Even more » Account Options. Sign in; Search settings.Knowing Where a Scotch Was Made Can Help You Know If You'll Like It. For years I was convinced I hated scotch. Then one day someone talked me into doing a massive side- by- side tasting of some single- malts and I realized that I don’t hate scotch, I’m just not a fan of scotch from one specific region of Scotland (and consequently blends that use a heavy amount of scotch from that region). Scotch, or just “whisky” (yes, without the e) in Scotland, is made all over the country, but where it’s made has a huge impact of what it tastes like. Find phone numbers, addresses, maps, driving directions and reviews for Gauteng in South Africa. Use YellowPages.co.za business listings for local, reliable results. Major Currency Pairs Forex Quotes - forex.tradingcharts.com forex.tradingcharts.com/quotes/major ![]() If you’re just getting into scotch and know a brand you’ve already enjoyed, you might want to give another whisky from that same region a try. Think of it like the difference between a wine from France and one from Napa, except you’re looking at the same country. Where a distillery gets its ingredients, the water it uses, and the weather while the whiskey is aging can all have an impact on the flavor of the final product and can determine whether or not you’ll like it. You can get super nerdy about this topic, but since this isn’t a drink blog I’m going to break down a few of the different regions on a super basic level (read: whisky connoisseurs, this post probably isn’t for you). Depending on who you ask, the Islands and Campbelltown should also be included on this list, but since they’re exceptionally small (and single malts from these regions are hard to find) I’ve omitted them for clarity’s sake. If you’re just getting into scotch and know a brand you’ve already enjoyed, you might want to give another whisky from that same region a try. Likewise, if you’re like me and think you dislike scotch, scope out some of the other regions—you might be surprised at how much more you like them. Highland. Whiskies from this region are known for being full- bodied, with notes of smoke and peat. When you taste these, they tend to have a sweet start, and then finish dry. Popular distilleries from this area include Aberfeldy, Deanston, Edradour, Royal Brackla, and Glenmorangie. Highland whisky tends to be my favorite. Speyside. Speyside is the king of the whisky regions in Scotland, and where the majority of distilleries are located in the country. While technically part of the Highlands, Speyside earned a region all of its own due to the distinctive taste of whisky made here, which are slightly sweet with fruit flavors and occasionally hints of smoke and peat. The region gets its name from the river Spey, which runs through the area. Popular distilleries here include Glenlivet, Macallan, Glenfiddich, Glenfarclas, and Aultmore. Islay. If you like smoke, then Islay is the region for you. The area is known for its smoky whisky, which is thought to be in part due to the high winds in the area. Whiskies from this area are dry and peaty, a flavor they get from the peat they use to malt the barley during the process of making the whisky. Popular distilleries in this area include Bowmore, Lagavulin, Ardbeg, and Port Ellen. Lowland. There are only a few distilleries operating in this region, and whisky tends to be light bodied with a dry finish. If you’re just getting into scotch whisky, these can be a great way to get started. A lot of the whisky made in this region ends up in blends, but popular single malt options include Glenkinchie, Littlemill, Rosebank, and St Magdalene.
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Sans- serif - Wikipedia. From left to right: a serif typeface with serifs in red, a serif typeface and a sans- serif typeface. In typography and lettering, a sans- serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called . In most print, they are often used for headings rather than for body text. On lower- resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning . One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like Century Gothic, Highway Gothic, or Trade Gothic. Sans- serif fonts are sometimes, especially in older documents, used as a device for emphasis, due to their typically blacker type color. Classification. Influenced by Didone serif fonts of the period and signpainting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans- serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric. The terminals of curves are usually horizontal, and many have a spurred . Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to create a more regular effect in texts such as titles with many capital letters, and descenders are often short for tighter linespacing. Akzidenz Grotesk Old Face, Knockout, Grotesque No. Monotype Grotesque are examples of digital fonts that retain eccentricities of early sans- serif types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. Similar to grotesque typefaces, neogrotesques often feature capitals of uniform width and a quite 'folded- up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Helvetica is an example of this. Others such as Univers are less regular. Neo- grotesque type began in the 1. International Typographic Style, or Swiss style. Its members looked at the clear lines of Akzidenz Grotesk (1. In 1. 95. 7 the release of Helvetica, Univers, and Folio, the first typefaces categorized as neo- grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades. Other, later neo- grotesques include Unica, Imago and Rail Alphabet, and in the digital period Acumin, San Francisco and Roboto. The 'M' is often splayed and the capitals of varying width, following the classical model. Of these four categories, geometric fonts tend to be the least useful for body text and often used for headings and small passages of text. The geometric sans originated in Germany in the 1. Many geometric sans- serif alphabets of the period, such as those created by the Bauhaus art school (1. Designs considered geometric in principles but which are less descended from the Futura/Erbar/Kabel tradition include Bank Gothic, DIN 1. Eurostile and Handel Gothic. Humanist. Many have true italics rather than an oblique, ligatures and even swashes in italic. Sans-serif font: Serif font: Serif font (red serifs) In typography, a serif (/ Download fonts, free fonts, zephyr font, microsoft fonts, gothic fonts, scary fonts and graffiti. More 40 000 fonts on 911fonts.com! Purchase downloadable Adobe Type fonts for commercial use from best online collection. Try fonts from selection of high quality & professional desktop and web fonts. A spacious, modern version of a classic mid-century font, the Century Gothic design embodies the digital age with its sleek sans serif style, but still. Gothic Fonts - Page 1. 1001 Free Fonts offers a huge selection of free fonts. Download free fonts for Windows and Macintosh. Search Free Fonts has largest Free Fonts selection on the web. Over 13000 free fonts for Windows and Mac available to download. Free Fonts are categorized and sorted. Free-fonts-download.com Free Fonts Download for Windows and Mac. Best 100% Free Fonts collection for free downloading. Highest quality font for personal and. One of the earliest humanist designs was Edward Johnston's Johnston typeface of c. Gill Sans (Eric Gill, 1. Edward Johnston, a calligrapher by profession, was inspired by classic letter forms, especially the capital letters on the Column of Trajan. These include most popularly Hermann Zapf's Optima (1. Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half- squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text. Others such as Syntax, Goudy Sans and Sassoon Sans more resemble handwriting, serif fonts or calligraphy. Frutiger, from 1. ![]() The category expanded greatly during the 1. Helvetica and Univers and also due to the need for legible fonts on low- resolution computer displays. Humanist sans- serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide apertures or separation between strokes, which is not a conventional feature on grotesque and neo- grotesque designs. Other/mixed. For example, Neuzeit S has both neo- grotesque and geometric influences, as does Herman Zapf's URW Grotesk. Sans- serif fonts intended for signage, such as Transport and Highway Gothic used on road signs, may have unusual features to enhance legibility and differentiate characters, such as a lower- case . ![]() The strokes vary in width considerably. A particular subgenre of sans- serifs is those such as Rothbury, Britannic, Radiant and National Trust with stroke contrast, which have been called 'modulated' sans- serifs. They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from calligraphy or painted lettering, grotesque or humanist fonts. However, Roman square capitals, the inspiration for much Latin- alphabet lettering throughout history, had prominent serifs. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was . Thus, Thomas Dempster's De Etruria regali libri VII (1. Etruscan epigraphy, and in c. Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar John Swinton. The lettering style apparently became referred to as . Historian James Mosley, the leading expert on early revival of sans- serif letters, has written that . This makes tracing the descent of sans- serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.) Around 1. Ordnance Survey began to use 'Egyptian' lettering, monoline sans- serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving. Much less influenced by classical models than the earliest sans- serif lettering, Figgins' type became extremely popular for commercial use. These were quite different in design, arrestingly bold and similar in aesthetic to the slab serif and . Intended for advertising, these typefaces, often display capitals, became very successful. Select headlines are in a sans- serif typeface. Sans- serif lettering and fonts were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or very small. Because sans- serif type was often used for headings and commercial printing, many early sans- serif designs did not feature lower- case letters. Simple sans- serif capitals, without use of lower- case, became very common in uses such as tombstones of the Victorian period in Britain. In 1. 92. 2, master printer Daniel Berkeley Updike described sans- serif fonts as having . It was marketed as a sophisticated refinement of earlier sans- serifs, taking inspiration from Roman capitals and designer Eric Gill's experience carving monuments and memorials. As Updike's comments suggest, the more constructed humanist and geometric sans- serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image. A purely geometrical form of type is unsustainable. Futura’s capitals are inspired by Roman square capitals, with considerable variation in width. Helvetica’s are more uniform in width, following the grotesque model. Different designers have expressed different opinions on which style is preferable. By the 1. 96. 0s, neo- grotesque fonts such as Univers and Helvetica had become popular through reviving the nineteenth- century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single font. News Gothic, a 1. Gothic Italic no. Didone serifs of the period. An exception was the typefounder Thorne, who confused things by marketing his Antique under the name 'Egyptian'. In France it became Egyptienne, and to worsen the confusion, the French called sans- serif type 'Antique'. The name came from the Italian word 'grottesco', meaning 'belonging to the cave'. In Germany, the name became Grotesk. German typefounders adopted the term from the nomenclature of Fann Street Foundry, which took on the meaning of cave (or grotto) art. Caslon Foundry in Chiswell Street in 1. Eventually the foundry used Sans- serif in 1. At that time, Doric referred to a certain kind of stressed sans- serif types. Gothic: Not to be confused with blackletter typeface, the term was used mainly by American type founders. Perhaps the first use of the term was due to the Boston Type and Stereotype Foundry, which in 1. It is believed that those were the first sans serif designs to be introduced in America. The term probably derived from the architectural definition, which is neither Greek nor Roman. Wood (1. 86. 5), Lothian, Conner, Bruce Mc. Kellar. Although the usage is now rare in the English- speaking world, the term is commonly used in Japan and South Korea; in China they are known by the term heiti (Chinese: . Later, in British Standards Classification of Typefaces (BS 2. Simplices: In Jean Alessandrini's d. The Open. Document format (ISO/IEC 2. Rich Text Format can use it to specify the sans- serif generic font family name for a font used in a document. Particular attention is given to unusual uses and more obscure fonts, meaning this gallery should not be considered a representative sampling. Source Sans Pro Font Free by Adobe » Font Squirrel. Source Sans Pro Extra. Light. Source Sans Pro Extra. Light Italic. Source Sans Pro Light. Source Sans Pro Light Italic. Source Sans Pro Regular. Source Sans Pro Italic. Source Sans Pro Semibold. Source Sans Pro Semibold Italic. Source Sans Pro Bold. Source Sans Pro Bold Italic. Source Sans Pro Black. Source Sans Pro Black Italic. Source Sans Pro Extra. Light. Source Sans Pro Extra. Light Italic. Source Sans Pro Light. Source Sans Pro Light Italic. Source Sans Pro Regular. Source Sans Pro Italic. Source Sans Pro Semibold. Source Sans Pro Semibold Italic. Source Sans Pro Bold. Source Sans Pro Bold Italic. Source Sans Pro Black. Source Sans Pro Black Italic. SIL Open Font License v. This license can also be found at this permalink: https: //www. Copyright 2. 01. 0, 2. Adobe Systems Incorporated (http: //www. Reserved Font Name . All Rights Reserved. Source is a trademark of Adobe Systems Incorporated in the United States and/or other countries. This Font Software is licensed under the SIL Open Font License, Version 1. This license is copied below, and is also available with a FAQ at: http: //scripts. OFL—————————————————————————————- SIL OPEN FONT LICENSE Version 1. February 2. 00. 7—————————————————————————————- PREAMBLEThe goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. 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PERMISSION & CONDITIONSPermission is hereby granted, free of charge, to any person obtaining a copy of the Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell modified and unmodified copies of the Font Software, subject to the following conditions: 1) Neither the Font Software nor any of its individual components, in Original or Modified Versions, may be sold by itself. Original or Modified Versions of the Font Software may be bundled, redistributed and/or sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand- alone text files, human- readable headers or in the appropriate machine- readable metadata fields within text or binary files as long as those fields can be easily viewed by the user. No Modified Version of the Font Software may use the Reserved Font Name(s) unless explicit written permission is granted by the corresponding Copyright Holder. 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DISCLAIMERTHE FONT SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE. Webfont Kit. The license for this font is the SIL OFL license. This license does not allow us to redistribute derivative versions of the font without wholesale name changes inside and out of the font. Until we figure out a reasonable method of delivering these to you and complying with the license, you will have to use the Webfont Generator yourself on these, renaming the fonts appropriately. If you are the designer of this font, and this was an unintended consequence of using the OFL license, contact us and give us permission to allow webfont conversions. ![]() Sound Effect Libraries. Read usage notices and evaluate quality. Acoustica Free download; ALC Free Downloads worth checking.Information about the UK's main religions, daily religion news, audio on demand and the BBC's religious programming. BBC Radiophonic Workshop's brilliant Brian Hodgson created that now-so-famous noise using only his mum's front door key and a gutted piano. But the evolution of usage. The term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published a major article about "The Use of Sound Effects". Free rain sound effects in wav and mp3 formats. Thousands of free sound effects for all projects - web, youTube, film, TV, DVD, apps, games, and more. AudioMicro - One of the largest sound effect libraries online with over 299,000 sound effects to download instantly to your computer. Arranged into comprehensive. Sound Effect Clips. SoundEffectClips.com is a stock audio site offering a collection of high-quality, affordable royalty-free sound effects for use in films, videos. It's behind you! Listen to the BBC's terrifying new 3D sound effect system to be used in Doctor Who. Binaural sound system will be used in this weeks episode of hit show. ![]() Bedroom Producers Blog - Freeware For Musicians! A couple of years ago, I was planning on launching a You. Tube channel for BPB, so I went on a search for freeware. SampleRobot ist die neue Sampling-Software für Musiker und Sound Designer. Mit SampleRobot wird es erstmals möglich, reale Musikinstrumente in beliebiger.Sample. Robot - Clever Instrument Creation . Mit Sample. Robot 5 Pro k. Ganz egal, was Sie sampeln m. Dabei nimmt Sample. 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Venezuela’s economy has been rankled by a years- long, sky- high unemployment which appeared to claim as a victim a General Motors plant that hadn’t produced a car since 2. Workers at the factory, about 2,7. But. Reutersdug in and discovered there’s more to the GM saga—and, ho boy, is it an interesting tale. ![]() BONG BONG BONG. The dashboard had lit up like a Christmas tree. Power was gone. The whole car started shuddering. We were in a 2017 Alfa Romeo Giulia with just barely. From Reuters: Kansao convinced a court to seize the plant as the remedy for a relatively small-time business dispute - over GM’s termination of his franchises. Download the free trial version below to get started. Double-click the downloaded file to install the software. In case you didn’t know it, Venezuela is a country in turmoil at the moment. The country is in the. At the time, GM called the seizure “arbitrary” and an “illegal judicial seizure of its assets,” but it made no mention of Kansao’s suit. A GM spokesperson didn’t immediately respond to a request for comment, but we’ll update the story if we hear back. Kansao and GM have been locked in a lengthy court battle, according to Reuters—and I’m not kidding, it has gone on a long time. From Reuters: Kansao convinced a court to seize the plant as the remedy for a relatively small- time business dispute - over GM’s termination of his franchises - that mushroomed into a 1. It’s not unusual for cases in the U. S. But 1. 7 years, goddamn. I barely have the conviction to see through an hour at the gym. Torrent Search. Torrents.me combines popular torrent sites and specialized private trackers in a torrent multisearch. Beside The Pirate Bay, Kickass Torrents and. There’s a colorful he- said- she- said backstory between GM and Kansao—who operated the two dealerships with a business partner named Elena Rodriguez—that makes Reuters entire piece well- worth your time, but the upshot is this: In the end, a civil court in the western state of Zulia granted . That depends on the government finding a suitor for the now- shuttered factory, Reuters says, and Kansao doesn’t seem too optimistic, telling the news agency “only God knows” what type of buyer might be attracted to the facility. But, in the end, the Venezuelan court essentially found that two auto dealerships = $1. Lean software development (LSD) is a translation of lean manufacturing and lean IT principles and practices to the software development domain. Adapted from the. Credit This essay is a preprint of the author’s original manuscript of a chapter to be published in Netland and Powell (eds) (2016) "Routledge Companion to Lean. FUJITSU GLOVIA offers manufacturing ERP software that helps manufacturers, assembly businesses and mixed-mode companies worldwide manage their operations. A Brief History of Lean Although there are instances of rigorous process thinking in manufacturing all the way back to the Arsenal in Venice in the 1. Henry Ford. At Highland Park, MI, in 1. The public grasped this in the dramatic form of the moving assembly line, but from the standpoint of the manufacturing engineer the breakthroughs actually went much further. Ford lined up fabrication steps in process sequence wherever possible using special- purpose machines and go/no- go gauges to fabricate and assemble the components going into the vehicle within a few minutes, and deliver perfectly fitting components directly to line- side. Recent Posts. Steel Stories: Strange and Innovative Things We’ve Seen While Transitioning Metals Producers to Lean; Smoothing Customer Demand: Lean Manufacturing. Lean manufacturing or lean production, often simply "lean", is a systematic method for waste minimization ("Muda") within a manufacturing system without sacrificing. This was a truly revolutionary break from the shop practices of the American System that consisted of general- purpose machines grouped by process, which made parts that eventually found their way into finished products after a good bit of tinkering (fitting) in subassembly and final assembly. The problem with Ford’s system was not the flow: He was able to turn the inventories of the entire company every few days. Rather it was his inability to provide variety. The Model T was not just limited to one color. It was also limited to one specification so that all Model T chassis were essentially identical up through the end of production in 1. Other automakers responded to the need for many models, each with many options, but with production systems whose design and fabrication steps regressed toward process areas with much longer throughput times. Over time they populated their fabrication shops with larger and larger machines that ran faster and faster, apparently lowering costs per process step, but continually increasing throughput times and inventories except in the rare case—like engine machining lines—where all of the process steps could be linked and automated. Even worse, the time lags between process steps and the complex part routings required ever more sophisticated information management systems culminating in computerized Materials Requirements Planning(MRP) systems . As Kiichiro Toyoda, Taiichi Ohno, and others at Toyota looked at this situation in the 1. World War II, it occurred to them that a series of simple innovations might make it more possible to provide both continuity in process flow and a wide variety in product offerings. They therefore revisited Ford’s original thinking, and invented the Toyota Production System. This system in essence shifted the focus of the manufacturing engineer from individual machines and their utilization, to the flow of the product through the total process. Toyota concluded that by right- sizing machines for the actual volume needed, introducing self- monitoring machines to ensure quality, lining the machines up in process sequence, pioneering quick setups so each machine could make small volumes of many part numbers, and having each process step notify the previous step of its current needs for materials, it would be possible to obtain low cost, high variety, high quality, and very rapid throughput times to respond to changing customer desires. Also, information management could be made much simpler and more accurate. The thought process of lean was thoroughly described in the book The Machine That Changed the World (1. James P. Womack, Daniel Roos, and Daniel T. Compare the best Manufacturing Software systems for small business to large enterprise manufacturers. Get demonstrations and pricing. Success has many fathers! Recently, there has been some content published elsewhere on the web that seeks to re-write the history of the adaptation of kanban systems. Although there are instances of rigorous process thinking in manufacturing all the way back to the Arsenal in Venice in the 1450s, the first person to truly integrate. In a subsequent volume, Lean Thinking (1. James P. Womack and Daniel T. Jones distilled these lean principles even further to five: Specify the value desired by the customer. Identify the value stream for each product providing that value and challenge all of the wasted steps (generally nine out of ten) currently necessary to provide it. Make the product flow continuously through the remaining value- added steps. Introduce pull between all steps where continuous flow is possible. Manage toward perfection so that the number of steps and the amount of time and information needed to serve the customer continually falls. Lean is just for manufacturing, isn’t it?![]() Lean Today. As these words are written, Toyota, the leading lean exemplar in the world, stands poised to become the largest automaker in the world in terms of overall sales. Its dominant success in everything from rising sales and market shares in every global market, not to mention a clear lead in hybrid technology, stands as the strongest proof of the power of lean enterprise. This continued success has over the past two decades created an enormous demand for greater knowledge about lean thinking. There are literally hundreds of books and papers, not to mention thousands of media articles exploring the subject, and numerous other resources available to this growing audience. As lean thinking continues to spread to every country in the world, leaders are also adapting the tools and principles beyond manufacturing, to logistics and distribution, services, retail, healthcare, construction, maintenance, and even government. Indeed, lean consciousness and methods are only beginning to take root among senior managers and leaders in all sectors today. Principles of Lean. Is this a mobile device? This section of our website has not yet been optimized for mobile devices. For the best user experience, we recommend performing this transaction on a laptop or desktop computer. If this is not a mobile device, please accept our apologies for alarming you unnecessarily. Prototyping a 4- way open- baffle speaker with the mini. DSP 2. In the first tutorial, I introduced the mini. Best Full Range Driver For Open Baffle LoudspeakerThe 3" FE87 full range may be small, but it delivers everything you have come to expect from Fountek. The extremely light aluminum cone and voice coil are driven by a. Type: Open baffle loudspeakers SPL: 94-96db measured in a typical room Frequency Response: 32Hz – 20,000Hz (all Trio15 models) Impedance: 3.5 to 8 ohms. Technical documentation. 2006-02-19 © Tolvan Data 2004-2006. The Edge program is a baffle diffraction simulator. Typically it is intended to use for. I measured the 16 gauge Megacable from Radio Shack (278-1270) that I use. A 10 foot length has 0.07 ohm resistance, 714 pF of capacitance and 1.9 uH of inductance. Fullrange speakers. DIY speakers. DIY Speaker kits. Open Baffle Speakers. Fullrange drivers, Audio Nirvana, Lowther, Fostex. Vacuum Tube Amplifiers For Sale. Full range speakers single driver extended range bamboo. Glow speakers full range speakers single driver orb shaped loudspeakers recycled scrap wood enclosures hemp. This is the second in a series of tutorials on the miniDSP. In the first tutorial, I introduced the miniDSP 2×4 standalone unit and showed how it could be used for. DSP 2. For this tutorial, I decided to use the mini. DSP 2. The speaker is an open- baffle loudspeaker, a configuration that has been gaining popularity in DIY circles in recent years. ![]() After (re) introducing the mini. DSP 2. The emphasis in the tutorial is intended to be on the use of the mini. DSP, and not so much on the speaker itself. Best Full Range Driver For Open Baffle DiyThe Slot Loaded Open Baffle Project by Nelson Pass Intro: ESS and the Heil Years In 1972 I had the good fortune to begin working for ESS, arriving a few weeks before. ![]() So I hope that you will find the tutorial useful even if you are using the mini. DSP for a more conventional (boxed) 3- way or 4- way loudspeaker. This article is Part 1 of the full tutorial. In this part, I will get as far as getting the crossover running and some basic measurements and equalization. In Part 2, I’ll present more sophisticated measurement and processing techniques for integrating the drivers. In Part 3, I’ll complete the four- way system with an open- baffle subwoofer. The mini. DSPHere is a quick recap of the mini. DSP 2. Physically, it’s a small metal case, about 1. RCA input connectors and four RCA output connectors. In addition, there is a USB Mini- B connector to use for configuring the mini. DSP from your computer, and a DC plug with screw terminals if you wish to use an independent power supply. The signal processing functionality that the unit performs is determined by the specific software “plugin” that you load into it. There are quite a number of these available from the mini. DSP online store. For this tutorial, we will be using the 4- way PEQ plugin. This plugin turns the mini. DSP into a mono 4- way crossover with a raft of parametric equalizers that we will use to correct driver, baffle, and room responses. Thus, for this project, we will need two mini. DSP 2. The mini. DSP circuit board provides 2- in 4- out processing, and additional boards can be added for S/PDIF I/O, USB input, and even a Class D amplifier module with digital (I2. S) connection to the mini. DSP. This tutorial is, however, focusing on the crossover and equalization capabilities of the mini. DSP, and not the hardware – perhaps future tutorials will demonstrate the integration of the various boards in the mini. DSP system. A little open- baffle speaker theory. In its simplest form, an open- baffle speaker can be constructed by cutting a hole in a sheet of wood (or other material) and mounting a driver in it. Unlike conventional speakers, there is no box enclosing the driver. This has a number of consequences, which largely revolve around the fact that the acoustic energy from the back of the driver’s cone is radiated into the room, as well as the energy from the front of the driver: Figure 1. Acoustic radiation from an open baffle speaker. The acoustic radiation from the rear of the cone will interfere (cancel or reinforce, depending on frequency and location in space) with the radiation from the front of the cone. The most notable effect of this interference is that there is a null to the sides of the baffle – that is, the front radiation and the rear radiation cancel each other out along an imaginary line drawn out to either side of the baffle. The result is a “figure of eight” radiation pattern, as shown in Figure 2a. The grey line on this diagram represents the locations around the speaker where a constant acoustic power is produced. The diagram illustrates that the highest output power is to the front and rear of the speaker, and the lowest to the sides. Theoretically speaking, this shape is caused by two oscillating point sources of opposite polarity – a dipole. So, open- baffle speakers are often also referred to as dipole speakers. Now, this is an idealised curve, which really applies only at low frequencies. At higher frequencies, the interference between the front and rear waves produces more complex “lobing” patterns, such as in Figure 2b. Figure 2. Radiation patterns of an open- baffle speaker. The interference between the front and rear waves has another effect: below a certain point, as frequencies get lower, the total amount of acoustic energy produced gets lower. An open- baffle speaker thus typically needs more volume displacement (cone area . See this page at Linkwitz Lab for the calculations and explanation of the theory. For the less gifted, we can see the same effects by running a simulation program such as the Edge. Here, for example, is the simulated on- axis response of a very small (1mm diameter) driver in the centre of a 4. Figure 3. Frequency response of an ideal point source driver in a circular baffle(Click on this or any of the graphs in this article for a larger version.)At around 7. Hz, we see what is known as the “dipole peak,” which occurs at the frequency at which the rear wave acts to reinforce the front wave. Below that frequency, the front and rear waves progressively cancel each other out, with the slope of the curve tending towards a drop of 6 d. B/octave. Above that frequency, the front and rear waves alternately cancel and reinforce, leading to the “comb” pattern that you see in the plot. Now, in practice, we don’t put a teensy driver in the centre of a round baffle. As it happens, a realistically- sized driver acts to spread the locations of the cancellation notches, evening out the response to some degree. A non- circular baffle adds to the effect. Here is the simulated on- axis response of a driver with a cone of 1. Figure 4. Frequency response of 1. As you can see, the frequency response is still not exactly flat, and there is a fairly significant notch in the frequency response at around 1. Hz. But it is better than the point- source driver in the circular baffle. To summarise: the front and rear waves of an open baffle speaker interfere in a complex way to create patterns of reinforcement and cancellation in frequency and space. One might then be tempted to ask: why bother? Well, because, in practice, it can be made to work remarkably well. Here are some possible advantages of the open- baffle approach: Higher direct- to- reverberant energy. As Siegfried Linkwitz explains, the total radiated power from a dipole is 4. B less than from a monopole (equal radiation in all directions), given the same on- axis level. Less excitation of room modes. An open- baffle speaker tends to excite room modes less in the direction to the sides of the speaker, where the radiation null occurs. No “box sound.” This is controversial, but since there is no box, pressurization caused in that box by the loudspeaker driver can’t excite resonances in the box material. A conventional box speaker tends to radiate in all directions at low frequencies, and only to the front at high frequencies. An open- baffle speaker, which radiates to the rear over a greater range of frequencies, can result in a more “spacious” sound. Loudspeaker design is a complex set of trade- offs and the above list is intended to indicate the kinds of things that could be taken into consideration – they are not absolutes. The prototype speaker. The fact that a box is not required is one of the fun aspects of making a DIY open- baffle speaker – it’s relatively quick to knock up a prototype to experiment with. This is my second prototype of this particular speaker – I made some mistakes and learned some things with the first prototype, and I will no doubt make more mistakes and learn a few more things with the second prototype! The overall configuration is a three- way loudspeaker mounted on an open baffle, with the fourth “way” being a separate subwoofer on each channel. One channel is illustrated in Figure 5 (click to enlarge): Figure 5. The anticipated crossover points are around 4. Hz and 4 k. Hz, with the subs reinforcing the woofers underneath around 5. Hz. Each channel uses a single mini. DSP 2. A total of six channels of amplification are needed for the main open- baffle panel, and an additional two channels for the subwoofers. I am using the “Rev A” version of the mini. DSP 2. This has a maximum input voltage of 0. Vrms, and a maximum output voltage on each channel of 0. Vrms. At the input, we must not exceed that limit, or we will get clipping of the input signal. At the outputs, the maximum output level together with the amplifier sensitivity and the driver sensitivity determines the maximum acoustic signal level that can be obtained from each driver. In general, the topic of matching signal levels with the gain/sensitivity parameters of various units is referred to as gain structure. We don’t want to have signal levels too high anywhere in the chain, or we will get clipping distortion. Nor do we want to have signals levels too low anywhere in the chain, or we may introduce noise. In a typical domestic system, the configuration shown above with the “Rev A” mini. DSP 2. There may be cases where the “Rev B” version, with a 2. Vrms maximum input level, should be used instead. And, amplifiers with an unusually low or high input sensitivity may not be best suited for this application. Choosing drivers. Using a mini. DSP (or other digital crossover/EQ) is quite liberating for a DIYer, as you have less to worry about in terms of selecting drivers: With steep crossover slopes available, you can set a crossover point for a given driver lower than you would if using a passive crossover. With powerful and flexible EQ on tap, you can use drivers that you might otherwise avoid because of the need to implement a notch filter or other response shaping. With an active system, there is less concern about matching driver sensitivities. This opens up opportunities to use drivers that you might not otherwise. I am using the Bohlender Graebener Neo. PDR, in “dipole mode” (that is, with the back cup removed). This tweeter is relatively inexpensive, and flexible enough to be used in a lot of different ways. Although I would have liked to use the more sensitive non- PDR version of this tweeter, I already had the PDR version, so I’m using those for now. Midrange. This is a hard one, as there are so many possible choices! For this prototype, I’ve gone with the B& C 6. ![]() Technische Mechanik E- Book- Version: Im E- Book der 7. Auch wenn im Buchtext nur die Domain. Das funktioniert nur im E- Book der 7. Auflage, und diese ist ausschlie. Technische Mechanik, Statik, Fachwerk, Balken, Schwerpunkt, Haftung, Reigung.
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