) sts evenly around armhole.
Place marker and join; work K1, P1 Rib in rounds for 1".
Bind off in rib.
Neck Band With smaller needle and RS facing, pick up and knit 127 (133, 143, 153) sts evenly around neck.
Work 1" in K1, P1 Rib.
Bind off in rib.
Buttonhole Band With smaller needle and RS facing, pick up and knit 159 (165, 173, 179) sts along Right Front, including side of neck band.
Beg with a purl st on WS, work 4 rows in K1, P1 Rib.
Buttonhole Row (WS) Work 4 (4, 5, 5) sts, *yo, ssk, rib 23 (24, 25, 26); repeat from * to last 5 (5, 6, 6) sts, end ssk, yo, rib 3 (3, 4, 4).
Work 3 more rows in rib.
Bind off all sts in rib.
Button Band Pick up sts on Left Front as for Buttonhole Band.
Work 8 rows in K1, P1.
Bind off all sts in rib.
Sew buttons onto band.
beg = begin(s)(ning)
ch(s) = chain(s)
ch-space = space previously made
dc = double crochet
rep = repeat(s)(ing)
rnd(s) = round(s)
RS = right side
sc = single crochet
sk = skip
sl st = slip stitch
beg = begin(s)(ning)
k = knit
p = purl
RS = right side
St st = Stockinette stitch
st(s) = stitch(es)
tog = together
WS = wrong side
yo = yarn over
Every effort has been made to have the knitting and crochet instructions accurate and complete. We cannot be responsible for variance of individual knitters and crocheters, human errors, or typographical mistakes.
We want your project to be a success! If you need help with this or any other Lion Brand pattern, e-mail support is available 7 days per week by mailing email@example.com.
For over a thousand free patterns available in versions for the vision-impaired, visit our website http://www.LionBrand.com
To order, visit our website http://www.e-yarn.com or call: (800) 258-9276 any time!
Copyright ©1998-2011 Lion Brand Yarn Company, all rights reserved. No pattern or other material may be reproduced -- mechanically, electronically, or by any other means, including photocopying -- without written permission of Lion Brand Yarn Company.
Click here for Non-Braille display:
View With Images

subset: commoncrawl


text:
Workshop and LEGO Architecture Studio Launch: Villa Pennisi in Musica
LEGO® Architecture Studio, a new concept of the LEGO Architecture line, makes his appearance in Italy in an innovative context of architecture and music. The LEGO Group chose Italy and the prestigious setting of the Sicilian "Villa Pennisi in Musica" event for the launch of the new set of building blocks.
Villa Pennisi in Musica is an architecture and design-to-build summer school and a classical music masterclass, where young architects will be challenged to design and build and acoustic shell for outdoor chamber music concerts from a pile of uncut wood in less than ten days, and host a concert featuring, among others, world-class conductor Sir Antonio Pappano.
LEGO® Architecture Studio will be used during the workshop to help students and architects ignite their imagination and to explore new ways of designing in LEGO forms. Students will also participate in a unique building competition to create 3D thematic models using the new LEGO Architecture Studio Set.
For more information, please click here.
Title: Workshop and LEGO Architecture Studio Launch: Villa Pennisi in Musica
Website: http://www.vpmusica.com/en/workshop/
From: Fri, 01 Aug 2014
Until: Fri, 15 Aug 2014
Venue: Villa Pennisi
Address: Piazza Agostino Pennisi, 29, 95024 Acireale Catania, Italy
MOMA Announces Barry Bergdoll's Successor for Chief Curator of Architecture & Design
Martino Stierli, a Swiss architecture and art history professor interested in "how architecture is represented in the media and intersects with art," has been named Barry Bergdoll's successor as the chief curator of architecture and design at the Museum of Modern Art (MoMA).
In a Press Release, Stierli comments upon his appointment: "Since its inception, MoMA has presented groundbreaking exhibitions that promote and critically reflect upon modern and contemporary architecture. By continually expanding its comprehensive collection, the Department of Architecture and Design has been pivotal to the preservation of modernism for the future, and to making that heritage accessible to scholars and the broader public alike. I am excited to continue this tradition at MoMA and look forward to working with the Museum's extraordinary team to contribute to shaping the current discourse on architecture and the city—locally, nationally, and globally."
He will begin his new role in March 2015. Learn more about Stierli, and how his appointment will influence the MoMA's exhibitions, at The New York Times' Arts Beat Blog.
Call for Entries: Ideas to Remember
The series of earthquakes that began on 4 September 2010 altered the Canterbury landscape and had a huge impact on the people. Now it's time to create a place to remember.
The Canterbury Earthquake Memorial will honour the lives of those who died in Canterbury's earthquakes and provide a place for individuals and groups to pay respect. It will acknowledge the shared trauma experienced by the people of Canterbury.
It will also give recognition to the people who participated in the rescue and recovery operation, and provide a special place for holding events, such as the annual memorial gathering on 22 February. Design ideas must be submitted by 12 noon (New Zealand Standard Time) on 22 August 2014.
For more information, please click here.
Craftsmanship: Material Consciousness – Inside Indonesia's Pavilion at Venice Biennale 2014
At its debut at the Venice Architecture Biennale 2014, Indonesia offers a peek into the country's past 100 years of architectural history in its pavilion: "Craftsmanship: Material Consciousness." Moving images projected onto glass panels tell Indonesia's story through the development of six materials, traced over time: wood, stone, brick, steel, concrete and bamboo. See images of the pavilion and enjoy a statement from the curators after the break.
Lecture: Architecture as a Way of Life and Placemaking
Rafiq Azam is the principal of SHATOTTO architecture for green living, based in Dhaka, Bangladesh. He will introduce us to his work and city, which is also home to works by Louis Kahn. Azam's "green" is not about global ratings or the current sustainability trend. It is his response to the sky, water, and vegetation that surround him and his city. There is an apparent simplicity in Azam's work that disguises and belies a complex fabric revealing the wonders of the cosmos.
"Shatotto" in Bangla means "doing something continuously." Azam creates spaces and structures for one's senses and thoughts in the context of South Asia's past and future. His presentation will coincide with the New York introduction of his monograph by SKIRA, the first ever published about a Bangladeshi architect.
Title: Lecture: Architecture as a Way of Life and Placemaking
Website: http://cfa.aiany.org/index.php?section=calendar&evtid=7182
Organizers: Asia Society New York
From: Mon, 28 Jul 2014 17:30
Until: Mon, 28 Jul 2014 20:00
Venue: Center For Architecture
Address: 536 LaGuardia Place, New York, NY 10012, USA
Architect to Buy/Re-Purpose Rudolph's Orange County Government Center
Some people hate Paul Rudolph's Orange County Government Center in Goshen, New York, while others love it. Despite the Brutalist building's eligibility for landmark status, its current fate is up in the air. Gene Kaufman, a partner at Gwathmey Siegal Kaufman Architects, has offered to buy and repurpose the building. To learn about his proposal, head to the New York Times to by clicking here.
Why We Can Thank Gehry, Graves, and Scott Brown for Julia Morgan's AIA Gold Medal Win
Considering Julia Morgan was overlooked for over 100 years and has been dead for over 50, naysayers may consider her recent accolade as the first woman to receive the AIA Gold Medal something of an empty gesture. However, the prestigious group of supporters who compiled her nomination package – among them Michael Graves, Frank Gehry, and Denise Scott Brown - would beg to differ. To find out how and why the trio championed Morgan's case, check out this article on SFGate.
Retirement Community Is Fastest Growing Metropolitan Area in U.S.
While other cities in the United States are shrinking, the world's largest retirement community – The Villages - is booming. Completely devoid of crime, traffic, pollution, as well as children, the fastest growing metropolitan area in the country raises serious questions about the concentrated demographic's future infrastructural needs. After all, by 2050, the over-60 set is expected to almost triple to 2 billion. To learn more, check out this fascinating article on Bloomberg.
Tree-Like Skyscraper Takes Urban Farming to Next Level
Urban farming is nothing new, but Aprilli Design Studio's proposal for a completely open-air skyscraper does put a novel spin on the sustainable ideal. Instead of tacking greenery onto roofs and balconies, they incorporate agriculture into cities by dedicating entire buildings to the cause. To learn more about the tree-like design, check out Fast Company's article here.
Why Don't Architects Sign Their Buildings?
It is a curious fact that architects do not put their signature on buildings. While even a novice architecture enthusiast can pick out a Frank Gehry building in any given city, there is no physical statement within that building identifying Frank Gehry as the designer. But why not? This article by Planetizen asks explores this interesting question.
New Study Discredits Bilbao Effect
Before George Lucas found a home for his museum in Chicago, the mayors of other cities were desperately vying for the honor (see Los Angeles Mayor Eric Garcetti above). If they are still disappointed about losing out, a new study about the aftermath of building cultural centers might offer some consolation. To learn about the planning fallacies and negative outcomes often associated with these building types, check out CityLab's recap.
ECOWEEK London 2014
ECOWEEK is a non-governmental NGO with the mission to raise awareness on environmental issues and Climate Change and to promote the principles of sustainability. ECOWEEK has been organizing conferences and workshops across Europe that inspire and empower young architects to be active designers for the benefit of their communities.
Since 2005 ECOWEEK has hosted keynote lectures by leading professionals and thinkers including award-winning architects, such as Shigeru Ban, Ken Yeang, Bjarke Ingels, Francis Kere, Francoise-Helene Jourda, Michael Sorkin and landscape architect Julie Bargmann.
The ECOWEEK International Conference & Sustainable Design Workshops is scheduled to take place in London in September 14-21, 2014. The event is expected to attract young architects, landscape architects, designers and architectural students from the UK and abroad.
Terence Gower: SuperPuesto
SuperPuesto is a temporary pavilion by Terence Gower commissioned by The Bronx Museum of the Arts in collaboration with the Andrew Freedman Home for Beyond the Supersquare, the first U.S. museum exhibition to examine the complicated legacies of modernist architecture in Latin America and the Caribbean through the perspectives of 30 contemporary artists. With the goal of providing an immersive space for visitors to experience the exhibition's artistic and architectural themes, SuperPuesto also serves as an annex for educational and public programs related to Beyond the Supersquare.
Assemble Architects and the Coming-of-Age of the Pop-Up Project
In his interesting profile of the young London-based practice Assemble, Rowan Moore of the Observer investigates the work of arguably the best collective of designers to emerge from 2010′s "Autumn of Pop-Ups" – examining how they have stayed true to the more noble aspects of pop-up architecture despite the concept's increasing commercialization. From their first project, a temporary cinema in a petrol station, to their recent Yardhouse project in Stratford, Moore finds an architecture that values exuberance and fun, yet is mature and refined. You can read his article in full here.
Exhibition: Lebbeus Woods, ON-line
The Museum for Architectural Drawing presents Lebbeus Woods, ON-line, an exhibition of the finest works of architectural theorist, draftsman, educator and architect, Lebbeus Woods (1940–2012). Curated by his longtime friend and partner Christoph a. Kumpusch, the exhibition brings together a collection of Woods' visionary works that have never been exhibited before. The intensely rendered architectural and urban environments produced early on in Woods' career are exhibited together for the first time. These ink and pencil drawings cover a wide range of Woods' research and re-imagination of cities both real and fictive and support Woods' longstanding desire to show the capacity of architecture as a transformative and eloquent force.
Moriyama RAIC International Prize
Raymond Moriyama FRAIC, the Royal Architectural Institute of Canada (RAIC) and the RAIC Foundation have created the Moriyama RAIC International Prize to raise the international stature of the RAIC and the Canadian architectural profession.
The Moriyama RAIC International Prize will be awarded every two years. It will consist of a monetary award of CAD $100,000 and a handcrafted sculpture designed by internationally renowned Canadian designer Wei Yew. Every edition of the prize will feature a new piece by Wei Yew, each based on a separate and unique interpretation of the Canadian landscape.
The prize is awarded to an architect, team of architects, or architect-led collaboration, based anywhere in the world, in recognition of a single work of architecture that is judged to be transformative within its societal context and expressive of the humanistic values of justice, respect, equality and inclusiveness.
Three finalists will be identified in an open, juried selection process, and invited to attend a formal gala where the Moriyama RAIC International Prize winner will be announced and the prize presented. The inaugural gala will take place in Toronto on October 11, 2014. More information can be found here.
Exhibition / Designing a Moment: The London 2012 Cauldron
The Cauldron, designed by the internationally renowned Heatherwick Studio, is one of the most enduring and creative symbols of the London 2012 Olympic and Paralympic Games. 204 unique copper elements, each alight and representing every competing nation, were arranged in sublime concentric formation at the tips of slender mechanised steel stems. Slowly pivoting sequentially, they converged to form the Cauldron, in which the Olympic, and later Paralympic flame, would burn brightly for the duration of London's summer of sport.
Designing a Moment: The London 2012 Cauldron, a new gallery at the Museum of London, tells the story of this moment, and celebrates the London 2012 Cauldron.
In the courtyard of the museum, a bespoke new pavilion to house the exhibition has been specially designed and built by Stage One – the creative engineers behind the London 2012 Cauldron. The permanent addition is the first new gallery in the museum since 2010, coinciding with the two year anniversary of the Olympic opening ceremony, when an audience of over one billion people first set eyes on the Cauldron.
Title: Exhibition / Designing a Moment: The London 2012 Cauldron
Website: http://www.museumoflondon.org.uk/london-wall/whats-on/exhibitions-displays/the-london-2012-cauldron-designing-moment/
From: Fri, 25 Jul 2014
Until: Sun, 28 Sep 2014
Venue: Museum of London
Address: 150 London Wall, London EC2Y 5HN, UK
Mies Crown Hall Americas Prize to Celebrate the Best Built Works in the Americas July 9
This July 9th, the winners of the inaugural Mies Crown Hall Americas Prize (MCHAP) – for which 36 outstanding projects have been shortlisted - will be announced in Santiago, Chile. Our editor-in-chief, David Basulto, has been named a founding member of the International Advisory Council of MCHAP, and ArchDaily will be covering the event. Read on after the break for details of the event.


text:
- i_like_swords
- Online
- Follow
- Forum Posts: 20380
- Wiki Points: 2126
- Followed by: 162
- Reviews: 0 Lists: 3
Mainly street level, but I like reading high level teams. Right now I'm reading New Avengers and Guardians of the Galaxy, along with Deadpool, hawkeye, soon to be daredevil.. I think I like seeing the personal thoughts and stuff in a solo street level series, but also the team dynamic of high level teams.
- Forum Posts: 6471
- Wiki Points: 0
- Followed by: 22
- Reviews: 0 Lists: 0
I put Mid and High because all my heroes range in between them. Street level/lower powered characters are more relatable, which is why I like them. However, there are high leveled characters that I love.
- Forum Posts: 4713
- Wiki Points: 10782
- Followed by: 134
- Reviews: 2 Lists: 3
@gungunw: I would say high
- Forum Posts: 844
- Wiki Points: 0
- Followed by: 5
- Reviews: 0 Lists: 0
What would a "below streel level" be? A guy in a wheel chair?
- i_like_swords
- Online
- Follow
- Forum Posts: 20380
- Wiki Points: 2126
- Followed by: 162
- Reviews: 0 Lists: 3
@tacos_kickass: Probably someone who isn't skilled in martial arts or fighting of any knid, the comic might not revolve much around fighting.
@tacos_kickass: People like Bob, Agent of Hydra, Kick-Ass
- Forum Posts: 8023
- Wiki Points: 684
- Followed by: 105
- Reviews: 0 Lists: 4
I like substreet level heroes and villains......
- Forum Posts: 8024
- Wiki Points: 1
- Followed by: 61
- Reviews: 0 Lists: 0
What would be an example of a mid-level character?
I voted street level, more relateable and fun to read. After that my favourites would be high level, then cosmic level.
EDIT: after street level i'd vote mid-level then high level, then cosmic level. I think sky father level would be on a higher level then cosmic level though.
I mostly like characters based on design, personality, and story. Powers is a secondary concern of mine, but I do tend to prefer characters that are between street and mid level in power, since not only are they more realistic (even in a pseudo-science medium), but that their fights are more interesting. You see Superman in a fight and you know he's going to win, there's not much tension. Not only that, but you generally have to make characters that are as or more powerful than Superman, to which point they often get defeated in anti-climatic ways and then get sweeped under the rug by writers because they are too powerful. With weaker characters, you can still see very impressive displays of power while still feeling like they are vulnerable and may not succeed, and their villains can have more creative abilities to make the fights more interesting than just a boxing match.
Highlevel or Streetlevel.
@14nc3: Mid-level would be like Spiderman, or the X-Men. Not at Superman's league, but too strong for humans.
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I have been using acuvue moist lenses now for about 5 years having tried all the rest. I have to say that nothing comes close to the level of comfort in a daily lens. I even prefer them to the newer Trueye lenses by Johnson & Johnson. The only problem is that they are incredibly difficult to get hold of where I live. Which is just as well because now www.europtix.com ship there too :)
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The Top 10 In Action Sports
01Welcome to Qasr Al-Farid: The Rock With A Door That Will Rock Your World
0218 Things That Will Give Anyone Who Did Duke Of Edinburgh A Serious Flashback
0316 Things That Will Give 90s Skater Kids A Serious Flashback
04This 10 Year Old Kid Just Nailed A Dub Cork 1080... On His Second Attempt
05The 10 Most Spectacular Road Trips on Earth
06Water Slides, Plane Wings and Danny MacAskill: This is Road Cycling Like Never Before...
0724 Reasons Why Snowboarding Was Better In The Early Noughties
08Could Scientists Be About to Build a Terminator? They're Closer Than You Think…
09Win a Holiday for 2 in Chamonix with Three #holidayspam
1017 Holiday Beer Photos That Every Skier Takes to Make Their Friends Jealous
10-12: Sun Valley, Idaho
A Other video by yournewbestfriend - 4,025 views
This week, Joe Lammers visits a Hollywood favourite, Sun Valley, Idaho. Opened in 1936 by the Union Pacific Railroad, Sun Valley is America's first destination resort. The resort became an instant success, visited by European nobility and Hollywood royalty. Bright, sunny days with comfortable temperatures combined with long, wide-open groomed runs, powder bowls, incredible scenery and Western hospitality will make a visit to Sun Valley second to none.
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Welcome, Shelly! Just wanted to stop by and say hello from Sorry, Mom. I didn't listen.


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I am working on a project where I want to have the ability to specify that certain nodes of the replica set can never be primary nodes ie in case of a failure where all primary capable nodes die the system should be reduced to a read-only state till some primary capable node comes up. Is this possible? If yes how? If not what is the best way around it.
This is from the documentation (emphasis mine):
So setting the priority to zero should achieve what you want.
From what I can tell, mongodb does not completely support what you require yet. If you restart a read-only slave while there is no primary, it will enter STARTUP2 state, not SECONDARY. Trying to query a mongod instance while in STARTUP2 will fail.
So if you had a unrobust setup, e.g. your cluster of masters and cluster of read only servers in the same city and there was a power cut, and you end up with the primary DC down (someone forgot to check the generators & UPS) and the read only servers came back up fine (generator in other DC works fine) then you will be in a situation where the slaves will not work.


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Latest Severe acute respiratory syndrome Stories
Erasmus virus resets cells' genes and causes breathing distress and kidney failure
The World Health Organization (WHO) reported yesterday that it had received confirmation from the Saudi Arabia health ministry that another person has died from the coronavirus, raising the death toll to nine and total case count to 15 since the first case was discovered last fall.
The deadly new virus that has caused 14 people to fall ill and resulted in eight fatalities to date has yet to infect anyone in the US, but that hasn't stopped the Centers for Disease Control and Prevention (CDC) from issuing a preemptive warning to state and local health officials.
A new strain of coronavirus, which has already infected 12 people and killed six in the past several months, has been found to breed in the human body much faster than SARS and can evade the immune system just as easily as a common cold.
A twelfth person has contracted the potentially life-threatening, SARS-like virus that has only recently been discovered in humans.
Last September, a Qatari man was diagnosed with a respiratory illness similar to the SARS virus. According to the World Health Organization (WHO), this 49-year old man was the second person confirmed to have been diagnosed with the new coronavirus.
According to a new study, the new coronavirus has many potential hosts and could pass from animals to humans repeatedly.
A new coronavirus, similar in nature to SARS (Severe Acute Respiratory Syndrome), has infected six and resulted in two deaths in the Middle East, various media outlets have reported this weekend.
Latest Severe acute respiratory syndrome Reference Libraries
The masked palm civet (Paguma larvata), also known as the gem-faced civet, can be found in Southeast Asia and the Indian Subcontinent. Its range includes China and the islands of Sumatra, Borneo, Taiwan, and the island chains of Nicobar and Andaman. It does occur in Japan, but experts do not know if it is native or introduced in that area of its range. It prefers a habitat within temperate deciduous forests and tropical rainforests. The masked palm civet resembles most other civets in body...
The SARS coronavirus is the virus that causes severe acute respiratory syndrome (SARS). In 2003 the World Health Organization issued a press release stating that the coronavirus identified by a number of laboratories was the official cause of SARS. It causes severe illness marked initially by systemic symptoms of muscle pain, headache, fever, followed in 2-10 days by the onset of respiratory symptoms, mainly cough, dyspnea, and pneumonia. SARS patients have a decrease in the number of...
- Large; stout; burly.


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BRPP Presents: PLAGIARISM!!! Words Are Meant for Sharing Not Stealing
in Art
In light of recent events that have shaken our FB literary community,BRPP Network Radio feels a responsibility to have at least one, if not a series of shows on the evil that is known as Plagiarism!!! If you are a writer, period, you have probably experienced and/or felt the cold hands of this evil touch you and we must ban together as a true community, as one, to bring awareness to this issue and to stop it! If one writer's heartfelt and creative words are stolen, then we have all suffered a huge lose and together we mourn, so together we must warn!!!
FEATURING SPECIAL GUEST KT THE ARCH DEGREE, Founder Of Hollywood Decoded
Ghostwriting and Plagiarism with Jackie Alnor
in Religion
Do many famous Christian authors really write their own books??
Join me and my special guest Jackie Alnor, to discuss Ghostwriting and plagiarism.Who are the worst offenders??
We will also discuss the hot topics in the news!
Mary Burke don't know what Plagiarism is
in Politics
Mary Burke don't know what Plagiarism is
Dictionay.com (Plagiarism)
"plagiarist, literary thief" Literary theft. Plagiarism occurs when a writer duplicates another writer's language or ideas and then calls the work his or her own. the act of taking the writings of another person and passing them off as one's own. The fraudulence is closely related to forgery and piracy-practices generally in violation of copyright laws. a piece of writing or other work reflecting such unauthorized use or imitation:
SHOCKING: Careers Built With Plagiarism
in History
As any writer will tell you, without even the slightest provocation, writing is hard. When the strain of coming up with new material becomes too great to bear, a writer has two options: He can pepper his work with sex jokes or he can steal his words from a better writer.
Occasionally, a brilliant (or at least sort of clever) mind comes across a bad spell of writer's block and gives into the temptation to be a cheating plagiarist. Sometimes this blatant plagiarism ends up being the catalyst that launches their career like a rocket powered by lies.
Truf Bros Radio: Who Stole the Soul
Please join Ray and Devon as the discuss the recent plagiarism of Marvin Gaye's song "Got to Give it Up" by Robin Thicke's "Blurred Lines". Robin Thicke's single "Blurred Lines"single was nominated for two Grammy at the 56th Annual Grammy Awards, including Record of the Year and Best Pop Duo/Group Performance. With the estate of Marvin Gaye being awarded 7.4 million dollars as settlement do you think that it fair that people have being stealing elements of soul without giving credit? Is it cool that these blue eyed fair skinned soul singers are being propelled to fame? Check us out Mondays at www.trufbrosradio.com or by calling in 818 514 1202. Also feel free to check out past episodes at at www.trufbrosradio.com, Audiomack, or iTunes podcast and get the TRUF!
Hatchet Show: Spiderbaby and Plagiarism
Join Eric Morse as he talks about the recent controversy with Liann Spiderbaby and the subject of plagiarism. This situation has become rampant in the horror community and Eric is going to put the hatchet down....
Copycat Rod Parsley Operating Paula White's First Fruits Offering Scam (16)
in Christianity
Today, Rod Parsley is one of the most notorious, heartless, conscience seared con men fleecing the Body Of Christ! There is no trick, no scam, no heresy, no lie, no theatrics Rod "Used Car Saleman" Parsley would not employ if it gave him the ability to divest gullible Christians of their financial resources. One such hustle Rod Parsley uses to the max is the "First Fruits Offering Scam," created by fellow-wolfette Paula Michelle White Of New Destiny Christian Center Church and Paula White Ministries. Not only is Rod Parsley a wolf in sheep's clothing, he is also a copycat who lacks imagination and the creative abilities to develop his own scams. Thus, you will discover that Mr. "Polly Wants A Cracker" Parsley parrots Paula White's First Things First mumbo-jumbo verbatim! Watch out Rod! Paula White may have her team of lawyers sue you for copyright infringement and plagiarism! Tune in and find out what Wolf Tracker has to say about Rod "The Parrot" Parsley!
Wolf Tracker is a tireless protector of Christ's global flock and an avowed enemy of all Prosperity Gospel Wolves who masquerade in sheep's clothing in order to fleece the saints!
Please tell your fellow church members, saved family members, saved neighbors, saved co-workers and saved friends about this riveting and uncompromising internet radio program!
!!The myth and making of a European Jesus !!!
in News
In this episode king yashua masterfully lays out the blatant plagiarism between the story of A set and Heru...and Mary and Jesus...He continues on his mission to enlightened the lost so that might KNOW THY SELF...
in Comedy
Anya and Phil valiantly try to keep up with the lightning-quick mind of this week's guest, comedian Dave Attell. Topics: Anya watches Dave's special with her dad; dyslexia's cool period; Anya's hippie upbringing, the SF comedy scene, political correctness, language, how audiences have changed, the Clapper, growing up in Long Island, the most profound diff between music + comedy, Top 5, are all jokes / songs autobiographical?, Dave's obsessive checking, unconscious plagiarism + Lita Ford, code words + phrases in songs, pining for old NY, Big Jay Oakerson, quitting smoking, new material + keeping it fresh, gigging around town, Fran Lebowitz, Dave attempts to manage Anya's career, girl bands.
Follow Dave Attell @attell on Twitter (see Dave Dec 26, 27, 28 @ Caroline's in NYC w Louis Katz)
Phil Hanley is at the Syracuse Funnybone, 12/26 + 28 and Ann Arbor Comedy Showcase Jan 22-24
KTL RADIO presents THE GOD NEWS ft Dr Gabriel Oyibo
in News
Join us tonite for a SPECIAL BROADCAST featuring Dr. Gabriel Oyibo, the man responsible for conveying the God Almighty Grand Unified Theorem (GAGUT). This scientific equation is the sum total of all things in existence, Gij,j=0 and he attributes it to the sum total of all things in existence that exists in US.
When we realize that we are all in this together the revelation that we are all one will permeate throughout the hearts and minds of the masses. The past has always granted us the necessary foundation when honored with the proper respect. The now is an infinite gift which is called the present, is it not? Tomorrow is our future and for millennia it has been exploited and endangered by way of genocidal massacres, rape, and historical plagiarism.
To ensure our future is to ensure our unity of existence. A unified field already exist awaiting our alignment attunement and acknowledgment of it, no matter the ideology, for science calls it the Big Bang, religion states god said... "Let there be light!" and ancient mystery systems proclaim the roaring waves of Nun. All producing the thought in particle form known as the atom of hydrogen (thought with mass). The universe is geometrical and time is a measurement of duration. With separatist views plaguing our community and integration taking us way out of context, a miracle equation for a solution is something we can all agree upon along with the old adage men lie women lie but numbers don't, in which Gij,j=0 and thats all we wrote.
Plagiarism: Who Cares?
Lee talks about why the Brandon Darby Plagarism -- the complete lack of response to it -- actually matter.
- ...
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Posts Tagged: Beer Art, Language and Writing
Tweeeeetttt! Final Entries for the 2014 Xmas Contest
Posted by Alan McLeod on Saturday, December 13, 2014 in Contests, Beer Art, Language and Writing, About A Good Beer Blog And Its Readers - 2 comments
And that is that. The final entries for the photo contest came in yesterday more or less on time. We use the Hawaiian time zone plus or minus 20% rule... as no doubt you all do, too. There are photos from Alan McCormick of Montana, Peter Bailey of Alberta, Jan Zeschky of British Columbia, Robert …
Just Over Twenty Hours For Xmas Photo Entries
Posted by Alan McLeod on Thursday, December 11, 2014 in Contests, Beer Art, Language and Writing - 2 comments
Just like that, it's almost over. Late November to mid-December goes like a bat out of hell. You turn around and you are fifty-one. Oh. Oh, yes you do. OK, you need to get your entries in now. Deadline is tomorrow. Unless there are beggars. And there are always beggar. The cat got ill. My dinner …
Deadline Day Minus Six And One Great Quote
Posted by Alan McLeod on Saturday, December 6, 2014 in Contests, Beer History, Lore and Traditions, Beer Art, Language and Writing - leave a comment
Beer is a popular subject, and the literature abounds in unsupported statements, misleading or inaccurate quotations and inadequate references. • Wilson, D. Gay. "Plant Remains from the Graveney Boat and Early History of Humulus lupulus in W. Europe." New Phytologist 75 (1975) 627 at 639 …
Session 94: Does It Matter What I Am?
Posted by Alan McLeod on Friday, December 5, 2014 in Long Writing, The Session, Thinking About Beer, Beer Art, Language and Writing, About A Good Beer Blog And Its Readers - 2 comments
Ding has asked a very direct clear question for this month's edition of The Session: which part of the beer scene do I currently inhabit? I am not sure I should care but I know I once was curious. In a 2007 email, I asked Evan Rail about my writing and he kindly wrote back: • ...Stan's got it …
2014's Yuletide Beery Photo Contest Adds Motion
Posted by Alan McLeod on Tuesday, December 2, 2014 in Contests, Beer Art, Language and Writing, Beer and Media - 1 comment
OK, this is a new one. I received this message from Rockford by Twitter today: • @agoodbeerblog Alan, does this movie we made last winter count for the contest? It's got both beer and snow... • Good Lord! Beer... and snow? We once had a Latvian taking a beer and snow photo in Switzerland but …
239 Years Ago There Was This Tavern And These...
Posted by Alan McLeod on Monday, November 17, 2014 in England and English Styles, Beer History, Lore and Traditions, Beer Art, Language and Writing, Pubs and Tavs - 1 comment
"Settling the Affairs of the Nation"... that is what it's called. After yesterday's 1919 barroom scene from New York City, I was looking for an earlier characteristic tavern scene. Sadly, photography did not exist in 1775 so this print will have to do. Click for a bigger image. The first thing … read more »
POV Test: What Do You See In The Image?
Posted by Alan McLeod on Monday, October 27, 2014 in Beer Art, Language and Writing, Beer News, Beer and Media - 9 comments
This cover image for the upcoming edition of The New Yorker has a lot of people talking. And saying a lot of things. Rather than discuss my thoughts, I am going to just present it in an exercise in critical thoughtful reviewing not only its substance but its effect, to see if you have any …
"There's No Such Thing As An Evil Milkshake"
Posted by Alan McLeod on Sunday, October 19, 2014 in Beer Industry Marketing, Craft Or Kraphtt, Thinking About Beer, Beer Art, Language and Writing - 4 comments
Jordan knocks one out of the park in his column for Canada's Sun newspaper chain by cutting to the chase about the "meaning" of craft beer. Forget about it: • Let me suggest something to you: "Craft beer" has served its purpose as an idea and we need to move past it. We're meant to believe, for …
What I May Think About When They Write About Beer
Posted by Alan McLeod on Wednesday, September 24, 2014 in Long Writing, Thinking About Beer, Beer Art, Language and Writing, Books and Book Reviews - 3 comments
Jeff has written a good piece on the results to be drawn from the experience of being part of a NAGBW judging team: • We had 34 entries that were published in probably ten different publications, and they ranged from very short reviews to lengthy pieces on styles, equipment, or process. One … read more »
Albany Ale: A Photo Of Taylor's Brewery From 1900
Posted by Alan McLeod on Saturday, September 20, 2014 in Albany Ale Project, Beer Art, Language and Writing, Brewery Info - 2 comments
Look at that. Taylor's Brewery from around 1900. Craig posted it up on Facebook the other day and I immediately thought... too bad that bridge is in the way. So, I pulled out the fire insurance map from a few years yearlier and thought some cross referencing of the image would help clarify things …


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Rob Madeo
Man of a certain age
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8 Simple Rules For Walking On My Hardwood Floors
To my family: As we near the completion of the flooring project this would be a good time to point out a thing or two. Brazilian cherry is known for its beauty and durability -indeed it's renowned as an extremely hard hardwood- but to preserve the quality of this material and honor the tireless work […] [Read More]
When the Fir Flies
Bob's Trees asks: "Do you yearn for the yearly family trip to the woods, the smell of a fresh-cut evergreen, and the experience of dragging the family tree through the snow?" Yearn? Dread is more accurate, because in the past our yearly family trips to Bob's have threatened to ruin Christmas before it even started. […] [Read More]
The Truth About Women
The truth about women is that women rule the world. They are sensible and sane, and when driven to action they are extremely effective. Don't cross them. The Glens Falls Post Star this morning reports: FORT ANN — A 43-year-old woman has been charged with felony assault for allegedly beating a man with a piece […] [Read More]
Mulchapalooza Redux
Sorry to neglect Keyboard Krumbs, but work's been a beast. And I really needed to deal with that mulch situation. Look, I never guaranteed that the mulch would be gone on Memorial Day, I just said that I'd start working on it. Good thing, because had I made a guarantee, it would have ended up […] [Read More]
A lot of people in my neighborhood, the ones with the lush green carpets for lawns, actually make a face when they walk by my sorry excuse for a front yard. But I'm going to show them. That photo to the left is $120 worth of mulch, and by 8:00am today I'll be outside spreading […] [Read More]
Instrument of Destruction
I'd like to learn to play a musical instrument before I die. With any luck, that gives me another thirty or thirty-five years, which should be plenty of time. It's not that I haven't tried, like during my fourth grade fling with the trumpet. Never got the hang of that, but I could fake it […] [Read More]
Boys' Life
I spent an hour at work yesterday watching YouTube videos of kids blowing things up. It was great! And no, I was not goofing off, I was doing research! It reminded me of when I was a wee lad, burning and exploding things with my friends. We'd build model airplanes and blow them up. We'd […] [Read More]
Lawnmower Man
My standard of quality for grass is that it's more green than brown. I know this makes me a pariah in a neighborhood of men who carefully cultivate and manicure the lawn, but to them I kindly suggest it's time to get a freakin' life. Plus it's dangerous. Don't they read the paper? PITTSTOWN, N.Y. […] [Read More]
Handyman Corner
It's really important to use the right cut of lumber for the job at hand. We can find an example of using the wrong dimension in this story from WNYT: AMSTERDAM – Two adults and one juvenile were transported to the hospital Friday night after a large fight, according to Amsterdam police. They say the […] [Read More]
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A few remarks on the Tracker film by Henrik Hansen
Posted in: Guitars,Mark Knopfler gear by Ingo on February 23, 2015
The deluxe box set of Mark's new Tracker album features a short film by the Danish director Henrik Hansen. It is already available on Youtube:
I think it is a nice film which shows Mark at work, developing songs for the new record, and at leisure, walking his dogs. I am sure you will enjoy the film very much.
With this blog post, I want to discuss a few guitar details seen in this film – well, this is a guitar site . At the beginning of the film we see Mark in a side house of his home at the English south coast, sitting at a table with a beautiful look on the ocean (which in fact is just 20 meters away). He plays Basil on an acoustic guitar, his vintage Martin D18 (this should be the one pictured in this blog post). On the table we see stuff like a variety of bottlenecks – both brass and glass-, a guitar cable, two books about guitars (Gibson Electrics by A. R. Duchossoir, and the 'bible' about National resonator guitars by Bob Brozman), a Mac notebook, and more. I should be a good guess to say that it is here where Mark composes some of his songs.
At 0:37 we see the same place from outside the window. Here we can see the peghead of a Strat, it seems Mark does not only use acoustic guitars at home but also electrics. Apparently it is his white 1964 Strat, the one used on e.g. Sailing to Philadelphia (we can see it at 1:54 or around 2:49, played in the same room). I wondered if he has certain guitars which he always keeps at home, as it seems most of the electrics are located in the room over his British Grove studio in London, a nearly two hours drive away.
Well, we can see him playing the same guitar at British Grove studio, around 2:24. The song seems to be Lights of Taormina. (I say it seems as I have not heard the album yet, although the first download links have apparently appeared in the web – I ordered my copy of the box set so that I have something to look forward to in March ). The condition of this vintage guitar is amazing! Note that Mark put strings with a wound g-string on it – it seems to be Mark's favourite for slide now (he played Gator Blood with bottleneck on it on the last tour).
The next guitar that appears in the film is the 1958 Les Paul. Here is a picture that shows some setup details, like the height of the stop tailpiece, the pickups, or strings. Note that the stop tailpiece is very low.
Another interesting detail is the view on the software mixer, at 1:20. Mark's electric guitar are the purple mixer rails. Here we see that they recorded the guitar to three parallel tracks, probably one for each microphone they used. The tracks are mixed together with -4.0 dB, -9.8 dB, and -23.5 dB for the three tracks, all panned into the center. The label below says 'mk-elecgtr_57′ for two of the tracks, and 'mk-elecgtr_67′ for the one in the middle. My guess is that two were recorded with a Shure SM57, and one with a Neumann U67.
Like always, use the comment function below to add your comments, or more details that might be worth discussing."Buy me a beer" - donate for the site via PayPal. Or buy a backing track in my online shop :)
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The sound of your pickups – What makes a difference, what not?
Posted in: Guitar in general by Ingo on January 31, 2015
It seems to be out of question that the pickups are an important ingredient that defines the sound of an electric guitar. Besides obvious contruction differences – like overwound single coil pickups, or single-coil sized humbuckers etc. – there are many details , like different magnet alloys or different wire for the coil, that make a subtle or even clear sound difference. And there are many 'external' aspects, like shielding, pickguard materials etc. that might also influenece the sound of a pickup. And of course there are many myths and speculations about what else is said to be important as well – some can be true, others probably not.
With this blog post I want to list and describe some of such aspects, and let you know my opinion on what is important, and what is not. I have a long experience with pickups, so I have tried out much myself, and I think I can judge other questions from my technical background knowledge. Of course there are other things where I am not sure myself, as I have not a/b compared each single possible combination of pickup features within the same guitar, but I will let you know my guess here as well. Much of the stuff I will discuss will be with the typical Strat pickup in mind – the probably most important pickup for us Knopfler fans, but many results will of course also apply to other pickups. So let's start with the…
Pole pieces material
First, there are pickups with Alnico (an AL-uminium/ NI-ckle/ CO-balt alloy) pole pieces and pickups with steel pole pieces which touch a ceramic bar magnet on the underside of the pickup ('ceramic' pickups). The Alnico pickups often have a stronger magnetic pull to the strings which makes them sound more snappy, also they are considered to sound warmer, while the ceramic pickups are said to sound more sterile, or even harsher. Ceramic Strat pickups can be found e.g. in some Squier Strats, and often in low-end guitars, but e.g. the last Van Nuys era Schecter pickups, the 'Monstertone' pickups developped by Tom Anderson, are ceramic as well (these are NOT the Schecter F500T pickups that Mark Knopfler had in his Schecters).
Both will definitely sound more or less different but I have heard many ceramic pickups that actually sounded great, so I would not agree that these are generally inferior. It is rather a matter of what you want or prefer, or maybe also which pickup sounds best in a particular guitar.
Among the Alnico pickups, there are many different alloys, with Alnico V or II being the most important ones. In these the proportions of the three main ingredients aluminium, nickle, and cobalt are different. Alnico V is surely the most important one for Strats, all the original Fender pickups used it. However, there are some who believe that e.g. the Alnico available in the 50ies or 60ies was possibly closer to what comes as Alnico II these days, or that over time the magnets changed – e.g. lost a part of their magnetic strength – and sound for this reason more like a different alloy than Alnico V. Generally V is stronger than II, and the sound is snappier with more punch and direct treble than the softer and warmer sounding Alnico II. Other alloys like Alnico III are also used, possibly in vintage Gibsons or Fenders as well. The problem is that nobody knows for sure what these companies ordered then, or if they sometimes simply changed to a different alloy as e.g. cobalt prices went up, or simply something was not in stock when they ordered.
Conclusion: Makes a sound difference, normally clearly audible
Winding wire insulation
The hair-thin wire for the coil is always made of copper. To wind a coil, you cannot use bare copper wire, it has to be insulated. As it is extremely thin wire, this insulation is not the coloured plastic like on 'normal' cables, but often a clear coat that is not visible with the bare eye. This insulation can be made of different materials, e.g. Formvar or enamel on old Fenders, but also polyurethane or polyamide is used.
As this is just an insulation, you might argue that a different material should not lead to any sound difference. However, it does! How is this possible? This is because all the wire of the pickup coil makes a capacitor – remember from your school days, two opposite metal plates that do not touch make a capacitor. Instead of metal plates we have the wire here, and all the surface of each single winding lies next to another winding, so they make a capacitor as well. Maybe you also remember that the insulating material between these metal plates – e.g. air, oil, paper,.. – also changes the value of the capacitor. So the same is true for the wire insulation, all the different materials have their own specific 'dialectric constant' that influences the overall value of the capacitance.
Not only the material matters, but also the thickness of the insulation. Remember the capacitor at school, the distance between the metal plates matters. While the insulation is always 'thin', it still has a thickness that is not to be neglected. And sometimes the insulation is even thicker for a more durable wire, so called double-coating. When talking about old Fender pickups,you will hear terms like heavey Formvar, or plain enamel. Heavey means double coated here, and plain means single coated.
Conclusion: Wire insulation makes an audible difference as well. It depends not only on the material (Formvar, enamel,..) but also on the thickness so it is difficult to say what exactly sounds like what. The difference might be subtle – but I could assure myself that I can hear it.
Pickups are normally potted with hot wax, sometimes also with laquer (e.g. old Tele nek pickups). This is done to avoid that the pickup is too microphonic. The loser the coil is wound, the more microphonic the pickup might be. You will not only hear a louder noise when e.g. tapping on the pickup (with a non-magnetic material, e.g. with your fingertips), but this will also increase the danger of squealing feedback at high volume.
The wax (or laquer) can change the 'dialectric constant' of the coil as a capacitor (see the passage above), so it can make a sound difference. Some of the early Gibson PAF pickups are said to be non-potted, or hardly potted. The sound might becoame a bit 'airier' without the wax.
Conclusion: Theoretically possible, but a rather subtle difference – not too important in most situations.
Connecting wire
Some pickups have cloth-covered push-back cables, others have plastic insulation cables in different colours. I cannot imagine how this should make any sound difference, so it is just a question of 'vintage-correctness', or of ease to handle it (push-back cable is nice to solder, you just have to push it back a bit, and it will slide back after soldering).
However, if the cables are drilled – like e.g. the three cables on the Schecter F500T pickups – there might be a small capacity again, however so small that I personally would not bother about it too much. If the cables are shielded however, more capacitance is added which might become audible.
Conclusion: Normally no difference
Age/Magnet strength
A stronger magnet results in clearer and stronger treble, and a snappier tone, similar to the difference between e.g. Alnico V and II (see above). The strength can be measured, and it is a fact that with age magnets can lose a part of their strength. It is possible to remagnetize them to their original strength if they become too weak. The slightly weaker magnets might be one ingredient of vintage tone! Also you should avoid to use a soldering gun (instead of a normal soldering iron) when handling pickups, and for sure be careful when placing your guitar near to very strong magnets (e.g. resting it against a speaker cabinet with powerful speakers). This can not only make the magnet weaker but also cause some weird magnetic behaviour within the pole pieces.
Conclusion: Makes a sound difference.
Single coil pickups will hum when being exposed to certain magnetic fields. The idea of a humbucker pickup was to eliminate this hum by using two coils with opposite polarity. A similar hum cancellation can be achieved with two single coils as well (e.g. when playing the typical Knopfler bridge-middle pickup sound). The two pickups must be wound in opposite directions then (this is meant with RW for reverse winding). To avoid that the sound of the guitar strings is cancelled as well, the polarity of the pole pieces must be different, too (RP for reverse polarity). This idea came up in the 80ies I think. Mark's Fenders and Schecters at the time of early Dire Straits did not have RWRP for this reason.
Apart from some theoretical reasons related to two coils with different magnetic fields that influence each other, I don't see how this can affect the sound of the guitar – at least not as much to make an audible difference.
Conclusion: I don't think it can make an audible difference.
Pickup dimensions
If you look at several old Fender pickups, you will often notice that they all look a bit different. Some seem to be a bit taller so that the pole pieces seem a bit shorter on the top side. This will affect the dimensions of the coil, a flatter coil with the same number of turns will appear wider, while a taller coil will be narrower. The different distance from the wire to the magnets will change the properties of the coil, so this can make a sound difference. A wider one should be a bit warmer, while a taller one should have a bit more treble.
Conclusion: Might make a subtle difference.
Winding pattern
In the old Fender days, the pickups were wound on machines but the wire was guided by hand. When winding more than 8,000 turns on a coil, the girl who operates the machine – mostly girls did this job at Fender – has to make sure that the wire goes evenly on the coil to avoid all wire being in the middle of the coil only, so she will move her hand to guide it from one side of the coil to the other, back again, and so on. If she does it quicker, or even at some random pattern, you will get what is called a scatterwound coil. The pattern in which one layer of wire lies to the next, or even one turn of wire, might again influence the capacity, and possibly other properties of the coil as well.
Conclusion: Might make a subtle difference.
Screws, rubber tube, springs
This should not make any sound difference. It is true that each piece of metal that comes into the field of a pickup affects the tone, due to an effect called eddy currents (see below), but different pickup screws, or a metal spring instead of a piece of rubber tube to hold the pickup, should not be enough metal to make it audible.
Conclusion: Not important for the sound.
Base plate / Metal cover
The original Telecaster bridge pickups had a piece of metal below their bottom bobbin. This changed the field of the coil, and also reduced treble due to eddy currents. Some maunfacturers add such a plate to some Strat pickup models as well, often for the bridge pickup, to boost bass a bit and make treble end softer.
The same is true for a metal case, as. e.g. on a Tele neck pickup, or on a PAF humbucker. Removing / adding these will make a clear sound difference (more treble without case).
Conclusion: Make a clear difference.
Distance between pickups and the strings
The closer the pickup is to the strings, the louder the pickup will be. The sound also becomes more direct, more snappy and punchier. However, you will get the infamous 'Stratitis' effect, a strange wobbling and somewhat 'out of tune' sound as the magnetic pull makes the string vibrate unevenly.
Conclusion: Besides the volume differnce and the Stratitis, this will also affect the tone to some extend.
To avoid hum from electric fields (it does not help much against magnetic fields), some manufacturers use a shielding foil, or an aluminium shielding plate below the pickguard. Believe it or not, this can make a sound difference, due to possibly added capacitace but more because of what is called eddy currents. These will dampen the resonance peak of the pickup, and also change the frequency response close to this frequency. The more metal you have within the magnetic field, the stronger the effect. This means a very thin foil will not make an audible difference, but the 0.3 mm shielding plates of those 60ies Strats – like Mark used to play – does.
Schecter F500T pickups have a loop of shielding copper tape around the coil. This also makes a difference – even a big one! This is mainly because of added capacitance, plus some eddy currents.
Conclusion: Not with a very thin foil, but can make a difference otherwise.
Pickguard material
It should not matter if the pickguard is 2 or 3 millimeters, or of vinyl or celluloid BUT … if it is made of metal it will have a big effect on the tone! This is because of eddy currents again. The aluminium pickguard on Mark's red Schecter Strat clearly changes the tone of the pickups a lot! The effect is much stronger than most other aspects discussed before. You might say there is only a subtle sound difference between e.g. an original Fender vintage pickup and a good replica like the Seymour Duncans which Mark put in his red Schecter, but there is a huge difference between the same pickups in a plastic or metal pickguard. This is a part of the Schecter Dream Machine sound but there were many old Fenders with anodized aluminium pickguards as well (e.g. David Gilmour's #0001 Strat). Search on youtube, you will find many videos to demonstrate this.
Conclusion: Makes a big difference.
Volume and Tone pot values
Makes clearly difference, see this blog post for more info.
Guitar cable quality
The quality of the guitar cable also makes a sound difference. Each cable has a capacitance, a typical cable about 30 pF per feet. So the longer the cable, the more capacitance, but the distance between the inner lead in the cable and the outer shielding also affects the total capacitance. The resonance frequency of a Strat pickup will shift from about 8 kHz without a cable to something like 2 – 5 kHz with a cable! An 8kHz resonace peak will not sound ideal for many situations, definitely not for most distorted sounds, so the cable really shapes the sound here, adding (!) midrange to the sound while reducing treble.
Conclusion: Can make a big difference.
The material, or colour, (black/grey fiber board, plastic) of the pickup bobbins should not matter at all.
Bevelled/unbevelled pole pieces however can make a very subtle difference as the magnetic field can be a bit stronger, or more focussed, at the end of a bevelled magnet (bevelling was done to make it easier to push the pole pieces into the bobbin, not to shape the sound).
The material or thickness of the plastic caps does not matter. An original or rewound coil should not matter if everything is exactly the same (which in fact hardly ever will be) but generally a good rewinding job with the right materials does not automatically mean a loss of sound.
Staggered or flat pole pieces lead to different volume of the individual sound, and other effects due to a different magnetic field are possible but seem to be unlikely to me.
The tension of the wire while winding makes a subtle difference. With more tension the wire is puuled and becomes thinner a bit, so the DC resistance per turn will increase.
Of course different wire gauge (AWG 43, AWG,43,…) makes a big difference, so does different pole pieces diameter, but these are really differences that totally change the design of the pickup and should not be considered here in this list for this reason.
A Tele bridge pickup will sound different in a Tele bridge of massive brass – like the Walk of Life tele bridge – than in a Fender vintage bridge of much thinner steel. This is due to eddy currents again, and adds to the tone change of a brass bridge vs. a steel bridge (that can also be heard acoustically with the unplugged guitar)."Buy me a beer" - donate for the site via PayPal. Or buy a backing track in my online shop :)
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Total Resistance – Add Sweetness – Remove Harshness – Shaping the sound of your pickups for the Mark Knopfler Sound
Posted in: Guitars,Mark Knopfler gear by Ingo on December 11, 2014
I guess most of you know that the value of the volume pot affects ths sound of your pickups. I already wrote a blog post on this some time ago – please refer to this to understand terms like 'resonance peak' and what it means for the sound. Today I will cover some more details of this phenomenon, especially with regard to Mark Knopfler's guitar sound.
Does only the volume pot matter or the tone pot as well?
This was really a valid question for me which I was unsure about myself. Of course a smaller value tone pot – e.g. 100k instead of 250k – will act like the 250k pot set to something like '9' instead of '10' even when turned fully up. But here I am talking about a possible effect on the height of the resonance peak of the pickup.
From a technical point of view (skip this part if this is nothing for you), I had reasons to believe that it does not, and also some reasons to believe it does. This is because the tone pot – unlike the volume pot – does not bridge the hot wire directly to ground but does so via the tone capacitor. If you measure the total load of both pots to the pickup, your meter will only show the volume pot value (this is because the capacitor does not pass DC). This was reason to believe it does not affect the resonance peak height. However, a guitar produces AC (alternate current, DC is direct current), and the tone pot passes AC more or less (depending of the AC frequency, and at the frequency where the resonace peak of a pickup sits – some kHz – it passes AC even very well). This is reason to believe it affects the resonance peak height.
I could not find the answer easily in the web, so I simply decided to measure it myself. I found that the tone pot DOES MATTER, equally to the volume pot. For this reason, we need to look at the total load that both pots put on the pickup (two resistors in parallel – this is what the pots are – combine due to a special formula, two identical values will result to half the value – 2 x 250k to 125k – but e.g. a 250k and a 500k will result to 167k). Theoretically, the AC resistance of the tone capacitor has to be considered in the equation as well, but this results to changes < 1%, so I left it out.
Load of the guitar pots for different guitar types
Here I list the load of both pots for the various guitars that are relevant for us MK fans.
small value – soft and sweet (or muddy, depending on the other settings)
high value – bright (or harsh, depending on the other settings)
Fender Strat (any pickup combination except middle & neck or bridge pickup only)
2 x 250k
Fender Strat (bridge pickup only)
1 x 250k
Fender Strat (middle & neck pickups together)
3 x 250k
Schecter Dream Machine (Strat or Tele)
2 x 500k
Fender Tele (>1967, e.g. the black Water of Love Tele)
2 x 1000K
Fender Tele (<1967, e.g. Mark's sunburst Tele Custom)
2 x 250k
Les Paul (bridge or neck pickup)
2 x 500k
Les Paul (bridge & neck pickup)
4 x 500k
Total load for different guitars and effects/amps setups
Besides the load of the guitar pots, the load of other devices in the signal chain also matters. These will combine with the load from the pots following the same formula (parallel resistors). However, not all effect devices matter, only those up to the first in the chain that transforms the signal to a low output impedance (most effects will do, even when switched off, but some, e.g. the volume pedal, do not).
small value – soft and sweet (or muddy, depending on the other settings)
high value – bright (or harsh, depending on the other settings)
Fender Strat (125k) into rack or tube amp or through Active Lead cable (1996 – 2001 tours, 1000k)
Schecter (250k) into rack or tube amp or Active Lead (1000k)
Live in 1979: Fender Strat (125k) into Morley volume pedal (68k) into MXR Analog Delay (500k )
40.5 k
Water of Love Tele (500k) into Morley (66k) into MXR (500k ?)
Making Movies album: Schecter (250k) into Music Man (319k )
Alchemy: Schecter (250k) into Nady Guitar Transmitter (500k ?)
Studio: Fender Strat (125k) into Ernie Ball volume pedal (250k) into rack (1000k ? )
77 k
Les Paul (bridge or neck pickup) into Ernie Ball volume pedal (250k) into tube amp (1000k)
111 k
The effect is less pronounced with a Les Paul but still existing (the resonance peak is less strong than with single coils). On guitars with active pickups, e.g. the Pensa/Suhr MK 1, the pots and other loads do not matter at all.
Can I get any benefit of this and shape the sound of my guitar with my setup
Here is a good and very short answer: yes! You can decrease the load value by simply adding a small resistor – a part for a few cents – into the signal chain to emulate other values in the list above. The resistor connects hot and ground, and can sit anywhere in the signal chain, e.g. between the hot wire and ground on the volume pot, between hot and ground at the output jack, or in the guitar cable plug.
You can use an online resistor calculator like this one to calculate the value you need. Simply put the value of your guitar alone (see list above), for your first effect(s) or amp (you will find most values in the list above as well), and for the resistor into the fields of the online calculator, and press 'calculate'. Change the value of the resistor until you reach the target value for the sound you are looking for, found in the second list above.
Example: you have a normal Strat (125k) that you play into a tube amp (1000k, try 500k for a non-tube amp), and want the soft MK 1979 live sound (Strat, Morley, MXR -> 40.5k). Enter 125 and 1000 into the first fields and some start value into the third, calculate, clear the result and change the resistor value until you get near 40.5. In this example you will need anything about 50k. Buy a 50k resistor – the smallest wattage, usually 0.25W will do, more will not hurt either – and put it into your guitar, or into the plug of a dedicated guitar cable for this sound.
If you want to increase the value, you can exchange the pots in your guitar, or put a standard effect device (500k or 1000k input impedance) before e.g. your passive volume pedal (250k for an Ernie Ball, 68k for a Morley). This way the volume pedal value can be neglected, only the one of the effect will matter.
I might make a future video to demonstrate the change of sound with different values, check out."Buy me a beer" - donate for the site via PayPal. Or buy a backing track in my online shop :)
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Sultans of Swing Sound – Comparing pickup position and 009 vs. 008 strings
Posted in: Guitars,Mark Knopfler gear,Misc by Ingo on December 07, 2014
A few days ago I wrote a blog post in which I compared the first Sultans of Swing solo played with 010 strings and with 009 strings. With today's blog post I want to have a closer look at some details of that sound: I recorded a video to compare lots of different pickup combinations, and to compare 009 to 008 strings. I used the same Japanese Strat copy with the Sultans pickguard with VFS-1 pickups. This way I could emulate sounds that Mark might have created with both Fender pickups or with his DiMarzio FS-1. I recorded the guitar directly into the desk, using the same setup as the last time. Maybe I should have used an amp and mics to get a more authentic sound, this way Mark's version always sounds much better (well, his would still sound better if I had used an amp anyway ). If you have questions about the setup and effects and such, refer to the last blog post.
I compared a few licks with Mark's original, using the guitar track that came available with the Guitar Hero game. I must say that after listening to so many pickup versions, it is not easy to judge which one is best. Depending on the speakers or the listening situation, sometimes this one sounds best, and then again another one. Please don't forget that
I setup a poll again so that you can judge for yourself, and also see what others say. I only included the combinations that seem to be most likely, if you prefer something not mentioned here, let us know using the comments for this blog post.
As most of you voted for the thinner strings last time, I decided to go more into the details here. A the end of the video I am also comparing 009 and 008 strings. Remember, we have a hint that Mark used 008 strings. As both sets share a 011 b-string, I contrasted some single tones on the g-string and on the high e-string. I was surprised to hear how those ultra-thin strings sound, but listen for yourself. I also made a poll for the strings:
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Which strings for the Sultans of Swing sound? – Comparing 010 and 009 strings
Posted in: Mark Knopfler gear,Misc by Ingo on December 04, 2014
Listening to Sultans of Swing in 1979 was one of the reasons I started to learn the guitar. From this time on I wanted to get that magic guitar sound. One major component for a guitar sound is the right string gauge. I guess you all have heard about using heavier strings to get a fuller sound. On the other hand thinner strings are easier to play, and they give you a different kind of attack which can be nice as well.
For most of the big guitarists we know which brand and gauge they played during the different stages in their career. Of course we know a lot about Mark Knopfler's strings, too, but unfortunately there is almost no information about his strings during the time of the original Dire Straits setup. And the guitar sounds of the first two albums are still the holy grail for many of us. Check this blog post for the earliest info we have, including the possibility that Mark played 008 strings.
I personally change string gauge periodically. After playing thin strings for some time I start to miss something and sooner or later I change to heavier strings, and with heavier strings the same is true so that I go back for thinner strings again.
This is why I recorded a video today in which I play the first Sultans solo with heavier and thinner strings for a side by side comparision.
I used a 1983 Japanese Squier Strat on which I installed the Sultans pickguard with the VFS-1 pickups. It seems Mark played a DiMarzio FS-1 (13k!) in the middle position of one of his two Strats in early 1978, combined with a normal Fender pickup at the bridge. With the 'Sultans' pickguard I can switch each of the three VFS-1 pickups individually to the DiMarzio or Fender sound. This is great as with a DiMarzio in the middle I would get new sounds but at the same time would lose not only the normal middle pickup sound but also certain flavours of the traditional bridge & middle sound. The same is true for a DiMarzio in the neck position – this is where Mark's DiMarzio went to in October 1978. With the Sultans pickguard I have all these combinations, all normal Strat sounds plus any DiMarzio/DiMarzio or DiMarzio/Fender combination. 26 different sounds!
I put new Fender 'regular' nickel strings (010 -013-017-026-036-046) on the guitar and recorded the solo over the backing track. Then I changed the three unwound strings to 009-011-015 and recorded it again (with some subtle volume and EQ adjustments to match the differences). I left the bass strings so that I do not have to adjust the trussrod on the guitar and do a complete new setup. I did not try with 08 strings (008-011-014) as these should be similar to the 009s. If the 009s sound clearly better, I thought to examine the difference between a 008 and a 009 and a 014 vs. a 015 later.
I recorded the guitar straight through a treble booster into the mixing desk. You normally need a trebly amp setup (e.g. a vintage Fender or a Jazz Chorus) with a lot of reverb for this sound, plus a little bit of chorus. I added these ingredients in the recording software, just for convenience. Of course I cannot get the original sound 100% this way, as it requires a tube amp, some good microphones, a great recording room, a 1961 Strat, and more, but I was hoping to get something close enough to judge the strings.
So which string gauge sounds closer to the original sound? – I must admit I am lost a bit here. I first recorded with the 010 strings and felt that something was missing. With the 009 strings I felt it was better during recording. However, when I listen to what I recorded later I am not sure anymore…
Maybe you should judge for yourself. You can let us all know which you think is better with the poll below, or use the comment option below this blog post to share your thoughts.
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Emmet Otters Jug-Band Christmas Anniversary Screening Plus The Bells of Fraggle Rock
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The last date listed for Emmet Otters Jug-Band Christmas was Saturday December 22, 2012 / 3:00pm.
Currently at The Castro Theatre
Black Girls Code and Khan Academy Founders Talk Tech's Diversity Divide
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Featured review from anjolie
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Loved the insider info before the movie. And seeing it on the big screen was a real treat.
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This is a must-see film for those who have fond memories of the magic of the holidays in the 1970's and 1980's. It began with a screening of the Bells of Fraggle Rock, then a Q&A with an original Henson puppeteer, then the screening of Emmet...continued
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Some AV problems, but the Castro Theatre is beautiful, so it was wonderful to see these classics there.