LDAP Performance plays a major role in the overall performance of the application and is one of the highly critical factors during the implementation phase. It is paramount to have the LDAP properly tuned with appropriate configuration.
Oracle provide LDAP performance testing tool to evaluate the performance of an LDAP server. We can use this tool for various LDAPv3 compliant directory servers including Oracle Internet Directory, Oracle Virtual Directory and Oracle Unified Directory. We will have a look at the options provided by the utility and how to use them.
You must have Java installed on the system and it should be in the PATH.
The addrate utility measures the throughput and response time of ldapadd operations.
The authrate utility measures the bind throughput and the response time of a directory service using user-defined bind or search-then-bind operations.
The delrate utility is used when you want to measure the throughput and the response time of delete operations.
The modrate utility measures the throughput and response time of ldap modify operations.
The searchrate utility measures the throughput and respons time of ldap search operations.
LDAP Performance Testing tool is an excellent utility provided by Oracle to test the performance of add, delete, modify, search and bind operations on an LDAP server. It provides you the throughput and response time of each of the operation and helps you evaluate the performance of the LDAP server.


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text:
Q: How to check which textfield is pressed? I want to change the value of an array based on the textfield that has been clicked. I have the following code:
func textFieldShouldBeginEditing(_ textField: UITextField) -> Bool {
        switch textField.tag {
        case 1:
            currentHospitals = hospitalsMCT
        case 2:
            currentHospitals = hospitalsSohar
        case 3:
            currentHospitals = hospitalsMusandam
        default:
            return false
        }
        return false
    }

but when I press alt and hover over the textFieldShouldBeginEditing it doesn't recognize the function.
What am I doing wrong here?
and are there better ways to detect which textfield is pressed?

A: just type that code in your view controller
// MARK: - Variables
var txtTemp: UITextField!
// MARK: - Delegate Methods
// MARK: UITextField
func textFieldDidBeginEditing(_ textField: UITextField) {
    txtTemp = textField
}

redpajama_set_name: RedPajamaStackExchange


Something about houses attracts me. I notice Tudors with their brick facings, happy bungalows – especially the ones with porch swings – cottages framed by specialty gardens.
And I am writing my memoir focused around the theme of various houses in which I have lived. Maybe I should have become a realtor.
The house Mom bought, then had to leave behind, is a typical Oklahoma ranch style. When dementia first began to squeeze its nasty tentacles around Dad, Mom felt as if she needed to get Dad off the farm and into the safety of town. Neither of them could fully operate the farm anymore and when dementia stole Dad's vocation from him, Mom made the final decision.
They settled into the brick ranch and lived there as Mom nursed him and my sister Kris helped her for 10 shadowy years. Then on a gentle spring day in May, the angel of death took Dad away.
Ah – if only it had been that simple.
The ranch home evolved into a pain-enshrouded house as my sister's beloved cat, Champ, sickened and Kris had to put him down. What an oxymoron of love and pain when we have to call the vet and schedule a death – yet in the doing of it – we exhibit the release of love for our furry babes.
The ranch then became the forecaster of Mom's next move as she began forgetting the location of pots and pans, the important bills she threw away, the pills she counted numerous times before swallowing.
It was in the ranch house where Mom passed out, her brave heart needing the extra pulsing of a pacemaker, her head bleeding from where she banged it when she fell.
When she had to leave – a series of ambulance rides transported her from the hospital to the nursing home rehab and later to her studio apartment in assisted living.
Meanwhile, the house of sickness waiting remained. Mom never had a chance to tell it good-bye.
The yard is its best feature, a surrounding halo of plantings – zinnias, pansies and the four o'clocks that actually open at four o'clock each day.
I like the house, usually finding a slice of serenity inside when I visit family. Although it is a bit weird to sleep in the bed in which I was conceived, I gaze at pictures on the walls and remember when we gave them to Mom and Dad. I hang my clothes in the closet and touch hangers that hold Mom's winter coat, a suit she no longer wears, a knit shirt with embroidered daisies – some of the threads barely hanging on to their frayed outlines.
Mom's brush and comb still wait for her on the dresser, flanked by doilies her mother crocheted, their white loops now fading into the yellows of the past. Mom's massive mahogany furniture which none of us will want – a sturdy pronunciation of her style.
But Mom never seems to miss the ranch house. She only remembers the farm as her home where she raised three children, cooked harvest meals and hung clothes to flap on the line like fabric silhouettes of each family member.
This place – this emotional shelter, safe within its strength yet even now scented with illness and Mom's shadowed existence foreboding.
My sister is now the keeper of the ranch house. It serves its purpose of shelter for her, of last memories where our parents aged out in its rooms. Yet it also continues to play out its description as the house of sickness waiting.
Kris struggles with arthritic pain and several types of joint diseases which emit a pain I cannot imagine. She limps through the house, taking care of her cats and the neighbor's pets, then ambles outside to feed the birds and pull weeds from the gardens her green thumb has created.
The flag she painted on barn tin bears the symbol and colors of the University of Oklahoma. Inside the house, the walls record screams of pleasure whenever the Sooners do their thing and score multiple touchdowns per game.
Then we will know that somehow – in that house – our family made an imprint on the earth.
Houses become the measurements of years as each place serves a purpose. And within each place, we wait for that final call home that contains no walls, needs no paint and provides the freedom where our spirits roam.
love your descriptions and topic and how this and your farmhouse impacted you and family. I studied at Oklahoma Christian University in OK City, so I, too, have a link to Oklahoma!
Thanks, Amy – I didn't know you had studied at OCU. Great school, I've heard. My education degree is from Southwestern in Weatherford.
Rebecca, as my husband and I are on our new journey of relocating to Naples, FL this post touched my heart. We are searching for a house to make into our new home! I could really relate to this as we are moving on from KS down to Florida and our kids are leaving the nest. Thanks for this blessing today!
Thank you, Laura – I'm so glad it was an encouraging post for you. Blessings as you seek God for the exact right place to be.
Been in a kind of a mess myself RJ with my own condition and now the conditions of one of my daughters. But I still look forward to your posts. They give me comfort as I walk the path the Master has for me. We'll will, all of His children, meet in Heaven one day and crown Him Lord of all! That's comfort. I look forward to that dwelling place that He has prepared for me and all those who love Him. I never stop praying for you all.
Thank you for your faithful prayers, and I'm sorry to hear about your own mess. But praise God for that day when we meet and peace abounds forever. Looking forward to that with you !
A melancholy description of this time in my life, but a reminder of hope – good things to come. Thanks Rebecca.
Yes, Evie – you know first hand about this issue. Prayers for you !
The older I get, the more the thought of leaving my home seems…..ummmmm, difficult (and that's an understatement.) I relate to your article.
You're so right Karen. That's the most difficult step for someone moving into assisted living.
That was so so good. Thank you RJ for putting into words the feelings I recognized as I read.
Thanks, Sylvia. At some point, this post may be part of my memoir.


text:
A Composer's Guide to Game Music
A comprehensive, practical guide to composing video game music, from acquiring the necessary skills to finding work in the field. Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservat A comprehensive, practical guide to composing video game music, from acquiring the necessary skills to finding work in the field. Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservatory, including the creation of linear loops, music chunks for horizontal resequencing, and compositional fragments for use within a generative framework. In A Composer's Guide to Game Music, Winifred Phillips--herself an award-winning composer of video game music--provides a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. Musicians and composers may be drawn to game music composition because the game industry is a multibillion-dollar, employment-generating economic powerhouse, but, Phillips writes, the most important qualification for a musician who wants to become a game music composer is a love of video games. Phillips offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business. A Composer's Guide to Game Music offers indispensable guidance for musicians and composers who want to deploy their creativity in a dynamic and growing industry, protect their musical identities while working in a highly technical field, and create great music within the constraints of a new medium.
30 review for A Composer's Guide to Game Music
David – Jun 26, 2020
This book offers guidance to composers who are interested in writing music for video games. The author, Winifred Phillips, is a very accomplished game composer. She has many important credits to her name. I recently watched a video of an interview of her at a game music convention. She comes across as a very articulate, authoritative figure. Her book is very interesting, but difficult to read. It's not that is filled with technical jargon--she explains all of the terms very well, without coming a This book offers guidance to composers who are interested in writing music for video games. The author, Winifred Phillips, is a very accomplished game composer. She has many important credits to her name. I recently watched a video of an interview of her at a game music convention. She comes across as a very articulate, authoritative figure. Her book is very interesting, but difficult to read. It's not that is filled with technical jargon--she explains all of the terms very well, without coming across as condescending in any way. But her writing style is rather academic and dry. So, if you are interested in this subject, my recommendation is to read this book, by all means--but do not expect to be entertained. The book is very informative but not really engaging. The book is only 275 pages including references and index; I expected to read it quickly because I am truly interested in the subject--but it took quite a long time to read because of the book's dry style. The book is primarily about the psychological effects of music on game players. It does not delve deeply into the tools of composing. The chapter on workflow is about interactions with the game team, and does not delve into the workflow in the composer's studio. Winifred Phillips has a lot of excellent advice for game composers. For example, in the initial stage of a game, players might be overwhelmed by the game's complexity. Game composers should offer emotional reassurance to the player, and not increase player anxiety. Game music can offer hints to the player. For example, a decrescendo or the absence of music can lead a player to go elsewhere for the next action. Likewise, the introduction of a new musical motif can hint to a player that he is approaching a new area. Game music can identify two different states; combat and exploration. The book includes the results of a lot of psychological research into the effects of music. Music can distort our perception of time. For example, major keys, loud music, and fast tempos cause a listener to perceive time as moving slowly. Music in a minor key, atonal music, and complex music all tend to speed up the perception of time. The mood of music can support or oppose a player's perception of a visual scene. Upbeat, positive-mood music can widen a player's field of vision, while sad music can narrow it. A lighter mood can make a task seem more interesting. Winifred Phillips has many recommendations for game music composers. She suggests going to the MAGFest convention. She has suggestions for preventing repetition fatigue; changes in instrumentation, theme transformations, and theme fragmentation. She suggests perpetual development of themes to avoid the sensation of repetition. The book suggests the use of the Myer-Briggs personality test to study the demographics of game players, and the types of games that are attractive to different personality types; conquerors, managers, wanderers, and participants. She recommends that game composers request a number of documents from game producers; design documents, dialogue script, gameplay capture, concept art, storyboard, cinematics, game builds, and most important, the music asset list. This book is not intended for the average game player, or even for the multitude of lovers of game music. It really is intended for composers. There are not many similar books on this subject; I am not sure if there are any, in fact. I have read a number of books about the psychological research into the effects of music. But none of those books cover the same ground as this book. For this reason, I strongly recommend this book.
Mark Poulsen – Sep 15, 2015
An astonishing contribution to the field of Game Music. It provides a great overview of video games as a medium of expression and play, and how music works with such an interactive platform. It is also highly entertaining, and Phillips personal touch in the book adds to its quality. This book is for anyone interested in video games as an artistic platform of ludology, narratology and game design, and where music fits in that world. No music education is needed, and it is quite friendly for newco An astonishing contribution to the field of Game Music. It provides a great overview of video games as a medium of expression and play, and how music works with such an interactive platform. It is also highly entertaining, and Phillips personal touch in the book adds to its quality. This book is for anyone interested in video games as an artistic platform of ludology, narratology and game design, and where music fits in that world. No music education is needed, and it is quite friendly for newcomers.
Jon Budd – Apr 19, 2020
A few of the other lower rated reviews convey my points already, so I won't delve too deeply - but bottom line, I'm just not sure who this book is for. Phillips discusses both music and video games in a way that seems to assume that the reader isn't very familiar with either, and it makes it a difficult read for someone very familiar with both. I was hoping for a deeper dive into her workflow, some insight into her past successes and failures, and some recommendations for audio software and reco A few of the other lower rated reviews convey my points already, so I won't delve too deeply - but bottom line, I'm just not sure who this book is for. Phillips discusses both music and video games in a way that seems to assume that the reader isn't very familiar with either, and it makes it a difficult read for someone very familiar with both. I was hoping for a deeper dive into her workflow, some insight into her past successes and failures, and some recommendations for audio software and recommended listening. As it stands, the book doesn't provide any of that - it mostly gives a very high-level overview of various aspects of games and music, and that just doesn't make sense as a treatment for such a niche topic. On top of that, I just didn't jive with the writing style - there are a lot of bits of flowery writing and unnecessary metaphors, and it just feels like she was trying to pad the book's length. I also think that this subject matter could be better conveyed in an interactive medium online, with audio samples to listen to, perhaps some drafts and finished versions of compositions, etc - but that's just a limitation of the medium of a book, so this isn't a ding on the book so much as an observation.
Matt Buckley – Dec 06, 2017
At once practical and inspiring As someone who grew up with a nearly equal love for both video games and music, I have long desired to marry the two passions with a career in video game music composition. I'm entrenched in the goings-on in the games industry, and I've been a practicing composer for the majority of my life, but I've never known quite where to start when it comes to actually putting music in a game. A Composer's Guide to Game Music feels aimed directly at my archetype. It's a crash At once practical and inspiring As someone who grew up with a nearly equal love for both video games and music, I have long desired to marry the two passions with a career in video game music composition. I'm entrenched in the goings-on in the games industry, and I've been a practicing composer for the majority of my life, but I've never known quite where to start when it comes to actually putting music in a game. A Composer's Guide to Game Music feels aimed directly at my archetype. It's a crash course for composers who feel a deep desire to bring their craft to the gaming medium. It concentrates on passion and dogged determination while also explaining aspects as specific as necessary software and elevator pitches. Upon finishing the book, I came away with ideas, confidence, and direction. I feel a fire has been lit and I may actually know where to go from here. This is a near mandatory read for anyone even considering entering the game music composition field. Start here, folks.
David – Dec 13, 2014
In "A Composer's Guide to Game Music" (MIT Press), Winifred Phillips discusses all aspects of a career in creating music for video games. On the business end, she discusses interacting with development teams, self-promotion, and generating leads. Business is necessary but boring, so that's all I'll say on this. On the technical side, she discusses how to grow your home gear (DAWs, Plug-ins, audio interfaces, etc.) and set up a workflow. Lots of opportunity to dive into techno-religious wars here, In "A Composer's Guide to Game Music" (MIT Press), Winifred Phillips discusses all aspects of a career in creating music for video games. On the business end, she discusses interacting with development teams, self-promotion, and generating leads. Business is necessary but boring, so that's all I'll say on this. On the technical side, she discusses how to grow your home gear (DAWs, Plug-ins, audio interfaces, etc.) and set up a workflow. Lots of opportunity to dive into techno-religious wars here, but she always speaks in positive terms about tradeoffs, and without a hint of bias. She compares (at a high level) Wwise, FMOD, and XACT, the middleware that embeds compositions into game-interactive frameworks (all of which were new to me). But what made the book worth reading was how she communicates her approach to, and her experience of, composing game music. I didn't exactly learn new ways to compose, but it was the first time I'd heard bits of my own internal compositional narrative (if you will) explained back to me. I had thought these private and difficult to express, but she does so effortlessly. She's given me hints at a grammar with which to begin practicing how to explain them to others. Winifred hits on a smattering of composing topics: themes (leitmotif, idee fixe, etc.), "music as audience" (music that comments on the player's actions), diegetic music, generative music, stingers, etc. But with most topics, one of her primary concerns is avoiding potential sources of game music repetition fatigue. Any kind of repeating music needs to be carefully constructed to avoid landmarks "that would alert listeners to the looping nature of the work". This is challenging for short works that have global scope: "our goal as game composers will be to create stingers that feel intimately connected with the rest of the game score, rising out of the general music texture that has characterized the whole game". She explores endowing a loop with "the capacity to include so many different expressions of thematic material, it would subtly overload the listener, causing the sections to blend together in the mind and become less readily recognizable." The most useful compositional insights are found in her chapter covering horizontal re-sequencing and vertical layering -- skill sets nearly unique to video game composers. She writes, "Once the decisions were made regarding what instruments would be featured in which layers, I could begin actual composition. Composing a track for vertical layering requires a peculiar mindset on the part of the video game composer. Instead of composing a single piece of music, we are essentially composing several coexisting musical works. Each layer needs to have its moments to shine, but not at the expense of the others. Ideally, the foreground content of a layer should behave opportunistically, nimbly jumping into the gaps occurring in the foreground content of the other layers." She ties most concepts back to concrete examples within recognizable game titles, often with a few bars of supporting sheet music. Readers can't help but think of their own gaming examples. The vertical layering and stinger discussions had me thinking of 'Peggle 2' (2013), where all the in-game events add point-in-time musical content to the score (matching the key and mode). Or of 'The Legend of Zelda: Skyward Sword' (2011), where playing the harp produces arpeggios that match the shifting key of the background music. Or in 'Sphinx and the Cursed Mummy' (2003), where sword strikes ring out as orchestral strikes that align with the fight music, and create tonal resolution on the final winning strike. These little nuances create a far more immersive experience, even when not perceived directly by less musically-attuned gamers. It's rare that I have someone to discuss music creation with, so it's nice to find books now and then where authors talks about their creative experiences in an easy conversational style. I'll close out with a few examples of Winifred doing just that: On background research into unfamiliar genres: "We can't write in a musical genre that we hate. Either we turn down the gig or set aside our emotions and listen for some musical element in that genre that tickles our interest. If we listen carefully enough, there will always be some technique or effect that will intrigue us. Because we're composers, music by its every nature is fascinating to us. We can't help but find some kernel of cleverness in any musical genre. In fact, we should look on the whole process as an enjoyable treasure hunt." On constraint-based composing: "Limitations don't have to stand in the way of composing meaningful and artistic music. They may guide us in unanticipated directions, coaxing inspired musical choices from us that might not have otherwise occurred to us." On gear: "My personal philosophy is that if a piece of technology stimulates my musical creativity, I'll be open to buying it. But if it seems more geared toward my inner audio engineer, I'll keep my money in my pocket. I don't want to be spending hours tinkering with a piece of gear. Technology should do its job and stay out of the way. That being said, if I find a piece of software or equipment that is capable of delivering something I desperately want for a project, I'll be willing to spend an inordinate amount of time finessing and fiddling with it. I own one software application that shall remain nameless and that I regularly curse to the skies. It has an unintuitive interface, unpredictable operation, and a tendency to crash. Despite this, I still use it because I love the sound, and there's nothing else on the market like it. This doesn't mean that I'm not keeping a watchful eye for a replacement, though."
100 More! – Nov 28, 2019
This is a high 3 1/2 stars, so I'm rounding up. This is something of a niche book, but it's a great read for the niche it fills. Others have stated that it is filled with some common sense knowledge, but I would argue that it only seems like common sense after it has already been stated, and that much of this information - even if seemingly intuitive - has value in being simply expressed on a page. Click here to hear more: https://soundcloud.com/geo-flores-709... This is a high 3 1/2 stars, so I'm rounding up. This is something of a niche book, but it's a great read for the niche it fills. Others have stated that it is filled with some common sense knowledge, but I would argue that it only seems like common sense after it has already been stated, and that much of this information - even if seemingly intuitive - has value in being simply expressed on a page. Click here to hear more: https://soundcloud.com/geo-flores-709...
Jamie Mullis – Jan 04, 2021
A fantastic intriduction A book that provides an introduction to terminology, processes and the business of video game music. It provides a base for ideas into further research that has been written in a concise manner no faff, all good stuff. A great light and informative read.
Carol – Feb 10, 2018
I'm not a music/sound person but I read this for a research paper for a sound design class and really enjoyed it. As a gamer I found the roles and functions of sound design especially interesting. I'm not a music/sound person but I read this for a research paper for a sound design class and really enjoyed it. As a gamer I found the roles and functions of sound design especially interesting.
Rick Sabatini – Dec 01, 2020
Yombai Snockburst – Jan 12, 2018
a pretty good intro if you're at least intro level. Way better than the porcupine (although exquisitely dehydrated) alternative my course administered; 'On the track'. a pretty good intro if you're at least intro level. Way better than the porcupine (although exquisitely dehydrated) alternative my course administered; 'On the track'.
BCS – Jun 18, 2014
Writing music for computer games offers a unique set of challenges to composers, and good game music, it seems, can acquire a fan following in its own right. Written by an experienced game music composer, this book is a whistle-stop tour of a variety of topics relating to writing music for games. Although the overall chapter structure tends to wander between topics, the book's content can be broadly categorised into three key themes: The first theme considers the individual's role as a game compos Writing music for computer games offers a unique set of challenges to composers, and good game music, it seems, can acquire a fan following in its own right. Written by an experienced game music composer, this book is a whistle-stop tour of a variety of topics relating to writing music for games. Although the overall chapter structure tends to wander between topics, the book's content can be broadly categorised into three key themes: The first theme considers the individual's role as a game composer. Beginning with a general description of the motivation and skills required of a game composer, the book gives an orientation to game genres and terminology as well as practical advice on integrating with a (possibly remote) game development team. Based on her own experiences, the author outlines the typical organisation of game development teams and processes, and describes the composer's involvement with them. There is an overview of the various kinds of musical assets that a game development team may request, along with the materials a composer may require from the development team. The author provides practical advice on establishing and promoting oneself as a game music composer. The second major theme of the book is an exploration of some of the principal relationships that exist between games, their music and their players. Here the author describes some of the important roles and functions of music within game environments. The author explores the use of music in assisting players in becoming immersed in the game as well as the importance of musical themes as aural signposts. There is also a brief review of two key pieces of research, which together attempt to correlate game genres with the musical preferences of typical players. The third theme overviews various technical aspects involved in game music composition. The discussions include practical approaches to common game music challenges as well as brief descriptions of prototypical musical assets, such as loops, stingers and one-shot tracks. There is a good overview of various types of game music systems, including interactive systems, and the impact of these systems on the composer. Finally, the book contains a brief guide to common composition tools and technologies and offers hints on building a studio. While I found this to be an enjoyable read, I thought that the music composition content was rather simplistic and likely to be familiar to the target readership. Since the narrative cites many example game music tracks to which the reader may not have access, I think the book may have benefitted from audio examples perhaps on CD or on the books website. Reviewed by Patrick Hill CEng MBCS CITP
Mark Jones – May 14, 2014
I found this book to be a chore to read for a variety of reasons that are not all exactly faults if considered independently, but leave me somewhat confused as to who the author's target audience is, and exactly what she is trying to teach us. I think my major issue with this book is the quality of the writing: her words just roll listlessly past my eyes, paragraph after paragraph of dry, emotionless text. Her passion for the subject is buried within those words, but it feels sterilised and strip I found this book to be a chore to read for a variety of reasons that are not all exactly faults if considered independently, but leave me somewhat confused as to who the author's target audience is, and exactly what she is trying to teach us. I think my major issue with this book is the quality of the writing: her words just roll listlessly past my eyes, paragraph after paragraph of dry, emotionless text. Her passion for the subject is buried within those words, but it feels sterilised and stripped of the energy and magic that could have been there. One could argue that the author is writing in an academic style, but her constant references to her own work makes her writing seems very insular and short-sighted: in academic writing, you seek validation for your assertions and ideas through analysis of other published works - and yet there is the pernicious taint of conceit bleeding into her words, as opposed to the confidence of well-referenced academic writing. I see what she is trying to achieve, but I feel that this book is only really suited to somebody with minimal knowledge of both video games and music, but an interest in pursuing a career in composing for games... If such a person exists, I would have to ask where their desire to compose comes from, and why they are so interested in video games... I just don't think there are many such people, and consequently, I don't think that there are many people who would find this book useful.
João Mascarenhas – Dec 22, 2014
This is a great book for everyone in the videogames industry. Obviously good for composers/musicians, it covers everything we need to know, so I'll skip that part. Not only as a composer but also as a gamer I really feel many indie game developers need to know more about music for games. They need to see the importance that the music and sound has and that they won't go far by using some random sounds/music they find online or that some friend does. It's a job to someone that knows what he's doi This is a great book for everyone in the videogames industry. Obviously good for composers/musicians, it covers everything we need to know, so I'll skip that part. Not only as a composer but also as a gamer I really feel many indie game developers need to know more about music for games. They need to see the importance that the music and sound has and that they won't go far by using some random sounds/music they find online or that some friend does. It's a job to someone that knows what he's doing and that's more than making music. Music for games is very specific, it's something that can make gamers feel the immersion or not. You can't feel it if you are on a FPS horror and the steps sound like heels. You can't feel it if you are on a fast paced shooter and the music does not follow the rhythm. And that's it, I see a lot of mistakes audio related and that's why I wrote this kind of review. Please stop it with midi music that sounds like 1994. So as I said, I recommend this book for everyone in the videogames industry that want to take it further.
Junior – Nov 30, 2014
This book explores a variety of useful topics within the composition of game music. Particularly helpful is an examination of game music's modular possibilities, from strategies on creating seamless loops that don't get dull to ideas on deploying layers within an arrangement to complement the player's experience. There's also a handy rundown of standard staff roles at a game company and some info on how the composer will usually interact with all these folks as the process moves forward. A worth This book explores a variety of useful topics within the composition of game music. Particularly helpful is an examination of game music's modular possibilities, from strategies on creating seamless loops that don't get dull to ideas on deploying layers within an arrangement to complement the player's experience. There's also a handy rundown of standard staff roles at a game company and some info on how the composer will usually interact with all these folks as the process moves forward. A worthwhile read for anyone interested in entering the profession of game music.
Ross – Nov 30, 2014
Winifred Phillips's handbook is a straightforward and engaging text, and as a composer who is considering pivoting towards video game music, I found her careful balance of auditory research, industry practices, and advice (both technical and musical) eye-opening and helpful. Most of all, I appreciated her sincere belief in game music's art value, which she uses as a refreshing touchstone throughout her book. Rarely have I read a technical guide with so much gusto! Winifred Phillips's handbook is a straightforward and engaging text, and as a composer who is considering pivoting towards video game music, I found her careful balance of auditory research, industry practices, and advice (both technical and musical) eye-opening and helpful. Most of all, I appreciated her sincere belief in game music's art value, which she uses as a refreshing touchstone throughout her book. Rarely have I read a technical guide with so much gusto!
Jon Bash – Jun 05, 2014
I probably would have enjoyed this book a lot more if I had actually finished it when I bought it two years ago. By this point I've heard most of its points from other sources, or it's just common sense, and the writing style doesn't make the rehash very engaging. I imagine it would be extremely helpful for folks getting out of high school or even college (or those who don't have as much familiarity with the inner workings of the industry) and looking for a path to take. I probably would have enjoyed this book a lot more if I had actually finished it when I bought it two years ago. By this point I've heard most of its points from other sources, or it's just common sense, and the writing style doesn't make the rehash very engaging. I imagine it would be extremely helpful for folks getting out of high school or even college (or those who don't have as much familiarity with the inner workings of the industry) and looking for a path to take.
James Mason – Jul 24, 2015
A few interesting tips, but highly redundant -- written like a high school essay almost. The 200 pages could've been reduced by about half, but then that wouldn't be a book... so... filler. Most the boiled down content is just common sense. The most interesting bits were hearing specifics about the author's journey as a new game composer. A few interesting tips, but highly redundant -- written like a high school essay almost. The 200 pages could've been reduced by about half, but then that wouldn't be a book... so... filler. Most the boiled down content is just common sense. The most interesting bits were hearing specifics about the author's journey as a new game composer.
Chris P. – Nov 03, 2014
Awesome book! Very informative for those wanting to get into writing music for games.
S M –
Mindaugas –
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Brandon Wilhelm –
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Pelosi's husband prefers a low profile / Successful investor has taken care to avoid causing controversy
John Wildermuth, Chronicle Political Writer
pelosi_246_mac.jpg Paul Pelosi leans into his wife Nancy as she poses for photographs with supporters a week before the November elections. Democratic Leader, Congresswoman Nancy Pelosi, D. San Francisco, makes a trip across the Southeastern section of Pennsylvania, on a "Get Out The Vote" campaign, stumping for local Democratic candidates. Event in, , Pa, on 11/4/06. Photo by: Michael Macor/ San Francisco Chronicle Mandatory credit for Photographer and San Francisco Chronicle / Magazines OutMichael Macor
For more than 20 years, Paul Pelosi has been able to stay in the shadows, even as the millions he has made as a successful San Francisco financier and businessman have helped fuel the political career of his wife, Nancy.
"I've made a conscious effort to not be involved or give the appearance of being involved in her political career," he told The Chronicle in 2004. "People should realize that she's the one."
That could change now that Democratic Rep. Nancy Pelosi is slated Thursday to become the first female elected speaker of the House of Representatives. Many of the same conservative Republican commentators and bloggers who used this past campaign to raise the threat of her "San Francisco values" steering Congress hard to the left are turning their sights on 66-year-old Paul Pelosi and his investments as a way of attacking the new Democratic speaker.
Nancy Pelosi's Washington staff already has hunkered down. Paul Pelosi won't be giving interviews because "he's a private person, not involved in political life," said Jennifer Crider, a spokeswoman for the speaker-to-be. "Mr. Pelosi's investments are separate from hers, and they have separate careers."
But the couple's net worth, most of it linked to Paul Pelosi's investments, has made the legislator the ninth-richest person in the 435-member House.
The family money, along with the many business and social connections Paul Pelosi has brought to their 43-year marriage, gave Nancy Pelosi the financial independence she needed to spend long hours doing unpaid Democratic Party business in the 1970s and 1980s. Since she was elected to Congress in 1987, it has also added a degree of comfort to her life in Washington, where she has a $1 million-plus residence and a lifestyle that doesn't depend on the $212,100 annual salary she will receive as speaker.
"Having a Town Car pick you up is way better than Yellow Cab," said Joe Cotchett, a Burlingame attorney and Democratic fundraiser who is a longtime friend of the Pelosis.
"Frankly, it's a copout to say, 'My husband makes the money,' " said Peter Schweizer, a fellow at Stanford's Hoover Institution whose recent book "Do as I Say (Not as I Do): Profiles in Liberal Hypocrisy" contains a chapter on the Pelosis.
"It's not a viable defense. Nancy Pelosi is fully aware of what the issues are (for elected officials) and is not naive about financial matters."
Paul Pelosi isn't naive about political matters, either. Described by his wife as a "real progressive Democrat," he was willing to uproot their five children from their home in Presidio Terrace in 1987 and move into a rented place in Pacific Heights, firmly inside the congressional district Nancy Pelosi was set to run for.
Nancy Pelosi said in 1985 that "I won't be running for office." But she changed her mind when Rep. Sala Burton died. Burton had been elected in 1983 to the San Francisco congressional seat after the death of her husband, Phil. The Burtons had been political mentors for Nancy Pelosi, and Sala Burton, on her deathbed, urged Pelosi to run for the seat.
Paul Pelosi was intimately involved in his wife's first election, joining two veteran San Francisco politicians, Lt. Gov. Leo McCarthy and former Rep. John Burton -- Phil Burton's brother -- as the triumvirate behind the successful campaign, said Clint Reilly, who was Nancy Pelosi's campaign consultant.
"He was very helpful in the campaign and helped raise the money," Reilly said. "He took an interest in how the campaign was being run ... and attended meetings with me to make sure the campaign was on the right track."
That political connection has continued. From the beginning, the Pelosis have had a bicoastal relationship, with Paul Pelosi living and working in San Francisco and spending about a week or so each month with his wife in Washington.
"I think one of the reasons why we have a good working relationship is that I try not to make too many demands on Paul's time as far as the political stuff is concerned," Nancy Pelosi told The Chronicle in 1987.
But with Paul Pelosi spending so much time in San Francisco, it was probably inevitable that he'd do some of the work back in the district. He's a regular at fundraising dinners and political events, often standing in for his wife.
"In terms of San Francisco, he and Nancy are interchangeable. He's there at so many events," Reilly said. "If he's in the room, it's about like Nancy is in the room. He's a very effective surrogate."
That first campaign in 1987 also gave Paul Pelosi a taste of what the future would bring as the spouse of a very visible politician. Nancy Pelosi's leading opponent, San Francisco Supervisor Harry Britt, hired a private detective to look into the Pelosi family and its business dealings.
Although Britt admitted the investigation failed to turn up "any heavy scandals," he did publicize a rent dispute Paul Pelosi had with residents of a Lake Street apartment he owned. Reporters also received anonymous news clippings, some dating back 50 years, about political controversies involving the San Francisco insurance business of Paul Pelosi's father and his brothers' various dealings in the city.
"They've been trying to get me," Paul Pelosi said at the time.
But the dustup showed that the businessman already had learned some political lessons. Even before Nancy Pelosi filed to run for office, her husband had sold the troublesome San Francisco apartment building and limited his investments to more congenial commercial property.
In fact, Nancy Pelosi's most recent financial disclosure statement shows just how careful Paul Pelosi has been in his investment decisions. Because the federal statements require a politician to give only a range of value for investments, they show the Pelosis' net worth was $14.7 million to $55 million in 2005, ranking them ninth in the House and 17th in the entire Congress.
The bulk of the Pelosis' money comes from investments in stocks and real estate. Operating through Financial Leasing Services, his San Francisco investment firm, Paul Pelosi owns stock in companies including Microsoft, AT&T, Cisco Systems, Disney, Johnson & Johnson and a variety of tech stocks.
Real estate investments include a four-story office building at 45 Belden St. in the Financial District, office buildings on Battery and Sansome streets near the Embarcadero, a building housing a Walgreens drugstore near Ocean Beach and other commercial property in San Anselmo.
Other investments include a St. Helena vineyard worth between $5 million and $25 million, a $1 million-plus townhome in Norden (Nevada County), and minority interests in the Auberge du Soleil resort hotel in Rutherford, the CordeValle Golf Club in San Martin, and the Piatti Italian restaurant chain.
Friends say Paul Pelosi must consider more than profits when he views business opportunities. With a wife who's a leader in Congress, every investment is a potential minefield.
"Paul Pelosi is subject to a much higher level of scrutiny than the normal businessperson," said Reilly, who's moved out of political consulting and into the business world. "You need peripheral vision to look at the potential conflicts."
"He's passed up a lot of big opportunities because he knew it might not look good for Nancy," Cotchett added.
The investing strategy seems to have paid off. Besides being successful financially, Paul Pelosi has avoided almost any suggestion of hooking his investment portfolio to Nancy Pelosi's growing political power.
Ken Boehm, head of the conservative National Legal and Policy Center in Virginia, spent months last year looking into Nancy Pelosi's financial records, campaign contributions and legislative records, looking for any hint of impropriety.
"There was no sign that she enriched herself personally by her official actions," he told The Chronicle last year. "She didn't cross the line as far as I could tell."
Chinese New Year guide: Where to celebrate the Year of...
But the Pelosis are prepared for criticism, especially from those who have their political differences with Nancy Pelosi.
In his book, for example, Schweizer charges that Nancy Pelosi doesn't practice the liberal code she preaches.
While Nancy Pelosi has been a longtime supporter of the United Farm Workers, the small vineyard she and her husband own in St. Helena doesn't hire union labor to pick the grapes there. Likewise, the couple have investments in the boutique hotel in Rutherford and the upscale Italian restaurant chain, which aren't union shops.
"If your view is that labor unions are essential to protecting workers' rights, you ought to have the attitude that we really need a union" in your own investments, Schweizer said.
The charges Schweizer aimed at the Pelosis in his book were quickly picked up by conservative commentators such as KSFO's Melanie Morgan, Matt Drudge and Fox News' Sean Hannity and echoed by dozens of right-of-center blogs as examples of Democratic hypocrisy and a sign of the left-wing disaster they were predicting for a Pelosi-led Congress.
But there were few complaints from the union leaders and workers linked to the Pelosis' investments.
Nancy Pelosi "has really gotten a bad rap," said Marc Grossman, spokesman for the farmworkers union. "Under California labor law, it would be illegal for her or her family to talk with the union about a contract until the workers had voted to organize."
The UFW has only a handful of contracts in the Napa Valley, and the crews that harvest the Pelosis' 7-acre vineyard haven't made any move to seek union representation, Grossman said.
"I don't know how many workers it would take to harvest the property, but it wouldn't be very many and wouldn't take a long time," he added.
Paul Pelosi's liability -- and political exposure -- also is limited by his minority interest in several of his investments. He owns less than a 10 percent stake in the Rutherford hotel and the restaurant chain and isn't directly involved in their management, said Crider, spokeswoman for the congresswoman.
The growing attacks in the blogosphere are just a sample of what the Pelosis are going to face after Nancy Pelosi becomes speaker this week.
Already, Paul Pelosi has indicated that rather than respond publicly, he's just going to ignore the charges and the finger-pointing.
"That's exactly the tack to take right now," said Dan Schnur, a veteran GOP consultant. "In a blog-filled world, it's impossible to stay invisible, but there's a difference between being on the Internet and being on '60 Minutes.' "
This political free-for-all probably wasn't what Paul Pelosi signed up for when he graduated from Georgetown University in 1962 and a year later married Baltimore's Nancy D'Alesandro, but he's shown he's willing to accept it on his own terms.
Paul Pelosi "is no Nancy Reagan, always looking adoringly at his spouse," Reilly said. "There's nothing off-limits in politics, where you can be attacked for whatever you do. But he's kept his business interests far away from public offices and provided Nancy with strong emotional support. He's probably the perfect husband for a high-profile woman."
John Wildermuth
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John Wildermuth is a native San Franciscan who has worked as a reporter and editor in California for more than 40 years and has been with the San Francisco Chronicle since 1986. For most of his career, he has covered government and politics. He is a former assistant city editor and Peninsula bureau chief with The Chronicle and currently covers politics and San Francisco city government.


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You are here: Home » Artist » Artist Updates: Eric Church, Joe Nichols, Colt Ford, Spencer's Own
Artist Updates: Eric Church, Joe Nichols, Colt Ford, Spencer's Own
Jessica Nicholson • June 2, 2016
Eric Church Pop-Up Store Returning To Nashville During CMA Music Festival
Eric Church will bring music product and more to his fans at CMA Music Fest week for a second year in a row with his Eric Church Pop Up Store in East Nashville (address: 218 South 11th Street) beginning Thursday, June 9 and running through Sunday, June 12 with operating hours from 10:00 a.m. to 6:00 p.m.
The concession, which will mark Church's fourth pop up store in Nashville over the last year, will offer rare items for purchase, including his custom These Boots by Lucchese boot line and signature Gibson guitar, the Hummingbird Dark. Also available are select pieces from The Highway to Home furniture collection, an original furniture line created by Church.
Joe Nichols Joins Clay Walker's 7th Annual Chords of Hope Benefit
Joe Nichols
Clay Walker will be bringing along four-time Grammy nominee Joe Nichols for the seventh annual Chords of Hope benefit concert. ACM Lifting Lives will be joining Teva Pharmaceutical Industries Ltd., and Pinnacle Financial Partners as a presenting sponsor. Hosting the event will be The Big 98 WSIX on-air duo, Tige and Daniel for the second consecutive year.
Taking place at Nashville's 3rd & Lindsley on Wednesday, June 8 during CMA Fest, the concert will help raise money and awareness for multiple sclerosis (MS) research with proceeds going to the MS Center at Vanderbilt University Medical Center and Clay's charity, Band Against MS (BAMS). Doors open at 6:00 p.m. and tickets are still available here.
Colt Ford To Tour With Brantley Gilbert, Announces Clothing Collaboration
Colt Ford
Colt Ford joins Brantley Gilbert's 33-date "Take It Outside" summer amphitheater tour along with country's Justin Moore. The tour runs through October 15. Ford will be a celebrity brand ambassador for Affliction Clothing which has designed custom stage branding for Ford's live show, signature apparel and artwork for his upcoming album.
"We are very pleased Colt Ford has embraced our brand and joined us as an ambassador," said Affliction Clothing owner, Eric Foss. "We like his unique style which makes a great addition to our roster of celebrity ambassadors who embrace the brand's Live Fast lifestyle."
Vocal Group Spencer's Own Teams With Rooms To Go
Spencer's Own
ElectricHouse sibling quintet, Spencer's Own, will be showing up in over one hundred Rooms To Go furniture stores this summer. The third largest furniture retailer in the country will feature the band's "Livin' in the Moment" music video as part of its seasonal promotion starting in June.
"Livin' in the Moment" recently reached No. 29 on the MusicRow CountryBreakout Chart. Additionally, Spencer's Own will make appearances during CMA Music Festival week and join the lineup at the Boise Music Festival, which will be featuring Daughty, Nelly, Andy Grammer, and Coolio on June 25 in Boise, Idaho.
Jessica Nicholson serves as the Managing Editor for MusicRow magazine. Her previous music journalism experience includes work with Country Weekly magazine and Contemporary Christian Music (CCM) magazine. She holds a BBA degree in Music Business and Marketing from Belmont University. She welcomes your feedback at jnicholson@musicrow.com.
2016 Road Closures, Bus And Parking Changes For CMA Fest »
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본 발명은 반도체 제조 분야에 관한 것으로, 특히 반도체 장치를 구성하는 층간의 수직 배선을 위한 콘택홀 형성 공정에 관한 것이며, 접합 영역의 손상 없이 접합 영역 및 게이트 전극에의 콘택을 위한 두 종류의 콘택홀을 동시에 형성할 수 있는 반도체 장치의 콘택홀 형성방법을 제공하는데 그 목적이 있다. The present invention relates to semiconductor manufacturing, and particularly relates to a contact hole forming process for the vertical interconnection of the layers constituting the semiconductor device, the joining area two kinds of contact holes for the contacts of the junction regions and a gate electrode without damaging the in the same time providing a contact hole forming method for a semiconductor device which can form it is an object. 본 발명은 콘택홀 식각시 층간절연막과 높은 식각 선택비를 갖는 식각 방지막을 접합 영역 상의 콘택 부분에만 선택적으로 형성함으로써 접합 영역에 자기정렬 콘택홀을 형성함과 동시에 게이트 전극에도 콘택홀을 형성할 수 있다. The present invention can form a contact hole in the contact portion selectively formed by at the same time as forming a self-aligned contact holes in the junction region the gate electrode only on the contact hole etching during bonding the etched film having an interlayer insulating film with high etching selectivity area have. 즉, 접합 영역의 손상이 유발되지 않고 두 종류의 콘택홀을 동시에 식각할 수 있다. That is, without damage to the junction region may be caused etching the two kinds of contact holes at the same time.
본 발명은 반도체 제조 분야에 관한 것으로, 특히 반도체 장치를 구성하는 층간의 수직 배선을 위한 콘택홀 형성 공정에 관한 것이다. The present invention relates to a contact hole forming process for the vertical interconnection of the layers constituting the semiconductor device, particularly relates to the field of manufacturing semiconductors.
반도체 장치가 고집적화에 따라 패턴의 선폭 및 패턴간의 거리가 좁아지고 있으며, 이에 따라 반도체 장치를 구성하는 층간의 수직 배선을 위한 콘택홀 형성시의 공정 마진이 줄어들고 있다. And the semiconductor device is smaller that the distance between the line width and pattern of the pattern depending on the degree of integration, thereby decreasing the process margin at the time of forming the contact holes for the vertical wiring between the layers constituting the semiconductor device. 이러한 공정 마진을 확보하기 위하여 서로 다른 절연막간의 식각 선택비를 이용한 자기정렬 방식의 콘택홀 형성 공정이 일반화되고 있다. There is a self-aligning manner to form contact holes in the process together with the etching selection ratio between the insulating film and another common to secure such a process margin.
이하, 첨부된 도 1a 내지 도 1c를 참조하여 종래기술에 따른 콘택홀 형성 공정 및 그 문제점을 살펴본다. With reference to the attached Figure 1a to 1c and looks at the contact hole forming step, and the problems of the prior art.
먼저, 도 1a에 도시된 바와 같이 실리콘 기판(11) 상에 소자 분리막(12)을 형성하고, 전체구조 상부에 게이트 산화막(13)을 성장시킨 다음, 그 상부에 게이트 전극(14)을 형성한다. First, to form a gate electrode 14. Next, a top which form a device isolation film 12 on the silicon substrate 11, growing the gate oxide film 13 on the entire structure, the top as shown in Figure 1a . 이때, 게이트 전극은 후속 자기정렬 콘택 공정을 위하여 그 상부의 마스크 질화막(15)과 그 측벽 부분의 스페이서 질화막(17)으로 덮여 있다. At this time, the gate electrode is covered with the top of the mask nitride film 15 and the nitride spacers 17 of the side wall part for subsequent self-aligned contact process. 이어서, 전체구조 상부에 평탄화된 층간절연막(18)을 형성한다. Then, an interlayer insulating film 18 is planarized to the top the entire structure. 여기서, 도면 부호 '16'은 접합 영역을 나타낸 것이다. Here, reference numeral 16 'shows a junction region.
계속하여, 도 1b에 도시된 바와 같이 마스크 공정 및 식각 공정을 진행하여 층간절연막(18)을 선택 식각함으로써 접합 영역(16)을 노출시키는 자기정렬 콘택홀을 형성한다. Subsequently, to form a self-aligned contact hole exposing the joint region 16 by selecting the etching the interlayer insulating film 18 proceeds a masking process and etching process, as shown in Figure 1b.
다음으로, 도 1c에 도시된 바와 같이 게이트 전극(14)에의 콘택을 이루기 위하여 다시 마스크 공정 및 식각 공정을 진행하여 층간절연막(18)을 선택 식각함으로써 게이트 전극(14)을 노출시키는 콘택홀을 형성한다. Next, to form a contact hole for exposing the gate electrode 14, gate electrode 14 by again proceeds by selecting the etching the interlayer insulating film 18, a masking process and etching process to achieve a contact by, as shown in Figure 1c do.
상술한 바와 같이 진행되는 종래의 콘택홀 형성 공정은 접합 영역 및 게이트 전극에의 콘택을 위하여 각각의 콘택홀 형성을 위한 2 회의 마스크 공정 및 식각 공정을 필요로 하여 공정을 복잡화하는 단점이 있다. Conventional forming contact holes process which proceeds as described above has the disadvantage that to require twice the mask process and the etching process for forming the respective contact holes complicate the process for the contact of the bonding region and the gate electrode. 이는 층간절연막에 비해 식각 속도가 훨씬 느린 질화막이 게이트 전극 상부를 덮고 있어 두 종류의 콘택홀을 동시에 식각할 경우, 접합 영역의 손상이 유발되기 때문이다. This is because the damage in case of etching the contact hole, there is two types of the etching rate much slower nitride film covering the gate electrode than in the upper interlayer insulating film at the same time, the bonding area caused.
본 발명은 접합 영역의 손상 없이 접합 영역 및 게이트 전극에의 콘택을 위한 두 종류의 콘택홀을 동시에 형성할 수 있는 반도체 장치의 콘택홀 형성방법을 제공하는데 그 목적이 있다. An object of the present invention is to provide a contact hole forming method for a semiconductor device which can form two kinds of contact holes at the same time for the contact of the bonding region and the gate electrode without damage to the junction region.
도 1a 내지 도 1c는 종래기술에 따른 콘택홀 형성 공정도. 1a to Fig. 1c is a contact hole forming process in accordance with the prior art.
도 2a 내지 도 2d는 본 발명의 일실시예에 따른 콘택홀 형성 공정도. Figures 2a-2d is a contact hole forming process in accordance with one embodiment of the present invention.
본 발명은 콘택홀 식각시 층간절연막과 높은 식각 선택비를 갖는 식각 방지막을 접합 영역 상의 콘택 부분에만 선택적으로 형성함으로써 접합 영역에 자기정렬 콘택홀을 형성함과 동시에 게이트 전극에도 콘택홀을 형성할 수 있다. The present invention can form a contact hole in the contact portion selectively formed by at the same time as forming a self-aligned contact holes in the junction region the gate electrode only on the contact hole etching during bonding the etched film having an interlayer insulating film with high etching selectivity area have. 즉, 접합 영역의 손상이 유발되지 않고 두 종류의 콘택홀을 동시에 식각할 수 있다. That is, without damage to the junction region may be caused etching the two kinds of contact holes at the same time.
상술한 본 발명의 기술적 원리로부터 제공되는 특징적인 반도체 장치의 콘택홀 형성방법은 게이트 절연막이 형성된 반도체 기판에 그 상부 및 그 측벽 부분이 절연된 게이트 전극 및 접합 영역을 형성하는 단계; Contact hole forming method of the semiconductor device characteristic supplied from the technical principle of the present invention described above is to form the top and that the side wall portion of the insulated gate electrode and the bonding area on the semiconductor substrate, a gate insulating film formed thereon; 전체구조 상부에 식각 방지막을 형성하는 단계; Forming an anti-etching the entire upper structure; 상기 게이트 전극 중 콘택이 이루어질 게이트 전극 상부의 상기 식각 방지막을 선택 식각하는 단계; Selecting etching the etching-barrier film of the gate electrode contacts the top of the gate electrode made; 전체구조 상부에 층간절연막을 형성하는 단계; Forming an interlayer insulating film on the entire upper structure; 및 상기 접합 영역 상부에 오버랩되는 층간절연막 및 식각 방지막을 차례로 선택 식각하여 접합 영역을 노출시키는 제1 콘택홀을 형성하는 동시에 상기 게이트 전극을 노출시키는 제2 콘택홀을 형성하는 단계를 포함하여 이루어진다. And it comprises the step of forming a second contact hole which at the same time to form a first contact hole exposing the joint region to the interlayer insulating film, and then select etching the film etch to overlap on top of the junction regions exposing the gate electrode.
이하, 첨부된 도면을 참조하여 본 발명의 실시예를 소개한다. With reference to the accompanying drawings, it introduces an embodiment of the present invention.
첨부된 도면 도 2a 내지 도 2d는 본 발명의 일실시예에 따른 콘택홀 형성 공정을 도시한 것으로, 이하 이를 참조하여 그 공정을 설명한다. The accompanying drawings, Figures 2a-2d is that showing the contact hole-forming step according to one embodiment of the invention, will be described below with reference to the process.
우선, 도 2a에 도시된 바와 같이 실리콘 기판(21) 상에 소자 분리막(22)을 형성한 다음, 전체구조 상부에 게이트 산화막(23), 폴리실리콘막(24) 및 마스크 산화막(25)을 차례로 형성하고, 게이트 전극 형성을 위한 식각 마스크를 사용하여 마스크 산화막(25) 및 폴리실리콘막(24)을 차례로 선택 식각하여 게이트 전극을 형성한다. First, in order for the gate oxide film 23, a polysilicon film 24 and the mask oxide film 25 to form a device isolation film 22. Next, the entire structure of the upper part of the silicon substrate 21, as shown in Figure 2a and forming, by using an etch mask for forming the gate electrode in order to select an etching mask, the oxide film 25 and polysilicon film 24 to form gate electrodes. 이어서, LDD(Lightly Doped Drain) 구조 형성을 위한 저농도의 도전형 불순물 이온주입을 실시하고, 게이트 전극 측벽 부분에 스페이서 산화막(27)을 형성한 다음, 고농도의 도전형 불순물 이온주입을 실시하여 접합 영역(26)을 형성한다. Then subjected to low-concentration-conduction-type impurity ion implantation for forming LDD (Lightly Doped Drain) structure, a gate electrode side wall part forming a spacer oxide film 27 is then subjected to high levels of conductivity type impurity ion-implanted junction region to form 26.
계속하여, 도 2b에 도시된 바와 같이 후속 층간절연막 식각시 높은 선택비를 갖는 식각 방지막으로써 질화막(28)을 전체구조 상부에 증착한다. Then, to deposit a nitride film 28 as a film having a high etch selectivity to a subsequent etch the interlayer insulation film, as shown in Figure 2b to the entire upper structure.
다음으로. to the next. 도 2c에 도시된 바와 같이 질화막(28)을 선택 식각하여 후속 게이트 전극에의 콘택을 위한 콘택홀이 형성될 부분의 질화막(28)을 제거한다. Figure removing the nitride film 28 is selected to etch the nitride film 28 in the portion to be a contact hole is formed for the contact of the subsequent gate electrode as shown in 2c.
계속하여, 도 2d에 도시된 바와 같이 전체구조 상부에 산화막계 층간절연막(29)을 증착하고, 층간절연막(29) 및 질화막(28)을 선택 식각하여 접합 영역(26) 및 게이트 전극을 노출시키는 콘택홀을 형성한다. Then, to deposit an oxide film-based inter-layer insulating film 29 on the entire structure, the top and, by selecting the etching the interlayer insulating film 29 and nitride film 28 to expose the bonding region 26 and a gate electrode as shown in Fig. 2d to form a contact hole. 이때, 접합 영역(26)을 노출시키는 콘택홀은 자기정렬 방식으로 형성되고, 게이트 전극 상부에는 질화막(28)이 존재하지 않기 때문에 마스크 산화막(25)이 선택 식각되며, 따라서 접합 영역(26)의 손상을 방지할 수 있다. At this time, the contact hole for exposing the joint region 26 is formed in a self-aligned manner, the gate electrode upper part, and a mask oxide film 25 is selected etch because the nitride layer 28 does not exist, therefore the areas of junction 26 it is possible to prevent damage.
상술한 일실시예에서는 식각 방지막으로서 질화막을 한정하여 설명하였으나, 이는 본 발명의 바람직한 실시예를 나타낸 것으로, 본 발명은 질화막을 대신하여 층간절연막과 식각 선택비를 가지는 다른 절연막을 사용할 수 있다. In the above-described example has been described by limiting the nitride film as an etching prevention film, which shows an exemplary embodiment of the present invention, the invention may use other insulating film having the interlayer insulation film and the etching selectivity in place of the nitride film.
그리고, 게이트 전극을 덮고 있는 마스크 산화막 및 스페이서 산화막 또한, 다른 절연막으로 대체하여 사용할 수 있다. Then, the mask oxide film and a spacer oxide film covering the gate electrode may also, be used to replace it with another insulating film.
이상에서 설명한 본 발명은 전술한 실시예 및 첨부된 도면에 의해 한정되는 것이 아니고, 본 발명의 기술적 사상을 벗어나지 않는 범위 내에서 여러 가지 치환, 변형 및 변경이 가능하다는 것이 본 발명이 속하는 기술분야에서 통상의 지식을 가진 자에게 있어 명백할 것이다. The present invention described above is not limited by the embodiments described above and the accompanying drawings, it is that various changes and modifications may be made without departing from the scope of the present invention in the art got to those of ordinary skill will be obvious.
이상에서와 같이 본 발명은 접합 영역의 손상 없이 접합 영역에 자기정렬 방식으로 콘택홀을 형성함과 동시에 게이트 전극에도 콘택홀을 형성함으로써 반도체 장치 제조 공정을 단순화하는 효과가 있다. The present invention, as in the above by forming a contact hole at the same time as forming the contact hole in a self-aligning manner in the junction region without damage to the bonding region in the gate electrode has the effect of simplifying the semiconductor device production process.
를 포함하여 이루어진 반도체 장치의 콘택홀 형성방법. The method of forming contact holes of a semiconductor device comprising an.
상기 식각 방지막이 질화막인 반도체 장치의 콘택홀 형성방법. The method of forming a contact hole in the etching-barrier film is a nitride film of the semiconductor device.
상기 게이트 전극 상부 및 측벽 부분이 산화막 또는 질화막으로 절연된 반도체 장치의 콘택홀 형성방법. The method of forming a contact hole in the gate electrode and the upper side wall part is insulated with oxide film or a nitride film semiconductor device.


text:
Settlers finish as No. 5 seed
Settlers finish as No. 5 seed Settlers finish as No. 5 seed Check out this story on newarkadvocate.com: http://ohne.ws/1mQVcoG
Ohio Published 9:58 p.m. ET July 26, 2014 | Updated 10:22 p.m. ET July 26, 2014
The Licking County Settlers will be the No. 5 seed in the upcoming Great Lakes Summer Collegiate League playoffs after the Cincinnati Steam earned a 1-0 victory Saturday against the Hamilton Joes.
The Settlers (19-18), which beat Grand Lake 6-5 on Saturday, will play the Mariners (16-23) at 2 p.m. Tuesday at Xenia. The winner of that game will play the Scouts at 7:30 p.m. Tuesday.
It will be the third consecutive game Licking County and Grand Lake will meet. On Saturday, the Settlers scored three eighth-inning runs to pull out the win. Thomas Alas singled home Aaron Lindgren with the tying run and Justin Byrd, who had an RBI single earlier in the inning, scored on an error on the right fielder.
Byrd was 2-for-4 with three RBI, Nelson Price was 2-for-3 with an RBI and Kyle Hunsinger scored twice.
Nicholas Eltzroth pitched the final two innings to pick up the victory. He allowed two hits, a walk and a run, striking out one.
Zyke Bailey's two-run double in the top of the ninth inning rallied the visiting Settlers to a 4-3 win Friday against Grand Lake.
Tanner Rainey hit a solo homer and also picked up the save, and Nicholas Elzroth got the win in relief. Bailey doubled and singled, and Byrd had an RBI double and stole two bases for Licking County.
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text:
Something's Coming, Something Good West Side Story and the American Imagination
Authors: Misha Berson
Something's Coming, Something Good: West Side Story and the American Imagination takes a critical, comprehensive look at one of the most inventive, influential, and internationally beloved Broadway musicals of all time - from its inception by a brilliant quartet of creators (Robbins, Bernstein, Sondheim, and Laurents) to its smashing success on film, to its ongoing popularity on stages around the world and its potent impact on the Great American Musical. Featuring intriguing chapters on West Side Story in relation to Romeo and Juliet; as a recording phenomenon; as a film rated the second-best movie musical of all time by the American Film Institute; as part of a wave of juvenile delinquency…
dramas; as the first great choreographer-auteur musical; and as the granddaddy of "youth musicals" such as Hair and Rent, Something's Coming, Something Good is a revealing guide for those who have seen the show; for those who wish to study it for pleasure or inspiration; and for actors, designers, and directors planning on producing it.
With a Click, with a Shock: Enter West Side Story
Now It Begins, Wow It Starts: West Side Story from Brainstorm to Broadway Premiere
A Time and Place for Us: The Book and Characters of West Side Story
Gonna Rock It Tonight: The Staging of West Side Story
The Most Beautiful Sound I Ever Heard: The Music and Lyrics of West Side Story
Shooting Sparks into Space: The Dances of West Side Story
I Have a Love: Romeo and Juliet and West Side Story
We Ain't Mo Delinquents: West Side Story and the Rise of Juvenile Delinquency
What Was Just a World Is a Star: West Side Story the Movie
The Swinginest Thing: West Side Story Recordings
Here Come the Jets: West Side Story in Production Around the World
Stick to Your Own Kind: Bigotry and West Side Story
Gold Medal Kid with the Heavyweight Crown: The Rise of the Dancer-Choreographer
We Got Troubles of Our Own: Broadway's Youth Musicals
Suns and Moons All Over the Place: West Side Story in Popular Culture
Appendix: West Side Story Credits


text:
A Primeira Divisão do Campeonato Venezuelano de Futebol de 2020, também conhecida como Primera División Venezuelana de 2020 e oficialmente como Liga FUTVE de 2020, foi a 101.ª edição da principal divisão do futebol venezuelano (a 65ª desde o início do profissionalismo em 1957). O torneio foi organizado pela Liga de Fútbol Profesional de Venezuela (LIGA FUTVE), entidade esportiva integrada pelos clubes que participam da Primera División do futebol profissional venezuelano, e contou com a participação de 17 times (no torneio original eram 19 times), sendo 15 deles da temporada anterior e 2 advindos da Segunda División de 2019. O Caracas foi o defensor do título.

A temporada começou originalmente com 19 clubes em 30 de janeiro e tinha conclusão marcada para dezembro com a decisão pelo título do campeonato. No entanto, em meados de março, a competição foi suspensa na 6ª rodada devido à pandemia de COVID-19. Em 15 de maio, a Federação Venezuelana de Futebol (FVF) cancelou definitivamente a edição em disputa dos torneios da primeira e segunda divisão da temporada e anulou os resultados dos jogos disputados até então.. No entanto, no início de setembro, a FVF anunciou a retomada da Liga FUTVE para 14 de outubro, mas em um formato diferente e com apenas 17 times, Zulia e LALA desistiram. A temporada foi encerrada em 15 dezembro, o Deportivo La Guaira foi o campeão, obtendo seu primeiro título da primeira divisão, batendo o Deportivo Táchira por 2 a 0 na final disputada em Valencia.

Regulamento

Sistema de disputa original
A Primera División de 2020 sofreu uma mudança no formato em relação à temporada anterior e com isso não teremos mais as disputas do Torneo Apertura (começo do ano) e Torneo Clausura (metade do ano). O certame seria disputado por 19 times (em 2019, foram 20) em três fases:
 Fase Regular: sistema de todos contra todos (pontos corridos) em dois turnos (turno e returno) de grupo único. Ao final de 38 rodadas, avançariam os oito melhores colocados e o último seria rebaixado para a Segunda División de 2021.
 Fase de Grupos: sistema de pontos corridos em partidas de ida e volta, em dois grupos. Ao final das 6 rodadas, avançariam os dois primeiros de cada grupo.
 Final: sistema de "mata-mata" em partidas de ida e volta.

Devido à pandemia de COVID-19, a liga foi suspensa em 12 de março. Em 15 de maio, a FVF anunciou a suspensão definitiva da competição, com o cancelamento de todas as partidas da primeira fase.

Novo sistema de disputa
No dia 18 de setembro, um novo formato foi anunciado pela FVF e pela Liga FUTVE. Através de sorteio foram definidos dois grupos (A e B) que competiriam em uma cidade-sede, um grupo em Valencia e outro em Barinas. Os times jogaram entre si dentro dos grupos no sistema de pontos corridos em partidas de ida e volta. A final pelo título de campeão venezuelano foi disputada entre os líderes de cada grupo. As partidas da competição foram disputadas em Barinas, Puerto Cabello e Valencia. O rebaixamento foi suspenso até 2021.

Vagas em outras competições
Originalmente, as vagas da temporada de 2020 da Primera División para os torneios continentais da CONMEBOL de 2021 (Taça Libertadores e Copa Sul-Americana) seriam definidas da seguinte maneira: o campeão, assegurava uma vaga na fase de grupos da Taça Libertadores de 2021; o vice-campeão e os dois melhores posicionados da classificação geral (fase regular + fase de grupos) iriam para as fases prévias da Taça Libertadores; e os cinco clubes subsequentes na referida classificação garantiriam vaga na Copa Sul-Americana de 2021.

Pelo novo formato, as vagas acabaram sendo distribuídas da seguinte forma: o campeão e o vice-campeão garantiram sua vaga na fase de grupos da Taça Libertadores de 2021; os segundos colocados do  grupo A e B irão para as fases prévias da Taça Libertadores; os terceiros e quartos colocados dos grupos A e B garantiriam vaga na Copa Sul-Americana de 2021.

Critérios de desempate
Em caso de empate por pontos entre dois ou mais clubes, os critérios de desempate serão aplicados na seguinte ordem:
 Pontos no confronto direto
 Saldo de gols no confronto direto
 Gols marcados no confronto direto
 Saldo de gols
 Gols marcados
 Jogo de desempate.

Participantes
Dezenove equipes participam do campeonato – dezessete delas remanescentes da temporada anterior e as duas equipes promovidas da segunda divisão de 2019. As equipes promovidas foram o Yaracuyanos (campeão da Segunda División) que volta à liga após cinco anos de ausência e o GV Maracay (vice-campeão da Segunda División) que vai disputar a liga pela primeira vez um sua história. Elas vão substituir o Estudiantes de Caracas e Deportivo Anzoátegui, que foram rebaixadas após duas e doze temporadas no topo, respectivamente. O torneio foi originalmente projetado para vinte clubes, no entanto, em 24 de janeiro de 2020, Llaneros de Guanare foi rebaixado por decisão administrativa à Segunda División de 2020 pela FVF, conforme ordenado pela FIFA devido a uma ação do ex-jogador Leonardo Ossa, a quem o clube não pagou uma dívida pendente.

Zulia e LALA desistiram da competição em 7 de setembro devido a questões de segurança causadas pela pandemia.

Promovidos e rebaixados da temporada anterior

Informações dos clubes
{| class="wikitable" border="1,00" cellpadding="2" style="border-collapse: collapse;"
! style="background: #009; color: #fff;" | Equipe
! style="background: #009; color: #fff;" | Cidade
! style="background: #009; color: #fff;" | Estado
! style="background: #009; color: #fff;" | Estádio (mando)
! style="background: #009; color: #fff;" |
! style="background: #009; color: #fff;" | Títulos
|- style="background:#FFFFFF; color:black"
|
|  Puerto Cabello
|  Carabobo
| Complejo Deportivo Socialista
| align="center" |
| 0 (nenhum)
|- style="background:#D8D8D8; color:black"
| Aragua
|  Maracay
|  Aragua
| Hermanos Ghersi
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| Atlético Venezuela'|  Caracas
|
| Brígido Iriarte
| align="center" |
| 0 (nenhum)
|- style="background:#D8D8D8; color:black"
| Carabobo
|  Valencia
|  Carabobo
|
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| Caracas
|  Caracas
|  Distrito Capital
| Olímpico de la UCV
| align="center" |
| 12 (1991–92, 1993–94, 1994–95, 1996–97, 2000–01, 2002–03, 2003–04, 2005–06, 2006–07, 2008–09, 2009–10 e 2019)
|- style="background:#D8D8D8; color:black"
| Deportivo La Guaira
|  La Guaira
|  Vargas
| Olímpico de la UCV
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| Deportivo Lara
|  Barquisimeto
|  Lara
| Farid Richa
| align="center" |
| 1 (2011–12)
|- style="background:#D8D8D8; color:black"
| Deportivo Táchira
|  San Cristóbal
|  Táchira
| Pueblo Nuevo
| align="center" |
| 8 (1979, 1981, 1984, 1986, 1999–00, 2007–08, 2010–11 e 2014–15)
|- style="background:#FFFFFF; color:black"
| Estudiantes de Mérida
|  Mérida
|  Mérida
| Metropolitano de Mérida
| align="center" |
| 2 (1980 e 1985)
|- style="background:#D8D8D8; color:black"
| GV Maracay
|  Valencia
|  Carabobo
| Giuseppe Antonelli
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| LALA
|
|  Bolívar
| CTE Cachamay
| align="center" |
| 0 (nenhum)
|- style="background:#D8D8D8; color:black"
| Metropolitanos
|  Caracas
|  Distrito Capital
| Olímpico de la UCV
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| Mineros de Guayana
|  Ciudad Guayana
|  Bolívar
| CTE Cachamay
| align="center" |
| 1 ()
|- style="background:#D8D8D8; color:black"
| Monagas
|  Maturín
|  Monagas
| Monumental de Maturín
| align="center" |
| 1 (1988–89)
|- style="background:#FFFFFF; color:black"
| Portuguesa
|  Araure
|  Portuguesa
| General José Antonio Páez
| align="center" |
| 5 (1973, 1975, 1976, 1977 e 1978)
|- style="background:#D8D8D8; color:black"
| Trujillanos
|  Valera
|  Trujillo
| José Alberto Pérez
| align="center" |
| 0 (nenhum)
|- style="background:#FFFFFF; color:black"
| Yaracuyanos
|  San Felipe
|  Yaracuy
| Florentino Oropeza
| align="center" |
| 0 (nenhum)
|- style="background:#D8D8D8; color:black"
| Zamora
|  Barinas
|  Barinas
| Agustín Tovar
| align="center" |
| 5 (2012–13, 2013–14, 2015, 2016 e 2018)
|- style="background:#FFFFFF; color:black"
| Zulia
|  Maracaibo
|  Zulia
| José Encarnación Romero
| align="center" |
| 0 (nenhum)
|}

 Fase Regular (Torneio Cancelado)
 A primeira fase começou em 30 de janeiro e tinha conclusão programada para 25 de outubro de 2020.
 Seria disputada em 38 rodadas na modalidade de todos contra todos, o famoso sistema de pontos corridos, em dois turnos (turno e returno) – um de ida e um de volta –, com 36 jogos para cada time e um deles folgando a cada rodada.
 Ao final desta fase, os oito primeiros colocados avançariam para a segunda fase, enquanto isso, o último colocado seria rebaixado para a Segunda División'' de 2021.
 A classificação e os jogos da primeira fase até a suspensão em 12 de março foram anulados pela FVF em 15 de maio.

Classificação

Confrontos

Torneio de Normalização
O sorteio para composição dos grupos foi realizado em 18 de setembro de 2020. Os 17 times foram divididos em dois grupos: um grupo de nove times, com jogos no estádio La Bombonerita em Puerto Cabello e no estádio Misael Delgado em Valencia, e um grupo de oito times, com jogos no estádio Agustín Tovar em Barinas. Os melhores times de cada grupo avançaram para a final única pelo título de campeão da liga venezuelana e se classificaram para a fase de grupos da Taça Libertadores de 2021, os segundos lugares dos Grupos A e B para as fases preliminares da Taça Libertadores e os terceiros e quarto lugares de cada grupo para a Copa Sul-Americana de 2021.

Grupo A (Sede Carabobo)

Classificação

Resultados

Grupo B (Sede Barinas)

Classificação

Resultados

Disputa pelo terceiro lugar
O vencedor se classificou para a segunda fase da Copa Libertadores, enquanto o perdedor se classificou para a primeira fase da competição.

Final
A final foi uma partida única em campo neutro, disputada em 15 de dezembro de 2020. O vencedor foi coroado campeão da liga.

Estatísticas

Artilharia

Fonte: Liga FUTVE , FVF , Soccerway  e Balonazos

Premiação

Ligações externas
 Página oficial da Federação Venezuelana de Futebol

Futebol de 2020 na América do Sul

redpajama_set_name: RedPajamaWikipedia


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Fundraiser Molly-Mae helps to 'Rays A Smile' at Bradford Royal Infirmary
Ten-year-old Molly-Mae Windle has been hailed a fundraising superstar by Bradford Hospitals' Charity after raising £400 for its new hospital appeal.
The St Anthony's Catholic Primary School (Clayton) pupil is championing Bradford Hospitals' Charity's Rays a Smile appeal, which aims to make radiology services more child-friendly, because she has had many scans in the past. Molly-Mae was born with Cystic Fibrosis, which means she has regular hospital appointments, X-rays and ultrasound scans.
Molly-Mae, who also features in the charity's appeal film, organised a Mother's Day hamper raffle and Easter hamper raffle all on her own to raise the money. She said: "I was keen to help with this fundraising appeal because this is something I know children like me will benefit from.
"The changes planned will make children feel less scared and more comfortable when attending X-rays, ultrasounds and CT scans. It's a very daunting experience for both children and parents and my aim is to make a child smile when attending radiology."
The Rays a Smile appeal was launched by Bradford Hospitals' Charity to create a more child-friendly environment in the radiology departments at Bradford Royal Infirmary and St Luke's Hospital, as well as to buy specialist kit to distract children during scans. The entire project will cost £250,000 to transform services into bright and welcoming environments for children in both hospitals.
Thinking of other children
Hayley Collis, head of fundraising for Bradford Hospitals' Charity, said: "We are blown away by how much money Molly-Mae raised for our appeal! We can't thank her enough for thinking of other children who will need scans, just like she does. She is a very determined young lady and, we're sure, one of our future fundraising superstars!"
Molly-Mae's mum, Rebecca Windle, said: "I'm extremely proud of Molly-Mae. She loves helping others and making them smile. She's a real inspiration."
Dr Lee-Anne Elliott, paediatric radiology consultant, said:" Molly-Mae has made an amazing contribution to our appeal to help young people in Bradford who need to x-rays or scans. Her enthusiasm for our appeal is wonderful to see, and she is a great example of what a young person can achieve for something so worthwhile. She has proved to be a fantastic ambassador for our 'Rays a Smile' appeal already and we are incredibly grateful."
Read all about Rays a Smile and watch Molly-Mae in the appeal video at https://bradfordhospitalscharity.org/rays-a-smile/
You can make a donation at https://www.justgiving.com/campaign/raysasmile2019
To find out more about Bradford Hospitals' Charity and how you can support your local hospitals, visit www.bradfordhospitalscharity.org. Alternatively, contact Hayley Collis or Elaine Drake on 01274 274809 or email charity@bthft.nhs.uk
Bradford Hospitals' Charity is one of more than 250 NHS charities based around the UK. It supports the strategic direction of Bradford Teaching Hospitals NHS Foundation Trust by funding projects which go over and above what he NHS provides.
Did you know that, together, all NHS charities give £1million every single day to the NHS!
In 2017, a new £28million wing opened at Bradford Royal Infirmary, which was part of a £75m investment to improve patient care across our hospitals. It provides world-class facilities for the elderly, children and a brand new intensive care unit. Bradford Hospitals' Charity provided £260,000 to enable the Trust to create family friendly environments, state-of-the-art equipment and innovative distraction toys and games for young people.
With the support of Bradford Hospitals' Charity, BTHFT was also able to provide more cots, including intensive care and high dependency cots, new family accommodation, a revamped counselling suite and a dedicated room for mothers to express milk for pre-term babies when the new neonatal unit opened in 2015.
For further media information, please contact Kelly Thornham, Communications Officer, at communications@bthft.nhs.uk or call 01274 382265
The Trust is home to the Bradford Institute for Health Research (BIHR) where researchers have led the development, validation and implementation of the award-winning Bradford Electronic Frailty Index (eFI) which helps calculate an elderly person's risk of disability, impairment, falls and complications of chronic diseases, as well as their diminishing independence and capability. This is now being used by 98% of all GPs across the country.


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