text:
Outbreak Updates
Trans Research
PrEP Clinic
DDI Study: Community Research Assistant - Meet Sushmita
Meet our Community Research Assistant~ Sushmita
TWIRI, the Trans Women HIV Research Initiative, is made up of a diverse team of researchers, clinicians, community workers, and advocates working to promote the health and social welfare of trans women living with and affected by HIV. TWIRI, takes a community-driven, interdisciplinary approach. They work from an intersectional feminist anti-oppressive framework and we use principles of community-based research (CBR). One of the foundations of success in community based research is partnering with all the clinics in Toronto that support Trans Healthcare and hiring an amazing Community Research Assistant~ Sushmita Patel. Sush was introduced to our clinic by Yasmeen Persad, one of the founding members of TWIRI. Pictures here with Dr Mona Loutfy, the Pricipal Investigator and leader of this research program.
Sush came to Canada from Fiji Island in 2002 for a better life. She started in Canada as a caterer and performing drag- but in 2008 persued her transition openly surrounding by her loving friends and family.
She has her own catering company and works as a chef at The 519; she is inspired by her mum's Gujarat Indian dishes. Sush is a Bollywood Queen and she makes most of her outfits- she loves colours to mix and match to make any outfit beautiful.
We were introduced to Sush in the early spring of 2022 as we wanted to hire a Community Research Assistant for the DDI Pilot Study. Participants need to spend 8 hours at the clinic getting blood draws throughout the day to measure their estrogen and antiretroviral medication levels. She was tasked with helping participants feel safe and comfortable. This was her first time participating in community based research and although she had no idea what to expect, she wanted to support Trans Women participating in this clinical trial.
Sush turns the time with participants into an opportunity to connect as people, as women, and as part of this trans experience. Spending a day in a clinic can be difficult and although we have a nice space, the time flies by with her. Sush balances the need to be back in the lab every couple of hours with shopping, eating, laughing, and at least one walk out of the clinic.
We have welcomed Sush into our Team and hope when you decide to participate in the DDI main study, you are extra inspired knowing she will be there to support you. Thank you Sush!
You can order catering from sush or hire her for bollywood performance or just say hi through her instagram Sush Patel.
Doctors Committed
To Your Health and Well-being
Maple Leaf Medical Clinic is a multi-specialty clinic providing the latest advances in health care and medical research in Downtown Toronto.
14 College Street (Yonge/College)
Toronto, ON M5G 1K2
Opening hours vary by individual doctor and clinic.
Copyright © Maple Leaf Medical Clinic


Ministry: Class 301 will help you discover your personality traits, gifts, and purpose in life, and see how God combines them for the best fit in ministry.
As a part of this base, we encourage you to take the free Spiritual Gifts Inventory online and bring the results with you. It will help you on your journey.


text:
Listen & view Panic! at the Disco's lyrics & tabs
Panic! at the Disco is American rock band hailing from Las Vegas, Nevada. The current sole member is vocalist/multi-instrumentalist Brendon Urie. As of 2018, the band has released six albums: A Fever You Can't Sweat Out (2005), Pretty. Odd. (2008), Vices & Virtues (2011), Too Weird to Live, Too Rare to Die! (2013), Death of a Bachelor (2016), and Pray for the Wicked (2018), with two Top 40 hits o...read more
rock alternative emo pop punk indie
Similar Artists of Panic! at the Disco
The Young Veins
Top Tracks of Panic! at the Disco
I Write Sins Not Tragedies
Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off
The Only Difference Between Martyrdom and Suicide Is Press Coverage
But It's Better If You Do
Nine in the Afternoon
Build God, Then We'll Talk
London Beckoned Songs About Money Written by Machines
I Constantly Thank God for Esteban
Nails for Breakfast, Tacks for Snacks
There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet
The Ballad of Mona Lisa
Northern Downpour
We're So Starving
She's A Handsome Woman
Folkin' Around
When The Day Met The Night
This Is Gospel
Pas de cheval
I Have Friends in Holy Spaces
Behind The Sea
She Had the World
Mad as Rabbits
Ready to Go (Get Me Out of My Mind)
The Piano Knows Something I Don't Know
Do You Know What I'm Seeing?
From a Mountain in the Middle of the Cabins
Emperor's New Clothes
Girls/Girls/Boys
Death of a Bachelor
Don't Threaten Me with a Good Time
Sarah Smiles
Trade Mistakes
New Perspective
LA Devotee
That Green Gentleman (Things Have Changed)
Vegas Lights
Miss Jackson (feat. LOLO)
Say Amen (Saturday Night)
Nearly Witches (Ever Since We Met...)
Casual Affair
Collar Full
Far Too Young to Die
Girl That You Love
Miss Jackson - feat. Lolo
The End of All Things
House of Memories
Crazy=Genius
Nine In The Afternoon - Radio Mix
The Good, the Bad and the Dirty
That Green Gentleman [Things Have Changed]
I Write Sins Not Tradgedies
(Fuck A) Silver Lining
Impossible Year
Boys Will Be Boys
london beckoned songs about money by machines
Do You Know What I'm Seeing
Dancing's Not a Crime
King of the Clouds
Dying in LA
Nails for Breakfast Tacks for snacks
The Overpass
That Green Gentlemen (Things Have Changed)
New Perspective - Soundtrack Version
That Green Gentlemen
Stall Me
Oh Glory (demo)
Nine In The Afternoon (Radio Mix)
That Green Gentleman
There's a Good Reason These Tables Are Numbered Honey, You Just Haven't
I Wanna Be Free
There's a Good Reason These Tables Are Numbered Honey, You Just ...
Behind The Sea (Alternate Version)
Nine In The Afternoon (Live)
There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Figured It Out Yet
Nine In The Afternoon - Live In Chicago
We're So Starving - Live In Chicago
The Only Difference Between Martyrdom and Suicide is Press Coverage (Tommie Sunshine Brooklyn Fire Remix)
Only Difference Between Martyrdom and Suicide is Press Coverage
I Write Sinds Not Tragedies
There's A Good Reason Why These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet
Hey Ya! - Recorded at Spotify Studios NYC
I Write Sins Not Tragedies (Album Version)
But It's Better If You Do - Live In Chicago
Form A Mountain In The Middle Of The Cabins
Do You Know What I'm Seeing? (Alternate Version)
High Hopes - Don Diablo Remix
Nearly Witches (Ever Since We Met…)
Camisado - Live In Chicago
There's A Good Reason These Tables Are Numbered Honey. You Just Haven't Figured It Out Yet
Lying is the Most Fun a Girl Can Have Without Taking Her Clothes Off - Live In Chicago
It's Time To Dance
The Only Difference Between Martyrdom And Suicide Is Press Coverage - Live In Chicago
The Only Difference Between Martyrdom and Suicide Is Press Coverage (Album Version)
Behind The Sea - Alternate Version
She Had The World - Alternate Version
But It's Better When We Do
Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off (Album Version)
Miss Jackson (feat. LOLO) - feat. Lolo
I Write Sins Not Tragedies - Live In Chicago
She's a Handsome Woman - Live In Chicago
Relax, Relapse
But It's Better If You Do (Album Version)
Do You Know What I'm Seeing? - Alternate Version
The Piano Knows Something I Don't Know - Alternate Version
I Constantly Thank God for Esteban - Live In Chicago
Behind the Sea - Live In Chicago
That Green Gentleman [Things Have Changed] - Live In Chicago
Teen Hearts Beating Faster
Can't Fight Against the Youth
London Beckoned Songs About Money Written By Machines (Album Version)
Northern Downpour - Live In Chicago
There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of it Yet - Live In Chicago
There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet.
Time To Dance - Live In Chicago
I Constantly Thank God For Esteban (Album Version)
I Write Sins Not Tragedies (Live in Denver)
Folkin' Around - Live In Chicago
But It's Better If We Do
Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off (Radio Edit)
High Hopes - White Panda Remix
Camisado (Album Version)
I Write Sins, Not Tragedies
Relax Relapse
Build God, Then We'll Talk (Album Version)
Time To Dance (Album Version)
Introduction (Album Version)
Nails For Breakfast, Tacks For Snacks (Album Version)
There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet (Album Version)
Pas De Cheval - Live In Chicago
I Write Sins Not Tragedies (91X Acoustic Version)
But Its Better If You Do
Build God, Then We'll Talk [Live In Denver]
Karma Police [Live In Denver] [Explicit]
Mad As Rabbits - Live In Chicago
Kaleidoscope Eyes
I Write Sins Not Tragedies [Live From Astoria]
Don't Threaten Me With A Good Time - Live
The Only Difference
Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off [Live In Denver] [Explicit]
Oh Glory
Intermission (Album Version)
All the Boys
I Write Sins Not Tragedies - Edit
LA Devotee - Live
Say Amen (Saturday Night) - Sweater Beats Remix
Karma Police (Radiohead Cover)
Nails for Breakfast and Tacks for Snacks
The Only Difference Between Martyrdom and Suicide is Press Coverage (Tommie Sunshine Brokklyn Fire Mix)
It's Almost Halloween
C'mon (with fun.)
Build God, Then We'll Talk [Live From Astoria]
Folkin Around
This Is Gospel - Live
Nine in the Afternoon - Single Mix
Victorious - RAC Mix
Miss Jackson ft. Lolo
Build God Then We'll Talk
The Only Difference Between Martyrdom And Suicide Is Press Coverage.
Lying Is The Most Fun A Girl C
Ready To Go (Get Me Out Of My Mind) - Live
The Only Difference Between Ma
She Had The World (Alternate Version)
Golden Days - Live
Bohemian Rhapsody - Live
Crazy = Genius
A Fever You Can't Sweat Out Medley - Live
Nine In The Afternoon - Live
Vegas Lights - Live
Stall Me - Bonus Track
House Of Memories (feat. Dylan Schwab)
High Hopes - Recorded at Spotify Studios NYC
Hallelujah - Live
Death Of A Bachelor - Live
I Write Sins Not Tragedies - Live
Lying Is The Most Fun...
I Wanna Be Free [Bonus Track]
Miss Jackson - Live
Emperor's New Clothes - Live
The Ballad Of Mona Lisa - Live
Movin' Out (Anthony's Song) - Live
There's a good reason these tables are numbered honey, you ...
This Is Gospel (Piano Version)
Tonight, Tonight (Smashing Pumpkins Cover)
Nails For Breakfast,Tacks For Snacks
I Write Sins Not Tragedies - 91X Acoustic Version
Lying Is The Most Fun
London Beckoned For Songs About Money Written By Machines
Karma Police Cover (Denver)
Nicotine - Live
Oh Glory - Demo [Bonus Track]
Lying Is The Most Fun A Girl Can Have
Girls/Girls/Boys - Live
New Perspective (Soundtrack Version)
Disconnect the Dots
All The Boys (Bonus Track)
London Beckoned Songs About Mo
Build God Then Well Talk
Victorious - Live
There's A Good Reason These Tables Are Numbered Honey. You Just Haven't Thought Of It Yet.
Crazy=Genius - Live
Slow Motion (Third Eye Blind cover)
C'mon (Fade)
Middle of Summer
Let's Kill Tonight - Live
London Beckoned Songs About ..
the only difference between martydom and suicide is press coverage
I Write Sins Not Tragedies (Acoustic)
From a Mountain in the Middle
Nearly Witches
Lying Is The Most Fun S Girl..
Stall Me [Bonus Track]
Kaleidoscope Eyes (Bonus Track)
Nails For Breakfast, Tacks F..
New Perspective - iTunes Live
The Piano Knows Something I do
I Constantly Thank God For Est
Theres a Good Reason These Tables Are Numbered Honey You Just Havent Thought Of It Yet
Nine In The Afternoon (Radio Edit)
Camisado (demo)
There's A Good Reason These Ta
I Write Sins Not Tragedies - MTV VMA Performance 2006
I Constantly Thank God For E..
I Constantly Thank God for Estaban
There's A Good Reason These ..
Lying is The Most Fun A Girl
Loading Time :0.01177191734314

redpajama_set_name: RedPajamaCommonCrawl


text:
Banc of California Tops List of Fastest Growing Companies
IRVINE, Calif.--(BUSINESS WIRE)--Banc of California, Inc. (NYSE: BANC), announced today the Company was ranked number one on the Orange County Business Journal's list of the Fastest-Growing Public Midsize Companies headquartered in Orange County, California. Banc of California's two-year revenue growth of 176% surpassed all other companies in its category and more than doubled the growth rate of the number two ranked company.
"This ranking further solidifies Banc of California's success in becoming California's Bank and expanding to serve California's diverse private businesses, entrepreneurs, and homeowners," said Steven Sugarman, President and Chief Executive Officer of Banc of California. "Importantly, our growth has resulted in significant increases in profitability. Since 2012, Banc of California's annual net income has grown by over 850 percent, resulting in dramatically higher earnings per share."
Orange County, California, with more than 3 million residents, is the sixth most populous county in America and is more populous than 21 states. As an economic center of California, Orange County is home to multiple Fortune 500 companies as well as a magnitude of locally-owned private businesses.
The Orange County Business Journal ranking measures all public companies based in Orange County by revenue growth over a two-year period, which ended on June 30, 2015. The publication places companies into three categorical lists: Small, Midsize, and Large. Banc of California previously topped the list in 2013.
Banc of California, Inc.
Banc of California, Inc. (NYSE: BANC) provides comprehensive banking services to California's diverse private businesses, entrepreneurs and homeowners. Banc of California operates over 100 offices in California and the West.
This press release includes forward-looking statements within the meaning of the "Safe-Harbor" provisions of the Private Securities Litigation Reform Act of 1995. These statements are necessarily subject to risk and uncertainty and actual results could differ materially from those anticipated due to various factors, including those set forth from time to time in the documents filed or furnished by Banc of California, Inc. with the Securities and Exchange Commission. You should not place undue reliance on forward-looking statements and Banc of California, Inc. undertakes no obligation to update any such statements to reflect circumstances or events that occur after the date on which the forward-looking statement is made.
INVESTOR RELATIONS INQUIRIES:
Timothy Sedabres, 855-361-2262
Vectis Strategies
David Herbst, 213-973-4113 x101


In this section, you will find related web links for each area in the study of psychology. They are to be used as part of your study in psychology. Links have been carefully selected to enhance your in-class lectures, discussions and activities and for your understanding of psychology as a science.
URLS change on a regular basis, so some of these links may be inactivated and have a different address. If you find links that are inactive, please e-mail your instructor. Also, if you find other interesting links that should be added, please forward them.
Please also note that there are many reference links here which you will find useful, such as how to write research papers; how to develop good poster presentations, good use of form and style in writing as well as online journals and more.
Click above or below to access links.


text:
Q: How to save file in internal storage in device I am going with the download of files from the browser and stored in the internal storage of my device and the path appears as like /data/data/com.example/files/downloads/sample.pdf
but on next day i get the file path as empty ""
using below code to save the file from browser:
    private String downloadfile(Uri uri) {
        int count;
        String fileName = "";
        try {
            // Output stream to write file
            String root = null;
//          if (Environment.isExternalStorageRemovable())

//          else
                root = getFilesDir().toString()+ "/download/";

            File file = new File(root);
            if (!file.exists())
                file.mkdirs();
            fileName = file.getAbsolutePath();

            file = new File("" + uri);
            fileName = fileName + "/" + file.getName();

            URL url = new URL(uri.toString());
            URLConnection conection = url.openConnection();
            conection.setRequestProperty("Content-Type",
                    "application/octet-stream");
            conection.setRequestProperty("Expect", "100-continue");
            conection.setRequestProperty("Content-Disposition", "attachment");
            conection.setRequestProperty("filename", file.getName());
            conection.connect();

            // input stream to read file - with 8k buffer
            InputStream input = new BufferedInputStream(url.openStream(), 8192);

            OutputStream output = new FileOutputStream(fileName);
            file = new File(fileName);
            file.createNewFile();
            byte data[] = new byte[1024];

            while ((count = input.read(data)) != -1) {
                output.write(data, 0, count);
            }

            // flushing output
            output.flush();

            // closing streams
            output.close();
            input.close();

        } catch (Exception e) {
            Log.e("Error: ", e.getMessage());
            String inputs = "EX";
            Parameter.trackApplication(inputs, e.getMessage());
            e.printStackTrace();
        }
        return fileName;
    }

How can i solve this problem,please correct me where i am going wrong and help me out to fix this issue.

redpajama_set_name: RedPajamaStackExchange


*CAUTION: Large doses can cause nausea and vomiting.
Supports respiratory system where asthma and bronchitis are present. Assists with nicotine cessation.
This plant is a respiratory stimulant and anti-spasmodic useful in asthma and bronchitis. It also acts as a systemic relaxant. It is said to appease the physical need for nicotine without addictive effects.


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text:
CREATE TABLE IF NOT EXISTS perf(
 testName varchar not null,
 metric varchar not null,
 threadId integer not null,
 rep integer not null,
 ts timestamp not null,
 val double,
 CONSTRAINT my_pk PRIMARY KEY (testName, metric, threadId, rep, ts)
);

redpajama_set_name: RedPajamaGithub


176mm (480mm equivalent), f/4.5, 1/125s, ISO 800.
11.9mm (33mm equivalent), f/4.5, 1/200s, ISO 125.
Buttons are in convenient locations, including both control dials. The focal length control around the shutter release works well, but doesn't offer precise control. However, you can use the main control ring around the lens to control focal length as well, and that offers very fine control, allowing you to change the focal length by only a few millimeters at a time across the entire focal length range. By default, using the top two function buttons on the side of the lens allows you to move the focal length up and down by single millimeter increments.
Speaking of the lens, as soon as you power the camera on, the lens becomes fully extended. No matter the focal length, the physical length of the lens remains the same. I like this a lot as it keeps the body very balanced. In addition to the larger, main zoom ring on the lens, there's a second, narrower ring toward the end of the lens. The narrower ring controls focus, while in manual focus mode, but will serve to adjust aperture otherwise. The lens also has three programmable function buttons on the side, which is excellent. Next to the function buttons is a switch for the neutral density filter, set to auto, 1/64, 1/16, 1/4 and off.
Taking a quick look at the top deck of the camera, the button and control layout is well organized and overall, resembles other modern Panasonic cameras. There's a drive mode dial to the left of the viewfinder and to the right is a mode dial, the two command dials, function button, shutter release and movie record button. The FZ2500 also includes a built-in flash, which offers an auto ISO range of 0.3 to 13.2 meters at wide focal lengths and 1.0 to 7.9 meters at telephoto.
Moving to the rear of the camera, we come to one of the FZ2500's best features, its excellent articulating touchscreen display. The 3-inch rear display has 1,040,000 dots and can tilt and swivel. While the articulating mechanism is like that of its predecessor, the FZ1000, the FZ2500's touchscreen functionality is new. The articulation works very well as does the touchscreen itself. Besides the excellent display, there isn't much of note on the rear of the FZ2500. It has plenty of buttons, including a useful autofocus mode switch.
The FZ2500's electronic viewfinder has a bit more magnification than the FZ1000's did, 0.74x compared to 0.70x (35mm equivalent), but has the same resolution, 2.36 million dots. The 0.39-inch XGA OLED viewfinder works very well, as does its eye sensor, and offers a sharp image. However, I would prefer more depth to the rubber cup around the viewfinder as it can be hard to keep all ambient light.
Overall, the FZ2500 has a great body design with ample controls and features. While I would certainly welcome weather-sealing on the camera body, I have no major issues with it otherwise. Its buttons are responsive, the display is great, its ports (particularly the memory card slot on the side) are easily accessible even when mounted to a tripod, and it's comfortable to hold and use.
128.3mm (350mm equivalent), f/4.5, 1/400s, ISO 160.
Compared to its predecessor, the FZ2500's built-in lens is much improved. The FZ2500 has a 20x optical zoom lens compared to the 16x zoom lens of the FZ1000, for starters, but it also has an improved optical formula and a new aperture design.
With a 35mm equivalent focal length range of 24-480mm and an aperture range of f/2.8-4.5, the FZ2500 offers a lot of reach for the price. With this greater zoom range, the FZ2500 does weigh 12% more than the FZ1000, but that's a worthy trade-off for the clear majority of photographers. Across the entire focal length range, I found the FZ2500 to offer impressive performance.
Its good optical performance is likely due in part to its new optical design. The FZ2500 has one more element than the FZ1000 and includes a new ultra-high refractive index. It also includes an additional aspherical lens, although total aspherical surfaces remain unchanged at eight. In total, the lens has 16 elements in 11 groups.
The new aperture mechanism features a 9-bladed diaphragm, compared to the 7-bladed one found in the FZ1000. The lens can create some very nice bokeh considering the sensor size; I was impressed. Out of focus areas are smooth and not distracting, especially when shooting at the telephoto end of the lens. You won't be able to create a super soft background as easily as you could with a larger sensor camera and same equivalent focal length, all else equal, but it still offers users very pleasing images in a wide variety of situations.
176mm (480mm equivalent), f/4.5, 1/640s, ISO 125.
I like the pleasing bokeh that the FZ2500 creates; it's quite impressive considering the camera's sensor size and f/4.5 aperture at telephoto focal lengths.
Regarding aperture, you will want to avoid stopping down much with the FZ2500 as diffraction rears its ugly head quickly. I found diffraction to become most noticeable around f/8.0 and then continues to degrade at f/11. When shooting wide open at 24mm, the lens is a bit soft but stopping down to f/4.0 improves sharpness considerably. On the other hand, at the telephoto end of the lens, it performs well wide open and gets slightly softer as you stop down. Generally, the lens is best between f/4-5.6 throughout its entire focal length range.
When shooting with the lens stopped down, there is a diffraction compensation option that applies to JPEG files, and it works quite well. It sharpens the images without introducing artifact issues. I recommend having it set to 'Auto' and letting the camera work its magic as it sees fit, particularly if you intend to use JPEG files.
If you want to reduce your shutter speed, say for shooting video or creating stills with motion blur, rather than stopping down, you can utilize the FZ2500's built-in neutral density filter, another new feature compared to its predecessor. There are two built-in ND filters which offer varying strengths of 1/4 (3 stops), 1/16 (4 stops) and 1/64 (6 stops). The ND filter is controlled via a switch on the side of the lens barrel.
12.4mm (34mm equivalent), f/5.0, 1.3s, ISO 125.
The FZ2500 can focus impressively close at wide-angle, as close as 1.2 inches (3 centimeters) when using the macro focus mode. The normal focus range is 11.8 inches (30 centimeters) to infinity.
Macro image taken at 8.8mm (24mm equivalent), f/5.6, 2s, ISO 125.
Vignetting control across the lens's focal length and aperture ranges is handled nicely by the camera's processing for both JPEG, as well as RAW files, which do receive in-camera corrections. There was more falloff at 24mm than 480mm, but in neither case is the situation particularly bad.
Light falloff is handled quite well overall, but there is some falloff visible in this RAW image captured at 24mm equivalent with an aperture of f/2.8. This RAW image was processed using ACR default settings.
Light falloff is handled quite well overall, but there is minor falloff visible in this RAW image captured at 480mm equivalent with an aperture of f/4.5. This RAW image was processed using ACR default settings.
At both extremes of the lens, there is some edge softness that doesn't go away by stopping down. What does improve when stopping down is chromatic aberration around fine details at the edge, although that occurs across the entire aperture range, especially at 24mm. For whatever reason, the left edge of the frame at 24mm was softer than the right edge, but that situation reversed at the telephoto end of the lens, with the right edge instead being slightly softer. This might be an issue with sample variation, and this exact behavior might not be present on other FZ2500 units.
All in all, the built-in lens is very impressive both for its versatility and its performance. While it displays some optical weakness, particularly at the wide end of the lens, it is still a great performer overall given its focal length range and this class of camera.
The Panasonic FZ2500 uses a 20.1-megapixel 1-inch-type CMOS sensor with a native ISO range of 125 to 12,800, which can be extended down to ISO 80 and up to ISO 25,600. This same sensor was used in the FZ1000 and is found in many cameras and offers very good performance for the sensor size.
The FZ2500 produces sharp, vibrant JPEGs at default settings, and its RAW files are versatile, albeit dull and soft straight from the camera, as is par for the course with RAW files. Importantly, if you don't want to fiddle with camera settings, you'll be able to get nice images with the FZ2500 right out of the box. With that said, default sharpening is perhaps a bit excessive to my eye, but that isn't unusual for default JPEG settings and is easy to adjust in the camera.
176mm (480mm equivalent), f/4.5, 1/320s, ISO 125.
100% crop of a JPEG image. You can see some artifacts in the feathers. Nonetheless, the FZ2500 produces sharp, detailed JPEG images even at its 480mm equivalent focal length.
When considering RAW images, I already mentioned that they're soft across the board, but they also perform quite well at higher ISOs and are amenable to fine-tuned noise reduction processing. Through ISO 1600, RAW images don't show all that much noise and maintain good sharpness. Noise distribution is smooth and easy to reduce using post-processing. However, at ISO 3200, noise is harder to deal with. Nonetheless, there is still decent detail (although fine detail will be lost after reducing that noise) and colors are generally accurate. At ISO 6400, 12800 and the extended setting of 25600, colors become washed out and there are a lot of hot pixels that appear in images. Noise is not as evenly distributed and there is banding. Further, dynamic range is severely limited as highlights become heavily banded and black areas become a charcoal gray.
Looking at JPEG images, they are very sharp at ISO 125, 200 and 400. At ISO 800, sharpness decreases a bit, and you lose some of the very fine detail due to the camera's noise reduction. At ISO 1600, not only is there a further loss of fine detail, but the noise reduction introduces artifacts around soft edges, giving them a blocky appearance. Colors are slightly washed out at ISO 3200, but there is still some decent detail. ISO 6400 is usable at small sizes, but the artifacts and overall fuzziness limits their usability for large prints or viewing. ISO 12800 and ISO 25600 are useless in my opinion due to their severe lack of saturation and detail.
I am generally very pleased with the image quality performance of the Panasonic FZ2500. JPEG images are sharp, vibrant and look good across an impressive range of ISO settings, given the camera's sensor size.
User experience is certainly subjective, but in my opinion, the FZ2500 is very user-friendly and enjoyable to shoot with. One of the biggest reasons for this is the wealth of physical controls on the camera and the impressively useful touchscreen display. Additionally, the camera offers good performance across the board with no major shortcomings.
A good menu system is critical for minimizing frustrations when using a camera and fortunately Panasonic's is mostly good. Settings are in their expected sub-menus, although I would prefer even further separation of menu items because you sometimes must scroll through as many as ten pages of items. On the positive side, the menus work well with touch and traditional button controls. Further, there is a separate menu just for movie settings, which is nice.
Another good usability feature of the FZ2500 is its "Q. Menu," accessed via the Fn5 button above the top right corner of the rear display. Within the Q. Menu, you can adjust, via touch or physical controls: picture style, flash, movie recording quality, picture size, image quality, focus drive mode, focus area mode, metering, aperture, shutter speed, exposure compensation, ISO and white balance.
The Panasonic FZ2500 uses a contrast detect autofocus system but adds Panasonic's Depth from Defocus (DFD) technology, which boosts speed and performance. You can read more about DFD technology here. The FZ2500's 49-point AF system proved to work very well in the field. When considering single shot autofocus and stationary objects, autofocus is very quick and accurate, especially at shorter focal lengths. When shooting at the telephoto end of the lens, focus speeds are slightly slower, which is typical behavior for a camera in this class, but I was still impressed with how quick the focus remained, even when shooting at 480mm. Further, in low light, the FZ2500's AF performance remained quick.
176mm (480mm equivalent), f/4.5, 1/400s, ISO 2000.
AF performance remains mostly positive when considering moving subjects, although the FZ2500 can become sluggish when continually focusing at the telephoto end. The camera has a slight tendency to hunt and have focus come in and out very quickly, which can create a slight wobbling effect through the viewfinder or on the display -- which is characteristic of contrast-detect AF systems -- but it otherwise doesn't negatively impact shooting performance for photos.
I was impressed with the subject tracking autofocus mode, which lets you tap on the subject on the display and the camera will automatically follow it around. In my experience, the FZ2500 could successfully lock onto the subject even after it exited and then re-entered the frame again. It can't maintain a great lock with a fast subject, but it is nonetheless capable of shooting many moving subjects.
Of the FZ2500's various AF point configurations, I enjoyed the custom multi AF mode. It allows you to select from three pre-made AF areas: horizontal pattern, vertical pattern and central pattern, all of which you can move around the frame. The real magic is in the three custom area slots. You can tap any of the 49 AF area rectangles on the display, and the camera will then use those as its autofocus area. Say that you know you will want to shoot a subject that will always be placed in the rightmost third of the frame, you can select only those AF areas. Or perhaps you're shooting a subject with a distinct shape, like an 'X,' you can make that shape as well. It's a neat feature, albeit one that many users might not need.
176mm (480mm equivalent), f/4.5, 1/800s, ISO 125.
The best part about autofocusing with the FZ2500, besides its reliable and quick performance, is its touchscreen. Being able to look through the viewfinder and then tap on the display where you want the camera to focus when using the 1-point AF mode is excellent. Rather than needing to move the point around using a directional pad, you can simply tap your subject on the display. This is something that neither the FZ1000 offered nor the FZ2500's steepest competition, the Sony RX10 series.
The fact that I don't have much to say about the FZ2500's metering performance is very much a good thing. It offers intelligent multiple, center-weighted and spot metering modes, and they all work well. It is worth noting that the spot metering mode is tied to the autofocus area, meaning it is adjustable depending on where you place the AF point, which I find is an excellent feature. Exposure compensation is available via the Fn4 button on the top of the camera or through the Q. Menu, but I rarely needed to use it. The exception to that is when shooting scenes with snow, but that is normal behavior for shooting that type of subject. White balance metering was similarly impressive, and the camera didn't give me any issues in its auto white balance mode.
8.8mm (24mm equivalent), f/5.6, 1/5s, ISO 125.
I used +0.67 exposure compensation for this image. Besides shooting snowy scenes, I very rarely needed exposure compensation. Importantly, the FZ2500 was consistent with its metering. I could have even used a full stop of exposure compensation for this particular scene.
In addition to the standard assortment of shooting modes -- P, A, S and M -- the FZ2500 also offers a handful of special shooting modes such as panorama, scene modes and creative filters. There is not a lot to say about the creative modes, but there are a lot of filters and effects for users to choose from, which can, in some cases, vastly change the appearance of your images.
The Panasonic FZ2500 offers good performance across the board with very few exceptions. Addressing the shutter first, the FZ2500 has a mechanical shutter and an electronic shutter. The mechanical shutter offers shutter speeds ranging from 60 seconds to 1/4000s, although there are some limits to this. For example, at f/2.8, the maximum mechanical shutter speed is 1/2000s. It isn't until f/4.5 that you can shoot at 1/4000s using the mechanical shutter. Regarding the electronic shutter, the slowest shutter speed available when using it is a full second. Shutter speed limits also affect the maximum flash sync speeds. At f/2.8-4.0, the max flash sync speed is 1/2000s because of the mechanical shutter constraints. At f/4.5 and higher, you can shoot with flash at up to 1/4000s. Further, you cannot use the flash with the electronic shutter. The FZ2500 includes a hot shoe as well.
168.8mm (460mm equivalent), f/4.5, 1/60s, ISO 1600.
Regarding continuous shooting speeds, I tested the FZ2500 with a Sony 32GB SDHC card, which we tested to have write speeds around 45 MB/s with occasional drops to 30 MB/s. The FZ2500 is not UHS-II compatible, by the way. When shooting RAW + JPEG frames, I could capture 32 frames in 12 frames per second mode. The buffer, while exhibiting good depth, did take around 35 seconds to clear. When shooting JPEG 'Fine'-quality images, the speeds were similar, but the buffer depth is essentially infinite; it's limited by battery life and memory card storage. If you want to use continuous autofocus and live view, the camera is limited to continuous shooting at 7fps, which is still quite fast. Overall, performance is quite good. The camera is fast, even when shooting RAW images, and buffer depth is good, particularly when shooting JPEG images.
Wireless features are the only area where the FZ2500 comes up short against its predecessor, but not in any particularly critical way. The FZ2500 includes built-in Wi-Fi, but not NFC, a feature the FZ1000 had. Nonetheless, the wireless functionality remains the same overall.
Using Panasonic's Image App on my iOS device, I could easily connect my phone to the camera. I had to turn on Wireless functionality on the camera itself, connect to the ad-hoc network generated by the camera through iOS's Settings and then open the application itself. When in the app, you can view and transfer images, remotely operate the camera, view a photo collage, geotag images and more.
Screenshots from the Panasonic Image App iOS application.
Regarding remote operation, it works very well and offers a lot of functionality. You can change settings such as image quality, white balance, ISO, focus mode, drive mode, metering and more, as well as other exposure settings like aperture and shutter speed, depending on your shooting mode. You can also change settings on the camera itself on the fly as well, although sometimes the app takes a long time to refresh and allow you to continue remotely operating the camera after changing a setting on the camera. The live view on my phone looked good, and the connection was stable and reliable.
The Panasonic FZ2500 shares many video features with the Panasonic GH4, which means that the FZ2500 is an excellent multimedia camera with many videographer-friendly features. In addition to the built-in neutral density filters, the FZ2500 also includes a large variety of features aimed at videographers: A headphone jack, 30fps 4K UHD video recording, a new DCI 4K recording option, 10-bit 4:2:2 output via HDMI (compared to 8-bit) simultaneous 8-bit internal and external recording, unlimited video recording duration (practically limited by battery life and storage space), 100Mbps IPB and 200MBps All-I capture, MOV file format option, photo style adjustments (including Cinelike), luminance level adjustments, output color bars and audio test tone, slow motion and high speed video, rack zoom and dolly zoom. Further, if you disconnect the HDMI port, a video recording won't pause. This is a very long list of video features, especially for an all-in-one enthusiast zoom camera.
Speaking of the zoom, when recording 4K video, the built-in lens offers 35mm equivalent focal lengths of 36-720mm due to the crop factor. When recording Full HD video, you get the full width of the frame, but the top and bottom is cut off for the 16:9 aspect ratio, giving an equivalent focal length of 25-500mm. You can see a comparison of the image area below.
I was particularly impressed with how smooth zooming is with the FZ2500. Panasonic has engineered the lens to be as smooth as possible by incorporating an inner-zooming design borrowed from their pro camcorders that uses rails and cams rather than just cams. The center of gravity is steadier and more balance as a result, too. The design pays large dividends as the zoom is very smooth, and the image barely shifts when zooming. It's quite impressive, especially given the amount of zoom range offered in the camera.
Panasonic FZ2500 4K UHD Video Sample: Zooming - 36mm to 720mm eq.
3840 x 2160, 30 frames per second (fps), ISO 400.
Moving on to the video quality itself, it's quite good. 4K UHD video is sharp and detailed, even at higher ISOs. The ISO limit is 6400 when recording video, but I think that the entire range is mostly usable. Granted, video does get softer and noisier at the higher ISOs, but it isn't bad.
3840 x 2160, 30 frames per second (fps), ISO 125.
Image stabilization works quite well and allows for smooth, stable panning and handheld video recording. Unlike the recent Panasonic G85, which had an issue with image stabilization and video recording (which has since been addressed via a firmware update), the FZ2500 works as expected.
1920 x 1080, 60 frames per second (fps), ISO 6400, 98mm equivalent focal length.
1920 x 1080, 60 frames per second (fps), ISO 6400, 91mm equivalent focal length.
One aspect of the camera's performance which does not work particularly well is its autofocus at telephoto focal lengths. Even in decent light, I found that the FZ2500 was quite slow to focus when zoomed in, sometimes failing to lock on to a subject at all. After acquiring focus, it still had a slight tendency to hunt. Autofocus performance was great when shooting at the wide end of the lens, but I was surprised, given how well autofocus worked at all focal lengths when shooting stills, that the camera struggled when recording video.
3840 x 2160, 30 frames per second (fps), ISO 125, 720mm equivalent focal length.
When recording Full HD video, the FZ2500 offers a variety of neat creative video features. You can record using slow/quick (allows switching between slow or quick motion during recording), dolly zoom (allows the angle of view to change during recording and playback is at 2x speed), 4K live cropping (Full HD video frame that pans and zooms inside a 4K frame) and variable frame rate recording. There are a few restrictions, which can be viewed in the user manual, but basically you need to record in AVCHD, MP4(LPCM) or MOV file format with FHD recording quality at 30p or lower to be able to use these features, otherwise they are grayed out in the menu.
The FZ2500 records video in MOV, MP4 and AVCHD formats and offers HD video out via HDMI. Additional ports include microphone and headphone jacks. It is a full-featured and very capable video camera. If you're looking for an affordable all-in-one camera with great zoom capabilities to record 4K video, the FZ2500 looks to fit the bill.
In addition to an excellent suite of 4K video features, the FZ2500 includes a variety of 4K Photo modes just like a number of recent Panasonic models. Here, you can capture 8-megapixel JPEG images at up to 30fps. In addition to the impressive burst capabilities, 4K Photo also offers Post Focus, which allows you to shoot a burst of images at different focal distances and then select the desired focus point after shooting. Similarly, you can also focus stack a series of images to create a final composite with a greater depth of field than you could achieve with a single frame.
25mm (68mm equivalent), f/4.0, 1/2000s, ISO 125.
If you're looking for the ultimate all-in-one zoom camera, the Panasonic FZ2500 is it. Its 24-480mm equivalent lens proves to be a capable optic, and it is paired with a good 20.1-megapixel sensor. The camera body is highlighted by its excellent touchscreen display, good electronic viewfinder and a large amount of physical controls . In addition to its very good stills imaging features, the FZ2500 includes a lot of video performance, especially for the price. This hits on the general theme of the FZ2500, value. The Panasonic FZ2500 is an excellent mix of performance and usability. In a category where cameras often include lots of compromises, the FZ2500 makes very little.
8.8mm (24mm equivalent), f/5.0, 1/100s, ISO 125.


text:
Insuring the Flu: Vaccines for All?
Ruth Levine
Global Health Policy Blog
* This post is co-authored by Jessica Pickett
Reuters recently reported that the global health community is beginning to explore potential insurance mechanisms and risk management products to finance pandemic flu vaccines for developing countries, in addition to a new vaccine stockpile supported by GSK and other manufacturers:
Related Experts
Non-Resident Fellow
Former Vice President, Director of CGD Europe, and Senior Fellow
The World Health Organization made a unique proposition [at the Pacific Health Summit on June 13, 2007] - what if big donors pooled resources to take out private insurance to pay for vaccines in the case of a bird flu pandemic?
WHO Director-General Dr. Margaret Chan said the organization had been given more preparation time than it could have hoped for ahead of an influenza pandemic [and that] the WHO was using that time to study various financing options to allow poor developing nations to receive vaccines and prevent a pandemic catastrophe that could kill millions of people.
"I am sure the insurance industry can underwrite a policy for that," said Chan, speaking during a panel discussion at the Pacific Health Summit in Seattle. Taking donations to buy vaccines before an outbreak may not please cost-conscious donors, said Chan, but it may make more sense to have organizations donate money to pay for an insurance policy premium.
"Is the world prepared to buy an insurance for an event which is low probability and extremely high risk?" said Chan. "I am not sure it will work, but clearly we need to think outside the box."
Out-of-the-box thinking is certainly what we need, and it's very likely that we are not using possible risk-management methods to their best advantage, but it's not clear that the idea now being floated makes much sense. Aside from the fact that it must seem odd to potential insurers to hear that pandemic flu is a "low probability" from the head of an agency predicting public health doom, there are a few devilish details to think through. For example:
If such an insurance mechanism were put into place, would we create a situation in which heavy demands would be placed on insurers if and when bird flu emerges, just at the time when a global economic downturn would be inevitable? Ideally, the risk management instrument would be structured so that the global wins and losses would balance; for instance, if donors are unwilling or unable to guarantee purchase of a certain number of units of vaccine, maybe an insurance instrument could be developed for manufacturers that would be provide a pay-out in the event that the demand is lower than anticipated. This would give manufacturers greater ability to invest in scale-up of manufacturing, and only kick-in in the happy eventuality that the vaccines are not required.
Would we unintentionally undermine the much needed preparatory actions by creating a false sense of security that "we have insurance, it's taken care of"? The problem of moral hazard is a real one, and can act in subtle ways on decisionmaking at both global and national levels. We need to make sure that in redistributing risks we are strengthening the signals to do the right thing, not diluting a sense of responsibility.
Is the core problem really about how to buy the vaccines, or about how to ensure that a portion of the (limited) manufacturing capacity is set aside for developing country needs, or about whether it's even possible to organize a mass vaccination program for adults in developing countries? The implementation issue is really quite critical because there is currently limited ability to detect early emergence of a problem, and weak infrastructure for vaccine delivery in the places where new strains are likely to emerge. The debates about how to scrape together the money to buy vaccines shouldn't distract from the bigger, more important and more costly challenges about how to build up delivery capacity.
If we're being asked to think "out of the box," maybe the box we should think out of is the "health box." As I wrote in "A Cure for the Asian Flu," we have to look for fundamentally new ways to think about the level and type of resources required to tackle global infectious disease outbreaks. We could think about pandemic flu as a natural disasters, for instance: predictable in that it will happen; unpredictable in that we don't know when or how severely; and when it happens the affected countries will be vulnerable to very bad consequences in part because of the wide ranging economic effects. If we start to think about funding the preparation for and mitigation of pandemic flu in the "disaster box," then we could get together with others who have been exploring revolving funds, insurance instruments and other ways to mobilize resources and distribute risks over time and between those at greater and lesser risk today.
See also: Owen Barder previously blogged about disaster insurance and failure of the public sector here.
World Bank, HIV, HIV
Prioritizing Public Spending on Health in Lower-Income...
Janeen Madan Keller et al.
Is Good Monitoring and Evaluation the Secret to Success...
Biniam Bedasso
MDB COVID-19 Crisis Response: Where Did the Money Go?
Nancy Lee and Rakan Aboneaaj
Rethinking the World Bank Model for More Climate Financing
Clemence Landers and Nancy Lee


text:
UK Prime Minister Boris Johnson Asks EU To Scrap 'Backstop' Agreement
By Briana Koeneman
Johnson said the provision in the Brexit agreement needs to go because it's "unviable" and "inconsistent with the sovereignty of the U.K. as a state."
U.K. Prime Minister Boris Johnson told the European Union a Brexit deal could still get the thumbs up from Parliament — if the EU agrees to get rid of the so-called "backstop" agreement.
In a letter addressed to European Council President Donald Tusk, Johnson said the backstop needs to go because it's "unviable," "anti-democratic" and "inconsistent with the sovereignty of the U.K. as a state."
He promised his government will work with "energy and determination" to reach an agreement without the backstop.
But Tusk quickly dismissed Johnson's call to scrap the provision. He said in a tweet the backstop is an insurance policy to prevent a hard border "unless and until an alternative is found." And he criticized opponents of the plan for not "proposing realistic alternatives."
The backstop agreement was negotiated by former Prime Minister Theresa May with the EU. It's meant to prevent a hard border between Northern Ireland — which is part of the U.K. — and the Republic of Ireland. The backstop has already been voted down three times by British lawmakers. But the EU has insisted it be included in any new divorce deal.
Still, the bloc doesn't have all the leverage. The EU prefers to see an orderly Brexit, but the U.K. could leave without a deal and throw more uncertainty into the U.K.-EU relationship.
The U.K. is currently scheduled to leave the EU on Oct. 31.


text:
#ifndef __TT_AUDIO_OBJECT_BASE_H__
#define __TT_AUDIO_OBJECT_BASE_H__

#include "TTObjectBase.h"
#include "TTSymbol.h"
#include "TTValue.h"
#include "TTAudioSignal.h"
#include "TTAudioSignalArray.h"

// Forward declaration of TTAudioObjectBase for the typedef that follows...
class TTAudioObjectBase;
class TTAudio;

/** A type that can be used to store a pointer to a process method (which calculates a vector of samples).
 @param in			Audio to be processed
 @param out			Processed audio
 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
 @ingroup typedefs
 */
typedef TTErr (TTAudioObjectBase::*TTProcessMethod)(TTAudioSignalArrayPtr in, TTAudioSignalArrayPtr out);

/**	A type that can be used to store a pointer to a calculate method (which calculates a single sample).
 @param x			A single sample to be processed
 @param y			A single processed sample
 @param data		Additional data to be used by the calculation implementation, such as the channel number for which to compute.
 @ingroup typedefs
 */
typedef TTErr (TTAudioObjectBase::*TTCalculateMethod)(const TTFloat64& x, TTFloat64& y, TTPtr data);

/**	A convenience macro to be used by subclasses for setting the process method.
 @param	methodName	The name of the method to use for processing audio vectors.
 */
#define setProcessMethod(methodName)				setProcess((TTProcessMethod)& thisTTClass ::methodName )

/**	A convenience macro to be used by subclasses for setting the calculate method.
 @param	methodName	The name of the method to use for processing individual audio samples.
 */
#define setCalculateMethod(methodName)				setCalculate((TTCalculateMethod)& thisTTClass ::methodName )

#define TT_WRAP_CALCULATE_METHOD(methodName) \
TTAudioSignal&	in = inputs->getSignal(0); \
TTAudioSignal&	out = outputs->getSignal(0); \
TTUInt16		vs; \
TTSampleValue*	inSample; \
TTSampleValue*	outSample; \
TTChannelCount	numchannels = TTAudioSignal::getMinChannelCount(in, out); \
TTPtrSizedInt	channel; \
\
for (channel=0; channel<numchannels; channel++) { \
	inSample = in.mSampleVectors[channel]; \
	outSample = out.mSampleVectors[channel]; \
	vs = in.getVectorSizeAsInt(); \
	\
	while (vs--) { \
		methodName (*inSample, *outSample, channel); \
		outSample++; \
		inSample++; \
	} \
}\
return kTTErrNone;

/****************************************************************************************************/
// Class Specification

/**	TTAudioObjectBase is the base class for all audio generating and processing objects in Jamoma DSP.
 *
 *	@details The theory of operation is that this class handles the public interface to any subclass,
 *	including the main processing method, which calls an appropriate method through a function pointer.
 *	By default, this points to the built-in bypassProcess().  Subclasses then set it to point to their
 *	own process() method(s) as needed.
 */
class TTDSP_EXPORT TTAudioObjectBase : public TTObjectBase {
protected:
	TTUInt32				sr;							///< Current sample rate being used by this object
	TTFloat64				srInv;						///< 1.0 over the current sample rate (inverse)
	TTFloat64				srMill;						///< 1/1000 of the current sample rate (samples per millisecond)
	TTChannelCount			mMaxNumChannels;			///< This is the maximum number of channels that can be guaranteed to work
	TTBoolean				unused;						///< Old var that is not used anymore, but we want to keep the struct size the same
	TTBoolean				attrBypass;					///< Are we bypassing the processMethod?
	TTBoolean				attrMute;					///< Mute the processMethod.
	TTProcessMethod			processMethod;				///< This function pointer points to the active (non-bypass) processing routine.
	TTProcessMethod			currentProcessMethod;		///< This function pointer always points to the current processing routine.
	TTCalculateMethod		calculateMethod;			///< This function pointer points to the active (non-bypass) calculate routine.
	TTCalculateMethod		currentCalculateMethod;		///< This function pointer always points to the current calculate routine.
	TTObject				inputArray;					///< If the process method is passed a signal, rather than an array of signals, we wrap the signal in this array.
	TTObject				outputArray;				///< If the process method is passed a signal, rather than an array of signals, we wrap the signal in this array.
	TTFloat64				startProcessingTime;		///< The time at which this object's process method was last invoked (for benchmarking)
	TTFloat64				accumulatedProcessingTime;	///< The amount of time spent in this object's process method (for benchmarking)
	TTFloat64				accumulatedProcessingCalls;	///< The number of times the process method has been called (for benchmarking)

	/** Set the audio processing routine to point to a method that is defined as an arg to this function.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setProcess(TTProcessMethod processMethod);

	/** Set the sample calculate routine to point to a method that is defined as an arg to this function.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setCalculate(TTCalculateMethod newCalculateMethod);

	/** Bypass the audio processing routine and copy all input samples to the output unchanged.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setBypass(const TTValue& value);

	/**	Reset the benchmarking accumulation used to calculate the results of getProcessingBenchmark().
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr resetBenchmarking();

	/**	Return the average time spent by this object processing audio since the last reset.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr getProcessingBenchmark(TTValueConstRef, TTValueRef v);

public:

	/** Mute the audio processing routine and zero all output.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setMute(const TTValue& value);

	/**	Setter for the maxNumChannels attribute.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setMaxNumChannels(const TTValue& newValue);

	/**	Increase the maxNumChannels attribute, if neccessary.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr adaptMaxNumChannels(const TTChannelCount newMaxNumChannels)
	{
		if (newMaxNumChannels > mMaxNumChannels)
			return setAttributeValue(kTTSym_maxNumChannels, newMaxNumChannels);
		else
			return kTTErrNone;
	}

	/**	Setter for the sample-rate attribute.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setSr(const TTValue& newValue);

	/**	Convenience method for updating the sample-rate.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr setSampleRate(const TTUInt32& newSampleRate)
	{
		if (newSampleRate && newSampleRate != sr)
			return setAttributeValue(kTTSym_sampleRate, newSampleRate);
		else
			return kTTErrNone;
	}

protected:

	/** Constructor.
	 @details Requires that the maximum number of channels to be used with this instance is defined.
	 @param arguments	Arguments to the constructor.
	 */
	TTAudioObjectBase(const TTValue& arguments);

public:

	/** Destructor.
	 */
	virtual ~TTAudioObjectBase();

	/**	Calculate a single sample of output for a single sample of input.
	 @param	x			The input to the function.
	 @param	y			The output of the function.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr calculate(const TTFloat64& x, TTFloat64& y);
	TTErr calculate(const TTValue& x, TTValue& y);

	/**
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr calculateMessage(TTValueConstRef input, TTValueRef output);

	/** Process the input signal, resulting in an output signal. This method wraps the actual process method that will be called.
	 @param in			The input signal.
	 @param out			The output signal.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr process(TTAudioSignal& in, TTAudioSignal& out);

	// Shortcut for when the caller is using pointers
	TTErr process(TTAudioSignal* in, TTAudioSignal* out)
	{
		return process(*in, *out);
	}

	/** Process the an output signal only, e.g. for a signal generator. This method wraps the actual process method that will be called.
	 @param in			The input signal.
	 @param out			The output signal.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr process(TTAudioSignal& out);

	// shortcut for when the caller is using pointers
	TTErr process(TTAudioSignal* out)
	{
		return process(*out);
	}

	/** Process two input signals, resulting in two output signals.
	 @details			This method wraps the actual process method, which may use the extra signal as a sidechain or other input.
	 @param in1			The main input signal.
	 @param in2			A secondary or sidechain input signal.
	 @param in1			The main output signal.
	 @param in2			A secondary or sidechain output signal.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr process(TTAudioSignal& in1, TTAudioSignal& in2, TTAudioSignal& out1, TTAudioSignal& out2);

	// Shortcut for when the caller is using pointers
	TTErr process(TTAudioSignal* in1, TTAudioSignal* in2, TTAudioSignal* out1, TTAudioSignal* out2)
	{
		return process(*in1, *in2, *out1, *out2);
	}

	/** Process two input signals, resulting in an output signal.
	 @details			This method wraps the actual process method that will be called.
	 @param in1			The main input signal.
	 @param in2			A secondary or sidechain input signal.
	 @param out			The output signal.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr process(TTAudioSignal& in1, TTAudioSignal& in2, TTAudioSignal& out);

	// shortcut for when the caller is using pointers
	TTErr process(TTAudioSignal* in1, TTAudioSignal* in2, TTAudioSignal* out)
	{
		return process(*in1, *in2, *out);
	}

	/**	Process an array of audio signals.
	 @param inputs		The input audio signals to process.
	 @param outputs		The resulting processed audio signals.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr process(TTAudioSignalArrayPtr inputs, TTAudioSignalArrayPtr outputs);

	TTErr process(TTAudio& inputs, TTAudio& outputs);

	/**	The default audio processing method, which simply copies a signal through with no modifications.
	 @param inputs
	 @param outputs
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr bypassProcess(TTAudioSignalArrayPtr inputs, TTAudioSignalArrayPtr outputs);

	/**	Produces a result for calls to calculate when the unit is bypassed.
	 @param inputs		The audio input signals that will be passed through with no further processing.
	 @param outputs		The resulting unprocessesed (bypassed) audio signals.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr bypassCalculate(const TTFloat64& x, TTFloat64& y, TTPtr data);

	/**	A muted audio processing method, which simply copies zeroes to the output.
	 @param inputs		The audio input signals to be muted
	 @param outputs		The processed (muted) audio signals.
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr muteProcess(TTAudioSignalArrayPtr inputs, TTAudioSignalArrayPtr outputs);

	/**	A default calculate method, which simply calls the process method with 1 channel signals that are 1 sample in length.
	 @details This method is not fast, and if you anticipate the calculate method to be called often, you should write a proper
		calculate method in the subclass.
	 @param x
	 @param y
	 @param data
	 @return			#TTErr error code if the method fails to execute, else #kTTErrNone.
	 */
	TTErr defaultCalculateMethod(const TTFloat64& x, TTFloat64& y, TTPtr data);

	// UTILITIES

	/**	Convert Hertz to radians.
	 @details Be sure to set the sr for this object before calling this function.
	 @param hz			Frequency expressed in Hz.
	 @return			Frequency expressed in radians.
	 */
	TTFloat64 hertzToRadians(const TTFloat64 hz);

	/**	Convert radians into Hertz.
	 @details Be sure to set the sr for this object before calling this function.
	 @param radians		Frequency expressed in radians.
	 @return			Frequency expressed in Hz.
	 */
	TTFloat64 radiansToHertz(const TTFloat64 radians);

	/** Degrees-to-radians conversion.
	 @param degrees		Frequency expressed in degrees.
	 @return			Frequency expressed in radians.
	 */
	TTFloat64 degreesToRadians(const TTFloat64 degrees);

	/** Radians-to-degrees conversion.
	 @param radians		Frequency expressed in radians.
	 @return			Frequency expressed in degrees.
	 */
	TTFloat64 radiansToDegrees(const TTFloat64 radians);

	/** Decay Time (seconds) to feedback coefficient conversion.
	 @param decay_time	-60 dB decay time in seconds.
	 @param delay		The delay time of the feedback loop.
	 @return			Calculated feedback coefficient.
	 */
	TTFloat64 decayToFeedback(const TTFloat64 decay_time, TTFloat64 delay);

	/** Return the decay time based on the feedback coefficient.
	 @param feedback	The feedback coefficient.
	 @param delay		The delay time of the feedback loop.
	 @return			Calculated -60 dB decay time.
	 */
	TTFloat64 feedbackToDecay(const TTFloat64 feedback, const TTFloat64 delay);

	/** Default (empty) template for unit tests.
	 @param returnedTestInfo		Returned information on the outcome of the unit test(s)
	 @return						#kTTErrNone if tests exists and they all pass, else #TTErr error codes depending on the outcome of the test.
	 */
	virtual TTErr test(TTValue& /*returnedTestInfo*/)
	{
		logMessage("No Tests have been written for this class -- please supply a test method.\n");
		return kTTErrGeneric;
	}

};

/** Pointer to a #TTAudioObjectBase.
 @ingroup typedefs
 */
typedef TTAudioObjectBase* TTAudioObjectBasePtr;

#endif // __TT_AUDIO_OBJECT_BASE_H__


What is the correct spelling for SHOUTEWD?
This word (Shoutewd) may be misspelled. Below you can find the suggested words which we believe are the correct spellings for what you were searching for. If you click on the links, you can find more information about these words.
routed The whole Persian force had been routed by a mere handful of men; and the Athenians were so proud of their victory, that they longed to have their fellow-citizens rejoice with them.
shortened I then shortened sail to form the line; but the Eurydice sailing so indifferently, and having so superior a force to contend with,-three of the enemy's ships being large frigates, with another which I took for the Thames, and one apparently of twenty-four guns,-I directed Captain Cole to make all the sail he could and stand in shore, Guernsey at the time being in sight.
should Why should I tell you if I don't want to?
shout Mary did not shout, but she looked at things.
shouted Monsieur Dupont almost shouted.


Working through military chaplains, The Gideons International distributes hundreds of thousands of New Testaments in military installations all around the world each year. A Gideon or military chaplain personally hands each New Testament to a soldier.
Thank you for your support. I have been transferred from the USS Nimitz to the Marine Corps, and I need to order more Bibles. I was able to distribute over 1,500 New Testaments from The Gideons International while onboard Nimitz, and as a result saw 57 Sailors come to Christ! Again, thank you for your help, and may God continue to bless you.
We praise God for how He has chosen to use these Scriptures to win our servicemen and women to the Lord. We pray there'll be many, many more testimonies to come as a result of these distributions.
How wonderful it is to hear that so many Navy Men came to know the Lord and saviour through the distribution of Gods Word.
I glorify the Lord God to Gideons work regarding New Testaments distributing.
Praise God for this awesome testimony of these 57 navy personnel!!!!!!!!!
Once again, in our Lord's magnificent plan for each one of us, before we were created, these who have come forward and received Him as their Lord and Savior!!!
Thank You, Jesus, dearest Friend anyone can ever have, for Your love, faithfulness and patience.
I am always soo blessed to read about the mighty works of the Holy Spirit using the Gideons to bring His hope to the lost, no matter where they are 😉 even on a ship!!
Thank you Gideons, for all these years of perseverance and God bless you and use you until the day of His return.
In all these things Lord, we give You all the praise and glory because without the cross, all these works would be for naught!
Dios hizo la obra por lo cual fue enviada su palabra, Dios bendiga al ministerio de los Gedeones Internacionales!
Praise the Lord that these 57 men have received the Lord Jesus Christ. I was in the US Navy and I know how difficult it is living aboard ship. There are many many temptations our military men and women are confronted with every day but with the Lord's help they can overcome them. Praise God for our military chaplains.


text:
Sports >
Freshman/sophomore volleyball had a winning season
posted Nov 4, 2014, 11:08 AM by Unknown user [ updated Nov 4, 2014, 11:08 AM by Tamara Salisbury ]
The Freshman/sophomore volleyball players were ready for anything that came their way. They proved this in a triangular against Garden Plain and Wichita Trinity Oct. 16.
The tri was at home and one of the last games of the season for the girls. With a winning record going into these games, the girls had no doubt they would try their hardest. They went into three games with Garden Plain, losing the first game, winning the second and then losing the last game. They did pull out the win against Trinity in two games.
"Practice helped us get things done and really learn a lot to be better in games," freshman Amanda Smith said.
The new freshman and sophomore coach, English teacher Kristy Martin, said she enjoyed coaching the girls. Coach Martin said that high school practices are more intense and competitive compared to middle school.
"Incoming freshman learned a lot in the season," Coach Martin said. "The sophomore girls did a good job showing the freshman what's to be expected of them."
The girls ended the season with a record of 19-9.
"Sophomore year was better than freshman year because I was actually experienced," sophomore Emma Barkley said. "Being a leader was fun, and Mrs. Martin helped us a lot."
Oct. 16, the freshman/sophomore volleyball team had its last home game. The team huddled up to regroup for the next game.


Read original article here, found on IBM's Developer blog.
Still in its early stages, Extenua's Cloud2Drive storage solution was born on the IBM Cloud and built on SoftLayer infrastructure. The Cloud2drive product appears as a network drive on users' computers, but it lives in the cloud. When unstructured data like documents, spreadsheets, and photos are saved, they are diced into pieces, and each piece has a unique encryption key assigned to it, scattered about randomly across the IBM Cloud. According to Steve Visconti, president and CEO of Extenua and Cloud2Drive, it would take 38 billion years for hackers to crack Cloud2Drive's code.
Founder and chief technology officer Federico Simonetti created Cloud2Drive to address the security gaps in cloud storage that he discovered from his own experiences as a famous Italian hacker, professor, entrepreneur and eventually, chief cyber investigator for anti-terrorism at Interpol, where he prevented more than 70 hacking activities in Europe. Simonetti chose IBM Cloud as the secure foundation for Cloud2Drive, and while the company can connect its operations and API to any other cloud provider, he still highly recommends that clients use IBM Cloud infrastructure for their own deployments.
The choice to build Cloud2Drive on IBM Cloud was driven by stability, performance and the opportunity to join IBM GEP.
Customers like AIG and government organizations have turned to Cloud2Drive to run workloads and test top-secret government projects. The Navy is currently in development for a solution, managed through SPAWAR, the space and naval warfare command system, and Cloud2Drive has been in development and beta with the marine core and defense department. And because IBM Cloud is FedRAMP compliant on SoftLayer, these government clients can deploy production workloads when they are out of beta.


text:
Reading Now Future of AI – What You Should Know
Many people are concerned about the future of AI, or artificial intelligence. Some fear it because they feel that AI may take over their jobs. Other people fear that AI will make us redundant in a world with ever increasing population. In this article we will explore the future of AI.
What is AI?
Artificial intelligence is the ability to perform tasks and execute decisions. AI is already very advanced today. It is becoming increasingly more intelligent as time goes on. A computer can beat human chess champions or make a decision based on its hunches and base its decisions solely on what it learns about the world around it.
If you look at some of the most popular games available today, such as Call of Duty, you will notice that they are all based around the basic building blocks of modern day software applications. If we could implement this artificial intelligence into our computers we would have computers that were more intelligent than humans.
Not all of the current fears regarding artificial intelligence are entirely valid. There is no reason to think that computers will replace humans. Computers may have issues in the future and we may still need humans to do specific jobs, but that's not the only question that should be asked.
AI Advancement Has Been Rapid
In recent years the pace of advancement has been rapid. Just as it did in the past, AI software will become faster and more capable over time.
Some think that the advances in AI will make humans redundant. They fear that technology will eventually overtake humans and all work will be done by AI robots. This fear may have merit. But as we see many industries employing a lot of humans now, it's difficult to see how technology will replace human labor completely.
One concern that many people have is that, as AI becomes more advanced, we will soon see the creation of human-level artificial intelligence. If this happens it would cause a major shift in our society and could bring with it major societal change.
AI may even be the final innovation that human minds will have to provide. Many have the impression that human intelligence is limited by how much it can actually do.
The predictions for the future of AI and technology are not all positive. There is no reason to assume that the human race will become extinct.
Some people fear that the advances in AI and technology will be used to control people and enslave them. Others worry that the technology will replace humans and lead to a reduction in economic development.
Some argue that we need to embrace the future of AI because it will help us solve problems that we can't solve today.
They suggest that new technologies can relieve stress and emotional and physical suffering.
Others believe that the advances in AI and technology will improve people's lives and help them find meaning in their lives.
We all want to live in a world where the future of AI is bright. And the future of AI may be a bright one indeed.


Upper Middle Bogan Series 3 sees Bess Denyar (Annie Maynard) continuing to strive for a happy union between her adoptive upper middle family and her biological bogan family. Two years have passed since Bess, an upper middle class doctor, discovered she was adopted and found her drag racing, biological parents living in the outer suburbs. With her two families, the Brights and the Wheelers, each now facing a brand new set of challenges — moving houses, illness and injuries, relationships ending and beginning — Bess struggles to manage her families living at opposing ends of the freeway, with varying levels of success. Often caught in the middle of two tribes, Bess' dreams of life as one big happy clan seem almost impossible… but only almost.
Margaret and all the Wheelers help the Brights move into a brand new family home, architecturally designed by Danny. The über modern-verging-on-brutalist house leaves them all a bit bemused but Bess feels particularly uncomfortable in the cavernous concrete rooms, doubly when Danny won't let her set up any of her furniture. Meanwhile, Brianna has found love and is eager to cement her relationship with her new fiancé, Younis, as a contestant on The Block, and Amber discovers that her ex-partner, Troy, is keen to cement his own new relationship.
When a shopowner spots Kayne's artwork on the side of the Wheeler truck, she commissions him to paint his designs on her expensive homewares store but, as Margaret is outraged to discover, has no plans to pay him. While Margaret finds a way to stop Kayne being exploited, Bess grapples with a gift from Julie, a fake Fendi bag, and Danny struggles to accept that his local coffee supplier has copied his favourite designer shirt to make its uniform — for a fraction of the price.
Bess is alarmed to discover that Julie has a sister, despite Julie telling all the children that her sister was dead. Julie forbids the family from contacting her but Bess, desperate not to have any more secret relatives, enlists Brianna, Amber and Margaret to help her investigate. Danny takes Oscar away to an architects' conference where his special role as guest speaker is compromised and, when a council officer shuts down Kayne's backyard protein powder shop, Wayne is determined to fight.
Amber is appalled when Shawn arrives home with his new and highly alternative girlfriend, Ashley, in tow. Squeezed tight in the bungalow, Amber struggles to find space — not just with Shawn, but with the rest of the family too. Brianna is busy with Younis, and Wayne and Julie are binge-watching TV in their newly installed private cinema. Meanwhile, Bess is distressed when Edwina announces she wants to study medicine after meeting an inspirational female surgeon, having never been inspired before by Bess' own medical career.
Bess brings Margaret and Julie to a Mothers' Day Lunch, where Bess having 'two mothers' is misunderstood. The Wheelers help Amber and Evan at a hardware store sausage sizzle and Danny signs the kids up for a charity bike ride.
When Edwina's rowing scull is woefully underprepared for the interschool regatta, she begs Brianna to step in as coach, who accepts the challenge with much more gusto than Edwina expected. To cheer them on, the Wheelers join Bess up at the Murray River replete with jet skis and giant tyres. Evan takes the opportunity to give Amber his Dad's vintage speed boat, but he is taken aback when she seems unhappy with his gift. After minor surgery, Danny has to stay home to convalesce while Margaret reluctantly looks after him.
Exhausted by Margaret and Julie fighting over her, Bess decides to spend Christmas in New York with Danny and the kids. As expected, telling Margaret is challenging but it's telling Julie that proves impossible. Julie faces her first Christmas without Amber and Brianna, both travelling to their partners' families. Julie is heartbroken and not even consoled by Wayne and Kayne's promise to make their Christmas lights display the best in the street this year. While Bess summons the nerve to tell Julie the truth, Danny helps Oscar choose an appropriate Kris Kringle for his crush.


text:
General, My Journey
The Indie Artist World
How does an indie artist get started?
How do they come up with the funds they need to record an album?
How do they build a bigger fan base?
How do indie artists reach outside of their current circles?
Questions, questions, and more questions….
All these questions and more have been running through my head for the past several weeks (and even keeping me awake all hours of the night.) It all can seem SO overwhelming!
It's definitely possible for an indie artist to be successful, raise funds, put out great albums, and connect with amazing fans. There are also a lot of tools available to help artists do all of the aforementioned things.
But where do you get started?
I happen to be starting from the very beginning! I'm an artist, and I'm so thrilled to already have had my songs recorded on an album in 2012 and another song to be recorded by a choir in 2014. I've done events and been involved in a couple of concerts, and I've even taught a few classes related to songwriting and new music.
I'm considered and independent artist because I am unsigned, or not producing music under a major label. There are some great benefits that come with being an indie artist, and some of those are:
There are no limitation in regards to age, appearance, religion, etc.
The artist, not the label, has control over her career, which includes the type of music and songs recorded, when and where to perform, marketing strategies, etc.
The artist owns the masters and can do whatever she wants with her music.
The artist keeps 100% of the profits.
The artist can record as often as she likes. (Most labels limit to one album every 18 months to two years.
The artist can build the team she wants with the people she wants.
…and SO much more! Ultimately, the ARTIST is the boss and is able to make the decisions that she feels are the best.
However, there is also a LOT of work, time, and usually out-of-pocket money that goes hand-in-hand with being an indie artist. To start with, the artist is building and creating her own content and marketing materials. Reaching potential fans is also a process in itself!
On top of all of that, if the artist wants to record an album, she will have to come up with the money to pay for production, studio time, musicians, mastering, CD replication, photo shoots, graphic design, promotional material, etc. Those things all add up quick!
So with all of that said, I still don't have all the answers to the millions upon millions (that may be a slight exaggeration…) of questions bouncing around in my head, and I still feel a bit overwhelmed by it all. However, an artist is not just something I want to be one of these days, an artist is something that I am! Right now!
I am planning on finding the answers to all these questions, building my fan base, getting my music out there, and recording an album by the end of 2014. It seems like a big dream, but it is one that I am willing to shoot for and I hope that others are encouraged to go for their dreams, too!
Just so you know, I am starting with a website, about 200 fans on my Facebook page, about 17 followers on Twitter (which I am just now starting to utilize), YouTube and SoundCloud accounts, zero dollars in my project fund (with about $40-$50k to go), several original songs ready to go, two wonderful studios that are ready to work with me (Ed Cash Studio for the album and Advent Records for my first single), and a prayer that God will do what He wants to do with me and the music He has blessed me with!
I hope you will follow my journey and tell others about it! I also hope that if you are an artist, that you will be encouraged to go for it and get you music out there!
November 15, 2013	by BrittaniScott
Story Behind the Song | I Will Walk This Road
When The Music Fades
How Important Is Unity in the Music Department?
Reply	Donna (Nana) November 16, 2013 at 1:31 am
Brittani you have a gift that God gave you to use for Him and He will bless you and help you. I'm thrilled that you are going to record some of your music. Get that savings account started and you will be surprised how it will grow. Love you, Nana
Reply	Brittani November 16, 2013 at 1:33 am
Thank you, Nana! I love you!
Reply	Cheri November 21, 2013 at 7:20 pm
Great post! As an indie artist also starting out, it's great to meet others on that journey. I'm also hoping to release an album in 2014 (and am terrified! but still excited) so I will be following your adventures. 🙂 BTW, I stopped by your YouTube channel and really enjoyed your music. Godspeed to you!
Reply	Brittani Scott November 21, 2013 at 7:37 pm
Thanks, Cheri! I look forward to hearing your music!


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