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Yikes, that jersey lottery mega new is much more tyrannical than the sociable black jack counting device. An easy way to describe what happens when you "load" the antenna is that we electrically increase the "length" of the antenna without increasing the mechanical length. our goal is to approximate a functional portion of the full wavelength i.e. 4 or 8 ; using an 8 foot length of wire, or an old 102" cb radio whip as the antenna, a series inductance of about 350 h is required to properly load the circuit. we can use either a fixed inductor or wind our own loading coil, which is better! ideally, we want a high-q coil - which can be fabricated very easily using a 5 inch long piece of 1 diameter pvc pipe. wind 120 turns of wire neatly spaced on the pipe. drill a small hole in the pipe at each end and thread the wire through it a few times to hold it securely. connect to the center pin of j1, the rca output jack and connect the rca connector shell to a good ground for maximum transmission range. the 8 foot length of wire should be extended vertically for maximum range. here's a neat antenna idea, the 1 2" pvc loading coil will fit nicely into 2" diameter pvc pipe. get a 10 foot length, run the long antenna wire up through the pipe and over the edge a bit, slip a pvc pipe cap over the end to hold it in place. slip the loading coil into the other end of the pipe and you've now got a neat waterproof antenna. and remember use a good ground for best transmission range. as long as you're at it , you can try to "roll your own" loading coil using a common paper tube from your paper towel dispenser. start by shellacking or otherwise clear coating a cardboard tube to "stiffen" the cardboard. then, using wire from an old transformer or other type of 8 ' whip 1 2" pvc tu "magnet" wire available at a local paper electronics supply shop or radio shack ; wind consecutive "loops" around the tube. for a frequency of 1000 khz or 1 mhz ; you'll need to wind 190 turns of wire around the tube for the proper inductance! connect an 8 foot whip antenna to one end of the coil and the other end to the center pin of the antenna output jack. experiment with different designs to determine which antenna type works best for you.
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Sec. 20-1001. purpose and intent. a ; findings. the council of the city of burbank finds and declares that: 1 ; the uncontrolled placement and maintenance of newsracks in the public right-of-way can constitute a threat to public health, safety, and welfare. 2 ; newsracks which display materials describing and depicting explicit sexual conduct and nudity are thrust indiscriminately on children and unwilling adults. 3 ; these factors constitute an unreasonable interference with and obstruction of the use of public rights-of-way, constitute an unwarranted invasion of individual privacy, are injurious to health, offensive to the senses, and constitute such an obstruction of the free use of property as to interfere in the comfortable enjoyment of life and property by the entire community. 4 ; the council recognizes, however, that the use of such rights-of-way is so historically associated with the sale and distribution of newspapers and publications that access to those areas for such purposes should not be absolutely denied. the council further finds that these strong and competing interests require a reasonable accommodation which can only be satisfactorily achieved through the means of this article which is designed to accommodate such interests by regulating the time, place and manner of using such newsracks. b ; purpose. the purpose of this article is to promote the public health, safety, and welfare through the regulation of placement, appearance, number, size, and servicing of newsracks on the public rights-of-way so as to: 1 ; provide for pedestrian and driving safety and convenience. 2 ; ensure no unreasonable interference with the flow of pedestrian or vehicular traffic including ingress into, or egress from, any place of business or from the street to the sidewalk. 3 ; provide reasonable access for the use and maintenance of sidewalks, poles, posts, traffic signs and signals, hydrants, mailboxes, and similar appurtenances, and access to locations used for public transportation purposes. 4 ; reduce visual blight on the public rights-of-way, protect the aesthetics and value of surrounding properties, and protect the quiet of residential areas. 5 ; reduce exposure of the city to personal injury or property damage claims and litigation. 6 ; protect the right to distribute information, protected by the united states and california constitutions, through the use of newsracks. c ; preservation of constitutional rights. it is not the intent of this article to in any way discriminate against, regulate, or interfere with the publication, circulation, distribution, or dissemination of any printed material that is constitutionally protected. 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Vocal tradition in western art music relies heavily on a standard system of vocal pedagogy. through years of training, opera singers develop a sound, style and repertoire specific to that genre of music. traditional western vocal pedagogy gives us an understanding of how the voice works and modern advances in various biological sciences confirm and elaborate on that understanding. we now know why a certain voice sounds deep and sonorant and another light and breathy, why your throat hurts when you speak for too long or too loudly and why some singers like mariah carey can hit stratospherically high notes called "whistle tones" in opera singer parlance ; . you can apply the good-sense rules of opera coaches and ear-nose-and-throat doctors to jazz singing and probably should: proper vocal technique by definition preserves the health of the physiology that produces vocal sounds. but the demands of jazz style and repertoire require instruction in areas where traditional vocal pedagogy doesn't venture. jazz singers, for instance, must learn to improvise, whether that means scatting or spontaneously altering a melody line. they may employ straight tone rather than vibrato, a stylistic choice that opera and theater singers shun. and few jazz singers fully explore the voice's upper reaches and do not use whistle tones and jack blacks band. 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Brendan drove jack to dean brown's house in portola valley, where a small group of scientists including hal puthoff and russell targ ; had gathered to discuss geller and especially the et-contact-with-spectra part of the puharichgeller story. jacques vallee had suggested the meeting but was not present. curiously, vallee, had himself spent a year working on rca's spectra 70 computer, before rca completely got out of the computer business in the fall of 1971. see the network revolution: confessions of a computer scientist, by jacques vallee, 1982. ; [incidentally, a friend of mine, a graduate student in computer science, rescued a bunch of spectra 70 computer manuals from a dumpster on the berkeley campus, after uc got rid of its spectra computer. i showed one of these manuals to geller, and he was quite amazed!-"andrija, look at this, look at this!" is what he said. ] back to jack in 1973 at his first meeting with the group of scientists who were actively researching the geller phenomenon: when the puharich-geller story of the voice, calling itself spectra, on the tape recorder came up, jack spoke up and briefly told the story of his 1953 phone message of a cold, metallic voice claiming to be aboard a spaceship. the voice said that he had been selected as one of 400 bright, receptive minds and that he would be meeting some of the others in 20 years. it is important to note that jack, in 1973 and to this day ; remembered only one phone call. but as mentioned previously, when his mother read puharich's book uri in 1974, she remembered three weeks of phone calls that jack was involved with in 1953. she was struck by the similarity between the description of the spectra voice, describe in uri, and the voice she heard on the phone, when she ended the series of calls by grabbing the phone out of jack's hand and yelling into the phone, "you leave my boy alone and jack black movie. |