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Opinion: Addicted to Killing
"Call of Duty" series encourages detrimental behaviors
Four hundred million dollars.
What would that mean to you?
What if you got it all in one day?
To the heartless creators of "Call of Duty: Modern Warfare 3," it means profit. Big profit.
"Modern Warfare 3″ was the biggest entertainment release in the history of the human race.
It, like its brothers "Black Ops" and "Modern Warfare 2″ before it, broke the five-day revenue record. "Modern Warfare 3″ made $775 million in that time. For perspective, that's almost four times what "Harry Potter and the Deathly Hallows, Part Two" made in the same period.
This makes me wonder: what the heck is wrong with us?
Have we been so perverted by the thrills of video games that we don't even realize when they lose all real value?
Are we so addicted to the flashes and sound effects that the entire teenage population flocks to the game stores, eager for new ways to kill and destroy?
By playing these video games, like the "Call of Duty" series, where all we do is kill the enemy, whoever that may be, we are disrespecting those who are actually fighting in wars.
The United States is a country that has been at war for decades, but hasn't seen war on its own soil for far longer.
The majority of the population has forgotten what war is really like. These games give the impression that it's exciting and adventurous, a blur of kill streaks and rewards that enable you to kill even more people.
The only thing that the games and reality have in common is that people die.
In real life, they don't regenerate.
There are even fictionalized plot lines that seek to justify this bloodbath. These games pit players against enemies who belong to actual, real-world nations, with which the U.S. is either engaged in conflict or could have had conflict with in the past.
This can inflame existing violent tendencies and aggression against the "enemy" nations in the minds of our teenage citizens – who, let me remind you, will one day be voting on whether or not we should go to war.
The plot lines completely disrespect the reality of these situations, and desensitize us to the sacrifices that our nation's soldiers make every day.
Of course, there are also soldiers and veterans out there who play these games that recreate war. Maybe they do it because they miss the action, or because their new life isn't what they thought it would be.
But they're not the soldiers who were paralyzed for life fighting to keep us free. They're not the thousands of veterans out on the streets because they can't put their lives back together.
And they certainly aren't the guys who died.
These games have cultivated a violent culture where high scores in virtual contests translate in some degree to respect and admiration in real life. But not for defeating the Russians or protecting America – this respect arises from the number of kills that the player achieves, or how well he killed someone.
And somehow, this has become just as much a part of teenage life as anything else ever was. The week these games come out, you can't hardly walk through the hallways without hearing someone talking about a kill streak or a head shot.
Even Jr. high-schoolers excitedly discuss reviews, and generally talk about the new edition in the series as if they were addicted to killing.
And you know what? It's possible that they are.
There are many studies that have been conducted that warn of the dangers of video games in general. Personally, I have nothing against most video games – games that make you think, like Tetris, have even been proven to increase brain functionality – but there are worrying studies concerning violent video games specifically.
In general, they all point to the same net result: activity in key areas of the brain decreases. These regions of the brain include the areas that regulate emotions, aggressive behavior, and self-control.
It doesn't matter whether or not you "think" violent video games are affecting you – if you play them in excess, if you immerse yourself in them for long periods of time, they are.
Even if you don't believe the scientists' argument that those three effects lead to a desensitization to violence, the simpler results are quite evident to everyone.
Of course, you can side with the opposition to these studies.
And there is opposition – by the video game industry, which is out to make money at the expense of its customers.
Virtually all the studies that support the gaming industry have been funded by the gaming industry, and so I must question their credibility – has anyone else noticed that money buys endorsement regardless of science?
And the scientists that oppose violence in video games aren't just a few hippies scattered around the world.
A former U.S. Surgeon General, Dr. C. Everett Koop, is among the most open opposition, calling these games a "crushing public health problem."
Now sure, this isn't like the plague – everyone has the right to decide whether to bring this affliction onto themselves or not – but the industry has poisoned the media and made us believe that the negative effects are negligible, if any. When put under actual scientific scrutiny, the industry's arguments simply fall apart.
It's appalling to me that anyone would even be interested in these games, let alone seem to dedicate their lives to them.
Is there no value in reading a good book anymore? Or watching a well-executed movie? Or actually talking to your friends when you hang out at their house, instead of trying to kill them and anyone else in sight?
These games are a blight on our society, one that I fear we will never be rid of.
Each successive generation will be born into a society that is more and more accepting of violence. The games will only become more over-the-top, detrimental traits in people will become more obvious, the game industry giants will continue to grow, and the world as a whole will have to suffer the consequences.
There are 22 comments on Opinion: Addicted to Killing:
Your critique is one of the most intelligent I've read. Well done.
Pretty good insight, but I believe that you're overexaggerating on many of your points.
See the reason many guys enjoy violent video games are A. Because we like to imagine ourselves as almost super human soldiers, lets face it a lot of people have crappy lives and this can give them the chance to take the persona of someone great. B. because its a challenge. violent video games arent ALL about killing. its about overcoming the challenge of the other team. C. It gives one the ability to take out are frustration by killing a simulated enemy as opposed to a real one. D. because they are fun. again lets face it, no one would enjoy a video game about handing out food to homeless people, as noble as it sounds. Violence and chaos is fun. why do you think that action movies are generally more widely recieved than romantic ones? Also you stated that they are offensive to the men and women who actually serve in the uniform. i disagree on the basis that I have played with and witnessed active and former members of the military (including those who have seen combat) play these games with out taking any offense to it. As a prospective future member of the military myself Call of Duty has played no effect what so ever in my choice to join. And your right on one thing, we will never be rid of them, why? because people love them. and its their choice to play and not anyone elses place to take them away from them.
Michael, your article is articulate and comprehensive! This is a great concern of mine having read the research studies about the negative ways violent video games affect the brain. Thank you for drawing attention to a very important societal issue. Well done!
Excellently presented and all too sadly true. As one who has worked with the unconscious part of the brain for decades, I have witnessed the call to violence increase substantially over the years as the levels of killing have multiplied dramatically in movies, on TV and now Video Games. Our country is producing "good little soldiers" that grow up thinking violence and killing is fun, entertaining and heroic as "Not telling" points out clearly.
Like Andrew Yang, and my friend "Not Telling," I too believe your point is completely exaggerated. Speaking as someone who frequently plays Call of Duty video games, I can tell you that it DOES NOT desensitize violence. Recently I witnessed the woman in a wheelchair get hit on Fairview and LET ME TELL YOU I WAS IN SHOCK FOR DAYS. I completely understood the gravity of the situation. Nobody is going to vote for the United States to go to war because "I SAW IT ON CALL OF DUTY AND IT LOOKED COOL!" Come on. Be real. Maybe when you played Call of Duty you couldn't tell the difference between a video game and reality, but most of us can.
Well written article Michael, but I completely disagree - respectfully. "Each successive generation will be born into a society that is more and more accepting of violence." This isn't the case when you glance at the data. Our society is not more accepting of violence, and violent crime has actually decreased in the last 10 years - kids are criminally charged for the slightest violent action at school nowadays (including a 7 year old in Boston who was recently charged with sexual harassment after kicking a classmate in the groin). We have stricter punishments for violent crimes now than ever before (mandatory minimum sentences and the felony murder rule being chief among them), and every children's cartoon is free of anything violent or the violent scenes are edited out of classics like the Buggs Bunny I grew up on. Violence has always existed, and will always exist. People used to gather to witness public executions; leaders committed mass sacrifices of slaves in the thousands; people had picnics to watch Civil War battles (the bloodiest in U.S. history) - long before video games ever existed. If you check the data in the U.S., the murder rate has decreased significantly in the last 10 years, and the number of violent crimes committed has also decreased despite an ever increasing population. Violence in the media has little to no effect in causing violent actions despite the brain wave MRI images. Violent actions are caused by the individual. Any "health problem" they might "cause" would be more related to lack of exercise than anything else. Hitler didn't play video games and Pol Pot didn't have a COD4 username, yet they were responsible for some of the most violent actions in World history. Let's also not forget that violent books and movies have existed a lot longer than video games, have definitely had their criticisms as a cause of violence, yet now the focus has shifted to video games because their current and pervasive. I'd love a reference to the studies you mention that propose playing violent video games for long periods of time negatively effect a person. I highly commend you for sticking to your guns (no pun intended) on this one, and encourage you to continue researching the topic. Incidentally, I'm not the least bit violent despite all the anvils falling on coyotes, TNT explosions and sniper head shots while playing Call Of Duty.
Fred, thank you for the articulate, thoughtful reply. We might also wonder why Canadian citizens are far less violent than Americans. Any teacher who has taught for over a decade can share observations about negative behavioral changes in students. Many students don't listen well, they talk over the teacher, or their peers and can't seem to delay the impulse to react/comment until the speaker has finished. Many students don't like to read and say that they forget what they read. Students become addicted to many things: computers, games, facebook, watching television. Are we surprised when reading becomes tedious to them since they are so overstimulated and visually spoiled? Sadly, the problems with spelling and mechanics in "Not telling"'s letter speaks volumes for his weak academic foundation. He should have been reading, doing his homework and learning something rather than spend hours on such games. While I wouldn't blame these changes on video games, the ways that kids occupy their free time is not conducive to thoughtful
This is a really great persuasive arguement, the essay is very well written, id give it an A+. However just like "Fred B and" "Not Telling" have said, this is a little bit unrealistic. I work hard in school, have all A's, im bilingual, play an instrument, and when im done with a busy day, i like to cool off with some Call of Duty. I dont think theres any harm in that. Is it ok for tom cruise to kill someone in a movie, but not for me to shoot at other people around the world in a virual game online? Yes i do understand that many people get too addicted to the games and get competitive, and shouldnt be focusing on only their amount of kills in a game, but thats beside your point about how it "desensitizes" people to violence. In a game i run out into the open firing a machine gun without aiming and have no fear, but the next day i go to the shooting range with my dad and i flinch every time somebody shoots. Its not like the game makes you a complete idiot, its that unfortunatly a lot lf complete idiots play the game. Everybody is welcome to their opinions, but i see people get the wrong idea about violent video games all the time. And i dont like statistics, but there are actually many studies that say shooter games quicken your reflexes. So anyways i hope you dont take too much heat when a third of the kids at your school get mad at you for writing this article.
In reply to Fred B.'s response, here are two of the articles that I used as a base for my research: http://www.guardian.co.uk/world/2001/aug/19/games.schools http://yourlife.usatoday.com/health/story/2011-11-29/Violent-video-games-may-alter-brain-function/51459784/1
In response to Zelda F. I do not play xBox on school days and I have a 3.45 GPA. Im currently applying to the Naval Reserve Officer Training Corps. Im in great shape. During the week I occupy myself with running, working out, homework, reading, church activities, volunteer work etc. So why dont you ask before you say I have a "weak academic foundation" etc. Furthermore I was by no means advocating violence, but simply pointing out the fact that by their nature violent games appeal to young men for the above stated reasons. I play violent video games late at night only 2 days a week because...well... reading only lasts so long (having just finished the Lord of the Rings books). Yet no matter how much carnage I have bean exposed too, I have never been in a fight, never physically harmed someone and go out of my way to help friends in need. So whos to say that playing the oh so horrible Call of Duty is a detriment to society? Is it hurting you? no. Is it hurting me? absolutely not. So whats the problem with playing every now and then. Granted anything in excess is not good but at the same time, very few gamers play so excessively that it actually hurts them. Also the article could have made a better point if it attacked the Mortal Kombat series. Call of Duty, while violent, is not excessively gory and has objectives to complete and the ability to use team work etc. However the entire point behind the Mortal Kombat Series is to dismember your opponent in the most heinous of ways. So there I admit there can be an excess in violent video games, but it is not found in Call of Duty. Again the whole "disrespecting those who actually fight for us" thing is just not true. I have more experience with this topic than most soooo yeaaaa, I kinda know what im talking about too. (In response to your critiques of my spelling, just know I typed that whole thing up in about 3 minutes and didnt check my work). NAY SAYER owns it, Just because we are exposed to simulated violence dosnt mean we are so desensitized that we are going to wage wars because they seem cool. Only 10 year olds would be so daft as to consider war because its just like CoD. Gamers arent bloodthirsty freaks, we are regular people just passing time in the most entertaining way we see fit. And again, who is anyone to say we cant do it!
So... umm Michael... I think you should know. I have been playing Pac Man excessively since 1982. One day I woke up and couldn't distinguish between the game and reality. So I ate someone. I really thought I was Pac Man, and the only logical thing to do was to ingest another human because I thought he was a ghost. A brightly colored ghost. I'm sorry but your argument really doesn't make sense. I think our entertainment editor Harry Menear can add to this, considering he is an active gamer who has been taking advanced level english classes since freshman year and is currently in the process of getting in to rigorous journalism school in England. Or maybe his "weak academic foundation" due to being "visually overstimulated" from all those video games will only prove Zelda F's thoughtless argument.
Michael, I think attacking Call of Duty for being sensationalist violence that has enslaved our youth is a very easy thing to do. People - especially nervous mothers twittering in the face of new technology - don't seem to realize that Call of Duty is not, as you would have us believe, a manifestation of man's thirst for blood, but simply the evolution of man's thirst for competition. Inventing games is one of the basic by-products of higher cognitive ability. Backgammon is the oldest known game in the world, thought to date back to 3000 B.C. This classic game of luck, strategy, and cognitive agility's rules are relatively simple. Learning to play can take a day, but mastering the game can take a lifetime. Since 3000 B.C, Mankind has been adapting its ever-developing technology to make new games. Five thousand years later, we find ourselves sitting in front of a lump of circuitry capable of simulating in glorious 60 fps, a virtual game board infinitely more complex than a chess set or mancala wheel. And still, at the heart of this elaborate simulation of a modern day battlefield lie the three basic skills that man has used to compete with each other since the dawn of time: Luck, Strategy, and Cognitive Agility. When in the heat of a firefight, your survival depends on who comes round that corner first, which corner you go around, and how fast you choose your targets and aim down the sights; Luck, Strategy, and Cognitive Ability under pressure. I guarantee that, when hurling grenades, launching rockets, and spewing magazines of lead at the opposing team, players aren't reveling in the carnage of battle, but thoroughly focused on their 'Game. Yes the Call of Duty series - Particularly those games made by Treyarch - are violent and gory. So is pretty much every blockbuster movie released by Hollywood these days. Disturbing material in a movie is even applauded as an "edgy" decision by the director, but in video games, a little adult content is the death of childhood values. Also, these games are all rated M for Mature. If you believe your child's values are being 'spoiled' by all this video game violence, then maybe you shouldn't have bought them the game in the first place. I'm not sure how to conclude other than say that, far from saving the souls of children who, five thousand years ago would have been watching slaughter first hand in the colleseu, the only consequences of the world without video games you seem to advocate, would be boredom.
Honestly, I frown upon the stupidity of Call of Duty's creators. But I respect the creators of Battlefield 3 . The first time I played BF3, I was surprised by how you can't just run into the thick of battle and be fine. I think people should just not play excessively during the week. Yes, 6 hours of COD in a day can leave you in a temporarily violent state, but 1 hour never hurt anybody.
You have a good point. One of my friends received an XBox 360 and the games "Red Dead Redemption", "Black Ops", and "Modern Warfare 3" for Christmas. He only left the house a couple times during the days after Christmas to get groceries for his sister or lunch. The rest of those days were spent with his controller and headset. I won't lie; I enjoy combat games such as Soul Calibur and Dragon Ball Z (I know they're kind of old) as much as the next person, but when these simulated warfare games become an obsession, doesn't anybody wonder how veterans of real war who have seen real violence feel about it? I know that if I had been through war and witnessed unspeakable violence, death, and gore to protect my country, and then come home to it being considered a GAME, I would be beyond offended.
This article does a good job covering how our society has turned not only to an overdose of technology, but violent technology. For example, my three year old cousin is already being introduced to these violent games. Soon enough our whole generation will be addicted to violent games.
Natalie Rios: I have played with and witnessed combat veterans play xBox with no noticeable problems. Even my recruiter is just chill to play MW2 and ask me if he should get MW3 or BF3. While it may offend a few people (what dosnt offend someone these days) the vast majority of the military love to play first person shooters as nerds do. Also as to your freind not leaving the house: its the novelty factor, he got something new and hes enjoying it, itll wear off.
Also to Keara Amble: Had your 3 year old cousin been born in the times of ancient romans she would have been exposed to the gladiatorial death matches, Had she been born in the Medieval times she would have been exposed to public executions. Had she been born in in the 19-20th century in the south she would have been exposed to public lynchings. CoD dosnt seem to bad now huh. The world is a violent place, wouldnt you rather have it in a controllable environment? no disrespect but Call of Duty is hardly violent compared to real life.
Although I agree that teenagers are addicted to games, I think your article is quite exaggerated. Video games allow players to be in a scenario without moving from their couch. However, to say video games teaches all violence to be acceptable is going too far. Also, there is a bold line between video games and reality. Although I may play Dragon Ball Z games, I don't try to Kamehameha everything!
Im pretty sure GPA and hours spent playing violent video games do not have a strong correlation. I could see how playing 8 hours a day, and never doing homework would effect overall intellect, but never would an hour a day be so much as to either kill someone's ability to function in society or even make them addicted to killing. By that logic, anyone who does anything for more than an hour at a time would be addicted to something. We would all be addicted to doing homework by that logic, which I'm pretty sure we aren't.
Games like Call of Duty don't make people think killing is fun or exciting. Most people who play these games know that while it may be fun to play video games there is a big difference between shooting at the pixels on a TV screen with a non-existent weapon and actually going out and killing a real living person. As long as people keep this in mind playing video games once in a while is not a problem.
Also note that most of these games are rated "Mature (17+)" by ESRB, about the same as an "R" rated film. The makers of these games are under the assumption that these games are being played by adults or people who are almost adults, and probably assume that they will be able to make conscious decisions about if these games are going to affect them in a negative way. Personally I feel games like these are one of the best anti-war campaigns ever (based on the number of times a character "dies") and although I generally don't play games set in a modern war setting, I think they can be a way to pretend to live out power fantasies and a good, safe alternative to other, more dangerous ways of "playing pretend" such as hunting or paintball in natural, public areas.


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Erin Heatherton says being a Victoria's Secret Angel has taught her about maintaining a good diet.
The 23-year-old says understanding women need to eat healthily as well as exercise has given her the killer body that led her to become one of the lingerie brand's elite models alongside the likes of Miranda Kerr and Adriana Lima.
In action: Erin Heatherton put her bikini body on show in Miami, Florida on December 19
She said: 'I've learned a lot about diet in my years of being an Angel. A mistake a lot of girls make is that they work out but don't eat enough. If you're not eating enough, all the work outs are doing, it's not going to show.
'You could be doing a million butt lifts, but your butt is not going to get any bigger because there is nothing to build on. Your body needs food to make that happen.'
Catwalk cutie: The blonde at the Victoria's Secret Fashion Show in New York in November
The 23-year-old recently walked the catwalk in the hotly-anticipated lingerie show for the fifth time, and says she gets up at 6am to start her strict exercise routine in order to perfect her well-toned curves.
Erin, who previously dated Leonardo DiCaprio, explained: 'I work out twice a day, once in the morning and once before bed. I'll start with half an hour of running and then some yoga to stretch everything out so everything is warm. In the evening I do butt lifts.
'It's important to be fit, but you shouldn't get too skinny. You need to have curves.'
Ex: Erin with her former boyfriend Leonardo DiCaprio last year
This article is reprinted. By DAILY MAIL REPORTERhttp://www.dailymail.co.uk/tvshowbiz/article-2253102/Its-important-fit-shouldnt-skinny-Erin-Heatherton-maintaining-perfect-Victorias-Secret-body.html

subset: commoncrawl


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Do you tell good stories? Tell stories for good.
The Storytellers for Good program (S4G) supports students with skills in digital media to produce stories about students, alumni, and faculty exploring social change at Brown.
Storytellers are the voice of Brown's social change community. Their stories can be found on Swearer Sparks, a new website launched in May 2014 to inspire and connect the social change community at Brown.
FEATURE: "Storytelling Initiative Receives Global Innovation Award," January 2015
Explore this page:
- About the Program
- How to Apply
- Nominate a Story
- Storytelling Speaker Series - workshops and speakers
- Current Storytellers
- Become a Storytelling Mentor - for alumni and/or digital storytelling professionals
About the Program
Storytellers participate in weekly meetings in order to build skills and hear the feedback needed to produce their individual stories. The production of these stories includes research; storyboarding; interviewing; editing media through rounds of feedback; and producing a final piece for the web.
On finding a space to explore storytelling:
In addition to regular peer critique of their work, Storytellers are also connected to a powerful network of alumni and professionals working in the fields of media, storytelling, and social impact. These professionals lead workshops and serve as mentors for students as they sharpen their narrative voice and technical skills in digital storytelling.
Through their work, student storytellers have the opportunity to build a multimedia portfolio; gain exposure to an audience of thousands; and work on a creative, supportive, and fast-paced team.
FEATURE: "Photo essay spotlights civic action" via Brown Daily Herald, October 2014
On their favorite stories:
How to Apply
Applications will be judged on the following criteria:
- Demonstration of technical skills (writing/journalism, video production, audio production, photography, illustration/animation, or other forms of digital storytelling) and/or the ability to identify and craft a strong narrative
- Experience in non-academic writing skills strongly preferred, such as creative fiction and nonfiction, journalism, blogging, etc.
- Curiosity and passion for connecting with others
- Strong interest in the work of organizations and ventures with a social mission
- Manages commitments gracefully with attention to accuracy, details, and deadlines
- This is a semester- or year-long position with a firm 10-hour/week commitment, including weekly 1-2 hour meetings.
Previous involvement with the Swearer Center and ownership of technical equipment are not required.
Graduate students are welcome to apply.
Now accepting applications for the 2015-16 academic year. Apply here and submit materials by September 17, 2015 at 10pm EST.
Nominate a Story of Social Change
Do you know someone making a difference on campus or in the world?
The Storytellers for Good program accepts nominations for stories about social change at Brown. We're looking for stories of all shapes and sizes, focused on social change work from a variety of perspective and disciplines. Anyone can nominate a student, alumnus, faculty, course, or organization/program and our student storytellers will explore the possibility of working with them to create an amazing digital story.
Click here to nominate. Stories are currently being collected for Summer and Fall 2015.
Each semester, the Swearer Center hosts speakers and discussions on campus in order to explore the intersection of media, storytelling, and social impact. Register below!
Sarah Koenig: Women in Radio
Monday, March 30, 4-5pm. Salomon 101.
Sarah Koenig is a producer of This American Life and host of the new podcast, Serial. Koenig will be speaking about her career in radio and the power of storytelling. She began as a reporter for the East Hampton Star, then later went to work for the New York Times. In 2004, she started at This American Life and in October 2014, Serial, a spin off podcast she hosted was released and soon became the number one podcast on iTunes. Sponsored by Women's History Month and the Swearer Center for Public Service.
Ethical Storytelling with Allie Wollner '10
Friday, February 20, 2-3:30pm. Swearer Center for Public Service (25 George Street).
What does ethical storytelling mean to you? What does it look like? How does it sound? This workshop will explore the ethicalquestions that arise when shaping narratives out of truth, fact, and other people's stories. Misrepresentation, oversimplification, cultural appropriation, power dynamics, assumption--we will discuss how to navigate issues like these with integrity, and open up a dialogue about crafting narratives that are honest, informed, and empathetic. Allie Wollner '10 is an educator and creative nonfiction writer pursuing her MFA in creative nonfiction at Ohio State University. Much of Allie's creative work focuses on San Quentin State Prison, where she has taught both academic and creative writing since 2011. Space is limited; please register here.
The Moth @ Brown
Workshops: February 26-27; Performance: February 28, 7:30pm,
The Moth is delighted to be bringing a free 2-day workshop to Brown University! The workshop will teach the fundamentals of live storytelling over two days – February 26th and 27th. On Saturday, February 28th, participants can test out their new skills by throwing their name in the hat to tell a five-minute story on the theme TRANSFORMATION at a live Moth StorySLAM on campus. Registration for the workshop is extremely limited and opens at 8pm on Wednesday, February 18; click here. The StorySLAM is open all.
Personal Memoir as Documentary Storytelling with Filmmaker Debbie Goodstein '84
Wednesday, April 22, 2015, 6-7pm. Swearer Center for Public Service (25 George Street).
How do you turn your personal stories into a documentary with a public audience? Sometimes our most compelling stories come from personal experience, yet they also come with considerable challenges. We will discuss how to navigate this process, the power of story structure, and the personally transformative experience of making personal stories public. Debbie Goodstein '84 is a writer/producer/director who is best known for the films "Voices from the Attic," which tells the story of her family's experience hiding in an attic for two years during the Holocaust, and "Mighty Fine" - a semi-autobiographical narrative feature. She is currently working on a sequel to "Voices" which will be distributed throughout Europe as a part of a special selection by the Berlin Film Festival. Space is limited; please register here.
Current Storytellers
Yelena Bide '15. Yelena grew up in Swaziland, where she attended the United World College of Southern Africa. A Canadian-Béninoise with a love for languages, Yelena studies International Relations and is writing her honors thesis on the Chilean student movement, examining how social movements can generate radical political change. At Brown, she has worked with BRYTE as the program's head coordinator and as travel editor for Vagabond, a student publication. She is obsessed with podcasts and BBC radio, and is excited to produce stories about social change happening on Brown's campus and beyond. Mentor: Jen Galvin '95, Film.
Isabel DeBre '18. Isabel grew up in Los Angeles. A freshman at Brown, she plans to concentrate in Literary Arts and International Relations, and to unite her love of storytelling with her interests in world affairs. Isabel's fiction and poetry have been featured in several literary magazines, and she has been recognized by the National Young Arts Foundation and the National Scholastic Art & Writing Awards. For several years, she has been writing articles on global human rights for Care2.com, an online community dedicated to social justice causes. She has also worked for Human Rights Watch, and the International Rescue Committee's Refugee Resettlement department in Los Angeles. As a Storyteller for Good, she believes that ethical stories represent the ideal agent of social change, and she's so excited to contribute to this discourse at Brown. Mentor: Alessandra Wollner '10, Writing
Stefania Gomez '17. Stefania was raised on Chicago's South Side, where she was lucky enough to be involved in Chicago's spoken word and activism scene. She auditioned and formed a team of poets at her high school and competed in Louder Than A Bomb, the world's largest teen spoken word festival. During her first year at LTAB, she individually placed in the top ten poets in the state. LTAB made clear to Stefania that creating a platform to centralize and amplify marginalized or underrepresented narratives is radical and important work, and is what she wants to spend her life doing. She is excited to be starting this work with Storytellers for Good. At Brown, she is concentrating in Literary Arts and Ethnic Studies and also produces audio stories with Brown Student Radio and Now Here This. Mentor: Megan Hall '04, Radio.
Sophie McKibben '16. Sophie grew up in rural Vermont, where she spent her time cross-country skiing, running a national literary magazine for kids, and organizing community-based services for military families. After spending a semester working on an organic farm, and another learning about government in D.C., Sophie finished high school at Red Cross Nordic United World College in Flekke, Norway, where she was one of two Americans and lived on a fjord. At Brown, Sophie has worked with the BRYTE program, co-directing BRYTE Summer Camp, a 6-week academic enrichment summer program in Providence for refugee youth. She has also worked as a storyteller, highlighting the voices of those engaged in social justice work. Mentor: Caitie Whelan '06, Writing
Liza Yeager '17. Liza started high school in her hometown, Corvallis, Oregon, and finished at the United World College in Mostar, Bosnia and Herzegovina. During the two years she spent in Mostar, she co-led a student radio show focused on social activism and organized a citywide English tutoring program. At Brown, Liza will probably concentrate in Development Studies and will definitely continue exploring how storytelling can be used for social impact. She is also involved with the Brown University Mediation Project (BUMP) and Space in Prisons for Art and Creative Expression (SPACE). Mentor: Rachel Hulin '00, Photography
Become a Story Mentor
During the program, students have the chance to connect for an hour each month with a mentor working in the field of digital storytelling.
If you are interested in becoming a mentor, please email email@example.com to learn more.


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how do i no wen i need a ne laser in the wii
hi how do you no wen you laser needs replacing in the wii
how do i no wen i need a ne laser in the wii
how do you no if your wii needs a new laser cos mine wont read any disks it says unable to read thanks shane
Update the Wiikey to 1.9s if you really have one. I had similar problems with some games and was on firmware 1.9g.
The update fixed games not working sporadically...


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Today on our Wrigley Talk Friday podcast, Adam, Julie and I discussed the Wrigley renovation saga as both Tom Tunney and the Cubs posture in the media, while Cubs fans kvetch over the potential loss of the manual scoreboard. We looked at the final roster and the few players remaining as possibilities, got sad, and successfully let Jesse Rogers troll us by bringing up Chone Figgins. When does the season start?
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|Other Gear Discuss Hardware and all other equipment not covered in the other topics
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How can i make a Subkick?
Re: How can i make a Subkick?
a 'sub-kick' is really just a speaker wired in reverse.
to make one you can take a 6 or 8" speaker cone, mount it somehow (which may be the real tricky part), and rig the speaker wire to a 1/4" male input jack. that'll plug into your soundboard and voila, sub-kick.
Re: How can i make a Subkick?
Does a sub kick just make a kit kick drum more 'bassier'?
Re: How can i make a Subkick?
Yes its like a microphone that only reacts to low end so everything around 50Hz will be up front in the bass drum mix , best is to use a normal kick mic too becuase you dont get much punch out of such a thing
Re: How can i make a Subkick?
It seems to me that its much more economical to make your own, considering the ungodly price that they charge you for it.
It seems simple enough. Stand-alone speakers aren't expensive. I suppose the high price is for the shell and housing..? Your best guess is as good as mine.
Good luck if you try to tackle it. Hope it works out well.
Re: How can i make a Subkick?
Re: How can i make a Subkick?
as said above, the sub-kick is for improving sound, not capturing it. Using it live or recording in combination with at least 1 other decent kick mic will produce an amazing sound.
Of course, I have found (for recording, at least) that the cheapest way to get that low frequency sound is to send the kick track to an aux track with a frequency generator set at about 50hz on it. That way, it sort of acts like a trigger and responds to the volume just like a subkick. Doing it this way is free (if you have the software).
As for building a subkick knockoff, its not very hard- making it look pretty is the hardest part. Here's an earlier thread on it : http://www.drummerworld.com/forums/s...385#post342385
"When I hear music, I fear no danger. I am invulnerable. I see no foe."- Henry Thoreau
Re: How can i make a Subkick?
I have seen these for sale by Yamaha, and I've also seen a few that were DIY. I didn't want to spend almost $400 just to see if I like it, so I took the DIY route. I already had an 8" drum that came with my kit, but I never use, so I decided to use it for this project.
I found a cheap 8 1/2" driver and an XLR Mic cable and put it all together. This was surprisingly simple to do.
I'm very happy with the results as well. The added low end is noticeable and it doesn't take much gain to get nice fat signal. I made a recording last night using two Mics. I used a Mic on the snare, and one on the kick, and my DIY Subkick about an inch from the front head.
If you listen to the tracks through small computer speakers, you may not hear much difference.
If you make one, remember to reverse the polarity of the wires going to the speaker. I wired it out of phase the first time and was disappointed with the sound. After reversing the leads, the results were great.
Re: How can i make a Subkick?
Now that, is a sexy sub kick. Fantastic job man.
Re: How can i make a Subkick?
Re: How can i make a Subkick?
silver city dead
Re: How can i make a Subkick?
I've done it for recordings using a wedge monitor speaker flipped up onto its end. Works pretty well, even when it's technically too big of a speaker (15"). Provides a nice low end boost to mix in with the regular kick mic- but only with a badly tuned kick that doesn't provide the low end on its own. I don't think it would be very necessary live, though.
Re: How can i make a Subkick?
Re: How can i make a Subkick?
Re: How can i make a Subkick?
The inside of a real Yamaha Sub-Kick:
It looks like its a special speaker and not just a standard speaker.
And it works perfect as standalone (im using it to record home recordings)
Yamaha Drums | DTX | Zildjian | Vic Firth | Remo | Ears4U | EXA Ltd.
Re: How can i make a Subkick?
it looks like an 8" car subwoofer...
silver city dead
Re: How can i make a Subkick?
Of course, in your case, you had stuff lying around, and you made it work. Super cool for you. I just don't want people to think that a subkick is the *only* way to achieve a low end boost. Personally, it's an aesthetic thing- I just don't like anything blocking my reso head visually.
Re: How can i make a Subkick?
Re: How can i make a Subkick?
I was also revolted by the $300 to $400 sticker price.
So I made my own, and wrote and Instructable:
I tried to improve on the Yamaha.
- I shock mounted the speaker (they rigidly mount theirs)
- I used a dual coil speaker for slightly different sound options (they don't)
- I added a built in DI box, phase switch, and pad (they didn't)
I also used a microphone mount, to mount to a less expensive stand.
Let a soundman weigh in on this.
Even though the orignal post is several years old, I hate to see too much misinformation go uncorrected.
To begin: the normal range of human hearing is generally accepted by acousticians--those who study both the physics of sound transmission and the psychological perception of that sound--to be from 20 Hz to 20 kHz, though some people extend range that to 16 Hz to 25 kHz. Although, you have to be young, and generally female, and have good hearing to be able to hear 20 Hz to 20 kHz. Most males over the age of 35 can't hear much of anything above 10 kHz. Drummers, other musicians, sound men--like me, who abused my ears by by listening to too much loud rock 'n roll and by working in the oil field, and many others can't hear perfectly well, or at all, in several places across that 10 octave spectrum. Most of us, except for children and a few fairly rare adults cannot hear the entire 20 to 20 kHz spectrum.
To continue: 50 Hz, though in the bass register, is not too low for almost anybody to hear, who is able to hear, unless they have also have a bad dip in their hearing response centered on 50 Hz.
Further: when it comes to our senses, we generally perceive sound in two ways: (1) hearing, through our ears, and (2) tactily, through our skin, which is the body's largest organ. Once a sound wave goes below 20 Hz, we stop hearing it through our ears and start feeling it more through our skin (and internal organs). Thus, sound below 20 Hz is called "infrasonic". We generally "feel" infrasonic sound. (Home theater systems often extend freq' response 1 octave, from 20 Hz down to 10 Hz to enable "earthquake" tremors and other felt, but not heard, special effects.) At lower levels, we normally only hear audible sound. But, we can feel it, if it's loud enough! (Since I I am not a drummer and don't have a bass drum I can't easily do this: I have yet to study the spectrum of a bass drum to see what the lowest frequencies are, to see if any are infrasonic.)
Please don't confuse our ability to feel infrasonic sound with our ability to feel some sound in the audible range--20 Hz to 20 kHz--when that audible sound is at loud enough levels. Most acousticians who study such things, and publish tables, put the threshold of sensation--the point where we just start to feel audible sound--at approximately 110 dB (I believe that is on the C scale, but you probably ought to check!) Any audible sound that is loud enough, can be felt! Which begs the comments and rhetorical questions: "If a tree falls in the forest and no one is around to hear it, does it make a noise?" Yes! "If a tree falls in the forest and no one is around to hear it, does it make a sound?" No! That's because "sound" is not defined the same way as "noise". For discussions of this type, definitions are fairly important. Those acousticians usually don't specify the range of sound we can feel, they don't specify a particular set of frequencies, just the approximate sound pressure level. (I haven't gotten out my SPL meter and measured the level, nor gotten out a frequency meter and measured the pitch, but when my 82-year-old mother leaves the teapot boiling away on the stove--screeching away at a high-pitched "squeal" that makes my ear closest to the teapot, and pointed in that direction, hurt--I know that putting my finger in my ear is protecting my hearing because it instantly eliminates the pain! So, with moderately high to high frequency sounds, what we often feel is pain! I have measured--with a digital meter--using JBL SRX 725 speakers and Crown amps--the minimum level, at a few feet, at which I can feel bass drum beats and bass guitar notes pounding in my chest at 85 dB, C scale. So, one can't always trust tables.)
Contrary to a comment posted elsewhere in this topic, a large speaker is not necessarily undesirable for use as a kick-drum microphone, based on size alone (read further below, far, far below).
If you play a double bass drum set--or get the opportunity to do so--put your fingers on one drumhead while you kick the other bass drum. You'll notice that the second drumhead vibrates every time you kick the first. (This is called "sympathetic-vibration".) Thus, an ideal kick-drum microphone might be an identical kick drum, except for one small "problem": you cannot just attach a coil to the drum head like is done to the corresponding diaphragm in a speaker or microphone. {If I was "hip, slick, and cool," I would use a politically correct and popular, but misused term "issue". I'm not hip, slick, and cool. :D I like being correct better! ;) } That problem is this: a bass drum--or any drum for that matter--has several modes of vibration (thus, an identical drum used as a "pickup", with the same drumhead modes of vibration and same resonances might make an acoustically ideal "pickup", in theory.). For example, if you hit a drum exactly in the center of the drumhead, the head will go in and out. But, at times the outer part of the drumhead--in a circle around the center--is going out while the center goes in, and vice versa. To further complicate matters, sometimes the bottom half of the drumhead goes in while the top half goes out, because the beater isn't hitting exactly in the center of the drumhead. And, a quarter of the head, in a pie-sliced shape, will go in while the opposite pice sliced shape goes out, while the other two quarter-pie-slice pieces on either side go in and out at other, different, but frequency-related times. (That's how you get different tones by playing on different parts of the drumhead.) Thus you just can't make a drumhead pickup by sticking a coil on the drumhead (or, for practical stage use, employ an identical drum that has turned into a drum mike). If you could, then you could plug your acoustical, non-electronic drums into an amp or mixer just like a guitar or microphone. But, you can't; you have to use at least one microphone.
Now, why can we use a speaker as a microphone? Because of the "inverse principle". The inverse principle states that any microphone can be used as a speaker and any speaker can be used as microphone. How can that be? First let's talk about what an inverse is.
In mathematics, an inverse number is any number, that with multiplied by the number which it inverts, equals 1. For example, 1/2 is the inverse of 2. Likewise, 2 is the inverse of 1/2. 2 * 1/2 = 1. 1/2 * 2 = 1.For another example, 1/3 is the inverse of 3 and 3 is the inverse of 1/3. 1/3 * 3 = 1. And so on. Multiplying a number by its inverse "inverts" the first number, always resulting in a product of 1.
A microphone is the inverse of a speaker and a speaker is the converse of a microphone. (For this discussion, I'm discounting esoteric speakers like planars.) A dynamic microphone is generally a coil of wire, which is surrounded by a permanent magnet. The coil is attached to a diaphragm, where the diaphragm is hung or suspended by a spring. The diaphragm moves in and out in sync with the sound wave. A speaker is also a diaphragm ("cone") attached to a coil of wire, and suspended by a spring ("surround"), where the coil is also surrounded by a magnet. Electricity going through the coil creates an alternating magnetic field that pushes and pulls against the magnetic field of the permanent magnet and, therefore, makes the diaphragm move in and out, pushing and pulling on air mokecules, creating a sound wave. In a microphone, the sound waves push the diaphragm in and out, causing the coil to move in and out of the magnet's magnetic field, causing electric current to flow in the coil. In a speaker, electric current flows through the coil, making another magnetic field, causing the diaphragm to move in and out. The diaphragm--or cone--is moved by the coil's magnetic field pushing against, or pulling toward, the magnetic field of the magnet. Because of the inverse principle--in theory--all you have to do to use a speaker as a microphone is to "speak" into it. Because of the inverse principle, all you have to do to use a microphone as a speaker--again, in theory-- is to drive an alternating electrical current through it. In theory!
In practice: Aside from the fact that it would obscure a singer's face on stage--an undesirable characteristic--singers don't use 18-inch woofers for microphones for practical reasons. Primarily, the voice-coil is too big, the magnet too strong, and the cone too heavy for a singer to create a relatively noise-free, useful electrical signal, especially in the mid to high frequency ranges. Similarly, soundmen and others don't use microphones--usually with one-inch or smaller diaphragms--as speakers for bass guitar, keyboard, and drum amps, also for practical reasons. A 1-inch diaphragm cannot move enough air to create a lond enough bass wave (unless you use it as a headphone). An 18-inch woofer does not have the mid- and high-frequency response needed for singers. Though it has a frequency response needed for a singer, a Shure SM 58, or similar microphone, simply can't move enough air to reproduce much sound in the bass register. The electrical current required for just a few SPL--nowhere near the 80-100 SPL C-Scale, "sane" levels, regularly used on stage--would burn out the coil (AKA "voice-coil") of any "conventional", i.e. "normal" vocal or instrument mike like an SM57 or 58!!
Thus, an SM 58, or similar microphone, simply won't work as a bass guitar speaker. Nor will any practical woofer work as a vocal microphone. To get from theory to practical, we have to make compromises; we use relatively big, heavy speakers (when compared to normal mics) for low pitched sounds like those from bass drums and bass guitars, and smaller, lighter microphones for guitars, singers, etc. for higher sounds.
When thinking of drum microphones, a discussion of bass guitar speakers (and amplifiers) isn't out of order: they both have to work with low-frequency sound. They both have to move a lot of air, or be moved by a lot of air. They both require a certain amount of power, either power being put into them or power being taken out of them. There are specialized microphones for amplifying bass guitars and bass drums--other than using an inverted speaker--microphones that have a lower than normal frequency response. However, those microphones don't always have the characteristics that we need or want. So, we use inversions like "Sub-Kicks". Why?! Read on.
You've probably seen a trap set set up in the back of an orchestra in a glass or plexiglass box. That box is there to diminish the amount of sound coming from the trap set, to keep it from deafening the orchestral players in front of it. (I recently heard a drummer, the heaviest hitting, unamplified drummer I've heard in my life. He was playing on a stage which is hung with heavy curtains to cut down on the noise bouncing around. It is in a poorly designed and built auditorium, which required a lot of acoustical work to get rid of the acoustical dead spots in the seating area. I was standing behind him, 15 feet away, and I could feel the thumps from the bass drum, from some of the toms. Like the screaming, screeching teapot, he was beating those things so hard it was making my ears hurt! That's why they put those boxes around trapsets when used in orchestras, to keep hard-hitting drummers from deafening others. (I just saw a Cream documentary where they put the shield around Ginger Baker--at the second of the Madison Square Garden reunion shows--to effectively "turn down" Jack Bruce's dual 8-driver Hartke cabs--if they're the HX810, then "wee Jack" had 4000 watts, 2 kW/HX810 cab with which to make Ginger mad, again!))
A lead singer, a guitarist, a bass player, standing on stage near the drummer, gets the emotional "kick" of those combined pitches, those combined modes of vibration--at loud to very loud levels!--coming from the drums (or bass amp/stack--sometimes TOO emotional--as in Jack v. Ginger in Cream reunion). It takes all of them, the lower pitched frequencies and the higher pitched frequencies, to fully excite both our auditory nerves and tactile senses. Unless he/she has a monitor, the keyboard player sitting half a stage way doesn't get the same impact. To get the same effect in the audience, we soundmen have to reproduce all those pitches at the same levels as what those performers standing, or sitting, near the drums hear and feel. (All musical notes--except for "pure" sine waves created by synthesizers--have a fundamental frequency--usually called the "pitch"--and overtones. Many times those overtones, always higher than or "over" the fundamental, are mathematically related to the fundamental frequency; twice the fundamental which is the first- and an even-harmonic, three times the fundamental which is the second- and an odd-harmonic, etc.. However--as in the cases of bells, pianos, and other instruments--not all the overtones are integer multiples of the fundamental.) That takes both power and low frequency response.
Sound moves through air, because it literally moves the air back and forth, in and out. Soundwaves move through the air from areas of "compression"--where more air is temporarily moved into a small area--to areas of "rarefaction"--where the air is less dense as some air molecules have been moved into an adjacent area of compression. The areas of compression and rarefaction vary, one for each cycle of the sound wave. Low, deep, audible bass sound waves, from approximately 25 to 100 Hz (Hz = cycles per second)--whether from bass guitar, from a synth, or from a bass drum--move a lot of air. Higher pitched audible waves, like from the top end of the guitar or keyboard--say from 2 kHz to 20 kHz--don't move as much air. They don't have to move much air very far because the air is moving back and forth--a much smaller distance--much more rapidly. The areas of compression and rarefaction are much closer together in higher pitched sounds. For higher pitched waves, a small microphone, with a small diaphragm, can react to those short areas of compression or rarefaction, because of the diaphragm doesn't have to move very far. However, with the longer areas of rarefaction and compression in deep soundwaves, the small diaphragm in most microphones soon reaches its limit of movement before the wave has completely moved the diaphragm as far as it should. Thus, the frequency response for microphones with small diaphragms is reduced in the bass register. (If you have not ever seen frequency response charts of microphones or speakers, you should look at a few to better understand these concepts.)
To get a better sound from a bass drum--a more realistic sound, a sound closer to that experienced by those closest to the drummer and by the drummer, him- or her-self, it's easier to use a better suited microphone than to just push and pull faders on an EQ. To get that chest-thumping, pulsing sound that some performers love and that others fear and shield themselves from with Plexiglas, we need good, deep bass response (and good mid- and high-frequency response, from mikes, processors, amps and speakers) at 85 to 100 dB, so we can feel it and hear it (or, at insane levels, 120-130 dB or higher, 100 t0 1000 times as much acoustical output power). The "Sub-Kick"-like microphone has to have better low-frequency response, better response in the bass register. It does have better low frequency response for the same reasons it's not a good vocal mic: large/heavy cone, large coil, and large magnets ("large" in terms of magnetic strength, not physical size; powerful magnets). Unlike a human singing (screaming?) into a woofer producing too little signal, a kick drum produces a usable electrical current because the sound is low enough and the sound waves long enough, and powerful enough, to create useful current from a relatively small woofer in acoustically-/electrically-inverted use.
To increase the frequency response in the bass register, to get stronger electrical signals at lower frequencies, we use a bigger diaphragm which can move farther in response to the longer waves of the low, bass notes. Microphones are not normally made with very large diaphragms. Thus, we use a larger-diaphragm speaker, inverted. The "ideal" speaker--for use as a kick-drum microphone--if we could could make a "drum-pickup" --would be to attach a coil to every area of drum that has a mode of vibration--might be identical in size and construction to the drumhead (giving it the same resonances, the same tone). But, that's where theory diverges from reality; we can't make a practical pickup for acoustic drums (buy some electronic drums instead!). So, we use what works best, which is approximately a 6" woofer.
In theory, we would use a speaker/microphone with perfectly flat acoustical response from 20 Hz to 20 kHz (or whatever "lower" highest frequency of the highest possible overtone is, as that freq' is well below 20 kHz). Those "perfectly-flat" mikes don't exist ("near-perfect" studio-mikes do exist, but are usually too expensive and fragile for live-stage use). If you want to know more, read a little bit about speaker design, about the difference between an infinite baffle, and an acoustic suspension, a ported system, a dipole, etc., especially about the influence of ports on frequency response. The size and shape of a speaker box--any ports, padding, etc.--effects how the speaker works within the box, as a speaker. The same situation occurs with a woofer mounted inside a drum or any other container, when used inversely as a microphone. We use a 6-inch woofer because it's less obtrusive on stage and has good enough low frequency response, because it is a good compromise, because we can get a good electrical signal out of it for the bass drum's fundamental frequency and first 1 or 2 overtones (a "conventional" mic is used for the rest..
(Almost) Next-to-last: in one of the pictures of the originally-posted, non-"Sub-Kick" kick-drum microphone, it appears that the back drumhead has been put back on the drum. That's good! The third recording has too much snare-sound leaking through, good reason to stuff the drum with sound-absorbing material, to avoid phase-addition- and phase-cancellation problems with the snare- and other-drum mics! To make a small drum microphone--a woofer mounted inside a little drum or anything else--better at picking up a bass drum we need to increase the volume of microphone-(drum-)-case. Since we can't practically do that--no one is going to want to look at another bass drum sitting in front of a bass drum--we can effectively increase the volume of the little "drum"-/mic-case or other case by stuffing it full of acoustical padding: fiberglass, cotton batting, AcoustaStuff, etc.
Next-to-last: in the picture of the other kick-drum microphone, it appears that there is an opening between the woofer/microphone and the inner side of the drum case. That opening has to be closed if you're going to have any kind of good frequency response from your woofer/microphone,otherwise, sound waves will travel around the inside of the drum, from front to back, and act on the rear of the microphone/woofer, putting unwanted peaks and valleys in your frequency response. And as noted above, you should stuff the drum, to make it acoustically bigger and extend the low frequency response. (Unless you have some good equipment, the ability to use it, etc., attempting to put a port into the rear drumhead, installing a tube for that port, etc.--to increase the frequency response further--is probably something thing you don't want to get into.) While most microphones are shock-mounted, most don't leave the back of the diaphragm completely exposed. Otherwise, your wiring and mounting looks good, neat and clean.
Finally: people sometimes hear things that are not really there, when DIYing, modding, rodding, etc. For example, I once read a report by an alleged audiophile who claimed he could improve the sound of his expensive home stereo speakers by reversing the speaker wires connecting them to his expensive home amps. (Only if he had a really--I mean really, !REALLY! -- bad connection in one direction--which he fixed by reversing the wires--could he have made any type of substantial, much less measurable, quantifiable difference!) Sometimes other people agree with those types of individuals, when they make such outlandish statements. In many ways, I have "golden-ears" and can readily hear things others can't: slightly out-of-tune pitches, low levels of amplifier distortion at relatively low SPLs, etc. However, I hate to trust anything I can't quantify with a meter. For example, I listened to all three of the posted MP3s, repeatedly, with three sets of headphones/ear-buds, sufficiently loud to hear a noticeable addition of bass/deep-bass. The first set of headphones came with my Dragon NaturallySpeaking package, and could reasonably expected not to have the bass response to "show" any noticeable difference in the first two recordings. The second set, an old set of RadioShack "cans"--albeit award-winning cans! :D--could reasonably be expected to show any increase in bass response. On loud bass drum notes, I can literally feel the air pounding against the outside of my ears with them. The third set--the buds, relatively inexpensive but relatively good Sennheiser CX 300s, which were used because they have the best, flattest frequency response--were most expected to show any increase in bass response. However, I heard so little through the "cans" and through the buds as to wonder "why?". Why make such a fuss about an imitation "Sub-Kick"? If I wanted to take the time, I could get out a frequency response analysis program, my virtual instrument (digital oscilloscope, voltage meter, data-logger, etc.) and measure the actual amplitudes (think "loudness") of the various frequencies, contained in the various drumbeats, in the various recordings. I don't have the time, nor the inclination! However, having listened to the third track--and being able to hear the deeper bass in it--my belief is that you may have just gotten the wrong second recording posted. I was going to use the situation as an excuse to get out some mixing software and remix the first and third tracks together, but, all that software is on a different computer which is not set up at the moment. So…
... Since I'm avoiding more responsible behaviors (house-cleaning, Web-publishing, setting up that other computer ...
… (Once again--no more edits!) Back to bed so I can get up and clean house and work on my Web-site, which is (still) down at the moment.
John Edward Lawton
Full House Sound Reinforcement Company, LLC
PS I did give this post a quick read-through/edit. However, I am fairly tired, in too much pain, disinterested after writing too long of a post, etc. Therefore, you may find all kinds of errors as Dragon NaturallySpeaking doesn't always type what I say.
PPS if you disagree with my above analysis, please "flame away"! I don't mind. I may deserve it! However, I haven't figured out how to subscribe to this thread yet, so, I'm not really worried. :) (Last edit: figured out, subscribed, still not worried--topic, though still contemporary, is too old.)
When all else fails, buy a good kick-drum mic and an Earthworks KickPad. Sweetwater's got 'em. Tell Wayne I sent ya.
Last edited by firstname.lastname@example.com; 02-24-2011 at 07:02 AM. Reason: Grammar and syntax, omissions, etc.--I don't always catch those errors caused by my voice-recognition software.
Re: How can i make a Subkick?
Another homemade subkick...made from a watering can! Plus, a 6.5" speaker that was from some sort of car stereo setup, a small Atlas mic stand, an OnStage wireless handheld shock absorption mic clip, plus assorted odds and ends. Included, you'll have clips of the regular dynamic kick mic soloed, the subkick soloed, the whole kit array without the subkick, and then the whole kit along with the subkick. It just gives a bit more, plus allows the walls to shake a little bit. It's a cheap kit, but a great player. Mics used overall: ADX51 x2 for overheads, EV N/D868 for kick (which sounds phenomenal on its own), i5 snare top, AT4021 snare bottom, AT4021 hi-hat, SM81 ride (which is almost like an underhead, especially since the ride is only hit a few times), MD421mk2 mounted tom and D4 on floor tom.
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The Alliance for Wisconsin Youth (AWY) brings together coalitions, individuals and resources for a common goal that affects young people through the promotion of positive youth development. This goal of preventing substance abuse and behavioral health concerns is supported by over 100 AWY coalition's members with the mission and focus to enhance and support those Alliance coalitions in their prevention efforts and youth development work.
Check out the website and become a member.
NEW Fast Fact Sheet:
Alcohol and Drug-Facilitated Sexual Assault in Wisconsin
Adult Binge Drinking in Wisconsin
Operating While Intoxicated in Wisconsin
Underage Drinking in Wisconsin
Fact sheets will highlight certain areas of the Wisconsin Epidemiological Profile on Alcohol and Other Drug Abuse, 2014 report providing additional information, as well as showcasing collected data that did not fit into the final version of the Epi Report.
WISCONSIN ALCOHOL POLICY PROJECT: The Wisconsin Alcohol Policy Project has expanded and reorganized it website to provide users with comprehensive library of downloadable alcohol policy resources. Building from the alcohol policy information previously found on Health in Practice, this site provide all the issue materials prepared by the Alcohol Policy Project, media coverage of Wisconsin's alcohol culture plus PowerPoint presentations (with scripts) to help community leaders describe and explain alcohol policy.
Don't wait, visit our new website and tell your colleagues about this great resource. http://law.wisc.edu/wapp/
Wisconsin residents are taking action to improve our alcohol environment, our expanded website is your tool box for change.
Wisconsin Underage Drinking Prevention Video
This video was developed under contract number HHSS2832007000071/HHSS28342002T, Underage Drinking Prevention Education Initiatives, with the Center for Substance Abuse Prevention (CSAP), Substance Abuse and Mental Health Services Administration (SAMHSA), U.S. Department of Health and Human Services (HHS). The content of this video does not necessarily reflect the views and policies of SAMHSA or HHS.


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Western SARE Project Summary
Marin Organic's Cooperative Marketing Effort
FW03-107, Warren Weber, California
How to Order
Only available online
Western SARE Project Summary
Only available online
1122 Patapsco Building | University of Maryland | College Park, MD 20742-6715
This website is maintained by SARE Outreach for the SARE program, supported by the National Institute of Food and Agriculture, U.S. Department of Agriculture. USDA is an equal opportunity provider and employer.
North Central SARE | Northeast SARE | Southern SARE | Western SARE
Sustainable Agriculture Research & Education ©2012


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Health & Parenting
Improving Your Child's Fitness - References
U.S. Department of Health and Human Services (2008). 2008 Physical Activity Guidelines for Americans (ODPHP Publication No. U0036). Washington, DC: U.S. Government Printing Office. Available online: http://www.health.gov/paguidelines/guidelines/default.aspxf.
In this article
This information is produced and provided by the National Cancer Institute (NCI). The information in this topic may have changed since it was written. For the most current information, contact the National Cancer Institute via the Internet web site at http:// cancer .gov or call 1-800-4-CANCER.
WebMD Medical Reference from Healthwise
Last Updated: August 01, 2012
This information is not intended to replace the advice of a doctor. Healthwise disclaims any liability for the decisions you make based on this information.
© 1995-2014 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.
Improving Your Child's Fitness Topics
Today on WebMD
Is your child at a healthy weight?
What happens in your child's second year.
Get your kids to help around the house.
Tips for dealing with mealtime mayhem


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[page 1]
5, Westbourne Grove Terrace, London, W.
January 2nd. 1863.
Dear John
As a new year has just commenced I
will try and turn over a new leaf in the way of writing to
you, though by the way what I am writing is in a very
old leaf indeed, long & reminiscent of my stock of
letter paper which I took out with me to the East
nine years ago. This winter I am spending my
time very comfortably among my collections which I
have got all together in a room on the second
floor, fitted up with shelves all round & crammed
from floor to ceiling with Birds & Insects. I have
plenty to do, & shall have for many years to come
in getting these well arranged, in naming & describing
the new ones & in theorising on their distribution &
origin. I do not know if you have seen the
wonderful book of Mr Darwin's "The Origin of Species"
published about four years ago, which has revolutionised
Natural History & caused more discussion & excitement
than any other book <.....> on a scientific subject
during the present century, I have some little
share in the work myself having discovered the
main principle on which the work depends, called
by Mr. D. Natural Selection, & communicated it to
him before the work was published. The book is
very interesting & if you have not seen it & cannot
[page 2]
get it at Colombia I will if you like
send you a copy. I do not know if you
read much now or have any good
circulating libraries in your place. There have been
many fine works published since I was abroad
which I am now reading up.
I have still an assistant collecting for me in
the East whose collections are occasionally coming
in. I believe there is much communication between
S. Francisco & the Sandwich Islands. Should you
by chance meet with any naturalist or person having
a taste for Natural History going there; enquire
if they would send me a collection of the birds of
the islands receiving in return Birds or insects from
the Malay Islands.
You enquire about the Exhibition. To tell you any
thing about it is impossible. It was of course very grand
but there was such an innumerable quantity of things
of every kind to be seen that the mention of any
number will give little idea of the whole. Most
interesting to myself were first the sculpture, - then
the paintings, but these were overwhelming by their numbers;
The glass manufacturers, the French vases, the French silks
& the Indian muslins were all superb,- the machinery
court was wonderful & overwhelming, & the general effect
of the building with the fountains &<...>shrubs under the
domes, the painted roof & the rows of sculpture.
Candelabras, gigantic telescopes, & house decorations on
[page 3]
each side of the central nave, was exceedingly
rich & grand. I did not however go nearly as
often as I had intended, for I found it wearying
& confusing & I believe I did not go more than a
dozen times altogether.
I have not yet decided about living in the country, for
I have so much to do in London at the British Museum
the Zool. Society & at Mr Steven's that I cannot go far
away, & to be close to Town is quite tantalising as
nothing is to be had but little narrow strips of garden
& small houses at high rents. I shall therefore stay
where I am another year & then decide as to where
I shall fix,- which will partly depend upon whether
I follow your example & plunge in to matrimony.
Owing I suppose to living here so much alone I have
little taste for society & if I go for an evening anywhere
am generally horribly bored & glad it is over.
About 3 months ago we sent you a box, by
ship, containing sundry articles, & a few more. Hope
they have arrived safe, & that the contents pleased the
big ones & the little ones, including the baby. The photographs
on leather you sent us are very good, & show me a
couple of nephews that I am quite proud of, - & hope
some day to make their acquaintance. One of them
Willy or Herbert or Johnny (I forget which they are such a
lot of them) enquired about some silk worm's eggs:-
When any are to be had I will try & get a few &
send them to try their luck in a letter,- only if the
young'uns sh[oul]d. come out on the way, you may be
[page 4]
indicted perhaps by the P.O. for sending (or inciting
to send) by Post,- "dangerous & savage reptiles of
the serpent kind, to the personal risk & danger of Uncle
Sam's Postal Service".
By the bye,- how goes war principles in California?
We here to a man think the Northerners fools & madmen to
think of restoring the Union by such a war. The Northerners
have no more chance against the Southerners than the
English had against the Union - The party fighting
for freedom, & in defence of their own hearths & homes, must
& will gain the day in the long run.
I send only a half sheet because I enclose two
photos of myself. In the one sent in the box, I looked
a spoon & a snuff,- in the present I am a trifle more
wide awake. I therefore hereby solemnly try & beseech
you, & if necessary do further strictly command you, on
receipt of these, to burn & utterly destroy that other
vile caricature intended to represent me. These
were taken the day after 'Xmas day, when the
beef & pudding & a little champagne had somewhat restored
that ancient jollity which , I fear alas! old age
& infirmities have now somewhat dampened.
Give my best love to Mary & all the juveniles
& give them all a kiss for me. We are all pretty
well & all send you happy new years, & hope
some day to see you again in this damp old
island. So good bye from
your affectionate
[signed] Alfred R Wallace
For enquiries about the Wallace Collection please email the library
View high resolution scans and transcripts of Alfred Russel Wallace's correspondence, including all surviving letters between him and Charles Darwin.


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Thursday, November 21, 2013
Macedonia Middle School is having a PTO meeting on Nov. 21 at 6:30 p.m. Dinner will be served and topics covered will include study skills and information about common core state standards for parents.
Yard Sale
Youngsters at Victory Baptist Church are going to have a yard sale on Saturday, Nov. 23 beginning at 8 a.m. The proceeds will go toward the youths' winter camp cost.
Oak Grove Fundraiser
On Dec. 18, the Oak Grove PH youth will have their annual spaghetti fundraiser from 4 to 6:30 p.m. They will have spaghetti, garlic bread, a salad bar, and brownies with ice cream.
All-you-can-eat is $6 for adults and $4 for children (2-10); to-go plates are $5.
Happy Anniversary wishes from Providence Baptist Church to Reg and Kate Dunston (Nov. 20).
Prayer List
Continue to pray for Virginia Kirkland, Thelma Shurlknight, Eric Shurlknight, Louise Litchfield, Ted Caddell, Sarah Jackson, Viola Murphy, Viola Atkins, Justin Knight, Bo Langley, Steven Langley, Jackie Caddell, David Brown, Sally Bowick, Woody Litchfield, Willie Cox, Cassidy Cox, Willis Wiggins, Dexter Floyd, Matthew O'Quinn, Gloria Connor, Allen Mills, Roy and Marlene Farmer, Marion and Juanita Mills, Bryon and Jenelle Watts, Marilyn Tucker, Gage Brinson, Mildred Thames, Shirley Perry, Gennie Vincent, Geraldine Garrett, Frankie Garrett, Kitty Cumbee, Ruth Cumbee, Yvonne Cumbee, Sam and Yvonne Hood, Ricky Hood, Rouse Thomas, Kyle Thomas, Barry Swall, Diane Litchfield, Diane Gaskins, Mike Mitchum, Madison Litchfield, Troy Smallwood, Kelly Umphlett, Debbie Fail, John Graham, John Myzell. DP Caddell, Mitzie Caddell, Jeff Davis, Betty Delk, Del Rose Pye, Timmie Crawford, Brenda Law, Patricia West, Carolyn Guerry, Johnny Caddell, Arlene Giggleman, Cheryl Rivera, Sue Duffy, Marie Barlow, Liz Barlow, Shelvy Jean Wilson, and our firefighters, first responders, military, community and country.
If anyone has news to share give me a call at 565-3125 or email me firstname.lastname@example.com. I need news by Wednesday for the next week's column.
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text:
Don't be afraid of the dark. The forbidding, eerily opulent accents from D.L. & Co. will add an enticing edge to your interior. This set of miniature skull candles exemplifies the brand's sinister forms and exotic styling. With details like an unnerving grin and cavernous eye sockets, each exquisite, fragrant piece finds beauty in the macabre.
Includes 5 unscented candles. Burn time: 6 hours per skull. Includes gift box.
This product has no reviews yet. Be the first to review this product. Write a review
Enjoy 10% off your first order*


text:
Nicole Post, 25, accused of cashing counterfeit checks
San Antonio police: Checks drawn on account of 81-year-old man
Nicole Post, 25, is facing charges connected to a case involving counterfeit checks.
San Antonio police said the checks contained the legitimate bank account number of an 81-year-old man, printed on checks with another person's name.
They said Post then used the bogus checks to make purchases at several businesses, including a $296 purchase at a Target store.
An arrest warrant affidavit stated that detectives obtained a license plate number for a vehicle Post was traveling in, as well as surveillance pictures from one of the businesses.
Post was on probation at the time, and her probation officer was able to identify her from the surveillance photo, the affidavit stated.
She was arrested Tuesday on a charge of fraudulent use of identifying information.
For a list of recent stories Katrina Webber has done, click here.
Copyright 2013 by KSAT.com All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text: Prev | Next Purchase this photo Sholten Singer/ The Herald Dispatch Jane Foley speaks during an assembly to present the Milken Educator Award to Whitney Stead on Thursday, Jan. 24, 2013, at the Village of Barboursville Elementary. Gallery: Milken Educator Award Presentation Jan. 24, 2013 @ 05:40 PM Sholten Singer Village of Barboursville Elementary holds an assembly for the presentation of the Milken Educator Award on Thursday, Jan. 24, 2013, in Barboursville. ()


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manifest worldwide
Tee designs for streetwear brand Manifest Worldwide. The main focus of the Manifest brand is to pay tribute to the greats that have influenced our culture by educating others about when hip hop was great, laces were fat and boomboxes were king. We are the original purveyors of the old school and have created a loyal following by creating clean and classic graphics with a mix of old school flavor.
Creative Direction: Derek Glass
_manifest worldwide


text:
1351 52nd Street, Kenosha, WI 53140
I've only had the coffee so far but I have talked to the owner about cross contamination and they are very aware
6429 Dysinger Road, Lockport, NY 14094
Delicious goodies! Wish I could eat xanthan gum so I could eat everything! Had the granola bars which were delicious- warm them up two days later and they are still good! Pancake mix was great and the coconut macaroons are delicious! Will def go back next time I am in town :-)


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Spend some ***king money.
That's the chant that rang around an increasingly irate Emirates stadium as the season's first set of 3 o'clock fixtures drew to a close on Saturday. The day had started off well enough for Arsenal courtesy of a sixth minute goal from Olivier Giroud – a solid platform to build on both for Arsenal in this match and Giroud for the season ahead after a hit and miss first campaign in English football.
Giroud may yet go on to have a more fruitful year, but for Arsenal, it was the high point of an afternoon that grew increasingly sour as the game progressed. An opening day home fixture against a young team that struggled last term should have provided an ideal opportunity to put three points on the board, but it was not to be for Arsenal. Aston Villa's resolve was not broken by that Giroud goal, and they eventually grabbed all three points. True enough, some of the decisions by the referee were questionable, in particular the second yellow card that saw the end of Laurent Koscielny's day. But this result was the culmination of a desperate summer from an Arsenal perspective.
Groundhog day
The issue for Arsenal fans is that it was surely akin to groundhog day. The lightening quick counter attacks from Aston Villa were too much for the flat footed Arsenal defence to deal with – something that has been seen time and time again over the last number of seasons. Chances were missed in attack. Players succumbed to injury. As the match progressed, the anger of the fans transitioned away from the seemingly debatable decisions of the referee and towards the Arsenal board and manager.
One can hardly blame the fans. This summer has been an all too familiar affair, at least in terms of player recruitment. In a sense, there has actually been a slight reprieve this year for those transfer weary fans. Traditionally, Arsenal have had to fight off potential suitors of their star players. Transfer sagas of summers past have seen the likes of Henry, Fabregas, and van Persie depart. This summer, arguably due to a shortage of world class calibre players in their squad, Arsenal have not had to swat away any interested parties.
Instead, they have had the time to find the talent required to push them from a trophy less fourth place finish towards loftier heights. Wenger and the board have not been shy in publicising the fact that they have money to spend this year – a tactic and admission not seen often in the past from the club as they continued to pay off the debt of a shiny new stadium. Thus far their summer has been a spectacular failure – they have failed miserably in their attempts to woo potential targets (similar, in a sense, to Manchester United's transfer attempts).
Gonzalo Higuain, Luis Suarez, Luiz Gustavo, and Wayne Rooney have all been mooted as possible signings. They seemed close to signing Higuain and Gustavo, but both opted for other destinations. Liverpool have stood firm over Suarez, and if Rooney is to leave Old Trafford (which looks increasingly unlikely) it will be for London, but for Stamford Bridge rather than the Emirates.
What must make it all the more frustrating for Arsenal fans is that the clubs around them have been in a state of flux this summer. Arsenal are the only team of last season's top four not to change manager – they have been the only one's afforded this stability. For the first summer in a lifetime uncertainty hangs around Manchester United. Manchester City have changed manager, while Chelsea have hit the reset button and gone back to what they know and trust in Jose Mourinho – but he has walked into a dressing room of players that is not completely his own. Add Tottenham's Gareth Bale saga into the mix and one get's the sense that Arsenal were perfectly poised to land a decisive blow and steal a march on those around them this summer. But it hasn't happened.
Instead they have stood still, and arguably gone backwards. Sure, they have done well to trim some of the deadwood from the squad. Players like Arshavin, Chamakh, Santos and Denilson among others have left. However only one player has come in, consequently leaving a threadbare squad with a dubious injury record.
Yes, Wenger is right to preach caution that while money is available, sometimes the talent just isn't there, and Arsenal have been burnt recently when embarking on last minute spending sprees. It's not easy to find players of sufficient quality, but United aside, all the teams directly in competition with Arsenal have added to their squads. That's what a scouting system is for. All too often Wenger has gone back to what he know's best – the French League. Players like Chamakh and Gervinho have come and gone without having the required impact. Giroud looks a better player than the aforementioned two, but it's highly doubtful that he will ever attain the level of quality that preceded him in the likes of Henry and Robin van Persie.
And that's the most infuriating thing of all for Arsenal fans: they now have the money to buy players of genuine world class ilk. There is no need to be thrifty. One only has to look at the impact of van Persie at Manchester United to see the difference an exceptional player can make. If Arsenal can add a couple of players of similar status to a squad already containing Jack Wilshere and Santi Cazorla, it could catapult them from fourth place to genuine title contenders.
Arsenal have the money this summer, they have a chance to make an impact. So far they have stood still. And while Wenger is right to warn about spending for the sake of it, maybe someone should remind him that to stand still is to go backwards. Spend some money indeed. Time is running out.


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. Man And Van .Dundee, Top Rated . No. 1 in the UK.Removals Companies. (Great Prices.)
Removals (full or part loads), collections, deliveries, single items - a friendly reliable service with the best rates around - please call or visit website (on the Write of the page to see customer reviews). I have two vans - one is a MERCEDES-BE


text:
Georgia Equestrian
July 31, 2014
ATHENS, Ga. - Tryouts for the final spots on the 2014-15 Georgia equestrian team roster will be held August 20-21 at the UGA Equestrian Complex in Bishop, Ga.
Anyone wishing to participate in the tryouts must also attend an informational meeting on August 19 at 6 p.m., in the Stegeman Coliseum auditorium.
"Our walk-on program has produced some very talented riders over the years," Head Coach Meghan Boenig said. "The women who have joined our program through tryouts have left their mark on this program and have helped to build and sustain our success."
Requirements for any student to try out are as follows:
*Full-time female UGA student with experience in the sport of equestrian
*Proof of a medical physical exam within the past year, signed by a doctor
*Health Insurance card
*Class Schedule
The completion of a recruiting questionnaire prior to the tryout dates is also highly recommended. A link to the questionnaire can be found at www.georgiadogs.com.
Additional questions about the tryouts can be answered by calling the equestrian office at 542-5817, or by e-mailing the equestrian office at firstname.lastname@example.com.


text:
Things to see and do - Le Locle
Leaving for Liechtenstein
Col-des-Roches Underground Mills :
Nearby tourist sites
Nearby hotels
Auberge du Prévoux from90 CHFBook
Hôtel des Trois Rois from87 CHFBook
Nearby Restaurants
Auberge du Prévoux
Cotation :
Type de cuisine : French classic
Cotation :
Type de cuisine : regional
De la Gare - Chez Sandro
Cotation :
Type de cuisine : Italian
Top searches Switzerland and Liechtenstein
Col-des-Roches Underground Mills
Col-des-Roches Underground Mills : Michelin's recommendations
Installed in the 16C to make use of the force of water from the Locle Valley, the mills were used intensively until the 19C. Transformed into abattoirs then closed, they were then restored. A glorious part of their history has thus been reconstructed. An exhibition of the role and function of mills precedes the visit of the installations. By going down into the caves, visitors can see the galleries and hydraulic mechanism.
Useful Information
- Phone : 032 931 89 89
- Website : http://www.lesmoulins.ch
- Prices : 14 Fr. (children 7 Fr.)
Opening hours :
- May-Oct: 10.15am, 11.30am, 1.30pm, 2.45pm, 4pm; rest of year: Tue-Fri 2.15pm, 3.30pm, weekends. and Bank Hols 2.30pm, 4pm - expositions: 10am-5pm (except Nov-Apr 2pm-5pm) - closed 24 Dec-2 Jan


text:
Impossible to miss.
Updated September 2:
Watch the new promo with scenes from the upcoming season of "Glee," which include a still clueless Brittany, a pink haired Quinn, glitter bombs, slushies and Will and Emma. Are you getting excited?
Originally posted August 25:
In anticipation of "Glee's" Season 3 premiere, check out the first teaser promo recently released below.
To find out what's to come go to Ryan Murphy Previews Season 3 of Glee. You won't be seeing Chord in season 3 of "Glee," but find out who is joining the show at The Glee Project's Surprise Winners. Join us on Twitter @soapoperafan, and Facebook. Come tweet and Facebook with us about all soap operas, "Glee," "Grey's Anatomy" and "Vampire Diaries!"