ABOUT THE BACK-TO-SCHOOL BRIGADE. Last year, we distributed more than 25,000 backpacks filled with school supplies to military kids across the country. School supply backpack program returns for 2011-2012 school year. The annual School Supplies in a Backpack Program has kicked off again, supporting students enrolling. Back to School Backpack Program. By admin - LV May 7, 2015 SUSD. With your assistance they will receive back-to-school backpacks, school supplies and clothing. At Sleep Country, we are committed to giving back to our local communities. Every summer, we provide children in need with essential school supplies through our Backpacks for Kids program. For the second consecutive year, we are partnering with Engage and Change, a charity created to assist with the alleviation of poverty, foster good citizenship and encourage healthy communities. Partnering with Engage and Change allows us to accept cash donations that are used to purchase backpacks filled with school supplies for distribution to less fortunate kids across the country. We are very excited and thankful to continue this program in 2. With 2. 21 locations across Canada, you! 7 Ways to Get Free School Supplies Want to save money on school supplies? Here are free options you can use. According to the National Retail Federation, the. Thank you to our many, many generous donors of backpacks, school supplies and donations! Backpack Program; Community Happenings; Contact Us; Donate. We recommended that you fill the backpack with the following school supplies: backpacks, non- toxic markers or crayons, educational workbooks, exercise books, dictionary, thesaurus, glue, glue sticks, geometry set, erasers, pencils, notebooks, highlighters, duotangs, flash cards, paper, scissors and tape. Find your closest Sleep Country location. Option 2: Make a Donation. Alternatively, purchase a backpack for $4. Donations are accepted at every Sleep Country location as well as online at sleepcountry. Engage and Change will use the monetary donation to purchase a backpack filled with essential supplies. Online donations will receive a tax receipt, however we are unable to provide a tax receipt for in- store donations. Once we collect the backpacks, they are distributed locally by wonderful charitable organizations, such as The Salvation Army and The United Way. Proper school supplies are often a requirement of course curriculum and essential for academic achievement. Our mission at Sleep Country is to better the lives of Canadian families. We believe that every child deserves a great start to the school year.
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If this problem persists please contact customer support. Exploring the Effects of Ambient Noise on Creative Cognition. A single copy of these materials may be reprinted for noncommercial personal use only. Canon 6. D Review - 6. D Overview. 6D Summary. With the 2. 0. 2- megapixel EOS 6. D, Canon has created a smaller, lighter and less expensive full- frame digital SLR for prosumer photographers. In many ways, the well- designed 6. D is a mini 5. D Mark III for the rest of us. While it doesn't feature as robust a camera build as that step- up model, and its autofocus system is decidedly basic, the Canon 6. D is otherwise a fantastic, responsive DSLR that offers the glories of full- frame in a trim but comfy camera body. Plus, you get full- featured, built- in Wi- Fi and GPS to boot. Pros. Excellent image quality on par to more expensive full- frame DSLRs (including the 5. D Mark III); Responsive all- around performer; Superior HD video- shooting chops; Built- in Wi- Fi with remote control and sharing features, Built- in GPS and geotagging. Cons. Lacks a built- in, pop- up flash; No external headphone jack; Rather basic 1. Mediocre burst speed. Price and availability. The Canon EOS 6. D originally shipped in December 2. US$2,1. 00, body only. As of April 2. 01. It's also currently available with the Canon EF 2. IS lens for US$2,4. Imaging Resource rating. Canon 6. D Review. Overview and Tech Info by Shawn Barnett and Mike Tomkins. Posted 0. 9/1. 7/2. Field Test by Dan Havlik. Posted 0. 5/0. 3/2. This winter the Canon EOS 6. D finally emerged from behind the curtain of rumor and conjecture. The new Canon 6. D is another camera - - like the Nikon D6. Instead, the Canon 6. D body retails for US$2,0. CMOS sensor that's powered by a DIGIC 5+ processor, has a 3- inch 1. LCD, a UHS- 1 SD card slot, and includes both Wi- Fi and GPS built- in. Indoors Fitness is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn. How to Provide Audio For Outdoor Events: What Do I Need to Know For a Successful Show? Active Speaker Systems vs. Passive Speaker Systems. To lower the cost, Canon naturally had to change a few of the specs. First, its sensor isn't quite as large as the 3. Continuous Pink Noise Vs Continuous Program PeakD Mark II and Mark III. Instead it's 3. 5. Not a big deal, but not quite full- frame. It's worth noting that this smaller sensor size is nearly identical in size to the sensor in the original 5. D. The Canon 6. D's sensor also has 2. D Mark III. With a pixel pitch of 6. D II's pixel pitch was 6. D III was 6. 2. 5 microns. The Canon 6. D also doesn't have that wonderful array of 6. D Mark III; instead there are 1. The 6. D weighs about 6. By Deb (Australia) Hi Sarinne, What advice can you offer in regards to blocking out very low frequency noise? I have recently moved into a. Issues in loudspeaker design - 6 . Y - Triggered burst measurements of. And in this case, the cost is about $1,5. D Mark III, so if you're looking for why it seems less feature- rich, there are 1,5. As has often happened with EOS introductions for more than 2. Canon 6. D leapfrogs all others in the line with two advanced features no other EOS has, regardless of price - - built in Wi- Fi and GPS radios, two features we expect to see proliferate in all manner of cameras through 2. ISO sensitivity in the Canon 6. D is a little higher than the Nikon D6. The below doses are based on scientific research, publications, traditional use, or expert opinion. Many herbs and supplements have not been thoroughly tested, and. I was pretty excited when I first got a chance to play with a prototype Canon EOS 6D at the Photokina imaging show in Germany last year. Along with the Nikon D600. Buy Vivitar S126 16MP 4x Zoom Compact Digital Camera - Pink at Argos.co.uk, visit Argos.co.uk to shop online for Compact digital cameras, Kids cameras. Autofocus sensitivity in the Canon 6. D goes lower than the 5. Continuous Pink Noise Vs Continuous Program EvaluationD Mark III, down to - 3 EV (the 5. D Mark III was - 2 EV, and the Mark II was - 0. So autofocusing in darker conditions should be better than ever thanks to a greater number of light- sensitive elements in the center of the AF sensor. Design and controls. From the front, the Canon 6. D has a very simple look, but a very high forehead thanks to the large pentaprism behind that logo. Note the lack of a pop- up flash, unusual for a high- end consumer camera, but consistent with Canon full- frame models. The infrared remote receiver is embedded into the contoured grip, and a self- timer lamp (not an AF- assist lamp) sits between the grip and the lens mount. Just barely noticeable to the lower left of the mount is the Depth- of- field preview button. A large lens release button sits in the usual position, and three microphone holes peek out from beneath the EOS 6. D logo. With fewer click stops than most Canon Mode dials, the 6. D uses more of the dial's surface area, and has a lock button in the middle, while past dials use only part of the ring area. The Power switch sticks out from beneath the Mode dial. Like the 6. 0D, the 6. D confines the Status LCD's buttons to only one function per rather than two, which will be less confusing for consumer users. Despite its lack of an articulating screen, the control cluster of the Canon 6. D has more in common with the T4i than other cameras in the line. Gone are the five buttons left of the LCD, effectively deleting only the Picture Styles and RAW/JPEG (from the 7. D) buttons from the back of the camera, as the rest have just found new locations above and right of the LCD. One reason there's more room for that kind of change is that Canon deleted the eight- way joystick, instead integrating it into the Quick Control dial as an eight- way navigation disk. We do wish Canon would decide on a control interface and stick with it, but that won't be too much of an issue to the person who owns and uses just this camera. Canon is likely leaning more on the Quick Menu to serve most of the users' needs anyway. One control they seem to have decided was good enough is the Live View/Movie Record switch and button arrangement. Press the button to enter Live View mode, or flip the switch to Movie mode and press the button to start and stop recording. This is better than having Movie relegated to a position on the Mode dial, as we see on the Rebels, because it's faster. Summary. With the near simultaneous announcements of the Canon 6. D and the Nikon D6. Since many on the Internet have been wondering why they're not more affordable, we think it's worth mentioning that it costs more to make a larger sensor like this, because they get fewer sensors per wafer just due to the size. And small imperfections on larger sensors will mean fewer sensors will pass muster. You can get at least twice as many APS- C sensors from a single silicon wafer. Then you need a bigger mirror and a more robust mechanism to move that mirror, as well as a larger pentaprism and the optics to support that. And naturally all of that larger size requires a little more internal support and external coverage from your inner frame and outer magnesium- alloy shell. For some, the 5. D Mark III and Nikon D8. They may like the idea of a camera with fewer bells and whistles at a lower cost, yet straightforward access to basic photographic controls. Here's a comparison of the key features of the Canon 6. D and the 5. D Mark III to help you determine if the 6. D is enough camera for you at about US$1,5. Canon 6. DCanon 5. D Mark III. 1. 1 AF points, 1 Cross- type. AF points, 4. 1 Cross- type. Continuous shooting 4. Continuous shooting 6 fps. Single SD card slot. CF plus SD card slots ~9. HDR and Multi- exposure modes. HDR and Multi- exposure modes have more options, source images can be saved. Single- axis electronic level. Dual- axis electronic level. No headphone jack for monitoring audio. Headphone jack built- in. LCD. 3. 2- inch LCDBuilt- in Wi- Fi and GPSOptional accessories, with more capabilities. Shooting with the Canon 6. Dby Dan Havlik. The Canon captures images with good dynamic range and lots of subtle detail thanks to its impressive 2. CMOS sensor. Along with the Nikon D6. D (don't tell that to Canon or Nikon!), Canon's latest prosumer DSLR seems to solve a problem that has confounded camera manufacturers for years. How do you create an affordable full- frame sensor DSLR? Both the 2. 0. 2- megapixel Canon 6. D and 2. 4. 3- megapixel Nikon D6. You might say, . But considering the costs of manufacturing a full- frame chip versus an APS- C size sensor, or even the pinkie- nail sized chips in compact cameras, Canon and Nikon have priced the 6. D and D6. 00 surprisingly competitively for the category. The $2,0. 00 range of the 6. D and D6. 00 may just hit a sweet spot for prosumers and advanced amateurs. At least that's what the companies hope, and after shooting with both of these cameras, I can say you do get a lot of bang for your buck with these . We've already reviewed the Nikon D6. Canon's offering, the EOS 6. D, which adds two features its Nikon rival doesn't have: built- in Wi- Fi and GPS. In the hand. My initial impression of the Canon 6. D - - which still holds true now - - is that it looks and feels like a mini 5. D Mark III. And, for me, that's a good thing. The step- up 5. D III model is a solidly built HD- DSLR, combining the serious and durable aesthetics of Canon's professional 1. D line with the portability and accessibility of 5. D models before it. In terms of looks and camera build, the Canon 6. D sits just below the 5. D III and the APS- C- sensor- driven 7. D, which both have full magnesium alloy bodies. The 6. D features an aluminum alloy and polycarbonate chassis, while the shell is part- magnesium alloy. The top panel is polycarbonate, likely a necessity because of the integrated GPS and Wi- Fi radios. With dimensions of 5. SD card and its proprietary, rechargeable battery loaded, the 6. D is certainly on the small side for a full- frame DSLR but it does not feel slight. But if you're moving up from an entry- level DSLR, such as a Rebel, the 6. D will feel impressive and almost luxurious. The body has extensive textured rubber on the exterior, both on the handgrip and the opposing side. There's also faux- leather rubber on the back of the camera, including the thumbrest. Overall, the 6. D feels refreshingly lightweight, comfy and well protected. To help keep the weight, size and cost down, Canon decided to forgo the pop- up flash with the 6. D, a feature that's standard on most prosumers DSLRs. Some novice photographers stepping up in class to the 6. D might miss the built- in flash but there is, of course, a hot shoe on top if you want to add an external flash. The 6. D is not quite as fully weatherized as the 5. D Mark III but it's on par with the 7. D, and can withstand a few raindrops and splashes. It should be said that while both the Canon 6. D and Nikon D6. 00 are noticeably smaller and lighter than other current full- frame DSLRs on the market, don't expect to be able to fit either of these cameras in your pocket (possibly in a large coat pocket if you have a short prime lens attached, but even that would. When I attached a few zoom lenses, including a Canon 1. D didn't feel that different than a 5. While some recording engineers seem to be aware of the issue, the. I guess most listeners have only a. Furthermore, the influence. Spatial distortion is obvious for earphones. Even. when listening to a binaural recording that was done with microphones in a dummy. Sources that were to the side, behind or above are more. If. head tracking is used during playback, then even a mono source is externalized. During head tracking the two ear signals are continuously. Looking at the. virtual source and then turning off the head tracking does not immediately pull. It takes several small left- right turns of the. It can stay there for several seconds before new cues take over. Frontal externalization is also possible. HRTF, which can show significant differences between individuals. Griesinger. reports about the performance of a system where he records the sound pressure. Here each. microphone capsule is at one end of a soft, flexible tube and the other end is. The. recording is then played back over earphones, which are equalized to produce the. In this. system the perceived sound scene upon playback is externalized as it was during. With head tracking the scene. With earphone based systems the perceived. With loudspeaker. There is a correspondence to visual. The minimum objective distance from a viewer to an actor on a movie. Perceptually, though, this. The effect. is enhanced when the timbre and volume of the actor's voice change. Yet we know that we are at a safe distance. This is not the. case when watching a 3- D movie like Avatar or Up. Here the actor or an object. Stereo sound systems rarely. Highly directional loudspeakers in. Usually, though, sound is perceived as coming from. Even surround systems. A recording of applause from the midst of an audience will not. Instead you are in the midst of an artificial circle where all the hand. This is a form of spatial distortion. Spatial distortion is added during playback depending on the loudspeaker. Spatial distortion in an audio system is perceived. When, for example, trying to judge the spatial distortion of a. A recording engineer should be in a. The monitor loudspeakers used and their placement in. More likely he is directed by the producer, the. He becomes artistic and creates a sonic. Hearing relies upon the interpretation of the. Together they lead to the perception of. AS), which may contain many different sound sources at. That space is defined and. Space is. perceived to the extend that the reflections are heard. Of course with open eyes. Visual cues tend to. The AS. that is perceived at an indoors concert has its own characteristic elements and. Concert halls have been studied for a long time to understand. AS preferences of. AS. from a maximum number of seats. It would seem that any audio recording. AS from venue A by playing back a corresponding recording inside. B, which is a much smaller space. The resulting spatial distortion is in. The audio system must not necessarily. A to a region. in venue B in order to create a plausible AS. Our ear- brain hearing apparatus. It fills in missing. Thus it is absolutely important. A to B. It begins with the placement and types of microphones used for. A large contributor to Auditory Scene. You can test your sound system's accuracy by how. See Accurate. performance of a stereo sound system. Linear and nonlinear distortion in audio. I. assume that spatial distortion has been a minor concern of recording engineers. Such. capability is essential for me in order to select drivers according to their. I like to. use shaped tonebursts for such tests. I increase the amplitude of a single burst. I hear the onset of distortion. A short string of bursts tells me a lot. I analyze its spectrum. Observation of the. I think that I can now. PC, which still runs Windows 3. DOS and the MLSSA card, that has. DRA Laboratories MLSSA gave. With. ARTA I have access to almost all the tools that I wanted for audio measurements. Ivo Mateljan's User Manual is an excellent course in signal. The value per dollar for the updated test system is just amazing, when I compare. The PC alone cost me $1. MLSSA card. and software added another $3. My test setup now consists. ARTA. software running on an HP Pavilion dv. Entertainment Notebook. PC with Vista 6. 4bit OS. The E- MU USB 2. 0 Tracker Pre Audio Interface/Mobile Preamp. The signal generator is made up of an HP 3. A Arbitrary Waveform Generator from 1. Hafler. DH- 2. 20 power amplifier from even longer time ago. The 3. 31. 20. A can. The bursts. can be triggered manually. Thus a signal of defined shape, frequency. The microphone is a modified Panasonic. V battery and amplified by the Tracker. Pre. For comparisons I also have an Earthworks. M3. 0/BX. Drivers and microphone are held in position by two. Radio Shack microphone stands. The driver rests in an U- shaped strap of iron sheet metal. The typical. magnetic stray field from the driver's magnet holds the driver in place. The microphone position in front of the tweeter dome is easily adjusted. The. microphone is placed 1. Before taking measurements I check out the setup. Here now is an example 1. Hz toneburst test. The. spectrum shows distortion of the 3. A output signal, but for these tests they. Two tweeters are tested to illustrate the. The tests should serve as examples for what. They are not complete. Seas 2. 5TFFC (H- 5. BG Neo. 3W planar tweeter. The driver terminal voltage is set to 3. Vpp. The. signal shape is the same as that of a 1. Hz and the modulation frequency is 1. Hz. Thus the 3. 0 Vpp amplitude corresponds to. Vrms, which would deliver 5. W into 8 ohm. A 6. W amplifier, as used. ORION tweeters, could apply 6. Vpp max to the driver terminals. I have. certainly measured 3. Vpp during loud passages. The microphone output trace appears clean to. A slight increase in the output envelope can be observed. This effect becomes more pronounced as the drive. It could be due to Ferro fluid in the magnet gap. The driver shows primarily 3rd order. B (1%). Note also the difference distortion products at low frequencies. The 1. 00% modulation has been reduced to a lower value. The driver has. lost articulation. The effect is independent of applied signal level and. The microphone signal amplitude decreases. It is probably due to the driver heating. B signal amplitude change within this short time when. W were applied. The tweeter shrieks audibly during the test. The peak output at 1. Hz is about 5 d. B. TFFC. So for a comparison at the same SPL either the Neo. W. drive signal would have to be decreased to 1. Vpp, which will reduce distortion. TFFC will have to be increased to 5. Vpp. In. addition, for dipole application the back cavity of the Neo. W has to be removed. Partial cancellation of the front acoustic. SPL. The lack of a rear chamber is likely to cause additional. The large amount of distortion at relatively low. Both. drivers have their applications, but probably not for the ORION+. The tests. clearly show thermal effects. The signal voltage and the burst duration could be. These are important tests of the robustness and reliability of a. Driver manufacturers give some indication of this by their power. I assume are for safe operation. Their low frequency power. TFFCVia Butterworth highpass at 3 k. Hz, 1. 2 d. B/oct. W short term maximum power (for how long?) = 3. Vrms across 6 ohm. W long term maximum power (= continuous?) = 2. Vrms across 6 ohm =>. Vpp AM burst. Neo. WRecommended LF crossover point: > 1 k. Hz. (dipole or with a tuned rear chamber or in an array)1. W RMS (= continuous?) = 6. Vrms across 4 ohm => 3. Vpp AM. burst 2. W Program 5. 0 W Peak (for how long?) = 1. Vrms across 4 ohm For a 1. AM burst with identical power. Vpp (AM burst) = 1. Vrms (sine)- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- Accuracy, spatial. How do I evaluate a stereo loudspeaker system. What do I mean by accuracy, when I know. Assuming that my own ear. I play back these. Each ear receives direct sounds from left and right. My brain. tries to make sense out of the superimposed streams of air pressure variations. The. underlying processes have been described by Theile (1. Association. Model and by Bregman (1. Auditory Scene Analysis - The Perceptual. Organization of Sound. Principal function of the Association Model (JAES, Dec. The auditory processing of. In the first stage the location of. HRTF and head. movement and without changing perceived spectral content. The second. stage determines the Gestalt of the sound sources, the Auditory Scene in. The first stage responds very quickly and uses. It serves as an important survival mechanism in. The second stage recognizes patterns in. This takes time and involves learning as the perceived auditory. When they get reflected back to the listener. Gestalt of the Auditory Scene. When I listen to a stereo loudspeaker. AS has formed in my mind, how would I know that what. I hear is an accurate replica of an auditory scene that could be had at the. Or more generally, that this is an AS that could have existed. Modern recording techniques use a multiplicity of microphones and place. But, I can ask myself, is what I am hearing plausible? Does it hold up over time or would I rather turn it down because I. Where am I in the AS? Plausibility then becomes the arbiter for. All that is not plausible becomes distortion in this context. To. recognize plausibility requires familiarity with live, unamplified sound. I have had season tickets for the SF Symphony for. I am hearing. Unfortunately, little is usually written. AS. At. minimum a main microphone pair with a stereo. This rules out, for example, widely spaced main. SRA, from recording something plausible. To the audiophile such. I make the claim that. AS and that this depends. Loudspeakers must be free- standing and at least 1 m away from. Loudspeakers and listener form an equilateral triangle. A. Greater listening. B may suffer from diffuseness of the sound stage, but. AS. I also claim that constant directivity as. ORION+ for a dipole and by Pluto 2. AS from commercial recordings, than the. |
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