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One Piece 500K subscribers Survey Result!

It's time for the result of our latest survey! And it had 7252 participant! So thank you everyone that took time to answer those questions.
You should be able to see the answer if you go there : https://docs.google.com/forms/d/1KfHOyWHQTyFEEeAYvCZRxBc3_ZGZxJn6ZUztiwMdVjE/edit

Community section :

What country are you from?

Country U.S.A. Germany India Australia Canada U.K. Bazil France Spain Sweden
Percentage 33.1 % 7.4% 5.4% 5% 4.8% 4.4% 3.1% 3.1% 2.1% 1.7%
Is nice to see that we have users from all around the world, even if nearly 50% are from English speaking countries.
Image 1.

How old are you?

The average age of a /OnePiece user is 23.62 years old. We have roughtly 10% of users that are underaged, and 10% that are 30 years old or more.
Image 2.

Gender

Gender Male Female Other
Percentage 88.6% 8.9% 2.5%
There is no surprise there.
For the others, we have some Gender Fluids, transgenders, Bigenders, quite a lot of Non-binary, a Loli, a Furry, and nearly a 100 Oden (You wish), as well as some rude people, but I won't put up what they said.

Manga or Anime?

Both Manga Only Anime Only
49.8% 46.2% 4%
No real surprise here either. Considering the subreddit has a lot of spoilers and is focussed around the chapter release, it's obvious there are only a few Anime Only people here. So thank you for Sticking Around, even if it the best place to avoid spoilers.

For approximately how long have you been following One Piece?

1 Year or less 2 years 3 years 4 years 5 years 6 years 7 years 8 years 9 years 10 years or more
8.7% 6.2% 6.8% 6.1% 8.1% 7.1% 6.7% 7.1% 4.6% 38.5%
Nearly 40% of our users have followed the series for 10 years or more. (To give an idea, this mean they followed the series since Before the timeskip, as chapter 597 was released at the end of August 2010).
For the rest, we have roughly the same number of new readers that stays with the series. So it's quite good to bring new blood and not have a decrease of new readers.

Where does One Piece rank on your list of favorite manga?

N°1 Top 3 Top 5 Top 10 Bellow Top 10
70.1% 21.6% 5% 2.6% 0.6%
Well, you are in /OnePiece after all. So it's kinda obvious the manga is either your favorite or in your top 3.
If it isn't your number 1, what series are better than One Piece for you?

Do you own One Piece Merchandise?

No Manga Volumes Figurines Clothes Poster DVD/Blu-ray
44.2% 33.1% 24.5% 18.4% 17.2% 6.3%
Those are some good numbers I would say, 55.8% of users have some merchandise and are probably supporting the series (depending on where you bought those)
For the OTHERS answers given, some good ones are : autograph from dub VA of brook, Alvida pre devilfruit bodypillow, Chopper teddy bear, Sountracks, Custom made and 3D printed Keychain, Databook.

Subreddit Section :

Do you visit OnePiece mostly on mobile or on desktop?

Mobile or Apps Both Desktop
50.6% 29.5% 19.9%

If you are using desktop, are you using the old version of reddit? Or the redesign?

Redesign Old version
63.3% 36.7%
It seems like most users are using Mobile and Apps, as well as the redesign on desktop, so it's probably time to pay more attention to that than to the old version, this way we can get banners/flair for users that are on the new version of reddit.

How often do you make : a submission on OnePiece?/Comment?/read the rules?

Submission :
Never Rarely Sometimes Often Very often (Daily)
67.1% 24.7% 5.6% 1.6% 1%
Comments :
Never Rarely Sometimes Often Very often (Daily)
41.2% 32.7% 17.6% 6.7% 1.8%
Check the rules :
Never Rarely Sometimes Often Very often (Daily)
49.1% 17.1% 13.7% 8% 12%
This really shows that there are a lot of lurkers on the subreddit. Most of you won't ever post or comment on the subreddit. With 8% of users creating submission and 25% commenting.
As for the rules, there isn't any surprise since nearly every post respect the rules. (Only 1/5 of the post needs to be removed), so thank you to all of those that read them.

Content you enjoy the MOST/the LEAST.

Content you enjoy the most :
Theories/Discussion Fanart Polls Cosplay Merchandise Youtube Video Media (Photo and Video)
89.6% 47.9% 19.7% 16.7% 14.4% 14.1% 11.7%
So without surprise, people in this subreddit enjoy the Theories/discussions the most out of every type of post, it's then followed by the Fanarts.
Which is good since like 75% of posts made are Discussion (50% total)/Fanarts (25% total).
Content you enjoy the least:
Youtuber Video Merchandise Cosplay Media Fanart Polls Theories/Discussion
36.7% 35.1% 31% 15.7% 15.3% 6.9% 4.2%
Here there aren't any content that most users enjoy the least, but it still seems like users don't want to see that much Merchandise or Cosplay post. (Youtuber video are very rare)
Also, a quick reminder, Discussion/Theories are mostly found by sorting by New. This is where you will see all of them, as it's hard for them to show up on the front page of the subreddit (but if it shows up on Hot, then it's a very good one).

Do you only use the subreddit for the Spoiler and Chapter Discussion thread?

No Yes
63.4% 36.6%
It's nice to see that roughly 2/3 of the users are here for more than just the Spoilers and Chapter discussion. But there is still a huge part that only use the subreddit for that.

Do you want the spoilers gone from this subreddit?

No Yes
86.7% 13.3%

Rate your overall experience on OnePiece.

Here it's seems that out of 10, the Overall Experience on /OnePiece is 8.35
Image n°3

One Piece related questions :

Who is your favorite Straw Hat?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
34.8% 29.1% 1.3% 6% 10.1% 1.8% 6.5% 2.4% 5.4% 2.6%

Who is your least favorite Straw Hat?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
0.8% 3.3% 10.6% 15% 6.5% 21.3% 4% 19.2% 8.3% 11.1%
As it was expected, Luffy is the Favorite Straw Hat for a lot of peopel, he's also the Straw Hat with the fewest "Least Favorite". After him Zoro is second favorite, followed by Sanji, Robin, Usopp, Brook, with the other Straw Hat having very few votes (and Nami having the Least "Favorite" Straw Hat.)
After that, it seems like Chopper, Usopp, and Franky are the one people like the least out of the Straw Hat.
I know it was a hard question for some of you, but the result are still interesting to know.

Which Strawhat has the saddest backstory?

Robin Brook Sanji Chopper Nami Other
50.9% 25% 9.3% 7.1% 5.8% 1.9%
The Straw Hats with the saddest backstory is Robin! Followed by Brook, then Sanji, Chopper and Nami.

What is your favorite Yonko crew?

Red Hair Whitebeard Big Mom Beast Blackbeard
34.7% 31.1% 14% 10.6% 9.5%
So the favorite Emperor's crew are the Red Hair Pirate! Which is very impressive since we haven't seen much of them. I guess Oda better delivers when it come to see them in action after Wano.

Who is your favorite Admiral?

Garp Aokiji Fujitora Kirazu Akainu Sengoku Green Bull
28.4% 28.2% 20.8% 15.8% 4.7% 1.7% 0.5%
While Garp was only a Vice Admiral, he was put in the poll, and he won it! Whitout him, it's Aokiji that is the favorite, followed by Fujitora.
Image 4

Who is your favorite Supernova (outside the Straw Hat)

Law Kid Bonney Urouge Bege X Drake Hawkins Apoo Killer
63.5% 12.4% 5.5% 4.5% 4.3% 4% 2.8% 1.7% 1.3%
Who else than the character that nearly managed to defeat Luffy in the 5 popularity poll? Law is the Favorite Supernova outside of the Straw Hat!

Which is your favourite canon arc in One Piece?

The Favorite Canon Story arc are (You could vote for more than 1) :
Position Story arc Result
N°1 Enies Lobby 43.3%
N°2 Marineford 39.8%
N°3 Wano 30.2%
N°4 Water 7 23.3%
N°5 Impel Down 19.6%

Which is your least favourite canon arc in One Piece?

The Least Favorite Canon Story arc are (You could vote for more than 1) :
Position Story arc Result
N°1 Long Ring Long Land Arc 37.2%
N°2 Fishmen Island 16.9%
N°3 Syrup Village 15.8%
N°4 Thriller Bark 10.1%
N°5 Punk Hazard 9.7%

Favorite Cover Story?

Position Cover Story Result
N°1 Enel's Great Space Operations 24%
N°2 From the Decks of the World : "The 500.000.000 Man Arc" 11%
N°3 The Stories of the Self-Proclaimed Straw Hat Grand Fleet 10.7%
N°4 Ace's Great Blackbeard Search 9.8%
N°5 Straw Hat's Separation Seria 9.6%

Character Design in One Piece :

Do you like the female character designs in One Piece?
Yes No I have no opinion.
63% 19% 18%
Do you like the male character designs in One Piece?
Yes No I have no opinion.
89.6% 0.9% 9.5%
It's true that Oda isn't the best when it comes to Female character design. However it seems like the majority of users don't have a problem with that.

Are fight a determining factor for your enjoyment of the series/arc?

Yes No
52.6% 47.4%
Now this is rather surprising I must say. What do ou thing about this?

What is/are your (absolute) favourite aspect(s) of One Piece?

From the result we have, it seems like the World-Building is the favorite part of One Piece (With 88.6% of voters choosing this).
It's followed by The Adventure (69%), The characterization (54.4%), the Inter-character relationship (49.4%), the Action (36%) and the Art Style (26.2%).
And those result are obvious. Some of the most upvoted chapters of this subreddit are when we have huge world building moment, like 907 (Shanks talks to the Elders), or 957 (ULTIMATE).

Post-Timeskip is?

On Par with Pre-TS Better than Pre-TS Worse than Pre-TS
59.8% 28.2% 12%
This question is one of the most asked. With a lot of vocal voices saying that post TS is worse than Pre-TS.
It's different for sure, but now we know how the community feels about that.

If you could eat a Devil Fruit, what type would you want?

Paramecia Zoan Logia
28.9% 8.6% 62.5%
Most people could choose to eat a Logia, and it seems like becoming a Furry is the lesser choice in this subreddit.

The Final Antagonist of One Piece will be :

With 48.5% it's Blackbeard!
Really? That is surprising for me since it's obvious that Oda will make the SH fight against the World Government after they find the One Piece. And I honestly don't see Blackbeard being the final Antagonist because of that.
So people who voted for this, what was your reasoning for it?

What is One Piece Biggest Flaw?

Some of the biggest flaws mentionned are :
  • The Pacing
  • The Lack of characters' death outside of Flashback
  • The Anime.
Which are all fair flaws to the series.

Random Questions about the Series :

As of Wano, is Jimbei stronger than Zoro?

Yes No Yes but Zoro will be stronger soon
9.8% 60.3 29.9%
I guess people really want Zoro to always be the second strongest no matter what... I expected this result, but I was still disappointed...

Was Zoro as strong as Luffy just after the timeskip?

Yes No
31.5% 68.5%
I... Really? 31.5% said yes?

Will Sanji get laid by the end of the story?

Yes No
49.6% 50.4%
Nearly the perfect split, and it's easy to see why it's very divisive. (Also shows that every vote counts).

Will Usopp be part of the 1 Billion Club by the end of the story?

Yes No
76.4% 23.6%

The Straw Hats will go to Laugh Tales :

Before fighting the WG After Fighting the WG
71.1% 28.9%
It's been hinted at a lot that the SH will go to Laugh Tales before taking on the WG. So for me it feels rather strange to have more than 1/4 voting for them reaching the final island after.

Who will be the one to defeat Kaido? (So give the last hit)

With 66.3% of the votes the one who will give the last hit to Kaido is : Luffy!
Followed by 11.5% with someone else (that isn't Law/Kid/Zoro/Big Mom/Scabbard/Admiral) and 11% by one of the Scabbard.
Zoro received 6.4% of the votes.

Who will be the first SH to realize their dream?

Luffy Zoro Nami Usopp Sanji Chopper Robin Franky Brook Jinbe
16.2% 12.5% 3.2% 32.7% 7.8% 1.8% 15% 6.8% 2.8% 1.2%
Most users believe that Usopp will be the first one to realize his dream!
I also think the same as it's the easiest Dream to realize really. I could bet you it will happen in Elbaf.
After that, we have Luffy and Robin, and it make sense since their dreams are linked. Both can be done once they reach Laugh Tales.

How many members will the crew have at the end? (With Luffy)

And most people want 11 members total in the crew! (With 28.6%), 27.5% wants 12 members, wile 19.8% want the crew to be complete right now with Jinbe.

Who do you think wins in a 1v1 : An Emperor or an Admiral?

Yonko Admiral
92.3% 7.7%
If you are active on the subreddit, you know it's one of the question that creates the most discussion/arguments about.
So it's nice to know the overall opinion of the subreddit on this question (Doesn't mean it's always correct mind you).

Is Mihawk emperor's level?

Yes No
57.7% 42.3%
Also a very divisive question on this subreddit.

Is Aokiji emperor's level?

Yes No
38.3% 61.7%

Is Akainu emperor's level?

Yes No
66.2% 33.8%
So they fight for 10 days in a very close battle. With Akainu winning in the end, but after a long and hard fight. And one is Emperor's level while the other isn't?
Really? I find that hard to understand.

If Oden was alive would he be stronger than Mihawk

Yes No
63.7% 36.3%

How strong was Oden at the time of his death?

The strongest Top 3 Top 5 Top 10 Top 20 < Top 20
1.4% 15.4% 32.5% 37.5% 11.9% 1.4%
I like Oden, but sometimes I feel like people are overestimating him.

Who is stronger between Shanks and Mihawk?

Shanks Mihawk
85.6%% 14.4%
This is also one of the question creating the most arguments on this subreddit, after all Mihawk is the World Strongest Swordman. But Shanks is an Emperor and became one after losing his arm.

Is Kaido stronger now that 20 years ago?

Yes, he's stronger Same level Weaker
64.5% 26.3 9.2%

Had Ace survived, would Wano be liberated by now?

Yes No
17.9% 82.1%

Could the Marines take on ALL the Yonko at the same time ?

Yes Yes in Marineford only No 2 at the same time 3 at the same time
2.4% 3.3% 68.6% 23% 2.7%
This question is also linked to how you see the Emperor vs Admiral. So depending on which side you are on, you are more likely to pick Yes or No.

Which character do you want focus on next?

Rank Character %
N°1 Vegapunk 24.7%
N°2 Dragon 18.8%
N°3 Shanks 14.6%
All very good choices, and all of them are character we have known for a long time without really knowing.

Will Blackbeard find the One Piece before Luffy?

Yes No
18.7% 81.3%

How strong is Monkey D. Dragon?

The strongest Top 3 Top 5 Top 10 < Top 10
3% 18.8% 31.8% 37.5% 8.9%
Here, most people seems to think that Luffy's father, Garp's son is part of the strongest characters of the series. Oda better respond to our expectations then.
As for his Bounty : Well, 31.6% think it will be more than 6 Billions and 28.1% think it will be between 5-6 billions.
That remind me, I once made a poll asking people what Sabo's bounty would be (since we knew it was getting revealed in a magazine soon). So maybe I will do the same for Dragon? That could be nice.

Who is currently the strongest Emperor?

Kaido Shanks Blackbeard Big Mom
43.1% 26.4% 26.3% 4.2%
I wonder if the recent chapters made people change their perception on this...

What are the fights you would want to see?

Fight %
Blackbeard vs Shanks 55.5%
Garp vs Rocks 54.9%
Garp vs Roger 54.8%
Mihawk vs Shanks 52.6%
Akainu vs Aokiji 44.6%

How long do you think One Piece has left? (At a rate of 40 chapters a year)

Image 5.
As you can see, most people think One Piece has at least 5 years left to go on. We will know Oda is terrible with respecting his own objectives. And this is good. The more One Piece the better.

On a scale from Spandam to Whitebeard/Roger, How strong is Im?

For this question, it seems like most people put Im at the same level as Whitebeard/Roger with 28.6% voting Im being there.
I honestly don't know how strong I want Im to be.

What arcs, after Wano, do you want?

The arcs people want the most are :
Arc %
Elbaf 79.8%
Laugh Tales 68.6%
Vegapunk 67.5%
The Final War 66.3%
Red Hair Pirates 38.2%
So arcs teased for years (Elbaf/Laugh Tales/Final War) and about character that people want to see (Vegapunk/Red Hair pirates).

How is Blackbeard able to use multiples Devil Fruits?

Reason %
More than 1 soul 29.5%
Weird Body 29.7%
Yami Yami 35.2%
Other 5.6%
It's one of those question were people have very different opinion about. And right now there isn't really a major concensus in the fandom, even if the theory about it being related to the Yami Yami is more popular.
In the Other catergory, there was the Cerberus Devil Fruit option, Blackbeard being a Triplet, him being actually 2+ kids in a trenchcoat, him being a failed Vegapunk experiment, having several stomachs him being pregnant (Stop reading fanfiction), him putting the power inside his rings, being a great guy and him being a cunt.

Haki is :

Image 6
Overall, People like Haki in the series, with a 4.38 out of 5!

How many arcs are left after Wano?

Image 7
Here, it seems like the answer for the community would be 4-5 arcs left. Which would then make (base don the How long One Piece has left), like a year per arc on average.

The final war of One Piece will be :

Reason %
SH+RA vs WG+Marines vs BB 50.8%
SH+RA vs WG+Marines 37.6%
SH vs RA vs WG 6.8%
Other 4.8%
I just don't see Blackbeard being in the final war, as my opinion is that he will be dealt with before it. For the other answers, there was Straw Hats vs Blackbeard Pirates, Family of D vs vs im sama, Total civil war in marines, Straw Hat vs Shanks, Straw hat vs Pound, Zoro vs World Goverment, Dugongs vs buggy.

Will Luffy die at the end of One Piece?

Will Luffy die? %
Yes 28%
No 72%
An ending were Luffy died wouldn't be a good ending for me. He needs to survive and go on more adventures.

Are Shakky and Rayleigh Mihawk's parent?

Answer %
Yes 10.2%
No 89.9%

Will the crew still be together at the end of the series?

Answer %
Yes, they will keep going on adventure together.| 57.6% o, they will move on, like the Roger Pirates| 42.4%
Like with Luffy living, I want the Crew to stay together, and sail together for many more adventures. I could see them taking breaks from time to time, but them staying together would be the best ending for me.

Can the Red Line be destroyed with Ancient Weapons?

Answer %
Yes 91.9%
No 8.1%

What is the biggest mystery left to be revealed?

The most common answers were : The Void Century, the Will of D, Im, The One Piece, Joy Boy, Luffy's mother and Who is Pandaman?

What is the One Piece?

Here, there was plenty of : "No idea", The friends we made along the way, a Devil Fruit, Knowledge, Uranus, History, a book, my mom.

What sort of Devil Fruit do you want to see in the story?

The most common answer was : Water Logia! Followed by Wind Logia and people wanting more mythical Zoans.

What is the craziest theory you believe?

Here are a few of them :
  • Shanks is a Celestial Dragon
  • That Vegapunk is going to flip a switch in the Pacifista programming to fight the marines at the end.
  • Luffy's mom was a celestial dragon
  • Devil fruits are all artificial from the void century
  • That Finland doesn't exist
  • Zoro is going to get Rodger's disease
  • D's were the original Celestial Dragons
  • Weevil was made by Vegapunk using Whitebeard's cells and then was discarded until Bakkin picked him up
  • One of the Roger Pirates (probably Scopper Gaban) is on Laugh Tale waiting for whoever finds it, sort of like how Crocus and Rayleigh seem to be positioned to monitor rookie pirates
  • Onigashima is an Oarz like skeleton and Big Mom is gonna bring it to life.
  • The different races came from other planets/moons
  • Tama is a Kurozomi
  • Ussop is a descendant of Mont Blanc Nolan
  • Luffy hatched from an egg.
  • The fish that bit Shanks's arm off was Joyboy's pet
  • Bon chan is Kin'emon's son
  • Oda no longer draws the manga
  • bonney and ace having a child
  • That Perospero is going to help kill Big Mom.
  • Dragon being former Admiral
What are your favorites?
And here it is, the 500K survey! Took me far too long to make, as I underestimated the time needed to sort the answer and create this post. Like damn.
I hope you enjoyed it. The anwers for the Survey Saga will be up next in some time.
submitted by Kirosh to OnePiece [link] [comments]

Wine 5.13 Released

The Wine development release 5.13 is now available.
 
https://www.winehq.org/announce/5.13 
 
What's new in this release (see below for details):
 
- Re-mapping of INI files to the registry. - System call thunks in NTDLL. - Reimplementation of floating point numbers printing. - Beginnings of a restructuration of the console support. - Various bug fixes 
 
The source is available from the following locations:
http://dl.winehq.org/wine/source/5.x/wine-5.13.tar.xz http://mirrors.ibiblio.org/wine/source/5.x/wine-5.13.tar.xz 
 
Binary packages for various distributions will be available from:
http://www.winehq.org/download 
 
You will find documentation on
http://www.winehq.org/documentation 
 
You can also get the current source directly from the git repository.
Check
http://www.winehq.org/git for details. 
 
Wine is available thanks to the work of many people.
See the file AUTHORS in the distribution for the complete list.
 
 
Bugs fixed in 5.13 (total 22):
 
4096 IniFileMapping not Implemented (ini on win9x => Registry on NT) 18072 Core Media Player crashes on missing CLSID_DvdGraphBuilder {fcc152b7-f372-11d0-8e00-00c04fd7c08b} (qdvd.dll) 27298 The Witcher 2 Slow Performance on any setting. 28109 winmm capture tests fail on some machines 31023 CuteFTP 8.3.4 - "Encountered an improper argument." Error boxes after most actions. 32215 11game platform crashes at start 36546 Please remove `tmpfs` special treatment in ntdll / MSI packages cannot be installed from `tmpfs` 42874 Battle.net App is unable to update games 44127 Metal Gear Solid V: Ground Zeroes doesn't launch 45701 Warframe: Launcher.exe does not update, keeps relaunching itself 45876 Call of Duty: Black Ops III and Call of Duty: WWII have no mouse input when using native mfplat 47587 Call to Power II: Screen doesn't repaint after selecting main menu option 49092 Blindwrite 7 crashes with a stack overflow 49103 Call of Duty: Modern Warfare 2 Campaign Remastered mouse input is missing 49422 Dungeon Siege 1 & 2 weapons are misplaced 49438 Wine on ARM64 fails with "could not exec the wine loader" unless --enable-win64 is used 49489 Incorrect rendering in Warframe with nvidia 49496 sprintf uses locale specific decimal point when it should not. 49513 Battle.net fails to install World of Warcraft or Starcraft II 49522 Mass Effect: Andromeda doesn't recognize keyboard input since 5.12 49570 LVM_FINDITEM should do case-insensitive test for item text 49573 Sporadic page fault on 64bit prefix creation on macOS 
submitted by catulirdit to linux_gaming [link] [comments]

Nothing to see here! pls scroll to next post!

debug.cpp TesterHook.cpp entityidxarray.cpp graph.cpp graphnode.cpp modAI_Memory.cpp aAI_CommsInstructions.cpp aAI_EntityInterface.cpp cAI_Action.cpp cAI_AdminManager.cpp cAI_Agent.cpp cAI_CommsModule.cpp cAI_CommsPrefix.cpp cAI_CommsPrep.cpp cAI_EntityGame.cpp cAI_EntityPlayer.cpp cAI_TransitionData.cpp cAI_Variables.cpp modAI_Audio.cpp modAI_Communication.cpp modAI_Identifier.cpp modAI_Interaction.cpp modAI_Interface.cpp modAI_Senses.cpp modAI_Synchronisation.cpp aAI_PerformTask.cpp cAI_ActionManager.cpp cAI_AnimInterface.cpp cAI_LowLevelInterface.cpp cAI_PerformanceManager.cpp cAI_PerformancePhase.cpp cAI_PerformTaskAction.cpp cAI_PerformTaskAnim.cpp cAI_PerformTaskAudio.cpp cAI_SpeechInterface.cpp aAI_Controller.cpp aAI_ControllerCombat.cpp aAI_Coordinator.cpp aAI_EntityIDArray.cpp aAI_Objective.cpp cAI_ControllerBoundary.cpp cAI_ControllerCamp.cpp cAI_ControllerCombatBlind.cpp cAI_ControllerCombatCover.cpp cAI_ControllerCombatMelee.cpp cAI_ControllerCoverSeek.cpp cAI_ControllerFollow.cpp cAI_ControllerFollowThrough.cpp cAI_ControllerGoto.cpp cAI_ControllerGotoGunfire.cpp cAI_ControllerGuard.cpp cAI_ControllerHide.cpp cAI_ControllerIdle.cpp cAI_ControllerOrbit.cpp cAI_ControllerSearch.cpp cAI_ControllerStop.cpp cAI_CoordinateBoundary.cpp cAI_CoordinateGenericAction.cpp cAI_CoordinateGenericCombat.cpp cAI_CoordinateGuard.cpp cAI_CoordinateIdle.cpp cAI_CoordinateInvestigate.cpp cAI_CoordinateKillEnemy.cpp cAI_CoordinateSearch.cpp cAI_Goal.cpp cAI_GoalDefinition.cpp cAI_IdleActions.cpp cAI_ObjectiveBeBuddy.cpp cAI_ObjectiveHuntEnemy.cpp cAI_ObjectiveIdle.cpp cAI_ObjectiveScriptedAction.cpp cAI_Pack.cpp cAI_Subpack.cpp cAI_HearingSense.cpp cAI_SensesData.cpp cAI_SensingPhase.cpp cAI_VisionSense.cpp meleeTraits.cpp traits.cpp acts.cpp atomicActs.cpp combatUtil.cpp coverActs.cpp gunActBase.cpp meleeActs.cpp pedBodyAnimFSM.cpp pedTorsoAnimFSM.cpp compDriver.cpp weaponController.cpp formation.cpp motion.cpp navigation.cpp navPoint.cpp navTactics.cpp pointTracker.cpp squad.cpp pedSpace.cpp gunPerception.cpp itemPerception.cpp meleeCombatPerception.cpp pedRelationshipPerception.cpp selfPerception.cpp Senses.cpp Vision.cpp AnimBlendAssociation.cpp AnimBlendClumpData.cpp AnimBlendHierarchy.cpp AnimBlendNode.cpp AnimBlendSequence.cpp AnimHierarchy.cpp AnimManager.cpp Compressed.cpp EntityAnim.cpp App.cpp GameTime.cpp AmbientTransitionManager.cpp AudioAnim.cpp audiobloodfx.cpp AudioCollision.cpp audiolog.cpp audioman.cpp AudioMisc.cpp AudioScripted.cpp AudioTextMap.cpp CriAdxStream.cpp CriAixStream.cpp CriInterface.cpp dmaudio.cpp music.cpp SampleManagerChannelFunctions.cpp sampman.cpp ScriptedStream.cpp SpeechManager.cpp VolumeFader.cpp AgeSupport.cpp manager.cpp sfx.cpp system_wii.cpp BufferedSoundWii.cpp CRC.cpp SectorReadables.cpp ColAABox.cpp ColArch.cpp ColData.cpp ColFrustum.cpp ColLine.cpp Collision.cpp ColModelLine.cpp ColModelPoint.cpp ColModelSphere.cpp ColModelTri.cpp ColPrim.cpp ColSphere.cpp ColTri.cpp ContactInfo.cpp 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randomoverlay.cpp screenanim.cpp screeneffectsmanager.cpp startpage.cpp texanimator.cpp weaponslotcolours.cpp weaponswapper.cpp weaponswappersettings.cpp backgroundPicAnim.cpp bar.cpp confirmingameQuitPage.cpp ContextButtonDisplay.cpp controllerPage.cpp defaultSettingsPage.cpp ExecutionBox.cpp ExecutionFrame.cpp FlexText.cpp GoalFlexText.cpp hud.cpp hudItem.cpp ingameMainPage.cpp InventorySelector.cpp inventoryStatus.cpp item.cpp LevelNameFlexText.cpp LoadProgressScreen.cpp menu.cpp newGameBrightnessPage.cpp page.cpp radar.cpp saveGamesPage.cpp sceneselectionPage.cpp screen.cpp startLanguageSelectionPage.cpp textures.cpp cGEN_String.cpp cGEN_Timer.cpp gGEN_Globals.cpp gGEN_StandardFunctions.cpp modGEN_Housekeeping.cpp modGEN_Memory.cpp stats.cpp aGEN_Array.cpp cGEN_CharArray.cpp cDBG_DebugFile.cpp modDBG_LowLevelDebug.cpp aGEN_Memory.cpp modGEN_MemoryReporting.cpp rwcore.cpp TextUtils.cpp UniCodeUtils.cpp MhGlobalData.cpp MhLoadSave_Wii.cpp MhPeripherals_Wii.cpp Pad_Wii.cpp WiiLoadSave.cpp CheatHandler.cpp InputManager.cpp WiiAccelerometer.cpp WiiGesture.cpp ActionMapping.cpp KeyCode.cpp Inventory.cpp fx.cpp fxEmitter.cpp fxInfo.cpp fxInterp.cpp fxKeyGen.cpp fxList.cpp fxManager.cpp fxPrim.cpp fxSystem.cpp fxUtils.cpp MHtoFXinterface.cpp Maths.cpp Matrix.cpp Quaternion.cpp Vector.cpp MemManager.cpp PoolAllocationManager.cpp PoolAllocator.cpp CutsceneCamera.cpp EntityFadeController.cpp SimpleLinearAllocator.cpp Cylinder.cpp FrisbeeArm.cpp CriAfsPartition.cpp CriDataStream.cpp DataStreamManager.cpp Portal.cpp StreamedLevelSector.cpp StreamedLevelSectorCore.cpp StreamedLevelSectorManager.cpp StreamedAnimation.cpp StreamedAnimationManager.cpp TexturePool.cpp TexturePoolGroup.cpp TexturePoolManager.cpp AiHelpers.cpp EntityAttrReader.cpp EntityAttrWriter.cpp EntityTextureRenderer.cpp EnvironmentID.cpp PathSearch.cpp RsvDebuggingInfoForUseables.cpp RsvTvpChecker.cpp StringHashing.cpp OverlayMgr.cpp RwRGBA_Globals.cpp ScreenStringsOverlay.cpp TextOverlay.cpp 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ScriptCaseInternals.cpp ScriptCaseStandard.cpp ScriptCaseStrings.cpp ScriptLoader.cpp ScriptManager.cpp ScriptVM.cpp BreakingGlass.cpp clouds.cpp Decal.cpp dualtexture.cpp fogpatch.cpp FXMode.cpp LightFX.cpp ParticleEffect.cpp ParticleModel.cpp rats.cpp Renderbuffer.cpp rubbish.cpp SFXManager.cpp StreakEffect.cpp TrailEffect.cpp Weather.cpp jitter.cpp lipsync.cpp spotlight.cpp spotlightcone.cpp throwgraphic.cpp OverbrightEffect.cpp VideoScreenEffect.cpp Str.cpp Timer.cpp Shot.cpp Weapon.cpp WeaponManager.cpp colramp.cpp Gu.cpp GuProfiler.cpp main.cpp renderer.cpp rslengine.cpp shadermgr.cpp vectorASM.cpp volatilemem.cpp WiiGeometry.cpp WiiShader.cpp WorldCollision.cpp actor.c control.c displayObject.c dmabuffer.cpp fileCache.c geoPalette.c GQRSetup.c List.c normalTable.c SKNControl.c SKNMath.c string.c texPalette.c Tree.c HomeButtonMenu.cpp display.cpp binkfunctions.cpp binkplayer.cpp wiitextures.c adler32.c infblock.c infcodes.c inffast.c inflate.c inftrees.c infutil.c zutil.c binkwii.c binkread.c wiiax.c wiifile.c binkacd.c radcb.c expand.c popmal.c radmem.c fft.c dct.c bitplane.c ai.c arc.c AX.c AXAlloc.c AXAux.c AXCL.c AXOut.c AXSPB.c AXVPB.c AXProf.c AXComp.c DSPCode.c AXFXReverbHi.c AXFXReverbHiDpl2.c AXFXReverbHiExp.c AXFXReverbHiExpDpl2.c AXFXReverbStd.c AXFXReverbStdExp.c AXFXHooks.c PPCArch.c gki_buffer.c gki_time.c gki_ppc.c hcisu_h2.c uusb_ppc.c bta_dm_cfg.c bta_hh_cfg.c bta_sys_cfg.c bte_hcisu.c bte_init.c bte_logmsg.c bte_main.c btu_task1.c bd.c bta_sys_conn.c bta_sys_main.c ptim.c utl.c bta_dm_act.c bta_dm_api.c bta_dm_main.c bta_dm_pm.c bta_hh_act.c bta_hh_api.c bta_hh_main.c bta_hh_utils.c btm_acl.c btm_dev.c btm_devctl.c btm_discovery.c btm_inq.c btm_main.c btm_pm.c btm_sco.c btm_sec.c btu_hcif.c btu_init.c wbt_ext.c gap_api.c gap_conn.c gap_utils.c hcicmds.c hidd_api.c hidd_conn.c hidd_mgmt.c hidd_pm.c hidh_api.c hidh_conn.c l2c_api.c l2c_csm.c l2c_link.c l2c_main.c l2c_utils.c port_api.c port_rfc.c port_utils.c rfc_l2cap_if.c rfc_mx_fsm.c rfc_port_fsm.c rfc_port_if.c rfc_ts_frames.c rfc_utils.c sdp_api.c sdp_db.c sdp_discovery.c sdp_main.c sdp_server.c sdp_utils.c db.c dsp.c dsp_debug.c dsp_task.c dvdfs.c dvd.c dvdqueue.c dvderror.c dvdidutils.c dvdFatal.c dvd_broadway.c euart.c EXIBios.c EXIUart.c EXICommon.c fs.c GXInit.c GXFifo.c GXAttr.c GXMisc.c GXGeometry.c GXFrameBuf.c GXLight.c GXTexture.c GXBump.c GXTev.c GXPixel.c GXDisplayList.c GXTransform.c GXPerf.c HBMBase.cpp HBMAnmController.cpp HBMFrameController.cpp HBMGUIManager.cpp HBMController.cpp HBMRemoteSpk.cpp db_assert.cpp db_console.cpp db_DbgPrintBase.cpp db_directPrint.cpp db_mapFile.cpp lyt_animation.cpp lyt_arcResourceAccessor.cpp lyt_bounding.cpp lyt_common.cpp lyt_drawInfo.cpp lyt_group.cpp lyt_layout.cpp lyt_material.cpp lyt_pane.cpp lyt_picture.cpp lyt_resourceAccessor.cpp lyt_textBox.cpp lyt_window.cpp math_triangular.cpp snd_AnimSound.cpp snd_AxManager.cpp snd_AxVoice.cpp snd_Bank.cpp snd_BankFile.cpp snd_BasicSound.cpp snd_Channel.cpp snd_DisposeCallbackManager.cpp snd_DvdSoundArchive.cpp snd_EnvGenerator.cpp snd_ExternalSoundPlayer.cpp snd_FrameHeap.cpp snd_InstancePool.cpp snd_Lfo.cpp snd_MemorySoundArchive.cpp snd_MidiSeqPlayer.cpp snd_MidiSeqTrack.cpp snd_MmlParser.cpp snd_MmlSeqTrack.cpp snd_MmlSeqTrackAllocator.cpp snd_NandSoundArchive.cpp snd_PlayerHeap.cpp snd_RemoteSpeaker.cpp snd_RemoteSpeakerManager.cpp snd_SeqFile.cpp snd_SeqPlayer.cpp snd_SeqSound.cpp snd_SeqSoundHandle.cpp snd_SeqTrack.cpp snd_SoundArchive.cpp snd_SoundArchiveFile.cpp snd_SoundArchiveLoader.cpp snd_SoundArchivePlayer.cpp snd_SoundHandle.cpp snd_SoundHeap.cpp snd_SoundPlayer.cpp snd_SoundStartable.cpp snd_SoundSystem.cpp snd_SoundThread.cpp snd_StrmChannel.cpp snd_StrmFile.cpp snd_StrmPlayer.cpp snd_StrmSound.cpp snd_StrmSoundHandle.cpp snd_TaskManager.cpp snd_TaskThread.cpp snd_Util.cpp snd_WaveFile.cpp snd_WavePlayer.cpp snd_WaveSound.cpp snd_WaveSoundHandle.cpp snd_WsdFile.cpp snd_WsdPlayer.cpp snd_WsdTrack.cpp ut_binaryFileFormat.cpp ut_CharStrmReader.cpp ut_CharWriter.cpp ut_DvdFileStream.cpp ut_DvdLockedFileStream.cpp ut_FileStream.cpp ut_Font.cpp ut_IOStream.cpp ut_LinkList.cpp ut_list.cpp ut_ResFont.cpp ut_ResFontBase.cpp ut_TagProcessorBase.cpp ut_TextWriterBase.cpp ipcMain.c ipcclt.c memory.c ipcProfile.c KPAD.c mem_heapCommon.c mem_expHeap.c mem_frameHeap.c mem_unitHeap.c mem_allocator.c mem_list.c mix.c remote.c mtx.c mtxvec.c mtx44.c vec.c psmtx.c nand.c NANDOpenClose.c NANDCore.c NANDCheck.c OS.c OSAlarm.c OSAlloc.c OSArena.c OSAudioSystem.c OSCache.c OSContext.c OSError.c OSExec.c OSFatal.c OSFont.c OSInterrupt.c OSLink.c OSMessage.c OSMemory.c OSMutex.c OSReboot.c OSReset.c OSRtc.c OSSemaphore.c OSSync.c OSThread.c OSTime.c OSUtf.c OSIpc.c OSStateTM.c __start.c OSPlayRecord.c OSStateFlags.c OSNet.c OSNandbootInfo.c __ppc_eabi_init.cpp Pad.c scsystem.c scapi.c scapi_prdinfo.c seq.c SIBios.c SISamplingRate.c syn.c TPL.c usb.c vi.c i2c.c vi3in1.c wenc.c WPAD.c WPADHIDParser.c WPADEncrypt.c WPADMem.c debug_msg.c WUD.c WUDHidHost.c debug_msg.c DebuggerDriver.c exi2.c float.cpp alloc.c ansi_files.c ansi_fp.c arith.c buffer_io.c ctype.c direct_io.c errno.c file_io.c FILE_POS.C locale.c mbstring.c mem.c mem_funcs.c math_api.c misc_io.c printf.c qsort.c rand.c scanf.c signal.c string.c strtold.c strtoul.c wctype.c wstring.c wchar_io.c uart_console_io_gcn.c abort_exit_ppc_eabi.c math_sun.c extras.c e_atan2.c e_exp.c e_fmod.c e_log.c e_log10.c e_pow.c e_rem_pio2.c k_cos.c k_rem_pio2.c k_sin.c k_tan.c s_atan.c s_ceil.c s_copysign.c s_cos.c s_floor.c s_frexp.c s_ldexp.c s_sin.c s_tan.c w_atan2.c w_exp.c w_fmod.c w_log.c w_log10.c w_pow.c e_sqrt.c math_ppc.c w_sqrt.c __mem.c __va_arg.c global_destructor_chain.c NMWException.cp ptmf.c runtime.c __init_cpp_exceptions.cpp Gecko_ExceptionPPC.cp GCN_mem_alloc.c mainloop.c nubevent.c nubinit.c msg.c msgbuf.c serpoll.c usr_put.c dispatch.c msghndlr.c support.c mutex_TRK.c notify.c flush_cache.c mem_TRK.c string_TRK.c __exception.s targimpl.c targsupp.s mpc_7xx_603e.c mslsupp.c dolphin_trk.c main_TRK.c dolphin_trk_glue.c targcont.c target_options.c UDP_Stubs.c main.c CircleBuffer.c MWCriticalSection_gc.cpp HashKeyFunctions.cpp MemMan.cpp Random.cpp RelocatableChunk.cpp fmod_eventi.cpp fmod_eventsystemi.cpp fmod_sounddef.cpp fmod_eventcategoryi.cpp fmod_eventparameteri.cpp fmod_eventprojecti.cpp fmod_eventgroupi.cpp fmod_reverbdef.cpp fmod_channel_revolution.cpp fmod_os_misc.cpp fmod_os_output.cpp fmod_output_revolution.cpp fmod_sample_revolution.cpp fmod_dsp.cpp fmod_dspi.cpp fmod_codec_aiff.cpp fmod_codec_dsp.cpp fmod_codec_fsb.cpp fmod_codec_user.cpp fmod.cpp fmod_async.cpp fmod_channel.cpp fmod_channel_emulated.cpp fmod_channel_real.cpp fmod_channel_realmanual3d.cpp fmod_channel_stream.cpp fmod_channeli.cpp fmod_channelpool.cpp fmod_channelgroup.cpp fmod_channelgroupi.cpp fmod_codec.cpp fmod_debug.cpp fmod_file.cpp fmod_file_disk.cpp fmod_file_memory.cpp fmod_file_null.cpp fmod_file_user.cpp fmod_listener.cpp fmod_memory.cpp fmod_metadata.cpp fmod_output.cpp fmod_output_emulated.cpp fmod_output_polled.cpp fmod_plugin.cpp fmod_pluginfactory.cpp fmod_sound.cpp fmod_sound_sample.cpp fmod_sound_stream.cpp fmod_soundi.cpp fmod_string.cpp fmod_stringw.cpp fmod_system.cpp fmod_systemi.cpp fmod_thread.cpp fmod_time.cpp fmod_globals.cpp fmod_output_nosound.cpp fmod_output_nosound_nrt.cpp fmod_reverbi.cpp fmod_speakerlevels_pool.cpp
submitted by SSor3nt to ManhuntGames [link] [comments]

Peri-areolar top surgery with Dr. Fischer - the pre-op report

Hi everyone – this is a follow-up to a post I made about a month ago, asking if anyone would be interested in the details of my then-upcoming top surgery. I’m officially post-op now (five days!) and working on a ridiculously detailed writeup. This is the first part, which goes right up until the surgery itself. I’m going to wait a few more days to do the post-op one so that I can go up to the process of getting the drains out. Feel free to skip to the end to get to the salient info, and to comment with any questions about stuff I might have left out!
So, without further ado, how I got here:
First the basics. I'm 31 years old. I live in Maryland. I'm five feet tall and weigh around ninety pounds, give or take a couple in either direction. My chest measurement before surgery was about 28 inches, and about 26 "underbust." I've never been on testosterone or puberty blockers. I've never really had to wear a binder, and avoided it because I knew that I had to be gentle with that tissue if I wanted the results that I'd really hoped were possible. Keep this in mind - I'm hardly an average representation of anything, so my experience is most likely atypical in a lot of ways. But I'm hoping the overall information could be helpful.
I came out when I was 25, though I'd known since high school. Top surgery was on my radar, but trans stuff was on the fringe then - I read a lot of "butch lesbian who got top surgery" blogs, which was the only thing that made it seem possible for me, though the thought of paying for it (I was overestimating the cost by almost double, and too scared to actually look it up) seemed unthinkable. I didn't know about anything but double incision surgery, which was pretty horrifying to me. So I put the thought out of my mind for almost ten years.
When I aged out of my parents' insurance and got my own, most plans had a line specifying that they did not cover anything meant to "alter the patient's physical sex," or something to that effect. This changed a few years ago, but at the time I didn't qualify for sick leave at work, and I was still paying off my student loans. Along the way things progressed - I started using a new name, then changed it legally, and then my state started allowing "unspecified" gender markers on driver's licenses. I paid off my loans and saved some money, without acknowledging to myself what I was saving it for. And then I got a letter at work, informing me that they were now required to provide medical leave for anyone working over 15 hours weekly. And suddenly a lot of things came together, fast.
My mom has always been supportive of me, but she was not very happy to hear about this. After talking it over a lot, we ended up going together to a therapist who worked with both trans people and families - incidentally, our therapist was also nonbinary, and we had to take a break in our visits while they recovered from their own top surgery. We visited them a few times over a few months, and they suggested that I at least look into getting my surgery covered by insurance, and directed me toward the Johns Hopkins Center for Transgender Health. I had done research on several of the big names in top surgery, particularly those who do a lot of peri-areolar surgeries - I was very not into the idea of double incision, and knew that, while I was not the seventeen-year-old kid on T who's a sure thing for peri, I had a chance. But getting it covered would make the financial hit more bearable.
I did some research on insurance coverage. When it came time to renew my Medicaid coverage, I switched to an MCO that had a history of working with Johns Hopkins. I contacted them about finding a therapist to write a letter for me, and about getting a consultation - I expected to have a long wait to meet with Dr. Devin O'Brien-Coon, but they suggested that I come in much earlier and meet with Dr. Benny Tan, who had only recently come to work at the Hopkins center, so I got my letter and scheduled my appointment with him.
Dr. Tan had just started at the JH center when I had my consultation with him, and while he had a lot of previous experience doing breast cancer mastectomies, he was clearly a lot less familiar with top surgery. He was adamant that I was ineligible for peri-areolar surgery, and would have to have double incision. He seemed to have some weird misconceptions about the details - at one point he said that no one ever regains any nipple sensation after surgery (???), and when I mentioned the concept of the eventual shape of my chest being somewhat dependent on how much muscle I can develop through exercise he sort of laughed and said, "Well, maybe if you decide to become a bodybuilder." When I asked if I could see post-op pictures of some of the previous procedures the center had done, I was told no, that Dr. O'Brien-Coon didn't want to suggest that there was any guarantee of a specific kind of results. He seemed like a nice guy. He answered the questions I had, and my mom's. But I did not feel good about this.
At the same time, I was trying fruitlessly to get any information at all about whether I would, in fact, be able to get this covered by insurance. I won't go into the boring details of one million phone transfers, but after several days the question was resolved: because the insurance required a previous twelve-month period of hormone replacement therapy, I was out of luck. At this point I wasn't even upset - it just made it clearer that my original plan was what I was going to go with.
Finally, I paid $100 to have a consultation with Dr. Beverly Fischer in Lutherville. Dr. Fischer was one of the surgeons I'd been researching from the beginning - she's been performing surgeries since the 90s, including a lot of peri-areolar surgeries, and she also is the most local of the surgeons I'd looked into. I'd seen pictures online that people had posted of her work on people with body types very much like mine, and I was impressed. Dr. Fischer doesn't take any insurance (you can try to go through a process on your own afterward, and perhaps get at least a partial reimbursement from your insurance, but that's up to them), but I had the money saved, and I felt it was a fair trade to have a greater level of control over the experience.
Since Dr. Fischer has her own small facility, the consultation was very smooth and low-key. Again, my mom went with me (this was right before covid started, but even now she allows one visitor to come with a patient). She looked me over and assured me that I was definitely a candidate for peri (they all say "keyhole" there, which confused me, but I'm going to keep saying peri, by which I mean full circular incisions around the areola). We were given a breakdown of the cost ($9,700) and shown into a little room where they gave us a binder of pre- and post-op photos to look at. Again, her work is very impressive - my mom, who was not familiar with the different styles of surgery, was reassured that they did not look as scarred up as she was probably expecting. This was a much better experience than I had at Hopkins, enough to convince me.
Then the pandemic hit! Needless to say, things were on hold for a while.
The library I work at was closed for over two months. In June, we started working again, but with a very minimal schedule. I'd been doing almost double my baseline hours by filling in for vacant positions, but now I was working fifteen hours per week maximum, meaning I didn't lose any substitute pay for taking sick leave. So I called Dr. Fischer's office and made the soonest appointment I could, for September 16th. I made a 10% payment over the phone ($970) and scheduled my appointments for three weeks prior to surgery.
Three weeks before surgery:
I went to Dr. Fischer's office for my pre-op appointment. Because I'd already been measured during my consultation, this was mostly a lot of information and question-and-answer sessions with their surgical coordinator Shannon. My mom came with me (all of us wore masks, and we had temperature checks when we came in, as well as standard "have you had any covid symptoms or been out of state" worksheets to fill out).
Shannon brought out a set of the drains and showed us how they'd work (they are still stuck in me at the time of this writing, so I'm trying not to think about it too much!), and gave me a folder of pre- and post-op information, plus the sheet to give to my primary care doctor when I went to get my bloodwork done. The instructions were pretty standard - try to eat a lot of protein in the weeks before and after surgery (raises your red blood cell count so you recover faster), get up and walk around on the first day (helps the anesthesia junk work its way out of your body), don't lie on your back eating applesauce the whole time (you're not going to hurt yourself, live your life, just be gentle). Mentioned, but for some reason not included on the printed sheet: there's a one-day-post-op appointment the morning after, just to check everything out - this means that AFTER your surgery you shouldn't eat or drink after midnight, and through the morning, just in case there's an unexpected need to put you under to correct anything.
I brought them a check for the remainder of my payment - $8,730. As weird as it seems, seeing the money actually come out of my bank account didn't bother me at all. I'd saved that money with this in mind, so it seemed natural to finally use it.
They also gave me a stack of four prescriptions, which I filled on the way home: One pre-op anti-nausea pill, one pre-op Xanax, several post-op pain pills (hydrocodone and acetaminophen) and several post-op anti-nausea pills. Fortunately this was covered by my insurance, because I sure did NOT need all of these.
I went within the week to get the required physical and bloodwork at my regular doctor's office, and just handed them the sheet that said what results needed to be sent to Dr. Fischer. Apparently there was some kind of faxing error and I didn't find out for a couple weeks that they hadn't gotten the results, but that was fixed by some relatively simple phone calls. I'd recommend calling a week after the blood test to confirm that they've received everything.
I put in a request for six days off work - starting and ending on a Wednesday, with a normal weekend between. They usually recommend ten days, but I have a very low-activity job and only work short shifts, so they agreed that eight days would be fine. This is another factor that might have been different if I had been getting double-incision surgery, which I've heard can take a few more days of recovery.
Some days later, I got a call saying that the anesthesiologist wouldn't be able to be in on the Wednesday I was scheduled for. I was all set to move everything forward by a chunk of time when they clarified that no, they wanted me to come in one day earlier. Well, okay then. I added a Tuesday to my leave. I am told that I will need to get an "excuse note" to take back when I return to work, which I haven't asked for yet, but will probably get at my one-week-after appointment.
A few days before surgery:
This is the time to get things in order wherever you'll be staying. Of course you can't prepare for everything, but I did as much laundry as I could, made sure I had plenty of prepared food in the house, checked out a ton of books and DVDs from the library. Trimmed my hair and nails. Note that you are required to shave your armpits so the tape doesn't stick to them when they bandage you up - if you're not used to this, I recommend doing it a couple days in advance, because it's a Bad Time.
Night before surgery:
I got the usual confirmation call from them the Monday before my surgery date. I got everything together (medication. Sweatpants, button-up shirt, socks, slip-on shoes, COTTON underwear, which is the only kind you may wear in surgery. The folder of information. My old ipod and headphones). I went to bed relatively early as I knew I was going to be up early, though it might have been better to stay up and have a late snack before the midnight deadline.
Day of surgery:
September 15th - my surgery was scheduled for 9:30, and my arrival at 8:30. I was told to shower and wash my hair, to only use antibacterial soap (we had the Dial orange bar) for my body. I used baby shampoo on my hair, because I wanted something that wouldn't leave any weird residue, since I knew I wouldn't be able to wash it again for some days. Deodorant is allowed, but no lotion. Brushed my teeth. No food, no drink, no chewing gum.
I went to the surgery center with both my parents, but right now they're specifying only one guest per patient, so only my mom came in. There's a little retirement community and some stores around, so they had somewhere to hang out while they waited. I left my mom's phone number with them on a post-it so they could call her when they needed to come back for me.
I took my bag and went into one of the patient rooms, where I was given this hilariously large toga-looking thing to change into. I gave them my bag of meds, and they came back with a tiny bit of water for me to swallow the Xanax. The anti-nausea one dissolves in your mouth and tastes like strawberry mentos.
In a little tiny room with a ring light, they took a series of pictures of me from ribs to neck, at straight-on, side, and three-quarter views. Later I looked back at a computer screen and saw these pictures and briefly thought "who the hell's that?" Not that I'd had any doubts before that I was making the right decision, but that made it pretty clear.
Dr. Fischer came in after that, and drew about three dashed lines on my chest. My assumption is that these were so that when my skin shifted while I was lying down, she would be able to see what parts corresponded to where when I was upright. I asked briefly about what kind of resizing she would do around my nipples, which are very slightly asymmetrical, and she said that she uses a kind of template that would make them turn out a bit smaller, and, yes, the same size.
The anesthesiologist came in to give me the rundown on what would happen when I was taken into the operating room. I would put on a hairnet, I would get an IV that would put me out, then a mask of gas to keep me unconscious. A small tube would be put in the back of my throat to keep my airway open, and might give me a sore throat for a couple days after (spoiler: it did, but it wasn't too bad). Some kind of contraption of sleeves would periodically squeeze my legs to promote blood flow. All fairly standard, probably.
So they let my mom come in and hug me, and I said, "see you soon!" and they walked me back.
Sorry for the huge cliffhanger, but this thing is way longer than I thought! I'll be back with the post-op section in a few days, ok? And definitely comment any questions you might have. Recovery is boring.
TLDR:
Good luck to everybody reading this! I am feeling good. My recovery's been great so far and I'll go into more detail when I come back for the next part of this.
submitted by lowercas_e to NonBinary [link] [comments]

MAME 0.220

[ Removed by reddit in response to a copyright notice. ]
submitted by cuavas to emulation [link] [comments]

Results of First Official /r/Chihayafuru Survey

On May 3rd, 2020, a survey was conducted on /Chihayafuru. This was the first official survey held in the community, the results of which can be found here.
A total of 173 people responded over the 10 days this survey was open.
Wiki Post with easy navigation
/Chihayafuru's Favourite Shoujo and Josei Anime/Manga
/Chihayafuru's Favourite Anime and Manga (excluding Shoujo and Josei)

Demographics

Age Demographics

Age Range Percentage (Number)
25-34 years old 38.4% (66)
20-24 years old 34.9% (60)
17-19 years old 16.9% (29)
35+ years old 5.8% (10)
12-16 years old 3.5% (6)
Under 12 years old 0.6% (1)
A total of 172 people responded to this question. The results are surprising, to say the least. The median age trends much higher than that of other anime communities with most people being in their 20's and 30's. We have a decent number of teenagers but most people here are adults.

Gender Demographics

Gender Percentage (Number)
Male 56.6% (98)
Female 41% (71)
Prefer not to say 1.2% (2)
Non-binary 0.6% (1)
Agender 0.6% (1)
All survey respondents answered this question. The male majority was expected since reddit is predominantly male. Still, the somewhat balanced demographics are refreshing to see considering most communities are far more skewed towards male (/anime is 85%+ male for instance) although our numbers may be lower.

Country Demographics

Country Percentage (Number)
United States 38.8% (64)
India 6.7% (11)
Philippines 6.1% (10)
United Kingdom 5.5% (9)
Canada 5.5% (9)
Germany 3% (5)
Brazil 3% (5)
Australia 3% (5)
France 1.8% (3)
Sweden 1.8% (3)
Norway 1.8% (3)
Malaysia 1.8% (3)
Other 21.2% (35)
165 people answered this question. There's an even split between NA and other timezones. Roughly half the community lives in NA while the other half is divided between other regions. A surprising amount of people come from SEA regions.

Chihayafuru Related

When did you first get into Chihayafuru?

Answer Percentage (Number)
Between 2013 and 2018 (before Season 3 announcement) 38.2% (66)
Between 2018 and 2019 (before Season 3 aired but after it was announced) 16.8% (29)
Around/before Season 1 started airing in 2011 12.7% (22)
While Season 3 was airing 12.1% (21)
After Season 3 had ended 12.1% (21)
Between 2011 and 2013 (before Season 2 aired) 4.6% (8)
While Season 2 was airing in 2013 3.5% (6)
All survey respondents answered this question. Considering that 72.8% of our users have been watching anime for longer than 5 years, it makes sense that many of them would get into it so early considering its status as a sleeper hit and older fans' willingness to check out less mainstream anime. Many people seem to have picked it up after the Season 3 announcement, likely owing to seasonal culture becoming more widely adopted. Overall, we seem to have quite the mix of veteran and new fans.

Which of these made you watch Chihayafuru?

Answer Number
I watched it without much outside influence 70
Fan response/discussion on /anime or other forums 33
The MyAnimeList score 31
That one ProZD Video 29
Recommendation/Gift from friends/others 25
Anime Youtubers/AniTube in general 12
Ads and Promotions on Streaming Services 7
170 people answered this question. It was the first question where you could write-in an answer. Most write-in answers were grouped together since many people mentioned various blogs/websites which were grouped into "fan response" while people who found it on their own regardless of why they were looking for it were grouped into "watched without much outside influence." As a result, that answer dominates because as Chihayafuru isn't a major topic in other online communities, many people end up discovering it on their own whether they're looking for sports, josei or romance.

How have you watched the Chihayafuru anime?

Answer Percentage (Number)
Illegal streaming/torrenting/sailing the high seas 59% (98)
Legal streaming 55.4% (92)
Physical BDs/DVDs 4.2% (7)
166 people answered this question. More than half have streamed Chihayafuru legally although many of them have pirated it on occasion. Only 7 people own the physical BDs/DVDs.

Which of these translations do you prefer for the Chihayafuru anime?

Answer Percentage (Number)
I don't favour one or the other 50.9% (83)
Official Translation 31.3% (51)
Fan translation by Commie 17.2% (28)
Other 0.6% (1)
163 people answered this question. Aside from people that don't favour either translation, it's strange that so many prefer the official translation when Commie goes above and beyond with typesetting, translating signs and karaoke. Either way, it seems like people have issues with Commie's work or they have not checked it out and prefer the translation on Crunchyroll.

Which season of Chihayafuru is your favourite?

Answer Percentage (Number)
I don't have a favourite 29.1% (50)
Season 3 27.3% (47)
Season 2 22.1% (38)
Season 1 12.2% (21)
My favourite season is still unadapted 9.3% (16)
172 people answered this question. With Chihayafuru being a single narrative that isn't traditionally divided into arcs, it's natural that a large percentage of people don't have a favourite. Season 3 appears to be the most-well liked season and there's yet a considerable number of people that are more interested in unadapted events.

Which Chihayafuru anime OP is your favourite? (Please consider both song and visuals)

Answer Percentage (Number)
YOUTHFUL 45.9% (79)
I don't have a favourite 20.3% (35)
COLORFUL 19.2% (33)
STAR 14.5% (25)
172 people responded to this question. YOUTHFUL seems to be the most beloved OP. It's often considered synonymous with the series and repeated quite often which is common in sports anime. A large number of people don't seem to have a favourite OP while the rest are in much closer contention with each other.

Which Chihayafuru anime ED is your favourite? (Please consider both song and visuals)

Answer Percentage (Number)
I don't have a favourite 33.3% (57)
Hitomebore 31.6% (54)
Soshite Ima 21.1% (36)
Akanezora 14% (24)
171 people responded to this question. People seem to be more indifferent towards Chihayafuru EDs compared to OPs which does make sense because a lot of anime fans do skip EDs. This could be a poll option in the future. Season 3 ED seems to be the most favoured one with Season 1 ED only just behind. No overwhelming majority for any option in this case.

Do you read the Chihayafuru manga? If so, how?

Answer Percentage (Number)
I exclusively read for free on manga aggregate sites/sail the high seas 48.8% (82)
I am an anime-only 31.5% (53)
I buy the volumes legally but read ahead of the official translation via other means 16.7% (28)
I buy the volumes but don't read scanlations 3% (5)
168 people responded to this question. We clearly have more manga readers here than anime-onlies and a considerable number of people seem to buy the volumes even though they read the scanlations.

Have you watched the Chihayafuru live action movies?

Answer Percentage (Number)
No 73.3% (126)
Yes 14.5% (25)
Only some of them 12.2% (21)
172 people answered this question. Quite an overwhelming number of people haven't seen them while a fair few haven't seen all of them. People seem to be largely indifferent about the live-action medium but the movies aren't exactly known for their quality so maybe it's better this way.

Who is your favourite Chihayafuru character?

Answer Percentage (Number)
Mashima Taichi 43.9% (75)
Ayase Chihaya 20.5% (35)
Wataya Arata 11.1% (19)
Wakamiya Shinobu 8.2% (14)
Ooe Kanade 4.7% (8)
Harada Hideo 3.5% (6)
Suo Hisashi 1.8% (3)
Sudo Akito 1.8% (3)
Nishida Yusei 1.2% (2)
Hanano Sumire 1.2% (2)
Yamashiro Rion 1.2% (2)
Sakurazawa Midori 0.6% (1)
Inokuma Haruka 0.6% (1)
Komano Tsutomu 0% (0)
Tsukuba Akihiro 0% (0)
Kinashi Hiro (Retro) 0% (0)
Other 0% (0)
171 people answered this question. Taichi seems to be the favourite for roughly half the subreddit while Chihaya and Arata seem to have a lot of support. For side characters, Shinobu and Harada perform well for their limited screentime. On the bottom, you have the unloved who received 0 votes although one of them really does deserve it.

Do you ship characters in Chihayafuru? If so, which ones?

Answer Percentage (Number)
Chihaya x Taichi 47.4% (82)
Chihaya x Arata 30.1% (52)
Kana x Tsutomu 28.9% (50)
I don't ship characters 22.1% (38)
Chihaya x Taichi x Arata 3.6% (6)
Shinobu x Arata 3% (5)
Chihaya x Shinobu 2.4% (4)
Sumire x Taichi 1.2% (2)
Chihaya x Sudo 1.2% (2)
Taichi x Shinobu 0.6% (1)
Arata x Taichi 0.6% (1)
Shinobu x Suo 0.6% (1)
Sudo x Taichi 0.6% (1)
All survey respondents answered this question. That was an absolutely clusterfuck to figure out with all the weird answers I got. All the Character x Happiness answers were grouped into I don't ship characters and most ships that made sense are listed out here. I expected more people to not ship characters but it seems that the top 3 ships are significantly more popular than staying neutral.

Which medium do you prefer for Chihayafuru?

Answer Percentage (Number)
Anime 81.4% (140)
Manga 18.6% (32)
Live Action 0% (0)
172 respondents answered this question. Anime seems to be the preferred medium for most people. This is by far the most overwhelming majority for any one response throughout the whole survey meaning people are really satisfied with Morio Asaka's work on the Chihayafuru anime. On the other hand, there isn't a single soul that prefers live action despite a considerable amount having seen those films.

Is Chihayafuru your favourite anime/manga?

Answer Percentage (Number)
It's definitely up there 72.3% (125)
Yes, it's the best 16.8% (29)
I've seen better 7.5% (13)
The anime is in my favourites (not the manga) 2.3% (4)
The manga is in my favourites (not the anime) 1.2% (2)
All survey respondents answered this question. Unlike more mainstream anime communities, there isn't an overwhelming number that has Chihayafuru as their favourite anime ever even if the vast majority has it among their favourites. It speaks more to the community's maturity as anime fans rather than a lack of dedication when you consider that Chihayafuru fans are likelier to be willing to try out a more diverse array of shows.

How would you rate Chihayafuru on a 1-5 scale?

Answer Percentage (Number)
5 65.3% (113)
4 33.5% (58)
3 1.2% (2)
2 0% (0)
1 0% (0)
All survey respondents answered this question. Most people seem to have it at a perfect score while a fair few rate the series closer to perfect. Pretty much expected results all around.

How much Chihayafuru merch do you own?

Answer Percentage (Number)
None 80.1% (136)
Physical manga volumes 11.8% (20)
Karuta cards 11.2% (19)
Soundtracks or OP/ED singles 4.7% (8)
BDs/DVDs 4.7% (8)
Storyboards/Lineart/Official Art 0.6% (1)
Other merch 3.6% (7)
170 people answered this question. The lack of availability for merch is quite evident but some people haven't let that stop them.

What are your opinions on the Chihayafuru fanbase?

Answer Percentage (Number)
Minor gripes aside, I love most aspects of the fanbase 49.1% (78)
It has its problems but so does every fanbase 28.9% (49)
I love the fanbase unconditionally 20.1% (32)
The fanbase is worse/more toxic than others 1.9% (3)
159 people answered this question. Most people seem to acknowledge that parts of the fanbase has problems. However, most fanbases do and they're still happy to be a part of it. Some do love it unconditionally and very few seem to think it's overly toxic. Overall, a really mature response.

Other anime and manga

How many total anime have you completed to date?

Answer Percentage (Number)
100-250 30.4% (52)
50-100 25.1% (43)
250-500 17.5% (30)
Less than 50 13.5% (23)
500-1000 7.6% (13)
1000+ 2.9% (5)
I don't know/don't watch anime 2.9% (5)
171 people responded to this question. It's a bit surprising to see that most people's numbers aren't super high considering the relatively high mean age and Chihayafuru's more niche status. Still, give it a year and a lot of these numbers could crank up during the COVID pandemic.

How many total manga have you completed to date?

Answer Percentage (Number)
Less than 50 59.1% (101)
50-100 17.5% (30)
100-250 7% (12)
250-500 7% (12)
I don't know/don't read manga 4.7% (8)
500-1000 2.9% (5)
1000+ 1.8% (3)
171 people answered this question. It's pretty evident that people read manga a lot less than they watch anime here. Still a lot of people that have read a lot despite the nature of a lot of manga to publish for many years.

How long have you been watching anime/reading manga?

Answer Percentage (Number)
10 to 20 years 34.7% (60)
5 to 10 years 31.8% (55)
2 to 4 years 22% (38)
20+ years 6.4% (11)
Only for a year 4% (7)
I only started a few months ago 1.2% (2)
All survey respondents answered this question. Most people are older anime fans despite not having very high numbers as I pointed out earlier. Very few people seem to have started watching recently. It is rather bleak prospects as a lot of newer anime fans seem to be less willing to step outside of their comfort zone and discover shows like Chihayafuru. We can only hope this changes as time passes.

Which of the following are you particular about?

Answer Percentage (Number)
I am willing to watch any anime regardless of age and popularity 79.9% (135)
I do not watch anything from the 90's or earlier 9.5% (16)
I do not watch anime from the 80's or earlier 7.7% (13)
I only watch very recent popular anime 1.2% (2)
I only watch anime seasonally 1.2% (2)
I do not watch anything made before the 2010's 0.6% (1)
169 people answered this question. As overwhelming as the response is for most people being willing to watch anything, it's still strange to see a considerable number still refuse to watch oldeless popular anime despite being fans of a less popular show that will inevitably fall off the radar of newer anime fans. Y'all need some Cardcaptor Sakura, Utena and LoGH in your lives.

Which of these mediums do you actively consume?

Answer Percentage (Number)
Anime 95.9% (164)
Manga 68.4% (117)
Live action TV/Movies 23.4% (40)
Light Novels 21.6% (37)
Visual Novels 14.6% (25)
171 people answered this question. Very high interest rates for anime and manga aside, live action TV and movies are more preferred to LNs and VNs despite both being a part of the animanga-sphere.

Do you consume shoujo and josei media?

Answer Percentage (Number)
I like a lot of shoujo classics 58.1% (97)
I like prominent josei anime 39.5% (66)
Chihayafuru is the only shoujo/josei anime I like 22.2% (37)
167 people answered this question. Over half the respondents love their shoujo classics and a fair few are into josei as well while a lot of them go out of their way to read shoujo and josei manga. Fairly nice results considering the larger anime community's indifference to media that falls under these demographics.

Do you like sports anime/manga other than Chihayafuru?

Answer Percentage (Number)
I only watch sports anime if they look good/are critically acclaimed 40% (68)
I actively consume a lot of sports anime/manga 38.8% (66)
Chihayafuru is the only sports anime/manga I like 12.4% (21)
I only like Haikyu!! and Chihayafuru 8.2% (14)
I only watch anime featuring sports I've played 0.6% (1)
170 people answered this question. Considering that sports anime are largely ignored by the larger anime community and Haikyu!! is often considered the 'exception', it's good to see that mindset isn't incredibly prevalent here (although it could be less prevalent yet). I'd kinda like to poll people on their favourite sports anime and make a recommendation wiki entry on that too at some point.

Which shoujo and josei anime/manga would you recommend to Chihayafuru fans?

We had 59 responses for this question. I have created a shoujo and josei recommendation wiki based on these responses. The cutoff was 2 votes. Some suggested entries that weren't shoujo or josei were excluded from the wiki.

Shoujo and Josei Recommendation Wiki

What are your favourite anime and manga aside from Chihayafuru?

We had 117 responses for this question. Similar to the shoujo and josei wiki, I have created a general recommendation wiki for the responses to this question. Unlike the shoujo and josei wiki, the cutoff here was 4 votes to keep the number of entries down.

General Anime/Manga Recommendation Wiki

submitted by EpicTroll27 to chihayafuru [link] [comments]

Music Access Moral Continuum (Please rank yours!)

(How) Should we judge people who access music from different sources than we do?
How long concerts, a major source of income for less famous artists, will be too dangerous remains to be seen, but if the financial incentive for musicians to make music is as strong as economists think, we could be in for a long and worsening dry spell. A hungry musical genius might not create the next masterpiece if the link to putting food on the table is severed. No better time to consider the payout-tied morality of different ways to access music. I hope you’ll share your opinions using the following framework or your own.
“Music” refers to an “indie” artist w/ all songs under a million views on YouTube (arbitrary cut-off point). I’m not talking about the “winners” in the “winner-take-all market” that is the music industry (and so many others).
u/classiscot , u/soulcoal , and other veterans of this forum employ a moral dichotomy of “paying artists” (good) Vs. “not paying artists” (bad). Or possibly a trichotomy w/ eMusic even worse than average pirates b/c subscribers are paying the company to steal from artists and record labels. There’s utility in this simplicity, but like most binary views it leaves out gray areas and the more complicated, inclusive reality of music access as a whole. I’ll leave out the likelihood, in my view, that eMu is still paying some artists/labels or they’d all abandon ship and/or file a class action lawsuit b/c I’ve harped on it a lot elsewhere.
Here’s a series of other, systematic ways of contextualizing the morality of remaining subscribed to eMusic in these difficult, uncertain times. I obviously prefer the more complex one.
DICHOTOMOUS: Paying artists (Bandcamp, streaming services, etc.) Vs. Not paying artists (Pirate sites, file sharers, much of eMusic, etc.)
“TRICHOTOMOUS”: Paying artists Vs. Not paying artists Vs. Charging a subscription fee to steal from artists
EXCESSIVELY COMPLICATED IN PURSUIT OF NUANCED OPINIONS:
To avoid going wildly out of control, I’ll limit myself to the 26 letters of the alphabet in my opinionated moral ranking, w/ A being “most moral/best” and Z being “least moral/worst.” Rather than drawing a line between moral and immoral, I'll punt and call letters K-Q “morally ambiguous” even to my all-judging self. I hope others will rearrange the alphabet (selectively…I’m not asking for hours of anyone’s time) with their own rankings. i.e. I guess/approximate u/classiscot’s as C, B, M, W (b/c it hurts eMu), T, P, V, X, Z, J (all helping eMu at the bottom of the scale) but solicit his actual input. Anyone else who’d like to weigh in, especially anyone who’s a musician or themselves in the industry, please do! Judge now lest ye not be judged thyself.
I’ve probably missed several obvious options and don’t know how to add more letters to the alphabet. A1, Z1, etc.? Maybe use my letters as reference points and insert what I’ve missed between them?
Note that D, J, L, & W directly involve eMusic. I gather most who do so disparage any financial support or interaction w/ eMu at all uniformly for simplicity’s sake, but given several ways to get music from the site, they’re worth parsing individually.
MOST MORAL
A. Get access for “free” b/c your job (or volunteer position) is to promote the artist (Clearly it’s the music industry’s loss if anyone commenting here is not actively working in it.)
B. Attending an artist’s concerts religiously, buying physical media from their merch table, direct GoFundme campaigns (As u/Soulcoal and others duly point out, this is THE major source of income for less popular artists who’ll never be able to support themselves any other way)
C. Use of Bandcamp to maximally subscribe to one’s favorite artist’s output (including full-priced purchases of full discographies).
D. Use of eMu tokens to purchase MP3s from eMusic (Blockchain. I still haven’t heard of any accounts of anyone actually doing this, but it should at least address accusations of non-payment of artists b/c it’s transparent)
E. Buy a new vinyl record or new CD at one of the dwindling brick & mortar stores that still sell them.
F. Listen to an independent radio station (i.e. community/college-based)
G. Listen to an old-fashioned commercial radio station (I’d say it’s morally ambiguous to listen to Top40 radio, though, but that my inner curmudgeon typing. I’m not even sure indie artists, new jazz, etc. even get played on any commercial radio stations.)
H. Borrow or otherwise listen to someone else’s copy (i.e. friend or family member’s) of an album they bought new, then buy more of it oneself. Burning a copy of it to CD-R rather than buying it would be worse, but does anyone still do that?
I. Buy a used CD or used Record online or at a used music store (Recent years show how dependent this means is upon people buying albums new in the first place. I welcome someone else to speculate how much buying a used CD helps the artist.)
J. Annual or monthly eMusic subscription (in hopes that it sustains eMu and will one day result in it being a viable business, doing its part to compensate artists, assuming it is still paying some artists/labels or they’d ALL leave the site)
MORALLY AMBIGUOUS
K. Innocently purchase a promotional copy of an album (i.e. as often happens in used CD stores that purchased stock from a radio station…only the disc itself or the interior of the liner notes, invisible at time of purchase, may be stamped with “for promotional use only”)
L. Purchase of discounted eMusic booster packs (a concession to Soulcoal’s distaste for them)
M. Paid subscription to the highest compensation-per-stream, non-gigantic service (currently Napster, or correct me if I’m wrong)
N. Paid subscription to a middling compensation-per-stream service (i.e. Tidal, Spotify, etc.). As I rant in a blog post, even if compensation improved, streaming services contribute to single-fication of music consumption and the death of the album, which I see as a moral injury. http://www.omnifoo.info/pages/Streaming%20Mad.html
O. Paid subscription to one of the huge corporations’ streaming services (Giving more money to Amazon, Google, and Apple, even if they pay more per stream than some, is morally ambiguous at best given things like their carbon footprints, enabling of crass consumerism, using market share to squeeze artists/labels, crowd out small businesses, and the possibility that unless anti-trust enforcement increases a lot they’ll someday own everything that people can purchase).
P. 7% of people (the same as the % who buy physical media or download from iTunes or elsewhere) surveyed in the link say they “don’t really listen to music,” which I think is evil and wrong, but I won’t force them to change their evil ways. Am I saying people should buy music even if they don’t listen to music? Kinda. To abstain or take the option of exit seems to be denied many Asian citizens (and probably elsewhere, too), where music is blasted in public over loudspeakers. I’m glad Skinny Puppy got paid for their songs being used at Guantánamo, but I’m sure detainees and other captive audiences aren’t much concerned about artist compensation. https://blog.hubspot.com/marketing/online-music-listening-preferences
Q. Free streaming service accounts supported by ads (i.e. Spotify. Even if you’re not bothered by your music being interrupted and financially supported by ads, I think it’s morally questionable, especially in the long term.) Kids I’ve talked to (some of whom equate music w/ Spotify or YouTube…scary!) who can’t afford a paid subscription need to talk to their parents about a family plan or listen to the radio, I say!
PROBABLY IMMORAL
R. Repeatedly doing free, 1-month trials of streaming sites and canceling before payment.
S. Streaming music on YouTube or other sites while using AdBlock on your browser (on the assumption that artists aren’t getting paid if ads aren’t being played) as one’s sole source of music.
T. Streaming music on YouTube from accounts not connected to artists themselves or their record labels (YouTube polices this but is pretty lax, especially for more obscure artists, songs, etc.)
U. Download all of a friend or family member’s albums that you like w/out buying any of it oneself (assuming they were originally purchased properly).
V. Knowingly buy counterfeit physical media. (In developing countries, one can still buy counterfeit CDs of surprising quality and selection, and around the turn of the 21st century, this seemed to be the primary means of people there getting to own music. Maybe it still put food on street vendor families’ tables? And as w/ pirated DVDs, there are upsides to spreading culture to poor people. This phenomenon mainly affected the most famous, I assume, who were losing the most revenue. I do know a ton of stores were shut down in China.)
W. Repeatedly signing up for eMusic’s 1-month new subscriber bonus under different email addresses (I read someone’s account of doing this and it struck me as entirely too clever, maybe a way to ensure that eMu’s non-payment of artists worsens, possibly an active contribution to sinking the site once and for all?)
X. Use of (Russian or other) pirate downloading sites
Y. Stealing records or CDs from a college radio station (this one is personally irksome, having managed one and been a DJ)
Z. Stealing one’s way into a concert, making a bootleg recording (to be sold for personal profit), robbing the merch table, hacking into a label’s website to steal its music. Then maybe stealing a backstage pass and sucker-punching the lead singer or bandleader, slashing the band’s van tires afterwards.
LEAST MORAL
Note that this is still a trichotomy. Placement in any of the three moral categories is just my opinion, and specific rankings are something you’re very welcome to argue for and change my mind. I hope the letters can be used as shorthand when doing so (i.e. One could argue X is worse than Z b/c it’s so easy and can be done on such a large scale.)
Perhaps some less moral options and certainly many morally ambiguous ones, IMO, can be offset by promoting the artist. You may tell me I’m deluding myself, but even if eMu is as horrible as some say for artists still on the site, I do believe that posting about them here, on FB, my website, etc. does a small but morally absolving bit of good to spread the word about what we all agree is mostly unknown music at this point.
My main contention remains that standard, dominant means of music access (via YouTube as on most of Reddit or other streaming services whether paid or free) categorized as “good” in a dichotomy b/c they do pay artists pay so little (literal pennies per month) as to be morally worse than an eMu subscription. Or at very least, getting on a high horse with a megaphone about how terrible eMu is compared to streaming is vastly overstated.
A streaming service subscriber who hopes artist compensation will get better somehow is, IMO, morally no better than an eMusic subscriber who is ignorant of its spotty record on compensation or who also hopes that it can become a viable business again and do right by artists.
In sum, yes, I’m still an apologist, maybe naive in optimism that eMu can still be a positive influence in a deeply unfair industry, whether or not it currently is.
submitted by chartreuseeye to eMusicofficial [link] [comments]

An analysis on Penguin Magic user reviews

Hello,
To practise some programming, I made an analysis of the user reviews left on penguin magic. I thought you could be interested in some of the results. It made me check a lot of products that I did not know about.
I excluded the reviews for expos and gift cards to analyse only physical items and tricks. I investigated only the items with at least one review. I combined items as Penguin did. This left me with 87761 reviews for 11318 items.
50 Most Reviewed Items
Item Rating Review Count
Born to Perform Card Magic by Oz Pearlman 4.87 556
Invisible Deck 4.70 506
Self Tying Shoelace by Jay Noblezada 4.74 373
Melt 2.0 by Matthew Johnson 4.65 348
Marked Cards 4.67 344
The Stealth Pen presented by Rick Lax 4.73 327
Coffee Break by Gregory Wilson David Gripenwaldt 4.65 320
Torched and Restored by Brent Braun 4.83 252
All Seeing Eye by Dan Harlan 4.75 244
The Poker Test 2.0 by Erik Casey 4.44 236
Binary Code by Rick Lax 4.78 236
The End by Rick Lax 4.64 225
Starcle by Dan Harlan 4.85 220
OneTrix by Mario Lopez 4.50 214
Close-Up Illusion by Larry Jennings presented by Michael Ammar 4.70 206
Hummes Whirling Card 4.36 195
Two Dollar Window by Jay Noblezada 4.80 191
GREED Starring Daniel Garcia 4.54 190
Modern Transportation by David Regal 4.88 187
Vuja De by Rick Lax 4.78 181
DRESSCODE by Calen Morelli 4.75 181
Predixion by Max Maven 4.89 178
Color Monte 4.87 173
The Secrets of Magic by Rick Lax 4.67 173
In the Beginning There Were Coins Starring Jay Noblezada 4.76 170
Panic by Aaron Fisher 4.77 168
Or Not by Dani DaOrtiz 4.74 165
Bicycle Elite Edition Playing Cards 4.72 165
Super Soft Deluxe Nest of Wallets 2.0 by Nick Einhorn and Alan Wong 4.66 162
Tornado by Justin Flom and Rick Lax 4.82 161
BWave DELUXE by Max Maven 4.84 160
Bently by Chris Hanowell 3.60 159
Binary Code 2 by Rick Lax 4.88 159
Copycat by David Parr 4.88 157
BITCOIN by Rick Lax 4.57 157
Muldoon Match by Paul Gordon 4.77 156
ID7 by Rick Lax 4.37 155
Monkey in the Middle by Bill Goldman presented by Magick Balay 4.76 154
Little Door by Roddy McGhie 4.61 153
SPONGE Starring Jay Noblezada 4.80 152
Eclipse by Dave Loosley 4.60 152
Peter Turner LIVE 4.52 152
Position Impossible by Brent Braun 4.83 150
Clutch by Oz Pearlman 4.67 144
Zoltar by Shaun Dunn presented by Lewis Le Val 4.38 144
BANDIT by Darryl Davis & Daryl Williams (a.k.a. The Other Brothers) 4.80 144
The Known by Thom Peterson 4.47 143
The Ultimate Three Domino Monte 4.14 143
Psypher PRO by Robert Smith 4.73 142
Mnemonica Trainer by Rick Lax 4.81 141
25 5 Star (5*) Items
There are a lot of (3245 to be precise) items that received only perfect 5* reviews. But of course, that could be only one reviewer giving 5* and that would not mean a lot. The following table shows most reviewed yet still rated 5* items.
Item Rating Review Count
Diamond Jim Tyler LIVE 5.00 73
Carisa Hendrix LIVE ACTS 5.00 52
David Corsaro LIVE 5.00 30
Halloween by Natalia Silva 5.00 29
Howard Hamburg LIVE 5.00 25
Daniel Chard LIVE ACT 5.00 22
Sibyl by Phedon Bilek 5.00 21
Ian Rowland LIVE ACT 5.00 16
John (Fast Jack) Farrell LIVE 5.00 16
Morgan and West LIVE 5.00 16
Red Pill by Chris Ramsay 5.00 16
Jay Noblezada presents HTG LIVE: Hypnosis Training Group 5.00 16
NX11 :: The Noblezada Experience 5.00 16
QA Masterclass by Bob Cassidy 5.00 16
Takamiz Usui LIVE 5.00 15
Venom Cube by Henry Harrius 5.00 15
Move Zero (Vol 1) by John Bannon and Big Blind Media 5.00 15
Tom Wright LIVE 5.00 15
TC Tahoe LIVE 5.00 15
Jonathan Pendragon LIVE 5.00 15
Jan Forster LIVE ACT 5.00 14
13 Steps To Mentalism (6 DVDs) by Richard Osterlind 5.00 14
Jermays Mind (DVD Set) by Luke Jermay 5.00 14
Phoenix Deck 5.00 14
Tarbell 77: X-Ray Eyes and Blindfold Effects 5.00 14
50 Top Rated Items
I'll list the top-rated items. I'll include only the items that have at least 20 reviews. (This leaves us with 995 items to order).
Item Rating Review Count
Diamond Jim Tyler LIVE 5.00 73
Carisa Hendrix LIVE ACTS 5.00 52
David Corsaro LIVE 5.00 30
Halloween by Natalia Silva 5.00 29
Howard Hamburg LIVE 5.00 25
Daniel Chard LIVE ACT 5.00 22
Sibyl by Phedon Bilek 5.00 21
Diamond Jim Tyler LIVE 2 4.98 56
David Williamson LIVE 4.98 109
Drew Backenstoss LIVE ACT 4.98 83
Jay Scott Berry LIVE 4.97 37
David Hira LIVE 4.97 67
Toibox Card To Box System by Jonathan Kamm 4.97 133
Jason England LIVE 4.97 33
Dyno by Joe Rindfleisch 4.96 27
Paul Gordon LIVE 4.96 27
Roberto Giobbi LIVE 4.96 25
SvenPad® Minis Black Cover Pair 4.96 24
Mark Mason LIVE 4.96 23
Marc Paul LIVE ACT 4.96 23
Joshua Jay LIVE 4.96 23
Brent Braun LIVE 4.95 22
Seth Kramer LIVE ACT 4.95 21
Robert Temple LIVE 4.95 20
Bandwidth by Greg Wilson 4.95 37
Stegosaurus by Phill Smith 4.94 49
TRIUMPH Starring Oz Pearlman 4.94 31
Banachek LIVE 4.93 59
Fiber Optics Extended by Richard Sanders 4.93 29
Name and Place by Bob Cassidy 4.93 71
The Special Assortment Deck 4.93 28
Cody Fisher LIVE ACT 4.92 26
Blank Face Bicycle Deck 4.92 26
Richard Osterlind LIVE 2: Pocket Mentalism 4.92 38
Scratch by Chad Long 4.92 24
Caught Red-Handed by Michael Mode & Arthur Ottney 4.92 24
Modern Coin Magic by J.B. Bobo 4.91 46
Dave Loosley LIVE 4.91 23
Mark James LIVE 4.91 22
Strong Magic by Darwin Ortiz 4.91 22
Acrobatic Knot (with DVD) by Daryl 4.91 22
DMC ELITES : ROUGE marked deck 4.91 22
Shin Lim LIVE: Visual Magic. 4.90 21
Tornado REFILL 4.90 31
CLEAR CHOICE by Thinking Paradox 4.90 81
Choose Five for 99 4.90 79
True Triumph by Paul Cummins 4.90 29
Eugene Burger LIVE 4.89 57
Predixion by Max Maven 4.89 178
Bill Malone LIVE 4.89 36
25 Least Liked Items
Following table shows the 25 items that have the worst ratings and at least 10 reviews.
Item Rating Review Count
Phantom by Peter Eggink 1.44 16
RETRIEVE (Gimmick and Online Instructions) by Smagic Productions 1.56 16
Penciltration by Jesse Feinberg 1.70 10
Force of Will by Dave Hooper - DVD 1.71 17
Phone Phreak by Jeff Prace & Paul Harris 1.81 16
PK Coin by Nathan Kranzo 2.11 28
POST_NOTE By Antonio Smith-Plata 2.24 17
Never There by Morgan Strebler - DVD 2.29 14
Spirit by Arnel Renegado 2.33 12
The Gecko by Jim Rosenbaum 2.39 36
The Incredible Shrinking Finger by Dan Hauss (Additional handling by Paul Harris) 2.40 10
The Wizards Flip Book 2.41 17
Phone-omenon by Doug McKenzie 2.44 16
Elevator by Peter Loughran 2.47 15
BLAZE by Thinking Paradox 2.53 19
Ambitious Finger by Mario Lopez 2.53 53
Absolute Zero (Gimmick and Online Instructions) by SansMinds 2.53 15
Cheese Smile by Smagic Productions 2.55 11
Liquid Metal 2 by Morgan Strebler 2.57 14
Sealed by Menny Lindenfeld 2.57 61
GREEN FACES by Dalton Wayne 2.58 12
Ice Cold: Propless Mentalism (2 DVD Set) Limited Edition by Morgan Strebler and SansMinds - DVD 2.58 12
Nathan Kranzo LIVE 3 2.60 10
Jay Sankeys ORIGINAL Wrap It Up! (Trick Only) 2.62 21
Sharp This by Vanishing Inc 2.64 11
30 Most Controversial Items
I tried to measure controversiality with a ranking system. If all the reviewers gave the same rating for an item, then the controversiality is calculated as 0%. And the most divided option, where half of the reviewers rate an item 1* while the other half reviews it 5*, is rated as 100% controversiality. Here are the most controversial items with at least 10 reviews:

Item Rating Review Count Controversiality %
HACAAN 3.07 27 92.46
Chris Mayhew LIVE 2.94 16 90.63
Sharp This by Vanishing Inc 2.64 11 89.26
Justin Miller LIVE 3.05 22 88.64
CARD IN THE KEYCHAIN by Stefano Curci 3.20 10 88.00
Cut 2.0 LIMITED by Ran Pink 2.88 16 86.72
P'INK by Ran Pink 2.88 82 84.62
Ice Cold: Propless Mentalism (2 DVD Set) Limited Edition by Morgan Strebler and SansMinds - DVD 2.58 12 84.03
Winner's Dice (Gimmicks and Online Instructions) by Secret Factory 3.38 13 84.02
Stained Glass by Adam Grace 3.10 10 84.00
Joe Monti LIVE 3.36 14 82.14
Elevator by Peter Loughran 2.47 15 81.33
Strongman by Jimmy Strange 2.88 16 81.25
GREEN FACES by Dalton Wayne 2.58 12 80.56
iMove by Oliver Smith 2.67 12 80.56
Jay Sankey's GEMINI POUCH (Trick Only) 3.45 11 80.17
Nathan Kranzo LIVE 3 2.60 10 80.00
Titan's Finger by Titanas 3.63 16 79.69
vACAANt by Area52 3.42 24 78.13
Triple C (Red Gimmicks and Online Instructions) by Christian Engblom 3.70 10 78.00
The Switch by Shin Lim 3.67 18 77.78
Memoria by Luke Jermay (Instant Download) 3.64 11 77.69
Rudy Hunter's Total Control with Cards 3.77 13 77.51
Phone-omenon by Doug McKenzie 2.44 16 77.34
SansMinds Sharpie (DVD and Gimmick) by Will Tsai 3.00 13 76.92
Derren Brown LIVE 2.74 105 76.87
Hidden Hand by Sean Fields 2.84 51 76.62
Harlan's No Tape, No Glue, No Scissors, 20-second Setup Torn & Restored Newspaper 2.76 17 75.78
Darryl Vanamburg's "Black Widow" 3.77 13 75.74
Absolute Zero (Gimmick and Online Instructions) by SansMinds 2.53 15 75.56
submitted by VolkanOzcan to Magic [link] [comments]

Comprehensive Guide for getting into Home Recording

I'm going to borrow from a few sources and do my best to make this cohesive, but this question comes up a lot. I thought we had a comprehensive guide, but it doesn't appear so. In the absence of this, I feel that a lot of you could use a simple place to go for some basics on recording. There are a couple of great resources online already on some drumming forums, but I don't think they will be around forever.
Some background on myself - I have been drumming a long time. During that time, home recording has gone from using a cassette deck to having a full blown studio at your finger tips. The technology in the last 15 years has gotten so good it really is incredible. When I was trying to decide what I wanted to do with my life, I decided to go to school for audio engineering in a world-class studio. During this time I had access to the studio and was able to assist with engineering on several projects. This was awesome, and I came out with a working knowledge of SIGNAL CHAIN, how audio works in the digital realm, how microphones work, studio design, etc. Can I answer your questions? Yes.

First up: Signal Chain! This is the basic building block of recording. Ever seen a "I have this plugged in but am getting no sound!" thread? Yeah, signal chain.

A "Signal Chain" is the path your audio follows, from sound source, to the recording device, and back out of your monitors (speakers to you normies).
A typical complete signal chain might go something like this:
1] instrument/sound source 2] Microphone/TransducePickup 3] Cable 4] Mic Preamp/DI Box 5] Analog-to-Digital Converter 6] Digital transmission medium[digital data get recoded for usb or FW transfer] 7] Digital recording Device 8] DSP and Digital summing/playback engine 9] Digital-to-Analog Converter 10] Analog output stage[line outputs and output gain/volume control] 11] Monitors/Playback device[headphones/other transducers]
Important Terms, Definitions, and explanations (this will be where the "core" information is):
1] AD Conversion: the process by which the electrical signal is "converted" to a stream of digital code[binary, 1 and 0]. This is accomplished, basically, by taking digital pictures of the audio...and this is known as the "sampling rate/frequency" The number of "pictures" determines the frequency. So the CD standard of 44.1k is 44,100 "pictures" per second of digital code that represents the electrical "wave" of audio. It should be noted that in order to reproduce a frequency accuratly, the sampling rate must be TWICE that of the desired frequency (See: Nyquist-Shannon Theorem). So, a 44.1 digital audio device can, in fact, only record frequencies as high as 22.05khz, and in the real world, the actual upper frequency limit is lower, because the AD device employs a LOW-PASS filter to protect the circuitry from distortion and digital errors called "ALIASING." Confused yet? Don't worry, there's more... We haven't even talked about Bit depth! There are 2 settings for recording digitally: Sample Rate and Bit Depth. Sample rate, as stated above, determines the frequencies captured, however bit depth is used to get a better picture of the sample. Higher bit depth = more accurate sound wave representation. More on this here. Generally speaking, I record at 92KHz/24 bit depth. This makes huge files, but gets really accurate audio. Why does it make huge files? Well, if you are sampling 92,000 times per second, you are taking each sample and applying 24 bits to that, multiply it out and you get 92,000*24 = 2,208,000 bits per second or roughly 0.26MB per second for ONE TRACK. If that track is 5 minutes long, that is a file that is 78.96MB in size. Now lets say you used 8 inputs on an interface, that is, in total, 631.7MB of data. Wow, that escalates quick, right? There is something else to note as well here: Your CPU has to calculate this. So the amount of calculations it needs to perform for this same scenario is ~17.7 million calculations PER SECOND. This is why CPU speed and RAM is super important when recording digitally.
2] DA conversion: the process by which the digital code (the computer representation of a sound wave) is transformed back into electrcal energy in the proper shape. In a oversimplified explanation, the code is measured and the output of the convertor reflects the value of the code by changing voltage. Think of a sound wave on a grid: Frequency would represent the X axis (the horizontal axis)... but there is a vertical axis too. This is called AMPLITUDE or how much energy the wave is generating. People refer to this as how 'loud' a sound is, but that's not entirely correct. You can have a high amplitude wave that is played at a quiet volume. It's important to distinguish the two. How loud a sound is can be controlled by the volume on a speaker or transducer. But that has no impact on how much amplitude the sound wave has in the digital space or "in the wire" on its way to the transducer. So don't get hung up on how "loud" a waveform is, it is how much amplitude it has when talking about it "in the box" or before it gets to the speakeheadphone/whatever.
3] Cables: An often overlooked expense and tool, cables can in fact, make or break your recording. The multitudes of types of cable are determined by the connector, the gauge(thickness), shielding, type of conductor, etc... Just some bullet points on cables:
- Always get the highest quality cabling you can afford. Low quality cables often employ shielding that doesnt efectively protect against AC hums(60 cycle hum), RF interference (causing your cable to act as a gigantic AM/CB radio antenna), or grounding noise introduced by other components in your system. - The way cables are coiled and treated can determine their lifespan and effectiveness. A kinked cable can mean a broken shield, again, causing noise problems. - The standard in the USA for wiring an XLR(standard microphone) cable is: PIN 1= Cold/-, PIN 2= Hot/+, PIN 3=Ground/shield. Pin 3 carries phantom power, so it is important that the shield of your cables be intact and in good condition if you want to use your mic cables without any problems. - Cables for LINE LEVEL and HI-Z(instrument level) gear are not the same! - Line Level Gear, weather professional or consumer, should generally be used with balanced cables (on a 1/4" connector, it will have 3 sections and is commonly known as TRS -or- TipRingSleeve). A balanced 1/4" is essentially the same as a microphone cable, and in fact, most Professional gear with balanced line inputs and outputs will have XLR connectors instead of 1/4" connectors. - Hi-Z cable for instruments (guitars, basses, keyboards, or anything with a pickup) is UNBALANCED, and should be so. The introduction of a balanced cable can cause electricity to be sent backwards into a guitar and shock the guitar player. You may want this to happen, but your gear doesn't. There is some danger here as well, especially on stage, where the voltage CAN BE LETHAL. When running a guitabass/keyboard "Direct" into your interface, soundcard, or recording device, you should ALWAYS use a "DIRECT BOX", which uses a transformer to isolate and balance the the signal or you can use any input on the interface designated as a "Instrument" or "Hi-Z" input. It also changes some electrical properties, resulting in a LINE LEVEL output (it amplifies it from instrument level to line level).
4] Digital Data Transmissions: This includes S/PDIF, AES/EBU, ADAT, MADI. I'm gonna give a brief overview of this stuff, since its unlikely that alot of you will ever really have to think about it: - SDPIF= Sony Phillips Digital Interface Format. using RCA or TOSLINK connectors, this is a digital protocol that carries 3 streams of information. Digital audio Left, Digital Audio Right, and CLOCK. SPDIF generally supports 48khz/20bit information, though some modern devices can support up to 24bits, and up to 88.2khz. SPDIF is the consumer format of AES/EBU - AES/EBU= Audio Engineering Society/European Breadcasters Union Digital protocol uses a special type of cable often terminated with XLR connectors to transmit 2 channels of Digital Audio. AES/EBU is found mostly on expensive professional digital gear. - ADAT= the Alesis Digital Audio Tape was introduced in 1991, and was the first casette based system capable of recording 8 channels of digital audio onto a single cartridge(a SUPER-VHS tape, same one used by high quality VCR's). Enough of the history, its not so important because we are talking about ADAT-LIGHTPIPE Protocol, which is a digital transmission protocol that uses fiberoptic cable and devices to send up to 8 channels of digital audio simultaneously and in sync. ADAT-Lightpipe supports up to 48khz sample rates. This is how people expand the number of inputs by chaining interfaces. - MADI is something you will almost never encounter. It is a protocol that allows up to 64 channels of digital audio to be transmitted over a single cable that is terminated by BNC connectors. Im just telling you it exists so in case you ever encounter a digital snake that doesnt use Gigabit Ethernet, you will know whats going on.
digital transmission specs: SPDIF -> clock->2Ch->RCA cable(consumer) ADAT-Lightpipe->clock->8Ch->Toslink(semi-pro) SPDIF-OPTICAL->clock->2Ch->Toslink(consumer) AES/EBU->clock->2Ch->XLR(Pro) TDIF->clock->8Ch->DSub(Semi-Pro) ______________ MADI->no clock->64Ch->BNC{rare except in large scale pofessional apps} SDIF-II->no clock->24Ch->DSub{rare!} AES/EBU-13->no clock->24Ch->DSub
5] MICROPHONES: There are many types of microphones, and several names for each type. The type of microphone doesn't equate to the polar pattern of the microphone. There are a few common polar patterns in microphones, but there are also several more that are less common. These are the main types- Omni-Directional, Figure 8 (bi-directional), Cardioid, Super Cardioid, Hyper Cardioid, Shotgun. Some light reading.... Now for the types of microphones: - Dynamic Microphones utilize polarized magnets to convert acoustical energy into electrical energy. there are 2 types of dynamic microphones: 1) Moving Coil microphones are the most common type of microphone made. They are also durable, and capable of handling VERY HIGH SPL (sound pressure levels). 2) Ribbon microphones are rare except in professional recording studios. Ribbon microphones are also incredibly fragile. NEVER EVER USE PHANTOM POWER WITH A RIBBON MICROPHONE, IT WILL DIE (unless it specifically requires it, but I've only ever seen this on one Ribbon microphone ever). Sometimes it might even smoke or shoot out a few sparks; applying phantom power to a Ribbon Microphone will literally cause the ribbon, which is normally made from Aluminum, to MELT. Also, windblasts and plosives can rip the ribbon, so these microphones are not suitible for things like horns, woodwinds, vocals, kick drums, or anything that "pushes air." There have been some advances in Ribbon microphones and they are getting to be more common, but they are still super fragile and you have to READ THE MANUAL CAREFULLY to avoid a $1k+ mistake. - CondenseCapacitor Microphones use an electrostatic charge to convert acoustical energy into electrical energy. The movement of the diaphragm(often metal coated mylar) toward a ceramic "backplate" causes a fluctuation in the charge, which is then amplified inside the microphone and output as an electrical signal. Condenser microphones usually use phantom power to charge the capacitors' and backplate in order to maintain the electrostatic charge. There are several types of condenser microphones: 1) Tube Condenser Microphones: historically, this type of microphone has been used in studios since the 1940s, and has been refined and redesigned hundreds, if not thousands of times. Some of the "best sounding" and most desired microphones EVER MADE are Tube Condenser microphones from the 50's and 60's. These vintage microphones, in good condition, with the original TUBES can sell for hundreds of thousands of dollars. Tube mics are known for sounding "full", "warm", and having a particular character, depending on the exact microphone. No 2 tubes mics, even of the same model, will sound the same. Similar, but not the same. Tube mics have their own power supplies, which are not interchangeable to different models. Each tube mic is a different design, and therefore, has different power requirements. 2) FET Condenser microphones: FET stands for "Field Effect Transistor" and the technology allowed condenser microphones to be miniturized. Take for example, the SHURE beta98s/d, which is a minicondenser microphone. FET technology is generally more transparant than tube technology, but can sometimes sound "harsh" or "sterile". 3) Electret Condenser Microphones are a condenser microphone that has a permanent charge, and therefore, does not require phantom power; however, the charge is not truly permanent, and these mics often use AA or 9V batteries, either inside the mic, or on a beltpack. These are less common.
Other important things to know about microphones:
- Pads, Rolloffs, etc: Some mics have switches or rotating collars that notate certain things. Most commonly, high pass filters/lowcut filters, or attenuation pads. 1) A HP/LC Filter does exactly what you might think: Removes low frequency content from the signal at a set frequency and slope. Some microphones allow you to switch the rolloff frequency. Common rolloff frequencies are 75hz, 80hz, 100hz, 120hz, 125hz, and 250hz. 2) A pad in this example is a switch that lowers the output of the microphone directly after the capsule to prevent overloading the input of a microphone preamplifier. You might be asking: How is that possible? Some microphones put out a VERY HIGH SIGNAL LEVEL, sometimes about line level(-10/+4dbu), mic level is generally accepted to start at -75dbu and continues increasing until it becomes line level in voltage. It should be noted that linel level signals are normally of a different impedance than mic level signals, which is determined by the gear. An example for this would be: I mic the top of a snare drum with a large diaphragm condenser mic (solid state mic, not tube) that is capable of handling very high SPLs (sound pressure levels). When the snare drum is played, the input of the mic preamp clips (distorts), even with the gain turned all the way down. To combat this, I would use a pad with enough attenuation to lower the signal into the proper range of input (-60db to -40 db). In general, it is accepted to use a pad with only as much attentuation as you need, plus a small margin of error for extra “headroom”. What this means is that if you use a 20db pad where you only need a 10db pad, you will then have to add an additional 10db of gain to achieve a desireable signal level. This can cause problems, as not all pads sound good, or even transparent, and can color and affect your signal in sometimes unwanted ways that are best left unamplified. - Other mic tips/info: 1) when recording vocals, you should always use a popfilter. A pop filter mounted on a gooseneck is generally more effective than a windscreen made of foam that slips over the microphone. The foam type often kill the highfrequency response, alter the polar pattern, and can introduce non-linear polarity problems(part of the frequency spectrum will be out of phase.) If you don't have a pop filter or don't want to spend on one, buy or obtain a hoop of some kind, buy some cheap panty-hose and stretch it over the hoop to build your own pop filter. 2) Terms Related to mics: - Plosives: “B”, “D”, “F”, “G”, “J”, “P”, “T” hard consonants and other vocal sounds that cause windblasts. These are responsible for a low frequency pop that can severly distort the diaphragm of the microphone, or cause a strange inconsistency of tonality by causing a short term proximity effect.
- Proximity effect: An exponential increase in low frequency response causes by having a microphone excessivly close to a sound. This can be cause by either the force of the air moving actually causes the microphone’s diaphragm to move and sometimes distort, usually on vocalists or buy the buildup of low frequency soundwaves due to off-axis cancellation ports. You cannot get proximity effect on an omnidirectional microphone. With some practice, you can use proximity effect to your advantage, or as an effect. For example, if you are recording someone whispering and it sounds thin or weak and irritating due to the intenese high mid and high frequency content, get the person very close to a cardioid microphone with two popfilters, back to back approx 1/2”-1” away from the mic and set your gain carefully, and you can achieve a very intimite recording of whispering. In a different scenario, you can place a mic inside of a kick drum between 1”-3” away from the inner shell, angled up and at the point of impact, and towards the floor tom. This usually captures a huge low end, and the sympathetic vibration of the floor tom on the kick drum hits, but retains a clarity of attack without being distorted by the SPL of the drum and without capturing unplesant low-mid resonation of the kick drum head and shell that is common directly in the middle of the shell.
6) Wave Envelope: The envelope is the graphical representation of a sound wave commonly found in a DAW. There are 4 parts to this: Attack, Decay, Sustain, Release: 1) Attack is how quickly the sound reaches its peak amplitude; 2) Decay is the time it takes to reach the sustain level; 3) Sustain how long a sound remains at a certain level (think of striking a tom, the initial smack is attack, then it decays to the resonance of the tom, how long it resonates is the sustain); 4) Release is the amount of time before the sustain stops. This is particularly important as these are also the settings on a common piece of gear called a Compressor! Understanding the envelope of a sound is key to learning how to maniuplate it.
7) Phase Cancellation: This is one of the most important concepts in home recording, especially when looking at drums. I'm putting it in this section because it matters so much. Phase Cancellation is what occurs when the same frequencies occur at different times. To put it simply, frequency amplitudes are additive - meaning if you have 2 sound waves of the same frequency, one amplitude is +4 and the other is +2, the way we percieve sound is that the frequency is +6. But a sound wave has a positive and negative amplitude as it travels (like a wave in the ocean with a peak and a swell). If the frequency then has two sources and it is 180 degrees out of phase, that means one wave is at +4 while the other is at -4. This sums to 0, or cancels out the wave. Effectively, you would hear silence. This is why micing techniques are so important, but we'll get into that later. I wanted this term at the top, and will likely mention it again.

Next we can look at the different types of options to actually record your sound!

1) Handheld/All in one/Field Recorders: I don't know if portable cassette tape recorders are still around, but that's an example of one. These are (or used to) be very popular with journalists because they were pretty decent at capturing speech. They do not fare too well with music though. Not too long ago, we saw the emergence of the digital field recorder. These are really nifty little devices. They come in many shapes, sizes and colors, and can be very affordable. They run on batteries, and have built-in microphones, and record digitally onto SD cards or harddiscs. The more simple ones have a pair of built-in condenser microphones, which may or may not be adjustable, and record onto an SD-card. They start around $99 (or less if you don't mind buying refurbished). You turn it on, record, connect the device itself or the SD card to your computer, transfer the file(s) and there is your recording! An entry-level example is the Tascam DR-05. It costs $99. It has two built in omni-directional mics, comes with a 2GB microSD card and runs on two AA batteries. It can record in different formats, the highest being 24-bit 96KHz Broadcast WAV, which is higher than DVD quality! You can also choose to record as an MP3 (32-320kbps) if you need to save space on the SD card or if you're simply going to record a speech/conference or upload it on the web later on. It's got a headphone jack and even small built-in speakers. It can be mounted onto a tripod. And it's about the size of a cell phone. The next step up (although there are of course many options that are price and feature-wise inbetween this one and the last) is a beefier device like the Zoom H4n. It's got all the same features as the Tascam DR-05 and more! It has two adjustable built-in cardioid condenser mics in an XY configuration (you can adjust the angle from a 90-120 degree spread). On the bottom of the device, there are two XLR inputs with preamps. With those, you can expand your recording possibilities with two external microphones. The preamps can send phantom power, so you can even use very nice studio mics. All 4 channels will be recorded independantly, so you can pop them onto your computer later and mix them with software. This device can also act as a USB interface, so instead of just using it as a field recorder, you can connect it directly to your computer or to a DSLR camera for HD filming. My new recommendation for this category is actually the Yamaha EAD10. It really is the best all-in-one solution for anyone that wants to record their kit audio with a great sound. It sports a kick drum trigger (mounts to the rim of the kick) with an x-y pattern set of microphones to pick up the rest of the kit sound. It also has on-board effects, lots of software integration options and smart features through its app. It really is a great solution for anyone who wants to record without reading this guide.
The TL;DR of this guide is - if it seems like too much, buy the Yamaha EAD10 as a simple but effective recording solution for your kit.

2) USB Microphones: There are actually mics that you an plug in directly to your computer via USB. The mics themselves are their own audio interfaces. These mics come in many shapes and sizes, and offer affordable solutions for basic home recording. You can record using a DAW or even something simple like the stock windows sound recorder program that's in the acessories folder of my Windows operating system. The Blue Snowflake is very affordable at $59. It can stand alone or you can attach it to your laptop or your flat screen monitor. It can record up to 44.1kHz, 16-bit WAV audio, which is CD quality. It's a condenser mic with a directional cardioid pickup pattern and has a full frequency response - from 35Hz-20kHz. It probably won't blow you away, but it's a big departure from your average built-in laptop, webcam, headset or desktop microphone. The Audio Technica AT2020 USB is a USB version of their popular AT2020 condenser microphone. At $100 it costs a little more than the regular version. The AT2020 is one of the finest mics in its price range. It's got a very clear sound and it can handle loud volumes. Other companies like Shure and Samson also offer USB versions of some of their studio mics. The AT2020 USB also records up to CD-quality audio and comes with a little desktop tripod. The MXL USB.009 mic is an all-out USB microphone. It features a 1 inch large-diaphragm condenser capsule and can record up to 24-bit 96kHz WAV audio. You can plug your headphones right into the mic (remember, it is its own audio interface) so you can monitor your recordings with no latency, as opposed to doing so with your computer. Switches on the mic control the gain and can blend the mic channel with playback audio. Cost: $399. If you already have a mic, or you don't want to be stuck with just a USB mic, you can purcase a USB converter for your existing microphone. Here is a great review of four of them.
3) Audio Recording Interfaces: You've done some reading up on this stuff... now you are lost. Welcome to the wide, wide world of Audio Interfaces. These come in all different shapes and sizes, features, sampling rates, bit depths, inputs, outputs, you name it. Welcome to the ocean, let's try to help you find land.
- An audio interface, as far as your computer is concerned, is an external sound card. It has audio inputs, such as a microphone preamp and outputs which connect to other audio devices or to headphones or speakers. The modern day recording "rig" is based around a computer, and to get the sound onto your computer, an interface is necessary. All computers have a sound card of some sort, but these have very low quality A/D Converters (analog to digital) and were not designed with any kind of sophisticated audio recording in mind, so for us they are useless and a dedicated audio interface must come into play.
- There are hundreds of interfaces out there. Most commonly they connect to a computer via USB or Firewire. There are also PCI and PCI Express-based interfaces for desktop computers. The most simple interfaces can record one channel via USB, while others can record up to 30 via firewire! All of the connection types into the computer have their advantages and drawbacks. The chances are, you are looking at USB, Firewire, or Thunderbolt. As far as speeds, most interfaces are in the same realm as far as speed is concerned but thunderbolt is a faster data transfer rate. There are some differences in terms of CPU load. Conflict handling (when packages collide) is handled differently. USB sends conflict resolution to the CPU, Firewire handles it internally, Thunderbolt, from what I could find, sends it to the CPU as well. For most applications, none of them are going to be superior from a home-recording standpoint. When you get up to 16/24 channels in/out simultaneously, it's going to matter a lot more.
- There are a number of things to consider when choosing an audio interface. First off your budget, number of channels you'd like to be able to record simultaneously, your monitoring system, your computer and operating system and your applications. Regarding budget, you have to get real. $500 is not going to get you a rig with the ability to multi-track a drum set covered in mics. Not even close! You might get an interface with 8 channels for that much, but you have to factor in the cost of everything, including mics, cables, stands, monitors/headphones, software, etc... Considerations: Stereo Recording or Multi-Track Recording? Stereo Recording is recording two tracks: A left and right channel, which reflects most audio playback systems. This doesn't necessarily mean you are simply recording with two mics, it means that what your rig is recording onto your computer is a single stereo track. You could be recording a 5-piece band with 16 mics/channels, but if you're recording in stereo, all you're getting is a summation of those 16 tracks. This means that in your recording software, you won't be able to manipulate any of those channels independantly after you recorded them. If the rack tom mic wasn't turned up loud enough, or you want to mute the guitars, you can't do that, because all you have is a stereo track of everything. It's up to you to get your levels and balance and tone right before you hit record. If you are only using two mics or lines, then you will have individual control over each mic/line after recording. Commonly, you can find 2 input interfaces and use a sub-mixer taking the left/right outputs and pluging those into each channel of the interface. Some mixers will output a stereo pair into a computer as an interface, such as the Allen&Heath ZED16. If you want full control over every single input, you need to multi-track. Each mic or line that you are recording with will get it's own track in your DAW software, which you can edit and process after the fact. This gives you a lot of control over a recording, and opens up many mixing options, and also many more issues. Interfaces that facilitate multitracking include Presonus FireStudio, Focusrite Scarlett interfaces, etc. There are some mixers that are also interfaces, such as the Presonus StudioLive 16, but these are very expensive. There are core-card interfaces as well, these will plug in directly to your motherboard via PCI or PCI-Express slots. Protools HD is a core-card interface and requires more hardware than just the card to work. I would recommend steering clear of these until you have a firm grasp of signal chain and digital audio, as there are more affordable solutions that will yield similar results in a home-environment.

DAW - Digital Audio Workstation

I've talked a lot about theory, hardware, signal chain, etc... but we need a way to interpret this data. First off what does a DAW do? Some refer to them as DAE's (Digital Audio Editors). You could call it a virtual mixing board , however that isn't entirely correct. DAWs allow you to record, control, mix and manipulate independant audio signals. You can change their volume, add effects, splice and dice tracks, combine recorded audio with MIDI-generated audio, record MIDI tracks and much much more. In the old days, when studios were based around large consoles, the actual audio needed to be recorded onto some kind of medium - analog tape. The audio signals passed through the boards, and were printed onto the tape, and the tape decks were used to play back the audio, and any cutting, overdubbing etc. had to be done physically on the tape. With a DAW, your audio is converted into 1's and 0's through the converters on your interface when you record, and so computers and their harddiscs have largely taken the place of reel-to-reel machines and analog tape.
Here is a list of commonly used DAWs in alphabetical order: ACID Pro Apple Logic Cakewalk SONAR Digital Performer FL (Fruity Loops) Studio (only versions 8 and higher can actually record Audio I believe) GarageBand PreSonus Studio One Pro Tools REAPER Propellerhead Reason (version 6 has combined Reason and Record into one software, so it now is a full audio DAW. Earlier versions of Reason are MIDI based and don't record audio) Propellerhead Record (see above) Steinberg Cubase Steinberg Nuendo
There are of course many more, but these are the main contenders. [Note that not all DAWs actually have audio recording capabilities (All the ones I listed do, because this thread is about audio recording), because many of them are designed for applications like MIDI composing, looping, etc. Some are relatively new, others have been around for a while, and have undergone many updates and transformations. Most have different versions, that cater to different types of recording communities, such as home recording/consumer or professional.
That's a whole lot of choices. You have to do a lot of research to understand what each one offers, what limitations they may have etc... Logic, Garageband and Digital Performer for instance are Mac-only. ACID Pro, FL Studio and SONAR will only run on Windows machines. Garageband is free and is even pre-installed on every Mac computer. Most other DAWs cost something.
Reaper is a standout. A non-commercial license only costs $60. Other DAWs often come bundled with interfaces, such as ProTools MP with M-Audio interfaces, Steinberg Cubase LE with Lexicon Interfaces, Studio One with Presonus Interfaces etc. Reaper is a full function, professional, affordable DAW with a tremendous community behind it. It's my recommendation for everyone, and comes with a free trial. It is universally compatible and not hardware-bound.
You of course don't have to purchase a bundle. Your research might yield that a particular interface will suit your needs well, but the software that the same company offers or even bundles isn't that hot. As a consumer you have a plethora of software and hardware manufacturers competing for your business and there is no shortage of choice. One thing to think about though is compatability and customer support. With some exceptions, technically you can run most DAWs with most interfaces. But again, don't just assume this, do your research! Also, some DAWs will run smoother on certain interfaces, and might experience problems on others. It's not a bad thing to assume that if you purchase the software and hardware from the same company, they're at least somewhat optimized for eachother. In fact, ProTools, until recently would only run on Digidesign (now AVID) and M-Audio interfaces. While many folks didn't like being limited to their hardware choices to run ProTools, a lot of users didn't mind, because I think that at least in part it made ProTools run smoother for everyone, and if you did have a problem, you only had to call up one company. There are many documented cases where consumers with software and hardware from different companies get the runaround:
Software Company X: "It's a hardware issue, call Hardware Company Z". Hardware Company Z: "It's a software issue, call Software Company X".
Another thing to research is the different versions of softwares. Many of them have different versions at different pricepoints, such as entry-level or student versions all the way up to versions catering to the pros. Cheaper versions come with limitations, whether it be a maximum number of audio tracks you can run simultaneously, plug-ins available or supported Plug-In formats and lack of other features that the upper versions have. Some Pro versions might require you to run certain kinds of hardware. I don't have time nor the will to do research on individual DAW's, so if any of you want to make a comparison of different versions of a specific DAW, be my guest! In the end, like I keep stressing - we each have to do our own research.
A big thing about the DAW that it is important to note is this: Your signal chain is your DAW. It is the digital representation of that chain and it is important to understand it in order to properly use that DAW. It is how you route the signal from one spot to another, how you move it through a sidechain compressor or bus the drums into the main fader. It is a digital representation of a large-format recording console, and if you don't understand how the signal gets from the sound source to your monitor (speaker), you're going to have a bad time.

Playback - Monitors are not just for looking at!

I've mentioned monitors several times and wanted to touch on these quickly: Monitors are whatever you are using to listen to the sound. These can be headphones, powered speakers, unpowered speakers, etc. The key thing here is that they are accurate. You want a good depth of field, you want as wide a frequency response as you can get, and you want NEARFIELD monitors. Unless you are working with a space that can put the monitor 8' away from you, 6" is really the biggest speaker size you need. At that point, nearfield monitors will reproduce the audio frequency range faithfully for you. There are many options here, closed back headphones, open back headphones, studio monitors powered, and unpowered (require a separate poweramp to drive the monitor). For headphones, I recommend AKG K271, K872, Sennheiser HD280 Pro, etc. There are many options, but if mixing on headphones I recommend spending some good money on a set. For Powered Monitors, there's really only one choice I recommend: Kali Audio LP-6 monitors. They are, dollar for dollar, the best monitors you can buy for a home studio, period. These things contend with Genelecs and cost a quarter of the price. Yes, they still cost a bit, but if you're going to invest, invest wisely. I don't recommend unpowered monitors, as if you skimp on the poweramp they lose all the advantages you gain with monitors. Just get the powered monitors if you are opting for not headphones.

Drum Mic'ing Guide, I'm not going to re-create the wheel.


That's all for now, this has taken some time to put together (a couple hourse now). I can answer other questions as they pop up. I used a few sources for the information, most notably some well-put together sections on the Pearl Drummers Forum in the recording section. I know a couple of the users are no longer active there, but if you see this and think "Hey, he ripped me off!", you're right, and thanks for allowing me to rip you off!

A couple other tips that I've come across for home recording:
You need to manage your gain/levels when recording. Digital is NOT analog! What does this mean? You should be PEAKING (the loudest the signal gets) around -12dB to -15dB on your meters. Any hotter than that and you are overdriving your digital signal processors.
What sound level should my master bus be at for Youtube?
Bass Traps 101
Sound Proofing 101
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