Manual the MOST IMPORTANT AUDIO CONTROL EQUIPMENT WORKS from HERE 10 HERE Keeping Sound Clean and Accuratecan Make Or Break Your Audio Projects
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2011 BCE Annual Information Form
Annual Information Form BCE Inc. For the year ended December 31, 2011 March 8, 2012 In this Annual Information Form, Bell Canada is, unless otherwise indicated, referred to as Bell, and comprises our Bell Wireline, Bell Wireless and Bell Media segments. Bell Aliant means, collectively, Bell Aliant Inc. and its subsidiaries. All dollar figures are in Canadian dollars, unless stated otherwise. The information in this Annual Information Form is as of March 8, 2012, unless stated otherwise, and except for information in documents incorporated by reference that have a different date. TABLE OF CONTENTS PARTS OF MANAGEMENT’S DISCUSSION & ANALYSIS AND FINANCIAL STATEMENTS ANNUAL INCORPORATED BY REFERENCE INFORMATION (REFERENCE TO PAGES OF THE BCE INC. FORM 2011 ANNUAL REPORT) Caution Regarding Forward-Looking Statements 2 32-34; 54-69 Corporate Structure 4 Incorporation and Registered Offices 4 Subsidiaries 4 Description of Our Business 5 General Summary 5 23-28; 32-36; 41-47 Strategic Imperatives 6 29-31 Our Competitive Strengths 6 Marketing and Distribution Channels 8 Our Networks 9 32-34; 54-69 Our Employees 12 Corporate Responsibility 13 Competitive Environment 15 54-57 Regulatory Environment 15 58-61 Intangible Properties 15 General Development of Our Business 17 Three-Year History (1) 17 Our Capital Structure 20 BCE Inc. Securities 20 112-114 Bell Canada Debt Securities 21 Ratings for BCE Inc. and Bell Canada Securities 21 Ratings for Bell Canada Debt Securities 22 Ratings for BCE Inc. Preferred Shares 22 Outlook 22 General Explanation 22 Explanation of Rating Categories Received for our Securities 24 Market for our Securities 24 Trading of our Securities 25 Our Dividend Policy 27 Our Directors and Executive Officers 28 Directors 28 Executive Officers 30 Directors’ and Executive Officers’ Share Ownership 30 Legal Proceedings 31 Lawsuits Instituted by BCE Inc. -
International Standard
IEC 62106 ® Edition 2.0 2009-07 INTERNATIONAL STANDARD Specification of the Radio Data System (RDS) for VHF/FM sound broadcasting in the frequency range from 87,5 MHz to 108,0 MHz --`,,```,,,,````-`-`,,`,,`,`,,`--- IEC 62106:2009(E) Copyright International Electrotechnical Commission Provided by IHS under license with IEC No reproduction or networking permitted without license from IHS Not for Resale THIS PUBLICATION IS COPYRIGHT PROTECTED Copyright © 2009 IEC, Geneva, Switzerland All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and microfilm, without permission in writing from either IEC or IEC's member National Committee in the country of the requester. If you have any questions about IEC copyright or have an enquiry about obtaining additional rights to this publication, please contact the address below or your local IEC member National Committee for further information. IEC Central Office 3, rue de Varembé CH-1211 Geneva 20 Switzerland Email: [email protected] Web: www.iec.ch About the IEC The International Electrotechnical Commission (IEC) is the leading global organization that prepares and publishes International Standards for all electrical, electronic and related technologies. About IEC publications The technical content of IEC publications is kept under constant review by the IEC. Please make sure that you have the latest edition, a corrigenda or an amendment might have been published. Catalogue of IEC publications: www.iec.ch/searchpub The IEC on-line Catalogue enables you to search by a variety of criteria (reference number, text, technical committee,…). -
Developing Sustainable Digital Libraries: Socio-Technical Perspectives
Developing Sustainable Digital Libraries: Socio-Technical Perspectives Tariq Ashraf University of Delhi, India Jaideep Sharma Indira Gandhi National Open University, India Puja Anand Gulati University of Delhi, India INFORMATION SCIENCE REFERENCE +HUVKH\1HZ<RUN Director of Editorial Content: Kristin Klinger Director of Book Publications: Julia Mosemann Acquisitions Editor: Lindsay Johnson Development Editor: Elizabeth Arder Typesetter: Gregory Snader Quality control: Jamie Snavely Cover Design: Lisa Tosheff Printed at: Yurchak Printing Inc. Published in the United States of America by Information Science Reference (an imprint of IGI Global) 701 E. Chocolate Avenue Hershey PA 17033 Tel: 717-533-8845 Fax: 717-533-8661 E-mail: [email protected] Web site: http://www.igi-global.com/reference Copyright © 2010 by IGI Global. All rights reserved. No part of this publication may be reproduced, stored or distributed in any form or by any means, electronic or mechanical, including photocopying, without written permission from the publisher. 3URGXFWRUFRPSDQ\QDPHVXVHGLQWKLVVHWDUHIRULGHQWL¿FDWLRQSXUSRVHVRQO\,QFOXVLRQRIWKHQDPHVRIWKHSURGXFWVRU companies does not indicate a claim of ownership by IGI Global of the trademark or registered trademark. Library of Congress Cataloging-in-Publication Data Developing sustainable digital libraries : socio-technical perspectives / Tariq Ashraf, Jaideep Sharma and Puja Anand Gulati, editors. p. cm. Includes bibliographical references and index. Summary: "This book provides tools to complement an organization's burgeoning information treasuries, exploring new frontiers by looking at social and economic aspects of digital libraries and their sustainability"-- Provided by publisher. ISBN 978-1-61520-767-1 ESBN 978-1-61520-768-8 1. Digital libraries. 2. Library materials--Digitization. 3. Digital preservation. 4. Digital divide. -
The Use of Gamma in Place of Digamma in Ancient Greek
Mnemosyne (2020) 1-22 brill.com/mnem The Use of Gamma in Place of Digamma in Ancient Greek Francesco Camagni University of Manchester, UK [email protected] Received August 2019 | Accepted March 2020 Abstract Originally, Ancient Greek employed the letter digamma ( ϝ) to represent the /w/ sound. Over time, this sound disappeared, alongside the digamma that denoted it. However, to transcribe those archaic, dialectal, or foreign words that still retained this sound, lexicographers employed other letters, whose sound was close enough to /w/. Among these, there is the letter gamma (γ), attested mostly but not only in the Lexicon of Hesychius. Given what we know about the sound of gamma, it is difficult to explain this use. The most straightforward hypothesis suggests that the scribes who copied these words misread the capital digamma (Ϝ) as gamma (Γ). Presenting new and old evidence of gamma used to denote digamma in Ancient Greek literary and documen- tary papyri, lexicography, and medieval manuscripts, this paper refutes this hypoth- esis, and demonstrates that a peculiar evolution in the pronunciation of gamma in Post-Classical Greek triggered a systematic use of this letter to denote the sound once represented by the digamma. Keywords Ancient Greek language – gamma – digamma – Greek phonetics – Hesychius – lexicography © Francesco Camagni, 2020 | doi:10.1163/1568525X-bja10018 This is an open access article distributed under the terms of the CC BY 4.0Downloaded license. from Brill.com09/30/2021 01:54:17PM via free access 2 Camagni 1 Introduction It is well known that many ancient Greek dialects preserved the /w/ sound into the historical period, contrary to Attic-Ionic and Koine Greek. -
NHL MEDIA DIRECTORY 2012-13 TABLE of CONTENTS Page Page NHL DIRECTORY NHL MEDIA NHL Offices
NHL MEDIA DIRECTORY 2012-13 TABLE OF CONTENTS PAGE PAGE NHL DIRECTORY NHL MEDIA NHL Offices ...........................................3 NHL.com ...............................................9 NHL Executive .......................................4 NHL Network .......................................10 NHL Communications ............................4 NHL Studios ........................................11 NHL Green ............................................6 NHL MEDIA RESOURCES .................. 12 NHL MEMBER CLUBS Anaheim Ducks ...................................19 HOCKEY ORGANIZATIONS Boston Bruins ......................................25 Hockey Canada .................................248 Buffalo Sabres .....................................32 Hockey Hall of Fame .........................249 Calgary Flames ...................................39 NHL Alumni Association ........................7 Carolina Hurricanes .............................45 NHL Broadcasters’ Association .........252 Chicago Blackhawks ...........................51 NHL Players’ Association ....................16 Colorado Avalanche ............................56 Professional Hockey Writers’ Columbus Blue Jackets .......................64 Association ...................................251 Dallas Stars .........................................70 U.S. Hockey Hall of Fame Museum ..249 Detroit Red Wings ...............................76 USA Hockey Inc. ...............................250 Edmonton Oilers ..................................83 NHL STATISTICAL CONSULTANT Florida -
Topstops Pacific Northwest
TOPSTOPS PACIFIC NORTHWEST Ranked by tickets sold. Based on data from concerts and events in Alberta, Alaska, British Columbia, Idaho, Montana, Oregon, Washington and Wyoming Nov. 1, 2019-Oct. 31, 2020, as reported to Pollstar. Data updated as of Dec. 1. RANK VENUE TICKETS SOLD CAPACITY GROSS SHOWS MORE THAN 15,000 1 Tacoma (Wash.) Dome 205,875 21,500 $8,748,413 33 2 Moda Center, Portland, Ore. 153,797 19,000 $9,624,100 20 3 Rogers Place, Edmonton, Alberta 11,776 18,982 $490,178 2 4 Rogers Arena, Vancouver, B.C. 11,383 20,763 $841,450 1 5 P.N.E. Pacific Coliseum, Vancouver, B.C. 9,822 16,500 $644,070 2 10,001-15,000 CAPACITY 1 Spokane (Wash.) Arena 29,825 12,500 $1,854,089 3 2 ExtraMile Arena, Boise, Idaho 18,807 12,808 $860,333 3 3 Ford Idaho Center Arena, Nampa 1,907 12,279 $93,074 1 5,001-10,000 CAPACITY 1 WaMu Theater, Seattle 28,029 9,000 $1,275,311 4 2 Accesso ShoWare Center, Kent, Wash. 26,366 7,800 $1,849,883 5 3 Abbotsford (B.C.) Centre 25,373 7,940 $1,202,914 6 4 Veterans Memorial Coliseum, Portland, Ore. 20,115 9,000 $821,401 7 5 Toyota Center Tri Cities, Kennewick, Wash. 12,959 7,200 $706,936 3 2,001-5,000 CAPACITY 1 Paramount Theatre, Seattle 171,694 2,807 $12,111,724 76 2 Velma V. Morrison Center for the Performing Arts, Boise, Idaho 77,733 2,037 $4,463,799 50 3 Arlene Schnitzer Concert Hall, Portland, Ore. -
Wireless Competition in Canada: an Assessment
Volume 6•Issue 27•September 2013 WIRELESS COMPETITION IN CANADA: AN ASSESSMENT Jeffrey Church † Professor, Department of Economics and Director, Digital Economy Program, The School of Public Policy, University of Calgary Andrew Wilkins † Research Associate, Digital Economy Program, The School of Public Policy, University of Calgary SUMMARY If there’s one thing Canadians agree on, it’s that Canada’s wireless industry can and should be more competitive. The federal government is on side with the policy objective of having four carriers in every region and has responded with policies that provide commercial advantages to entrants. But, the rub is that there has not been a study that actually assesses the state of competition in wireless services in Canada, until now. Those in favour of policies that will promote and sustain entry point to Canada’s high average revenue per user and low wireless penetration rate (mobile connections per capita) as evidence that there is insufficient competition. The difficulty is that the facts are not consistent with this simplistic analysis. Measurements of wireless penetration are skewed toward countries that maintain the Calling Party Pays Protocol and favour pay-as-you-go plans, both of which encourage inflated user counts. Canada’s participation per capita on monthly plans and minutes of voice per capita are not outliers. Moreover, in terms of smartphone adoption and smartphone data usage, Canada is a global leader, contributing to high average revenue per user. Consistent with being world leaders in the rollout of high speed wireless networks, Canada lead its peer group in capital expenditures per subscriber in 2012: the competition of importance to Canadians is not just over price, but also over the quality of wireless networks. -
Case 20-32299-KLP Doc 208 Filed 06/01/20 Entered 06/01/20 16
Case 20-32299-KLP Doc 208 Filed 06/01/20 Entered 06/01/20 16:57:32 Desc Main Document Page 1 of 137 Case 20-32299-KLP Doc 208 Filed 06/01/20 Entered 06/01/20 16:57:32 Desc Main Document Page 2 of 137 Exhibit A Case 20-32299-KLP Doc 208 Filed 06/01/20 Entered 06/01/20 16:57:32 Desc Main Document Page 3 of 137 Exhibit A1 Served via Overnight Mail Name Attention Address 1 Address 2 City State Zip Country Aastha Broadcasting Network Limited Attn: Legal Unit213 MezzanineFl Morya LandMark1 Off Link Road, Andheri (West) Mumbai 400053 IN Abs Global LTD Attn: Legal O'Hara House 3 Bermudiana Road Hamilton HM08 BM Abs-Cbn Global Limited Attn: Legal Mother Ignacia Quezon City Manila PH Aditya Jain S/O Sudhir Kumar Jain Attn: Legal 12, Printing Press Area behind Punjab Kesari Wazirpur Delhi 110035 IN AdminNacinl TelecomunicacionUruguay Complejo Torre De Telecomuniciones Guatemala 1075. Nivel 22 HojaDeEntrada 1000007292 5000009660 Montevideo CP 11800 UY Advert Bereau Company Limited Attn: Legal East Legon Ars Obojo Road Asafoatse Accra GH Africa Digital Network Limited c/o Nation Media Group Nation Centre 7th Floor Kimathi St PO Box 28753-00100 Nairobi KE Africa Media Group Limited Attn: Legal Jamhuri/Zaramo Streets Dar Es Salaam TZ Africa Mobile Network Communication Attn: Legal 2 Jide Close, Idimu Council Alimosho Lagos NG Africa Mobile Networks Cameroon Attn: Legal 131Rue1221 Entree Des Hydrocarbures Derriere Star Land Hotel Bonapriso-Douala Douala CM Africa Mobile Networks Cameroon Attn: Legal BP12153 Bonapriso Douala CM Africa Mobile Networks Gb, -
B~F";, Roland Patch Librarian Software Power Amplifiers Non-Keyboard Dr
Keyboard Music Notation Synthesizers Software Akai Mark 01 the Unicorn Korg Jim Miller Oberheim B~f";, Roland Patch Librarian Software Power Amplifiers Non-Keyboard Dr. Ts Ashly Synthesizers Jim Miller C ~O BGW Akai Opcode Systems Carver Korg Southworth Crown Kurzweil Voyelra Technologies HH Oberheim Haller Roland Voice Editing JBL Software Mcintosh MIDI Keyboard digidesign Ramsa Controllers Jim Miller Rane ~OoQ~ Symetrix Akai Opcode Systems Kurzwell UREI Oberheim MIDI Management Yamaha Roland Systems AudiO-Technlca Akai Fostex Studio Monitor Keyboard Sampling Axxess Unlimited TASCAM Speakers Systems J.L. Cooper Yamaha Auratone E-mu Drawmer B&W Korg Sycologic Mixers CSI (M DM) Kurzweil 360 Systems Akai Eastern Acoustic Works Roland Fostex Electro-Voice Ramsa Fostex MIDI Clocks & ART Shure Fourier Non-Keyboard MIDI Timing Devices Ashly TAC/Amek JBL Professional Samplers AXE dbx TASCAM ROR AMS Fostex Fostex Yamaha UREI Akai Gartield JBL Visonik bel Korg Klark-Teknik Multi-track Yamaha E-mu Roland Recorders Reverbs Orban Kurzweil Southworth Akai AKG Rane Headphones MDB TASCAM Fostex ART AKG MIDI /SMPTE UREI Otari Alesis Audio-Technica Digital Drum Interfaces Valley People TASCAM Eventide Beyer Machines Fostex White Klark-Teknik Fostex Akai-Linn Garfield 2-track Recorders Lexicon Yamaha J.L. Cooper Roland Koss Fostex Orban E-mu Southworth Sennheiser Olari Roland Vocoders Sony Korg Korg Studer/ Revox Yamaha Stanton Oberheim MIDI /Computer Roland TASCAM Stax Roland Interfaces Delay Lines Syntovox digidesign ADSlDeltalab Sampled Sound Cassette Recorders Hi-Fi Components Opcode Systems Akai AMS MIDI-controllable Libraries Roland Denon Denon ART Signal Processors Sony ES K-Muse Southworth Fostex Audio Digital ART Optical Media Voyetra Technologies Nakamichi Professional bel Alesis Equipment Racks & Sony ES Eventide Eventide Cases EPROM Burners MIDI Accessories Lexicon Korg Studer/ Revox Anvil digidesign Akai Lexicon TASCAM Marshall Bud Oberheim Axxess Unlimited Roland Yamaha Calzone J.L. -
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder. -
BCE 2014 Annual Information Form
Annual Information Form For the Year Ended December 31, 2014 10 0 Results speak volumes. MARCH 5, 2015 In this Annual Information Form, we, us, our and BCE mean, as the context may require, either BCE Inc. or, collectively, BCE Inc., its subsidiaries, joint arrangements and associates. Bell means our Bell Wireline, Bell Wireless and Bell Media segments on an aggregate basis. Bell Aliant means, as the context may require, until December 31, 2014, either Bell Aliant Inc. or, collectively, Bell Aliant Inc. and its subsidiaries and associates, or, after December 31, 2014, either Bell Aliant Regional Communications Inc. or, collectively, Bell Aliant Regional Communications Inc. and its subsidiaries and associates. Each section of BCE’s 2012, 2013 and 2014 management’s discussion and analysis of financial condition and results of operations (BCE 2012 MD&A, BCE 2013 MD&A and BCE 2014 MD&A, respectively) that is referred to in this Annual Information Form is incorporated by reference herein. The BCE 2012 MD&A, BCE 2013 MD&A and BCE 2014 MD&A have been filed with the Canadian provincial securities regulatory authorities (available at sedar.com) and with the U.S. Securities and Exchange Commission (available at sec.gov). They are also available on BCE’s website at BCE.ca. All dollar figures are in Canadian dollars, unless stated otherwise. The information in this Annual Information Form is as of March 5, 2015, unless stated otherwise, and except for information in documents incorporated by reference that have a different date. Trade-marks: The following are trade-marks referred to and used as such in this Annual Information Form that BCE Inc., its subsidiaries, joint arrangements, associates or other entities in which we hold an equity interest own or use under licence. -
Download Report
President s Message Change, evolution, ability to adapt - these are all key to the survival of the content production industry today. The new regulations of the Canada Media Fund have impacted the basic principles of television program financing, by requiring, among other things, a second platform for the exhibition of content. Advances in new technologies and new patterns of audience viewing habits require that we rethink our own practices and revise our procedures in order to operate effectively in this evolving environment. In these conditions, the ability to adapt becomes a fundamental condition for success. The Cogeco Fund has shown, year after year, that it can indeed adapt to change and has not hesitated to modify its guidelines in order to respond to the growing needs of the industry. The pre-development program, created in 2008, is an example. The Fund has received 123 applications for funding in this pre-development program in the past two years, while receiving an average of thirty requests per year for development of series and MOW’s. The innovative Corporate Theatrical Feature Film Development Program has also been widely appreciated with nearly 200 requests for funding from feature film production companies across the country since its inception in 1999. Last year, the Cogeco Fund expanded its mandate to include drama series funding in order to collaborate with the Independent Production Fund to meet the demand for drama series financing. The Cogeco Fund approved a total of $2,750,000 for the production of 14 drama series and MOW’s destined for both private and public broadcasters.