text:
Japan developing medical kits to secure 2020 Olympics
Tokyo plans to import strains of deadly viruses to develop antidote, to prevent outbreak of fatal diseases
Japan is developing medical kits to counter outbreak of any fatal diseases, ahead of the 2020 Olympic and Paralympic Games scheduled in Tokyo, Japan Times reported, quoting health ministry officials. According to plan, Tokyo will import strains of Ebola and four other deadly rare and fatal viruses that cause hemorrhagic fever from foreign laboratories in a month or two, to develop antidotes, at the National Institute of Infectious Diseases in a Tokyo suburb.
Thousands of sports persons and large number of their fans, will travel to Tokyo next year to watch Olympic and Paralympic games.
The government plans to obtain Ebola, Lassa, South American, Crimean-Congo and Marburg viruses, according to the officials.
The newspaper reported that the Mayor of Musashimurayama in western Tokyo, where the institute is located has consented to the study of the viruses at the facility, after he talks with Health, Labor and Welfare Minister Takumi Nemoto on Monday.
"We have come to a good level of understanding on the matter. It is a major stride toward protection against the potential threats of the viruses as the country prepares to welcome spectators of the sporting event from all over the world," Nemoto told reporters.
The deadly Ebola is transmitted through direct contact with body fluids, such as blood and excretion of infected people. So far 11,310 deaths are reported due to this virus in Guinea, Liberia, and Sierra Leone.
2020 Olympic And Paralympic Games


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complete and submit the BGS Appeal Form along with any documentation or evidence that will support your appeal.
Items not allowed through this appeal process include portfolio awards and course grades.
The BGS Appeal Form should be completed and submitted to the address given on the BGS Appeal Form or your BGS academic advisor.
All appeal documents MUST be submitted by the following dates to be considered by the committee.


text:
Lyric Hammersmith
Designed by the prolific theatre architect, Frank Matcham, the Lyric Hammersmith is a beautiful and ornate, Victorian theatre. First opening in 1895, the theatre was reconstructed in a nearby site, reopening in 1979. It has since become a leading London venue with up to 1,000 performances each year.
Noises Off
Lyric Hammersmith, London
Off West End
Friday 2 August 2019
Saturday 3 August 2019
Wednesday 2 October 2019
Designed by the prolific theatre architect, Frank Matcham, the Lyric Hammersmith is a beautiful and ornate, Victorian theatre. First opening in 1895, the theatre was reconstructed in a nearby site, reopening in 1979. It has since become a leading London venue with up to 1,000 performances each year. The current theatre is now more of an entertainment complex, boasting a recording studio, editing suite, rehearsal spaces, dance studio, cinema and two auditoria for theatre productions. The stages work well for hosting both small and large scale productions; its main stage holds up to 550 and sees the big scale shows, while the smaller is suitable for up to 120, used for emerging companies. The range of facilities supports its eclectic programme, designed to not only be creative and entertaining, but provocative and inspiring. Examining its portfolio of past productions, controversial and comical plays that no doubt aimed to push boundaries include 'Seventeen', 'Shopping and F**cking', 'Herons' and 'Pleasure'. The venue also houses west London's largest youth theatre, the Lyric Young Company, who develop and nurture the skills of young people through the arts. Its programme further caters to little ones, with its section of the programme dedicated to 'Lyric Children'. Previous pantomimes and musicals include the adaptation of Roald Dahl's 'Fantastic Mr Fox' and 'Jack and the Beanstalk'.
W6 0QL

redpajama_set_name: RedPajamaCommonCrawl


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The Charity Commission has a set of rules that are applied with various degrees of stringency such that applications to be registered are decided on principles that tend to violate Article 9, Article 10 and Article 14 of the European Convention of Human Rights. It appears to depend on who your Trustees are and how well connected they might be - where some decisions are not as consistent as they could be, but where their powers of investigation may sometimes be abused or bent to assist other agencies who might have an axe to grind, or worse still may have something to cover up.
We are keeping a watchful eye on specific cases where the explanations given are insufficient in one regard or another to make us suspicious as to the circumstances of refusal. Not that refusal bars an organisation that operates on a not for profit basis to call itself a charity.
Transparency is also an issue, where the database is designed to prevent easy access contrary to SDG16. You can see how difficult the Commission make it for researchers from the screenshot above.
The Charity Commission has used new legal powers on over 130 occasions since they were introduced in the Charities Act 2016. The 2016 Act provided a range of new enforcement powers to the regulator, including the power to disqualify individuals from charity trusteeship, and to issue Official Warnings to a charity or an individual trustee.
A report published today shows that, in total, the Commission has used new powers on 137 occasions; this has included disqualifying 21 and suspending 7 individuals from trusteeship, and removing 12 individuals as a trustee during an inquiry.
The Commission has also issued 6 Official Warnings since the power became available to it in November 2016, and issued 14 notifications of its intention to issue an Official Warning. Among the charities that have been issued with an Official Warning is the RSPCA, which received an OW in August 2018.
On 17 occasions, the Commission issued a direction requiring that charity property be applied in the interests the charity.
The information is included in the latest annual review of the Commission's compliance case work, Dealing with wrongdoing and harm 2017-18. The report covers the first full financial year during which the Commission has been able to use new legal powers introduced in the Charities Act 2016.
The regulator published a new strategy in October last year, which sets out a new purpose and five strategic priorities for the regulator, one of which is Dealing with wrongdoing and harm.
In her foreword to the report, the Commission's chief executive Helen Stephenson makes clear that responsibility for the reputation of charity is one the regulator shares with those whom it regulates and urges all trustees to recognise their role as the first line of defence against wrongdoing and harm, and the ambitions of the Commission to do more to support them.
The report also reveals that safeguarding issues continue to feature highly in the Commission's compliance case work. The regulator opened 552 new safeguarding cases in 2017-18, compared to 302 in 2016-17 and 163 in the preceding year.
Overall, the regulator opened 2,269 regulatory compliance cases, up from 1,664 in 2016-17. 1,174 cases were opened during the first half of 2018-19.
In October 2018, as part of a final report of its interim safeguarding taskforce, the Commission reported having received a total of 2,114 reports of serious incidents from charities relating to safeguarding incidents or issues between 20 February and 30 September 2018, compared to 1,580 serious incident reports about safeguarding received in the whole of 2017-18, and 1,203 received in 2016-17.
In total, the Commission dealt with 2,819 reports of serious incidents by charities in 2017-18, up from 2181 during the previous year.
Work undertaken by the regulator has also helped address underreporting by auditors of matters of material significance. During 2017-18, the Commission handled 287 reports from auditors and independent examiners of charities, up from 54 the previous year. Most of these reports (82%) related to matters of material significance.
This resulted in part from work the Commission undertook with professional accountancy bodies, in the wake of a review of auditors' compliance with new rules on reporting matters of material significance, which highlighted serious concerns about accountants' awareness and compliance.
Exchanges between the Charity Commission and other agencies increased by 31% year-on year to 2017-18.
In 2017-18, the Commission made 3,579 data exchanges with other agencies, compared to 2,733 exchanges in 2016-17.
Exchanges on safeguarding issues more than doubled from 244 in 2016-17 to 596 last year. These exchanges represented 17% of all exchanges.
The Commission says these figures demonstrate a more proactive approach to exchanging intelligence with partners so as to effectively deal with wrongdoing and harm in charities and secure regulatory outcomes in the public interest.
Among the agencies with which the Commission exchanged information about charities are police bodies, other government departments, other statutory regulators and local government.
This report tells of the Commission's continued effectiveness in dealing with wrongdoing and harm in charities, including through the appropriate and confident use of the new powers we were granted.
Our new five year strategy sets out our purpose: to ensure charity can thrive and inspire trust so that people can improve lives and strengthen society. We cannot achieve that goal by ourselves. The shared benefits of a thriving sector bring with them a shared responsibility to meet popular expectations of behaviour and conduct. It is a responsibility which binds together the regulator and those whom we regulate. Trustees who together oversee more than £70 billion of annual income are the first line of defence in securing the reputation of their own charities and more widely that of the sector as a whole.
That is a huge responsibility and the Commission is here to help, not just to step in when things go wrong. So while we are dealing with more regulatory compliance cases and more reports of serious incidents than ever before as the number of charities on the register continues to grow, it is important to recognise the hard work and dedication of the overwhelming majority of trustees. Nevertheless, where things do go wrong, the potential impact of such cases on public trust and confidence when they do come to light also demonstrates how precious and fragile the good standing of charity can be.
That is why we are working on becoming more preventative in our approach, developing the risk-based element to its work so that it can spot potential problems before they occur.
138: new inquiries opened, representing a decrease year-on-year; the figure of 187 in 2016-17 included a class inquiry involving 74 connected charities.
1,135: uses of the Commission's compliance powers – old and new (2016-17: 1,099).
Helen Stephenson joined the Charity Commission as CEO in July 2017. Helen has extensive experience of senior leadership across the public and voluntary sectors, having previously served as Director of Early Years and Childcare at the Department of Education and Director of the Office for Civil Society.
Helen has filled senior roles at the Big Lottery Fund and the Shaftesbury Society and was, chair of the National Childbirth Trust and a member of the Advisory Council of the National Council for Voluntary Organisations.
Helen also became a Charity Commission board member in September 2018.
The Chief Executive Officer (CEO), Charity Commission is responsible for its day-to-day management. This includes leading the commission's senior management team.
The CEO is accountable for the commission's use of public funds, and reports on this to the Public Accounts Committee.
The Charity Commission is established by law as the regulator and registrar for charities in England and Wales. Their stated aim is to provide the best possible regulation of charities in England and Wales in order to increase charities' effectiveness and public confidence and trust. But who monitors the Charity Commission?


Last week, I was lucky enough to hang out with TWO classes of Kindergarteners at Westwood Charter School here in Los Angeles. This was another visit that was part of my Poetry: Spread the Word project, and it was an absolute blast.
Now, I'll admit, I was a tad nervous about spending two hours with kids that young (I did back to back hours with separate classes, not two hours with one group!). But they were engaged, engaging, constantly coming up with fabulous ideas, laughing a lot, and clearly in classrooms where poetry and language were valued. We read some poems, brainstormed, shared stories, and in one case wrote a poem together. Good times, indeed, and further proof that poetry and kids mix well no matter what age!
Hooray for J. Patrick Lewis, New Children's Poet Laureate!
Last Thursday, the Poetry Foundation named J. Patrick Lewis as the new Children's Poet Laureate, taking over for Mary Ann Hoberman (who took over for Jack Prelutsky).
The field of children's poetry has sooooo many amazing people in it and this two year Laureate term could have gone to many others and been a smashing success, I'm sure. Yet I admit I cannot wait to see what the next two years brings from Pat and for children's poetry, as I know he's going to put his stamp on this... and we're all gonna enjoy the ride.
And hey... before you go off and explore the J. Patrick Lewis website, you can poke around here for a few visits he's made, too: A Sixth Grader Sees the Future, The Voice of the Voiceless, and The Poet of the World.
Oh, yeah, one more thing... Congratulations!
Wow! With a Dose of Totally Wow!
Thank you all for your support - comments, tweets, FB stuff, good vibes, pledges, Likes, and ideas galore. I'm excited, gratified, humbled, and truly looking forward to posting 100 poems and getting into 59 schools, in person or virtually.
The above video (and if you subscribe to the blog and can't see it, please click here) is from my Kickstarter project, Poetry: Spread the Word. I think it explains why I'm doing what I'm doing and why I think my project is "a good thing."
Only 36 hours left in the funding period for Poetry: Spread the Word as I publish this. Thanks to all for your support in pledging, encouraging, and spreading the word, too. It's incredibly appreciated (and, ya know, there are still 36 hours to help :-)).
Skyping with Explorer Elementary 5th Graders!
On Thursday, I had a Skype class visit with a fantastic group: Karen Feitelberg's fifth graders at Explorer Elementary School in San Diego. Their fabulous librarian, Roxyanne Young, arranged the visit... something that came about because of my Poetry: Spread the Word project!
During the visit, I gave some of the history of Fibs and got to hear them read some great examples they'd written. There were Fibs about all sorts of subjects... and even a Fib about not wanting to write a Fib! We ended by writing a group Fib first draft about pandas (or one panda, I suppose).
We had time for Q+A, too, and the students had some really great questions to ask... from what inspires me to write to how they can reach a bigger audience with their writing.
What's so exciting to me is that I'm going to be able to do a lot of these visits thanks to Poetry: Spread the Word. We're in the last two days of the funding period - all pledges now help me give away more visits just like this one - so if you were thinking of checking my project out, now is surely the time!
At their best, visits are educational, inspirational, and aspirational (in both directions, really), and so many of you who read this have become patrons of the arts, enabling these visits with your support. I can't thank you enough... and, I think, there will be a lot of students out there who will thank you, too!
Lee Bennett Hopkins - Good Books, Good Times!
© l985 by Lee Bennett Hopkins. Used by permission of Curtis Brown, Ltd.
I bet a lot of you know Lee Bennett Hopkins' Good Books, Good Times! I know I've heard him and this poem in person - a "good time!" indeed. No matter if it's new or familiar to you, though, it's a great summation of the month just past... and a preview of all the months ahead at GottaBook and, I suspect, wherever any of you are, too. When Lee suggested it might be a good fit here, I agreed (and, since I'm taking a couple day blogging break here, what better message for visitors to find!).
Besides being a remarkable poet and anthologist, Lee Bennett Hopkins has probably done more for children's poetry and children's poets than... well... probably than anyone. He's founded awards, he's lobbied, he's advised, he's promoted, he's encouraged, and most of all, he's inspired with his generosity of spirit and his love of poetry. It's always a pleasure to have him come a-visiting, and I'm thrilled to celebrate good books and good times with him and you all.
By the way, if you haven't seen the new LeeBennettHopkins.com site, you should head on over and check it out. Also, the Lee Bennett Hopkins Poetry Award Teaching Toolbox - a new blog created by librarians, teachers, and students (not Lee himself) - is well worth a visit.
I've Got a Matching Grant to Help Spread the Word!
I'm excited to tell y'all that I've got a matching grant of $500 to help my Poetry: Spread the Word project. This means that for the next $500 donated (or maybe it's down to $400 at this point since pledges have been coming in!), it'll be matched dollar for dollar to help me be able to give away more visits to more schools.
I must add that I'm so touched and gratified by all the support the project and I have gotten. Yes, the financial support is fabulous (see below!), yet I appreciate every tweet, comment, email, "like", Facebook update, and everything that folks are doing to help.
Believe me - I know that contributions aren't possible for everything we all want to help. Support, though, comes in many ways, and it's really been amazing to see. So, thank you!
Probably the biggest news in all of this, by the way, is that as of yesterday, Poetry: Spread the Word hit its funding goal! This means I'll be visiting (virtually or in person) 40 schools over the next year and posting 100 poems here, too. And we're not done - for every additional $100 raised, I will give away another visit. Right now, this already means five more schools... and I hope it will be many more.
Again, thank you all. We are spreading poetry, and that, I think, is a beautiful thing.
What a long, wonderful, jam-packed edition of 30 Poets/30 Days (neither of which is accurate this time around) it's been. I had such a blast, I must say.
One bit of news for the eagle-eyed among you: Kenn Nesbitt was listed on the announcement post but due to my late ask, his busy schedule, and my rule that this event is never about stress, his poem is going to come at some point in the future. Since he was one of the reasons the first edition of this event came together (and because he's wildly funny), I will be happy to have him here anytime at all!
There are, as always, so many people to thank for making 30 Poets/30 Days possible and successful. First off, thanks to all the poets for their generosity in being part of this celebration. Thanks, too, to all my friends in the blogosphere for their support and ideas all year round, not just now. I must give one more big hat tip to Mary Peterson for designing the logo. And finally, huge thanks to all of you who subscribe or come on by these parts and make doing this so worthwhile.
Poetry's a year-round thang here, so I hope you're not going away. Besides, it's only 11 months until National Poetry Month is here again! I'm looking forward to that and everything before it... but for now, I gotta book.
It's the question her mother keeps asking.
Snap her fingers and make it screech to a halt?
are the only two words this mother can say.
thought, how close is the moon, reached out to touch it.
the one her daddy gave her when she turned sixteen.
dangling from the rearview mirror.
She would cry if she could remember how.
Her mother can't stop crying.
watching for deer along the tracks.
their tails a white flash of goodbyes.
©2011 Kathi Appelt. All rights reserved.
True confession time: I haven't always been a fan of free verse, and that fact often still hovers way in the back of my brain. When I read Kathi Appelt's poetry, however, that distant thought never crosses my mind. I don't think there's time, really, as I'm instantly caught up (like I was last time she was here), engaged, reveling in well turned phrases and perfect, juicy words... even when the subject matter's not easy.
Her fiction's the same way. Her most recent novel, Keeper, ended up on seven slews of year-end 'best' lists, and followed up her Newbery Honor/National Book Award finalist The Underneath with more of the wonderful, poetic writing that just plain works for me (and, clearly, for many, many, many others!). I am, as I said last time, a fan indeed... and am very excited to have Kathi Appelt here wrapping up this year's edition of 30 Poets/30 Days.
Yesterday we had The Alphabet: A Found Poem by Jane Yolen. Tomorrow... a wrap up of the 2011 festivities!


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Reports to the Region
July - Sept 2019
April to June 2019
Regional Opportunities
Investment & Trade Opportunities
The Premier Annastacia Palaszczuk at the Queensland and Commonwealth Collaboration Showcase on April 12
Publication puts Queensland RDA regions in trade spotlight
Queensland RDAs have collaborated to develop the Queensland's Regions Trading Globally publication which features highlights of each of the 12 RDA regions of Queensland, around their key or emerging export sectors with growth potential, and innovative industries and opportunities for investment.
This 32 page prospectus was developed as part of the Commonwealth Games Trade 2018 Trade and Investment Program to showcase the diversity and strength of Queensland's regions to a global audience. It is a resource which can be utilised long after the Games are over.
It includes forewords from the Premier of Queensland, the Hon Annastacia Palaszczuk MP, and Federal Minister for Regional Development, Territories and Local Government, the Hon Dr John McVeigh MP.
It also contains details of the Queensland Trade Collaboration Portal which presents a showcase of leading Queensland exporters, along with information on the roles of agencies in the trade and investment space, such as Trade and Investment Queensland (TIQ) and Austrade. The publication was launched at the Queensland and Commonwealth Collaboration Showcase on 12 April held on the Gold Coast. The booklet was presented to the 150 guests in attendance including the Queensland Premier.
Latest report to the region available now
Round 4 of the Building Better Regions Fund announced - Applications close 19 December
RDA Logan & Redlands Business Plan Summary for 2019-2020 available now
Logan to receive $765,000 in federal project grants for Village Green upgrade, street lighting & festivals
e-Bulletin Archive


The implications, as the Singaporean trade minister noted, can be hard to calculate. For instance, American importing companies will need to increase the amount of the continuous bond they hold with US Customs. In some cases, bond levels may be 20-100 times higher than prior to Trump's tariff wars began. Shipping volumes have fallen off dramatically. This has left firms paying more for transportation as well. So it is not just 25% tariff rate increases that affect firms. The second- and third-order implications are just starting to appear. In the short run, exporting firms have several options to limit risk and exposure to higher tariffs. They can do nothing and bear higher costs, hoping to ride out a short conflict. They can work with their importing partners to effectively "share" the costs of higher tariffs. Firms should be reexamining their options to ensure that they understand their current supply chains, tariff classifications and possible sourcing alternatives. It may be prudent to tweak existing processes to move products into new tariff classifications by, for example, adding or subtracting manufacturing steps in the supply chain from one location to another.
This is an important week for the ongoing US Section 301 case against China. The public comment period closed last week—attracting a record number of submissions--2857 and counting. This week, the US Trade Representative's (USTR) office will be holding public hearings on the matter. By the end of next week, the United States will be in a position to impose sanctions against China at any time.
Such sanctions may be delayed, of course, as a result of discussions in Washington with China's top negotiator, Liu He. In the meantime, it is worthwhile to examine the type of comments that arrived under the Section 301 request to see what level of support seems forthcoming for a hard reaction, represented by an opening salvo of 25% tariff increases on $50 billion in goods.
While this tariff discussion is going on inside Washington, of course, at least four additional things should also be taking place. First, the tariff list is only part of the Section 301 case. Also coming in the next 60 days is more detail on what the proposed "parallel" regime to more tightly screen Chinese investment will look like. This system is meant to run at the same time as the broader CIFUS process. So far, officials are unclear about Treasury intends to do to manage this new set of procedures. Second, the US is simultaneously moving ahead with a case against China at the World Trade Organization (WTO). Third, negotiations between the US and China should be ramping up. Since the clock is ticking on the imposition of tariffs, with only 30 days before they are meant to take effect, there is extremely limited time to get to an agreement. Given the sweeping nature of US complaints and the unclear goalposts that China needs to meet to head off sanctions, it is not obvious that 301 retaliation can be stopped. Finally, the Chinese are likely to put out their own list of counter-retaliation measures. They just published a list of 128 items subject to $3 billion in sanctions as part of their own response to US steel and aluminum tariffs. These included new barriers to US exports of wine, fruits and nuts. But these are likely to look like minor issues compared to what China has in store for the Americans in the wake of the $50 billion in tariff hikes under the Section 301 dispute. In short, the publication of the tariff list today heralds the start of a new era in US-China relations and the beginning of a totally different American trade policy. Firms should be braced for some very rough times ahead.
The trade ministers from the 11 Trans-Pacific Partnership (TPP) countries will be gathering this weekend in Hanoi to discuss bringing the agreement into force. The Asian Trade Centre and APL Logistics have created a new booklet to highlight some of the specific market access benefits for companies. To see what the TPP with 11 parties delivers in wide range of products, we highlight seafood, wine, plastics, cosmetics and soap, shampoo, wood, furniture, iron and steel and some footwear and textile categories. The product categories were chosen to illustrate the range of different market access commitments made by TPP11 members. Many of these items show tariff cuts from as high as 40% to zero. The TPP continues to offer substantial market access benefits to participating member countries. Firms that operate in and across the TPP will face fewer tariff barriers with lower rates as quickly as the first day of the agreement.


Today I'm spending the day getting ready to head to Wisconsin for the Menu of Modern event. I'm so excited, we are really going to have a good time. Hopefully many of you are also staying for Jacquie's class Sunday. I really can't wait!
I have a few little notes to share with you today. I've been busy working on a wall hanging quilt for my aunt. I've paired Carolyn Friedlander's Botanics line with Lee's Stardust pattern from Vintage Quilt Revival. I'm only doing 9 blocks for the wall hanging but I am seriously considering making a full sized one of these for myself.
I also wanted to mention that I am now offering one of my patterns in print (for the first time). If you've checked out my pattern shop, you've probably noticed my quilt patterns are digital PDF downloads. I really love that instant availability. But I know many people like printed patterns, so I wanted to branch out in that direction as well.
So far I only have one pattern printed - my Starfall pattern. But I do plan on printing up others as the year progresses, in order of their popularity. The patterns are full color booklets and ship (USA only right now) USPS First Class Mail.
If you are a shop owner and are interested in carrying this pattern in your store, please email me regarding wholesale orders.
And finally, I was excited to find out that Fat Quarter Shop has named Vintage Quilt Revival their Book of the Month. You can read more about it on their blog, but also it's great because it means the book is 20% off in their shop all month long!
Have a great weekend everyone! I'll be back next week with pictures from the weekend event!


TCL and Roku are working on a Smart Soundbar for your living room and conventional TVs.
Logitech G is no stranger to producing some top notch PC accessories. Know for their gaming mice, headsets, and extremely popular keyboards, they've announced yet another stunner; the G533 Wireless Headset.
Earlier today, the website for the popular open-world shooter franchise Just Cause announced a contest for creating what will end up as Just Cause 3's... Click here to read..
Hello everyone this is GetSelious and today we have a new Podcast series. Myself and Nephrite one day said "People got know some of the dope stuff we ... Click here to read..
Hey everybody this is GetSelious back again with ZSlash and Elf back with another episode of BookShelf. This month we went a bit more random discussin... Click here to read..
Okay your favorite crew is back at it again with another episode of BookShelf. This episode we cover the theme of survival as well as the meaning of b... Click here to read..


text:
Q: Is it possible to get host details from within docker container? Is it possible to get host's info from within docker, for example

*

*HOST Machine's IP (eth0's IP not docker0's)

*Available RAM in HOST machine

etc.,
Thanks in advance

A: It's not generally possible - it would break the isolation which Docker provides.
In this article, you can see how, any breakout from the Docker container is actually a serious security issue.
https://blog.docker.com/2014/06/docker-container-breakout-proof-of-concept-exploit/
However, there are various workarounds:
http://blog.michaelhamrah.com/2014/06/accessing-the-docker-host-server-within-a-container/
Suggests that the following approach:

"Although there's no way to introspect the host's ip address (AFAIK) you can pass this in via an environment variable:"

docker@boot2docker:~$  docker run -i -t -e DOCKER_HOST=192.168.59.103 ubuntu /bin/bash
root@07561b0607f4:/# env
HOSTNAME=07561b0607f4
DOCKER_HOST=192.168.59.103
PATH=/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin
PWD=/

On EC2, specifically, you can access the instance's metadata:
See
Fetching AWS instance metadata from within Docker container?
In particular:
$ curl http://169.254.169.254/latest/meta-data/hostname
ec2-203-0-113-25.compute-1.amazonaws.com

Other metadata options are listed here:
http://docs.aws.amazon.com/AWSEC2/latest/UserGuide/ec2-instance-metadata.html

redpajama_set_name: RedPajamaStackExchange


In recent years, mobile text entry has been a flourishing research area. Typically text entry studies have been carried out in a laboratory environment where precise measurement methods and established accuracy and efficiency metrics can be applied. Laboratory settings provide a high level of control but they have one serious limitation – the lack of realism. Field studies, on the other hand, provide a more realistic research environment. Unfortunately however, the established methods and metrics cannot be applied in them. In this paper the metrics used in laboratory based text entry studies are analysed and new accuracy metrics for field based evaluations are developed. These two new metrics Correction Rate (CR) and subjective MSD can be used to measure corrected and uncorrected errors in free text strings typical of field tests.


text:
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				<input type='button' value='<?php echo $this->l('form_cancel'); ?>' onclick="javascript: goToList()" class='ui-input-button' />

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redpajama_set_name: RedPajamaGithub


text:
Q: how to set a WP Plugin's url I am taking my first steps with developing on WP and so far I have been successfully able to play around with a custom widget that prints all necessary html to load a calendar with fullcalendar.js. So far so good. The next thing I would like is to have a url feeding the calendar with a set of data extracted from a specific post type set. Do I need to created a new widget for that functionality and how do I let know WP on what url to call my widget? ex. /my/custom/url/feed/json
thanks a lot!

A: This is a perfect use case for WordPress' REST API.
It probably makes sense, to create a custom endpoint, where you can in detail define what results you need. Something along the lines of
<?php
add_action( 'rest_api_init', function () {
  register_rest_route( 'kostas_calendar/v1', '/feed/', array(
    'methods' => 'GET',
    'callback' => 'kostas_calendar_endpoint_feed',
  ) );
} );

function kostas_calendar_endpoint_feed( WP_REST_Request $request ) {
  // your code
}


Rip-off Britain strikes again as Nintendo's new 3D games console costs 40% more than in U.S.
It is set to be the pester power purchase of 2011.
Nintendo today launched its ground-breaking 3DS handheld console - the first to offer 3D images without the need for special glasses.
The console will go into stores on March 25 in Britain and Europe with a collection of 3D games, movies and its own 3D camera system.
The pleas from children demanding the latest version of the hugely successful console have already begun in many households.
Launched: The Nintendo 3DS will cost £229.99 in the UK, which is a mark-up of more than 40 per cent compared to the $249.99 (£156.50) charged in the U.S.
However, once again, British consumers will have to pay more than their American counterparts for the latest technology.
The hi-tech console will cost £229.99 in the UK, which is a mark-up of more than 40 per cent compared to the $249.99 (£156.50) charged in the U.S.
Nintendo are presenting the new console as a portable entertainment system, rather than a games machine for children.
To create the 3D effect the Nintendo 3DS uses a device called a parallax barrier.
This is a second LCD screen that sits over the main viewing panel that consists of a layer of material with a series of precision slits, allowing each eye to see a different set of pixels, so creating a sense of 3D depth.
It works well providing the user sits in a fixed point in front of the image but does not work when viewed from an angle.
A slider at the side of the device lets users choose the intensity of the 3D display, from an extreme 'in your face' experience to a more subtle effect.
Apart from a mix of games and films, Nintendo has signed a partnership with Eurosport and Sky which will allow short downloads of 3D sport, such as Premier League football highlights.
Users will also be able to care for a 3D virtual pet using the Nintendogs and cats software. There are also more adult games, such as Super Street Fighter and Resident Evil.
The firm behind Wallace and Gromit, Aardman Animations, will provide a series of original Shaun the Sheep short movies in 3D.
The console, which like existing DS gadgets, has two small screens and is able to connect to the web over wi-fi hot spots.
Users can activate a StreetPass feature, which is capable of exchanging game information with other Nintendo 3DS systems as owners pass one another during the day.
In this way, people can swap information on games they are playing and the levels they have reached.
Nintendo of Europe's Laurent Fischer, said: 'Nintendo 3DS is not just about being able to watch and play in 3D without glasses – it also offers unique social experiences.
Nintendo 3DS includes two screens. The bottom touch screen makes use of a telescoping stylus that is stored in the unit itself. The top screen displays 3D visuals to the naked eye.
The company claims that looking at the screen 'is like peering through a window into a world where characters and objects have true depth'.
The system also has a 3D Depth Slider that lets players select the level of 3D they enjoy the most. The 3D effect can be increased up to the highest level, scaled back to a more moderate setting or even turned off completely.
In addition to the familiar Control Pad and buttons found on previous consoles, the 3DS includes a Circle Pad, which provides a full 360 degrees of direction, giving the freedom needed to play games in 3D worlds.
While the new console will inevitably appeal to very young children, Nintendo has issued a warning that those under six should not use the 3D function.
This is because there is a danger that it could interfere with the development of eyesight and the use of the eye muscles.
Nintendo 3DS games console costs 40% more in rip-off Britain than in U.S.


CARSON CITY, Nev. (AP) — Pets might soon be able to use pot under a bill introduced Tuesday in the Nevada Legislature.
Democratic Sen. Tick Segerblom is sponsoring the measure that would allow animal owners to get marijuana for their pet if a veterinarian certifies the animal has an illness that might be alleviated by the drug.
Segerblom said he's concerned that some animals might have adverse reactions, but "you don't know until you try," he said.
There's a place where you can buy medical marijuana without any worries, a place where the people growing marijuana wear laboratory-style "clean suits," where scientists do extensive research into potential treatments using cannabis, and where marijuana business owners can put their cash into a bank account instead of a vault.
"We don't have a roadblock in regards to banking; we don't have a roadblock in terms of conflict between state and federal law," said Brendan Kennedy, president of Tilray, which runs a 60,000-square-foot, indoor marijuana facility in Nanaimo, British Columbia.
A key component of Jamaica's business community wants regional leaders to determine whether Washington would oppose efforts by the island to export locally produced marijuana to the U.S. for the medical industry when they meet with President Barack Obama in Jamaica early next month.
Both the White House and Jamaican Prime Minister Portia Simpson Miller announced plans for the visit this week as Obama prepares to make his second official visit to a Caribbean trade bloc member state since taking office six years ago.
In 2009, he flew to Trinidad both to meet with leaders and to attend the hemispheric Summit of Americas which Trinidad had hosted also in April of that year.
TRENTON — Dozens of people gathered Saturday near the New Jersey Statehouse to show their support for legalizing marijuana.
Several people were openly smoking the drug during the rally, but apparently none were arrested.
The event drew a diverse crowd of roughly 200 people. Many said they wanted to show their support for legalizing or decriminalizing pot, while others said it should only be given to people with medical conditions that could be eased by the drug.
The event was led by Ed Forchion (FOR'-chun), a pro-marijuana activist known as NJ Weedman. He renewed his calls for lawmakers to legalize the drug, saying it should be treated like alcohol.
Legislation to bring together Washington's two dueling marijuana systems is moving forward. As KUOW's Amy Radil reports, the challenge may come in deciding which medical dispensaries get to stay open.
Since Initiative 502 legalized marijuana in Washington in 2012, a number of issues have emerged that legislators are hoping to address this year. One is the competition licensed marijuana stores are facing from unlicensed medical marijuana businesses. Another is the difficulty finding legal locations for marijuana stores, which can't be too close to parks and schools.
Philip Dawdy is a consultant to marijuana businesses. He says two bills moving forward this year seem poised to address those problems.
TRENTON -- With chants like "One! Two! Three! Four! Smoke, smoke, smoke some more!" a crowd of more than 100 people supporting the legalization of marijuana descended Saturday on the Statehouse in Trenton.
The "Spring Smoke Out" rally grew in intensity as it progressed through East State Street, culminating with the demonstration outside the Statehouse that included a few dozen people smoking marijuana in protest at 4:20 p.m.
"Who's ready to protest?" Ed "NJ Weedman" Forchion called out to the crowd, eliciting a chorus of cheers. "We are!"
"Who's ready to smoke? Who's ready to vote?" Forchion yelled. "We are!" the group responded, cheering louder than before.
Virginia Tech is gearing up for research that could help establish an industrial hemp growing industry in the commonwealth under a new state law.
On Monday Gov. Terry McAuliffe signed into a law a bill sponsored by Del. Joseph Yost, R-Pearisburg, and for years championed by Montgomery County politician, farmer and businessman Jim Politis that will allow limited hemp cultivation through a permitting system — so long as it is affiliated with a university research program.
Tech released information on its next steps in a news release on Wednesday.
Worrying about teen drinking and drug use has kept many a parent up at night. With marijuana becoming increasingly available and legal in some parts of the country, the question has taken on new urgency: If teens are going to experiment, which is safer, booze or pot?
"The first answer always has to be neither," Dr. Aaron Carroll, a professor of pediatrics at Indiana University School of Medicine, told CBS News. But then he acknowledges they're not exactly equivalent -- and he considers alcohol much more dangerous.


Costa Mesa has evolved from humble origins as the grazing ground for cattle belonging to the Mission San Juan Capistrano into one of the leading cultural and business centers of Orange County. Ideally located just 37 miles south of Los Angeles and 88 miles north of San Diego, Costa Mesa offers more than 100,000 residents a warm, moderate climate and easy access to state highways 55 and 73, Interstate 405 and many of Orange County's major attractions. The city is just a short drive away from Disneyland and Knott's Berry Farm as well as mountain areas and high and low deserts. The southernmost border of Costa Mesa is just one mile from the Pacific Ocean and when the wind is blowing in off the coast, residents can smell the salty ocean air and the tang of wood smoke from beach bonfires.
Retail commercial businesses and light manufacturing industries make up the base of Costa Mesa's thriving economy. Locals and visitors enjoy visiting the South Coast Plaza shopping center, one of the highest volume regional shopping centers in the nation. Mild weather year-round encourages a variety of recreational pursuits. Residents make frequent use of the city's parks and municipal golf facility, featuring two 18-hole courses. Beach activities are also popular, from volleyball to surfing to dozing in the sun and enjoying the breeze.Costa Mesa students are served by the Newport-Mesa Unified School District. Real estate options consist of single family homes, townhomes, and condos with wonderful amenities. A thriving economy, fabulous weather and a vibrant atmosphere make this beach city an ideal place to call home.


text:
La decima stagione di America's Next Top Model è andata in onda dal 20 febbraio al 14 maggio 2008 sul canale The CW, con lo slogan New Faces, New Attitude, New York, e con la colonna sonora Feedback di Janet Jackson.
La vincitrice è la ventenne Whitney Thompson, di Atlantic Beach, Florida, prima modella "taglie forti" a trionfare nel programma; la Thompson ha guadagnato la propria rappresentazione dalla Elite Model Management, un contratto da 100.000 dollari con la casa di cosmetici CoverGirl, nonché la copertina e un servizio di sei pagine sulla rivista Seventeen.Il 19 dicembre 2016 l'ex concorrente Kimberly Rydzewski si è tolta la vita all'età di 29 anni.

Concorrenti

Makeover
 Aimee: Capelli accorciati e tinti di rosso
 Allison: Capelli tinti color rosso fuoco
 Amis: Extension e colpi di sole
 Anya: Capelli tinti color biondo platino
 Claire: Taglio "Punk" e tintura biondo platino
 Dominique: Taglio altezza collo
 Fatima: Extension e capelli tinti color cioccolato fondente
 Katarzyna: Capelli tinti di nero e dopo taglio altezza collo
 Lauren: Extension e colpi di sole aggiunti
 Marvita: Rasati su entrambi i lati, cresta e coda equina
 Stacy Ann: Taglio rasato
 Whitney: Extension e tintura color biondo chiaro

Ordine di eliminazione

 Nell'episodio 1, Tyra chiama in maniera casuale le 13 finaliste del programma. A sorpresa delle concorrenti annuncia che vi è un ulteriore posto per  Dominique.
 L'episodio 2, Kimberly decide di lasciare volontariamente la competizione.
 L'episodio 8 è un riassunto dei precedenti.
Nell'episodio 9,Fatima non partecipa al servizio fotografico.
     La concorrente è stata eliminata
     La concorrente ha lasciato la gara volontariamente
     La concorrente ha vinto la competizione

Servizi fotografici
Episodio 1: Studentesse (casting).
Episodio 2: Clochard.
Episodio 3: Intimates (lingerie firmata Elle Macpherson) su uno yacht sotto il ponte di Brooklyn.
Episodio 4: Al mattatoio.
Episodio 5: Dipinte con acquerelli.
Episodio 6: Generi musicali.
Episodio 7: Ispirato allo spettacolo teatrale La Fuerza Bruta di Jacinto Benavente.
Episodio 9: Miliardarie vintage in procinto di imbarcarsi su un aereo.
Episodio 10: Pubblicità CoverGirl Vibrant Hue Lipcolor in lingua italiana.
Episodio 11: Alta moda rinascimentale in un castello romano.
Episodio 12: Diva dei paparazzi.
Episodio 13: Pubblicità CoverGirl LashBlast Mascara e copertina per Seventeen.

Note

 10

redpajama_set_name: RedPajamaWikipedia


text:
Home » Forums » General Discussion » General Rants 'n' Raves
BRuggles
What makes for accurate sound?
I was talking to a buddy about what makes for an accurate speaker, and he suggested that perhaps hyper-accurate EQing could compensate for the imperfections in a loudspeaker's frequency response. That got my wheels turning, and I responded that EQ (even theoretically instantaneous-tracking, perfect editing EQ) would be insufficient, and I tried to come up with a list of what else is necessary. Here is what I have so far:
1) transient response - crucial for realism. I have heard we humans can detect accelerations equivalent to 60-100kHz - sorry CDs...
2) inertness - for realistic decay and consistent frequency response (no slow rise due to resonances)
3) size and spacing - I will include time alignment here, for realistic imaging and scale
4) consistent frequency-spectral performance for the above - tight mids and sluggish bass sounds unrealistic. (I am not a big fan of ports for this reason)
5) radiation pattern optimization - taste- and application-specific. More important for people who share music with visitors, and perhaps a touchy subject for ESL owners.
6) sexiness - totally consumer-taste, but can be any combination of performance, aesthetics, or techno-geekery (I want a plasma tweeter because it is an awesome concept - whatever the performance. It is freaking massless - sorta, almost.)
7) almost forgot dynamics! - you gotta have your snare rimshot sound different from a light brush stroke!
what else makes good audio playback? I would think most of the above apply to everything since the performance left the performers' mouths and hands and feet, from mics to storage medium to amps and cables, etc. I am pretty new, so please educate a brotha!
Joined: Oct 31 2005 - 6:02pm
What do you mean with number 5? Why would this be a touchy subject to ESL owners? As an ESL owner I'm curious. If you're referring to the sweet spot, I only need one that can accommodate two people. Fortunately for me mine is just barely wide enough for three (two honeys and myself). I can't seat more than that comfortably on my love seat. Besides, it's been my experience that the larger the sweet spot the smaller and more imprecise the sound stage.
IMO what makes good playback is faithfulness to the original. This refers to what a Hi-Fi is for. It's for reproducing with a high degree of fidelity to the original. Then, there's the question of how do we know what the original sounds like. In other words, what's your reference? Well, if you listen to un-amplified music (classical, jazz, opera, etc.) and frequently attend live musical events you have a pretty good idea what the original sounds like. This is because un-amplified instruments, groups and orchestras have a sound that's remarkably similar regardless of where and what they're playing.
If you listen to rock, pop, rap, etc. all bets are off, because unless you were there in the studio or at the event you really have no idea how the music (instruments) actually did sound. Those types of recordings tend to have little or no sound stage anyway. Multi tracking, overdubbing and studio "sweetening" are not conducive to a good (any kind of actually) sound stage.
So, IMO the closer one's system resembles the sound of live un-amplified music (orchestral recording) the more accurate it is. Of all the acoustic musical events only an orchestra reaches the frequency and dynamic range extremes. It's also been my experience that the closer a system sounds to that of a real orchestra the better it sounds on everything else.
1) transient response....
The only transducers that have lower moving mass than ESLs are plasma speakers. Lower moving mass means better transient response.
2) inertness....
What's more inert than saran wrap?
3) size and spacing (time alignment)....
Full range ESLs are inherently time and phase aligned because they use one diaphragm with no crossover for all the music.
4) consistent frequency-spectral performance....
See number 3.
5)radiation pattern optimization....
I've already commented about this.
6) sexiness....
In the eye of the beholder. Better yet, in the ear of the listener.
7) dynamics....
This is actually about the ability to play loud, soft or anywhere in between and do it instantly and effortlessly. The ability to tell the difference between a brush stroke and a rim shot is about a lot more than dynamics. Think about transient response and tonal accuracy.
First off - I am mostly joking about ESLs. The mass, phase accuracy, and consistent frequency response is very appealing. However, when a sales rep (for a dynamic speaker brand) once referred to them as "screen doors in your living room," it resonated with me. The aesthetics are lacking. But sweet spots are limited anyway, right? Or you end up with timing, phase and volume inconsistencies. But I am one willing to sacrifice some visual sexiness for aural accuracy. I have been considering the wonderful world of Maggies.
and with regard to dynamics, I know there is a marked difference in a variety of aspects between a rimshot and brush stroke, but a large part of what makes a rimshot so forceful is the sharp crack with associated transient speed and dynamic range.
What I am wondering, though, is whether there are other individual characteristics that work together to provide accurate reproduction. Even with multi-tracked, artificially-placed-in-the-stereo-image studio productions, a more accurate reproduction can still remain more faithful to what is truly captured at the source. Of course, as a fan of heavy rock, I kinda lament not being able to soak in the music while also geeking out concurrently. There just doesn't seem to be much by way of stereo/binaural accurate recordings of heavy music.
What other attributes play in? I suppose the sexiness has nothing to do with the sound, however much it does or doesn't matter...
What are you using
Side note: what sorts of music do you most appreciate with your ESLs? And what are you running?
Joined: Jul 28 2012 - 1:59pm
looking at this sideways - why do you want to list ideal properties/adjectives? Isn't the point to find speakers (or whatever) in the real world that are as good as possible for what we pay for them? Some great sounding stuff will be semi-deficient in the List of Ideals.
Because I am an inquisitive nerd?
Bill, I wish I had an answer beyond the fact that I am just curious. Everything is a tradeoff of some sort. I am just wondering what other metrics there are that can "measure" what makes for accurate sound. If it were all about frequency response, then there could be no argument about about CDs vs vinyl, etc. I know dynamics and transients play in. What else? Assuming I cannot find the theoretical ideal, how would I know it? What attributes, subjective or objective, are there that be quantified or qualified on at least an abstract scale? What else should/could I be listening and looking for?
I am just looking for more nooks and crannies down this rabbit hole of hifi with which to baffle my friends with my obsession. I want to embrace the arcane.
Joined: Jun 1 2007 - 2:14pm
by most technical definition is the closeness to which your system replicates not the performance, but the actual incoming signal.
i'm not sure what specs would lend a speaker towards accuracy (probably some sort of combination of sensitivity, wide frequency response, neutrality, and dynamic range), but the way I check for accuracy with a component is by listening to a wide variety of recordings of various character: crappy home recordings, live records with ambient space, and compressed recordings -- how do they differ? does the compressed recording sound boxed in? more-so than normal? is the hash and poor edits of an old high school recording made obvious by the system?
I used to think I wanted accuracy. turns out, accuracy doesn't make me feel too good. I'll take some gooey warmth and ease instead.
tmsorosk
Joined: Dec 5 2010 - 12:34pm
Your missing something
Many adjectives listed above , and the most important one was missed , musicality .
gear and listening taste
BRuggles wrote:
Here's a list of my gear:
VPI HW19jr, Rega RB300, Marcof PPA1 head amp
Shure, Sumiko, Ortofon cartridges
Marantz CD63SE CD, Yamaha DVD S-1800 SACD player, MSB DAC
ARC SP-9 MKIII preamp, Accuphase T101 tuner, Lexicon MC8, Nakamichi LX-5, ZX-7, Teac V-7010
Front speakers: bi-amped with Behringer CX2310 crossover; Acoustat Spectra 22 driven by radically modified Dynaco MKIII's, two 12" DIY transmission line subs (Pass Labs El-Pipe-O), 2 bridged Crown XLS-402 drive the subs through a Behringer DSP1124P digital parametric equalizer.
Rear speakers: bi-amped with Paradigm X-30 crossover; Acoustat Model 1 with Acoustat SPW-1 woofer cabinet, driven by 2 Adcom GFA-545.
My gear is in a dedicated acoustically treated room that at one time was my living and dining rooms.
I listen to a wide variety of music (~3,500 LPs, ~1600 CDs), almost everything except Gospel and Bluegrass at what sometimes are quite realistic volume levels. I'm a militant agnostic so Gospel is out. Most Bluegrass just makes me want to cut off my ears and run away. My primary musical interests are classical and Jazz. The Philadelphia Orchestra performing at the Kimmel Center is my primary musical reference.
BTW: Magnaplanars are not electrostatic speakers. They are planar dynamic and have a "flat" voice coil glued to a mylar diaphragm which is suspended behind a steel plate with bar magnets on it. Electrostatic speakers have no magnets and no voice coils. Yeah I know ESLs and dipoles in general are usually large. I however, like the size shape and most of all the sound of my "room dividers".
I've tried to make my system and room (I consider them to be one thing) as neutral as possible. The music that I primarily listen to is usually well recorded and I want my system to add or subtract as little as possible from the recording. I have extensive room treatments and resorted to an equalizer (from 85Hz down only) when I was unable to correct some bass response irregularities with speaker positioning and room treatments.
Were my musical tastes different, as in mostly rock and pop I'd probably feel quite different as most of it has no resemblance to anything live. It being completely studio dependant there is no way of knowing what it's supposed to sound like unless you were there during the recording and use the exact same gear and room during playback.
Classical and Jazz have an acoustic referrence that is easy to refer to. Attend a live concert or musical event of un-amplified music and you have your referrence for accuracy. Compare your system using a good recording to the sound of an orchestra or Jazz combo playing un-amplified music and you have your accuracy gauge. No instruments or test gear required. Your ears are all you need.
Exactly reproducing the sound of an orchestra or Jazz combo in ones room is pretty much impossible. No matter. The closer you get to reproducing that sound the (more accurate) better sounding your system is. It's also been my experience that the closer you get with classical and Jazz the better everything else sounds.
You have to decide for yourself whether you want accuracy or not. I know what I want. After all it's called Hi-Fi. That's a shortening of the phrase, "To reproduce with a high degree of fidelity to the original". Anything else might sound good to you but it won't be accurate and it certainly won't be "Hi-Fi". Just trust your ears.
I don't discount test gear and measurements. I'm a retired EE and have a bench full of test gear that I've accumulated over the years and know how to use. None of that gear has any way of measuring accuracy. That's why I use and trust my ears and a known acoustic referrence.
Joe makes many good points , as usual .
My two cents worth about accuracy , and it's only my opinion , is to forget measurements and electronic correction , purchase the most accurate speakers you can find and set them up by ear . I know it may not be a cheap way to go but my Revel Salons have made me forget the details and endless setup technics and kick back to enjoy music .
Regards Tim
absolutepitch
Joined: Jul 9 2006 - 8:58pm
Accuracy, how?
Tim says to purchase the "most accurate speakers". How does one determine that?
Joe says he can use the instruments of EE but none of them proves accuracy. So how do you determine any set of speakers is accurate?
Accuracy, as Ariel wrote correctly, is to reproduce the input signal exactly at the output.
The idea is that if the recording chain is completely accurate, then the reproduction chain must be accurate in order to reproduce what was recorded. If the recording captures great sonics, imaging, etc., then the reproduction system must reproduce that accurately without adding or subtracting anything. This means that if one compares the signal from the input to the output and gets an exact replica, the system is accurate, within the limitations of the source signal.
An accurate system is expected to sound "musical" if the recording captured the "musical" aspects. But just sounding musical does not necessarily mean the system is accurate.
Edited for grammar 9/29/13.
How do you determine accuracy
Whats most important is what your ears and sences determine to be accurate .
Listing to live music and then scurrying home and playing your closest reproduction of the event is a good place to start .
I've been upgrading and messing around with this stuff for nearly 40 years , It's taken many dollars and many changes but I'm finally at ease with my music maker , it now sounds like music not electronics .
Understand what you mean about where to start. I too have been doing this for a few more years than you, and I still have no good way to determine speaker accuracy.
I can see for an amplifier, one can compare the input and output signals, or perform a null test. One such test was done by Bob Carver vs. Stereophile where Bob showed that he could make his amplifier match any one of Stereophile's choosing. The listening panel could not tell the difference after two days of listening. Although this was comparing two amplifiers' signals output through speakers, it's just as easy to compare input and output and null test that on the same amplifier to prove accuracy sufficient that the residual difference is not audibly detectable.
With speakers, it's more difficult, as these devices output into a room, or an anechoic chamber, or free field hemisphere, or whatever conditions one chooses to test. Then there is the question of which microphone is used that won't also alter the signal reproduced by the speaker.
Some speakers have been tested for 'accuracy' in various ways or combination of ways. Some of these ways are amplitude vs. frequency, impulse response, passing a square wave of various frequencies, various distortion measurements, non-linear distortion measurements, linearity of output with power input, etc. All of these test (if done well) will improve accuracy. However, all these tests require a microphone. Listening tests also involves a 'microphone' - your ears. I agree that listening is a good start, and we may have no other choice. Listening won't answer the accuracy question of exact output compared to input.
Edited for misspelling.
IMO the question of accuracy is a system related issue and I include the room as part of the system. You listen to a system, not individual components. Unfortunately there is no measurement of system accuracy. Without a way of measuring you have to compare. That requires something to compare to. In other words, a reference. That reference has to be un-amplified music because that's the only kind that has a consistent sound. Any music that's amplified in any way has a sound that's dependent on the electronics.
Comparing is the easy part. Go to a concert of un-amplified music. After the concert go home and play the same or similar music on your system. You now have your comparison. It's pretty much a given that you'll never get the same sound at home as at the concert. However, you now have a reference to work toward. You merely have to decide which aspect of your system is the worst in comparison and work on improving that first.
The hard part is realizing and admitting just how bad your system sounds in comparison to live music.
RE: Accuracy
" The hard part is realizing and admitting just how bad your system sounds in comparison to live music " .
I'll make no such admission . Although I'll admit that no audio system will ever sound the same as a live performance , when I arrive home after a concert whether it was a loud Rock event or an intimate Jazz venue and play some well recorded music I have to admit how acomplished it really is . It's taken time but it's finally close enough that I can sit back and smile .
Another way I fine tune my system is to record my daughter playing the Cello or guitar in my audio room , then play it back in the same room . Just as my daughters Cello playing has improved after much time and hard work so has my playback system .
October 1, 2013 - 3:35pm
You don't have to make such an admission. There is really no comparison. A stereo system will always come off a very poor second best when compared to the sound of a real orchestra. With smaller combos, solo instruments and a lot of Jazz I completely agree the comparison is a lot closer.
As happy and satisfied as I am with my system and even though many of my fellow audio buddies say it sounds very good it still pales in comparison with live music from an orchestra. This doesn't mean that IMO (and others) it isn't closer than the majority of what's out there. Nor does it mean that I come home from a concert and won't turn it on because it doesn't sound as good as the Philadelphia Orchestra. It only means that I'm being realistic with my comparison.
I think my system sounds damn good. OTOH I will jump at the chance to do whatever I can to improve the sound of my "rig", taking into consideration budget and architectural constraints. Regardless, I'm realistic enough to admit that not everyone may hear and/or appreciate the same things I do.
I've also been know to have a jam session with a couple of fellow musicians and record it. The playback of same has never disappointed anyone.
RE: Comparison
A large symphony orchestra IS nearly impossible to imitate . Not to sound sycophant .
Last seen: 8 years 1 week ago
Joined: Sep 6 2005 - 5:37am
Planar speakers
As for the speaker being able to recreate the origional environment, I like the planar speakers. I own Magnepans. When a piano sits in a room, the striking of a key sends sound waves in all directions, not just forward. If you stand behind a planar speaker, there is almost as much sound output from the back of the speaker as there is going towards the listener.
I don't pretend to understand how front driving speakers project a 3D image, but it seems like a speaker capable of producing output forwards and backwards is fundamentally closer to the way sound projects in principle. It is seems that a front driving speaker has a built in extra hurdle to fight.
The challenge with a planar speaker is position and room characteristics are at a premium. You have to have the ability to treat the surfaces to be properly reflective, and most importantly, have no limitations on speaker placement. The sound waves off the back and side walls have to be controlled and "timed". Room characteristics/treatment and speaker position are what control that. Most of the photos I see of systems have the components in the living room, which make placement of planar speaker a tremendous challenge. Planar speakers need to be away from the side walls and away from the front wall. They are also quite large, adding to the challenge.
Sadly, most owners of planar speakers will never know their true potential.
Says you!
As the owner and user of planar speakers exclusively since May 1976, I have to disagree with your assessment of most owners not positioning them properly. I have six buddies that have either Magneplanars, Martin Logans or Acoustats. All of them have their speakers set up fairly optimally. I may have had some effect in this area as I was the first to have planars and I'm the only one that has a treated dedicated room. None of my buddies has poorly positioned speakers. In fact one of them has his Maggie 3.6Rs in a larger room than mine and the sound is to die for.
You shouldn't make generalizations. You are likely to be wrong when you do so. IME planar owners are more aware of proper speaker positioning than many others. Poorly positioned planars tend to sound pretty bad. "Newbies" tend not to buy them and they are rarely the first "good" speakers that enthusiasts buy.
tm: It's a given that an orchestra is damn near if not totally impossible to recreate in ones listening room. That doesn't mean you shouldn't try for it. Just remember, the closer you get the better your system will sound on everything not just classical music.
Planars !
Planars , don't get me started . Simply , I've heard many over the years and have not been a fan . Many things to like but many things not to like . That being said , one of are audio club members recently purchased some 20.7's ( upgraed from 20.1's ) and after much setup and an amp change there are somewhat listenable .
The world would be boring if we all liked the same things. I for one can't stand most horns for longer than around ten seconds.
I'm not trying to talk anyone into anything. My post was prompted by Reed saying that most planar owners don't position them properly. This is something I've not found to be true. The only instance I can remember of truly poor positioning was in 1980. A friend bought a pair of Magneplanar Tympani's and placed them in a room that was too small for anything larger than a bookshelf speaker with an 8" woofer. He kept them for about a week. I heard them before he sold them and they sounded truly awful in that tiny room. He replaced them with a pair of Gale's. There was a substantial improvement in the sound
October 6, 2013 - 12:11pm
comparison to live
I generally agree with both JoeE and tmsorosk, with respect to the sound of a audio system is not even close to live concert sound. My system is very satisfying to listen to, but is not close enough to live music. It does produce a good, satisfying illusion. When you get a career musician to listen to a system and if that person says it sounds good, then you've got audio that presents a good illusion. I have only had a few musicians that got to listen to my system; they all like what they heard, but the sample size is too small to draw conclusions.
As to JoeE's comment about the system including the room, that means that the gear+room is the system attempting to reproduce what is on the source material. If this system is to sound comparatively close to a live concert, the transfer function of the gear+room at the listening location must match the transfer function of what you heard in that concert hall's listening location. That transfer function will change with each seat in the concert hall, and with any changes in the listening room or listening location in that room. Accuracy is likely not attainable to the same level as comparing an amp's input and output with a null test.
Since different concert halls will have different transfer functions, to achieve sufficient accuracy in the system as JoeE defines 'system' will require tweaking the gear or room or both for different source material. That means accuracy will be a difficult to achieve goal, and a moving target from room to room, source material to source material. Comparison of system to memory of live sound helps achieve satisfying sound, but not accuracy.
To 'achieve' accuracy, get gear that gives the same output as the input as best as possible, then minimize the room influence on the output of the gear to hear what was recorded in the source, as best as practicable. IMHO, this approach could yield the best compromise of achieving accuracy over the range of source materials.
I completely agree with absolutepitch. My room and gear together are a compromise. I've selected gear that within my budget constraints is as neutral as possible. I've treated the room to minimize it's influence as much as is reasonably possible while leaving it livable. It is after all, what used to be my living and dining rooms. All in all I have achieved what to me and my audio buddies is very satisfying sound.
I realize that I'm aiming at a moving target with what are not the most precise tools. Consequently I don't reject anything that may improve my listening experience.
I love and admire all musicians but I don't find them very discriminating, necessarily, in evaluating home stereos. Remember they listen to car radio and ipods etc, too, just like non-musicians. The only musician I know well who has a decent stereo sets up her nice speakers according to decor, not sound. Last time I was at her house, the left speaker was standing (vertically) behind an upholstered chair and the right speaker was horizontal, on top of a tall cabinet on the adjacent wall (i.e., one speaker facing north and the other east).
Re: Musicians
Agreed , musicians are not audiophiles .
try telling that
i know you're not making an absolute statement here, but
try telling that to the stereophile editorial staff and writers
JA: bass
SM: guitar
me: guitar
RB: piano
JI: gamelan
BJR: piano
AD: guitar
(and this is probably the shortlist).
True but
Yes the are audiophiles who are musicians - but in my experience, musicians would rather buy a new guitar or amp or keyboard or mike than upgrade their stereo speakers. Which is probably good...
I can confirm
I would rather buy an instrument.
IME there are more audiophiles that play an instrument than vice versa. Most of my musician friends own either no system or a very mediocre one. The few that care about reproducing sound and not just playing tend to have "mediocre" gear. In fact, most of it's in the BPC, all in one rack system category. Just about none (one out of 30+) of them have separates or any sort of system that a poster here would consider "high end".
They always seem to really enjoy my system when they visit. They opt for the sweet spot and will usually not move until they leave.
PS: I just bought a Steinberger electric bass.
Steinbergers look funny.
I just recently realized that guitar amps and audio amps often have completely contrary aims. My amp is switchable from Class A to AB, and I prefer the harmonics of the Class A. But between the dramatic clipping, added harmonics, tonal coloration, tube rectifier sag and softened dynamics, my amp sounds juicy and tasty. And it sounds nothing like an acoustic guitar when I have the gain good and high (which is the right way).
But my stereo is supposed to preserve and reproduce the attach and decay of drums, or flat-picked guitar strings. It is supposed to maintain the frequencies and intensities of the records and CDs.
I do wonder what makes musicality a thing. Being an engineer, I really want to measure every facet that makes music what it is, so I can see that I have a good setup on a scope. But it turns out our ears are better measurement tools than anything we have built. But they can be tricked, confused, and led astray. I have been dabbling in binaural sound, and it is fascinating to experience the effects of some of what ears are good at.
Yes, Steinbergers do look a little unconventional. They have nice necks and really good intonation. They also stay in tune. It's a nice addition to my collection of Fender Precision, Gibson (not Epiphone) EB-3, Hagstrom and Ampeg Baby Bass.
Yes, there is a very large difference between the gear (amplifiers) used for making music and reproducing it.
Measure anything and everything you want. No measurement ever devised can tell you how good something sounds. The ear is the only decider. This is from a retired EE.
Joined: Nov 7 2010 - 3:31pm
Re: Funny
JoeE SP9 wrote:
Yes, Steinbergers do look a little unconventional. They have nice necks and really good intonation. They also stay in tune.
I have a Steinberger Spirit bass in my collection. One advantage you didn't mention is that as it does't have a head stock, it's much easier to take as hand baggage on planes.
It's a nice addition to my collection of Fender Precision, Gibson (not Epiphone) EB-3, Hagstrom and Ampeg Baby Bass.
Nice. The irony is that now I am a magazine editor, I have several basses from which to choose when I want to play. But when I was professional I had just one, a 1964 P-Bass, and even buying strings was occasionally financially out of reach :-)
Editor, Stereophile
Satisfying sound
Congratulations to JoeE for achieving "satisfying sound". It appears many of us here have also reached that goal. Of course, that sound can still be improved, I acknowledge.
I also read that many here have treated their listening rooms, which is generally known as the most influential to the sound, if the speakers are good enough. I have very modest treatment to my room. I have not yet gone to strengthening and damping the walls, which is one of the important steps after wall reflection treatment. Yes, it's a hobby that's always a work-in-progress.
Enjoy your music!
(Edited for clarity 10/12/13)
musicians and audio
BillB, I agree that musicians also listen to iPods and car audio. Most that I've met have modest audio, perhaps mass-market audio systems. I think it's not that they don't appreciate audio as an audiophile would, but they remain quite discriminating in their ability to tell good sound from the just-OK sound.
One piano teacher told me after listening to my system a few minutes that the sound is so clear. My guess is that it's not that the system is great although it's probably better than 80-90% of the stuff out there. It's that my system is better than what they have heard nearly everywhere else so that they take notice.
A violin teacher told me that CDs do not sound good and rather listen to LPs. There must be something LPs have that CDs is missing for that observation to come from someone that plays live music much of the day and nearly all days of the week. How often do audiophiles (I included, even though I play two instruments) experience live music compared to career musicians? Musicians have a live reference most of the time, and most extended recent reference experience. I do not think this person has heard a good system playing hi-rez digital e.g. 24-bit 96 kHz or higher. It may changer their mind. With what I got for audio, LP's still have a liveness that CDs seem to lack.
One observation I offer is that musicians are too busy, or perhaps prefer, producing music to bother with the search for better systems to re-produce music. Many do not have the financial resources that another profession can offer.
A possible explanation may be that musicians know live music so well and have a busy career that any audio system is 'terrible' in comparison so that it's not worth putting a lot of money into it when they don't have the time to listen to stereo.
A further observation is that when musicians do listen to audio systems, they listen to the musical performance more so than the sonics. But they take notice when a system can reproduce the sonics and the dynamics.
John Atkinson wrote:
Fortunately, being retired I'm relatively stable financially. The Spirit XT-2 in Black is the model I bought. The price for them ($399 from Musicians Friend) is quite reasonable, relatively speaking. The double ball strings are the major reason I wanted it. I don't fly much but I especially like that you can put it in a gig bag and not detune it.
I've had my Precision since 1970 when I bought it used from a pawn shop. Playing it helped finance my college education. The GI Bill payed for the basics but I needed more than what the GI Bill provided.
Demondog
Joined: Feb 22 2009 - 5:01pm
Posting from the RMAF.
I've listened to some fantastic systems at the Rocky Mountain Audio Fest this weekend. Even so, there was a violin / piano performance next to the lobby an hour ago, and sitting 15 ft from the violin, it struck me that there was no way I could ever mistake that sound for a recording. I could be wrong. There are degrees of accuracy, but still a long way to accurate in my opinion
agree. At the last audio show I went to there was live music, and from down a hallway 100' from the band, i knew it was live. Even the most ultra high end systems at the show wouldn't have had that certain something.
Me to
Here's another that agrees about accuracy. I regularly attend live musical events and every system I've ever heard regardless of cost has a long way to go. That doesn't stop me from trying even with my limited budget.
Even if I didn't attend live concerts playing a bass in my listening room is an ear opener.
If you're not trying to get the best reproduction you can what's the point?
October 13, 2013 - 10:51pm
You gotta have faith...
This thread is bringing to mind something interesting. I would say everyone here has a good grasp on potential shortcomings in reproducing live events in sound and why our stereos don't quite sound "real." Also, I would posit that everyone here has an idea of what "digital" means, even if we cannot explain the ins and outs of the DAC process replete with equations and dithering and jitter and that geeky drivel that drives our women away screaming, clutching their brains. Let's be honest; this hobby is statistically dominated by the sausage-fest set.
Further, most people on here, JoeE and JA among them, concede that we don't have all the answers and technology to measure everything that matters to be perfectly accurate. Now for my point: why is there still such a debate about CDs measuring up to LPs? Obviously, production matters. Sure, some mainstream, hyper-compressed master loses it's ability to sound as real as it could regardless of the playback source format. But why are people holding so strong to the Nyquist theorem and sine-wave theory, clinging to the notion that it works in the lab and on paper according to pure theory, when we so freely suspend the need to fully grasp each concept wholly. Also, so many of us like higher-resolution and analog so much more.
I, for one, enjoyed watching classmates learn about relativity or Schrodinger's wave equation. They really wanted to understand those things within their [my classmates'] known paradigms, but it cannot be done. Those happen to occur in some dimension higher the third, and we have a hard time with visualizing that kinda stuff. But in audio, I have read so many people argue that AC power is power, and no cable upgrade on earth can help. You may as we'll run the power through parallel tubes of salty water.
But I believe the truth is greater than we understand. I believe.
BTW - no disrespect to Steinbergers. I haven't gotten to play one of their guitars yet, but the nerd in me loves their transcendent pragmatism. And weirdo vibe/aesthetics.
How far
I don't look at it as how for we have to go to reach audio perfection as much as how far we've already come .
When I think back to the sixties and early seventies and listening to one channel AM radio broadcasts and records on a crappy player I'm forced to see just how far we have come .
Live and recorded music will never reach convergence but I enjoy my system very much after coming home from a live musical event , and marvel at it's excelence .
I guess this is another case of deciding whether for you the glass is half full or half empty .
I have an advantage
Most of the live music I go and see is loud rock music (generally quite heavy stuff, at that), and it is played too loud through crappy PAs. Even my fledgling setup sounds better!
Obviously, I see the downside here. I do go and see some orchestral music, and occasionally, the rock concerts have decent sound. But the further I dive in - and I am quite new - the more I want to get yet more live reference beyond sporadically jamming with friends.
And my disadvantage
I do like classical, but I am really not very into jazz. I don't mean to start a controversy, but it sounds so much the same to me.
I know if you are on the hunt for dynamics and such, distorted electric guitar kinda counteracts that, but it provides for so much tonal diversity. AND THEN, you add in effects, and it makes for very exciting, diverse, unique stuff. That, and the unending supply of fresh blood looking to reinterpret a familiar style and/or push new boundaries and break new ground.
Sounds the same!
Music appreciation is in the ear of the listener. For me most rock and pop music is formulaic and boring. In addition, many of the musicians simply don't play all that well. I'm not really interested in effort, emotion or intent unless it's mixed with great chops. For me, all the effects and passion in the world can't make up for what's at best mediocre talent.
I feel almost the same way about "smooth jazz". To me it's music that mostly never really goes anywhere (boring) while being played by musicians with great chops. Kenny G is IMO the epitome of this. He has lots of talent and superb chops while playing the most insipid collections of notes I can imagine. If your exposure to Jazz revolves mostly around "smooth jazz" I can understand and agree with your sentiments about it.
While I'm thinking of saxophone players, I suggest giving Sonny Rollins a listen. If your exposure to saxophone has been restricted to Kenny G and others of that ilk you may be pleasantly surprised.
Try Saxophone Colossus
http://www.youtube.com/watch?v=v4DTR0I7xhA
His playing in the video is very different from his playing on the CD/LP. Jazz musicians rarely play a "tune" the same way.
This probably warrants a new thread...
I really don't want to disparage jazz as a whole. There is some stuff I quite like, and the technical proficiency is staggering. I need to find more of the kind I like, but I don't know the types well enough. I don't like smooth jazz, this I know, and cool jazz seems a little subtle for my knuckle-dragging tastes. I just watche Bullitt again recently, and the jazz in that (and I am fully aware that seems a weird source) is of the sort I want to find more of. Real uptempo and grooving hard. But when I try hard bop, so-named, it never seems to be it. Perhaps it is because I am still fairly young, especially in the audiophile crowd, but I like music that superficially lacks subtlety. But it is there beneath he noise and volume.
I like a lot of stuff. My favorite guitarist ever is still Stevie Ray Vaughan. But I tend to listen to a lot of what is termed "progressive metal." It has a lot of the progressive rock elements items of song structures, composition, and themes of 70's prog rock, but rather more intensity in the delivery. I will echo your comments regarding so much of pop and rock lacking talent or ingenuity, but I tend to find myself off the beaten path with music that stands no chance of breaking into the mainstream due to its patience. Radio does not take too kindly to 3-5 minute intros.
Incidentally, one of my favorite and best-recorded albums has wonderful musicianship, composition, recording quality, and utterly howled vocals. I acknowledge it is not for everyone, but I have seen some old school audiophiles (of the "there hasn't been good rock since 1967 set) concede that some of my music from the fringes tickles something left untickled for 45 years.
If you are feeling brave, check out Mastodon's "The Last Baron" and Baroness's "Isak" and The Company Band's "Lethe Waters." These are three very different songs from three very different bands. One of the guitar solos in the Mastodon song, and 13 minutes provides plenty of time for a few solos, might strike you as pleasantly jazzy since it eschews every traditional rock and blues form. And The Company Band might be the easiest transition for someone not accustomed to shouty vocals.
I really want there to be more heavy, complex, interesting music that has sonic quality to match the chops of the musicians. Of note: I think that in all of music, the groups I generally expect to be the nerdiest in terms of theory are jazz guitarists and pianists, and extreme metal guitarists. They seem to do the most improvisation in unusual keys, scales, etc. with chord involved.
thanks for the banter!
You took it off topic,
but it's your thread. Just curious if you have an opinion on Jeff Beck's playing?
I hesitate...
I think Jeff Beck is a fantastically talented, proficient, and above all, creative player. But I am not exactly into what I have heard from him. I consider him in the same company with Joe Satriani, Steve Vai, Eric Johnson, Yngwie Malmsteen, etc. I respect their knowledge and abilities and even creativity, but I just don't really get into their music. Often it seems the point is just to showcase their considerable abilities.
I like songs to tell stories. Incidentally, I like music with fictional or fantasy lyrics. Check out The Sword's Apocryphon album for a great reference of fun songs that eschew the compulsion to have pathological from-the-heart lyrics. Also, respect the Quantum Mechanics references!
jgossman
Last seen: 1 month 4 days ago
Joined: Aug 18 2011 - 6:21am
"I'm a militant agnostic"
Isn't that kind of an oxymoronic statement?
Athieist and agnostic are not, mind you, one in the same. A (not pertaining to or participating in) Theist (believer in a higher power), and often have little to no specific moral guidelines outside the self (think Ayn Rand). A - Gnostic (specific God, usually Judeo/Christian) Agnostics are, generally speaking, non-believers in a specific God, but often somewhat spiritual, mostly very moral, and mostly, to each thier own is thier motto (think Penn Jillette). Atheist are specifically non-believers in anything related to the spiritual world. Sometimes they can be used interchangably, and the statement be accurate, but not precise. Words do as it turns out have very specific meanings.
Plus, you say "militant agnostic", I hear, "I've so little faith in anything, I'll never really be able to enjoy anything I own." Here's a hint, all we do is pay for the pleasure of renting our life in this world, you can't ever REALLY own anything. So analyze less, enjoy more. As Buddha might say, were he an American from the South. It is what it is. And that's ALL it is.
Since the OP doesn't seem to mind this thread being off topic I'll continue in that vein. Mr Ruggles, you have commented several times about your taste in vocalizing. I suspect that as long as you prefer the mostly "shouty" fantasy type lyrics that you'll never really like Jazz.
Even when I was much younger and heavily into metal and progressive rock I didn't like those vocalists who IMO couldn't sing (all the "shouty" ones).
BTW: The guitarists that you mentioned are solidly on my "meh" list. Yes, they have great chops but their music reminds me of smooth Jazz. Both types of musicians have plenty of talent and great chops but their music is essentially unfulfilling. With smooth Jazz the music doesn't seem to have any real spirit. To me Yngwie Malmsteen, Joe Satriani, et al sound to me like they're masturbating. They seem to be getting off but it doesn't transfer to me.
The blues: IMO playing or listening for a short while is fun. A long term diet is kind of boring.
November 18, 2013 - 3:23am
Well said Joe , I couldn't agree more .
" sounds like there masturbating " , LOL
pablolie
Joined: Oct 24 2013 - 11:58am
Is accurate our preference or
Is accurate our preference or the way a -perhaps otherwise preoccupied- recording engineer put things down. In a perfect world I'd like every musician to play instruments that directly put down great 88-24 streams as well as their location compared to other instruments in the studio. Ain't gonna happen.
the Dsd discussion is a good place to follow the perfect algorithm religious battles. Heavens if people really find out how most recordings work...
In my perfect world more recordings would be made using the direct to disk technique. That means recording using a minimal number of microphones, a passive mixer and going directly to a two track master without any mucking it up in the studio. Sadly no one makes direct to disk LP recordings any more. Groove Note makes recordings that come as close to that ideal as anyone. They record directly to a two track master using a minimal number of microphones and a passive mixer. Their recordings IMO sound superb. They are an abject lesson that a lot of recording engineers ought to audition. Of course, liking Jazz is a prerequisite for any Groove Note recording. I recommend them highly. There are also several other labels that produce extremely high quality recordings, Maple Shade being one. With any of them you have to like the rather eclectic musical choices they make.
Recordings such as these are probably as accurate (microphone dependent) as your ever going to get.


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Lately I have come across hybrid résumés and curriculum vitaes that bear little resemblance to what hiring managers, HR managers, and other people with hiring responsibilities expect to see. Such non-traditional formats usually don't work in your favor, so I would caution you to be sure you understand the accepted résumé format for the particular position for which you are applying.
The reverse chronological format is used for changing jobs within a particular profession or field. It's what you'd use when you are looking for a similar position with another company in the same or similar field. The order of headings I recommend is: Contact Information, Professional Summary, Employment History, Education, Certifications/Licenses, Publications (if relevant), Honors/Awards (recognized within an industry or profession). Most reverse chronological résumés are no more than two pages in length.
The functional format is used for people entering the workforce for the first time, re-entering the workforce after being out of it for some time, and for people who want to change careers. The emphasis on the functional format is the skills, knowledge, and expertise that can be transferred to a new field or profession, and not so much on accomplishments tied to your previous position or career. The order of headings I recommend is: Contact Information, Professional Summary, Table of Functional Expertise (3 column format with as many rows containing key skills/knowledge/expertise that's relevant for the new field), List of Employers (no bulleted lists–just employer name, address, your job title and one-line description of duties), Certifications/Licenses, Publications (if relevant), Honors/Awards, Education. Here, the hiring manager is interested in the practical application of skills, knowledge, and expertise and less so in your formal education.
The curriculum vitae (CV) is sometimes used interchangeably (and incorrectly) with the term "résumé." It is a detailed document with a specific order of information and specified level of detail for positions within the academic and health care (sometimes legal) community. The CV elaborates on education, publications, teaching experience, research, conference presentations, and honors/awards. A shorter CV version is sometimes preferred that highlights an individual's current career focus rather than on their entire career history. Very often CV formats are prescribed by the hiring entity.
For the most part, the résumé and CV formats are used for employee positions. What do you do when you're in business for yourself and want to add more clients or obtain contract work? Well, you use marketing materials that highlight your expertise and accomplishments. There's more of a promotional flavor to these documents than there is with the résumé or CV because you are looking for more business, not a job.
In the table below, I list the types of collateral used for three types of positions: permanent, contracting, and consulting. Across the board, the various types of documents all work to achieve the same purpose: to place your name at the top of the hiring manager's short list. Consult my book, Confessions of a Hiring Manager Rev. 2.0 (Second Edition) for details on how to stage the release of these documents over the entire hiring process to keep your name at the top of the list.
*This is the last document staged in the Continuous Promotion Approach as detailed in Confessions of a Hiring Manager Rev. 2.0.