iPad Pointer Support: Navigate Dark Noise 2 using a trackpad or mouse with full pointer support on the iPad.8 New Sounds: New sounds have been added to the Dark Noise catalogue for playing on their own or added to mixes including: Rain on Tent, Wind Chimes, Windy Trees, Seagulls, Lake, Ship Deck, Flag, and Lullaby.iCloud Syncing: Custom mixes and favorites will now sync to all of your devices using iCloud! No need to sign in or configure anything, your data will simply follow you to all of your Apple devices.Mix multiple of the same sound for even more variety! Animated icons can be built using the new icon creator or images or animated GIFs can be imported from the Photo Library. Create Mix: Build your own custom mix from any number of sounds.Here’s the full change log for the update: There are also eight completely new sounds in the Dark Noise catalog: Rain on Tent, Wind Chimes, Windy Trees, Seagulls, Lake, Ship Deck, Flag, and Lullaby.įinally, Dark Noise 2 adds new custom icons for your home screen, as well as support for trackpad and mouse navigation on iPadOS. The entire process of creating custom mixes is seamless.ĭark Noise 2 also brings support for iCloud syncing, which means all of your favorites and custom mixes will sync between your devices using iCloud. Simply tap the “Create” button in the app and you can string together multiple sounds with ease.ĭirectly in Dark Noise, you can even build custom animated icons for your mixes, or import images and anime GIFs from the Photo Library. Essentially, you can mix multiple sounds together to create a personalized mix with multiples of the same sound or completely different sounds. One of the headlining new features of Dark Noise 2 is support for creating custom mixes. A new update for Dark Noise today brings a variety of new features, including iCloud syncing, new sounds, iPad cursor support, and more. Dark Noise is a popular iPhone and iPad app that lets you play ambient noise to sleep, focus, and relax.
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These two veterans are touching as star-crossed lovers fearful in later life of what’s happening around them. The addition of Linda Emond as the landlady Fraulein Schneider and Danny Burstein as her Jewish suitor Herr Schultz are strokes of casting genius. But he has some competition as the best sex-obsessed, German transvestite singer onstage this year: He and Neil Patrick Harris, starring nearby in “Hedwig and the Angry Inch,” would make an interesting double bill. (Alas, Bill Heck, as her ambivalent, bisexual lover, sometimes lacks his co-star’s nuances.)Ĭumming is as lascivious as ever - more playful than Joel Grey-scary in the film version - and once more bares his backside, tattooed with a red swastika, to the audience. Williams starts out a little tentatively but soon roars into the role and her version of the title song has a wrenching, dead-eyed quality that hauntingly undercuts its light lyrics. It’s a role made famous in the 1972 film version by Liza Minnelli and in the last Broadway revival by Natasha Richardson. One big change is the woman in the bob: Michelle Williams makes her Broadway debut as Sally Bowles and she does an excellent job, playing both scared and daffy superbly and singing with real heart. The score, by composer John Kander and lyricist Fred Ebb, is as stirring as ever. Even its old home at Studio 54 has reverted to set designer Robert Brill’s clever use of tiny nightclub tables on the theater’s main floor, a nod to the original revival’s stab at immersive theater. Student with bachelor degree in a field other than engineering, science, or engineering technology and 2+ years work experience (Must have at least one degree from a regionally accredited U.S. 2.5-2.749 (last 60 hours) undergraduate GPA, technical work experience, GRE of V+Q ≥ 293: conditional admission – No grade lower than B should be earned in the first two core graduate courses taken.ĥ.2.5-2.749 (overall) undergraduate GPA, technical work experience, GRE of V+Q ≥ 293.2.75-2.99 (overall or last 60 hours) undergraduate GPA, technical work experience, GRE of V+Q ≥ 293.3.0+ undergraduate GPA, technical work experience, no GRE required.Student with bachelor degree in a field other than engineering, science, or engineering technology and less than 2 years work experience (Must have at least one degree from a regionally accredited U.S. 2.25-2.49 (overall) undergraduate GPA, leadership role in a technical position: conditional admission – No grade lower than B should be earned in the first two core graduate courses taken.Ĥ. 2.5-2.99 (overall or last 60 hours) undergraduate GPA: conditional admission – No grade lower than B should be earned in the first two core graduate courses taken.Student with a bachelor degree in engineering, science, or engineering technology and 2+ years work experience (Must have at least one degree from a regionally accredited U.S. 2.75-2.99 (overall or last 60 hours) undergraduate GPA, GRE V+Q ≥ 293ģ.3.0+ undergraduate GPA, no GRE required.Student with a bachelor degree in engineering, science, or engineering technology and less than 2 years work experience (Must have at least one degree from a regionally accredited U.S. 2.5-2.749 (last 60 hours) undergraduate GPA, GRE V+Q ≥ 293: conditional admission – No grade lower than B should be earned in the first two core graduate courses taken.Ģ.2.75-2.79 (overall or last 60 hours) undergraduate GPA, GRE V+Q ≥ 293.2.8+ undergraduate GPA, no GRE required.Student with a bachelor degree in engineering from Louisiana Tech University and less than 2 years work experience: MSNT 521: Principles of Cellular and Molecular Biologyġ. MSE 501: Fundamentals of Micro Fabrication Processes INEN 514: Statistical Analysis for Six Sigma INEN 511: Theory and Application of Lean Manufacturing and Management INEN 505: Manufacturing and Operations Analysis Widely recognized as providing essential managerial preparation for career advancement, across industries.Ībility to lead manufacturing or service facilities, improve innovation, and secure future technologyĪbility to analyze business problems, develop solutions, and manage/grow successful businesses.Ībility to manage large scale designs and projectsĭiverse functional teams, action/reaction, accountability, project management, direct delegationĪccountability, business ethics, team building/management, domestic and global perspectives.įocus teams, design approvals, direct delegationĪbility to adapt to changing technological and business innovation associated with technological environmentsĪbility to lead and adapt to innovation, applicable to multiple business environmentsĪbility to adapt to changing technology and diverse teamsĪCCT 505: Accounting Analysis for Decision MakingīUSN 501: Global Perspectives in ManagementĬIS 510: Information Resources ManagementĬIS 521: Introduction to Information System AssuranceĮNGR 554: Modern Engineering Grand ChallengesĮNTR 501: Introduction to Technology TransferĮNTR 510: Entrepreneurship/New Venture Research Technical management and executive focusedĬompetitive value in more technical environment- with certificates, PEs, and vast experience Acceptance by GRE, or combination of GRE and GPA.ĭesigned for engineers desiring advancement or skill enhancement in technically oriented business or engineering fields at any time in career.ĭesigned or individuals in all industries desiring managerial advancement, at any time in a career.ĭesigned for engineers desiring advancement or skill enhancement in technical fields early in career. Admission decision based on GMAT or GRE, and undergraduate GPAīS degree in engineering required. Open to all majors, including engineering. Other majors accepted if the applicant has technical work experience. MS‐Engineering CurriculumĮngineering, engineering technology and science degrees preferred. MBAģ0 hours with thesis, 36 hours with no thesis, on campus. Engineering Management Curriculumģ0 hours (no concentration) 36 hours (concentration), online and on campus, all coursework (no thesis). Enhances technical and business management skillsģ3 hours, online and on campus, all coursework (no thesis). To support the other end of the pipe on the right and finish that side of the corner rod, I repeated the flange, nipple, tee process at the end and added an end cap to finish things off. I did the same on the other side of the corner, but since the length of the pipes was a little shorter I didn’t need a center support and just used a coupling to join the two pipes. You can just see the edge of the coupling in the right of this photo. The day after he died, Argentina declared a day of national mourning in his honour.I love the look on my porch, and the cost was far, far less than a custom corner curtain rod this size. Ediciones de la Flor continued to bring out compilations of all the strips (Quino always refused to give the rights to his work to any bigger international publishing house), and a new edition, Complete Mafalda, was published in Argentina immediately after his death. Mafalda, though, maintained an existence of her own. He had officially retired in 2006 following the death in 2017 of his wife (to whom he had been married for 57 years), and with increasing problems from glaucoma, Quino led an even quieter life, returning to Mendoza from Buenos Aires. In 2014 he was awarded the Prince of Asturias prize for his lifetime’s work he must also have been the only cartoonist to have an asteroid named after him (Asteroid 27178, in 1999). Quino said he himself felt he was accused of being a murderer for killing off Mafalda and her friends, but he stuck to his decision not to write any more of the comic strips, only occasionally drawing fresh versions of her for good causes such as Unicef.Īfter returning to Argentina he continued with other humorous drawings, often showing a bewildered little man trying to make sense of a hostile world. Quino later said that if Mafalda had been a real person “she would have been one of the thousands of the disappeared” ––a reference to the many people tortured and killed clandestinely during the military dictatorship between 19. He and his wife, Alicia Colombo, went to Milan in Italy, where they spent the next seven years, only returning to Argentina after the fall of the military dictatorship. When both of them were imprisoned after the military coup of 1976, Joaquin decided it was time to go into exile. Quino stopped producing the cartoons in 1973, partly, he said, because he was growing bored with them, but also because he knew that if he continued “I was likely to find myself getting one or four bullets in the head”.ĭespite such perils, books made from his Mafalda strips were released by a small Buenos Aires publisher, Ediciones de la Flor, run by the couple Daniel Divinsky and Kuki Miler. As the political climate in Argentina darkened from the late 60s onwards, Mafalda’s comments came to be seen as criticism of the military governments, corrupt politicians and the economic and social chaos afflicting his homeland. In the early days of Mafalda he was told by one editor that there should be no jokes about religion, politics or the military in his work, “but I found another way of talking about them”. Quino’s Mafalda comic strip in a Buenos Aires subway. Quino always insisted that the proper place for Mafalda was on the editorial and comment pages of a newspaper, as he saw her comments and opinions as being directed towards adults rather than children. But Mafalda and the other characters he created were quintessentially middle-class Argentinians, and their preoccupations reflected the day-to-day concerns and opinions of such people. The influence of American newspaper comic strips in Argentina was strong in the 60s, and Quino recalled that he had been asked “to produce something that was a mixture of Peanuts and Blondie”. He studied for three years at the School of Fine Arts in Mendoza, then moved to Buenos Aires and began producing humorous standalone drawings that were taken up by a number of magazines, although it was not until he hit upon the idea of Mafalda that he became well-known. He is said to have settled on becoming a cartoonist from the age of three after he had essayed his first scribbles, and he was encouraged in his ambition by his uncle Joaquín, a painter who looked after him when his parents died. A selection of Mafalda cartoons also found their way into English when they were translated by Andrew Graham-Yooll and published in 2005.īorn in Mendoza, Quino was the son of Cesáreo Lavado and Antonia Tejón, Spanish immigrants from Andalucía who both died when he was young. Her mordant questions and opinions also made her a favourite in a number of European countries, including Spain, Italy and Greece. Oh yeah yeah yeah lol, didn't look that close.Ĭarbonero, isn't it best to use what the pros use most? Leñador -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (15:09:25) They are precision worked and the friction of the material is so that it's easy to fasten th cejilla. It can be very finely adjusted and is not much in the way for the left hand.īut of course, Dunlop is great, and the traditional cejillas are great too, especiall those sold by Mundo Flamenco made from Galalith (casein). I Like PLANET WAVES CAPO CP04NS quite a lot. Rojarosguitar -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (13:59:54) It's normal because he make cheap guitarsĮstebanana -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (12:05:49) It doesn't pull the strings out of tune, which makes it very quick to use.Įl carbonero -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (10:43:15) I have the same problem, otherwise it's a good capo. I have the planet waves NS pro ,and he dont work in 1 or 2 fret with flamenca with thin neck. Isn't it best to get the straight Jim Dunlop (not the curved one as pictured)? Orsonw -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (10:21:19) Įstebanana -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (9:58:33)Ĭarbonero Schubbs it up his _that why it works for him. However, i have the planet waves NS pro ,and he dont work in 1 or 2 fret with flamenca with thin neck. I use the shubb C2 ,and i love it, it's perfect ,work good on all sort of guitars. Leñador -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (4:19:47)Įl carbonero -> RE: Beware the Shubb Classical Capo on a Flamenco guitar! (9:53:38) I really thought, as a student of flamenco, that the ease of using a Shubb would make it a wise investment. I'm now in the market for a proper cejilla. I even tried removing the rubber stopper button from the outside of the neck arm which pads the backside of the clasp when it closes onto the arm. As in, I feel if I use it any more, that the neck arm will indent the wood or mar the finish. The capo *can* function up to the 2nd fret (with the tightening screw loosened completely) but beyond that, it is immensely tight. The Shubb C2k, which is the classical guitar version, has an incredibly hard time accomodating the neck on my flamenco, which is already quite thin by flamenco and certainly classical standards. I use Shubbs almost exclusively on my electrics and steel-sting acoustics and I've loved them for years, they're the best in the business for these instruments. I purchased a Shubb C2K (black, with roller) capo for my Navarro flamenco guitar. This is less of a review, and more of a warning: Wiking -> Beware the Shubb Classical Capo on a Flamenco guitar! (4:13:47) Beware the Shubb Classical Capo on a Flamenco guitar!: Pure Data), listing is limited to its top three categories.Beware the Shubb Classical Capo on a Flamenco guitar!īeware the Shubb Classical Capo on a Flamenco guitar! (Full Version) If a program fits several categories, such as a comprehensive digital audio workstation or a foundation programming language (e.g. Practica will be listed here, but not Palestrina. For example, the company Ars Nova produces music education software, and its software program Practica Musica has remnants of the historic Palestrina software. This list does not include discontinued historic or legacy software, with the exception of trackers that are still supported. For storage, uploading, downloading and streaming of music via the cloud, see Comparison of online music lockers. For streaming services such as iHeartRadio, Pandora, Prime Music, and Spotify, see Comparison of on-demand streaming music services. This article only includes software, not services. This is a list of software for creating, performing, learning, analyzing, researching, broadcasting and editing music. |