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Brief description of the projects presented in the website.
The first project in the website, a very simple 50-watt audio power amplifier. The project features differential input stage and paralleled power output transistors for handling low impedance 4Ω loads. Maximum recommended power supply is ±45VDC.
Another simple circuit that features manual adjustment to the DC offset voltage. Another interesting change to the circuit is the very high value of the feedback resistor R17, twice that of Project1. The model unit uses 3 pairs of complementary power output transistors 2SC5200 and 2SA1943 or 2SC5242/2SA1962. The project is capable of providing 80 watts to an 8Ω load with ±45VDC power supply.
Another simple 75-watt audio amplifier circuit but the audio quality is surprisingly good. The introduction of current source circuits improves the sonic quality of this project. The recommended power supply is ±35VDC.
A classic audio amplifier circuit rated 70 watts at 8Ω with ±44VDC power supply rails. It uses two pairs of complementary power output transistors 2SC5242 and 2SA1962. An op-amp servo circuit controls the DC offset voltage of the amplifier. A few SMT components were combined with the rest of the thru-hole components to make it more challenging and enjoyable to build.
The concept of this project originated from an application notes developed by Hitachi Semiconductor that features a classic 100-watt MOSFET audio power amplifier design. This project utilizes lateral power MOSFETS capable of providing 100 watts into an 8Ω load with a ±56VDC power supply rails.
This project is rated at 230W into an 8Ω load with ±65VDC power supply rails. The input stage features differential amplifier, current-mirror and current-source circuits. A two-stage emitter-follower driver drives four pairs of full complementary emitter-follower power output stage transistors.
The project delivers a power output of more than 130Watts into an 8Ω load using a power supply of ±56VDC. The improved circuit features manual adjustment to the DC offset voltage. The output stage is an emitter-follower configured similar to a T-circuit topology.
A very popular project that features Texas Instruments' LME49811, a high fidelity audio power amplifier input stage designed for pro-audio applications. The power amplifier produces 36.02Vrms across the 8Ω dummy load or a power output of 162 watts.
This is a tone control project that uses Texas Instruments' LM1036 Dual DC Operated Tone/Volume/Balance integrated circuit. Both LM1036 IC versions are presented in this project, a 20-pin through-hole Plastic Dual-Inline-Package (PDIP) and Small Outline Integrated Circuit (SOIC) surface mounted package.
The project is rated at a continuous power output of 130 watts into 8Ω with ±54VDC power supply rails. The input stage consists of a full complementary differential, current-source and voltage amplifier circuits. The power output stage is configured similar to a T-circuit topology that was very popular decades ago. The emitter-follower power output stage utilizes 5 pairs of complementary 2SC5242 and 2SA1962 power transistors, more than enough to attain 130 watts at 8Ω without circuit protection.
This project is a descendant of Project 5. However, this project uses less expensive and readily available power MOSFETS while retaining excellent audio fidelity. The circuit is as simple as it can get to build an audio power amplifier utilizing vertical MOSFETs.
This is the first scaled LME49811 project utilizing a popular audio amplifier construction kit from the '70s called Ampzilla. At ±54.4VDC rails, the prototype produces an output of 33.37Vrms across the 8Ω load correlates to a power output of about 139Wrms with no sign of clipping.
Another scaled LME49811 with the power output stage originated from SAE's MK25/2500 power amplifier. With ±54.4VDC power supply rails, the prototype produces a 36.4Vrms across the 8Ω dummy load or a power output of 165.62 watts. Higher power output is possible by increasing the power supply rails.
Another scaled LME49811 with the output stage inspired by a vintage NAD S200. A 1KHz at 5.2Vp-p sine wave produced about 34.41Vrms across the 8Ω or a power output of about 148Wrms. A power output of 225W at 8Ω with about ±72VDC main power supply is possible.
The LME49811 input stage is driving a complementary feedback pair (CFP) also known as the Sziklai pair stage. The Crown XLS series and C-Audio Pulse series uses identical Sziklai-based driver stage circuits. However, to make their circuits work for this project, R9/R10 and R25/R26 have to be added, just like in the Citation22 from Harman Kardon. A 1KHz 4.72Vpp sine wave signal was applied to the input of the amplifier under test and produced a 33.61Vrms across the 8Ω/400W load or a power output of about 141.2Wrms before clipping occurs.
Another scaled LME49811 power amplifier project rated at 200Wrms into an 8Ω load with a ±64VDC power supply rails. Five pairs of T03P paralleled complementary power output transistors were used to handle the high power supply voltage rails of the project. Two pairs of paralleled T0220 packaged complementary drivers were used and configured as emitter-followers.
A scaled LME49811 driving an output stage consisting of TO-126 and TO-220 packaged BJT drivers and four pairs of TO3-P packaged power MOSFETs. The BJT drivers are configured as emitter-followers while the power output MOSFETs are configured as source-followers. This project is rated at 200Wrms into an 8-ohm load with a ±64 to ±70VDC power supply rails.
Project 17's little brother! The output stage consists of TO220-packaged power MOSFETs. The power output is about 100Wrms at 8Ω load with a ±50VDC power supply. Higher power output is attainable with 4Ω loads.
Another scaled LME49811 driving a classic quasi-complementary symmetry power output stage. There is only one complementary PNP transistor in the driver stage and the output stage consists of an all matched NPN power transistors. This is an implementation of an old circuit design complementing the outstanding features of the LME49811. The power output of this project is about 275Wrms into an 8Ω load with a ±75VDC power supply.
This is another audio power amplifier project that uses the LME49811 as the input stage combined with a triple compound topology output stage. The power output is about 195Wrms into an 8Ω load with ±64VDC power supply rails.
Another power amplifier project with an LME49811 input stage driving a complementary feedback pair (CFP) power output stage operating in Class A mode. Twelve radial power resistors were used in the power output stage transistors to improve overall stability of the amplifier. The power output of this project is about 60Wrms into an 8Ω load with a ±32VDC power supply.
This project is the high power version of Project 8. The schematic diagram is similar to Project 8. The drivers were replaced with complementary pair of TO3-P packaged transistors configured as emitter-followers. The power output transistors were replaced with four pairs of TO-264 packaged transistors and also configured as emitter-followers. The power output of this project is 255 watts at 8Ω or 510 watts at 4Ω with ±75VDC rails or higher.
Another scaled LME49811 that uses a unique 2-stage emitter-follower driver. The driver stage circuit is unusual when compared to the most common type, where the emitter resistors are tied to the output of the amplifier or when compared to a T-circuit where the emitter resistor is shared by both NPN and PNP transistors. The measured power output of this project is 128Wrms into an 8Ω load or 256Wrms at 4Ω load with ±50VDC to ±60VDC power supply rails.
This is another LME49811 power amplifier project. The LME49811 input stage drives a modified three-stage emitter-follower output stage. The power output was measured at 260 watts into an 8Ω load or 520Wrms for 4Ω load with a ±70VDC up to ±75VDC power supply. The project's PCB uses a mixed of SMD components around the LME49811 and Through-Hole components on the power output stage.
This is yet another power amplifier project with an LME49811 input stage driving a 3-stage emitter-follower output stage. The power output stage utilizes five pairs of complementary power output transistors, so that higher current is available and better heat dissipation when driving a 4Ω and particularly with 2Ω loads. The measured power output is about 220 watts into an 8Ω load with a ±64VDC power supply.
Project 26 is a conventional discrete audio power amplifier that uses differential, current mirror and current source input circuits. The output stage is a triple emitter-follower topology. The measured power output is 238Wrms into an 8Ω load with a ±64VDC to ±70VDC power supply rails. The power output was determined by applying an input sine wave signal of 1KHz at 9.6Vp-p to the prototype and produces 43.6Vrms across the 8Ω dummy load with no clipping in both peaks of the output waveform.
"Designing Audio Power Amplifiers" a book written by Bob Cordell, inspired this project. There are two versions of this project. The first option is powered by ±35VDC that produces a power output of 60Wrms into 8Ω and the second option is powered by ±64VDC that produces a power output of 225Wrms into an 8Ω load.
This project is an updated version of Project 6. The measured power output of Project 28 is about 238W at 8Ω with a ±65VDC to ±70VDC power supply. The updated changes were made to the transistor part numbers used in the differential input stage, voltage amplifier stage as well as in the power output stage. The replaced complementary power output transistors have excellent features like exceptional safe operating area and excellent gain linearity. It also provides reliable performance at higher power, accurate reproduction of input signal, greater dynamic range and high amplifier bandwidth.
This project is a conventional discrete differential and a cascode circuit at the input stage connected to a three-stage emitter-follower power output stage. Project 29 is rated at 218Wrms into an 8Ω load with ±65VDC to ±70VDC power supply rails.
Project 30 is another simple power amplifier project that features a differential voltage amplifier stage and a two-stage emitter-follower output stage. Another feature is the addition of a multi-turn trim potentiometer at the input stage circuit to conveniently adjust the DC offset voltage to minimum. The maximum power output of this project before clipping is 213Wrms into an 8Ω load with a ±64VDC to ±75VDC power supply rails.
The concept for this project is based on a complementary-symmetrical differential input stage circuit popularized in the Hafler DH-200 stereo amplifier kit in the 70's designed by Erno Borbely, which he named the double differential input amplifier. With ±65VDC power supply rails, the prototype produces 43.2Vrms across the 8Ω dummy load or a power output of about 233Wrms.
This is a full complementary-symmetrical input stage topology similar to the previous project and a CFP (Complementary Feedback Pair), also known as the Sziklai pair power output stage. This project takes advantage of the superior audio quality of the input stage combined with the wider bandwidth performance of a CFP-based power output stage. The combination, in my opinion, resulted in a surprisingly excellent audio quality. The measured power output of this project is about 206Wrms for an 8Ω load or more for a 4Ω load with ±64VDC power supply rails.
This is another full complementary-symmetrical topology similar to previous projects but the power output stage this time are power MOSFETs. The source-follower output stage utilizes Fairchild Semiconductor's QFET Power MOSFETs. Project 33's measured power output is about 178 watts with ±65VDC power supply rails into an 8Ω load. Higher power output is attainable with 4Ω or 2Ω load. The prototype model was tested with a 3Ω loudspeaker and produces firm, clean bass inherent to most audio amps that are using power MOSFETs.
Inspired by Erno Borbely's excellent 60W MOSFET Power Amplifier design appeared as an audio amplifier construction project in Audio Amateur Magazine in Feb. '82 and is the starting point for developing this project. Instead of MOSFETs, this project utilizes power BJTs configured in a Complementary Feedback Pair topology. The prototype model produces more than 100 watts of wonderful audio power into an 8Ω load with a ±50VDC power supply rails.
This project utilizes the same circuit from previous project that uses a full complementary-symmetrical differential amplifier input stage. Rather than BJTs in the power output stage this time it's HEXFETs, arranged in a source-follower configuration. The prototype model produces more than 100 watts of audio power into an 8Ω load with a ±49VDC to ±55VDC power supply rails and performed superbly during music tests.
Project 36 is the simplest full complementary-symmetrical input stage topology that can be built with relatively few components. The entire audio power amplifier is completely symmetrical and it works. The complementary differential input amplifiers contribute remarkably in reducing distortions. The power output stage consists of common-source configured either lateral or vertical power MOSFET devices. Both versions produce more than 100 watts of audio power at 8Ω load with ±49VDC to ±55VDC power supply rails.
The concept for this project was presented previously utilizing power MOSFETs. However, this project will use power BJT output devices. The measured power output for this project is more than 100 watts at 8Ω with a ±49VDC to ±55VDC power supply rails.
This project is another full complementary-symmetrical input stage connected to a Complementary Feedback Pair also popularly known as the Sziklai pair power output stage. The measured power output of this project is about 120 watts at 8Ω or 240 watts at 4Ω with a ±49VDC to ±55VDC power supply rails.
The concept of Project 39 is Texas Instruments' LME49810 spec sheet SNAS391C, April 2013 revision. This audio amplifier input and driver stage chip have similar impressive specs like the LME49811. A unique feature of the LME49810 is the internal Baker Clamp and Clip Flag circuit. The power amplifier produces a very nice sine wave of 23.07Vrms across the 8Ω dummy load or a power output of about 70 Watts.
Project 40 is a scaled high-powered version of an earlier LME49810 project. The project's power output stage is a three-stage emitter-follower circuit configuration, popularly known as the Triple. The measured power output of this project is more than 220 watts at 8Ω load or more than 440 watts at 4Ω load with ±72VDC power supply rails. The voltage gain of this project is about 28.4V/V (29.1dB), determined by the value of R3 and R5. Altering their values will result in your desired voltage gain.
This project showcases Texas Instruments' LME49830 fully complementary, bipolar, ultra-high fidelity power amplifier input stage driver chip optimized for driving just about any available power MOSFETs. The LME49830 is a high performance driver that features low-noise, very low distortion, thermal shutdown and user adjustable compensation to minimize high-frequency distortion and an optimized slew rate. The input sensitivity of the project is about 1.68Vpp resulting in a power output of more than 150 watts with an 8Ω load and ±60VDC to ±72VDC power supply rails with only convection cooling.
This is a scaled high-powered version of the previous project on the LME49830 chip. A pair of MOSFET drivers was added to isolate the LME49830 from the power output stage MOSFETs. The inclusion of these drivers improves the overall frequency response of the amplifier. The measured power output of this project before clipping is about 230 watts at 8Ω load or more than 460 watts at 4Ω load with a ±65VDC to ±75VDC power supply rails.
Project 43 is a fully complementary Texas Instruments' LM4702-based high fidelity stereo power amplifier. This simple LM4702-based stereo amplifier attains a 0.006% THD level of distortion and superb audio quality! The measured power output of this project prior to clipping is about 35 watts per channel at 8Ω with ±45VDC power supply rails. By using the "B version" of this chip, higher power supply rails could be used which could easily realize a power output of about 100 watts per channel or more.
This project will be the penultimate discrete complementary-symmetrical differential input stage or mirror-image topology project. Project 44 features a complementary differential input stage, a symmetrical cascode voltage amplifier stage and a three-stage emitter-follower output stage. The project's prototype produces 45.62Vrms across an 8Ω load or a power output of 260 watts with ±80VDC power supply rails.
Project 45 features a fully symmetrical current feedback audio power amplifier. CFA-based audio amplifiers have extraordinary sonic qualities that can only be experienced and appreciated when you build one for yourself. The project's prototype produces a very nice sine wave of 32.45Vrms across the 8Ω dummy load or a power output of more than 130 watts. The project's prototype produces a 103.24KHz square wave rise time of 401.6nS that corresponds to a slew rate of 219V/uS.
Project 46 is another CFA-based prototype that produces 21.08Vrms across the 8Ω dummy load before clipping. A 100KHz square wave input signal produces a rise time of 417.3nS and at 200KHz rise time of 410nS. The square wave signal amplitude was adjusted at about 25Vpp. Because CFAs have faster slew rate and wider bandwidth, impressive clarity and dynamics on the entire audio spectrum was experienced during listening test.
Project 47 is another CFA-based 100-watt at 8Ω or 200-watt at 4Ω audio power amplifier project. The project's prototype achieved a 100KHz square wave rise time of 245.1nS and a 200KHz square wave rise time of 244.2nS. These measurements correspond to a slew rate of 359V/uS for the 100KHz and 360V/uS for the 200KHz square wave signals.
Project 48 is a high-powered fully symmetrical CFA-based audio power amplifier project. The prototype achieved a 100KHz square wave rise time of 770nS at 32.2Vpp, equivalent to a slew rate of 131V/uS. The measured power output of the amplifier before clipping is 205watts at 8Ω or 410 watts at 4Ω load with ±65VDC power supply rails. This power output was achieved by a 40.5Vrms across an 8Ω dummy load.
Project 49 is another fully symmetrical complementary Current Feedback Amplifier project. The prototype model of this project achieved a power output of 216 watts at 8Ω with ±64VDC power supply rails. However, higher power output is possible with 4Ω loads.
Project 50 is another Current Feedback Amplifier project that is implemented with a two-stage source-follower power MOSFET output stage. The prototype for this project achieved a power output of more than 200 watts at 8Ω with a ±64VDC power supply rails. The wide bandwidth characteristic of a CFA-based audio power amplifier produces very good slew rate.
Project 51 is another fully symmetrical complementary Current Feedback Amplifier project. The power output stage and temperature sensing network circuit of this project was inspired by the G. Stochino ultra-fast audio power amplifier design from the late '90s. However, in this project more power output was realized as compared to the original 100-watt design by changing the drivers, power MOSFETs and power supply rails.
Project 52 is another CFA-based audio power amplifier project. The input stage is similar to an earlier CFA-based project, but the output stage utilizes power MOSFETs arranged in a quasi-complementary configuration. The measured power output of the amplifier just before clipping is about 219 watts at 8Ω with ±64VDC power supply rails.
Project 53 is another CFA-based audio amplifier with a quasi-complementary power output stage. Ten NJW21194G are implemented in the output stage to produce high power output when connected particularly to low impedance loads. The prototype model achieved 49.2Vrms across an 8Ω load with ±75VDC power supply rails. This is equivalent to more than 300watts of unclipped audio power output.
Project 54 is another CFA-based audio power amplifier project with a quasi-complementary power output stage topology. The measured power output is about 306 watts into an 8Ω load with ±80VDC power supply rails.
Project 55 was inspired by International Rectifier's reference design of IRAUDAMP7D, a two-channel scalable Class D power amplifier module. The project is a single-ended Class D audio power amplifier with an IRS2092 chip. The prototype produces more than 140 watts of power output into an 8Ω load with ±50VDC power supply rails.
Project 56 is another implementation of International Rectifier's IRS2092 Class D audio amplifier driver with PWM modulator and built-in protection. The measured power output of the prototype is about 160 watts into an 8Ω load with ±50VDC power supply rails.
Project 57 is another CFA-based audio power amplifier project. The input stage is identical to previous CFA-based projects tied to a Complementary Feedback Pair (CFP) configured power output stage. The prototype when tested requires only 1.075Vrms of 1KHz sinewave input signal to produce an unclipped output of about 41.66Vrms into an 8Ω load with ±64VDC power supply rails. This corresponds to a power output of about 217 watts or higher when connected to 4Ω loads.
Project 58 is the quasi-complementary version of Project 44. The project features a cascoded complementary differential input stage as well as the voltage amplifier stage. Instead of the three-stage complementary common collector amplifier output stage, Project 58 utilizes the BJT quasi-complementary output stage topology with a Baxandall-diode at the PNP driver transistor. The power output is about 229watts into 8Ω or higher with lower impedance loads and depending on an adequate power supply.
The Low TIM Amplifier, also popularly known as The Leach Amplifier, was designed by W. Marshall Leach Jr. and inspired Project 59. The prototype was able to amplify the 1KHz 1.96Vrms sine wave input signal to 40.9Vrms across an 8Ω dummy load. This corresponds to an unclipped power output of 209 watts.
Project 60 is another version of The LeachAmp design using HEXFETs configured in a quasi-complementary output stage. The prototype produces a measured power output of 106.14 watts across an 8Ω dummy load when connected to the ±55VDC power supply rails. The QA400 audio analyzer measured the prototype's THD at 0.0023% and the THD+N at 0.00764%. The prototype was also tested with N-channel QFETs and performed satisfactorily in measured and listening tests.
Project 61 is based on two well-known audio power amplifier designs, the Blameless Amplifier by Douglas Self and the Audiophile Amplifier by G. Randy Slone. The measured power output is about 110 watts into an 8Ω load with ±50VDC power supply rails. The QA400 audio analyzer measured the THD at 0.00072% and a THD+N at 0.00294%.
Project 62 is the first in the series of audio power amplifier projects that uses an op-amp in the front-end input stage. This project is based on a "Build This" article written by Reinhard Metz that was published in April 1992 issue of the Radio Electronics magazine. The power output of the amplifier is about 113watts at 8Ω with a ±45VDC power supply rails. The power output rating was acquired by measuring the voltage across the 8Ω dummy load when a 1KHz 0.495Vrms sine wave signal is applied to the input of the amplifier. The QA400 audio analyzer measured the THD from 0.001% to 0.009% depending on the op-amp used.
Project 63 is the second in the series of audio power amplifiers in which a low-noise high-speed JFET input operational amplifier is used at the front-end input stage of the amplifier. The three-stage emitter-follower configured power output stage connected to ±60VDC power supply rails, delivers an unclipped power output of about 214 watts into an 8Ω load with a THD of 0.00157% as measured by a QA400 audio analyzer. By using four complementary pairs of highly reliable 15A 250V 200W silicon power transistors from On Semiconductor, higher power output may be realized especially when connected to very low impedance loads.
Project 64 is the 3rd in the series of audio power amplifier projects that uses an Operational Amplifier in the front-end input stage of the amplifier. Currently, there are more than 10 built amplifier projects in this same series. An op-amp in the input stage is configured as part of the current feedback amplifier. The quasi-complementary configured power output stage easily produces a power output of more than 200 watts into an 8Ω load with a THD of 0.0023% and a flat frequency response from 20Hz to 20KHz, as measured by a QA400 audio analyzer.
Project 65 is the fourth in the series of audio power amplifier projects that uses an op-amp in the front-end stage of the amplifier. The CFA-based op-amp input stage is connected to a full complementary hybrid compound feedback pair output stage. Applying a 1KHz 1.84Vpp input signal, the amplifier produces 35.82Vrms across an 8Ω load when connected to a ±56.6VDC power supply rails and a THD of 0.002%. Higher power output may be realized if connected to low impedance loads.
Project descriptions will be updated as soon as the latest project is posted in the website.
PreAmp1
This project is a 2-Channel Tone Control Circuit based on LME49720 Dual High Performance and High Fidelity Audio Operational Amplifier. The LME49720 chip is an ultra-low distortion, low noise and high slew rate operational amplifier optimized and fully specified for high performance, high fidelity applications.
The PreAmp2 project is a two channel balanced input with unbalanced output pre-amplifier. The MC33078 chip was chosen for this project because of its high performance specifications for use in high quality audio applications. MC33078 is a dual high-speed low noise operational amplifier that features a low THD and large output swing with no deadband crossover distortion.
This 2-channel tone control project utilizes the KA2107 manufactured by Samsung Electronics. The KA2107 is a monolithic integrated circuit in a 12-pin Single In Line package. It is designed for 2 channels of DC-controlled Volume, Balance, Bass and Treble tone control application. It requires very few external components. The tone control circuit can boost or cut a 1KHz signal typically by +10dB/-12dB.
This is a single channel two-stage tone control project consisting of 11 transistors. The first stage consists of paralleled 3-transistor circuit at the input and a quasi-complementary circuit at the output. The second stage consists of differential pair at the input and a full complementary circuit at the output.
PreAmp5 project is another 2-stage tone control circuit that uses BJTs at the input and an op-amp at the output. The line level input stage consisting of Q1 thru Q4 provides a gain of about 18dB and is set by R7 and R9. The tone control stage is based on a non-inverting configuration of U1, that provides about ±7db of bass and treble frequencies.
This project is a linear dual polarity unregulated power supply for audio amplifier.
Other Audio Related Projects
This project uses the uPC1237 an integrated circuit made by NEC; designed for protecting stereo power amplifiers and loudspeakers. It features AC power OFF detection, time delay to connect speakers to amplifier, and negative or positive output offset DC level detection.
Chip Amplifiers - TDA7293
The TDA7293 is a monolithic integrated circuit in Multiwatt15 package, intended for use as audio class AB amplifier in high fidelity applications. The device is using the BCD technology a mixed bipolar and power MOS devices.
Chip Amplifiers - TDA8950J
This project utilizes TDA8950J a high-efficiency Class D 2-channel audio power amplifier chip. The typical power output is 150Watts per channel with a speaker load impedance of 4Ω. The TDA8950 chip operates over a wide supply voltage range from ±12.5 V to ±40 V and features low quiescent current consumption.
Chip Amplifiers
uPC1237
Welcome to BuildAudioAmps.com
Project 65 is the fourth in the series of audio power amplifier projects that uses an op-amp in the front-end stage of the amplifier. The CFA-based op-amp input stage is connected to a full complementary hybrid compound feedback pair output stage. Applying a 1KHz 1.84Vpp input signal, the amplifier produces 35.82Vrms across an 8Ω load when connected to a ±56.6VDC power supply rails and a THD of 0.002% as measured by a QA400 audio analyzer. The amplifier sounded powerful enough even though it puts out less than 200watts into an 8Ω load. More details»
The TDA8950 is a high-efficiency Class D 2-channel audio power amplifier chip. The typical power output is 150Watts per channel with a speaker load impedance of 4Ω. The TDA8950 chip operates over a wide supply voltage range from ±12.5 V to ±40 V and features low quiescent current consumption. For this project the TDA8950 is configured as a mono Full Bridge Class D power amplifier. This configuration was chosen to effectively avoid a strange phenomenon of a typical Class D power amplifier called "pumping effect". The BTL power output is 300watts at 8Ω with ±37VDC PS rails. More details»
Upcoming Project
This is another audio power amplifier project in the series that uses an op-amp in the input stage. The prototype is populated with eight 800V/20A/200W NPN power transistors from Fairchild Semiconductor configured in a quasi-complementary output stage topology. These T0-264 packaged power transistors are typically intended in high-voltage color display horizontal deflection circuit applications but performed very well in this project. Initial test results shows that the amplifier is capable of producing a power output of more than 300 watts into an 8Ω load with ±72VDC power supply rails.
This is another audio power amplifier project in the series that uses an op-amp in the input stage of the amplifier. The complementary 200V 16A 250W TO3-packaged output stage transistors from On Semiconductor are excessively biased about 500mA of current per transistor. The prototype when connected to a ±35VDC power supply rails was able to produce a power output of 50 watts into an 8Ω load with a THD of 0.00186% and a flat 20Hz to 20KHz frequency response as measured by a QA400 audio analyzer. The overly biased amplifier reproduces surprisingly pleasant listening experience.
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text:
Government gives official recognition to Esports
Posted on December 29th, 2022 Last modified on December 29th, 2022 Comments
What are E-sports?
Recognition of e-sports as a multi-sport event by India
Source: The post is based on the article "Government gives official recognition to Esports" published in The Hindu on 28th December 2022
The Government of India has officially recognised e-sports as part of the 'Multi-sport' event.
Esports (Electronic Sports) is a competitive sport where gamers use their physical and mental abilities to compete in various games in a virtual, electronic environment.
The most common video game genres associated with esports are League of Legends, Counter-Strike, and Valorant among others.
Importance of e-sports:
Esports in India and across the world has gained prominence in recent times.
Earlier this year, the Commonwealth Games 2022 in Birmingham, UK included esports as a pilot event.
Esports will also debut at the postponed Asian Games in Hangzhou, China as a medal event after being held as a demonstrative sport in Jakarta 2018.
In November 2022, the International Olympic Committee (IOC) also confirmed that its inaugural Olympic Esports Week will take place in Singapore in 2023.
The President of India has amended the regulations governing eSports and included eSports in multi-sport events.
This means that recognised esports tournaments might attain the same status as other offline sporting events in the country, like national-level tournaments.
Nodal Ministry: E-Sports will be taken care of by the Department of Sports under the Ministry of Youth Affairs and Sports.
– While 'Online Gaming' will be overseen by MEITY (Ministry of Electronics and Information Technology).
Published December 29, 2022 By Abdul
Categorized as Daily Factly articles Miscellaneous PUBLIC Tagged the hindu
Year End Review – 2022 Ministry of Micro, Small & Medium Enterprises
City Finance Rankings and and City Beauty Competition: Ministry of Housing and Urban Affairs launches 2 key initiatives to take India's Urban Rejuvenation journey to next level

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Engineer, Software & User Experience.
I'm an engineer working for a multinational software company providing services to the Manufacturing industry. The views expressed on this blog are my own and not representative of my employer.


text:
Dasuki: EFCC detains ex-Niger gov for receiving N600m
The Economic and Financial Crimes Commission has arrested a former Governor of Niger State, Abdulkadir Kure, for allegedly receiving a N600m contract from a former National Security Adviser, Col. Sambo Dasuki (retd.).
An impeccable source at the EFCC told our correspondent that Kure was arrested on Wednesday and has been undergoing intense interrogation.
The former governor is believed to have received a contract from the Office of the NSA but there was no evidence to show that the terms of the contract were met.
It was learnt that Kure's company was among the 300 firms indicted by a committee set up by the presidency to look into contracts awarded under the leadership of Dasuki.
The EFCC detective who spoke to our correspondent on the condition of anonymity said, "Kure has been in our custody since Wednesday. His company was among those indicted by the committee set up to probe the contracts awarded at the ONSA.
"He received N600m from the ONSA but we have reason to believe that the procedure through which the contract was approved was not transparent and we have asked him to explain how the money was spent but he has yet to do that."
All attempts to speak with the spokesperson for the EFCC, Mr. Wilson Uwujaren, proved abortive as his telephone indicated that it was switched off.
Meanwhile, operatives of the EFCC on Friday arrested the duo of Abbas Attahiru and Mohammed Sufiyanu for offences bordering on impersonation and obtaining money by false pretences.
Attahiru and Sufiyanu's arrest followed a complaint by a victim that the suspects claiming to be officials of the EFCC, informed him of a petition purportedly written against him.
The suspects promised to give him a "soft landing" provided he was ready to part with some money.
Suspecting a foul play, the victim contacted the commission and he was asked to play along as the EFCC does not solicit for, nor accept payments or gratification from persons or organisations under any guise to settle matters.
The suspects were apprehended at the victim's home after collecting N100, 000 which was part of their "agreed fee" to "kill the case."
The suspects would be charged to court as soon as investigations are concluded.
All attempt to speak with the former governor's lawyer, Mr. Mohammed Ndayako, proved abortive as his phone indicated that it was switched off while a text message sent to him was not responded to as of 9.30pm on Friday.
Critics told me I'd bring Boko Haram into the Miss Nigeria brand – 44th queen, Shatu Garko
INEC asked to publish breakdown of N305bn funds requested for 2023 elections
Electoral bill: Override Buhari's veto, CISLAC urges National Assembly
VIDEO: PUNCH speaks with LASUTH nurse who helped woman deliver a baby in traffic
Gombe appoints 3,078 youths as devt facilitators
Presidency: Stop antics to divide APC, Tinubu supporters tell VON boss


I am trying to use DivXLand Media subtitler and have an SRT file and an Avi file that I want to merge. I can see where the first subtitle should be in the film and press Apply....is there any way then that the software will automatically apply the rest of the subtitles to the film or do I have to attach each individual line ?
If there is a way of simply applying the first line then letting the software 'do it's thing' then please will someone explain how. Many thanks, any advice much appreciated.
What are you using for playback? I've never used DivxLand Media Subtitler. But for playback on my Philips stand-alone DVD player I use AviAddXSubs. If the playback device supports embedded xsubs I would use that. If it supports external idx/sub subtitle files you can still use AviAddXSubs to create idx/sub files from the .srt.
The number of software players that support embedded xsub seems limited. WMP 12 and VLC media player 1.1.0 and later are the ones I've found.
What I do is not use the Media Subtitler (because it can find VirtualDub but can't find the DIVX codec - and I don't know how to indicated where it is) but I use Imtoo Video Converter Ultimate (this version supports subtitles) and I convert from an avi file to an avi file with embedded (burned) subtitles.
TextSub("MySubs.srt") or whatever path to the .srt file.
Also Quick AVI Creator will do it automatically if it finds an .srt file with the same base name as the video, in the same folder. Only thing with QAC is sometimes the bit rate it selects is too low. But it uses xvid_encraw.exe so you can often get good results in one pass.
xvid_encraw.exe -i "$video_input" -bitrate $video_bitrate -progress 1000 -avi "$video_output"
What works for me is: I put the video file usually .avi file along with the .srt or .sub with the .idx subtitle files in the same folder. The two or three files should have the exact some name. Like "filename.srt, filename.avi or filename.sub and filename.idx. I add (drag and drop) the .avi file into ConvertxDVD which automatically adds the subtitles file and burn the DVD. You can turn the subtitles on or off.
He, for me the WMP dont show SRT files... and VLC shows the the hun.text and also my german.. why? this program dont want to put my german text upstairs - it stays down..why?


text:
Q: Is it possible to set a MAC address for `docker build`? With docker run, it's possible to fix the MAC address with the --mac-address option. I've looked, and I can't find a way to fix the MAC address with docker build. I am wanting to dockerize software that has a license fixed to a MAC address (I'm not trying to get around the license; I'm trying to have a more reproducible system architecture).
Thanks!

A: Let's consider the below Dockerfile
FROM alpine
RUN ifconfig | grep -i hwaddr

If you build it using
docker build .

You get
Sending build context to Docker daemon  2.048kB
Step 1/2 : FROM alpine
 ---> 7328f6f8b418
Step 2/2 : RUN ifconfig | grep -i hwaddr
 ---> Running in c092838dbe31
eth0      Link encap:Ethernet  HWaddr 02:42:AC:11:00:02
Removing intermediate container c092838dbe31
 ---> 7038787f51b8

Now we can't control Mac address of docker build, but we can control the network of build and we can control mac address of a container. So let us launch a container with our mac address
$ docker run --name mac1234deb06b61 --mac-address="12:34:de:b0:6b:61" -d alpine tail -f /dev/null
c3579e4685933b757f51c5f9e36d620dbe3a62abd0e0d6a421b5f1c04045061c

$ docker build --network container:mac1234deb06b61 --no-cache .
Sending build context to Docker daemon  2.048kB
Step 1/2 : FROM alpine
 ---> 7328f6f8b418
Step 2/2 : RUN ifconfig | grep -i hwaddr
 ---> Running in 4390f13cbe8f
eth0      Link encap:Ethernet  HWaddr 12:34:DE:B0:6B:61
Removing intermediate container 4390f13cbe8f
 ---> b0b5f7321921
Successfully built b0b5f7321921

As you can see, now the docker build takes a updated mac address

redpajama_set_name: RedPajamaStackExchange


text:
AUSTRALIA BOUND: Ex-St. John's goalkeeper Withers signs with Port Melbourne
Jan 14, 2021 | St. John's Red Storm |
QUEENS, N.Y. – Former St. John's men's soccer goalkeeper Andrew Withers will begin the next stage of his professional career in Australia after signing on with Port Melbourne Soccer Club of the National Premier Leagues.
Withers, a native of Wellington, New Zealand, played for the Red Storm from 2014-17 and spent two years as the Johnnies' starting goalkeeper.
"We're thrilled for Andrew as he takes this great step forward in his professional career," St. John's head coach Dr. Dave Masur said in a statement. "He's a testament to perseverance and I can't wait to watch his game keep developing."
Most recently, Withers suited up for Eastern Suburbs AFC in the New Zealand Premiership, the top professional league in his home country.
While at St. John's, Withers was instrumental in the resurgence of the Red Storm program. As a redshirt junior in 2017, Withers started all 19 games between the pipes and turned in a record of 9-7-3, including a 5-2-2 mark in Big East play that was good enough for third in the conference standings. He logged eight shutouts, tied for 10th on the program's all-time season record list. Withers ranked in the top 20 nationally among goalkeepers in both goals against average (0.71, 18th) and save percentage (.835, 12th).
Withers took over the starting role in early 2016 as a redshirt sophomore and went on to record a 0.77 goals-against average and an .840 save percentage, the latter that was ranked eighth nationally.
Despite being the team's primary goalkeeper for only two seasons, Withers ranks among the top 10 of the St. John's record book in a number of categories. He ranks seventh in saves (149), 10th in goals against average (0.79) and eighth in shutouts (13).
PreviousGOODBYE, RALPH: Former coach, AD Dougan passes away
NextMOVING ON: Sarachan departs NCFC as coach
LIFTING THE LID: St. John's women open season at LaSalle
SHE BELIEVES IT: Ex-St. John's standout Rachel Daly named to England's SheBelieves Cup roster
CALLED UP: St. John's Daly, Whipp, Kajan to see international duty in Europe
ONE WILD FINISH: St. John's men tie DePaul, 2-2


text:
Minnesota Football Gives Up Boycott, Will Play In Bowl Game
YouTube screenshot/SunCountryAir
Blake Neff Reporter
December 18, 2016 8:41 AM ET
Football players at the University of Minnesota have given up on their boycott of football activities after just a single day, ending their plans to skip an upcoming bowl game in solidarity with several suspended teammates.
The entire Golden Gophers team announced their boycott Thursday, saying they wouldn't play football until they achieved justice for fellow players who are facing discipline from the school for their alleged involvement in a sexual assault.
The protest stems from a Sept. 2 incident during which a woman claims several players on the team participated in a gang-rape against her. The players have maintained the incident was a consensual incident of group sex.
Law enforcement officials have declined to bring any charges in the case, citing video evidence that backs the players' claims of consensual sex. But the university proceeded with its own separate investigation, and recently suspended ten players from the team for various offenses. Five of the players are facing potential expulsion as well.
The boycotting players claimed their teammates had been deprived of due process and were being railroaded off-campus despite a lack of evidence to justify punishment. They said they wouldn't play in the Holiday Bowl Dec. 27 unless the suspensions were reversed. (RELATED: Clay Travis Applauds Minnesota Football Boycott)
But less than two days later the boycott collapsed, with players agreeing to return to practice.
The decision to cave on the boycott came after a lengthy Friday night meeting team leaders had with school president Eric Kaler and athletic director Mark Coyle. The players subsequently debated throughout the night about what to do before agreeing to resume football activities.
"After many hours of discussion within our team, and after speaking with President Kaler, it became clear that our original request of having the 10 suspensions overturned was not going to happen," player spokesman Drew Wolitarsky said in a prepared statement. Wolitarsky said that while the suspensions wouldn't be reversed, the players had won a promise that their teammates would be given a "fair hearing" with a "diverse review panel" to consider their culpability.
Wolitarsky's statement also branched beyond due process to emphasize the need to fight sexual assault more broadly.
"We as a team will use our status as public figures to bring more exposure to the issue of sexual harassment and violence against women," he said.
No team in recent history has ever missed a bowl game due to player activism, though players seem to be increasingly aware of the power they can wield by refusing to play. In 2015, the president of the University of Missouri was fired just a few days after the football team announced a strike against his administration.
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Send tips to blake@dailycallernewsfoundation.org.
Tags : minnesota university of minnesota university of missouri
Blake Neff


DISCLAIMER: As with any medical treatment, no guarantees or claim of cures are made as to the extent of the response to treatment. Results vary from patient to patient, even with a similar diagnosis, as the body's internal status is unique to each individual patient. Because of this fact we cannot offer, infer or suggest that there is any certainty of a given outcome. Our treatments are not currently FDA approved. We do not use embryonic or fetal cells in any of our treatments.
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text:
An American Angst: What Keeps Young Voters From Traditional Political Participation?
Posted byPatrick Whalen December 10, 2021 December 10, 2021 Posted inUS
In May of 2016, a week after listening to former Democratic presidential candidate and Senator Bernie Sanders at a rally on the Great Lawn in Louisville, I walked down to my polling station to cast my first-ever vote in the Democratic primary election. A few weeks later, Senator Sanders would go on to lose the nomination in a contested race that left many supporters heartbroken and even more frustrated with what they viewed as a broken political system.
His promise of tuition-free college spoke volumes to someone like me who was in his senior year of high school, accepted into a university, and wondering how the hell he was going to pay for it all. His promise of universal health care greatly appealed to someone like me who had attended almost every doctor appointment with his mother and saw how much insulin cost and how little was covered under a Medicaid insurance plan. As someone coming of age, searching for a political identity, and living in a one-bedroom apartment with an infirm mother, his promises spoke to me. The idea that the government could provide me and my family with basic human necessities, and allow me and many other Americans the opportunity to pave a path for success truly inspired me. It gave me something to struggle for.
Nearly five years later, with college tuition prices at an all-time high, a pandemic that has upended life as we know it, widespread political unrest, complexities, and injustices within this nation have become front and center, more so than at any other point in our lifetimes. Despite this, only 50% of eligible youth voters across the United States voted in the last presidential election. While that represents a notable increase in participation from the previous election, that is still a low turnout relative to other age groups. Sadly, in most elections youth turnout is regularly low. The most recent gubernatorial election in Virginia saw only 25% of eligible young voters come out and vote.
One might ask themselves, what is it that keeps young people from getting out and voting? What are the driving factors behind disengagement with the political process? Some argue that it is a messaging problem. Others assert that there is a lack of concrete policy that benefits us: policy that could capture a generation, much like the New Deal, the Great Society, or even the Affordable Care Act. The problem is not just one particular fault. It is a toxic concoction of both government inaction and poor messaging. Young Americans deserve more than just empty promises and neglect from our political processes.
What Are Our Issues?
Among the issues that younger voters care about the most is climate change. Over the past five years, there have been massive demonstrations across the world calling for action by governments in stemming the rapid rise in global temperatures fueled by carbon emissions. More than a third of young voters sampled by Pew Research Center in a May 2021 poll identified climate change as a top concern, with more than 40% identifying it as one of many concerns. And though the infrastructure bill passed in Congress will address issues surrounding climate change, there are those who feel that it isn't enough to meet the severity of the crisis. A report released by Princeton University found that what was passed by Congress would only result in a 1% drop in emissions over the next decade.
On top of a failure to make transformational investments in climate change, Congress has failed to take any serious action on issues of police brutality. After millions made it clear they would not stand for state-sanctioned abuse and brutality, there were politicians making rounds on cable television– in stump speeches and in every medium possible– promising that something would change. And nothing happened. A failure to reach an agreement on qualified immunity as part of a larger congressional bill on policing resulted in the stalling of any effective legislation on police reform, and yet another promise broken.
Simultaneously, efforts to cancel or otherwise drive down the rising cost of student debt have seemingly disappeared. During the 2020 campaign, then-candidate Joe Biden had promised to cancel up to $10,000 in student debt. Once elected, the administration went through a series of reviews to see if the President even had the legal authority to cancel student loans. It was revealed last month that a memo on the subject had actually been produced as early as February. The administration has not released the memo or even elaborated on its contents, and millions of young Americans are still saddled with hundreds of thousands of dollars in debt. This, coupled with rising food, utility, and property prices only adds to the economic burden shouldered by the millions of current and former students trying to scratch out a living and an education at the same time.
What Kind of Change?
Without substantive change, young people won't vote. All the outreach strategies in the world can't make up for a static government that doesn't address their issues and chooses to do nothing. The value of a slow process is derived from the ability for all members to have their input and for the minority to have adequate representation in making and passing laws. However, even the word "slow" implies some sort of speed. On the most serious issues, the government has effectively stalled.
So how do we change this? It starts with voting. It starts with getting out there and showing those who are most resistant to change that we are tired of the way things are. Showing them that we want something done. It doesn't just involve voting, however, it also involves community organizing, talking to people, and changing the narrative around issues. Fundamentally, the system has to adapt to counter growing problems in a more efficient manner.
That starts with major corporate money being removed from the system. The billions of dollars that come from billionaires and corporate donors effectively prevent the government from doing its job. During the battle for the Build Back Better bill, lobbyists from across the political spectrum and various industries lobbied extensively to strike provisions from the bill. Dental industry lobbyists, for example, fought and succeeded so far in preventing an expansion of dental coverage for millions of Americans, despite the fact that voters consider dental coverage a top priority they want to see out of this bill. This kind of money and influence thrives in a vacuum of civic engagement, particularly in districts where the officeholder is usually considered safe. The reason someone like Mitch Mcconnell might not think twice about taking donations from the American Petroleum Institute or Occidental Petroleum Group or the American Dental Association is that he isn't concerned that voters will turn against him because of those donations.
In order to change that kind of thinking, we need to elect candidates that resist corporate influence and truly stand with the people. It's no easy task, especially in a state like Kentucky, where oil, coal, gas, dental associations, and major healthcare companies are entrenched industries that still employ thousands of people and wield deep influence within the state political system. And while one candidate might not immediately solve the problems facing us, that transformative change could pave the road for the kind of action we want to see from our leaders. There's no greater threat than seeing a "safe" candidate lose their seat.
At the end of the day, however precious young voters may be, if the issues facing us aren't addressed in a meaningful manner, the votes just won't be there. People don't vote if they're not encouraged and activated. The omnipotent presence of money and power and their intersection must be challenged. Candidates, Democratic or Republican, can't continue to simply paint one side as fascist or socialist and pray that the votes come around. Democrats in particular can't completely rely on just the threat of authoritarianism.
They have to take the fight to it. They have to challenge the system and present an alternative to their voters. At a time where economic conditions are tightening, and major companies are posting record earnings, we need something more than the status quo. We need fighters. We need people who will fight tooth and nail for the kind of changes we need to our political system and our society, in order to adapt to the new world on our horizon. We need to vote. Because when we vote, we hold our politicians accountable.
Published by Patrick Whalen
My name is Patrick Whalen. I'm 23 years old, and am currently studying Communications with a hope of working in the news industry in the future! Photography and reading interesting news stories are some of my hobbies, along with watching a good football game. View more posts
A Heart-Ache of a Process: Immigration in the United States
The Direct Primary Care Model: Where You Can Get More for Less


The SMSF Association has urged SMSF trustees to ignore any market hysteria resulting from the US election and remain focused on their long-term investment strategies.
SMSFA chief executive Andrea Slattery says in the short-term, the US election result is likely to increase market uncertainty which may negatively impact the value of trustees' portfolios, especially if Republican candidate Donald Trump is elected.
"But over the longer term, it will be much more difficult to predict how either a Trump or Hillary Clinton presidency will affect economies and shape financial markets around the globe," Ms Slattery said.
Ms Slattery said while it is important to keep track of events that affect financial markets and retirement savings, it is also crucial to remember that superannuation is for the long-term and short-term decisions can do more harm than good.
A good investment strategy that keeps trustees disciplined and focused on the long term is essential, she said.
"An excellent example of this was the market volatility post-Brexit, with the decision by UK voters to leave the European Union in June having an immediate and momentous impact on financial markets across the globe," Ms Slattery said.
Ms Slattery said SMSF practitioners should take this time as an opportunity to discuss investment strategies with their clients to ensure they are still applicable to the client's long-term retirement goals.


text:
Georges Montefiore-Levi, né le  à Streatham et mort le  à Bruxelles, est un ingénieur, industriel, philanthrope et sénateur, naturalisé belge. On lui doit notamment une amélioration du processus de production de l'alliage bronze phosphoreux, et il est le fondateur de l'une des plus anciennes écoles d'ingénieurs belge, l'Institut Montefiore à Liège.

Biographie

Georges Montefiore-Levi est le fils de Isaac Levi et de Esther Hanna Montefiore, cousine germaine de Moïse Montefiore. Ses parents, installés à la Barbade, s'établissent en Angleterre, puis à Bruxelles en 1838. Georges Montefiore-Levi est installé à Liège vers 1850 : il étudie à l'université de Liège, dont il est diplômé ingénieur civil en 1852.

Georges Montefiore-Levi épouse en 1866 Hortense Montefiore-Bischoffsheim, fille du banquier Jonathan-Raphaël Bischoffsheim et sœur de Ferdinand Bischoffsheim.

Il se marie ensuite avec Esther Sophia Antokolski, la fille aînée de Mark Antokolski.

Inventeur d'une variété de bronze phosphoreux bien adaptée à la fabrication des fils télégraphiques, il fournit en 1879 les câbles du premier réseau téléphonique belge.

Il achète en 1882 le château du Rond-Chêne à Esneux, où il réside régulièrement.

Il est inhumé au cimetière de Bruxelles à Evere.

Famille de Georges Montefiore-Levi
 Parents :
Isaac Levi (mort à Bruxelles, ) ;
Esther Hanna Montefiore (La Barbade, 1798 - Menton, ).
 Frères et sœur :
Jacob Levi Montefiore (Bridgetown,  - Londres, ) ;
 (Bridgetown, 1820 - Sydney, ) ;
Edouard Levi Montefiore (Londres,  - 1907) ;
Rebecca Judith Levi Montefiore (Schaerbeek,  - Saint-Josse-ten-Noode, ).
 Sans enfants, Georges et Hortense Montefiore-Levi élèvent au château du Rond-Chêne Lucienne Premelic Hirsch, la fille adoptive de Maurice de Hirsch et de Clara Bischoffsheim, la sœur aînée d'Hortense.
 Esther Sophia Antokolski (Vilno? - Versailles, Yvelines, Île-de-France, France 1947) & et leur fille.

Mandats et fonctions
 1856 : création de la Société G. Montefiore Levi et Cie, dont le siège est au Val Benoît à Liège, par Georges Montefiore Levi et la Société Bischoffsheim, Goldschmidt et Cie, banquiers à Paris, en commandite avec Jeanne Simonon (veuve Lesoinne) et ses enfants, Eugène Pirlot et Charles Nagelmackers.
 1882-1901 : sénateur belge.
 1893-1906 : Censeur de la banque nationale de Belgique.

Distinctions honorifiques
 Grand officier de l'ordre de Léopold
 Chevalier de la Légion d'honneur(France).
Officer de l'ordre de la Rose (Brésil)
Commandeur de l'ordre de François-Joseph (Autriche)
Commandeur de l'ordre du Christ (Portugal)
Commandeur de l'ordre d'Isabelle la Catholique (Espagne)
Grand officier de l'ordre de la Couronne (Italie)
Grand officier de l'ordre du Medjidié (Turquie)
Grand officier de l'ordre des Saints-Maurice-et-Lazare (Italie)

Hommages
Institut Montefiore où trône un buste de l'ingénieur, à Liège
boulevard Montefiore à Liège
Statue Montefiore-Levi, à Liège
 Avenue Montefiore, à Esneux.

Annexes

Bibliographie
 François Stockmans, « Georges Montefiore-Levi », dans Biographie nationale, publiée par l'Académie royale des lettres, des sciences et des beaux-arts de Belgique, tome 38, supplément tome X, fascicule , Bruxelles, Etablissements Emile Bruylant, 1973, colonnes 596-616.

 Publication des bans de mariages de Paris et département de la Seine, 1860 à 1902

Articles connexes
 Fontaine Montefiore
 Institut électrotechnique Montefiore

Liens externes

 Institut Montefiore
 Association des Ingénieurs de Montefiore
 Philippe Tomsin, "Carnets du Patrimoine - L'Institut Électrotechnique Montefiore", (avec une bibliographie), sur le site internet de l'université de Liège.
 L'héritage de Georges Montefiore-Levi, WebTV de l'université de Liège, septembre 2012

Références

Naissance en février 1832
Naissance à Lambeth (borough londonien)
Ingénieur belge du XIXe siècle
Sénateur belge
Famille Montefiore
Famille Bischoffsheim
Grand officier de l'ordre de Léopold
Chevalier de la Légion d'honneur
Personnalité liégeoise
Décès en avril 1906
Décès à Bruxelles
Décès à 74 ans

redpajama_set_name: RedPajamaWikipedia


Thoughts For Teens: Here is a diverse collection of books titles relating to thoughts of Teens, their stories, relationships, religion, their place in society. Allow for overnight or following day delivery.
Foucault Reader The Description: An introduction to Foucault`s thought, which includes some previously unpublished material. etc.
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HL. Mencken On Religion Description: For everyone who values free thought and sharp intelligence, this collection of articles by America`s premier iconoclast is a must. etc.
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My So-called Life: The Complete Series Description: `My So-Called Life` is a realistic mid-nineties teen drama series that takes a look at a 15 year-old girl and her trials and tribulations with being a teenager and dealing with friends, guys, parents and school. Called the first TV show to get adolescence right and a perfect portrayal of imperfect teen hood, this is the epic series that launched the superstar career of actress Claire Danes and served as a role model for many of the teen angst oriented shows on television today. etc.
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Feminist Political Theory: An Introduction, Second Edition Description: and quot;Feminist Political Theory and quot; provides both a wide-ranging history of western feminist thought and a lucid analysis of contemporary debates. It offers an accessible and thought-provoking account of complex theories, which it relates to `real-life` issues such as sexual violence, political representation and the family. etc.
>>>Read More about the "Feminist Political Theory: An Introduction, Second Edition " on the The Nile Book Store Website.
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Are you thinking that it is time for you to get rid of big amount of debt accumulated by multiple loans and credit cards with the help of a debt consolidation for bad credit program? A debt consolidation program not only could minimize your debt burden but helps to make it easier since you only need to deal with one main debtor. You can receive debt consolidation services through various companies that specialize in helping customers with bad credit to get personal debt consolidation loans at the best rates possible. With the help of this you are not only reducing the burden of your debt, but you can also become debt free and can even improve the credit rating by erasing the bad credit mark.
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Find out more at the Easy To Get Credit Cards siteEasiest-creditcardtoget.com. Check out articles and reviews on the best Credit Rebuilding Credit Cards.
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Is Debt Consolidation Loans Or Debts Consolidation A Good Idea?
If you use Debt Consolidation Loans to pay only the partial existing debts, it will be hard for you to pay off the extra charges on both credit cards and loans. So far, these loans have left a mixed feeling and before availing the loan it is good to go for the Debt Counseling.


Team taglines don't get more honest than this—"It's all in the family." Isn't that often the well-loved case when it comes to Filipinos? Headphones on, earphones in, it's about time all of us listened. Beneath the banner of these five words, the nine exclusive music artists of shiny new record label Tarsier Records take flight. The newly imprinted underground arm of Star Music recently sprang forth with a cycle of individual talents, each with a specific sound and a commitment to support one another through collaboration.
With the leadership of one of their own, music producer, DJ, and Tarsier Records babe himself, Chris Lopez a.k.a. "Moophs," they're well on their way. They are young, hip, with eyes and ears for the best—set to make a difference not just on the airwaves, but on today's most sought-after turf, only where all things millennially and digitally sound take root and bloom these days, the internet. Rising to the international scene is just one tickbox on Tarsier's agenda having partnered with Warner Music for global distribution. With Tarsier's original music tracks now available on Spotify, iTunes, Apple Music, Deezer, other major platforms, and on their YouTube channel (on which all official Tarsier music will be released), the genuine goal quite frankly is to make the world feel and move by choice to their brand of world-class OPM.
ALSO READ: Hot Stuff: This Pinoy Artist Wows With His Gigantic, 'Fetishistic' Shoe Sculpture!


We are not able to predict a date or an estimated date when s7 will be in redemption period, and it will depend on too many factors.
At present the maintenance/payout ratio is around 75%, when the ratio is up to 100% and last for 10 days, HashNest will announce s7's redemption period begin. Please pay attention to the risk of purchasing s7 at present, we don't accept any compensation or refund request after payment completed.
During redemption period, the market will be eventually closed for s7.
No plan of upgrading s7 to s9 at present.


text:
News Sports Memphis Tigers Business Opinion Obituaries E-Edition Legals
Why Memphis Grizzlies traded for Justin Holiday of Chicago Bulls
Memphis Commercial Appeal
Garrett Temple said during a recent five-game losing streak that no "white knight" would be coming to save the Grizzlies.
But after a loss at Houston this week, Mike Conley said, "We need something."
Justin Holiday is certainly no white knight, but the Grizzlies hope he will be the something they need to spark an emergence from a prolonged slump.
"Sometimes trades are eye-opening experiences for everybody," coach J.B. Bickerstaff said. "They can inject a spirit into your group. The guy who comes in, obviously we're looking at him and expecting him to help us with that."
The Grizzlies (18-19) traded MarShon Brooks, Wayne Selden and a pair of second-round draft picks to the Bulls on Thursday night for Holiday, a 6-foot-6 shooting guard.
Holiday is averaging 11.6 points as a starter for the Bulls.
The 29-year-old is owed $4.5 million this season in the final year of his contract.
Holiday is a lanky, 6-foot-6 undrafted player who broke in to the league with Philadelphia in the 2012-13 season before carving out a steady role with the Knicks in the 2016-17 season.
He is a career 35.2 percent 3-point shooter and is regarded as a quality defender. Holiday is averaging a career-high 1.8 steals with the struggling Bulls this season.
"Hard worker, plays defense, two-way player," Conley said. "He's gotten better offensively as well. So he definitely fits the mold of what we're trying to accomplish here, especially with his character and all those things. So we're excited. It's always tough losing two of your brothers in Wayne and MarShon. We'll have to find a way to move forward, and Justin is going to be a great addition."
By parting ways with Brooks and Selden, the Grizzlies are losing a pair of bench players who struggled to find steady roles in the first half of the season.
Both were nearly included in a deal last month that fell apart over a case of mistaken last names.
Holiday was expected to arrive in Memphis around noon on Friday but was not expected to play in Friday night's game against the Nets. The Grizzlies play at San Antonio on Saturday.
The move comes as the Grizzlies navigate a tumultuous stretch marred by lackluster offense and internal conflict.
Tensions boiled over into a physical altercation in the locker room between Temple and Omri Casspi after the team's 14th loss in 20 games on Wednesday against Detroit.
"Whether it's on the court or in the locker room, there's got to be a coming together of the 14 guys now," Bickerstaff said. "The importance and the urgency of what we're trying to get done, anytime there's change it can be difficult. It can also bring people together. I think that's what we're looking for right now, is guys coming together and understanding where we are."
The second-round picks Memphis is sending to Chicago are for 2019 and 2020.
By trading two players for one, the Grizzlies are left with an open roster spot. The franchise has no immediate plans to fill the spot, because doing so would push the team into the luxury tax.
Reach Grizzlies beat writer David Cobb at david.cobb@commercialappeal.com or on Twitter @DavidWCobb.
OPINION:Grizzlies' J.B. Bickerstaff is a coach caught in the middle of a fight as his team skids
GRIZZLIES FIGHT:Garrett Temple calls it,"brothers getting into it"
ANALYZING THE DRAMA:Grizzlies' losses, leadership void boil over in locker room drama


Like usual, I visited a fish market with my respectful chef in the early morning of last week. We started to do it about six months ago, and now it became my big pleasure to ask him how to find good fish from a bunch of them :) Aside from doing it, cooking with such a nice fish in my home is also fun to me.
The other day, I heard there are many ancient tombs near my home in Nagoya City. Shortly after checking it out on some web sites, I decided to go there in my car. The tombs were built around the 6th century, they said. That surprised me quite a lot. Is there so many people around here at that time? And they even built rather bigger tombs? Although we recognize more than 50 tombs around this place, we are not sure who made it and why.


text:
Music Bank A-Z
First 800 posts
Album / EP
Inside Out Around The World In Eighty Days EP
Tinsel Heart Around The World In Eighty Days EP
Around The World In 80 Days Around The World In Eighty Days EP
Noah's Ark Noah's Ark EP
Frostbite Laurel Mini-LP
Something To Call My Own Laurel Mini-LP
Ocean Sky Laurel Mini-LP
So You Said Half-Hearted EP
Hope Springs Eternal Disney 10" EP
End Disney 10" EP
Brighter (l to r): Alison Cousens, Keris Howard, Alex Sharkey
Brighter playlist
Contributor: Rob Morgan
For some reason, there was a drought of Brighter records in the spring of 1991 and I was desperate to buy them. I had fallen in love with the Sarah record label during the summer of 1990, starting with the Temple Cloud compilation album, then expanding from there to releases by the Field Mice, the Orchids, St Christopher and more, collecting the singles and albums over time. But Brighter … they were elusive. I couldn't find them in Spillers Records, or in Our Price, both of which usually had a decent stock of Sarah Records . There was no point looking in HMV or the newly opened Virgin Megastore. So what was I to do? There was only one way I'd get these records.
And so began my years of correspondence with Matt and Clare at Sarah Records. I sat down and wrote them a long letter, explaining how I came to find their label, how their critics – both in the music papers and fanzines – should be more lenient on them, and how much the music meant to me. Oh, and here's a cheque for nine quid, can I have some Brighter records? A few weeks later, I received a package from Bristol – two Brighter 7 inch EPs, one Brighter 10 inch mini-LP and a long letter from Clare thanking me for cheering them up and including flyers for Orchids gigs and all kinds of things. A small package of immense value to me. Whether Matt and Clare knew that value, I'm not sure, but it started a series of letters back and forth from Penarth to Bristol, usually a cheque in one direction and a package of records in the other direction.
Brighter were a trio from Worthing with quite a unique sound for the time. The music was based around nimble basslines, lightly strummed acoustic guitars, arpeggios of electric guitars, maybe an occasional string synth swell or accurately placed piano note, a haze of reverb and an almost complete lack of drums. Keris Howard's voice was small and fragile, but perfectly matched to his words of unworldliness and confusion. It was a beautiful combination and it was pretty much perfected on their debut EP.
Around The World In Eighty Days has four songs and each one is as perfect as the next. It could be said that nothing really happens, the mood is established on Inside Out and it continues through the other three songs, but each song has its own unique element to make this listener's heart skip a beat. On Inside Out, it's either the line "Though I don't even know your name" or the chorus of "She told me to be myself, she told me to act my age". On Tinsel Heart, it's the matching of the personal and the political, the greed in the "stinking little island", how Howard implores on the chorus:
Don't you ever let them touch you
Don't you ever let them in
In this corrupted little country
Don't you ever let them win
The title track, Around The World In Eighty Days, is another move towards adulthood, but full of fears, "Everybody thinks they're someone, that's until the day they fall", and then the heartstopping moment in the second verse – "And when I saw her, yeah I nearly fell over …". As the song moves towards a conclusion, an unexpected drum machine pounds out a simple beat, while Keris sings, "And it sometimes feels the world is falling around my ears". Finally there is some hope on Things Will Get Better, more lyrical gems from Howard and a more uptempo end to the EP.
The Noah's Ark EP was slightly less surprising, as two of the three songs had appeared on Temple Cloud. The title track starts slow and gentle, a heartbreaking sigh of resignation – "some people travel around the world to show everyone they're sure about themselves" – a pause of barely a second, then – "I can't even find myself". After two minutes there's an avalanche of noise (by Brighter's standards), waves of distorted guitars and a thumping drum pattern as Howard sings "Noah's ark is leaving … She leaves today" and it sounds like the end of his world. I Don't Think It Matters and Does Love Last Forever? are more spritely, the drum machine holding the songs together, quite standard indie pop of the time, and in a way I suppose a little too sickly sweet for my taste, but perfectly enjoyable. Both EPs were made solely by Howard but by now Brighter were performing live as a three piece band, including a peculiar cover of Depeche Mode's Just Can't Get Enough!
Laurel, though, was something else. A 10 inch mini-LP bathed in blue, eight songs of love, confusion and hope, and we're back to a largely drum-free drift. There is a more nuanced sound now, a deeper mix of acoustic and electric guitars, and it's quite lovely. Maybe the addition of Alison Cousens on guitar and Alex Sharkey on bass made a difference here. Again, picking highlights is like choosing a favourite child, each song has a heart stopping moment or a lyrical gem to make the spine tingle. I have no idea why the opening song is called Christmas but the opening line "Sometimes I feel so lost" is so absolutely perfect that it makes you wonder why they even bothered to continue. That's all that's needed to be said sometimes. Frostbite is even better; there's piano adding bite and a surge of string synth towards the end which almost breaks my heart, if it wasn't already broken by the chorus "And as I lay awake I wonder where life's taking me". Summer Becomes Winter is a reverie of happy memories, made bittersweet with the passing of time.
Something To Call My Own brings side one to a close with another heart-melting series of words and chords, extrapolating the thoughts of restlessness and worry into something almost anthemic. Flipping over to side two and Ocean Sky is a slap in the face – fast, drum machine led, jangling guitars aplenty and for a chorus, waves of distorted guitars leading to a coda where the noise almost overtakes every other element of the song. From there the album returns to its natural mid tempo drift of percussion free songs. Out To Sea seems quite calm at the prospect of drowning, Maybe offers some consolation of hope – "Maybe you will find the boy, maybe you will find the girl" – while closer Journey's End brings the short album to a conclusion of kinds, closing on the lines, "But one thing keeps on haunting me, all I once believed". Dreams dashed, future uncertain, confused and unsure … Yep, know that feeling.
Of course to some people these songs might seem fey, wimpy and sad. Caught in the wrong mood Keris' vocal weaknesses can be off-putting, the languid drift of the music can have a somnambulist effect, and the general atmosphere can make you scream, For God's sake man, pull yourself together!
But to me, avoiding adulthood's steely gaze as I wondered what to do with my life after further education, these songs could not have sounded more on the nose. This was my music and I played these records over and over that summer.
In a way, Laurel was the peak of Brighter's achievements. Not that it was all downhill from there, they still maintained a high standard in their other releases, but at the time the mini album felt like a small, but important, step forward for both band and label. Sarah Records were always characterised in the music press as jangling nonsense, boys crying at sunsets and unrequited adolescent love songs. Of course, this wasn't true, but sometimes clichés are easier to maintain than actually listening to the music and understanding it. During 1991, there were occasions where Sarah Records albums received glowing reviews in the music press – For Keeps by the Field Mice, Make It Loud by the Wake, Unholy Soul by the Orchids and, indeed, Laurel were well received. Select magazine said, "Brighter aren't old fashioned, they're simply timeless", Melody Maker claimed the band were "wistful, pretty (and) poignant". Were Brighter about to become indie stars?
Of course not. Their next EP was issued in the autumn of 1991 and while it consolidated their style it offered hints of ill-feeling. The EP's title track Half-Hearted felt like an intrusion into someone's most private thoughts, a view of a love triangle from the wrong angle. Poppy Day was a sparkling gem of guitar pop, parping synth horns, optimistic harmony vocals and a glimpse of the kind of perfect pop they could turn their hand to if they so wished. On the other hand So You Said sounded like a bitter kiss off to a former partner, but by reading between the lines it seemed to be aimed at Brighter's own record label. Accusations of selling souls, losing ideals and foolish dreams and stealing money – it wasn't quite E.M.I. by the Sex Pistols or Paint A Vulgar Picture by the Smiths, but still quite shocking, especially as it was sung quite sweetly over layers of gorgeous guitar arpeggios. Anyway, Sarah Records couldn't have minded that much, they still released it after all.
It was a long wait for a new Brighter release in 1992. This gave me the chance to hunt down two flexidiscs which showed Brighter sounding more Jesus And Mary Chain than Galaxie 500. Interesting but not essential. Eventually, a new five song 10 inch EP named Disney was issued in the autumn. This was a more muscular Brighter; Alex Sharkey's bass was more forceful, the drum programming was more complex and upfront, there was a more layered mix of electric and acoustic guitars, with more overdrive in places. EP opener Killjoy was quite powerful, not something a listener would have associated with Brighter even 18 months earlier. British Summertime was a percussion free drift, but now the haze of reverb on the early records has been lifted to bring a clarity to the sound.
Hope Springs Eternal was perfect jangle pop while Keris searches for comfort in a world where the possibilities of change have disappeared. From one angle it could be about a relationship souring, but from another angle it can be seen as an extended allegory for the feeling of hopelessness after the Conservative Party's election victory in April 1992. "I guess it's not important to you, well it's everything to me … Cos finally they have won, or has my hope just gone?". Never Ever is a frank look back at the end of a relationship, the repeated chorus of "Goodbye" makes that plain, but there's little hints of hope, Keris almost begging at the conclusion, "And I know it's so stupid and utterly foolish but I never even said 'Are we still friends?'". Finally, End seems to follow on from Never Ever, facing up to the finality of the break up, while still hoping for a return, "But if I've got it wrong … maybe you'll come running, say 'I missed you'". Is there redemption? It's unclear, but hope springs eternal.
When Disney was released, Brighter toured the UK to promote it with Blueboy as support and I caught the tour in Manchester. But due to frustrating circumstances I had to miss Brighter themselves, although I did sneak into the soundcheck. I had a train to catch, though the train was eventually 45 minutes late. But still I introduced myself to Clare and we chatted briefly (she was amazed I'd travelled from South Wales to Manchester for the gig). And Blueboy were amazing. But I had seen Brighter perform a few songs and that was enough.
At the end of 1992 I bought the fourth issue of the Waaaaah fanzine which not only had interviews with Blueboy and Northern Picture Library (former Field Mice) but also a Brighter feature. This interview hinted at problems with Sarah Records, mentioned unreleased songs like Nothing At All and Wallflower and exuded a general feeling of ennui, like they had given up on the band. It was little surprise then when a few months later, a Sarah Records newsletter told me that the band had split up. In a way they had achieved all they needed to. Maybe being tied down to generic Sarah Records reviews in the music press had taken its toll, or arguments with their label about getting songs released. Howard would move on to other music projects such as Hal and Harper Lee, and would become bass player for Trembling Blue Stars, Bob Wratten's major post-Field Mice project.
Over time the stature of Sarah Records would grow, as memories of bad reviews in the NME faded into the distance and new indie pop fans came to listen without prejudice to the music. Brighter's small but perfectly formed catalogue of records would grow in value and become cherished for their music. Eventually Matinee Records would compile two CDs – Singles 1989-1992 (all four EPs) and Out To Sea (Laurel plus 12 outtakes, flexidisc songs and unreleased music) and Howard gave a few interviews to put the music in context. It seems that Sarah Records wanted Brighter to maintain their drum free reverb soaked sound, while the band were playing more drum machine led, uptempo numbers. If I Could See and Wallflower (both recorded during the Laurel sessions) would have spoilt the bliss of the album but would have worked as a separate single perhaps. While some songs from the scrapped first attempt at recording Laurel were hit and miss, one song – Amy Never Knew – was an absolute gem and as good as their best songs. But any arguments about decisions made in the 90s made little difference in the 21st century. It was just great to have the songs available again, and in a move towards a digital future all the singles and Laurel are available on streaming services like Spotify (see our playlist) and as downloadable purchases on Bandcamp (see link below). If you love the music then please consider purchasing it so the artists can receive their due.
Brighter made some of the most perfect post-adolescence music, an eternal end-of-sixth-form feeling of incoming uncertainty and a faint feeling of melancholy for the passing of time. Perfect summer music then. Listen, enjoy and wallow.
Special thanks to Ian Foster for the scans of the "Waaaaah" fanzine interview – much appreciated. (RM)
Brighter releases
Around The World In Eighty Days – Sarah 19 (1989)
Noah's Ark – Sarah 27 (1990)
Laurel – Sarah 404 (1991)
Half-Hearted – Sarah 56 (1991)
Disney 10″ – Sarah 69 (1992)
Brighter on Bandcamp
Brighter on Discogs
Sarah Records – Brighter archives
Keris Howard interview – Penny Black Music (2006)
Brighter biography (AllMusic)
Rob Morgan writes about the music he loves for a number of websites including Everything Indie Over 40 and his own blog A Goldfish Called Regret – he also creates podcasts. He tweets @durutti74.
TopperPost #806
Posted on Aug 6, 2019 in 90s, ALTERNATIVE, Indie
Andrew Shields
Rob, thanks for this great introduction to some fabulous music. Love the guitar sound on their records – thanks again.
Billy Lee Riley
Mike Stern
Sonny Burgess
Barbara Dane
Nine Black Alps
Johnny Burnette
Thee Hypnotics
Fred Neil
David Kitt
The Clancy Brothers
and Tommy Makem
Gilbert O'Sullivan
Gavin Clark
The Radiators from Space
Lee "Scratch" Perry
Glen Glenn
Andrew Shields on Billy Lee Riley
David Lewis on Billy Lee Riley
David Lewis on Trisha Yearwood
John Denton on Joe Brown
Keith Crawford on Thin Lizzy
Joyce Gibson on Trisha Yearwood
Chris Manville on Waterfall
Andrew Shields on Mike Stern
Jane Dove on The Allman Brothers Band
Jane Dove on Nanci Griffith
John Kirby on American Music Club
Dave Stephens on Sonny Burgess
Andrew Shields on Sonny Burgess
Peter Viney on Sonny Burgess
Geoff Goldstein on Larry Williams
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Atlantic/Stax
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Focusing on the low D whistle but applicable to all low whistles, this book and CD set offers everything one needs to know about how to play the low whistle, including ornamentation, history, and fantastic tunes. This book can be used by people that have never played the whistle before. The tutor section covers the basics and moves on to explain Irish decorations in detail. Even if you already play the standard-size tin whistle, you will find many parts of this book useful in terms of technique.


Palo IT is a consulting firm with a strong focus on banking projects delivery in Singapore. We are looking for a talented Business Analyst to join our consulting team for banks in Singapore.
7 to 10 years of previous business analyst and/or project management experience involving Avaloq systems.
Do you have any question or comment for Palo IT about their position Avaloq Tester?


text:
Q: Webpack/TypeScript Raising Errors When node_modules is Excluded I have the following Webpack and TypeScript configs:
webpack.config.js
module.exports = {
    entry: {
        dev: './src/ts/site'
    },
    output: {
        filename: './com/js/site.js'
    },
    resolve: {
        extensions: ['', '.ts', '.tsx']
    },
    module: {
        loaders: [
            // Typescript
            {
                test: /\.tsx?$/,
                loader: 'ts-loader'
            }
        ]
    }
}

tsconfig.json
{
    "compilerOptions": {
        "noImplicitAny": true,
        "module": "commonjs"
    }
}

I've simplified my project to only include the following dependencies:
package.json (partial)
"typescript": "^1.7.5",
"ts-loader": "^0.7.2",
"webpack": "^1.12.9"

When I run Webpack, I get a massive slew of errors:

The list goes on for many many screen lengths, but as far as I've scrolled every one is a duplicate identifier error in a .d.ts file.
What is the cause of these errors?
I've seen several similar problems both here on Stack, and across the web, but none seemed to happen in a project with just TypeScript (they all had other modules that had definition files).
From what I've gathered it may have something to do with my use of "module": "commonJS", but

*

*That would suggest that TypeScript wasn't written to work with commonJS modules

*I've already tried every other module type with no success

Excluding node_modules in tsconfig.json solves the problem but makes it so that installed modules can't be found in .ts files.


Written by Henry on 10 Nov 2018 in Housekeeper of the Week.
Last update on Sat 10 Nov 2018 .
This week's Housekeeper of the week is the fantastic Ramona.
Ramona cleans across the East London borough of Hackney, cleaning in homes from Homerton (E9) to Clapton (E5)!
Ramona's customers are fond of her great eye for detail (she maintains a faultless 5-star rating), as well as her dependability and friendliness.
"Ramona was super friendly and she arrived on time. Although I gave her instructions she knew exactly what to do and how. When I came back everything was super cleaned and tidy. I would highly recommend her."
"Ramona was very efficient and my apartment is now shiny and bright. She is a pleasant and polite lady - and would definitely recommend her."
"Ramona was brilliant. She was very thorough and did an excellent job. I'd happily have her all the time, she's great!"


As the Winter season approaches and the air gets crisper and cooler, it's a great time to winter proof your home (check that furnace filter) and get out your warm and cuddly throw blankets if you have not already. Some folks are not very fond of Winter, but I find this transition of the seasons rather necessary. I think everything being frozen and dead speaks to the possibility of life and renewal. For every Winter, there's always a Spring to follow. The budding flowers and growth of greenery in the months to come would not have the same effect if we did not miss them for a while.
During this season of advent, my focus this year is gratitude. Finding contentment in the smallest and simplest things. A great exercise for you to do with family, friends, your children or even alone is making a list of all of your favorite things about the holiday season. It's a great way to reflect on positivity as well as have a reference point when things may not go so swell.
Now it's your turn! What are some of your treasured things, moments and simple joy around this time of year?


The mission of Project New Start, Inc. is to assist men, women and children in achieving their highest potential as they grow to become productive members of society, by providing committed volunteers and a faith based lifestyle according to the precepts and teachings of the Bible.
Our transition homes consist of The Hannah House 2, which is for women and The Promise Land, which is for men. These homes serve as a transition for graduates of our drug & alcohol program.
Project New Start offers homes for single and teenage mothers. We provide a clean, stable, Christian environment along with parenting education. We have two Hannah houses. Hannah House 1, and Hannah House 2.
You can view a full list of our Ministry Homes here.