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Using FXML in Javafx
JavaFX and FXML How to use FXML to define the components in a user interface. FXML FXML is an XML format text file that describes an interface for a JavaFX application. You can define components, layouts, styles, and properties in FXML instead of writing code. <GridPane fx:id="root" hgap="10.0" vgap="5.0" xmlns="..."> <children> <Label fx:id="topMessage" GridPane.halignment="CENTER"/> <TextField fx:id="inputField" width="80.0" /> <Button fx:id="submitButton" onAction="#handleGuess" /> <!-- more components --> </children> </GridPane> Creating a UI from FXML The FXMLLoader class reads an FXML file and creates a scene graph for the UI (not the window or Stage). It creates objects for Buttons, Labels, Panes, etc. and performs layout according to the fxml file. creates FXMLLoader reads game.fxml Code to Provide Behavior The FXML scene define components, layouts, and property values, but no behavior or event handlers. You write a Java class called a Controller to provide behavior, including event handlers: class GameController { private TextField inputField; private Button submitButton; /** event handler */ void handleGuess(ActionEvent e)... Connecting References to Objects The FXML scene contains objects for Button, TextField, ... The Controller contains references to the objects, and methods to supply behavior. How to Connect Objects to References? class GameController { private TextField inputField; private Button submitButton; /** event handler */ void handleGuess(ActionEvent e)... fx:id and @FXML In the FXML file, you assign objects an "fx:id". The fx:id is the name of a variable in the Controller class annotated with @FXML. You can annotate methods, too. fx:id="inputField" class GameController { @FXML private TextField inputField; @FXML private Button submitButton; /** event handler */ @FXML void handleGuess(ActionEvent e) The fxml "code" You can use ScaneBuilder to create the fxml file. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers Across 900 Popular Songs from 2012-2020
Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers across 900 Popular Songs from 2012-2020 Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao March 2021 INCLUSION IN THE RECORDING STUDIO? EXAMINING POPULAR SONGS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists WOMEN ARE MISSING IN POPULAR MUSIC Prevalence of Women Artists across 900 Songs, in percentages 28.1 TOTAL NUMBER 25.1 OF ARTISTS 1,797 22.7 21.9 22.5 20.9 20.2 RATIO OF MEN TO WOMEN 16.8 17.1 3.6:1 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 FOR WOMEN, MUSIC IS A SOLO ACTIVITY Across 900 songs, percentage of women out of... 21.6 30 7.1 7.3 ALL INDIVIDUAL DUOS BANDS ARTISTS ARTISTS (n=388) (n=340) (n=9) (n=39) WOMEN ARE PUSHED ASIDE AS PRODUCERS THE RATIO OF MEN TO WOMEN PRODUCERS ACROSS 600 POPULAR SONGS WAS 38 to 1 © DR. STACY L. SMITH WRITTEN OFF: FEW WOMEN WORK AS SONGWRITERS Songwriter gender by year... 2012 2013 2014 2015 2016 2017 2018 2019 2020 TOTAL 11% 11.7% 12.7% 13.7% 13.3% 11.5% 11.6% 14.4% 12.9% 12.6% 89% 88.3% 87.3% 86.3% 86.7% 88.5% 88.4% 85.6% 87.1% 87.4% WOMEN ARE MISSING IN THE MUSIC INDUSTRY Percentage of women across three creative roles... .% .% .% ARE ARE ARE ARTISTS SONGWRITERS PRODUCERS VOICES HEARD: ARTISTS OF COLOR ACROSS SONGS Percentage of artists of color by year... 59% 55.6% 56.1% 51.9% 48.7% 48.4% 38.4% 36% 46.7% 31.2% OF ARTISTS WERE PEOPLE OF COLOR ACROSS SONGS FROM ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 © DR. -
Macroeconomic and Foreign Exchange Policies of Major Trading Partners of the United States
REPORT TO CONGRESS Macroeconomic and Foreign Exchange Policies of Major Trading Partners of the United States U.S. DEPARTMENT OF THE TREASURY OFFICE OF INTERNATIONAL AFFAIRS December 2020 Contents EXECUTIVE SUMMARY ......................................................................................................................... 1 SECTION 1: GLOBAL ECONOMIC AND EXTERNAL DEVELOPMENTS ................................... 12 U.S. ECONOMIC TRENDS .................................................................................................................................... 12 ECONOMIC DEVELOPMENTS IN SELECTED MAJOR TRADING PARTNERS ...................................................... 24 ENHANCED ANALYSIS UNDER THE 2015 ACT ................................................................................................ 48 SECTION 2: INTENSIFIED EVALUATION OF MAJOR TRADING PARTNERS ....................... 63 KEY CRITERIA ..................................................................................................................................................... 63 SUMMARY OF FINDINGS ..................................................................................................................................... 67 GLOSSARY OF KEY TERMS IN THE REPORT ............................................................................... 69 This Report reviews developments in international economic and exchange rate policies and is submitted pursuant to the Omnibus Trade and Competitiveness Act of 1988, 22 U.S.C. § 5305, and Section -
Differentiation Rules (Differential Calculus)
Differentiation Rules (Differential Calculus) 1. Notation The derivative of a function f with respect to one independent variable (usually x or t) is a function that will be denoted by D f . Note that f (x) and (D f )(x) are the values of these functions at x. 2. Alternate Notations for (D f )(x) d d f (x) d f 0 (1) For functions f in one variable, x, alternate notations are: Dx f (x), dx f (x), dx , dx (x), f (x), f (x). The “(x)” part might be dropped although technically this changes the meaning: f is the name of a function, dy 0 whereas f (x) is the value of it at x. If y = f (x), then Dxy, dx , y , etc. can be used. If the variable t represents time then Dt f can be written f˙. The differential, “d f ”, and the change in f ,“D f ”, are related to the derivative but have special meanings and are never used to indicate ordinary differentiation. dy 0 Historical note: Newton used y,˙ while Leibniz used dx . About a century later Lagrange introduced y and Arbogast introduced the operator notation D. 3. Domains The domain of D f is always a subset of the domain of f . The conventional domain of f , if f (x) is given by an algebraic expression, is all values of x for which the expression is defined and results in a real number. If f has the conventional domain, then D f usually, but not always, has conventional domain. Exceptions are noted below. -
TV CHANNEL LINEUP by Channel Name
TV CHANNEL LINEUP By Channel Name: 34: A&E 373: Encore Black 56: History 343: Showtime 2 834: A&E HD 473: Encore Black HD 856: History HD 443: Showtime 2 HD 50: Freeform 376: Encore Suspense 26: HLN 345: Showtime Beyond 850: Freeform HD 476: Encore Suspense 826: HLN HD 445: Showtime Beyond HD 324: ActionMax 377: Encore Westerns 6: HSN 341: Showtime 130: American Heroes Channel 477: Encore Westerns 23: Investigation Discovery 346: Showtime Extreme 930: American Heroes 35: ESPN 823: Investigation Discovery HD 446: Showtime Extreme HD Channel HD 36: ESPN Classic 79: Ion TV 348: Showtime Family Zone 58: Animal Planet 835: ESPN HD 879: Ion TV HD 340: Showtime HD 858: Animal Planet HD 38: ESPN2 2: Jewelry TV 344: Showtime Showcase 117: Boomerang 838: ESPN2 HD 10: KMIZ - ABC 444: Showtime Showcase HD 72: Bravo 37: ESPNews 810: KMIZ - ABC HD 447: Showtime Woman HD 872: Bravo HD 837: ESPNews HD 9: KMOS - PBS 347: Showtime Women 45: Cartoon Network 108: ESPNU 809: KMOS - PBS HD 22: Smile of a Child 845: Cartoon Network HD 908: ESPNU HD 5: KNLJ - IND 139: Sportsman Channel 18: Charge! 21: EWTN 7: KOMU - CW 939: Sportsman Channel HD 321: Cinemax East 62: Food Network 807: KOMU - CW HD 361: Starz 320: Cinemax HD 862: Food Network HD 8: KOMU - NBC 365: Starz Cinema 322: Cinemax West 133: Fox Business Network 808: KOMU - NBC HD 465: Starz Cinema HD 163: Classic Arts 933: Fox Business Network HD 11: KQFX - Fox 366: Starz Comedy 963: Classic Arts HD 48: Fox News Channel 811: KQFX - Fox HD 466: Starz Comedy HD 17: Comet 848: Fox News Channel HD 13: KRCG -
The FX Global Code
ALERT MEMORANDUM The FX Global Code July 6, 2017 On May 25, 2017, central banks, regulatory bodies, If you have any questions concerning market participants, and industry working groups from this memorandum, please reach out to your regular firm contact or the a range of jurisdictions released the FX Global Code following authors (the “Code”).1 The Code is a common set of principles intended to enhance the integrity and effective LONDON functioning of the wholesale foreign exchange markets Bob Penn (“FX markets”), certain segments of which have, to +44 20 7614 2277 [email protected] date, been largely unregulated. The Code will Anna Lewis-Martinez supplement, rather than replace, the legal and +44 20 7847 6823 regulatory obligations of adherents. [email protected] Although the Code includes principles that are akin to Christina Edward +44 20 7614 2201 many of the requirements under the new Markets in [email protected] Financial Instruments Directive package (“MiFID II”) and U.S. Commodity Futures Trading Commission NEW YORK Colin D. Lloyd (“CFTC”) rules under the Dodd-Frank Wall Street +1 212 225 2809 [email protected] Reform and Consumer Protection Act of 2010 (“Dodd-Frank Act”), in several respects the Code Brian Morris +1 212 225 2795 goes beyond those requirements. As such, for many [email protected] market participants, adherence to the Code will require Truc Doan material changes to existing operating models, +1 212 225 2305 compliance procedures, client disclosures, and other [email protected] documentation. Adherence to the Code is voluntary, but several regulators have expressed that they expect market participants to adhere, and there will be public and private sector pressure to publicize adherence. -
Sending a File Via Uso-Fx 2 ****Only Firefox and Google
SENDING A FILE VIA USO-FX 2 ****ONLY FIREFOX AND GOOGLE CHROME BROWSER MUST BE USED TO SEND/RECEIVE FILES **** 1. Go To https://my.uso.im/home and use your lgfl username to login (ie: name.211) 2. Click on (left menu) then to bring the files sharing interface. You can share files with specific people: if you know their username, enter it in the recipient box, or search by name by selecting . Click once done. Enter username here To look for users when if known (name.211) username unknown (it will open a pop up window) 3. You can enter a title and comment on the next screen (optional), click once done. 4. You can select files which are either stored on My Drive, but you will most commonly from your computer. Browse for the file you need and click . To upload files To select files from your computer stored on MyDrive 5. On the next screen, check that all details are correct and click .YOUR FILE HAS NOW BEEN SENT TO THE RECIPIENT. RECEIVING A FILE VIA USO-FX2 ****ONLY FIREFOX AND GOOGLE CHROME BROWSER MUST BE USED TO SEND/RECEIVE FILES **** 1. You will receive a notification email from atomwide in the following format: 2. Go To https://my.uso.im/home and use your lgfl username to login (ie: name.211) 3. Click on (left menu) and select . It will bring the received files interface where you can see all the files sent to you with the sender’s details, the type of file, when it was sent (uploaded) and the title and comments. -
Poweredge Fx2 Enclosure
POWEREDGE FX2 ENCLOSURE The Dell PowerEdge FX2 enclosure is the uniquely small modular foundation for the PowerEdge FX architecture, an extremely flexible and efficient platform for building an IT infrastructure that precisely fits your computing needs. The PowerEdge FX2 is a 2U hybrid rack-based computing platform Innovative management with intelligent automation that combines the density and efficiencies of blades with the The Dell OpenManage systems management portfolio simplifies and simplicity and cost benefits of rack-based systems. automates server lifecycle management — making IT operations Flexible configurations, more choice more efficient and Dell servers the most productive, reliable and cost The FX architecture’s innovative modular design supports IT resource effective. Dell’s agent-free integrated Dell Remote Access Controller building blocks of varying sizes (compute, storage, networking and (iDRAC) with Lifecycle Controller makes server deployment, management) so data centers have greater flexibility to construct configuration and updates automated and efficient. Using Chassis their infrastructures. The FX architecture includes the following Management Controller (CMC), an embedded component that is server nodes and storage block: part of every FX2 chassis, you’ll have the choice of managing server nodes individually or collectively via a browser-based interface. • PowerEdge FC830: 4-socket scale-up server with unprecedented density and expandability OpenManage Essentials provides enterprise-level monitoring and control -
Equalization
CHAPTER 3 Equalization 35 The most intuitive effect — OK EQ is EZ U need a Hi EQ IQ MIX SMART QUICK START: Equalization GOALS ■ Fix spectral problems such as rumble, hum and buzz, pops and wind, proximity, and hiss. ■ Fit things into the mix by leveraging of any spectral openings available and through complementary cuts and boosts on spectrally competitive tracks. ■ Feature those aspects of each instrument that players and music fans like most. GEAR ■ Master the user controls for parametric, semiparametric, program, graphic, shelving, high-pass and low-pass filters. ■ Choose the equalizer with the capabilities you need, focusing particularly on the parameters, slopes, and number of bands available. Home stereos have tone controls. We in the studio get equalizers. Perhaps bet- ter described as a “spectral modifier” or “frequency-specific amplitude adjuster,” the equalizer allows the mix engineer to increase or decrease the level of specific frequency ranges within a signal. Having an equalizer is like having multiple volume knobs for a single track. Unlike the volume knob that attenuates or boosts an entire signal, the equalizer is the tool used to turn down or turn up specific frequency portions of any audio track . Out of all signal-processing tools that we use while mixing and tracking, EQ is probably the easiest, most intuitive to use—at first. Advanced applications of equalization, however, demand a deep understanding of the effect and all its Mix Smart. © 2011 Elsevier Inc. All rights reserved. 36 Mix Smart possibilities. Don't underestimate the intellectual challenge and creative poten- tial of this essential mix processor. -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral.