Civil Affairs Operations. FM 41-10, May 1962
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Nord Stage 2 EX English User Manual V2.X Edition B.Pdf
User Manual Nord Stage 2 EX 88 Nord Stage 2 EX HP76 Nord Stage 2 EX Compact OS Version 2.x Part No. 50444 Copyright Clavia DMI AB Print Edition: B The lightning flash with the arrowhead symbol within CAUTION - ATTENTION an equilateral triangle is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated voltage within the products en- DO NOT OPEN closure that may be of sufficient magnitude to constitute RISQUE DE SHOCK ELECTRIQUE a risk of electric shock to persons. NE PAS OUVRIR Le symbole éclair avec le point de flèche à l´intérieur d´un triangle équilatéral est utilisé pour alerter l´utilisateur de la presence à l´intérieur du coffret de ”voltage dangereux” non isolé d´ampleur CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK suffisante pour constituer un risque d`éléctrocution. DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. The exclamation mark within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the ATTENTION:POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE literature accompanying the product. PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L´USAGER. Le point d´exclamation à l´intérieur d´un triangle équilatéral est CONFIER L´ENTRETIEN AU PERSONNEL QUALIFE. employé pour alerter l´utilisateur de la présence d´instructions AVIS: POUR EVITER LES RISQUES D´INCIDENTE OU D´ELECTROCUTION, importantes pour le fonctionnement et l´entretien (service) dans le N´EXPOSEZ PAS CET ARTICLE A LA PLUIE OU L´HUMIDITET. -
Instruments Included in Sampletank 4
Instruments included in SampleTank 4 6,000 instruments. Including: Over 100 GB of samples. 70 GB of all-new SampleTank 4 samples. SampleTank 33Instruments GB of legacy SampleTank 3 samples (the full SampleTank 3 legacy product). All versions of SampleTank 4 include the full SampleTank 4 engine ACOUSTIC PIANOS (123) ACOUSTICSampleTank PIANOS 4 New Instruments (20) 123 BASSBad Stories 224 BRASSC7 Grand Cinematic 1 247 CHROMATICC7 Grand Close Mic - Natural 92 ACOUSTICC7 Grand DRUMS Close Mic - Natural SE 303 ELECTRONICC7 Grand DRUMS Close Mic Sharp 282 C7 Grand Delicate ELECTRIC PIANOS 204 C7 Grand Digi Piano Shine ETHNIC 206 C7 Grand Digi Piano ACOUSTIC GUITARS 101 C7 Grand House Piano ELECTRIC GUITARS 331 C7 Grand Pop Piano 1 LOOPS 423 C7 Grand Pop Piano 2 ORGANSC7 Grand Rock Piano 233 PERCUSSIONC7 Grand Tremolo Piano 77 SOUNDDelay FX Grand Delicate 16 STRINGSLFO Piano 375 SYNTHLoft BASIC Piano 106 Modern Piano SYNTH BASIC VARIATIONS 246 Ode to Robert SYNTH ARPEGGIO 34 Radio Piano SYNTH BASS 482 Very Old Friend SYNTH FX 63 SampleTank 3 Instruments (65) SYNTH LEAD 385 Grand Piano 1 SYNTH PAD 420 Grand Piano 1 Classical SYNTH PLUCK 29 Grand Piano 1 Mono Pop SYNTH SWEEP 16 VOICES 240 WOODWINDS 1 189 1 Instruments included in SampleTank 4 SampleTank Instruments ACOUSTIC PIANOS (123) SampleTank 4 New Instruments (20) Bad Stories C7 Grand Cinematic 1 C7 Grand Close Mic - Natural C7 Grand Close Mic - Natural SE C7 Grand Close Mic Sharp C7 Grand Delicate C7 Grand Digi Piano Shine C7 Grand Digi Piano C7 Grand House Piano C7 Grand Pop Piano 1 C7 -
FM ~110Bpm Steely Dan
FM ~110bpm Steely Dan Intro: |-----------------|------|-Bass-Lick-------|-Guitar Lick-------|-9-9-9---9-9-9-9-|--9-|-9----9----||-7/9--------------| |-2-3-2-3-2-3-2-3-|------|-----|-----------|-------------------|-8-8-8---8-8-8-8-|-10-|-8h10-8h10-||-----11----9-11p9-| |-2-4-2-4-2-4-2-4-|-%-x4-|-----|-----------|---------7-5-------|-9-9-9---9-9-9-9-|--9-|-9----9----||--------11--------| |-----------------|-%----|-----|-----------|-------7-------5-7-|-----------------|----|-----------||------------------| |-----------------|------|---0-|-2-2-----0-|---7h9-------------|-----------------|----|-----------||------------------| |-"A-D"-----------|------|-2---|-----2-0---|-------------------|-----------------|----|-"A7Lick"--||-dawn-------------| E5 F#5 G5 E5 A7Lick |---------||-----0-0-0-0-2-| Give us some funked up Muzak Cmaj7 Bm7 Am7 G F#7 B7 |---------||-0-3-----------| |---------||-Vocal Start---| she treats you The girls don't seem to care tonight |---------|| nice (A7Lick) Emaj13 G#7#5 C#m11 F#13 |-2--4/5--|| As long as the mood is right |-0--2/3--|| |-E---------------------| F#m7 A7 |-------3h5p3---3-3h5---| |---2/4-------4---------| No static at all (no static at all) E5 F#5 G5 E5 "A7Lick" |-----------------------| D/E C7 Worry the bot- tle mama it's grape-fruit |-----------------------| F M E5 F#5 G5 E5 "A7Lick" |-nice------------------| |---------------|---3--| Wine. |-1-------1-1---|---3--| E5 F#5 G5 E5 F#5 G5 |-----------------|----| |-3-------3-3---|---2--| |-2-------2-2---|---1--| Kick off your high heeled sneakers |-----3h5p3-------|----| -
Flow Motion FM Synthesizer
Flow Motion FM Synthesizer User Guide Contents Introduction ............................................................................................................................................... 3 Quick Start ................................................................................................................................................ 4 Interface .................................................................................................................................................... 9 Flow Screen ..................................................................................................................................................................... 9 Motion Screen ................................................................................................................................................................ 10 General Controls ............................................................................................................................................................ 11 Managing Presets ................................................................................................................................... 12 Controls .................................................................................................................................................. 13 Flow Screen ................................................................................................................................................................... 13 Oscillator -
The Amazing Tale of Gibson
presents The Amazing Tale of Gibson TSO Education Concert Featuring the story The Amazing Tale of Gibson written by Jennifer Compton©2015 Wednesday 19 October 2016 Federation Concert Hall, 11:30am Teacher Resource Booklet Prepared by Sharee Bahr, Carolyn Cross and Di O’Toole CONTENTS Page The Tasmanian Symphony Orchestra 2 The Amazing Tale of Gibson 8 Teaching Ideas A What’s an Orchestra 12 B Emotion in Music 14 C Texture in Music 20 D Patterns from the Program 34 E Cross-Curricular Possibilities 38 1 TASMANIAN SYMPHONY ORCHESTRA What is a Symphony Orchestra? An orchestra is a group of musicians that play together on various instruments. In a symphony orchestra the instruments are divided into families: woodwind, brass, percussion and string. The word ‘symphony’ comes from a Greek word meaning ‘sounding together’. The Tasmanian Symphony Orchestra Established in 1948 and declared a Tasmanian Icon in 1998, the TSO gives more than 70 concerts annually including seasons in Hobart and Launceston, and appearances in Tasmanian regional centres. In addition to its core activity of giving subscription concerts, the TSO endeavours to broaden its imprint by forging links with other arts organisations. Recent partnerships have included collaborations with the Museum of Old and New Art (MONA), the Australian Ballet, the Australian National Academy of Music, Terrapin Puppet Theatre, Festival of Voices and Kickstart Arts. Julia Lezhneva with the Tasmanian Symphony Orchestra, a collaboration with Hobart Baroque, was awarded Best Individual Classical Performance at the 2014 Helpmann Awards. Over the years, international touring has taken the orchestra to North and South America, Greece, Israel, South Korea, China, Indonesia and Japan. -
Steely Dan & the Doobie Brothers Announce Co
STEELY DAN & THE DOOBIE BROTHERS ANNOUNCE CO-HEADLINE NORTH AMERICAN SUMMER TOUR Citi Presale Begins January 10; General On Sale Starts January 12 at LiveNation.com Los Angeles, CA (January 8, 2018) –Steely Dan and The Doobie Brothers announced today their co-headline North American 2018 summer tour kicking off May 10 in Charlotte, NC and wrapping July 14 in Bethel, NY. Promoted by Live Nation, the legendary bands will travel to 30+ cities across the U.S. and Canada including Los Angeles, Chicago, Houston, Nashville, and Toronto. Tickets for the tour go on sale to the general public beginning Friday, January 12 at 8am local time in most cities on Live Nation.com. Please see below for full tour itinerary and details. Citi® is the official presale credit card for the Steely Dan and The Doobie Brothers tour. As such, Citi® cardmembers will have access to purchase U.S. presale tickets beginning Wednesday, January 10 at 10am local time until Thursday, January 11 at 10pm local time through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Founded in 1972, Steely Dan has sold more than 40 million albums worldwide and helped define the soundtrack of the ‘70s with hits such as “Reelin’ in the Years,” “Rikki Don’t Lose That Number,” “F.M.,” “Peg,” “Hey Nineteen,” “Deacon Blues,” and “Babylon Sisters,” from their seven platinum albums issued between 1972 and 1980 – including 1977’s sold-out tours (that continue through today). In 2000 they released the multi-Grammy winning (including “Album of the Year”) Two Against Nature, and released the acclaimed follow- up Everything Must Go in 2003. -
Vox Continental Voice Name List
Voice Name List Table of Contents VARIATION. 2 ORGAN . 2 CX-3......................................................................................................................................................................2 VOX.......................................................................................................................................................................2 COMPACT...........................................................................................................................................................2 E.PIANO. 2 TINE ......................................................................................................................................................................2 REED.....................................................................................................................................................................2 FM .........................................................................................................................................................................2 PIANO . 2 GRAND ................................................................................................................................................................2 UPRIGHT .............................................................................................................................................................2 E. GRAND............................................................................................................................................................2 -
Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance. -
I'm an English Teacher,A Singer-Songwriter, Freelance Journalist, Andmusician
I'm an English teacher,a singer-songwriter, freelance journalist, andmusician. I worked in radio and community radio as a deejay in the 1970s and later, cable television - public access, and CNN, when it began. I've begun looking for a publishers and artists for my songs. I recently moved to nashville as a step in getting serious about it!I also co-founded a non-profit in Georgia, the Chattahoochee Folk Music Society and worked there to promote local musicians. There's a singer-songwriter show on the WLPN? the local PBS radio affliate, once a week, plus some syndicated shows there. I hear "Progressive rock" which includes some Americana, on Lightning 100 FM; LIghtning also broadcasts live music from clubs a couple of times a week. I hear live broadcasts of the Grand Old Opry which is national talent but many are "local" to where I libve, Nashville, on WSM AM. In the town I moved from, Columbus, Georgia, we had a choice of classic rock and roll, done-to-death, or pop or mainstream country. Totally Homogenized music. I rarely listened. I feel there's a lot of room for other styles of music over the air; I fear that stations are "paid to play" and no matter how good a song is, it won't receive airplay without major money pushes, even if it arrives at a station and deejays and community like it; I fear the monopolization of the airwaves. I think nashville is lucky to have the few offerings on the air of local music that it does have; but things could be even better. -
Lieutenant Colonel Retired, Angela Marie Greenewald Was Born and Raised in the Schenectady, New York Area
Lieutenant Colonel Retired, Angela Marie Greenewald was born and raised in the Schenectady, New York area. After graduating from The College of Saint Rose she was commissioned as a Field Artillery Officer in 1998. LTC Greenewald’s first assignments included being a Battery Executive Officer in Echo Battery, 1/79th Field Artillery Battalion as well as serving as one of the first female Battery Executive Officer in a Field Artillery Basic Combat Training, Training and Development Command course. After attending the Transportation Officer Branch Qualification Course in 2000, LTC Greenewald served as a Platoon Leader in the 15th Transportation Company, 19th Maintenance Battalion at Fort Sill, Oklahoma. Following this assignment LTC Greenewald served in the 302nd Forward Support Battalion in Camp Casey, Korea as the Battalion Adjutant and then attended the Combined Logistics Officer Advanced Course in Fort Lee Virginia. As a Movement Control Detachment Commander for Corps Support Command, Fort Bragg, North Carolina she deployed to Kuwait in support of Operation Enduring Freedom I where she was responsible for the reception, staging, onward movement and integration of men and material initially from the Seaport of Embarkation in Shuaiba Port, Kuwait to forward staging location; and then ran the Airport of Embarkation in Tallil Air Base, Iraq throughout theater, particularly Baghdad in support of the main effort. Returning to Korea in 2004, LTC Greenewald commanded a company in Area III in Camp Humphreys, Korea. In 2005, LTC Greenewald graduated from the Civil Affairs Qualification Course, Regional Studies Course with a focus on Africa and French language training and was subsequently assigned to the 96th Civil Affairs Battalion (Airborne). -
Steely Dan and the Doobie Brothers
FOR IMMEDIATE RELEASE Media Contact: Lauren Jahoda v.845.583.2193 Photos & Interviews may be available upon request [email protected] STEELY DAN & THE DOOBIE BROTHERS WILL CLOSE NORTH AMERICAN TOUR AT BETHEL WOODS ON JULY 14TH Tickets on sale Friday, January 12th at 10:00 AM Citi Presale Begins January 10; General On Sale Starts January 12 January 8, 2018 (Bethel, NY) – Steely Dan and The Doobie Brothers announced today their co-headline 30+ cities North American 2018 summer tour “The Summer of Living Dangerously,” promoted by Live Nation, will wrap up on Saturday, July 14 at Bethel Woods Center for the Arts. Tickets for the tour go on sale to the general public beginning Friday, January 12 at 10 a.m. at www.BethelWoodsCenter.org, The Bethel Woods Box Office, LiveNation.com, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Citi® is the official presale credit card for the Steely Dan and The Doobie Brothers tour. As such, Citi® cardmembers will have access to purchase U.S. presale tickets beginning Wednesday, January 10 at 10am until Thursday, January 11 at 10pm through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Founded in 1972, Steely Dan has sold more than 40 million albums worldwide and helped define the soundtrack of the ‘70s with hits such as “Reelin’ in the Years,” “Rikki Don’t Lose That Number,” “F.M.,” “Peg,” “Hey Nineteen,” “Deacon Blues,” and “Babylon Sisters,” from their seven platinum albums issued between 1972 and 1980 – including 1977’s sold-out tours (that continue through today). -
The Peacebuilding Dilemma: Civil-Military Cooperation in Stability Operations
International Journal of Peace Studies, Volume 11, Number 2, Autumn/Winter 2006 THE PEACEBUILDING DILEMMA: CIVIL-MILITARY COOPERATION IN STABILITY OPERATIONS Volker Franke Abstract The nature of complex humanitarian relief, peacebuilding, and reconstruction missions increasingly forces military and civilian actors to operate in the same space at the same time thereby challenging their ability to remain impartial, neutral and independent. The purpose of this article is to explore the cultural, organizational, operational, and normative differences between civilian and military relief and security providers in contemporary stability operations and to develop recommendations for improving civil- military cooperation (CIMIC) in order to aid the provision of more effective relief, stabilization, and transformation operations. At 8:30 a.m. local time on October 27, 2003 an ambulance packed with explosives rammed into security barriers outside the Red Cross headquarters in Baghdad killing some 40 people, including two Iraqi International Committee of the Red Cross (ICRC) employees, and leaving more than 200 wounded. The ICRC announced immediately following the attacks withdrawal of its international staff from Baghdad, thereby reducing vital programs and services to the most vulnerable segments of the population. The October suicide bombing came two months after the August 19 attack on the United Nations (UN) headquarters in Baghdad that left 23 people dead, including Sergio Vieira de Mello, the Secretary General’s Special Representative in Iraq. Expressing horror and consternation, United Nations Development Programme (UNDP) head Mark Malloch Brown surmised on the day of the August attack: “We do this [humanitarian relief] out of vocation. We are apolitical. We were here to help the people of Iraq and help them return to self-government.