![]() ()Ĭonsidering these traits, an enneagram three is commonly referred to as the “achiever”.
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Read your licenses and make sure you fully understand what the user-rights mean. The rights granted in the license agreement tell you exactly what you can and cannot do. Essentially, you already know your song’s potential as soon as you purchased the license. If you’re in this situation right now, you have nothing to worry about. This term is called a ‘Notice of Outstanding Clients’ and it protects non-exclusive licensees from getting struck by the exclusive buyer. In fact, this is a term in the Exclusive contract that they have to agree upon before getting the exclusive rights. The exclusive buyer is fully aware of the artists that licensed the beat before him. How will that affect my song’s potential?”Īn exclusive sale of a beat you’ve previously licensed non-exclusively will not affect you in any way. “What if I lease a beat today and the producer sells the exclusive rights tomorrow. Non-exclusive licenses are limited to a certain amount of user-rights and are only valid for several years. Their licenses will still be valid until they’ve exhausted their sales limit or until the contract expires. “Now, what happens to the other people that have a license to that same beat?” Your song blew up, congrats! Did you buy the exclusive rights from the producer? Awesome! “What happens to the other people that licensed that same beat?” ![]() Reach out to the producer as soon as you can and make a good offer on the exclusive rights. You will need the full exclusive rights to exploit it without limitations, whatsoever. Otherwise, the exploitation of the song is limited to the user-rights you get when you lease a beat. You’re probably going to need one too since you’re near exhausting the terms in your non-exclusive license agreement. YOU BUY THE EXCLUSIVE RIGHTS AND NEGOTIATE A DEAL WITH THE PRODUCER! So, “what happens when I lease a beat and it blows up?” Let them hear the song and keep him up-to-date with everything that’s going on around the release of your song. If a producer doesn’t follow up with you after you’ve purchased a beat from their store, simply fill them in yourself! In other words, if a song is about to blow up, I’m well aware of it and we can start negotiating a deal.īut that’s just me… Not every (online) producer takes initiative in following up with their customers. If something catches my attention, I’ll keep track of it and see how the song will progress after it’s released. I also do this to see if there are any potential hit records out there. I really am interested in the music you’re creating and you can expect e-mails from me looking to hear the final result of your song. When you lease a beat from my website, I’ll always follow up with you after you’ve made the purchase. And I’m not talking about the whole ‘blowing up’ part. Rehabilitation of existing water mains to improve water quality and available fire flow.Ĭall Ian Scott, Project Manager at (585) 428-6142.“What happens when I lease a beat and the song I made blows up?”įirst things first, if you’re using one of my beats, this situation is very unlikely to occur. Also replace the portion of the lead containing service from the curb stop to the water meter.Ĭall Nick Wynne, Project Manager at (585) 428-7049.Ģ023-3A Lead Service Line Replacement Project Replace existing lead, lead-lined and galvanized water services from the water main to the curb shut-off valve. Occasional lane closures and parking restrictions.Ĭall Jamie Treuthart or Michael Bushart, at (585) 428-6669 or (585) 428-7567. Rehabilitation of existing water mains to improve water quality and available fire flow and replace existing lead, lead-lined and galvanized water services from the water main to the curb shut-off valve. ![]() Ĭonstruction related questions that are not covered in this listing, pleaseĬontact Water Bureau Dispatch (585) 428-7500Ģ023 Water Main Lining & Lead Service Replacement INQUIRIES, please contact the City's Communications Bureau at (585) 428-7135. ![]() ![]() If you need help or have any suggestions or complaints, please don’t hesitate to e-mail us at Your feedback is invaluable to us. (Upgrading from Clipper Free? Clipper Plus installs as a separate application, so start it after installation to migrate your data and uninstall the free version.) Predefine quick snippets for easy copying and take your notes in Clipper. Open Clipper through your status bar for quick access to your collection. Define custom folders for storing your collected clippings. Copy a clipping back to the clipboard with a single tap. ✔ Easy clipping organization and editing. Don’t worry about copying over anything important. All copied text is collected and saved for later use. ![]() ✔ Automatic & seamless clipboard history and extension. Clipper Plus is completely ad free, and your purchase supports development.Īnd of course, all the base features of Clipper Free: Choose whether to collect each clipping manually, and more. Place the current date and time in your custom snippets. Keep more than the 20 newest clippings or disable automatic cleanup completely. Take control of copy and paste with Clipper! Access your clipboard history later and organize clippings in lists. Store repetitive pieces of text in Clipper and copy them whenever you need to. Clipper is a powerful clipboard manager that automatically saves everything you copy. Copy, paste, view, edit and share their contents. Access your collected clippings later and organize them in lists. 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I use a digital Toslink cable connected to a high quality DAC which converts the signal to analogue and then outputs to the speakers in the bedroom. I would be very interested & appreciative to read about more from the posters here.I purchsed the newest version of the Airport Express. I auditioned them the old fashioned way LP/CD. I did not buy my amps & speakers over the years with "streaming" or "high definition files" in mind. I just want to see if I can hear any difference. Until there is proof that "high resolution" music files are in fact being "added" to my music library & consequently 'streamed" to my home music - I am not attempting to upgrade any of my amps. I can only assume that is the case for all the music coming from the cloud. However the music that has been added since Apple "upgraded" Apple Music has all appeared on my iMac as AAC files 16/44. I also have a 2012 MBP than has none of my library sitting on it. (for now due to the fact there is no advantage to using my newest Expresses which are Gen 2's.) Since I have all my songs sitting on my SSD on my iMac I feel sure the best I get is whatever the "quality" the respective song/file is whether it be ALAC or AAC. As stated earlier I have two Airplay 1 equipped amplifiers & the other two amps are served by Airport Expresses 1st Gen. I have my music settings in the MIDI setting on iMac set to highest settings. I have not been able to figure out how to see the bit/sample rate in the Apple Music program on my newer MacBook Pro. The old iMac/iTunes set up does allow me to see the bit/sample rate. Then later on "added to library" by Apple Music membership. Some ripped in via CD on said iMac at highest settings & the rest either purchased or matched via iTunes. From there I believe it travels to my base iMac (Duo Core 2 / El Capitan - which may be an issue in and of itself) into iTunes on the iMac. Then to my AirPort Extreme newest unit w latest firmware. From there it goes to my separate modem via ethernet 6 cable. It starts at my ISP delivery/configuration. Bottom line is I never got a straight answer on the EXACT ROUTING of my music stream. ![]() Got mega bucks tied up in "audiophile" listening room & equipment leads MOST to look down their noses at Apple & music in the same sentence. I fully understand that the 16/44 is what will be passed via optical through the Expresses. I have been asking this question since 2007 when I first started using AirPort Extreme & Expresses to stream to my 4 low/mid range amplifier/speaker combinations (All with 24/192 DAC capability in amps) I subsequently replaced 2 of those amps with Airplay 1 capable low/mid range amps.Īsk 100 people got 100 different answers. So I want to know if I should take the AirPort Express and hope for a protocol update to be able to transmit truly Hi-Res audio, or should I look for another audio interface with a Toslink connector? In this case, which one is better to take for a full 24/192? I'm not interested in the most expensive solution, since the task is as simple as possible - just output lossless audio from USB to Toslink. Today I found out that AirPort Express has the ability to output audio to optics via AirPlay, which is even better than what I wanted! But after reading the forums, I also found out that AirPlay 2 limits the quality of the stream to 16/44.1 and this already loses the meaning of all my audiophile fantasies. Unfortunately, due to for the new processor and operating system, many audio interfaces are currently not supported or do not work correctly. Now I own a MacBook pro M1 and want to output sound from it through an optical cable to the Edifier S2000PRO speakers, where there is a DAC that suits me. Greetings to everyone who, like me, faced the problem of high-resolution audio on AirPort Express. ![]() If the charts were updated to include only these children, 5%, not 19.7%, would be above the 95 th percentile. As an example, during 2017-March 2020, 19.7% of US children and adolescents were above the 95 th percentile of the 2000 CDC BMI-for-age growth charts and had obesity. Using a new 95 th percentile to define obesity would lead to some children being below the 95 th percentile who were above using the 2000 charts. Specifically, the 95 th percentile, the cut point for obesity, would shift upward. Because of the increase in average childhood BMI over time, updating the charts with newer data would result in a shift in the percentiles. They serve as a ‘ruler’ to compare children today to a historical reference. The 2000 CDC growth charts were created using a reference population from national surveys from 1963 to 1980 for most children and adolescents – before the increase in obesity prevalence. There are no plans to update the growth charts. A z-score of 4 is equivalent to the extended 99.9 th percentile, but z-scores of 4 and 1 may easier to convey to patients and families compared to extended 99.9 th and 85 th percentiles. For example, the value of z-score=1 is nearly equivalent to the 85 th percentile–the threshold for overweight status. With very high BMI values above the extended 99 th percentile, the z-score may be an easier number for clinicians, patients, and families to understand. The extended z-scores associated with these new percentiles accurately reflect patterns among real children at extremely high BMI values. In the extended charts, the newly added percentiles above the 95 th percentile are based on nationally representative data for children with obesity from the growth chart reference population and additional data from 1988-2016. Curves above the 97 th in the 2000 CDC BMI-for-age charts, however, can be mathematically created or extrapolated for convenience, such as percentages of the 95 th percentile. The 2000 CDC BMI-for-age curves do not extend beyond the 97 th percentile because there were too few children in the reference population with very high BMI values to create percentile curves using real data. For most children, the reference for the CDC BMI-for-age growth charts came from a nationally representative sample of children aged 2-19 during 1963-1980, a period before recent increases in childhood obesity prevalence. Percentiles and z-scores based on the reference population provide metrics for monitoring change in BMI over time and for setting threshold values for overweight and obesity. The BMI-for-age growth charts allow comparison of a child’s BMI to a reference population, similar to using and interpreting other growth charts such as weight-for-age and height-for-age. Both the percentile and z-score values give an indication of how far away a child’s BMI is from the median age- and sex-specific BMI value (50 th percentile which is equivalent to a z-score of 0). Note that percentile and z-score values are interchangeable and are merely expressed on different scales. Above the 95 th percentile, the percentile version of the growth chart provides reference curves up to the 99.99 th percentile, while the z-score version provides reference curves up to a z-score of 5. Both the percentile and z-score versions of the Extended growth charts allow plotting BMI up to 60 kg/m 2. Two versions of the CDC Extended BMI-for-age growth charts are available and show the existing 5 th through 95 th percentiles, which are identical to the 2000 CDC BMI-for-age growth charts. The 2000 CDC BMI-for-age growth charts can be used to plot BMI up to 37 kg/m 2. PDF files are available for download of the 2000 CDC BMI-for-age growth charts and Extended CDC BMI-for-age growth charts. Data tables, computer programs, and instructions for calculating percentiles and z-scores are available at SAS Program ( ages 0 to < 20 years ) | Resources | Growth Chart Training | Nutrition | DNPAO | CDC to help with EHR integration. If the EHR has incorporated the extended method for calculating percentiles and z-scores above the 95 th percentile, these will be the default percentiles and z-scores reported for children above the 95 th percentile and no decision about what chart to use is required. In many pediatric clinics, percentile and z-score calculations are incorporated into the electronic health record (EHR). In most cases, use of the 2000 CDC and the extended charts should be seamless. ![]() The extended CDC BMI-for-age growth charts can be used for children above the 95 th percentile and are specially designed for children with very high BMI values because these children can be harder to track on the 2000 BMI-for-age growth charts. The 2000 CDC BMI-for-age growth charts should be used for children at or below the 95 th percentile. The colours for the clothes are customisable in sections, which also adds that little spark of individuality. For clothing, you can actually overlap styles as long as they don't come into direct conflict (so we have fingerless Rouge gloves and long Tails shoes with generic and Knux steel plating). A very novel and spiffing idea, if I do say so myself. For colours, you have a base colour and a tint colour, which means that even though you have quite a limited range of colours, you can mix them up to open up more options. There are two things that set it apart from other makers colour options and the technical side of clothing. There's also a standard range of gloves and shoes. Standard stuff for ears and tails although the horn option is nice. Eye options are basic, but there are various retro muzzles to try out, as well as various head and hair styles (which Stickles obviously doesn't sport) and a good range of markings. Word Analysis Arguably the best of the lot, despite appearing a tad crude on the surface. The Retro Sonic Character Maker (Male-orientated, although some female options present.none being dresses) So, trying to mimic Stickles as much as possible, this is what I got ġ. For the females, I just tossed on some crud and called it a day. ![]() ![]() I've also taken into consideration that some of the design intricacies (eg head shape, specific marking pattern, clothing insigna etc) are unrealistic to expect from these, so I'm looking more at core facets. You may have met him before īy doing this, I can test just how customisable these character makers are, and how out of the box you can be with your character. I've done a bit of testing on the character makers that I came across by just casually searching, and I've given them all a verdict out of 10.įor reference, I've used one of my own fancharacters for all of them Stickles. ![]() Among other siblings in their Regina, Saskatchewan childhood home, the two shared aesthetic taste and interest in gameplay. The Moldenhauers watched '30s cartoons in their youth, which Chad Moldenhauer describes as happenstance, based on gifts and VHS compilations. The game was developed with the Unity game engine. Chad Moldenhauer called Fleischer Studios "the magnetic north of his art style". The game was inspired by cartoons produced by Fleischer Studios, Disney, and cartoonists Ub Iwerks, Grim Natwick, and Willard Bowsky, particularly their most "subversive and surrealist" elements. Its development began in 2010, and they worked on the game from their respective homes in Toronto, Ontario and Saskatchewan. Additional animation work was contributed by Jake Clark. Cuphead has a parry ability that, after successfully parrying five times in a row, enables Cuphead to perform a special move.Ĭuphead is the first game by Studio MDHR, an indie game development studio consisting of brothers Chad and Jared Moldenhauer. Charms give the player special abilities like an extra life. The player can also purchase more weapons and "Charms" from the shop using coins collected from the run-and-gun levels. It also has a multiplayer local cooperative mode that allows another player to play as Mugman. The levels are accessible through an action role-playing game-style top-down perspective overworld with its own secret areas. Cuphead has infinite lives, keeps weapons between deaths, can continuously fire his blasts and has a quick dash ability that can be used at will. In-game screenshot of Cuphead, showing the player and a co-op partner battling Captain Brineybeard, one of the game's bossesĬuphead features a branching level sequence and is based around continuous boss fights. They tell the residents that they are no longer under control of the Devil and they all cheer the brothers for their heroic deed. After defeating the Devil, the brothers toss the soul contracts in the furnace and race home. If they say no, the Devil then battles the brothers. If they say yes, the Devil turns Cuphead and Mugman into his demonic lackeys and the game ends. At this point the player can choose whether to hand the contracts over or not. The Devil then asks the brothers about the contracts and in return they will "join his team". Once they make it back to the Casino, King Dice reveals that he too lost a bet, presumably about whether or not Cuphead and Mugman would be able to retrieve the contracts. Eventually, Elder Kettle tells the brothers that when facing the Devil again, they must "do the right thing". The brothers beg for mercy, so the Devil makes a deal with them: collect the contracts of other inhabitants of Inkwell Isle who have lost their souls by midnight the next day.Ĭuphead and Mugman travel around Inkwell Isle collecting soul contracts from residents who have lost their souls to King Dice and the Devil. Cuphead rolls snake eyes and he and Mugman must give up their souls. If Cuphead and Mugman can win another time, they will own the entire casino if not, the Devil will have their souls. ![]() When the brothers go on a winning streak, the casino's manager King Dice calls upon the Devil, who raises the stakes. Against the elder's warnings, the brothers wander into the Devil's Casino and play craps. On Inkwell Isle, Cuphead and his brother Mugman are two fun-loving kids who live under the watchful eye of Elder Kettle. ![]() ![]() Also, this vertical bar is very helpful for people with disabilities and it is not an expensive addition to the overall budget of the project. All grab rails are supplied with expansion bolts to ensure SECURE FITTING to the wall. Some architects/designers will specify the vertical grab bar on their drawings just to ensure that they do not receive a comment from the city or because they are unsure of local building code and include it just to cover their butt. For the elderly and for assisted living, grab rails are essential for SAFE MOBILITY around the bathroom, Bathroom Butler’s range of grab rails is manufactured from brushed Grade 304 Stainless Steel for ADDED GRIP. ![]() The vertical grab bar is only specified in the ICC/ANSI A117.1 Accessible and Usable Buildings and Facilities, which is another accessibility code standard. However, oftentimes, you will also see a vertical grab bar on the side wall in the accessible stall. The ADA Standards require horizontal grab bars on the rear wall and side wall of the water closet, but it DOES NOT specify a vertical grab bar.When is this grab bar placement required? A vertical grab bar 18 inches (457 mm) minimum in length shall be mounted with the bottom of the bar located between 39 inches (991 mm) and 41 inches (1041 mm) above the floor, and with the center of the bar located between 39 inches (991 mm) and 41 inches (1041 mm) from the rear wall.What are the grab bar placement requirements? 18″. This can be purchased on our toilet grab bars page.This is not required by ADA but it is required by ANSI, which depends on local building code! Read more below.Don’t let this happen to you!ĪDA law requires toilet grab bars to be placed in the following locations: A new building cannot be legally occupied until a CO has been issued, and incorrect installation of grab bars can result in inspection failures and delayed openings. Understanding ADA grab bar installation guidelines is critical for being issued a Certificate of Occupancy (CO). 2 Pack 32 Inch Anti Slip Shower Grab Bar Handles, ZUEXT Chrome Stainless Steel Knurled Bathroom Balance Bar, Safety Hand Rail Support,Handicap Elderly Injury Senior Assist Bath Handle (1.25' Diameter) 2,412. Grab bars are required by ADA law in accessible toilet rooms. ⚠️This is a guide for commercial toilet grab bar placement (such as in a public facility), where grab bar placement must abide by ADA handicap placement guidelines.įor residential toilet grab bar placement (such as in a private home), where placement is at the discretion of the user and not subject to ADA, read our Toilet Grab Bar Placement Guide. 1 or 2), a toilet room must be provided on a story that is connected to an accessible entrance by an accessible route (§F213.1). Which toilet grab bars do I need and where should I place them to be ADA compliant? (Quantity, Shape, Length, Wall Location, and Placement Height). The Standards specify the location of toilet rooms in two instances: Where toilet rooms are provided in multi-story facilities that are exempt from the requirement for vertical access between stories (§F206.2.3, Ex. |
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