Welcome to Blue Buzz Music, everyone!
A lot of people have this one particular question: "How to build a music studio if I don't know much about how all this music stuff works?" Well, you are in luck, because I wrote this guide just to help you all make the music industry a better place.
Look, all these big websites telling you how to build a studio on a budget usually get writers and stamp these articles left and right. And don't get me wrong, the information there is valuable as well.
I had to do my research, been to hundreds of forums, read all the reviews on Amazon, and so much more to be able to speak on this topic.
Coming from the ground up, I realise how overwhelming building a music studio from scratch can be. More than anything, I want to share this knowledge with you.
The guide is relatively long, with personal examples, but you will learn a lot, I promise!
I will also add my personal picks to each point in this post for a reference!
Home Recording Studio Design – How To Set Up?
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First of all, I've decided to divide it into primary and secondary essentials. You must have the primary essentials to produce music. If you are going to be selling your beats or providing mixing and mastering services, you won't need the secondary essentials. They come in place when you start recording instrument and vocals and adding extra equipment such as analog preamps, compressors, etc.
I've created this infographic to make things a little more clear for beginners.
As you see on this home recording studio setup infographic, I've divided the essentials into two categories – primary and secondary – now let's take a closer look!
These are my picks and if you like a different model or brand – go with it! Alright, let's learn how to build a music studio now!
Let's get the very first thing straight: you can't use your phone to make music professionally. I know garage band and a few other apps on IOS, for example, do quite a few cool things.
I have seen people doing some great beats and even songs on them. But you can tell it's been recorded on a phone. The quality and variability are lacking.
I assume you do have a computer at home.
However, is it powerful enough to use your DAW (digital audio workstation)? Yeah, minimum requirements you see are not quite good at representing how much CPU, RAM, or other stuff it will actually use.
You see, the DAW itself is nothing but a skeleton.
Once you add your kicks and snares, the load will increase. More synths and generators, the load will increase even more. And don't even start me going about the mixing and mastering parts that come after you finish the beat.
My laptop, for example, did great in the beginning.
I made the beat, I even recorded the vocals. But the second I started EQing, compressing, and adding other plugins, I encountered lots of problems.
First, plugins stopped working properly. Secondly, I would hear clipping sounds all over my track. Lastly, it just crashed when I pressed "play".
And the PC kept crashing until I turned most of my plugins off.
That's when I realized that my laptop just wasn't powerful enough to make the process all the signals coming in and out. And I started researching on what components you need on your computer to be able to make music and use your DAW to the fullest.
Figuring out how powerful each element has to be is up to you. It depends on what you are going to do. If you are making beats, recording, mixing, and even mastering, you should pick something that will suit the power demands of your DAW and plugins.
My Personal Pick Is MacBook Pro.
Check out the list of the best computers for music production for more.
Digital audio workstations are the paint set for an artist and a toolset for a mechanic. You can literally create anything in it. Besides my music, I also edit the sound for my YouTube videos in there too!
It's hard to get a hang of in the very beginning, DAWs are just capable of so many things. Even though the interface is user-friendly, it's not an app where you have to press two buttons and the track it good to go.
It takes weeks to get used to the basics and months, if not years, to master every aspect of your digital audio workstation.
Hey, don't get discouraged, you don't have to know it all! Baby steps are where it's at, my friend. Also, another little thing… There are so many of them in the market right now, it's hard to pick one.
They all look great and you see famous DJs and musicians using different ones. So you feel like you want to jump on this DAW today and that DAW tomorrow… I relate to that.
Pick one DAW and stick to it, skills and proficiency will come with time.
You don't want to learn the workflow (it will take a while) on a DAW just to switch because apparently, it's not the best one out there.
If you go for the top DAWs, they are all similar.
You got the same playlist, channel rack, piano roll, mixer, and so on. The difference is the interface, the workflow, the plugins.
I can be biased because I've been using Fruity Loops since I was 16, plus I've never had a Mac (We all know Mac users love Logic and Pro Tools).
I've heard many times that Pro Tools is considered an industry standard. Well, before you all fire up and decide that then you want Pro Tools, let me disappoint you just a little.
The Ultimate Edition (which is the so-called standard) comes at an astonishing price of $999.99 a year!
Yeah, you've read that right!
Are you ready to commit to paying $1000 with no guarantee you will get any money out of it? I am not, not even close. Once you work in an actual studio and have actual artists coming and recording, then go for it!
You will probably have other things than money to worry about. For now, let's stay humble, at least for a bit.
My Personal Pick Is FL Studio.
Check out the list of the best DAW for beginners for more.
Don't think about picking a software too much, because it's a lot more about how to use it! My advice is to pick one and learn how to use it to its fullest!
Okay, next part is picking up good well-balanced headphones to make your music.
I start with headphones and not studio monitors because they tend to be more affordable and a lot more compact. Moreover, you can use them on the go, if you have a laptop. I will definitely talk about the best studio monitors later in this post.
So why do you need a new pair if you have your AirPods headphones or Logitech speakers?
Well, that's actually an excellent question, which I used to ask myself. See, when you listen to a song in your average headphones, it equalizes it to sound great. Or sometimes it EQs it to be bassy, or to enhance the vocal's frequency range.
With headphones designed for music production, the sound tends to be more "real", without a lot of alternations to it.
So let's say you use your Logitech speaker and subwoofer set, which would've cost you $500, and it sounds amazing. You fall in love with the beat and keep working on it for days.
Then you send it to a friend who uses cheap speakers on his laptop.
And you know what he tells you?
"I don't know man, it's alright I guess but I feel like you can do better" It's quite shocking and you get all mad because it sounds just great with your set of speakers!
Well, that's because the sounds you were using were equalized on the playback, so you didn't listen to the actual track you made! It gets so many beginners it's crazy!
Well, by reading everything to this point you already made sure you won't fall for this!
Okay, in this example I kind of tried to picture why you need a pair of headphones specifically designed to do this kind of stuff. They can go way up into thousands, but we are trying to stay on a budget right?
If you just wanna make beats in the cheapest way possible and, let's say, sell them, that's all you will need. An excellent headstart, let's put it this way.
My Personal Pick Is Audio-Technica ATH-M50x Professional Monitor Headphones.
Check out the list of the best budget studio headphones for beginners for more.
If you want to have more control and flexibility when working on the beats and also record vocals and/or instruments, keep reading!
Why should you bother buying a midi keyboard? Hmm, interesting… I know you don't really need to get one in order to make the most fire beats, but wouldn't you want to make your life a lot easier?
This is not a necessity, but it will save you a lot of time when working on a nice melody or a bass track, for example.
It's so much easier when you have keys in front of you!
All jokes aside, it's not just a keyboard.
They usually come with drum pads and knobs. Why do you need pads?
Well, people argue that when you record the automation for your kicks, snares, hi-hats, or literally any other percussion, it feels a lot more natural and appealing, than when you just put them on the grid in the piano roll.
MIDI keyboards save you a lot of time with percussion too, trust me on this!
With the knobs, you can literally automate anything. EQ, compression, reverb, delay, filters — literally anything! When using a mixer, you can automate the on/off buttons on your midi to turn on/off a certain plugin.
Let's say a reverb… You want to record one part with the reverb on, and the other one with the reverb off.
You have two options here!
You either create an automation clip and tweak it, or simply use the button when recording it. It's a lot easier to use the buttons if you know what you are doing, you feel me?
Check out the list of the Best MIDI Keyboards For Beginners for more.
It will take some time to learn how to operate and automate everything, but after this everything will be so much faster and easier to do!
If you have a pair of headphones, you don't technically need studio monitors, right? Well, why does literally every studio you see on YouTube or somewhere else on the Internet has a pair? Or more likely, a few pairs.
Do you think they are just balling out of control and buying stuff they don't need? Of course, some of them do. But most of them know the value of a good pair of studio monitors. Once again, they don't have to be expensive for now.
So your question is probably "Why?" Well, that's something called having two reference points. You see, the distance between your ears and the headphones is a few inches. Your ears get used to THIS distance swift.
The distance is a lot more, around a foot or so. Therefore, your ears get used to THAT distance now. If you make music, people will probably listen to it in different ways: in the car, at home, at the gym.
The systems will also be different — you probably have a speaker at home, but you wear headphones at the gym.
Therefore, you want to try to make it sound good on both devices!
And that's pretty much the purpose of studio monitors in general. You can go for either headphones or monitors, but having both will increase the overall performance dramatically.
My Personal Pick Is Mackie CR4 Creative Reference Multimedia Monitors.
Check out the list of the best budget studio monitors for beginners for more!
An analogue audio interface doesn't really do anything independently, it's more of a connect-everything-together kind of device. To start, you just connect it to your computer and download a few drivers.
That's it, it's good to go! Feel free to connect your headphones, monitors, microphones, and musical instruments to it.
I know, it's really the simplest device in the studio.
Interfaces usually have a lot of knobs and buttons to increase/decrease the volume and turn on/off certain functions of it. The more you spend on it, the more functionality you get usually.
Or you are just paying for the hyped up brand… Always use common sense and do your own research when picking any electronics, because sometimes they have functions you'll never ever use.
Here is an entire post dedicated to the best budget audio interfaces for beginners.
My Personal Pick Is Focusrite Scarlett 2i2 (2nd Gen).
You can also check out our full in-depth Focusrite Scarlett 2i2 Review to learn more about the portable USB audio interface.
Let's move to once of the most crucial parts of every music studio – microphones!
Wow, if you are on this section, you must really want to go all in! Respect and congrats, we are almost done! Just a bit about microphones and accessories, and you will have a solid foundation! Okay, so let's talk about mics.
I'll make it as short as possible, deal?
So there are a bunch of microphone types for very and I mean VERY specific tasks, but the main two categories are Condenser and Dynamic mics.
Check out the list of the best budget microphones to record your vocals for more!
One can argue that these are the mics most commonly used in studios, which is true to an extent. They tend to be more responsive to a higher range of frequencies, and the transient response is a lot greater.
Simply speaking, it's kind of microphone's ability to reproduce the velocity or so-called "speed" of a vocal or an instrument.
Condenser mics usually require a 48-volt power supply.
That's when the interfaces come in very handy, as most of them have a switch to provide all this power. Therefore, you can't simply plug it into your computer and start working right away, you know?
As I said at the very beginning of this chapter, they are being used in studios more.
Why? Because they are fragile as hell! You have to be really careful because some components in the condenser mics, usually the most precious ones, are very easy to break. You pull on the XLR cable by accident and the stand collapses — big trouble.
They are usually divided into 2 broad categories: LDMs and SDMs.
Large diaphragm microphones (LDMs) — are usually picked for a vocal performance. While they don't reproduce everything as evenly, as SDMs, they warm up the output signal a.k.a. your voice or an instrument a lot better than the small diaphragm mics. The sound ends up sounding more natural.
Small diaphragm microphones (SDMs) — are, as I mentioned before, better with capturing frequencies more evenly. By getting probably the best transient response, they are great for reproducing quicker sounds, such as a guitar or ukulele, especially when you are trying to record a sick fingerpicking pattern you recently learned.
Ideal as main and support microphone for studio and live applications--perfect for acoustic instruments and overhead etc.
Check out my list of the best condenser mics for vocals for more!
Let's move to the next type of mics now, the fewer details, the better they will settle in your head, trust me!
These guys are typically thought of as performance mics you would usually see on stages. And that's true, they are a lot more common during live shows due to their durability and moisture resistance.
Yes, they rug them so well they can be used even when it's raining! Don't get me wrong though, I generalize to make it simpler, but there is a lot of this kind of microphones in the studios as well.
Dynamic microphones are used slightly differently than condenser mics.
When using one of them, you will high likely lose some frequencies, usually on the very low and the very high ends. It's because of the sound quality they deliver is not as accurate, that's it.
Usually suitable for louder guitar and drums, and on-stage vocals of course, as they can manage to handle a lot higher sound pressure levels.
Check out my list of the best budget dynamic microphones for vocals for more!
My Personal Pick Is Shure SM57-LC Cardioid Dynamic Microphone.
This is the most important stuff you need to know about them, but as I said, people literally go to school and take classes to learn about specific details about different mics.
If there is enough demand and you want to know more — let me know — and I will write a very in-depth post about this in the future!
Check out the list of the best microphone accessories for beginners for more!
Both condenser and dynamic microphones need an XLR cable to connect them to your interface. You get them for cheap on Amazon or at a local store.
Don't cheap out on a pop filter.
It costs very little but is very beneficial, especially when recording vocals.
You will get rid of all the popping sounds (here is where the name comes from!) and removes plosives (simply speaking "B" and "P" sound) which can add a lot of unnecessary and bassy frequencies!
You also need something to mount your mic on, right?
So yeah, get a simple tripod stand or an arm stand. Tripods tend to be more stable and you usually see them in the booths. An arm stand works great if you have limited floor space (like a small room).
Both are flexible, adjustable and most of the time shock-absorbent!
My Personal Pick Is AmazonBasics XLR Male to Female Microphone Cable.
My Personal Pick Is Neewer Pop Filter.
My Personal Pick Is Samson MK-10 Microphone Boom Stand.
When building a music studio, there are tons of things you have to consider. Once you've purchased all the equipment that suits your needs, you have to put everything together.
Moreover, you'll have to look into your home recording studio design.
You can't set everything up in a closet and expect it to sound good, can you?
Therefore, there are a few things you have to keep in mind when taking care of your home recording studio design. I've made too many mistakes at the beginning of my journey to not share this information with you.
First of all, let's look into the common mistakes I've made when building my music studio so you won't waste your precious time repeating this after me.
1) Avoid These Mistakes When You Build a Music Studio!
We'll go over 5 most common mistakes that producers encounter when they decide to build a music studio for themselves. These mistakes may sound silly to some, but there are tons of people I know who did that in the past. Better safe than sorry!
In small rooms, sounds bounce off the walls constantly. As a result, the smaller the room, the worse the recording quality. If the room is treated correctly, this will be less of a concern, of course.
However, the rule of thumb still stands – the bigger the space, the better.
There are other reasons such as having more people in your music studio aka your room and being able to use more hardware equipment while planning the home recording studio design and setup. However, the most crucial difference is the quality of the recording.
When I built my first music studio, I didn't know how good microphones are at picking up noises. I was living in a small apartment downtown.
I've had cars hoking all day long, people walking around and chatting next door, furnace working like a coal miner all winter long, and other noises I didn't even realize were around me.
With time, I've learned to ignore the noises. I simply wasn't aware of them anymore.
It was too bad that my microphone had something else in mind. After recording the first take on one of the verses, I've noticed I could hear the cars, wind, even my furnace. And I could hear something in almost every take I've recorded.
That was a stressful day, that's for sure! The lesson I've learned is you have to either live in the middle of nowhere or treat your room properly. Which one do you think is the better option? Clearly, the second one!
When working on your home recording studio design, a lot of producers overlook the flooring. Believe me; this is a huge mistake. The flooring material is crucial when you build a music studio.
Have you noticed how many professional music studios have hard flooring of wood or tile? Most of them!
Don't you think there is a reason for that?
Most places here in Calgary have wood flooring, but there are a few with carpeted rooms, especially the bedrooms where people usually build their music studios.
Carpets are warm, lovely and all, but they tend to absorb some frequencies, mostly the high ones. As a result, your track ends up being muddy and full of low bass frequencies. Make sure never to ignore this factor of your home recording studio design. Always consider the flooring factor when you build a music studio in the future!
This mistake is usually the problem in most apartments and basements. The ceiling can't be too high because of all the weight coming from above. Not everyone lives in a big house, and sometimes an apartment has more space than you need.
Therefore, you must find a way around the issue of having low ceilings when you build a music studio!
The best way would be having less bouncing off the walls of your studio. That's why you need to soundproof your room! We'll talk about this in a bit!
If your music studio is a small square room, you are going to have a lot of extra noise in your recording. Parallel walls reflect a portion of the sound back to where it came from.
If you can imagine this in your head, you'll realize that most sound reflections will come right back to your microphone, with a weaker intensity, of course.
Take notes to avoid these problems when you build a music studio for yourself!
If you plan more irregular surfaces when working on your home recording studio design, you'll have a way lower chance of messing up your track!
If you are sure you haven't made or successfully mitigated the problems mentioned above, we can move to the next step!
This step is straightforward. Remove everything you don't need from the room. If it's your bedroom, you can only remove so many things. That's understandable – not everyone can dedicate the entire room to just build a music studio in it.
The rule of thumb is simple – if you can remove it or get rid of it, you should! First of all, you'll have a lot fewer distractions when working! Second, you'll have more space for your equipment and fewer objects for the sound to reflect from.
Once the room is as empty as possible, it's time to set up your workstation. At this stage of home recording studio design, you should have all the necessary equipment you need for music production.
I mean you have a computer, headphones, interface, keyboards, monitors, compressors, and other hardware units.
A lot of the time producers would purchase a special desk to be able to accommodate all their music studio hardware equipment.
Sometimes it's called "producer's station." It would usually be the most ergonomic and spacey solution when you build a music studio.
Studio RTA makes fantastic desks for producers. It's a must-have if you can afford one!
A regular table that your friend's parents gave to you is not wrong for a beginner, but having a decent producer's station will benefit you a ton in the long run.
You'll also need a chair, but there's little to think about here.
All it has to be is comfortable (and look cool). You'll spend a lot of time in the studio, so make sure to weight the pros and cons of each setup to find the one that fits you the best!
MDL Furniture chairs are well-worth the price for someone who spends hours producing!
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Having an acoustic treatment plan when you build a music studio is essential. Even if your room is spacious and your equipment is fantastic, there is still a need to treat your room, so the sound doesn't just reflect off the walls back and forth ruining your track.
A lot of producers use simple acoustic panels studio foam of different shapes.
They will absorb sound reflections, so your microphone doesn't catch anything.
Foamily 12 Pack- Acoustic Panels Studio Foam Wedges 1" X 12" X 12"
Each WEDGE comes uncompressed and in prime condition! The Wedges in the photo will be exactly what you get.
For professional acoustic control, sound dampening, acoustic treatment, noise reduction - Reduce waves, reverb and flutter echoes in smaller to medium sized rooms.
You can also invest in diffusers, which let a few reflections remain instead of absorbing them.
This will create a healthy balance of natural tones that can make any room sound similar to a professional recording studio.
High NRC Rated Core .95 or higher avg.
That should be neither hard nor expensive to implement. However, this will change the quality of your recording dramatically. And in a good way!
In this step of home recording studio design process, you'll have to put all your equipment where it belongs. It means setting up your laptop or PC monitor in the middle, placing studio monitors on the sides, MIDI keyboard on the sliding panel of your desk, and so on.
Make sure everything fits and nothing is in the way.
It's going to be a little harder if you have a regular desk, but you've probably kept that in mind while purchasing all the hardware. Think of who you are going to record. If you are recording yourself, setting the microphone by your desk when you build a music studio is a fantastic idea.
When recording multiple takes, it's a pain to stand up and walk to the other end of the room every time.
If you record others, it makes sense to have it further from all the buzzing equipment you have at your desk and just take care of the recording process. Let others play instruments, sing, or rap.
There are tons of different setups that producers use such as the solo, dual, and hybrid setups. Most artists use the solo setup because then you won't need two stations, but that's up to your preference and, more importantly, budget.
After putting in so many hours to build a music studio, you might as well spend a few minutes focusing on a critical factor that's being overlooked by many – positioning your studio monitors properly.
What's the point of buying a set of expensive monitors when building your music studio just to mess up the setup and miss on the full experience of using the studio monitors.
It may seem like the easiest step, but it's sure not.
You see, once you are done with setting up all your equipment and acoustic treatment panels and pads, you can adequately calculate where you should place the studio monitors with respects to the position of your head, walls around you, and the acoustic treatment.
Whether you'll be able to leave them on your table or not simply isn't up to your preferences but the setup of your room. A lot of the times producers have actually to purchase a set of studio monitors stands.
With stands, you can adjust the height, width, and angle at which studio monitors will be positioned.
You don't see this element of home recording studio design a lot, and it is one of the most overlooked ones.
They can vary in prices a lot – from $100 to $1000s. Pick the one that will suit your needs the best.
For a beginner, simple On-Stage studio monitor stands will do wonders without breaking a bank!
Finally, you've managed to get to the very last point of home recording studio design. No one ever overlooks this step because you do need to connect all your gear for the setup to work correctly.
However, very few producers who build a music studio think about the future.
Hopefully, your music will start bringing you some money. As a result, you'll start buying more gear. Eventually, you'll need actual analog compressors, EQs, delays, pre-amps, and a lot more.
Therefore, you should consider how you are going to plug everything in once you start adding more hardware. You should think about this at the last stage of the home recording studio design.
All you have to figure out is the signal flow.
For example, if you are recording a take on a microphone, where does the signal go? Most producers have it going through the interface directly into your DAW for beginners. Once you get more professional, you'd want to update your setup.
The signal will pass through the analog compressor first.
Behringer Pro-XL MDX2600 compressor will do a fantastic job here!
Then a lot of producers add a dedicated pre-amplifier as opposed to the one built into your audio interface. This is a well know practice and is encouraged if you can afford one. You'll notice the quality right away!
dbx 286s pre-amplifier will do wonders when you send a signal through it, trust me!
This will modify your signal in a better way than any plugin within your DAW would've. However, this comes at the cost of buying the actual analog hardware.
But you see what I am talking about?
You need to know where your signal is going and what gear it should pass through first. That's relatively simple once you've found your way around, nothing to worry about!
Check out the professional music recording studio setup in the video below!
Let me think… Yeah, that should be everything to start! Don't worry if it's a little overwhelming. Usually, everything falls into place very quickly! As I promised, I am keeping this fairly basic!
Some common sense to understand before getting into the jungles of the small details that you probably won't remember tomorrow, especially if this is fairly new to you. Little by little, you will learn more and more!
Don't be too hard on yourself, okay?
Let's wrap up for today!
Looking into DJing? Build your first DJ setup with my guide!
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text:
computer dculture dculture.archive firstgame game games gaming graphics his history juegos libropasantia musée physics programming russel scale-invariance share simulation spacewar steve video videogames visualization
My tags:
Spacewar!
This article includes a list of references or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (October 2007)
Developer(s) Steve Russell et al.
Platform(s) PDP-1
Release date(s) 1962
Genre(s) Space combat simulation, Shoot 'em up
Mode(s) Two players, simultaneously (only)
Spacewar! is one of the earliest known digital computer games.
Steve "Slug" Russell, Martin "Shag" Graetz and Wayne Wiitanen of the fictitious "Hingham Institute" conceived of the game in 1961, with the intent of implementing it on a DEC PDP-1 at the Massachusetts Institute of Technology. After Alan Kotok obtained some sine and cosine routines from DEC, Russell began coding, and by February 1962 had produced his first version. It took approximately 200 hours of work to create the initial version. Additional features were developed by Dan Edwards, Peter Samson and Graetz.[1]
2 Options and features
3 Spacewar! today
4 Games inspired by Spacewar!
5 Earlier computer and video games
[edit] Gameplay
Steve Russell programmed the first version of Spacewar!
The basic gameplay of Spacewar! involves two armed spaceships called "the needle" and "the wedge" attempting to shoot one another while maneuvering in the gravity well of a star. The ships' fired missiles were unaffected by gravity (due to a lack of processing time). Each ship had a limited number of missiles and a limited supply of fuel.The hyperspace feature could be used as a last-ditch means to evade enemy missiles, but the reentry from hyperspace would occur at a random location and there was an increasing probability of the ship exploding with each use.
Each player controls one of the ships, and must attempt to simultaneously shoot at the other ship and avoid colliding with the star. Player controls included clockwise and counterclockwise rotation, thrust, fire, and hyperspace. Initially these were controlled using the front-panel test switches, with four switches for each player, but these proved to wear out very quickly under normal gameplay. Most sites used custom control boxes wired into the same switches, although joysticks and other inputs were also used.
[edit] Options and features
Two players using the front-panel of a PDP-12 to play Spacewar! at the Vintage Computer Festival
Early versions of the game contained a randomly generated background starfield. However, the inaccuracy and lack of verisimilitude annoyed Samson, so he wrote a program based on real star charts that scrolled slowly: at any one time, 45% of the night sky was visible, every star down to the fifth magnitude. The program was called "Expensive Planetarium" (referring to the price of the PDP-1 computer), and was quickly incorporated into the main code.
There were several optional features controlled by sense switches on the console:
no star (and thus no gravity)
enable angular momentum
disable background starfield
the "Winds of Space"- a warping factor on trajectories that required the pilot to make careful adjustments every time he moved
Spacewar! was a fairly good overall diagnostic of the PDP-1 computer and Type 30 Precision CRT Display, so DEC apparently used it for factory testing and shipped PDP-1 computers to customers with the Spacewar! program already loaded into the core memory; this enabled field testing as when the PDP was fully set up, the field representative could simultaneously relax and do a final test of the PDP.
Spacewar! was extremely popular in the 1960s, and was widely ported to other systems. As it required a graphical display, most of the early ports were to other DEC platforms like the PDP-10 or PDP-11, or various CDC machines.
[edit] Spacewar! today
Vint Cerf playing Spacewar! on the Computer History Museum's PDP-1, ICANN meeting, 2007
As of May 2006[update], there is only one working PDP-1 known to be in existence, at the Computer History Museum in Mountain View, California. The computer and display were completely restored after two years of work, and Spacewar! is operational. On selected days at the Museum, visitors on the PDP-1 tour get a chance to play Spacewar! first hand.
A second PDP-1 belonging to the Computer History Museum is currently on tour as part of the Game On exhibition, previously shown at the Barbican in London. However, this PDP-1 is not operational.
On May 15, 2006, the museum presented The Mouse That Roared: A PDP-1 Celebration Event.[2] The PDP-1 was demonstrated running Spacewar! as well as other programs, and members of the public were able to play the game using makeshift controllers. Further PDP-1 demonstrations will be scheduled on a biweekly basis on Saturday afternoons.
Most recently, Spacewar! code has been given out with Microsoft XNA Game Studio Express.[3]
[edit] Games inspired by Spacewar!
KSpaceDuel, a modern derivative included in many Linux distributions
The Spacewar! Java applet
Over the years, many computer games have been inspired by Spacewar! [4] ; some are known by the same name. Some are straightforward clones, but most have introduced additional variations to the game play, such as:
various rates of acceleration
various levels of gravity (even negative)
missiles affected by gravity
fuel (energy) regeneration over time
Arcade versions of Spacewar! were released as the Galaxy Game (1971), Computer Space by Nutting Associates (1971), and Space Wars by Cinematronics (1977), the last being the most commercially successful.
The first networked version of this genre was Orbitwar (1974) by Silas Warner on the PLATO network. It included all the features of the original Spacewar! with the addition of a Big Board where PLATO users would await challenges from each other to play.
Home versions have appeared for most computer and console systems, with some becoming quite elaborate, such as the Star Control series, introducing a wide variety of gameplay frameworks around the basic one-on-one combat system at its core. Senko no Ronde can be described as a modern interpretation of Spacewar!, with a design heavily inspired by versus fighters such as Street Fighter II. The Escape Velocity series also owes its 2D inertial combat and navigation to Spacewar!.
Non-space themed variants with similar play (ie two players control a vehicle using similar controls - ie rotate left / rotate right / move forward / fire - and try to score by hitting their opponent with a missile) include Tank by Kee Games and Combat by Atari.
Although some accounts mistakenly identify Spacewar! as a motivation for the development of Unix, the game involved in that case was Space Travel.[5]
Atari made two Spacewar games. Space War was an Atari 2600 port that had many additional options added to it. They were also in the works of an Atari Jaguar videogame that was named Spacewar 2000 as a major 3D update to the original. It got cancelled when Atari abandoned the system's support after Fight for Life.
[edit] Earlier computer and video games
The first graphical computer game is believed to have been OXO (a Tic-tac-toe game), developed by A.S. Douglas in 1952. William Higinbotham built Tennis for Two in 1958 using discrete analog hardware rather than a program for a digital computer.
[edit] See also
Expensive Planetarium
Alan Kotok
Marvin Minsky
[edit] References
Levy, Steven (1984). Hackers: Heroes of the Computer Revolution. Anchor Press/Doubleday. ISBN 0-385-19195-2.
Brand, Stewart (1974). II Cybernetic Frontiers. Random House. ISBN 0-394-49283-8.
Graetz, J.M., The Origin of Spacewar, in Creative Computing, August 1981, pp. 56-67.
[edit] Notes
^ Markoff, John (June 3rd 2006). "Alan Kotok, 64, a Pioneer In Computer Video Games". The New York Times Company Staff. The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9E0CE0DB1731F930A35755C0A9609C8B63. Retrieved on February 5th 2009.
^ "The Mouse That Roared: A PDP-1 Celebration Event". http://www.computerhistory.org/events/index.php?id=1142978073. Retrieved on 2008-08-01.
^ Cox, Charles and Klucher, Michael (May 2007). "Unleash Your Imagination With XNA Game Studio Express". MSDN Magazine (Microsoft Corporation). http://msdn.microsoft.com/msdnmag/issues/07/05/XNA/default.aspx. Retrieved on 2007-10-04.
^ Markoff, John (December 16th 1990). "Digital Fetes the 'Germ' That Began a Revolution". The New York Times. NYtimes.com. http://query.nytimes.com/gst/fullpage.html?res=9C0CE2D91430F935A25751C1A966958260. Retrieved on February 5th 2009.
^ Ritchie, Dennis M.. "Space Travel: Exploring the solar system and the PDP-7". http://cm.bell-labs.com/cm/cs/who/dmr/spacetravel.html. Retrieved on 2007-03-11.
[edit] External links
Spacewar! page at the Computer History Museum
History of Spacewar!
The original Spacewar! code running on PDP-1 emulator in Java
Dmoz directory for Spacewar!
1up.com's article naming Spacewar! the most important video game ever made
"Spacewar", a 1972 Rolling Stone article by Stewart Brand
A 1972 Saga Magazine article about Spacewar!
Computer and Video Game History describes Spacewar! and earlier video games such as A.S. Douglas' Tic-Tac-Toe and William Higinbotham's Tennis for Two
Retrieved from "http://en.wikipedia.org/wiki/Spacewar!"
Categories: 1962 video games | Multidirectional shooters | Mainframe games | Multiplayer video games | Space combat simulators
Hidden categories: Articles lacking in-text citations | Articles containing potentially dated statements from 2006 | All articles containing potentially dated statements

redpajama_set_name: RedPajamaCommonCrawl


text:
A growing imbalance in Japan's steel trade
Japanese exports are set to reach their highest levels in at least a decade, while imports are heading for their lowest volume since 2004, leading to a growing trade imbalance.
Total iron and steel exports in the first seven months of 2013 reached 26.01 million tonnes, implying an annualized figure of 44.59 million tonnes. This marks the third consecutive year of rises and a massive 36.8% increase on 2005's ten-year low of 32.60 million tonnes.
An examination of the export figures over the past decade reveals some interesting trends: the remarkable ability of Japan's steel companies to ramp up exports even during times of global economic crisis, increasing signs of excess capacity in global steel production and a steadily strengthening currency that would normally suggest reduced competitiveness.
Between 2004 and 2009, Japan's iron and steel exports stayed under 40 million tonnes, reaching a high of 38.13 million tonnes in 2008 and a low of 32.60 million tonnes in 2005.
But since 2010, exports have never fallen below 40 million tonnes, ranging from a low of 41.23 million tonnes in 2011 to a projected high of 44.59 million tonnes this year.
Industry observers put the rising tide of exports down to a number of factors, including more investment by Japanese mills in downstream steel production, a shift to overseas production by major clients such as automakers and electrical appliance manufacturers, and the fact that regional producers are unable to match Japanese production of high-grade steel.
There has also been a desperate need to find alternative markets amid poor domestic demand. Between 2004 and 2008, exports accounted for less than 20% of crude steel output. However, as domestic demand continued to slump and mills ramped up exports, overseas shipments increased steadily from 2010 and are likely to account for nearly 27% this year.
On the other hand, imports of iron and steel are expected to sink to their lowest level in nine years at 7.21 million tonnes.
With growing levels of excess capacity in the region, one might have been tempted to think that the recovery in the Japanese economy – one of the few in the region – would make it an attractive export destination for regional producers. However, Japan's mills have been saved by one major factor: the decline of the Yen, which makes imports more expensive.
Currency fluctuations should not be ignored: in 2011 and 2012 when the Yen peaked in strength against the dollar, cheap imports soared to their highest levels since before the 2008 financial crisis, despite the poor state of demand, while exports fumbled.
The rise in exports and the fall in imports has lead to a growing steel trade imbalance: between 2004 and 2008, the gap between exports and imports was never more than 30 million tonnes, and just 24.16 million tonnes in 2005.
But since 2010, it has never been below 30 million tonnes and this year will hit a record high of 37.38 million tonnes, a rise of almost 55% since 2005.
This growing imbalance has led to growing trade friction between Japan and other regional majors such as Korea and China who are facing long-term oversupply issues in their domestic markets and therefore also becoming increasingly reliant on exports.
It is therefore little coincidence that there has been a spike in anti-dumping measures – both actual and threatened – by these two countries against Japanese exports, and steel officials are privately conceding that however unfounded such accusations might be, they need to tread carefully.
Luckily, with domestic demand rapidly improving, they have a way to remedy the situation.


Fox Dealer has been growing at a supersonic pace! Making the 2018 Inc. 500 list validates the relentless hustle we put in every day. I couldn't be prouder of my team. They put their heart into their work, and being among the top 50 companies shows we're heading in the right direction.
Gian Carlo Asong, CEO of Fox Dealer, commented, "Fox Dealer has been growing at a supersonic pace! Making the 2018 Inc. 500 list validates the relentless hustle we put in every day. I couldn't be prouder of my team. They put their heart into their work, and being among the top 50 companies shows we're heading in the right direction."
Not only have the companies on the 2018 Inc. 5000 (which are listed online at Inc.com, with the top 500 companies featured in the September issue of Inc., available on newsstands August 15) been very competitive within their markets, but the list as a whole show staggering growth compared with prior lists. The 2018 Inc. 5000 achieved an astounding three-year average growth of 538.2 percent, and a median rate of 171.8 percent. The Inc. 5000's aggregate revenue was $206.1 billion in 2017, accounting for 664,095 jobs over the past three years.
Fox Dealer is a personalized automotive agency where powerful digital technology meets white glove customer service. Fox specializes in custom responsive websites, stunning creative design, and cutting-edge digital marketing. As a Google Premier Partner and the go-to provider for many high-performance dealerships, the Fox name is quickly becoming synonymous with excellence. Combining impressive results with 24/7 personal customer support, Fox is there when you need us.
More information on Fox Dealer visit at https://foxdealer.com.
The 2018 Inc. 5000 is ranked according to percentage revenue growth when comparing 2014 and 2018. To qualify, companies must have been founded and be generating revenue by March 31, 2014. They had to be U.S.-based, privately held, for profit, and independent—not subsidiaries or divisions of other companies—as of December 31, 2017. (Since then, a number of companies on the list have gone public or been acquired.) The minimum revenue required for 2014 is $100,000; the minimum for 2017 is $2 million. As always, Inc. reserves the right to decline applicants for subjective reasons. Companies on the Inc. 500 are featured in Inc.'s September issue. They represent the top tier of the Inc. 5000, which can be found at http://www.inc.com/inc5000.


"Screenshot of my desktop with Zerigo.," Ben Wilson , CC BY 4.0.
This morning, I woke up looking forward to spending time preparing for my next novel series. Instead, I spent the past two hours trying to fix a problem with my domain name hosting. While I would like to shake my fist at the provider, Zerigo, this was an opportunity to really look at how I host.
In the sixteen years I've had dausha.net, I've had many different hosting approaches. I've used static files, content management systems, wiki engines, and now back to static files. Octopress is my current blog engine of choice. I've been using Heroku, with Zerigo for my domain name service. Sometime in 2014, Zerigo stopped doing it's free domain name hosting for Heroku. I'm one of the customers who apparently was grandfathered in. This morning, dausha.net was no longer available. I learned this because I was using the stylesheet for dausha.net with my series Bible for my next novel series. When the style wasn't right, I knew there was a problem.
That was 9 o'clock this morning. It's now noon. I was tempted to buy into a Zerigo subscription plan, but efforts to get to behave and to show the domain weren't working even with the free version separate from Heroku. In the end, I went to Go Daddy for domain resolution. And while I was at it, I decided I would look at GitHub to host the site. It took a while for me to figure it out, about an hour. In the end, I ended up moving from Heroku to GitHub. Whether I do this for the other two sites that I own remains to be seen.
I have been a developer, and a project manager now. So losing a weekend to get Gentoo Linux to compile properly or otherwise beating my head in frustration over my own ignorance or incompetence is not new to me. Tools should just work, but since mine are a little bit eclectic, I know that a little more pain is involved. It's a shame because I've used the Heroku/Zerigo pairing for a couple of years now and was very happy. Looking online, it appears that there are many other Zerigo customers who are also frustrated. Many of them went to other DNS host solutions. I was tempted to go with one of those but they were all a little too expensive. GoDaddy had a relatively inexpensive plan.
The downside is that for two years I've been able to host dausha.net without cost. Now will cost me about three dollars a month. Still a lot less than the $20 I paid throughout the 2000s.
Now it seems that all is right with the world. I'm not upset with Zerigo, they are after all a business and they have to change. Nor am I upset with Heroku, who still provides a fine service. I'm just frustrated that I lost a couple hours when I had time set aside to focus on my next series. Of course, I have friends who are wondering why I'm not finishing Imbroglio. I still have time in 2014 to finish the draft, and I want to be able to start a new series in 2015.
5 Oct 2014. With nearly four novels written and two published, now is the time to take a step back and have them professionally edited.


The GISS Goddard Institute for Space Studies, operated by NASA, is a leading research institute for monitoring and reporting on changes to the planet's biosphere, and in particular the observable extent and consequences of climate change.
The GISS is a foremost source of climatology data, collating more than 5 decades of satellite and ocean and land-based sensor data to match adapting climate models. They announced in 2007 the stunning news that 5 of the warmest years on record had occurred in the previous decade.
Dr. Jim Hansen is a prominent atmospheric scientist with a long association with NASA and the GISS.
There is hard evidence that average global temperatures have been rising since the advent of the Industrial Revolution (towards the end of the 18th century), when largescale combustion of fossil fuels began.
The average global temperature on Earth has increased by about 0.8° Celsius since 1880.
Two-thirds of the warming has occurred since 1975, at a rate of roughly 0.15-0.20°C per decade.
The 1980s was the hottest decade to date since records began (1880s). The first decade of the 21st century became the hottest decade to date, with 5 years between 1998 and 2006 the hottest years ever.
2015 was the warmest year since records began, in 1880.
The map (courtesy of NASA GISS, 2006) is a coloured representation of temperature anomalies. The blue and red colouring graphically represents temperature variations from the baseline reference, which is the mean between 1951 and 1980.
Taking the average temperature for the years 1951-80 as a baseline for comparison, GISS has prepared the above maps, which show how much deviation there is in the two decades, 1970-79 and 2000-09. All of the deviations are positive, and at an increasing rate of increase. This observation is exactly in line with the theory that greenhouse gases from human activities are responsible for the retention of heat by the Earth, the so-called 'Greenhouse Effect'.
Solar activity, aerosols, and C02 are all modelled against this data to determine the correlations. The conclusion is inevitably the same: the increase in temperature is greater than the range of uncertainty, and is due to the changes in balance between the amount of energy the Earth receives from the Sun, and the amount it radiates back into space. The incoming solar radiation varies, but to a much smaller extent than the variation in the amount of energy re-radiated. This change cannot be correlated to the variations in solar activity. The conclusion is that the cause is changes to the composition of the atmospheric gases.
It can be seen that the general trend is towards unevenly distributed warming of the globe, with the polar regions receiving more than the average increase in temperature.


text:
Past Spring Meetings/
Message from the Meeting Chairs
Click the name of a Meeting Chair to read their biography:
Christopher J. Bettinger, Carnegie Mellon University
Stefan A. Maier, Imperial College London
Alfonso H.W. Ngan, University of Hong Kong
W. Jud Ready, Georgia Institute of Technology
Eli A. Sutter, University of Nebraska-Lincoln
The following served as chairs for the 2017 MRS Spring Meeting. Click each name to read his or her biography.
Christopher J. Bettinger
cbetting@andrew.cmu.edu
Stefan A. Maier
s.maier@imperial.ac.uk
Alfonso H.W. Ngan
University of Hong Kong
hwngan@hku.hk
W. Jud Ready
jud.ready@gatech.edu
Eli A. Sutter
esutter@unl.edu
In this MRS TV interview from the 2017 MRS Spring Meeting, chairs Eli Sutter and Alfonso Ngan recap the Meeting and talk about the experience of being an MRS Meeting Chair.
Christopher Bettinger is an associate professor at Carnegie Mellon University in the departments of materials science and engineering and biomedical engineering. He directs the laboratory for biomaterials-based microsystems and electronics at CMU, which is broadly interested in the design of novel materials and interfaces that integrate medical devices with the human body. Recent efforts focus on flexible electronics for neural interfaces edible electronics for ingestible diagnostics and therapeutics. Chris has published over 60 articles and has delivered over 50 invited seminars. Chris has received honors including the National Academy of Sciences Award for Initiatives in Research, the ACS AkzoNobel Award for Polymer Chemistry, the MIT Tech Review TR35 Top Young Innovator under 35, and the DARPA Young Investigator Award. Bettinger is also a co-inventor on several patents, a finalist in the MIT $100K Entrepreneurship Competition, and co-founder and CTO of Ancure, an early stage medical device company. Bettinger received an S.B. in chemical engineering, an M.Eng. in biomedical engineering, and a Ph.D. in materials science and engineering as a Charles Stark Draper Fellow, all from the Massachusetts Institute of Technology. He completed his post-doctoral fellowship at Stanford University in the department of chemical engineering as an NIH Ruth Kirschstein Fellow.
Stefan Maier graduated from Caltech with a Ph.D. in applied physics in 2003. After his first academic position at the University of Bath (UK), he joined Imperial College London and took up a chair in nanophotonics. He is co-director of the college's Centre for Plasmonics and Metamaterials, deputy head of the Experimental Solid State Physics Group, and leads a research group investigating fundamental and applied aspects of nanophotonics, nanoplasmonics and metamaterials. A fellow of OSA, his research was further recognized by the Sackler Prize in the Physical Sciences, the Paterson Medal of the Institute of Physics (UK) and a Royal Society Wolfson Research Merit Award. Stefan currently serves as associate editor for the journal ACS Photonics.
Alfonso H.W. Ngan is currently Kingboard Professor in Materials Engineering, Chair Professor of Materials Science and Engineering, as well as associate dean of engineering, at the University of Hong Kong. He obtained his BSc(Eng) degree from the University of Hong Kong in 1989, and Ph.D. from the University of Birmingham in the U.K. in 1992. After a year of postdoctoral training at Oxford University, he joined HKU as a lecturer in 1993, and was promoted through the ranks to chair professorship in 2011.
Ngan's research work is focused on the microstructural basis of properties of engineering materials, and, in particular, crystalline defects and their modeling, and more recently, nanomechanics including applications to biological systems. He has published over 180 ISI papers, and co-authored two books. His research-related honors include the prestigious Rosenhain Medal and Prize from the Institute of Materials, Minerals and Mining, U.K., in 2007—he is the only non-British national so far to receive this award since its establishment in 1951. He was also awarded a higher doctorate (DSc) from his alma mater the University of Birmingham in 2008, and the Croucher Senior Research Fellowship in 2009 which is perhaps the highest honor awarded to academics in Hong Kong. In 2014, he was elected to the Hong Kong Academy of Engineering Sciences. He is a well sought-after journal reviewer and he won the Outstanding Reviewer Award of Scripta Materialia four times, in 2006, 2008, 2011 and 2015. He has organized a number of conferences, including Dislocations 2008 and Gordon Research Conference on Nanomechanical Interfaces in 2013, both held in Hong Kong. He is a member of the Hong Kong Advisory Board for Gordon Research Conferences.
W. Jud Ready is the deputy director, Innovation Initiatives for the Georgia Tech Institute for Materials. He has also been an adjunct professor in the School of Materials Science & Engineering at Georgia Tech and a principal research engineer on the research faculty of Georgia Tech Research Institute (GTRI) for over a dozen years. Prior to joining the Georgia Tech faculty, he worked for a major military contractor (General Dynamics) as well as in small business (MicroCoating Technologies). He has served as PI or co-PI for grants totaling ~$16M awarded by the Army, Navy, Air Force, DARPA, NASA, NSF, NIST, industry, charitable foundations and the states of Georgia and Florida. His current research focuses primarily on energy, aerospace, nanomaterial applications and electronics reliability. Ready has published numerous refereed publications on electronic and nanoscale materials and his research developments have been presented at well-over two dozen international conferences. He has served as an expert witness in criminal and civil cases and he has provided testimony to the Georgia State House Science & Technology Committee. He has patents awarded in the United States (#6,846,370; 6,994,757; 8,350,146; 8,474,805; 8,604,681; 8,774,890; 8,919,752; 9,058,954) and abroad, with several others pending in the U.S. and abroad as well.
The Electronic, Magnetic and Photonic Materials Division (EMPMD) of The Minerals, Metals and Materials Society (TMS) named Dr. Ready as a 2002 "Young Leader." He has served as chair for the TMS Nanotechnology Committee, TMS Education Committee and TMS Membership & Student Development Committee. He was elected to the TMS Board in 2005 (Director, Membership & Student Development) and again in 2010 (Director, Content Development & Dissemination). In 2015, he received the Brimacombe Medal from TMS that rewards a mid-career individuals for sustained excellence and achievement in business, technology, education, public policy, or science related to materials science and engineering. Dr. Ready is also the recipient of the "Innovative Research Award" by GTRI in 2013; the "Outstanding Undergraduate Research Mentor Award" by the Georgia Institute of Technology (2009); the "Young Leader International Scholar Award" by the Japan Institute of Metals (2005); and the "Red Flag Award" by the Georgia Department of Natural Resources (2001). Dr. Ready also serves on the TMS Electronic Packaging and Interconnect Materials Committee and the TMS Public and Government Affairs Committee.
Eli Sutter is a professor of mechanical and materials engineering at the University of Nebraska-Lincoln. She received M.S. and Ph.D. degrees in condensed matter physics from Sofia University "St. Kliment Ohridski" in Bulgaria. She then held postdoctoral positions at the Swiss Federal Institute of Technology (ETH Zurich) and at the University of Wisconsin-Madison. From 2000 till 2004 she was an assistant professor (tenure track) in physics at the Colorado School of Mines. Before joining the University of Nebraska-Lincoln in June 2015, she spent almost 12 years as scientist in the Center for Functional Nanomaterials at Brookhaven National Laboratory. Her research focuses on in-situ transmission electron microscopy of nanomaterials at variable temperatures and in different environments. She has co-authored more than 160 scientific publications and holds 7 US Patents. She received a Scientific American 50 award for Ultra-measurements (2007), the Sapphire Prize (2011) and Battelle Inventor of the Year Award (2015). She served as a co-chair of the International Conference on Nanoscience and Technology held in Vail (CO) in 2014.


Settle in for another dull evening at the observatory. Enjoy the quiet whine of the telescope's tracking motors, revel in the power of pointing the large reflector with the fantastic digital accuracy afforded to you buy the brand new 8 bit computer you finally managed to convince management to buy. The stuff you'll be able to do with that 64KBs of RAM is going to be amazing! This evening you might discover new stars, nebulae, galaxies, and.. oh... even a brand new planet destroying horror that has come to flay the minds and bodies of 4.68 Billion people. You never know! That's the fun of this job!


text:
How Wimbledon's brand could be strengthened with a new winner
An influx of young blood could help Wimbledon's media moves
Though Wimbledon has instant brand recognition, it has lagged behind some of its sporting event peers (Photo by Julian Finney/Getty Images)
Danny Rogers 2 weeks Monday July 1st 2019
US footballer Megan Rapinoe is the role model we need
Donald Trump's racism is shocking- but Theresa May is a hypocrite
I don't want sizzling temperatures and giant jellyfish in Britain
Press freedom matters, not a witch-hunt into the Darroch memo leak
This week, the first ball will be struck at Wimbledon 2019 – in this writer's humble opinion, the world's greatest sporting event.
OK, the Wimbledon Championships is hardly on the scale of the Fifa World Cup or the Olympic Games but the 142-year-old event, gracing the hallowed lawns of SW19, possesses a unique heritage and charm. It oozes prestige from every pore, not that Roger Federer even appears to sweat.
From a cultural and branding perspective, Wimbledon feels both familiar and effortless, belying a complex marketing enterprise by the All England Lawn Tennis and Croquet Club.
Strategists, advertising and public relations agencies and digital marketers all put their heads together each year to strike the right balance between tradition and innovation.
For 2019, this takes the form of the #JoinTheStory campaign, which comprises a 60-second film that links landmark headlines from Wimbledon over the years to the global news archive; a documentary podcast mini-series examining the cultural relevance of certain Wimbledon champions to world events, from Björn Borg and John McEnroe in 1980, to the outspoken Sir Andy Murray and the EU referendum in 2016; and a social media campaign that encourages people to share their personal experiences and memories of Wimbledon.
Building on recent years' campaigns, such as "A Year in the Making" in 2017 and "Take on History" in 2018, the All England Club is essentially trying to reinvent Wimbledon for the digital age.
A new, younger victor could refresh Wimbledon's image (Photo: Clive Brunskill/Getty Images)
Ironically, the real challenge that Wimbledon faces to perpetuate its relevance to new generations is the fact that only four men have won the top prize in the past 17 years, and those same players, all well into their thirties, remain the principal draw today.
What Wimbledon really needs to rejuvenate its appeal is a new, and younger, winner. Yes the recent Queen's Club championship was a success, but the double victor, Feliciano López, was 37.
Is it asking too much that Stefanos Tsitsipas or Sascha Zverev lift the trophy? Or, even better, Britain's Kyle Edmund (24)?
And in the women's draw, a triumph for Johanna Konta (28) would do brand Wimbledon, and brand Britain, a world of good.
More from Danny Rogers
Adverts with a social purpose tipped to win Cannes Lion this year
For advertisers, the Champions League still lags behind Super Bowl
Levi's is back on top with blue jean genius proving it to be a lifestyle brand for the masses
Man arrested 'trying to smuggle drugs into Spain' under odd wig


True to the original Imagic concept offering the discerning buyer a stylish lightweight ergonomic binocular with outstanding performance for its price.
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Grease filter for microwave combination ovens.
KitchenAid 30" trim kit for 1.6 cu. ft. countertop microwave oven.
KitchenAid 27" trim kit for 1.6 cu. ft. countertop microwave oven.
KitchenAid 30" trim kit for 2.2 cu. ft. countertop microwave oven.
KitchenAid 27" trim kit for 2.2 cu. ft. countertop microwave oven.


Discovered by Juan de Bermudez, a Spanish sailor, in 1505, Bermuda is a British overseas territory in the North Atlantic, consisting of around 138 islands. The issue of independence from the British is dominating the country but it is being found that majority are opposed to independence.
The capital Hamilton is located in the largest island of the country, some 600 miles off the American coast. A popular tourist destination Bermuda is one of the most advanced economies in the world. Cricket is the most popular sport of the country.
Captivating pristine sand beaches, spectacular diving sites, affable dolphins and British architecture, Bermuda, some 600 miles off the American coast, offers all this and more. The picturesque town of St. George is worth a visit. You can relax at the pink sand beaches such as Horseshoe Bay in Southampton, John Smith's Beach, Elbow Beach, St. Catherine's Beach and the Spittal Pond and Crystal Caves. Other places of attraction of the country are the Royal Naval Dockyard, Devil's Hole, the Bermuda Maritime Museum, Bermuda Aquarium, Bermuda National Trust Museum and Zoo and the Bermuda Underwater Exploration Institute that make Bermuda a tourist's delight. And not to be missed is the Dolphin Quest where you can swim with dolphins at the RN Dockyard.


text:
Q: imagemagick mogrify cut part of image out If I have an image similar to this:
---------------------------------
-        xxxxxxxxxx             -
-        x        x             -
-        xxxxxxxxxx             -
---------------------------------

How can I use mogrify to cut out just the portion in x's? Do i use -geometry?. I can't find a good example.

A: The imagemagick docs show how to do so with "convert":
http://www.imagemagick.org/Usage/crop/#crop_viewport
There are variations, depending on whether you want to replace the "cut" portion with another color or trim the size down to just the x's (in your diagram).
I'm assuming "mogrify" will do the same thing, but you just don't give an output filename.

A: while the code is awesome their manual lacks serious examples.
cut out your xxx section by specifying the start via ++ and the x before is the new image size of b.png, while a.png is the input.
mogrify -crop '100x200+100+10' -write b.png a.png

In this case it takes 100px to the right by 200 pixel down, with an offset of the window from the upper right anchor of a.png by 100 right and 10px down. simple once grasped.

redpajama_set_name: RedPajamaStackExchange


A Nadex Touch Bracket is a contract which allows traders to speculate on a market's price movement within a pre-defined range. This price range is capped on the bottom by the floor and on the top by the ceiling. Within this price range, the value of the contract will move in linearity with the movement of the underlying market. Just as with any type of trading, if you think the market is going up, you want to be a buyer. If you think the market is going down, you want to sell the contract.
Touch Brackets are a new type of contract and can expire in one of two ways, by time or by price.
The maximum duration of a Touch Bracket is one week. At the beginning of each week, Nadex will list four unique contracts for each market. Unless a bracket is touched out, as described below, the contracts will typically expire on Friday afternoon; however, holidays may impact the actual date. On the expiration date and at the expiration time, these contracts will expire and settle to the Nadex Indicative Underlying Index for that market. Any realized profit or loss will be determined by the difference between the level at which the contract, or contracts, were bought or sold and the expiration value of the contract.
Expiration by price happens if either the floor or the ceiling are "touched" by the Nadex Indicative Underlying Index. A "touch" of the ceiling is defined as the price of the Indicative Underlying Index being equal to, or greater than the price of the ceiling. A "touch" of the floor is defined as the price of the Indicative Underlying Index being equal to, or less than the price of the floor. If either of these levels are touched, the contract is immediately expired at that price level. If you are the buyer of a contract, the floor defines your maximum risk and the ceiling represents your maximum profit potential. If you are the seller of a contract, the ceiling defines your maximum risk and the floor represents your maximum profit potential. If a contract is expired by the floor or ceiling being touched, a new bracket is created based on the level of where the previous contract was touched. Any new brackets created will have the same final expiration time as the original brackets created.
Of course, as with all Nadex contracts, you do not have to wait for expiration or for a floor or ceiling to be touched, but you can close your trade early to limit your loss or lock in profits.
How well do you know Nadex Touch Brackets?
The basic floor to ceiling structure of a Touch Bracket and the two means by which a Touch Bracket may expire.


The Peur platform, also known as Peur Marketplace, allows for payroll integration and payment solutions. Essentially, Peur gives merchants the ability to participate in a decentralized economy. The information transferred on Peur is secure, with only authorized users getting access to it. The team behind the project sees Peur as a way to revolutionize the method that employees use to pay their employees, improving efficiency and convenience.
1 Who Is Behind Peur?
2 What Does Peur Do?
3 What Are Some Key Features of Peur?
4 How Does Peur Improve Upon Traditional Methods?
5 What Are Some Solutions and Products from Peur?
6 What Are PURC Tokens, and When Is the ICO?
7 What Else Should You Know about PURC Tokens?
8 What Does the Peur Roadmap Look Like?
The CEO of Peur, Joachim M Steffensen, has 17 years' experience in information technology, marketplace companies, and ecommerce in Australia and Indonesia. The CFO, Taylah W Klien, has a commitment to long-term relationships with clients. She uses financial planning to assist clients with such things as insurance, estate, education, investment, and retirement planning strategies. Finally, the CMO, Catharina Latjuba, has more than 20 years of experience in marketing and strategy.
Peur is a completely decentralized marketplace that allows for payroll integration. It should appeal to those of all skill and experience levels, allowing them to manage and invest in digital assets and sell and buy services and products. It also provides a cryptocurrency to use for in-app payment.
What Are Some Key Features of Peur?
Because Peur uses the blockchain, it is decentralized, fast, extra-secure, and simple. Peur also has a limited token supply, allows for a direct conversion without any required third-party exchangers, and works as a long-term or short-term investment. In addition, it combines the B2B, B2C, C2C, B2E, and service sectors. Its integration of payroll functionality is also crucial.
How Does Peur Improve Upon Traditional Methods?
Unlike traditional platforms, Peur uses blockchain technology to encourage and leverage transparency and security. The blockchain technology prevents the ability of hackers to manipulate the platform. It delivers transparency via the immutable ledger that anyone can view at any time. Thanks to the blockchain, there is also no need for an intermediary, which reduces the cost of transactions. The use of smart contracts prevents any possibility of fraud for clients and merchants. Essentially, Peur's use of the blockchain allows for trustworthy, transparent commerce. Peur can also be used around the world thanks to the ability to use the Peur mobile app to exchange to cryptocurrencies or fiat currencies. There is even a reduced processing time thanks to the blockchain.
What Are Some Solutions and Products from Peur?
Peur works as an intuitive and powerful cryptocurrency marketplace. It works via your smartphone for convenience wherever you are. The Peur solution does not require a holding period, so merchants receive instant payment. They also do not need to use debit or credit cards or cash nor worry about a transaction limit. Merchants will appreciate that the maximum surcharge per transaction is 2 percent and the lack of membership fees. Everyone involved will take advantage of the cashback and loyalty programs used for transactions.
Employers can also submit payment instructions to ensure that Peur transacts them correctly. The team will calculate and then process payments. This includes reviewing, confirming, and processing all the calculations regarding salaries. This can include factors like taxes and new employees. Everything is then executed via smart contracts for efficiency, trust, and fairness. Finally, Peur can generate transaction slips and reports. Use this functionality to track the monthly payroll via generated reports or bank file listings.
What Are PURC Tokens, and When Is the ICO?
The PURC tokens will be the major method of payment in the application, as well as for the offline and online market and payroll. There will never be more PURC created. The team also has a buy-back program, which will ensure a demand that always increases. The team also sees a growing demand for tokens naturally since there is a $1 trillion market in the sector and the network around the world is growing.
PURC is an ERC 20 token. During the ICO, 1 PURC will be equal to 0.000125 ETH. There are 130 million tokens for sale, and the minimum investment is 1 ETH. During this crowdsale, Peur will accept contributions in ETH, DASH, BTC, and LTC, provided they meet the minimum requirement (or its equivalent). There is a soft cap of 2.5 million USD and a hard cap of 25 million USD.
Between April 24 and April 30, those who register for Peur's whitelist receive an additional 5 percent bonus in their token purchase in addition to the 10 percent bonus token benefit and buy-back priority. During this time, 1 ETH equals 8,000 PURC. From May 1 to 7, the 5 percent bonus for whitelist registration remains, but the token sale bonus drops down to 5 percent. This leads to a rate of 1 ETH for 6,400 PURC and a minimum purchase of 0.1 ETH. The whitelist registration bonus remains throughout the token sale, but the minimum purchases and standard bonuses decrease. From May 8 to 14, the minimum purchase is 0.05 ETH and the benefit is a 3 percent bonus. From May 15 to 21, there is no bonus and the minimum purchase remains the same. Finally, from May 22 to 28, the minimum purchase reduces to 0.01 ETH.
What Else Should You Know about PURC Tokens?
Of all the PEUR tokens, 65 percent are available for sale with 21.15 percent reserved for Peur communities and 8.75 percent distributed to the development team. There will also be 2.6 percent for the bounty campaign and 2.5 percent for the shareholders.
Of the funds raised during the sale of PEUR tokens, 50 percent will go to the marketing campaign, 25 percent to regulation, 15 percent to equity capital, and 10 percent to Peur development.
What Does the Peur Roadmap Look Like?
Phase Two of the Peur Roadmap finished in the middle of 2017 with the development of a minimally viable product. Now, the project is in Phase Three. A key part of this is the ICO for the token and listing PURC in exchanges, which will occur in May, June, and July, following the ICO.
Phase Four will begin in November and December of 2018 with open recruitment for the community and closing of the Peur beta platform. Then, in February 2019, Peur will continue Phase Four with the buy-back program for token holders from the pre-sale and open the Peur beta platform once again.
Peur is a cryptocurrency marketplace as well as a platform with numerous services for merchants, including payroll integration. Its use of the blockchain technology should help provide trust and security while saving merchants money and time spent on transactions.


Gentle drying and heating, with low turbulence, protects delicate samples where a fan airflow would disturb them.
The Sanyo Gallenkamp Oven has been redesigned by Fi-Streem; the result is the Fi-Streem Digital Vacuum Oven.
LabStrong Connect™ is a free downloadable software package for the Helix 250 Orbital Shaker.
The patent pending LabStrong EZ-Clamps were designed with the researcher in mind.


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He has collected 110 hits in 415 at bats while driving in 66 runs.You try too hard.I'm sure you've seen by now the team signed former Cardinals quarterback Blaine Gabbert this week �?I think your question came in just before the deal was reached.San Jose, of course, made NHL waves right before the start of the regular season when it acquired star defenseman Erik Karlsson from the Ottawa Senators.The odds for this matchup have Oakland at +118 and Texas at -128.
Nats outfielder Bryce Harper might not play regardless.Celtics at Bucks Boston won a fourth in a row Sunday, 128 over the visiting Kings.Wright has shortened his rotation and played five players for at least 16 minutes in the first half.They are 17th in the league in shooting at 45%, while their average scoring margin is -7.
Every April, the city hosts the Dogwood Arts Festival, which draws 40 to 50 visitors over the course of a three-day weekend.To find all players born within a certain month and year, for example all players born in December of 1985, choose the month and year with the drop down boxes and then choose the 'Month and Year Search' option.He pulls down 4 rebounds per contest and dishes out 5 assists per game as well.In the next game, the Pacers routed visiting Houston 114.Big left arrow icon Big right arrow icon Close icon Copy Url Three dots icon Down arrow icon Email icon Email icon Exit Fullscreen icon External link icon Facebook logo Facebook logo Instagram logo Snapchat logo YouTube logo Grid icon Key icon Left arrow icon Link icon Location icon Mail icon Menu icon Open icon Phone icon Play icon Radio icon Rewind icon Right arrow icon Search icon Select icon Selected icon TV icon Twitter logo Twitter logo Up arrow icon User icon Audio icon Tickets iconAdd to calendar iconNFC icon AFC icon NFL icon Football iconCarousel IconList ViewFootball iconCarousel IconList View.The 2000s have been awash with notable Lilies: Harry Potter's mother and characters on Modern Family, Gossip Girl, and How I Met Your Mother.
Morneau won the AL MVP award in 2006, while Mauer captured that same award in 2010.Lomachenko's southpaw stance combined with Pedraza's orthodox positioning made it hard for anyone to land cleanly.


The Little Mermaid is a rather simple action side-scroller. You play Ariel, a mermaid princess, who has just given up life as a human to return to the ocean and save her undersea friends. She sets out to defeat Ursula, an evil witch that is trying to take over the ocean, and battles all manner of marine life along the way. One of the many games based on a Disney animated movie, this is one of the most overlooked. The NES version was produced by Capcom of America.
"Flounder, Sebastian and Scuttle have bad news. The evil witch Ursula is taking over the whole ocean! To save her friends, Ariel gives up her human form, and her prince, Eric, to rush back to the foamy depths of the sea. She must stop Ursula!"
Back to mermaid form you go! The game is set mostly underwater with a few brief points where you're allowed to jump onto land. There are a total of five stages and one final boss stage, making it a short game compared to other NES titles that were released around that time. You move from section to section, battling fish, seahorses, shrimp and crabs until you reach the boss for each level. Boss fights are pretty much all the same, with the exception of the type of boss you're fighting. You use bubbles generated by your tail to encase the local wildlife in a large bubble, allowing you to grab hold of them. These bubbles can then be thrown at other fish, nooks and crannies, or the boss of the level. You also pick up shells to use as shields, a la koopa shells in Super Mario, as well as busting open locks on treasure chests. Treasure chests generally hold red and blue (the manual calls them green) pearls that enhance your bubble-generating powers. Red pearls enhance bubble power and blue enhance the range that your bubbles travel. With no power pearls, you need to hit small enemies twice to encase them and cannot move objects with your tail. After obtaining one power pearl, you can encase small enemies with one hit and you can set barrels rolling. After two, you can encase large fish and push small rocks. At three, you can push large rocks and the enemies you encase will sink. Concerning the nooks and crannies that I mentioned earlier, you will encounter parts of the scenery that will have a space just wide enough in which to throw a small fish. In most cases, if you do just that, you will receive a heart or treasure item. Small hearts refill one health unit, large hearts refill three, and the two treasure items only serve to give you bonus points after completing the level. Ariel can also dig up seashells by swinging her tail through the sand.
Graphics: I don't know if it's just my eyes, but it seems that the colors aren't exactly what they should be. The reds are more magenta and greens are more cyan. This may actually be because the NES does not output in true RGB, but I'm no expert on these things. Other than this, the graphics are standard NES issue. Depending on the level, your surroundings are reminiscent of a coral reef, sunken ship, or ice-filled arctic ocean. The sprites (enemies, player, objects) are drawn to the likeness of characters in the movie, right down to the strange eel-like kelp that appears just before Ursula's lair. Ursula herself, in true boss form, takes up 75% of the screen, although most of her is not animated.
Sound: The music reminded me of Adventure Island because of all the Caribbean music being played throughout the main parts of the levels. The music during the "cut scenes" is pretty decent, but the boss music is basic and is the same for each boss with the exception of the final battle with Ursula. The end music is, of course, a part of the song "Under the Sea" from the movie. The sound effects are good, with the exception that the same sound effect is used both when you are injured and when a boss is injured.
Play Control: Control is very good and easy to get used to, as is customary with most Capcom games. Ariel swims around the screen in free movement and she can speed through the water when you hold B. Pressing A will generate bubbles for trapping enemies, moving objects and stirring up items from the sand. In level 5, you also use A to enter doorways. Pressing start will bring up the status screen, showing your score, number of lives, number of blue and red pearls and bubble style.
Final Verdict: This is an all around fun game for when you have under an hour to kill. I personally enjoy playing through it on my PSP since the speed in which you can play through it is conducive to a handheld game as well as the PSP's average battery life (Ooh, right in the kidney, PSP!). You can find this pretty much anywhere that NES games are sold for under $5.00. At the very least, The Little Mermaid will give gamers of all ages and abilities something they can brag about upon completion.


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Ariya Jutanugarn: The Face of Golf's Future
March 18th, 2014 Elizabeth Bethel
Image Courtesy of Bill Fields/ Golf Digest
Ariya Jutanugarn is not a typical Thai teenaged girl. To watch the eighteen-year old play a round of golf is to watch raw energy, aggression, and athleticism brought into a singular focus. The youngest child in a golfing family — Jutanugarn's parents own Rose Garden Golf Course in Bangkok, Thailand and her older sister, Moriya plays on the LPGA Tour — Airya comes to the tee box fully prepared mentally as well as technically to seize the win.
Like Lexi Thompson, Lydia Ko, Charley Hull, and Minjee Lee, the other rising teen stars on the global women's golf stage, Jutanugarn picked up a golf club when she was very young. Jutanugarn's public golf career began in 2007 when as an eleven-year old she qualified to play in the LPGA Honda Thailand, becoming the youngest player ever to compete in a Tour event. She finished at nine strokes over par, in fifty-first place. It wasn't a particularly auspicious finish but it marked the start of a seven-year amateur career that took her to the top of the rankings.
A Compelling Amateur Career
Ariya Jutanugarn, 2011 Junior PGA Championship. Used courtesy www.pga.com. Photo credit: Pritchard/PGA of America.
By 2011 the fifteen-year old amateur dynamo had a mature and fierce game in her bag and was competing across amateur and professional venues.
That year Jutanugarn took home amateur victories from the U.S. Girls' Junior, the AJGA Rolex Girls, and the Junior PGA Championship, where she romped over the competition to a ten-stroke victory. She also earned low amateur honors at the Kraft Nabisco Championship when she tied for 25th place, and she claimed her first top-ten pro venue finish at the Honda LPGA Thailand when she tied for eighth place.
She ended the 2011 season as top amateur in the Polo Golf Rankings and being named Rolex Junior Player of the Year, a singular honor that's also been bestowed on some of the great golfers in the current generation: Tiger Woods, Phil Mickelson, Charles Howell III, Hunter Mahan, Scott Verplank, Cristie Kerr, Inbee Park, Paula Creamer and Morgan Pressel.
By 2012 it was clear to everyone that Jutanugarn's transition from amateur to pro golfer was inevitable. She won the U.S. Junior Amateur, U.S. Amateur Public Links, AJGA Rolex Girls Junior, Junior PGA, Canadian Women's Amateur and Polo Golf Junior Classic. She was also playing regularly in pro events, finishing the Sime Darby LPGA Malaysia in a tie for ninth place, the Honda LPGA Thailand in a tie for twelfth, and the Kraft Nabisco Championship in a tie for twenty-second.
Jutanugarn was again recognized by the AJGA as Rolex Junior Player of the Year and then in December, went on to win the Lalla Aicha Tour School Final Stage for 2013 by five shots. She ended her amateur career in December 2012, ranked 2nd on the Amateur World Rankings behind Lydia Ko. She was more than ready to step up to the tee box as a pro.
2013: The Rookie
Ariya Jutanugarn started her rookie year on the LET but faced the same dilemma Lexi Thompson had confronted when she turned pro at sixteen and was denied access to LPGA Q-School because of her age. Like Thompson, Jutanugarn's petition asking that the age requirement be waived was denied and she gained access to LPGA-sanctioned events only through sponsor exemptions. Ariya went on to LET Q-School and a series of top-five LET and LPGA finishes that, in the final analysis, made Commissioner Mike Whan's decision look, in the words of GolfWeek's Beth Ann Nichols, "rather silly" (May 2, 2013).
Her rookie year began beautifully and she played inspired, fearless, aggressive golf. Opening her rookie season at the Volvik RACV Ladies Masters, she finished in a tie with Chella Choi for second place, behind Australian Karrie Webb. It was a terrific start on a promising year. Jutanugarn followed with a twenty-fifth place finish at the New Zealand Women's Open.
Ariya Jutanugarn (right), consoled by sister Moriya after losing the 2013 Honda LPGA Thailand to Inbee Park. Used courtesy www.lpga.com.
Using sponsors' exemptions, she entered the first of four LPGA-sanctioned events she'd play in 2013, the Honda LPGA Thailand, and led the field by three strokes going into the final hole. Disaster struck on the 18th green, coming in the form of Rookie Anxiety. Jutanugarn finished the final hole with a triple and the tournament as runner-up to Inbee Park.
Jutanugarn bounced back and kept putting out a world-class game, finishing in fourth place at the HSBC Womens Champions and then in twelfth place at the World Ladies Championship. The LET moved on to Morocco and Jutanugarn claimed her first pro victory at the Lalla Meryem Cup, where she finished three strokes clear of Beth Allen and another promising rookie, Charley Hull.
When the LET paused, Jutanugarn entered three more LPGA events, the Mobile Bay Classic, the Kingsmill Championship, and the Lotte Championship. She finished inside the top-five in all three events.
At the Kingsmill, Jutanugarn was paired with Germany's Sandra Gal, a six-foot tall powerhouse, who was amazed at the force of Jutanugarn's ball striking:
Sandra Gal. Used courtesy www.golfweek.com. Photo: Tracy Wilcox.
You just hear the sound. She hits it so hard. There's a lot of potential there, my gosh. There's no fear. And she makes a lot of putts.
Then, on a lovely summer day during a practice round at the Wegman's, Ariya was chasing her older sister Moryia, trying to squirt water on her. It was an innocent, playful, sisterly moment and it ended in a shoulder injury for Ariya that required corrective surgery and months of rehab.
With her place in the US Women's Open, the RICOH Women's British Open, and The Evian Championship already secured, Jutanugarn's rookie season was cut short. But in half a year she'd entered nine events, made nine cuts, put her first pro victory and six additional top-five finishes on her resume.
Ariya Jutanugarn, 2014 World Ladies Championship. Used courtesy www.zimbio.com. Photo: Victor Fraile/Getty Images AsiaPac.
After months of work Ariya Jutanugarn's back on the course, although she's not yet played in an LPGA-sanctioned event. She missed the cut at the Women's Australian Open, finished in a tie for fourth at the World Ladies Championship and in a tie for twelfth at the Lalla Meryem Cup. This will be a year of rebuilding her momentum, testing and gaining confidence in her shoulder, and recovering that powerful, aggressive game that makes her a standout player, poised to join Lexi Thompson, Lydia Ko,
Charley Hull and Minjee Lee lead golf's next generation of players.
I'm going to enjoy watching Jutanugarn unpack her game this season.
Airya Jutanugarn
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Our MSc is designed to foster entrepreneurial and innovation skills in students, to enable you to have a career managing innovation in existing firms and to found new ventures.
The MSc in Entrepreneurship and Innovation develops the knowledge and skills needed to identify and screen opportunities, and implement them within new and established organisations.
You will learn how organisations build value, the challenges and opportunities facing new and existing businesses, and the ability to design and implement creative strategies.
You will have the chance to work on real-world projects and engage with external clients through our group consultancy projects and treks.