Any attempts to sell, direct to sales, advertise, or solicit will not be tolerated whatsoever.Do not post off-site content on behalf of others or from popular creatorsĥ.) No sales, adverts, or interactions involving real-world tender.Self promo happens when you advertise or link to off-site content such as Youtube, Twitch, DeviantArt, etc watermarks included.However, users actively participating in the community beyond their own posts and conforming to Reddit's 10:1 self promo practices may be allowed to promote their off-site content here once weekly. Self promotion is generally not allowed.Spamming low-effort posts may result in a ban.No recent reposts, content should be original.Memes should contain in-game visuals from Elden Ring and pertain to the game.Low-effort content such as tierlists, "wrong answers only", "just bought the game!", platinum posts, and other Reddit trends are not allowed.Meta community topics, politics, real-life content, and drama posts are not allowed.ģ.) No low-effort content or spamming of posts."Mildly" or "Elden Ring IRL" content is not allowed. All content should directly pertain to the game Elden Ring, not just in title.Do not submit private information on anyone.Ģ.) Keep posts and discussion Elden Ring related. Do not harass, or encourage harassment of other users, community figures, developer staff, and all others including subreddit moderators.Bigoted language will be met with a permanent ban.Refrain from excessive vulgar language.Be respectful: do not insult other users, bait, flame, badmouth, or discredit others in comment sections or posts.Official Subreddit Group Password (case sensitive): straydmnġ.) Please be respectful, do not harass others. Welcome to the Official Elden Ring subreddit!
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UnRAR source is open to the public for decompression of RAR files, but its readme file has declared as below that the source cannot be used to create a new RAR file. Support for symbolic-linked and hard-linked files.Mass archiving (Up to 8 Exabytes, about 8 billion Gigabytes).Data recovery (The format itself stores recovery information for possible data corruption.).AES-128 and AES-256 encryption algorithms.Higher compression ratio than ZIP format’s.The format still uses “.rar” filename extension to this day, but it has gone through a number of internal modifications and the latest version is called RAR5. First introduced in 1993 by Eugene Roshal, the developer of WinRAR, RAR format has been developed for a long time since when DOS was widely used instead of Windows. RAR format is an archive format natively offered by WinRAR. 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Copy and edit custom_printers.xml to add your own printers, they appear under Custom in printers panel. sample printer definition included in meshmixer folder, in \meshmixer\printers.API scripting improvbents related to C#.updated existing analytics functionality.save support structure generation settings in Overhangs tool as custom Presets.preserve settings for Uniform Scaling, Add Tube.new command line parameter: "-yup", which forces y axis to be the vertical axis, overriding the config setting.hotbox improvbent: using Shift+Space will keep the hot box open until you hit escape.rboved third-party print services that weren't really working anyways. automatic support for high-DPI displays on Windows.completed Japanese version of Meshmixer.fixed intermittent mesh disappearing after running Make Solid or Remesh.fixed the Cancel button for long-running tools.fixed startup crashes for certain machines.NOTE: requires graphics card drivers update mesh normal rendering mode now has correct default.using '' keys for Mac to contract/expand selection.applying Offset to a mesh with boundary.Added a hotkey for toggling printer bed rendering.Please add your comments about how the crash happened. 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If you have changed the Ableton User Library to a custom location, you will need to paste into the appropriate subfolder of your Ableton User Library directory ( Max MIDI Effect inside MIDI Effects inside Presets inside User Library at your custom path). Windows: C:\Users\ \Documents\Ableton\User Library\Presets\MIDI Effects\Max MIDI Effect MacOS: /Users/ /Music/Ableton/User Library/Presets/MIDI Effects/Max MIDI Effect The default Ableton User Library subfolder to place Max MIDI Effects is as follows: Liquid Rhythm FAQ on Liquid Rhythm - Installation, Setup, Usage, Troubleshooting, and more General Questions and technical support related to both Liquid Music and Liquid Rhythm Liquid Music 1.8.0 + Liquid Rhythm 1.8.0 : System Requirements. Two screenshots representing this process, with a Liquid Music 1.6.4 installation on Windows 10, are included below: If your backup install only has a single AMXD file, you can copy-and-paste this file twice, and ensure one is named “LiquidMusic.amxd” and one is named “LiquidRhythm.amxd” at the pasted location. This is to allow both to have access to the rhythm tools from Liquid Rhythm and the melody + harmony tools from Liquid Music, because you can only have a single instance of either in your Live Set. Not to worry: in Liquid Music, these two AMXDs are in fact binary-identical. In that case, look for the AMXD backup file where you installed Liquid Music / Liquid Rhythm.ĭepending on the version you installed, you may only have a single backup AMXD file. Note: You may have installed in a custom location. Versions 1.7.0 and earlier install to the 32-bit location on 64-bit Windows: C:\Program Files (x86)\WaveDNA\Liquid Rhythm\LiquidMusic.amxd C:\Program Files (x86)\WaveDNA\Liquid Rhythm\LiquidRhythm.amxd Windows: C:\Program Files\WaveDNA\Liquid Rhythm\LiquidMusic.amxd C:\Program Files\WaveDNA\Liquid Rhythm\LiquidRhythm.amxd MacOS: /Applications/WaveDNA/LiquidMusic.amxd /Applications/WaveDNA/LiquidRhythm.amxd In this case you can find the backup AMXD file(s) in these locations: Open this log file and scroll to the bottom you will find the message Failed Windows: C:\Users\ \LiquidRhythm\logs\clipsnativeinstallerlog.txt MacOS: /Users/ /LiquidRhythm/logs/clipsnativeinstallerlog.txt You can see this problem in the Liquid Music installer log file: In certain cases, the AMXD file does not get copied during the install process. If you do not see the plugin after these steps: You should now see the LiquidMusic.amxd plugin. Close/reopen the Max MIDI Effect tab in Live.Please press it 2 more times (sometimes Ableton needs a few tries). Go to the “File Folder” tab, and then under “Rescan Plugins,” press “Rescan.”.If you do not see LiquidMusic.amxd in Max MIDI Effect, you can try to rescan the plugins: (2003) compared word-initial VOTs for many monosyllabic words across eight talkers. Focusing on voiceless stops, Allen et al. Recent research has shown that this property is subject to individual talker differences ( Allen et al., 2003). In word-initial position, English voiced stops (∕b∕, ∕d∕, and ∕g∕) are typically produced with short VOTs (or, in some cases, with prevoicing), and English voiceless stops (∕p∕, ∕t∕, and ∕k∕), which are aspirated, are produced with longer VOTs ( Lisker and Abramson, 1964). VOT is a primary cue marking the linguistic contrast of voicing in word-initial English stops. In this paper we examine talker differences for one phonetically relevant property of speech, voice-onset-time (VOT). In order to provide a theoretical account of speech perception that describes the role of talker-specific phonetic detail, comprehensive data on the acoustic-phonetic consequences of talker differences in speech production are necessary. Our primary motivation for examining talker differences in detail stems from recent findings in the speech perception literature indicating that listeners retain fine-grained information about how a talker implements speech segments ( Goldinger, 1996 Goldinger, 1998 Palmeri et al., 1993) and that this information can be used to facilitate subsequent processing ( Bradlow and Bent, 2008 Bradlow and Pisoni, 1999 Clarke and Garrett, 2004 Nygaard and Pisoni, 1998 Nygaard et al., 1994). The goal of the current work is to further characterize such talker differences. Talker differences have been observed for a host of speech sound classes including vowels ( Hillenbrand et al., 1995 Peterson and Barney, 1952), fricatives ( Newman et al., 2001), stops ( Allen et al., 2003 Byrd, 1992 Zue and Laferriere, 1979), and liquids ( Espy-Wilson et al., 2000 Hashi et al., 2003). Many sources of acoustic-phonetic variability have been examined, including variability that results from differences in pronunciation across individual talkers. One consistent finding in this domain is that there is considerable variability in the acoustic-phonetic information produced for individual consonants and vowels, such that there is no one-to-one mapping between the acoustic signal and speech segment. The past 50 years of research in speech acoustics have yielded substantial information on the acoustic parameters that specify individual speech segments. The implications of these findings for how listeners might accommodate talker differences in VOT during speech perception are discussed. Hierarchical linear modeling analyses showed that (1) VOT increased as rate decreased for all talkers, but the magnitude of the increase varied significantly across talkers thus the effect of rate on VOT was talker-specific (2) the talker-specific effect of rate was stable across a change in place of articulation and (3) for all talkers VOTs were shorter for labial than velar stops, and there was no significant variability in the magnitude of this displacement across talkers thus the effect of place on VOT was not talker-specific. VOT and vowel duration (a metric of rate) were measured for each token. Many tokens of alveolar ∕ti∕ (experiment 1) or labial ∕pi∕ and velar ∕ki∕ (experiment 2) were elicited from talkers across a range of rates. This paper examines whether these contextual influences on VOT are themselves talker-specific. Previous research also indicates that VOT is robustly affected by contextual influences, including speaking rate and place of articulation. Previous research indicates that talkers differ in phonetically relevant properties of speech, including voice-onset-time (VOT) in word-initial stop consonants some talkers have characteristically shorter VOTs than others. She added: “I hope, moving forward, they also take further into consideration the feedback from the community to firm up trash management plans, sewage – both from islandgoers and recreational yachters to the area – and safety management.” It is Singapore’s only marine park.ĭr Jani Tanzil, a senior research fellow and deputy facility director of SJINML, is grateful the SDC engaged stakeholders on the tiny-homes project for Lazarus Island, to reduce the impact of construction on the environment. Sisters’ Islands Marine Park is a 40ha area that comprises the two Sisters’ Islands, the surrounding reefs and the western reefs of nearby St John’s Island and Pulau Tekukor. He added: “Our hope is for visitors to take this conservation ethic we have at the Sisters’ Islands Marine Park to any natural destination that they visit.” The hope is that these activities can be a good ‘eco-class’ on how to have fun while also being mindful of the environment.” Mr Beng said: “What we’re after is how to role-model responsible ways to protect nature through whatever activities we enjoy. The group is in the midst of planning more nature-based activities at Bendera Bay. He said programmes for the islands should all have an educational component teaching participants how to interact with nature in a thoughtful and positive way.įor instance, Friends of Marine Park conducts regular cleanups and intertidal walks on St John’s Island that also inform participants of the impact of pollution on coastal ecology. While he welcomes less intrusive forms of lodging such as mini-homes and camping, Mr Stephen Beng, chairman of Friends of Marine Park, said other outreach and education efforts to strengthen a “conservation culture” in visitors are required. Including grade, 57% of the variance in positive emotions at outcome and 61% of the negative emotions at outcome were explained.She added: “If nature groups are able to work closely with developers to do that in a carefully calibrated way, this place could be a role model for eco-tourism, and can give the nature community confidence that development and conservation can co-exist in Singapore.” Controlling for variance due to the grade received, appraisal, and coping variables accounted for 28% of the variance in positive and negative emotions at the outcome stage. Using selected appraisal and coping variables, and taking grade point averages (GPA) into account, approximately 48% of the variances in threat and challenge emotions at the anticipation stage was explained. Finally, despite normatively shared emotional reactions at each stage, substantial individual differences remained. Problem-focused coping and emphasizing the positive were more prominent during the former, and distancing more prominent during the latter. Different forms of coping were salient during the anticipation and waiting stages. On the average, subjects used combinations of most of the available forms of problem-focused coping and emotion-focused coping at every stage of the exam. The complexity of emotions and their cognitive appraisals reflects ambiguity regarding the multifaceted nature of the exam and its meanings, especially during the anticipation stage. In this study, for example, subjects experienced both threat emotions and challege emotions. Second, people experience seemingly contradictory emotions and states of mind during every stage of an encounter. For the group as a whole there were significant changes in emotions and coping (including the use of social support) across the three stages. Emotion and coping (including the use of social support) were assessed at three stages of a midterm examination: the anticipation stage before the exam, the waiting stage after the exam and before grades were announced, and after grades were posted. This natural experiment provides substantial evidence for the following major themes, which are based on a cognitively oriented, process-centered theory of stress and coping: First, a stressful encounter should be viewed as a dynamic, unfolding process, not as a static, unitary event. |
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