And Apple promised to continue offering service and parts for AirPort Base stations for the. Firmware update 7.8.1 improves the security of your base station and is recommended for all Apple 802.11n Wi-Fi base. Apple releases AirPort Base Station Firmware Update 7.8.1. Next step will be verifying that the miniTosLink out (hidden in the audio out jack) still works, then adding a DAC between the Express and the hifi. Now, the older AirPort Base Station and its siblings have also been updated. Firmware update 7.8.1 improves the security of your base station and is recommended for all Apple 802.11n Wi-Fi base stations including AirPort Express, AirPort Extreme and AirPort Time Capsule. Updated the firmware, logged them into the my wifi it’s working flawlessly. Hooked up the ethernet and they showed right up in Big Sur’s Airport Utility. It’s on the network now and works, but I’ve had unusually unstable WiFi after I connected it (this may be unrelated or could be due to the new firmware or it could be that the Express disrupts the network somehow)” Then it should show up in AirPort Utility under Other Wi-Fi Devices, WiFi). I then upgraded the firmware to 7.8.1 which I perhaps shouldn’t have, and disconnected the Ethernet cable. 1 improves the security of your base station and is recommended for all Apple 802.11n Wi-Fi base stations including AirPort Express. It shows up in AirPort Utility (under Other Wi-Fi Devices, Ethernet) and I set it up to join an existing network. This desktop software notifies you when updates are. Originally published at: Patches several security vulnerabilities on AirPort Extreme and AirPort Time Capsule base stations with 802.11n Wi-Fi… Originally published at: Patches several security vulnerabilities on AirPort Extreme and AirPort Time Capsule base. In AirPort Utility, I got it working by connecting it to the mac via ethernet cable during the setup. Use Garmin Express to update maps and software, sync with Garmin Connect and register your device. AirPort Base Station Firmware Update 7.8.1 - Article Comments - TidBITS Talk. Updating an AirPort base station causes it and its network services to be. Those vulnerabilities include remote attacks. Base Stations with 802.11ac were updated on 31 May this update addresses a similar if not identical list of security bugs in those with 802.11n. “I have my AirPort Express (Gen 1, model A1264) working with Big Sur. Apple periodically offers software updates (called firmware updates) that. Apple has just released an update to bring AirPort Express and Extreme, and Time Capsule Base Stations, with 802.11n to firmware version 7.8.1. I had two old ones in a closet and had no idea that AirPlay streams lossless (no hi-res, though).įiddled a bit with outdated El Cap instructions to no avail (they don’t work on Big Sur), but Andy740’s reply to this MacRumors forum post provided the key: After a lot of YouTubing different approaches, I stumbled on a post about a recent firmware update for Apple’s old discontinued Airport Express’ that enables support for AirPlay 2. Had to be cheap but simple, reliable, and at least lossless (hi res optional). Been looking for a way to sling audio from VOX desktop playing local files to my hifi across the room.
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If you are using the package to get the current date and time in Java (as it looks more intuitive), you'll soon find out it's very limited. It is more stable as it takes time from an atomic clock. It is a standard that we can use to display time zones. It uses either a 24-hour format or a 12-hour format for display, and it's based on astronomical observations.
Coffee and lunch breaks gave some time to chat and mingle, but were kept brief in favor of the dense program. Either way, events like these - still small and casual enough - provide a rare chance for real conversations between (typo-)graphic designers, students and type makers and sellers, something we should maybe encourage and facilitate even more. Some may have found so many presentation on type design quite geeky to others it was a welcomed difference to other conferences that focus more on general graphic design or on academic research. The prevalent motif of the presentations was true “behind the scenes” insight into the work and lives of type designers and independent businesses, touching, among other things, on the discomfort of giving up design control with variable fonts, the less glorious parts of running a type business, font licensing, finding inspiration for your work amongst seemingly dead ends, developing your own tools to explore new creative directions, designing for different writing systems and matching different scripts, but all livened up by the zippy 5-minute talks in between that went as far as to propose eliminating all letters with diagonals from the alphabet. The theater-like Ateneu Commercial do Porto in the city center provided a charming backdrop - even winning this year’s conference-chandelier rating - and space for the packed program of 13 stage presentations and 13 interspersed “Tiny Talks” (one slide, 5 minutes). While the first Fontstand conference in 2018 came about as a foundry meeting first and conference second, this time the conference part was planned from the outset, largely organized by local type designer Dino de Santos (DS Type) and Fontstand’s Andrej Krátky and Peter Biľak. Each speaker seemed to speak a different flavor of English and some of the 200 people in the audience had traveled from as far away as Australia, Brazil or the west coast of Canada. Occasionally, the type and design scene can feel quite US-centric, but not at this event. Taking place one day before the European elections, it couldn’t have felt more international, more like a celebration of diversity and community. On Saturday, the second Fontstand conference took place in Porto, Portugal. With so many fonts to choose from, users will be glad to know that the iPad app offers the same search function as its desktop counterparts, so fonts can be filtered not only by traditional categories (serif, sans serif, slab, script, display, etc.), but also by visual attributes such as width, x-height and stroke contrast, as well as OpenType feature support and language support.Ĭo-founder Andrej Krátky adds: “We imagine that creative professionals and design enthusiasts will take advantage of the advanced possibilities of iPad to create their presentations, documents and graphics directly on the tablet, without the need to migrate projects across platforms.”ĭownload the App Fontstand iPad Font-install app Fontstand also offers a $4.99 iPad-only monthly subscription that gives access to its library of over 1600 font families supporting hundreds of languages from Abaza to Zulu. Users who rent fonts via the Fontstand desktop app for Mac or Windows will find those same fonts available on their iPads at no extra cost. The application is free to download via the App Store. Founded by active type designers, the company aims to benefit both font foundries and end users, expanding the market for high-quality, legally licensed typefaces. With one click, users can rent fully functional fonts for 30 days at 10% of their normal retail price. In 2015 Fontstand revolutionized font licensing by offering short-term font rentals at attractive prices. Fontstand’s ambition has always been to introduce professional-quality typefaces to new audiences, and supporting iPadOS lets us reach many people who have never licensed fonts before,” says Fontstand co-founder Peter Biľak. “There are three times as many active iPad users as there are desktop Mac users. Since iPadOS now supports custom fonts, Fontstand is expanding its MacOS and Windows font rental system, allowing a growing number of compatible iPad applications (including Apple’s own Keynote, Pages and Numbers, as well as Adobe’s Photoshop) to access 15,000+ fonts from 50 renowned independent foundries. Fontstand has introduced an innovative iPad app that lets users explore, filter, manage and use its extensive library of professional-quality fonts. The names Grinding Gear Games and Path of Exile as well as related names, marks, emblems and images are registered trademarks of their respective owners. The official Path of Exile website can be found at This site is not affiliated, associated, authorized, endorsed by, or in any way officially connected with Grinding Gear Games, or any of its subsidiaries or its affiliates. lies a Take axe and mattock and spade take sprig of cedar. Poe.ninja data last updated at 1, 11:22 PST Notice of Non-Affiliation Dreaming Back I The Sorcery of the Cedar Twig The First of a Series of. Select Visible adds all rows that match current Keyword(s) Search or Minimum Chaos to current selection. Select Matching Only selects only rows that match current Keyword(s) Search or Minimum Chaos settings and deselects all others. Awakened PoE Trade, or win 10 multi-clipboard(built in) make it a lot less painful."
TwistedWave can do a lot more than what I’m using it for most of the time. What else can you do with this audio editor? You can also set a maximum gain and maximum attenuation. Be it peak, true peak, RMS or LUFS (R128). A channel link or pan button beneath the level meter or in the beginning of each track would be perfect.Īs I’m often recording with a lot of head room when using the Sonosax R4+ recorder I love that you can normalize each channel individually. This feature needs to be controllable as most of the time I do not want it that way. Meaning channel one is left, two is right, three is again left and so on. Just press and hold the alt or option key while you click and drag over the part that you want to add to the selection.Ī minus is that it automatically pans the channels left and right. You can mark selections of several spread areas you want, even if they are not contiguous. You can simply click and drag a selection or double click a channel and you will only hear just that. Listening back to specific channel or parts and also non-contiguous parts is no problem at all. You can zoom and navigate through the file very easily. You can directly see where the action is happening and all channels have a level meter. You can save different batch processing steps and quickly open them. You can see the three actions in the picture below and nearly all the batch processing possibilities. So these are the two most important batch processing steps we always use for our latest releases. All this information needs to be deleted to make space for our metadata. Sometimes markers are placed by a program. Pro Tools, iZotope RX and many others leave traces. The first thing is to erase all previous embedded infos, like the metadata that is written into the file by several programs. When the content of the library is complete, meaning all files are ready to be shipped, there are some last steps they go through. Why we use TwistedWave for our BOOM Libraries: Furthermore you can add metadata to several other file formats like MP3 or AIFF for example. But as we have implemented the metadata in several other common fields that are displayed very well you will be fine using the given Music and BWAV information. The reason is the encryption that Soundminer uses. Luckily you can see the metadata you wrote and saved in TwistedWave in Soundminer v4. The metadata of our BOOM Library SFX were embedded with Soundminer v4 and TwistedWave is only capable of reading Soundminer v3 metadata. Unfortunately the Soundminer tab is empty. Every field is editable so you can add your info to the file. If you open a WAVE file you will have access to BWAV tab and Soundminer. There you have it! Playback on an internet-based ISDN replacement.You have three tabs with different types of metadata. I’m sure that there is a workaround to hear what they hear on the other end, and if anyone has any suggestions I’d love to hear them. You won’t hear it (unless you’re able to tinker with some other settings), but your listener will. Then all you have to do is hit OK, go back to the audio and play whichever part you want to. Then you’re going to go to TwistedWave and to Preferences > Devices > Output device and change that to Soundflower (2ch). Ok, so first of all, you want to make sure that you have your secondary source on ipDTL is set to Soundflower (2ch) as shown below. Your client says “Hmmm…could I possibly hear the second take played back?” So, once you have started your voiceover session with your client who loves to hear the audio played back…you record a few takes. If I had it my way I’d invite you all into my studio to crowd around the computer and have a gander. I’ll attempt to share with you how I achieved this simple setup, but bare with me – I’ve never done one of these screen-capture whose-a-ma-whatzits before. TwistedWave is the audio editor of choice for many Mac-using voiceover professionals. I feel like Soundflower was always on my Mac, but if you don’t have it, it’s possible to download it. Soundflower is a handy little tool that allows applications to pass audio through to other applications. While testing the new build, I managed to get live playback working with Soundflower, TwistedWave and ipDTL. Rather than list them all here, I’ll advise you to check out Lance’s blog as he summarises them very nicely and also included a sample of how ipDTL recordings are sounding these days (hint: it’s good). The purpose of the test with Lance this morning was to try out the latest features added to ipDTL. Well, that is until they introduce a video feature… For those who aren’t familiar with it, ipDTL is an internet solution that allows one studio to connect with another (or any user with Google Chrome) in the comfort of your pajamas. This morning I was lucky enough to do an ipDTL test with the fantastic Atlanta-based talent, Lance Blair. Every month over 30 million gamers from all over the world play their favorite games on Poki. Our games are playable on desktop, tablet and mobile so you can enjoy them at school, at home or on the road. We offer instant play to all our games without downloads, login, popups or other distractions. Poki has the best free online games selection and offers the most fun experience to play alone or with friends. Idle Ants The Impossible Quiz 1010! Deluxe Snake.is MLG Edition Combat Reloaded 2 Mad GunZ Bad Ice-Cream Burrito Bison Revenge Minecraft Classic Solitaire Klondike 2.0 Fortz Merge the Numbers Mahjong Linker Kyodai Game Warscrap.io Amazing Spider Solitaire Onet Paradise Idle Success Blumgi Ball Survival Builder Australian Patience Like a King Fish Eat Fish Magikmon Onet Master Moto X3M Winter Funny Heroes Emergency Jigsaw Surprise Tiny Fishing Refuge Solitaire Dual Cat Funny Kitty Care Ninja.io Football Legends Idle Gang Super Bubble Shooter Noob Archer Repuls.io Bubble Trouble 2 Archer Castle City Rider Tictoc KPOP Fashion Backgammon Spider Solitaire Dana: Relics for Sale Shape Fold Ludo Hero It's Story Time! Bubble Shooter Ludo Multiplayer Babel Tower Bubble Trouble Cricket World Cup Gladihoppers Moto X3M 5 Pool Party Blocky Cars House of Hazards Getaway Shootout Ant Art Tycoon SchoolBreak.io Apple Knight Tiger Simulator 3D City Car Driving: Stunt Master Brain Test 2: Tricky Stories Bacon May Die Rocket Soccer Derby Build & Crush G-Switch 3 Cyber Cars Punk Racing Warbrokers.io Big Shot Boxing Soccer Skills Euro Cup Dragon Simulator 3D 2048 Tennis Masters Rooftop Snipers MiniBattles Eugene's Life Airport Clash 3D I like to take the Circus Freak Quirk for this Build because between your Background and this Quirk you will gain +0.6 Combat Speed, which is effectively 6 Attribute Points into Speed. You neglect Speed here because of the Background and Quirk that you selected to help with your Combat Speed. All remaining points should go into maxing out Awareness, and anything else should go into Intelligence for Crit Chance and Crit Damage. You can drop a point or two into Strength for more Health if you want, but you likely won’t have the points for more than that. And then I increase Awareness to boost damage and give me a bit higher Hit Chance. Generally I like to begin by maxing out Coordination to get the most possible Action Points, since you need to move and shoot and move and shoot. Intelligence also helps with overall damage, and Strength would be great to help keep you alive because they are on the front lines. Submachine Guns also have terrible Hit Chance, so you’ll need Awareness to increase this, so you don’t miss with half your shots. They have poor range, which means you need to move up close to get good accuracy, and that means you need good Combat Speed or you won’t have any Action Points left when you get in range. The Submachine Scientist is an Attribute hungry Build, and I think it’s one of the reasons so few people play with Submachine Guns. The choice is up to you, but you can gain Critical Hit Chance from Intelligence, as well as Critical Damage, so I think Sex Machine is a better overall choice. However, you could easily select Goat Killer instead, as you can never have enough Critical Hit Chance. This is necessary to prevent spending points into Speed, because you need points elsewhere. Submachine Scientist Build Character Creation & Stats Backgroundsĭuring Character Creation I like to select the Sex Machine Background for a small boost to Combat Speed. And on top of that Microwave Research boosts your damage even more! You simply do a ton of damage with this Build! On top of that, you’ll gain even further damage by investing in Weird Science, which gives you a 3% damage increase per point with these damage types. No matter which you face, you simply swap weapons to get the added increase to damage. Energy Damage is excellent against machines, and Fire Damage is brilliant vs. The Submachine Scientist uses Submachine Guns that deal Energy Damage and Fire Damage to do increased damage no matter what enemy type they are facing. If you’ve been looking for a Submachine Gun Build then check this one out! More Guides on our Wasteland 3 Guides section, including the Sneaky Sniper Build. In this Build Guide I’ll explain just how to make this Build, including what Weapons to use, what Skills to take and which Perks to pick up. Wasteland 3 can be extremely overwhelming for new players, and can cause confusion for veterans alike. In this Wasteland 3 Builds Guide I’m going to be showing you my Submachine Scientist Build which uses exclusively Submachine Guns to waste its enemies in a flurry of elemental bullets. “If you’re trying to find an echidna, you’re almost guaranteed not to find one,” Grützner laments. He’s interested in short-beaked echidnas ( Tachyglossus aculeatus) - spiny, egg-laying mammals - but they aren’t interested in him. Volunteers can come to the rescue when researchers don’t have the resources to collect enough data, or have much more data than they could hope to analyse on their own.įrank Grützner, a geneticist at the University of Adelaide in Australia, fits the first scenario. “We all know that science is better when there are more voices, more perspectives.” Co-creating science “There is a two-way learning that happens,” says Tina Phillips, assistant director of the Center for Engagement in Science and Nature at Cornell University in Ithaca, New York. With the right protocols and checks and balances, the quality of volunteer-gathered data often rivals or surpasses that achieved by professionals. No matter what the topic or approach, people skills are crucial: researchers must identify and cultivate a volunteer community and provide regular feedback or rewards. “It’s not something where you’re just going to throw up a Google form and hope for the best.” Although there are occasions when scientific data are freely and easily available, other projects create significant costs. “To do a good project, it does require an investment in time,” says Darlene Cavalier, founder of SciStarter, an online clearing house that links research-project leaders with volunteers. No PhDs needed: how citizen science is transforming research But it’s important to remember that community science is, foremost, a research methodology like any other, with its own requirements in terms of skill and effort. “More and more funding organizations are actually promoting this type of participatory- and citizen-science data gathering,” says Bálint Balázs, managing director of the Environmental Social Science Research Group in Budapest, a non-profit company focusing on socio-economic research for sustainability.Ĭommunity science is also a great tool for outreach, and scientists often delight in interactions with amateur researchers. Researchers from physiologists to palaeontologists to astronomers are finding that harnessing the efforts of ordinary people is often the best route to the answers they seek. The number of annual publications mentioning ‘citizen science’ went from 151 in 2015 to more than 640 in 2021, according to the Web of Science database. Whatever name is used, the approach is more popular than ever and even has journals dedicated to it. (The term ‘citizen science’ is also used but can be perceived as excluding non-citizens.) In community science, also called participatory science, non-professionals contribute their time, energy or expertise to research. His network of 9,000-plus contributors has accumulated more than 60,000 reptile sightings, allowing him to identify and eradicate an invasive species, observe rare alligator-lizard ( Elgaria multicarinata) matings and publish more than a dozen papers. Since 2013, Pauly has been engaged in a community-science project using the natural-history app iNaturalist. “All the people are not the problem - all the people are the solution,” he says. What else might be lurking in Los Angeles back gardens? And how could Pauly possibly find out, given that so much of the crowded county is private property, inaccessible to scientists? Then Pauly had an epiphany. “I could not believe that this particular species of lizard would be in that neighbourhood,” he recalls. Jogging in Los Angeles, California, about ten years ago, Pauly, the curator of herpetology at the Natural History Museum of Los Angeles County, was shocked to see a Southern California legless lizard ( Anniella stebbinsi) being hit by a car. Credit: Emily Maletzįor Greg Pauly, inspiration came in the form of roadkill. A community scientist uses a sky-quality meter to measure light pollution at night. Lossless compression still sounds a bit like magic and in order to avoid the technical details of how a file can be compressed without loss, let’s assume it is. This is accomplished however at the cost of a less radical compression that only achieves a file that is half the size of the original (again, compared to 1/10 for an MP3). These formats compress digital music from the original CD size into a more easily stored and streamed format –without data loss. There are also lossless compression formats like FLAC and ALAC. The user has not gained anything in terms of file size but now has the song in a more portable form. A 33 MB song from a CD will therefore convert to a 33 MB WAV file. There are file formats like WAV that convert all the data contained on a CD into an audio file without any compression at all. That being said, depending on the type of music, the quality of the speakers and how trained a person’s ears are to listen for sonic details, many people do detect differences and will want to hear their music at the highest quality level. The quality of 320 kbps, however, is actually, quite good and many people can’t hear a different between a 320 kbps MP3 file and a higher resolution file. A 128 kbps file reduces the audio data more radically with frequencies above 16 kHz being cut. There are actually two different data sizes they can usually be found in: 128 kbps and 320 kbps. That being said, not all MP3s are created equal. Unsurprisingly, the MP3 is not the audio format of choice among hi-fi enthusiasts. While CDs reproduce the entire frequency range (at least that which is audible for humans), MP3s will often leave out very high or very low parts of the register as these are not likely to be missed by most listeners. Naturally, this radical compression results in playback that is noticeably less crisp and detailed than a higher resolution file. In most cases, the original file size is reduced by a factor of 10. MP3s are lossy compressed audio files, meaning that not all sonic input from the original recording is retained. Ripping music from CDs to MP3s and other file formatsĪlong with CDs, the most popular digital format for music is the MP3. For those who would like their entire music collection at their fingertips, ripping CDs into audio files for streaming via Wi-Fi or Bluetooth is the way to go. This is what is streamed from music services like Spotify and TIDAL and how your own digital music collections are best stored for wireless playback. Streaming: While some streaming systems like Raumfeld make it possible to connect a CD player via line-in and restream the audio, streaming generally works with audio files.Ripping the song allows you to listen to it on your smartphone on your way to work. There will always be the odd obscure track - perhaps from an older local band - that’s only available on CD. Availability: Most music is available online in a range of high quality digital formats, but not all.Mobility: Audio files can be played back by PCs, laptops, car stereo systems and smartphones making them the easiest way to store and enjoy your music anywhere you choose.For some people, the intention of ripping CDs is to compress the data into a smaller, more easily stored form. Since a minute of music formatted on CD requires about 10 MB of storage space, this works out to a maximum running time of 74 minutes. The typical audio CD contains 747 MP of storage space. This promises high-quality sound but takes up a lot of space. Compression: The audio data saved on CDs is uncompressed. It’s difficult to say exactly how long a CD can be expected to work properly, but once the protective coating has been damaged, the data storage layer can be easily compromised.
If the EOTAD system was driven beyond its range the torque tube would prevent damage to the system by separating. At the heart of the device, was a 3-D seat design that allowed for the device to separate where the torque limit was exceeded but the seat would remain intact within its operating range. The torque-limiting device “Torque Tube” was designed from beryllium, 440c steel and stainless steel to provide an overall torque-limiting device. One of the key components that Peregrine assisted on was the torque limiting device to prevent damage to the EOTAD system when the direction of the system was driven too far to left or too far to the right. Peregrine worked with Lockheed Martin Missiles and Fire Control systems on the Electro Optics Target Acquisition and Designation System (EOTADS). The first complete EOSS system was delivered in June 2003. Lockheed Martin Missiles and Fire Control developed the EOSS (electro-optics sensor system) which comprised: EOTADS (electro-optics target acquisition and designation system), including solid-state TV sensor, two-color laser rangefinder/designator, second-generation focal plane array long-wave FLIR (forward-looking infrared), and NVPS (night-vision pilotage system) with a second FLIR. The analyzed data was presented to the crew in the cockpit displays or transmitted to other elements of the force, providing direct relay of near real time intelligence. Northrop Grumman TASS (target acquisition system software) functions included automatic target tracking and target threat management. This system carried out sensor data fusion, high-speed analysis and correlation of the sensor data. The Comanche was equipped with a suite of passive sensors and a computer-aided Northrop Grumman mission planning system. The rear rotor was able to withstand impact by 12.7mm rounds and provided a 180° turn in 4.7 seconds in hover mode and an 80kt snap-turn-to-target in 4.5 seconds. The helicopter had a composite five-blade bearingless main rotor and an enclosed composite fantail rotor for increased anti-torque capability. The radar cross section was minimized primarily by the precisely shaped fuselage and internal weapons configuration. The airframe of the Comanche RAH-66 was crashworthy and ballistically tolerant to 23mm gunfire. In an armed reconnaissance mission, Comanche could recognize and identify targets and digitally transmit the information to the battlefield commander in near real-time, select the optimum force deployment and coordinate the attack. The program entered engineering and manufacturing development (EMD) in June 2000, which required the construction of nine aircraft in addition to two prototypes. This is the Comanche history, as told by the some of the key members of the Comanche development team.The Comanche RAH-66 reconnaissance and attack helicopter was developed by Boeing and Sikorsky for the US Army. This is the story of a program that enjoyed strong support at the most senior levels of the Army and DoD – until it didn't. From 1991 to 2004 Comanche went through six program restructures, mostly due to reductions and stretch-outs in Army funding. The program never stayed stable for more than a few years at a time. This is a story of great accomplishment and much frustration. So, what happened? How did Comanche become expendable? How did a program that was originally scheduled to enter Low Rate Initial Production in 1996 get delayed to 2011? How did an aircraft originally designed to replace the Army's light scout/attack fleet grow to become a virtual replacement for the much larger, heavier AH-64 Apache? Army rotorcraft fleet so it would remain viable in Afghanistan and Iraq.… This terrible choice was necessitated by the lack of sufficient funds for vertical lift aviation.” Then, with only two prototypes completed, the Comanche had to be sacrificed in 2003 to field upgrades to the existing U.S. First, inadequate R&D funding levels during the Clinton administration stretched out its development over two decades. Mike Hirschberg, executive director of the Vertical Flight Society, wrote in the January/February 2017 issue of Vertiflite magazine: “The RAH-66 Comanche was the most advanced helicopter ever built. Cody also reportedly said the aircraft was ‘easy to fly’ and should be put into the hands of soldiers as soon as possible.” Twelve weeks later the program was cancelled. …Cody said that the Comanche had ‘exceeded his expectations’ and was particularly impressed by the rotor system, engine response and control. According to the January 2004 issue of National Defense he “…gave the aircraft a stellar review. Cody, Army Deputy Chief of Staff and an experienced aviator, flew the Comanche. |
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