comecar de novo? ou tentar comigo? ou ambas as duas?

8/18/2019 comecar de novo? ou tentar comigo? ou ambas as duas?
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nid mid fields 1267122781678 1342696482152 <img src="808799cbde5221abf966fb13f3f29e12.jpg" /> Fiji 1295795743713 1342696482150 <img src="paste5dxsa5.jpg" /> Tuvalu 1320378436223 1342696482150 <img src="2011-11-03_234618.jpg" /> Pitcairn Islands 1323909435423 1342696482150 <img src="2011-12-14_193651.jpg" /> <b>Marti nique</b><br />(region of France) 1320116175563 1342696482150 <img src="2011-10-31_225325 (1).jpg" /> Jersey 1323901943760 1342696482150 <img src="2011-12-14_173122.jpg" /> <b>Marti nique</b><br />(region of France) 1408139902851 1366982516457 a <img src="paste-10913511899137.jpg" /> ---> [sound:forvo_pt_155391.mp3]<div>[a]</div> 1412110266944 1366982516457 Sua loja __ 24 horas todos os dias <img src ="paste-5171140624497.jpg" /> <b><i><br /></i></b> <i><b>aberta</b></i> Sua loja aberta 24 horas todos os dias [a'b eRtu] y 1408229932791 1366982516457 como <img src="past -75385265979393.jpg" /> <i><b>como </b>você</i> [sound:forvo_pt_730275 (1).mp3]<div>/ko.m u/</div> 1408321526739 1342696482150 rul . <b>Pronúncia Carioca. </b><i>(para r y s final s.)</i><div><b> [] ---> *</b></div><div><b>s -----> *</b></div ><div><b><br /></b></div><div><b> c ----> </b><b>*</b></div><div><b>r ----& gt; *</b></div> <div><b> [ ] ---> p t k f s(h)</b></div><div><b>s -----&gt ; vocal y r sto consonant s</b></div><div><b><br /></b></div><div><b> c ---->&nb
sp;</b><b>p t k f s(h)</b></div><div><b>r ----> vo
al y resto
onsonantes</b></div> 1412748045046 1366716141610 preto <img sr ="paste-12824772346006.jpg" /> <i><b>o </b>preto</i> ['petu] 1408230110824 1366982516457 __ pode esque er o perfume duma rosa? <img sr
="paste-78430397792257.jpg" /><img sr ="paste-2491081031774.jpg" /> <b><i><b r /></i></b> Quem Quem pode esque er o perfume duma rosa? [sound:forvo_pt_ 8106.mp3]<div>['ke˜j]</div> 1412499779756 1366982516457 Quem pode esque er o perfume __ rosa? <img sr
="paste-5553392713854.jpg" /> duma Quem pode esque er o perfume dum a rosa? de + uma = <b>duma</b> ? 1411940555963 1366982516457 la havia __ de toda a sorte: velhos, mo os, b urgueses, operá rios, senhoras <img sr ="paste-10836202487895.jpg" /> <i><br /
></i> gente <div>la havia gente de toda a sorte: velhos, mo
os, burgueses, operá rios, senhoras</div> [sound:forvo_pt_220248.mp3] 1412498995581 1366982516457 Curiosidades sobre os __ que provavelmente vo ê não sabia <img sr ="paste-4093103833206.jpg" /> animal anima<b>is</b> Curiosid ades sobre os animais que provavelmente vo ê não sabia al --> is ? 1414016204156 1386114433707 <b>Knob</b> <img sr ="paste-11141145165950.j pg" /> 1325083107826 1275561780 A re - AC Rio Bran o <img sr ="245px- Brazil_State_A re.svg.png" /><img sr ="paste-29081223561217.jpg" /> 1325083120082 1275561780 Alagoas - AL Ma eió <img sr ="245px-Brazil_S tate_Alagoas.svg.png" /><img sr ="paste-29794188132353.jpg" /> 1325083166843 1275561780 Amapá - AP Ma apá <img sr ="245px-Brazil_S
tate_Amapa.svg.png" /><img sr
="paste-30528627539969.jpg" />1325083176485 1275561780 Amazonas - AM Manaus <img sr ="245px-Brazil_S tate_Amazonas.svg.png" /><img sr ="paste-31250182045697.jpg" /> 1325083185542 1275561780 Bahia - BA Salvador <img sr ="245px- Brazil_State_Bahia.svg.png" /><img sr ="paste-31928786878465.jpg" /> 1325083308861 1275561780 Ceará - CE Fortaleza <img sr ="245px- Brazil_State_Ceara.svg.png" /><img sr ="paste-32603096743937.jpg" /> 1325083322630 1275561780 Distrito Federal - DF Brasília <img sr ="245px Brazil_State_DistritoFederal.svg.png" /><img sr ="paste-34140695035905.jpg" /> 1325083340978 1275561780 Espírito Santo - ES Vitória <img sr ="245px-
="245px-Brazil_State_MatoGrossodoSul.svg.png" /><img sr ="paste-39011187949569.j pg" /> 1325083454579 1275561780 Minas Gerais - MG Belo Horizonte <img sr
="245px-Brazil_State_RiodeJaneiro.svg.png" /><img sr
="245px-Brazil_State_RioGrandedoNorte.svg.png" /><img sr ="paste-45582487912449. jpg" /> 1325083918485 1275561780 Rio Grande do Sul - RS Porto Alegre <img sr
="245px-Brazil_State_SantaCatarina.svg.png" /><img sr
1357623446954 1357513998290 <img sr
="6.jpg" /> A#/Bb1357623457785 1357513998290 <img sr ="7.jpg" /> B 1357623464412 1357513998290 <img sr ="8.jpg" /> C 1357623472347 1357513998290 <img sr ="9.jpg" /> C#/Db 1357623483727 1357513998290 <img sr ="10.jpg" /> D 1357623492673 1357513998290 <img sr ="11.jpg" /> D#/Eb 1357623508723 1357513998290 <img sr ="12.jpg" /> E 1357623517690 1357513998290 <img sr ="1 (1)_1357513998290.jpg" /> C 1357623566902 1357513998290 <img sr ="2 (1).jpg" /> C#/Db 1357623577016 1357513998290 <img sr ="3 (1).jpg" /> D
1357623582296 1357513998290 <img sr ="4 (1).jpg" /> D#/Eb 1357623601555 1357513998290 <img sr ="5 (1).jpg" /> E 1357623607520 1357513998290 <img sr ="6 (1).jpg" /> F 1357623643528 1357513998290 <img sr ="7 (1).jpg" /> F#/Gb 1357623656467 1357513998290 <img sr ="8 (1).jpg" /> G 1357623666907 1357513998290 <img sr ="9 (1).jpg" /> G#/Ab 1357623679956 1357513998290 <img sr ="10 (1).jpg" /> A 1357623686729 1357513998290 <img sr ="11 (1).jpg" /> A#/Bb 1357623702734 1357513998290 <img sr ="12 (1).jpg" /> B 1357623712133 1357513998290 <img sr ="1 (2).jpg" /> G#/Ab 1357623739124 1357513998290 <img sr ="2 (2).jpg" /> A 1357623746641 1357513998290 <img sr ="3 (2).jpg" /> A#/Bb 1357623761122 1357513998290 <img sr ="4 (2).jpg" /> B 1357623766893 1357513998290 <img sr ="5 (2).jpg" /> C 1357623789877 1357513998290 <img sr ="6 (2).jpg" /> C#/Db 1357623810151 1357513998290 <img sr ="7 (2).jpg" /> D 1357623818307 1357513998290 <img sr ="8 (2).jpg" /> D#/Eb 1357623834702 1357513998290 <img sr ="9 (2).jpg" /> E 1357623848161 1357513998290 <img sr ="10 (2).jpg" /> F 1357623857997 1357513998290 <img sr ="11 (2).jpg" /> F#/Gb 1357623871419 1357513998290 <img sr ="12 (2).jpg" /> G 1357623879964 1357513998290 <img sr ="1 (3).jpg" /> D#/Eb 1357623894897 1357513998290 <img sr ="2 (3).jpg" /> E 1357623902551 1357513998290 <img sr ="3 (3).jpg" /> F
1357623911329 1357513998290 <img sr
="4 (3).jpg" /> F#/Gb1357623928041 1357513998290 <img sr ="5 (3).jpg" /> G 1357623939010 1357513998290 <img sr ="6 (3).jpg" /> G#/Ab 1357623953238 1357513998290 <img sr ="7 (3).jpg" /> A 1357623960150 1357513998290 <img sr ="8 (3).jpg" /> A#/Bb 1357623975946 1357513998290 <img sr ="9 (3).jpg" /> B 1357623983170 1357513998290 <img sr ="10 (3).jpg" /> C 1357623991200 1357513998290 <img sr ="11 (3).jpg" /> C#/Db 1357624008251 1357513998290 <img sr ="12 (3).jpg" /> D 1357624023178 1357513998290 <img sr ="1 (4).jpg" /> A#/Bb 1357624104208 1357513998290 <img sr ="2 (4).jpg" /> B 1357624111256 1357513998290 <img sr ="3 (4).jpg" /> C 1357624120173 1357513998290 <img sr ="4 (4).jpg" /> C#/Db
1357624133564 1357513998290 <img sr
="5 (4).jpg" /> D1357624138766 1357513998290 <img sr ="6 (4).jpg" /> D#/Eb 1357624150140 1357513998290 <img sr ="7 (4).jpg" /> E 1357624157672 1357513998290 <img sr ="8 (4).jpg" /> F 1357624165387 1357513998290 <img sr ="9 (4).jpg" /> F#/Gb 1357624178702 1357513998290 <img sr ="10 (4).jpg" /> G 1357624184807 1357513998290 <img sr ="11 (4).jpg" /> G#/Ab 1357624198030 1357513998290 <img sr ="12 (4).jpg" /> A 1357624205273 1357513998290 <img sr ="1 (5).jpg" /> F 1357624225997 1357513998290 <img sr ="2 (5).jpg" /> F#/Gb 1357624237889 1357513998290 <img sr ="3 (5).jpg" /> G 1357624260731 1357513998290 <img sr ="4 (5).jpg" /> G#/Ab 1357624271990 1357513998290 <img sr ="5 (5).jpg" /> A
1357624278885 1357513998290 <img sr
="6 (5).jpg" /> A#/Bb1357624291130 1357513998290 <img sr ="7 (5).jpg" /> B 1357624296786 1357513998290 <img sr ="8 (5).jpg" /> C 1357624303958 1357513998290 <img sr ="9 (5).jpg" /> C#/Db 1357624317509 1357513998290 <img sr ="10 (5).jpg" /> D 1357624325558 1357513998290 <img sr ="11 (5).jpg" /> D#/Eb 1357624341449 1357513998290 <img sr ="12 (5).jpg" /> E 1366757952115 1366574803888 Alabama /(<i>Montgomery)</i> Montgomery <img sr ="Alabama.png" /> 1366757977459 1366574803888 Alaska /<i>(Juneau)</i> Juneau&n
bsp; <img sr ="Alaska.png" /> 1366757984623 1366574803888 Arizona /<i>(Phoenix)</i> Phoenix <img sr ="Arizona.png" /> 1366757992292 1366574803888 Arkansas /<i>(Little Ro k)</i> Little Ro k <img sr ="Arkansas.png" /> 1366757999530 1366574803888 California /<i>(Sa ramento)</i> Sa ramento <img sr ="California.png" /> 1366758008059 1366574803888 Colorado <i>/(Denver)</i> Denver <img sr ="Colorado.png" /> 1366758015476 1366574803888 Conne ti ut <i>/(Hartford)</i> Hartford <img sr ="Conne ti ut.png" /> 1366758023695 1366574803888 Delaware <i>/(Dover)</i> Dover <img sr ="Delaware.png" /> 1366758030946 1366574803888 Florida <i>/(Tallahassee)</i> Tallahassee <img sr ="Florida.png" /> 1366758039080 1366574803888 Georgia <i>/(Atlanta)</i> Atlanta <img sr ="Georgia (1).png" /> 1366758050417 1366574803888 Hawaii <i>/(Honolulu)</i> Honolulu <img sr ="Hawaii.png" /> 1366758057607 1366574803888 Idaho <i>/(Boise)</i> Boise <img sr ="Idaho.png" /> 1366758065767 1366574803888 Illinois <i>/(Springfield)</i> Springfield <img sr ="Illinois.png" /> 1366758073400 1366574803888 Indiana <i>/(Indianapolis)</i>
Indianapolis <img sr
="Indiana.png" />1366758080383 1366574803888 Iowa <i>/(Des Moines)</i> Des Moin es <img sr ="Iowa.png" /> 1366758086442 1366574803888 Kansas <i>/(Topeka)</i> Topeka <img sr ="Kansas.png" /> 1366758093077 1366574803888 Kentu ky <i>/(Frankfort)</i> Frankfort <img sr ="Kentu ky.png" /> 1366758102343 1366574803888 Louisiana <i>/(Baton Rouge)</i> Baton Rouge <img sr ="Louisiana.png" /> 1366758110426 1366574803888 Maine <i>/(Augusta)</i> Augusta <img sr ="Maine.png" /> 1366758116684 1366574803888 Maryland <i>/(Annapolis)</i> Annapolis <img sr ="Maryland.png" />
1366758124916 1366574803888 Massa
husetts <i>/(Boston)</i>Boston <img sr ="Massa husetts.png" /> 1366758136399 1366574803888 Mi higan <i>/(Lansing)</i> Lansing <img sr ="Mi higan.png" /> 1366758143476 1366574803888 Minnesota <i>/(Saint Paul)</i> Saint Paul <img sr ="Minnesota.png" /> 1366758151134 1366574803888 Mississippi <i>/(Ja kson)</i> Ja kson <img sr ="Mississippi.png" /> 1366758159760 1366574803888 Missouri <i>/(Jefferson City)</i> Jefferson City <img sr ="Missouri.png" /> 1366758168606 1366574803888 Montana <i>/(Helena)</i> Helena <img sr ="Montana.png" /> 1366758175734 1366574803888 Nebraska <i>/(Lin oln)</i> Lin oln
<img sr
="Nebraska.png" />1366758183355 1366574803888 Nevada <i>/(Carson City)</i> Carson City <img sr ="Nevada.png" /> 1366758190875 1366574803888 New Hampshire <i>/(Con ord)</i> Con ord <img sr ="New-Hampshire.png" /> 1366758201759 1366574803888 New Jersey <i>/(Trenton)</i> Trenton <img sr ="New-Jersey.png" /> 1366758209471 1366574803888 New Mexi o <i>/(Santa Fe)</i> Santa Fe <img sr ="New-Mexi o.png" /> 1366758216756 1366574803888 New York <i>/(Albany)</i> Albany
Salt Lake City <img sr
="Utah.png" />1366758320534 1366574803888 Vermont <i>/(Montpelier)</i> Montpelier <img sr ="Vermont.png" /> 1366758327576 1366574803888 Virginia <i>/(Ri hmond)</i> Ri hmond <img sr ="Virginia.png" /> 1366758334817 1366574803888 Washington <i>/(Olympia)</i> Olympia <img sr ="Washington.png" /> 1366758342400 1366574803888 West Virginia <i>/(Charleston)</i> Charleston <img sr ="West-Virginia.png" /> 1366758351179 1366574803888 Wis onsin <i>/(Madison)</i> Madison <img sr ="Wis onsin.png" /> 1366758359335 1366574803888 Wyoming <i>/(Cheyenne)</i> Cheyenne <img sr ="Wyoming.png" />
1403290601788 1386114433676 Las <b>ondas sonoras</b> son varia
iones periódi
as de la <b>presión </b>{{ 1::<b>atmosféri a</b>}} 1403290705413 1342696482150 <b>Forma de onda;</b> gráfi o y parámetros bási os <img sr ="formadeonda.jpg" /> 1403290866757 1342696482150 <b>Amplitud</b> <i>(unidad de medida)</i> <b>dB </b><img sr ="paste-85302345465857.jpg" /> 1403290924439 1342696482150 <b>Fre uen ia </b>(unidad de medida) <b>Hz&nb sp;</b><img sr ="paste-100381975642113.jpg" /> 1403290960639 1386114433676 La {{ 1::<b>fre uen ia</b>}} es la antidad de < b> i los por segundo</b><div><b><img sr ="paste-100381975642113.jpg" /></b></div > 1403291037558 1342696482150 <b>Longitud de Onda </b>(fórmula) <img sr ="wavel ngthformula.jpg" />
1403291154016 1386114433676 Los {{
1::armóni
os}} son <b>múltiplos</b> de la fre uen ia fundamental 1403291227563 1342696482150 F.Fund=60Hz -> <i>5 primeros armóni os</i> <img sr ="armoni os.gif" /> 1403291278500 1386114433676 Los <b>armóni os pares</b> también son ono idos om o {{ 1::<b>o tavas</b>}} 1403291567177 1386114433676 A1=55Hz. A2={{ 3::110}}Hz A3={{ 2::220}}Hz A4={{ 1::440}}Hz 1403291652014 1386114433676 G2=98Hz. G3={{ 1::196}}Hz G4={{ 2::392}}Hz 1403295120186 1342696482150 <b>Las formas de onda simples</b> (y gráfi o)
<img sr ="simplewaveforms.png" /> 1403295166391 1342696482150 <b>Timbre.</b> Gráfi o simple <img sr ="Harmon i _spe tra_theoreti al_x_y.png" /> 1403295217874 1342696482150 Si dos sonidos misma amplitud y <b>en fase</b>.. . <b>se dupli a la amplitud.</b> 1403295340456 1342696482150 Si dos ondas están <b>totalmente fuera de fase (18 0°)</b>... <b>se anulan</b>, amplitud 0. 1403295405774 1342696482150 Si dos sonidos <b>par ialmente fuera de fase</b> ... mez la (suma y resta) 1403295428542 1342696482150 <b>Envolvente Amplitud. </b>¿Componentes y gráfi o? <img sr ="adsr.jpg" /> 1403295514633 1386114433676 El {{ 1::<b>ataque</b>}} es el tiempo que tarda un sonido en llegar a su <b>máximo nivel</b> 1403295544486 1386114433676 El {{ 1::<b>sustain</b>}} es el tiempo que se ma ntiene el sonido en un <b>nivel estable.</b> 1403295574813 1386114433676 El {{ 1::<b>release</b>}} es el tiempo que tarda el sonido en <b>apagarse</b> una vez eje utada la nota. 1403295600050 1386114433676 El nivel medio de SPL para las <b> onversa iones </b> es de {{ 1::<b>70dB</b>}} 1403295659327 1386114433676 El nivel apropiado de SPL para el <b>monitoreo</ b> es de {{ 1::<b>85dB</b>}} 1403295683777 1386114433676 El <b>umbral de dolor</b> se da a {{ 1::<b>140</ b>}}<b>dB SPL</b> 1403295700422 1386114433676 Cuando <b>Distan iaaFuente*2</b> = {{ 1::<b>SPL
-6dB</b>}}<div><img sr
="paste-89945205112833.jpg" /></div>1403295750024 1386114433676 Cuando <b>Distan iaaFuente/2</b> = {{ 1::<b>SPL +6dB</b>}}<div><img sr ="paste-89940910145537.jpg" /></div> 1403295759771 1386114433676 Si <b>subimos algo a 3dB</b>, {{ 1::<b>doblamos< /b>}} el nivel de la señal. 1403295785073 1386114433676 Si <i>bajamos algo a 3dB</i>, {{ 1::<b>redu imos a la mitad</b>}} el nivel de la señal 1403295899078 1342696482150 Pasos bási os y Gráfi o de:<b> Sonido-->Oído < /b> <img sr ="oído.jpg" /> 1403295954379 1386114433676 En el <b>tímpano</b> las ondas sonoras se transfor man en {{ 1::<b>vibra iones me áni as</b>}} 1403295962574 1386114433676 El <b>Martillo, Yunque y Estribo</b> a túan omo { { 1::<b>amplifi adores y prote tores</b>}}<div><img sr ="paste-93926639796225.jp
g" /></div>1403296040332 1386114433676 El <b>umbral de audi ión</b> se da a {{ 1::<b>0</b >}}<b>dB SPL</b> 1403296084113 1386114433676 El <b>umbral de molestia</b> se da a {{ 1::<b>11 8</b>}}<b>dB SPL</b> 1403296943471 1386114433676 El <b>{{ 1::oído}} </b>es un <b>aparato no-lineal </b><i>(per ep ión~audi ión)</i> 1403297056732 1386114433676 El <b></b><b>{{ 1::</b>enmas aramiento<b>}} </b> se da uando la fre uen ia de un sonido alto y la de un sonido bajo/en mas arado <b>están er a una de la otra</b><div><b><img sr ="paste-9324373999 6161.jpg" /></b></div> 1403297234378 1342696482150 ¿Qué es la <b>lo aliza ión espa ial o binaural</b>? <b>Dos oídos</b> pueden <b>distinguir la dire ión del origen de un sonido, </b>un oíd
o solo no.<div><br /></div><div><img sr
="paste-54859617271809.jpg" /></div>1403297272578 1342696482150 ¿Qué es la <b>diferen ia interaural de intensidad?</ b> La <b> abeza </b>proye ta un <b>bloqueo a ústi o</b><div><b><br /></b></di v><div><b><img sr ="paste-54150947667969.jpg" /></b></div> 1403297376001 1342696482150 Las <b>primeras reflexiones</b> indi an... el <b>fa tor de reflexión </b>y el <b>tamaño y naturaleza general de un espa io a ústi o</b> 1403297436041 1386114433676 Las <b>primeras reflexiones</b> llegan <b>menos de </b><b>{{ 1::</b>50ms<b>}} </b>después que el sonido dire to 1403297474872 1386114433676 La <b>reverbera ión </b>llega aproximadamente <b>{
{ 1::50ms</b><b>}}</b> más tarde que el sonido dire to <i>(después de las 1eras reflexiones)</i> 1403297555258 1386114433676 La {{ 1::<b>reverbera ión}}</b> añade al sonido&nbsp ;<b>" uerpo" </b>y <b>" alor"</b> 1403297637426 1342696482150 <b>Reflexiones/Reverbera ión</b>. Gráfi o y on epto s bási os. <img sr ="Reflextionsmonstret.jpg" /> 1403297709584 1386114433676 Chorus es la repeti ión de la señal de retardo entre <b>{{ 1::4 y 20}} ms</b><div><b><img sr ="paste-87917980549121.jpg" /></b></div > 1403297953047 1386114433676 The <b>quadrants</b> are <b>{{ 1::fundamental, i rredu ible and tetra-emergent}}</b> 1403298163013 1342696482150 Quadrants. <b>Phenomena Graphi .</b> <img sr
="phenomena.gif" /> 1403298246438 1342696482150 <b>Buddhism Big3.</b> <img sr ="buddha dharma sangha.jpg" /> 1403298876495 1342696482150 <b>Platón Big3.</b> <img sr ="platon.jpg" /> 1403298895811 1342696482150 UL <b>pronombre</b> <b>Yo</b> 1403299061820 1342696482150 UR <b>pronombre</b> <b>Eso</b> 1403299129394 1342696482150 LL <b>pronombre</b> <b>Nosotros</b> 1403299172471 1342696482150 LR<b> pronombre</b> <b>Esos</b> 1403299284148 1342696482150 UL Che k <b>Validity Claim</b> <i>wheth er <b>I'm telling the truth or lying</b></i> 1403299418898 1342696482150 UR Che k <b>Validity Claim</b> <i>you
an <b>see it / measure it</b></i>
1403299448832 1342696482150 LL Che
k <b>Validity Claim</b> <i>it must be <b>felt by both of us</b></i> 1403299468788 1342696482150 LR Che k <b>Validity Claim</b> <i>overa ll <b>fun tionally fit</b></i> 1403299518886 1342696482150 <b>Absolutisms. </b>Nombres y<b> </b>Gráfi o Bási o. <img sr ="absolutisms.jpg" /> 1403299639441 1386114433676 UL <b>Absolutism: </b><i>"<b>{{ 1::Mind}} </b>al one is real"</i> 1403299677254 1386114433676 LL <b>Absolutism: </b><i>"<b>{{ 1::Cul turally onstru ted meaning}} </b>alone is real"</i> 1403299696071 1386114433676 UR <b>Absolutism: </b><i>"<b>{{ 1::Mat ter}} </b>alone is real"</i> 1403299725106 1386114433676 LR <b>Absolutism: </b><i>"<b>{{ 1::Sys
tems}} </b>alone is real"</i>1403299862299 1342696482150 UL/LL/UR/LR <b>Judgments </b> <b><i>Ae stheti , Normative, Cognitive, Systemi </i></b> 1403299890171 1386114433676 <b>Aestheti Judgment:</b> <i>wheter something i s <b>{{ 1::beautiful, attra tive or pleasurable.}}</b></i> 1403299919284 1386114433676 <b>Normative Judgment:</b> <i>wheter someth ing is <b>{{ 1::good or just.}}</b></i> 1403299943445 1386114433676 <b>Cognitive Judgment:</b> <i>wheter someth ing is <b>{{ 1::real or valid- if it exists.}}</b></i> 1403299966620 1386114433676 <b>Systemi Judgment:</b> <i>wheter somethi ng is <b>systematized or arranged in a </b></i><i><b>{{ 1::</b></i>pro du tive way.}} 1403300032632 1342696482150 Differen e <b>Validity Claims vs. Judgments</b>
<b>Validity Claims</b> are <b><i>tied to their quadrants.</i> Judgments </b>
anbe <b><i>made against any quadrant.</i></b> 1403300138998 1342696482150 <b>Quadrants vs. Quadrivia</b> <i>Quadrants&nbs p;</i><b><i>(</i>Ontology/Validity Claims)</b><i>: what exists/who you are. </i> <br /><i>Quadrivia </i><b>(Epistemología/Judgments)</b><i>: how we know/how you se e</i> 1403478434509 1386114433676 <b>Harmony </b>deals with the <b>study of < /b><b>{{ 1::</b><b> hords </b>and <b>their relationship</b>}} to one anothe r 1403478568094 1342696482150 <img sr ="Musi -staff.png" /><b>?</b> <b>Penta
grama</b> 1403478613194 1342696482150 <img sr =" lavedesol.jpg" /><b>?</b> <b>Clave de Sol</b> 1403478691298 1342696482150 <img sr =" lavedefa.jpg" /><b>?</b> <b>Clave de Fa</b> 1403478726898 1342696482150 <img sr =" lavededo.jpg" /><b>?</b> <b>Clave de Do</b> 1403729090798 1342696482150 <img sr ="grandstaff.jpg" /><b>?</b> <b>Grand Staff</b> 1403729138613 1342696482150 ¿<b>Leger Lines</b>? <img sr ="ledgerlines.jp g" /> 1403729204325 1342696482150 <b>A identales?</b> <img sr ="a identales.j pg" /> 1403729336806 1386114433676 The <b>a identals</b> are pla ed <b>{{ 1::befor e}} </b>the note for reading purposes 1403729342647 1386114433676 Within an <b>o tave </b>there are <b>{{ 1::12}} </b>half-steps 1403729370359 1386114433676 A <b>{{ 1::natural}}</b> an els a (double)<b>sh arp </b>or a (double)<b>flat</b> 1403729420472 1386114433676 A <b>single sharp or flat</b> will an el a&nbsp ;<b>{{ 1::</b><b>double-sharp </b>or <b>double-flat</b>}} respe tively 1403729485800 1386114433676 An <b>a idental</b> remains in effe t for <b>{{ 1::the duration of the measure it is in}}, </b>or for the duration of tied pit hes.
1403729555717 1386114433676 An <b>a
idental </b>only affe
ts <b>{{
1::a spe ifi note}}</b>, in that o tave, in that lef. 1403729674608 1386114433676 Una <b>es ala </b>es {{ 1::una serie de notas as endentes o des endentes}} en un patrón de pasos 1403729800338 1342696482150 <b>Modo Jóni o. </b>Grados? 1-3-5-7 // T9 <b >S4</b> T13 1403736576136 1386114433676 <b>Key signatures </b>affe t {{ 1::<b>all n otes of the same name</b>}} regardless of their o tave 1403736631820 1342696482150 <b>C Mayor. </b>#? <b>0</b> 1403736646094 1342696482150 <b>G Mayor. </b>#? <b>1 (F#)</b> 1403736676732 1342696482150 <b>D Mayor. </b>#? <b>2 </b>(F# y <b>C#</b> ) 1403736696978 1342696482150 <b>A Mayor. </b>#? <b>3 </b>(F# C# y <b>G#)
</b>1403736715349 1342696482150 <b></b><b>E Mayor. </b>#? <b>4 </b>(F# C# G# y <b>D#</b>) 1403736769988 1342696482150 <b>B Mayor. </b>#? <b>5 </b>(F# C# G# D# y <b>A#</b>) 1403736807610 1342696482150 <b>F# Mayor. </b>#? <b>6 </b>(F# C# G# D# A# y <b>E#</b>) 1403736833472 1342696482150 <b>C# Mayor. </b>#? <b>7 </b>(F# C# G# D# A# E# y <b>B#</b>) 1403736869304 1342696482150 <b>F Mayor. </b>b? <b>1 (Bb)</b> 1403736887894 1342696482150 <b>Bb Mayor. </b>b? <b>2 </b>(Bb y < b>Eb</b>) 1403736911829 1342696482150 <b>Eb Mayor. </b>b? <b>3 </b>(Bb Eb
y <b>Ab</b>)1403736927039 1342696482150 <b>Ab Mayor. </b>b? <b>4 </b>(Bb Eb Ab y <b>Db</b>) 1403736947609 1342696482150 <b>Db Mayor. </b>b? <b>5 </b>(Bb Eb Ab Db y <b>Gb</b>) 1403736968717 1342696482150 <b>Gb Mayor. </b>b? <b>6 </b>(Bb Eb Ab Db Gb y <b>Cb</b>) 1403736988760 1342696482150 <b>Cb Mayor. </b>b? <b>7 </b>(Bb Eb Ab Db Gb Cb y <b>Fb</b>) 1403737025586 1386114433676 For <b>flat keys, </b>the key is represented by
<b>{{ 1::the flat before the last flat}}</b> 1403737058689 1386114433676 For <b>sharp keys, </b>the key is <b>{{ 1::a half step above the last sharp}}</b> 1403737147112 1342696482150 <b>5ta </b>de <b>C</b> <b>G</b> 1403737178577 1342696482150 <b>5ta </b>de <b>C#</b> <b>G#</b > 1403737185538 1342696482150 <b>5ta </b>de <b>D</b> <b>A</b> 1403737191276 1342696482150 <b>5ta </b>de <b>D#</b> <b>A#</b > 1403737201456 1342696482150 <b>5ta </b>de <b>E</b> <b>B</b> 1403737240952 1342696482150 <b>5ta </b>de <b>F</b> <b>C</b> 1403737249221 1342696482150 <b>5ta </b>de <b>F#</b> <b>C#</b > 1403737256210 1342696482150 <b>5ta </b>de <b>G</b> <b>D</b> 1403737263153 1342696482150 <b></b><b>5ta </b>de <b>G#</b> <b>D#</b> 1403737274402 1342696482150 <b>5ta </b>de <b>A</b> <b>E</b> 1403737283870 1342696482150 <b>5ta </b>de <b>A#</b> <b>F</b> 1403737303721 1342696482150 <b>5ta </b>de <b>B</b> <b>F#</b > 1403737311190 1342696482150 <b>5ta </b>de <b>Bb</b> <b>F</b> 1403737339869 1342696482150 <b>5ta </b>de <b>Ab</b> <b>Eb</b > 1403737355744 1342696482150 <b>5ta </b>de <b>Gb</b> <b>Db</b>
1403737375718 1342696482150 <b>5ta </b>de <b>Eb</b> <b>Bb</b> 1403737402087 1342696482150 <b>5ta </b>de <b>Db</b> <b>Ab</b > 1403737411925 1342696482150 <b>5ta </b>de <b>Cb</b> <b>5ta&n bsp;</b>de <b>Gb</b> 1404349699475 1386114433676 <b>Lines</b> are defined as relatively <b>{{ 1:: independent apa ities of growth and emergen e}}</b> that <b>{{ 2::unfold in lev els or stages.}}</b> 1404349835644 1342696482150 <b>Groups of Lines?</b> <b>Cognitive. Self-Relat ed. Talent/Skills.</b> 1404349892804 1386114433676 <b>Cognitive development</b> is <b>{{ 1::ne essa ry but not suffi ient}}</b> for development in most other lines
1404349903742 1386114433676 The <b></b><b>{{
1::</b>
ognitive<b>}}</b> line on erns your ability to <b>register phenomena and take perspe tives</ b> 1404350442636 1342696482150 <b>Self-Related Line</b> Exs. Self-identity/Ne eds/Values/Emotional/Interpersonal/Moral/Spiritual 1404350529972 1386114433676 The <b></b><b>{{ 1::</b>self-identity<b>}}< /b> line explores your<b> ego development and self on eption</b> 1404350555190 1386114433676 The <b></b><b>{{ 1::</b>moral<b>}}</b>&nbsp ;line des ribes the<b> unfolding of moral reasoning and judgment</b> 1404350561514 1386114433676 The <b>needs</b> line on erns individuals' han ging <b> on eption of what they </b><b>{{ 1::</b>want or need<b>}}</b>&nbsp ;from life and others 1404350577803 1386114433676 The <b>values</b> line des ribes the <b>unfoldin
g of what individuals find </b><b>{{
1::</b>important}}1404350590204 1386114433676 The <b></b><b>{{ 1::</b>emotional or affe t ive<b>}}</b> line on erns your <b>awareness, management, and ontrol of em otions</b> 1404350606257 1386114433676 The <b></b><b>{{ 1::</b>interpersonal<b>}} </b>line on erns <b>so ial ognition and role-taking</b> 1404350618782 1386114433676 Development in the <b>spiritual</b> line des rib es the <b>unfolding nature of your </b><b>{{ 1::</b>faith and religious bel iefs<b>}}</b> a ross your lifespan 1404350655212 1342696482150 <b>Talent/Skills </b>Line Exs. Aestheti /Logi a
l-Mathemati al/Drawing/Visual-Spatial/Kinestheti /Symboli -play/Lingüisti /Narrati ve/Creative/Musi al 1404350945346 1386114433676 The <b></b><b>{{ 1::</b>integral psy hograp h<b>}}</b> is a <b>representational profile of an individual's development in various lines</b> 1404351004360 1342696482150 Types of <b>Psy hograph</b> <b>Syn hroni </ b><i>(snapshot)</i><b> & Dia hroni </b><i>(over time)</i> 1404693188240 1386114433676 El <b>mi rófono </b>es un {{ 1::<b>transdu to r}} </b><i>(ondas sonoras-->señales elé tri as)</i><div><img sr ="paste-964091308 93313.jpg" /></div> 1404693263385 1386114433676 <i>El resultado de una señal de audio se limitará en base al <b>{{ 1::eslabón más debil.}}</b></i> 1404694038078 1342696482150 <b>"Good Rule"</b> buen <b>músi o</b><br />bu en <b>instrumento</b><br />buena<b> a ústi a</b><br />buen <b>mi rófono</b><br />bue na <b> olo a ión</b> 1404694092358 1386114433676 El mi rófono <b></b><b>{{ 1::</b>dinámi o<b>}}< /b> utiliza la <b>indu ión ele tromagnéti a </b>para generar una señal de s alida. 1404694135745 1342696482150 Mi rófono <b>dinámi o. </b>Componentes y Fun ionamie nto. <b><img sr ="mi dinami o.jpg" /></b> 1404694429372 1386114433676 El mi rófono <b></b><b>{{ 1::</b> ondenser}} fun iona según <b>prin ipios ele trostáti os.</b> 1404694547405 1386114433676 Un <b> ondensador </b>es un aparato elé tri o apa z de <b>{{ 1::alma enar</b><b>}}</b> una arga elé tri a.
1404694568344 1386114433676 <b>{{
1::Q </b><i>(Carga/+48V)}}</i> = <b>C </b><i>( apa itan ia/distan iapla as)</i> x <b>V </b><i>(voltaje/salida)</i> 1404694705251 1386114433676 La <b>dire tividad </b>de un mi rófono se refiere a su {{ 1::<b>sensibilidad}} </b><b>en varios ángulos de in iden ia on respe to a la parte frontal.</b> 1404694792266 1342696482150 <b>Patrón Polar. </b>Gráfi o. <img sr ="polari ty hart.png" /> 1404694946494 1386114433676 A <b>bajas fre uen ias</b>, <b>{{ 1::</b>el <b> </b><b>ruido}} (3-25Hz)</b> puede introdu irse fá ilmente. 1404695049431 1342696482150 <b>Redu ión Ruido Freq.Bajas?</b> <i><b>*< /b> Soporte antivibratorio<br /><b>*</b> Filtro</i> 1404695130923 1386114433676 <b>Efe to de Proximidad: </b>aumento en la <b>respuesta en graves</b> uando un <b>mi rófono dire ional</b> se olo a <b>a m
enos de </b><b>{{
1::</b>30
m<b>}}</b> de una fuente sonora<div><b><img sr ="paste-92440581111809.jpg" /></b></div> 1404695174318 1342696482150 <b>Redu ión Efe to de Proximidad?</b> <i><b>*< /b> Distan ia / Omni / EQ</i> 1404695231819 1386114433676 La <b>sensibilidad </b>es {{ 1::<b>el nivel de salida}} </b>(en voltios) <b>que produ e un mi rófono.</b> 1404695448856 1342696482150 <b>Té ni a de Mi rofoneo. Tipos </b>(en fun ión de l a distan ia) <b>* Distantes<br />* Cer anas<br />* de A ento<br />* de Ambien te</b> 1404695506329 1386114433676 Mi Te h <b>Distante: </b>uno o dos mi rófonos alrededor de <b>{{ 1::un metro o más}} </b>desde la fuente 1404695579459 1342696482150 Mi Te h <b>Distante. Resultados.</b> <b>* Equ ilibrio ompleto tonal de la fuente </b>(distan ia=tamaño fuente)<br /><b>* Entorn
o a
ústi
a no es buena) 1404695726521 1342696482150 Mi Te h <b>Distante. Usos.</b> <b>Conjuntos mus i ales instrumentales grandes<i> </i></b><i>(distan ia=equilibrio entre sonido d ire to y a ústi a sala)</i><div><i><img sr ="paste-41510858915841.jpg" /></i></div > 1404695791763 1342696482150 <i>Si la a ústi a de la sala no es buena...</i> <b>* Paneles Absorbentes </b>( orrige malas reflexiones)<br /><b>* Mi Te h Cer a na + Reverb</b> 1404695871235 1386114433676 Mi Te h <b></b><b>{{ 1::</b>Cer ana<b>}}</b
>: un(s) mi rófono(s) entre <b>3 m y un metro </b>desde la fuente<d iv><img sr ="paste-33603824123905.jpg" /></div> 1404695934932 1342696482150 Mi Te h <b>Cer ana. Resultados.</b> <b>* Sonido pre iso y presente<br />* Ex luye el entorno a ústi o<br />* Puede hab er filtra ión de otra fuente </b><i>( an ela iones nivel/fase)</i><br /><b>* Puede no haber Equilibrio Tonal</b><div><b><br /></b></div><div><b><img sr ="paste-33 608119091201.jpg" /></b></div> 1404696068856 1342696482150 Mi Te h <b>Cer ana. Filtra ión? </b>(sol u ión) <b>* Regla de 3:1</b><br /><b>* Mi rófonos er a de fuentes</b><br /><b>* Barrera a ústi a </b>entre fuentes<br /><b><br /><img sr ="paste-32693291057153.jp g" /></b> 1404696176559 1342696482150 <b>Regla de 3:1</b> <img sr ="paste-21874268 438529.jpg" /> 1404696360721 1342696482150 Mi Te h <b>Cer ana. Equilibrio Tonal? </b>(solu ión) 1. Mueva mi a lo X<br />2. Mueva mi a lo Y<div><br /></div><di v>o. EQ a la señal</div><div><br /></div><div><img sr ="paste-31666793873409.jpg" /></div> 1404696425273 1342696482150 <b>Mi Te h. de A ento.</b> <img sr ="paste- 24163486007297.jpg" /> <b>(Natural)</b> 1404697027262 1386114433676 Mi Te h <b></b><b>{{ 1::</b>de Ambiente<b>} }</b>: a tal distan ia que <b>el sonido reverberante es más prominente que la señal dire ta.</b> 1404697101656 1342696482150 Mi Te h <b>de Ambiente. Usos.</b> * En viv o: <b>restable er reverbera ión natural.</b><br />* En graba ión de vivo: <b>re oger
rea
ión de a
ústinatural.</b><div><b><br /></b></div><div><b><img sr ="paste-35485019799553.jpg" /></b></div> 1404697195972 1386114433676 La <b>té ni a de mi rofonía estereofóni a </b>se refie re al <b>uso de {{ 1::dos mi rófonos}} </b>para obtener una <b>imagen estereo fóni a oherente.</b> 1404697247718 1342696482150 <b>Té ni as de Mi rofonía Estereofóni as. Bási as?</b> 1. <b>Par separado</b><div>2. <b>X/Y</b></div><div>3. <b>M/S</b></div><div>4. <b >De a Tree</b></div> 1404697296303 1342696482150 <b>Par Separado?</b> <b>Regla de 3:1 </b>(Mi
sIguales)<br /><b>+</b><br /><b><img sr ="spa edpair.jpg" /></b> 1404697579209 1342696482150 <b>X/Y?</b> <i>* Mismos mi s (Cardioide)<br />* Rejillas bien er a sin to arse<br />* Ángulo entre 90° y 135°<br />* Punto medio
señala ha
ia la fuente<br /></i><br /><img sr
="xy.jpg" />1404697675214 1342696482150 <b>X/Y. Ventajas?</b> * <b>Imagen estéreo ex ele nte</b> (mejor que Par Espa iado).<br />* <b>No hay problemas de fase.</b><div>< b><br /></b></div><div><b><img sr ="paste-52544629899265.jpg" /></b></div> 1404697774724 1342696482150 <b>Graba ión por Línea? Ventajas?</b> - <b>Se requiere aja de Inye ión Dire ta.</b><br /><br />* Sonido<b> limpio </b>y on<b> más presen ia</b><br />* <b>Redu e filtra ión </b>a otros mi s 1404697873149 1342696482150 <b>DI (Inye ión Dire ta).</b> <b>* </b>adapta salida de línea <b></b><b>a</b> nivel de mi <br />* señal balan eada de ba ja impedan ia<br />* aísla elé tri amente el re orrido<div><br /></div><div><img sr
="paste-90851443212289.jpg" /></div> 1404697990788 1342696482150 <b>Grab. Guitarra A ústi a.</b> * Mi <b>Condense r</b> o X/Y<br />* Cer a del <b> entro del puente </b><i>(15-30 m)</i><br /><br
/><div>* Si<b> abertura</b>, <i>15-30
m </i>+ <b>-5/-10dB en 100Hz</b></div><div><b><br /></b></div><div><b><img sr ="paste-102349070663681.jpg" /></b></di v> 1404701880052 1342696482150 <b>Guitarra Elé tri a. Por Línea?</b> <i>DI</i > 1404702010929 1342696482150 <b>Guitarra Elé tri a. Por Ampli?</b> * Ampli Combo<br />* <b>Dinámi o Cardioide</b><br />* <b>5/30 m</b><br /><i><br /></i><di v><i>* sonido <b>brillante:</b> entro ono<br />* sonido<b> suave:</b> fuera e ntro ono</i></div><div><i><br /></i></div><div><i><img sr ="paste-1040369928110 09.jpg" /></i></div>
1404702081421 1342696482150 <b>Bajo. Por Línea?</b> <i>DI + ompresor</i><di v><i> </i><img sr ="paste-87016037416961.jpg" /></div> 1404702142283 1342696482150 <b>Bajo. Por Ampli?</b> * <b>Dinámi o Cardioi de</b><br />* <b>5/30 m<br /></b>* <b>Refuerzo a 100Hz</b><br /><i>* Compr esor</i><div><i><br /></i></div><div><i><img sr ="paste-86307367813121.jpg" /></ i></div> 1404702191830 1342696482150 <b>Te lado. Por Línea?</b> <i>DI</i> 1404702201481 1342696482150 <b>Voz. Traps?<br /></b> <div>* Rango dinám i o ex esivo: <b> ompresor</b></div><div>* Sibilan ia: <b>de-esser</b><br />* So nido explosivo: <b>antipop</b><br />* Efe to de proximidad: <b>+ distan ia/mi o mni/EQ</b></div><div><b><br /></b></div><div><b><img sr ="paste-51531017617409.j pg" /></b></div> 1404702365818 1342696482150 <b>Voz Re ording. Tips.</b> * <b>Condenser, ardioide.</b><br />* <b>15-20 m </b><i>(keep it onstant)</i><br /><div><i><br /></i></div><div><i><img sr ="paste-49675591745537.jpg" /></i></div><div><i><im g sr ="paste-50375671414785.jpg" /></i></div> 1406488530923 1342696482150 <i>We relate to sound in two ways:</i> * Feel ( and hear) the<b> physi al sound waves</b><br />*<b> Imagine the apparent pla eme nt of sounds </b>between the speakers 1406488618118 1342696482150 mapping <b>Volume</b>, <b>Frequen y </b>and <b>P anning</b>? <img sr ="paste-3642132267009.jpg" /> 1406488762907 1342696482150 <b>Boundaries</b> of mapping? <img sr ="paste- 5841155522561.jpg" /> 1406488859341 1342696482150 <i>VRofS.</i><b> Size </b>as fun tion of:
<b>* Frequen
y Range<br />* Volume</b><div><b>* Stereo Spread</b></div><div><b>* Reverb</b></div> 1406489025579 1342696482150 <i>VRofS.</i><b> Size </b>as fun tion of <b>Frequen y Range?</b> <img sr ="paste-9113920602113.jpg" /><div><img s r ="paste-9290014261249.jpg" /></div> 1406489104513 1342696482150 <i>VRofS.</i><b> Size </b>as fun tion of <b>Volume?</b> <img sr ="paste-11720965750785.jpg" /> 1406489198698 1342696482150 <i>VRofS.</i><b> Size </b>as fun tion of <b>Stereo Spread?</b> <img sr ="paste-12378095747073.jpg" /> 1406489279866 1342696482150 <i>VRofS.</i><b> Size </b>as fun tion of <b>Reverb?</b> <img sr ="paste-14293651161089.jpg" /> 1406489323176 1342696482150 <b>Basi Sound Images</b> <b>Spheres </b>< i>(sound)</i><b> + Lines </b><i>(fattening)</i><b> + Rooms </b><i>(rev
erb)</i><div><i><img sr
="paste-14667313315841.jpg" /></i></div>1406489468084 1342696482150 <b>Equipment. Sound...</b> - <b>Creators </ b><i>(all instruments)</i><div><b>- Routers </b><i>(mixing boards/pa heras)</i>< /div><div><b>- Storers </b><i>(grabadoras/sequen ers/samplers)</i></div><div><b> - Transdu ers </b><i>(mi s/headphones/speakers)</i></div><div><b>- Manipulators </b><i>(pro essing/effe ts)</i></div> 1406489664594 1342696482150 All<b> Sound Manipulators</b> <img sr ="paste- 19112604467201.jpg" /> 1406489758517 1342696482150 <i>Sound Manipulators. </i><b>Volume</b> <img sr ="paste-19589345837057.jpg" /> 1406489954285 1386114433676 <i><b>Volume faders</b> ontrol <b>the </b> </i><i><b>{{ 1::</b></i>volume<i><b>}}</b></i> of ea h sound in the mix,&nb sp;in luding effe ts
1406490004219 1386114433676 The main purpose of the <b></b><b>{{
1::</b> ompressor/limiters<b>}}</b> is <b>to turn the volume down</b> 1406490059552 1342696482150 Main fun tions of <b>Compressor/Limiters:</b> <b>Better Signal-to-Noise- Ratio (Less Hiss)</b><div><b>Stabilizing the Image of Sounds (More Presen e)</b></div><div>Sharper or Slower Atta k</div><div>More Su stain</div><div>Less Resonan e</div><div><br /></div><div><img sr ="paste-288149 35588865.jpg" /></div> 1406490135433 1386114433676 The more instruments you have in a mix, the <b>{ { 1::more}} you ompress.</b> 1406490210724 1342696482150 Main ontrols of <b>Compressor/Limiters:</b
> <b>Threshold</b><div><b>Ratio</b></div><div><i><img sr ="paste-252200479 62113.jpg" /></i></div> 1406490346168 1386114433676 A <b>noise gate</b> drops the volume when <b>it& nbsp;</b><b>{{ 1::</b>falls below<b>}}</b> the threshold<div><b><img sr ="p aste-84439057039361.jpg" /></b></div> 1406490394511 1342696482150 Main fun tions of <b>Noise Gates</b> <b>Noise Eradi ation</b><div><b>Bleed Eradi ation</b></div><div><b>Shortening the Durati on</b></div><div><b><br /></b></div><div><b><img sr ="paste-29635274342401.jpg" /></b></div> 1406490546455 1342696482150 <i>Sound Manipulators. </i><b>Frequen y.</b> <img sr ="paste-29841432772609.jpg" /> 1406490575129 1342696482150 <i>Sound Manipulators. </i><b>Time.</b> <img sr ="paste-29991756627969.jpg" /> 1406607618813 1342696482150 <i>Sound Manipulators. </i><b>Vol/Freq.</b> <img sr ="paste-18983755448321.jpg" /> 1406607729094 1342696482150 <i>Sound Manipulators. </i><b>Vol/Time.</b> <img sr ="paste-19271518257153.jpg" /> 1406607742231 1342696482150 Types of <b>Equalizers</b> <b>Gráfi os </b><i >(no Q) </i><img sr ="paste-20220706029569.jpg" /><div><b>Paramétri os </b><i >(Q ontrol) </i><img sr ="paste-20435454394369.jpg" /></div><div><b>Roll-O ffs </b><i>(HP/LP) </i></div> 1406607982404 1342696482150 <b>Frequen y Ranges?</b> <img sr ="paste- 21470541512705.jpg" /><div><i>LowBass: sub-bass</i></div><div><i>Bass.</i></div> <div><i>Oohzone: muddiness</i></div><div><i>Midranges: hypersensitive</i></div><
div><i>Highs: brighter, more present</i></div><div><i>Hi-highs:
ymbals & higher harmoni s</i></div> 1406608144136 1342696482150 <b>Five Stages of EQing</b> <b>1-</b> E Q in <b>solo</b> when re ording onto the <b>multitra k </b><i>(first drums)</i>< div><b>2-</b> EQ in the <b>mix</b> when re ording onto the <b>multitra k </b><i> ( he k hi-med-bass of all)</i></div><div><b>3-</b> EQ in <b>solo</b> during <b>mixdown </b></div><div><b>4-</b> EQ in <b>mix</b> during <b>mixdow n </b><i>(re he k hi-med-bass of all)</i></div><div><b>5-</b> EQ the < b>entire mix</b> during <b>mastering</b></div> 1406608368094 1342696482150 <b>How to EQ? </b>(7 steps) <b>1. Reset to " 0"</b><div><b>2. Listen</b></div><div><b>3. Set the Bandwidth</b></div><div><b>4 . Find the Frequen y to be Boosted or Cut</b></div><div><b>5. Return the Volume Knob to "0"</b></div><div><b>6. Boost or Cut the Volume to Taste</b></div><div><
b>7. Che
k to See If You Like What You Did</b></div>1406608482616 1342696482150 EQ Steps. <b>Listen (#2)</b> a. <b>Cut Muddin ess <i>(100-800Hz)</i></b><div><i><b>Q: very thin</b></i></div><div><i><br /></i ></div><div>b. <b>Cut Irritation <i>(1000-5000Hz)</i></b></div><div><i><b>Q: ver y thin</b></i></div><div><i><br /></i></div><div> . <b>Boost Highs <i>(5000-8000 Hz)</i></b></div><div><b><i>Q: medium wide</i></b></div> 1406608725868 1342696482150 <b>Muddy Instruments</b> ki k drums <img sr ="paste-29789893165057.jpg" /><div>toms <img sr ="paste-29622389440 513.jpg" /></div><div>bajos <img sr ="paste-29420525977601.jpg" /></div><di v>piano <img sr ="paste-29188597743617.jpg" /></div><div>a ousti guitar&nb sp;<img sr ="paste-28887950032897.jpg" /></div> 1406608855456 1342696482150 <b>Irritation Instruments</b> Vo als <img sr ="paste-30305289240577.jpg" /><div>Ele tri Guitars <img sr ="paste-304
04073488385.jpg" /></div><div>Cymbals <img sr
="paste-30580167147521.jpg" /></div><div>Snare <img sr ="paste-30812095381505.jpg" /></div> 1406608951511 1342696482150 EQ Steps. <b>Find Frequen y to Boost or Cut (#4)</b> <div>a) Boost volume of band of EQ</div><div><b>(or ut the volu me all the way)</b></div><div><div>b) Look for when sounds worst</div><div><b>(o r when sounds best)</b></div></div> 1406609041287 1342696482150 <div>EQ Steps. <b>Che k to See If You Like (#7)</b></div> Turn EQ On/Off 1406609060149 1342696482150 Terminologies. <b>Bass </b><i>(40-200)</i> <b>Good: </b><i>Fullness/Powerful/Solid/Round</i><div><b>Too Mu h: </b><i>Pesado
/Rumbly//Muy denso</i></div><div><b>Not Enough: </b><i>Fla o/Wimpy</i></div> 1406609137561 1342696482150 Terminologies. <b>Low Mids </b><i>(200 -800)</i> <b>Good: </b><i>Cuerpo/Calor/Robusto</i><div><b>Too Mu h: </b><i >Muddy/Turbio</i></div><div><b>Not Enough: </b><i>Distant/Disembodied</i></div> 1406609187639 1342696482150 Terminologies.<b> Mids </b><i>(800-500 0)</i> <b>Good: </b><i>Presen ia/Inteligible/Arti ulado</i><div><b>Too Mu h: </ b><i>Phonelike/Nasal/Edgy</i></div><div><b>Not Enough: </b><i>Covered/Muffled</i ></div> 1406609235879 1342696482150 Terminologies. <b>Highs </b><i>(5000-8 000)</i> <b>Good: </b><i>Presen ia/Airy/Brillante/Claro/Vivo</i><br /><b> Too Mu h: </b><i>Pequeñito/Metáli o/Estridente/Cutting</i><br /><b>Not Enough: </b>< i>Apagado/Muerto/Os uro</i> 1406610153792 1342696482150 List of Notes Frequen ies in Hz (x1) <b>C1:</ b> 33 <div><b>D1:</b> 37</div><div><b>E1:</b> 41</div><div><b>F1:</b> 44</d iv><div><b>G1:</b> 49</div><div><b>A1:</b> 55</div><div><b>B1:</b> 62</div> 1406919777460 1342696482150 <b>Different Delay Times</b> <b>+100ms: </b>< i>"e ho". must fit tempo.</i><b> </b><div><b>60-100ms: </b><i>for "slap" vo als. make sound fuller.</i></div><div><b>30-60ms: </b><i>"doubling". </i>< /div><div><b>1-30ms: </b><i>"fattening"</i></div><div><b>0-1ms: </b><i>phase an elation.</i></div><div><i><br /></i></div><div><i><img sr ="paste-9174479640985 7.jpg" /></i></div> 1406919920559 1386114433676 The <b>delayed signal</b> an be <b>pla ed anywh ere</b> in the mix using <b>{{ 1::volume, panning, and EQ.}}</b> 1406919955649 1386114433676 <div>When we pla e reverb in a mix, it is like w
e are <b>pla
ing the sound of </b><b>{{
1::</b><b>a room</b><b>}}</b><b> between the speakers.</b></div> 1406920002676 1386114433676 One of <b>{{ 1::</b>reverb's<b>}}</b> main fu tions is to <b> onne t sounds in a mix and fill in the spa e between the speakers</b> 1406920104440 1386114433676 There are four types of tools to reate all dyna mi s in the world: <b>{{ 1::volume faders, panpots, equalization, and effe ts.}} </b> 1406920221800 1342696482150 <b>The Mixing Pro ess</b> <b>1.</b> <i>Equ alize Ea h Instrument Individually</i><div><b>2.</b> <i>Bring Up the Mix</i></di v><div><b>3.</b> <i>Refine Equalization, Volumes, Effe ts </i><u>(again and agai n until satisfied)</u></div><div><b>4.</b> <i>Plan Out and Pra ti e Moves to be Done During Mix </i><u>(4 types)</u></div>
1406920372898 1342696482150 The Mixing Pro
ess. <b>2- Bring Up the Mix</b>a) <b>Bring Up Fader/Volume</b><div><b>- </b>Drums <i>(Ki k-Snare-HH-OH-Toms)</i ></div><div>- Bass</div><div>- Rhythm</div><div>- Lead Vo als</div><div>- Lead I nstruments</div><div>- Ba kground and Harmony Vo als</div><div>- Per ussion</div ><div><br /></div><div>b) <b>Pan to Taste</b></div><div>Pan ea h sound as you br ing it up</div><div><br /></div><div> ) <b>Add Effe ts</b></div> 1407868070328 1342696482150 <b>6 Prin iples of Influen e.</b> <i><b>R< /b>e ipro ation</i><div><i><b>C</b>ommitment & Consisten y</i></div><div><i> <b>S</b>o ial Proof</i></div><div><i><b>L</b>iking</i></div><div><i><b>A</b>utho rity</i></div><div><i><b>S</b> ar ity+(Imposible/Prohibido)</i></div> 1407868202563 1386114433676 The rule of <b>Re ipro ation </b>says that we should try to {{ 1::<b>repay}}</b>, in kind, what another person has provided us.
1407868243300 1342696482150 <i>Re
ation.</i> <b>2 Types of Te
hnique.</b> * give-and-take<div>* reje tion-then-retreat </div> 1407868313831 1342696482150 Re ipro ation. <b>give and take.</b> - Make t hem <b>owe</b> me <b><i>(Colle t Them)</i></b><div>- <b>Ask</b> for something</d iv> 1407868398075 1342696482150 Re ipro ation. <b>reje tion-then-retreat.</ b> i) Make a <b>Larger Request</b>, likely to be turned down<b> </b><i ><b>(not too large)</b></i><div>ii) Make the <b>Smaller Request </b>that I was i nterested in the beginning<b style="font-style: itali ; "> </b></div> 1407868539612 1386114433676 <b>reje tion-then-retreat </b>works by:<br />re
ipro ity rule + <b>{{ 1:: ontrast prin iple}}</b> 1407868571752 1386114433676 The <b>Commitment & Consisten y </b>rule is our nearly obsessive desire to be (and to appear) {{ 1::<b> onsistent}} with wha t we have already done.</b> 1407883119414 1342696482150 <i>Commitment & Consisten y.</i> <b>2 T ypes of Te hnique.</b> <b>*</b> the foot-in-the door te hnique <div><div>< b>*</b> a tive & publi ommitment</div></div> 1407883293664 1386114433676 The {{ 1::<b>So ial Proof}} rule </b>states that one means we use to determine what is orre t is to find out <b>what other people think (or a t as if) is orre t.</b> 1407883366043 1342696482150 <i>So ial Proof. </i><b>Works better under 2 on ditions...</b> * Un ertainty<div>* Similarity</div> 1407883496485 1342696482150 <b>Likeness attributes (5)</b> <i>- <b>P</b>hys i al attra tiveness</i><div><i>- <b>S</b>imilarity</i></div><div><i>- <b>C</b>om pliments</i></div><div><i>- <b>C</b>onta t & Cooperation</i></div><div><i>- <b>C</b>onditioning & Asso iation</i></div> 1407883604071 1342696482150 <i>Likeness. </i><b>Physi al attra tiveness (4)< /b> <b>S</b>imetría fa ial<div><b>B</b>ody mus le</div><div><b>E</b>stéti a e Hi giene<br /><b>B</b>ody Language & <b>E</b>ye Conta t</div> 1407883672860 1342696482150 <i>Likeness. </i><b>Similarity exs.</b> <div><b>E</b>mbodied <i>(Body Posture/Mood/Verbal Style)</i></div><div><b>B</b>a kgrounds & Interests</div><div><b>O</b>piniones</div><div><div><b>D</b>ress </div></div><div>remar ar <b>nuestra </b>Similaridad</div> 1407883780614 1342696482150 <i>Likeness. </i><b>Compliments exs.</b>
<b>A</b>parien
ia fisi
a<div><b>D</b>etalles</div><div><b>D</b>eseo</div><div><b>F</b>orma de ser</div><div><b>T</b>alentos</div><div><b>L</b>ogros</div> 1407883858175 1342696482150 <i>Likeness. </i><b>Conta t & Cooperati on?</b> rear oopera ión, algo que tenemos que ha er los dos, <b>un objetivo en
>
ias</i></div><div><i>quedar aso
iado a algo negativo/aburrido</i></div><div><i>juntarse on fra asados/tóxi os</i></div> 1407884613156 1342696482150 <i>Authority. </i><b>Types (3)</b> <b>Title s/Logros/Skills </b><i>(Músi o/Idiomas/Na ional/Viajes)</i><div><b>Clothing+Size&n bsp;</b><i>(BodyPosture+vestir HighStatus+BodyMus le)</i></div><div><b>Trappings </b><i>(?)</i></div> 1407884756075 1342696482150 <i>S ar ity+(LoImposible/Prohibido). </i><b >Tá ti as</b> <b>disponible<->no disponible // interés<-&gt ;alejamiento</b><div><b><br /></b></div><div><b>Teasing</b></div><div><b><br />< /b></div><div><b>Time Constraint </b>(solo un tiempo/now or never)</div><div><br /></div><div><b>Mar ar lo Imposible/Prohibido</b></div><div><b><br /></b></div> <div><b>+ Competen ia </b>(triangular)</div> 1407885687295 1342696482150 <i><b>Oweing</b> Pro ess. </i>What? <b>- Fav
ors</b><div><b>- Regalos</b></div><div><b>- Compliments</b></div>1408335686046 1386114433676 <div>The <b>universe</b> was born more than</div ><div><b>{{ 1::15 billion}}</b> years ago. <img sr ="paste-3122441224193.jp g" /></div> 1408335778717 1386114433676 <div>There are at least <b>{{ 1::100 billion}}</ b></div><div>galaxies that we know of. <img sr ="paste-3440268804097.jpg" / ></div> 1408335828638 1386114433676 <div>It takes the Sun about <b>{{ 1::250 mi llion</b><b>}}</b><b> years</b> to orbit on e around the entre o f the Milky Way. <img sr ="paste-3740916514817.jpg" /></div>
1408337866480 1386114433676 <div>Th <b>rocky plan ts</b> ar mad up of&nbs p;{{c1::</div><div><b>rocks </b><b>and m tals.</b>}} <img src="past -1 6183436771329.jpg" /></div> 1408337938239 1386114433676 <div>Th <b>rocky plan ts </b>ar <b>{{c1:: small r</b><b>}}</b> <b>than th gas giants, </b>but ar v ry h avy.&n bsp;<img src="past -16462609645569.jpg" /></div> 1408338008965 1386114433676 <div>Th <b>gas giants</b> ar bigg r in siz bu t</div><div>light r, as th y ar mainly mad up of {{c1::<b>gas s </b> <b>and ic particl s.</b>}} <img src="past -16857746636801.jpg" /></div> 1408338073862 1386114433676 <div><b>M rcury</b> is th clos st to th Sun an d</div><div>th r for its t mp ratur can b as high as</div><div><b>{{c1::467 °C} } </b><img src="past -17059610099713.jpg" /></div> 1408338141101 1386114433676 <div><b>V nus</b> is cov r d with {{c1::<b> carbon </b><b>dioxid }} containing dropl ts of sulphuric acid.</b>. (<i>thi s traps th Sun's h at and mak s <b>V nus</b></i></div><div><i><b>hott r than v n M rcury). </b></i><img src="past -17549236371457.jpg" /></div> 1408338266540 1386114433676 <div><b>Mars</b> is consid r d to b th on ly plan t</div><div>aft r Earth wh r <b> {{c1::lif could xist.}} </b><img src="past -17910013624321.jpg" /></div> 1408338468515 1342696482150 <i><b>Jupit r </b>most...</i> <b>* larg </b><d iv><b>* rotat s fast r</b></div><div><b>* most moons </b><i>(+63)</i></div><div> <b><img src="past -20877836025857.jpg" /></b></div> 1408338522756 1386114433676 <div><b>Saturn</b> has its b autiful rings, mad up of {{c1::<b>dust particl s and pi c s of ic .</b>}} <img
src="past
-21303037788161.jpg" /></div>1408338628143 1342696482150 <i>Solar Syst m <b>R lativ Siz s.</b></i> <img src="past -22153441312769.jpg" /> 1408338655079 1342696482150 <i>M rcurio, <b>Amplitud Térmica.</b></i> <b>+:</b > <i>467°C</i><div><b>-:</b> <i>-183°C <b>(no atmósf ra, h at from sun scap s)</b></i ></div><div><i><b><br /></b></i></div><div><i><b><img src="past -25262997635073. jpg" /></b></i></div> 1408338991622 1386114433676 <i><div>Mars has two moons</div></i><i><div>call
d </div></i><div><b>{{c1::Phobos and</b></div><div><b>D imos</b>}}</div><d iv><img src="past -26160645799937.jpg" /></div> 1408339055576 1386114433676 <div><b>Mars</b> has {{c1::<b>dust sto rms</b>}}, which can cov r th ntir plan t. <img src="past -2637539416473 7.jpg" /></div>
1408339190628 1386114433676 <div>Th
s of th
Saturn rings <b>{{c1::r fl ct light}}</b>, causing th rings to shin . <img src="past
-29540785061889.jpg" /></div> 1408339265094 1386114433676 <div>Th <b>Moon</b> <i>do s not hav an at mosph r . </i>Th r for , {{c1::<b>m t ors and ast roids}} from out r s pac crash into its surfac making crat rs.</b> <img src="past -299573 96889601.jpg" /></div> 1408339484367 1386114433676 <div>Th <b>Moon</b> do s not giv off ligh t of its own,</div><div><b>it simply r fl cts th </b><b>{{c1::</b><b>sunli ght</b><b>}}</b><b> that falls on it.</b></div><div><b><img src="past -3022 3684861953.jpg" /></b></div> 1408339582872 1342696482150 <div><i>Why can't w s th Moon during th day?</i></div> <div><b>th bright light of th Sun blocks</b> th <i>
soft glow of light r
fl
ct
d</i> by th
Moon.</div>1408339684774 1386114433676 <div><b>Tid s</b> ar caus d by th {{c1::< b>gravitational forc }} x rt d by th Moon on our plan t.</b></div><div><i mg src="past -32457067855873.jpg" /></div> 1408339918659 1386114433676 <div>Most <b>ast roids</b> ar found in a r
gion b tw n {{c1::Mars and Jupit r,}} which is known as th <i>ast roid b lt.</i></div><div><i><img src="past -33397665693697.jpg" /></i>< /div> 1408339950161 1386114433676 <div>As a <b>m t or</b> rubs against th air&nbs p;in th Earth's atmosph r , it g ts hott r and hott r until it {{c1::burns u
p}} in a str ak of light.</div><div><img src="past -33715493273601.jpg" /></div> 1408340099611 1386114433676 <div>Som tim s small fragm nts of a m t or,</div ><div>call d {{c1::m t orit s}}, crash on to th surfac of th Earth. <i>( Th y can mak <b>crat rs</b>) </i><img src="past -34157874905089.jpg" /></d iv> 1408340228177 1386114433676 <div>If you want d to scap th gravitatio nal forc , you would hav to trav l at a sp d of at l ast {{c1::40,00 0 kilom tr s p r hour}} <img src="past -34604551503873.jpg" /></div> 1408340390149 1386114433676 <div>Onc in orbit, a spac shuttl go s</div><d iv>around th Earth at a sp d of mor </div><div>than 28,000 km/h and <b>tak s</ b></div><div><b>only {{c1::90 minut s}} to compl t on orbit.</b></div><div><b> <img src="past -34918084116481.jpg" /></b></div> 1408340506817 1386114433676 <div>Th <b>ozon lay r</b> is important b
caus it</div><div><b>stops harmful {{c1::ultraviol t rays}} from</b></div> <div><b>th Sun</b></div><div> from r aching th Earth. <img src= "past -35343285878785.jpg" /></div> 1408340702298 1342696482150 Th <b> Earth's atmosph r </b> is compos d of... * <b>Nitróg no:</b> <i>78%</i><div>* <b>Oxíg no:</b> <i>21%</i></div><div>* <b>Argon +CO2+N ón+H lio: </b><i>1%</i></div><div><i><br /></i></div><div><i><img src="past
-36258113912833.jpg" /></i></div> 1408340958476 1386114433676 <div>Th <b>{{c1::</b><b>troposph r </b><b> }}</b>is th lay r clos st</div><div>to th Earth's surfac , and it is h r that</ div><div><b>w ath r is cr at d.</b></div><div><b><img src="past -36906653974529. jpg" /></b></div>
1408340990365 1386114433676 <div>Th
contains {{c1::th
ozon lay r.}} Ozon absorbs harmful ultraviol t rays from th sun. <img src="past -37056977829889.jpg" /></div> 1408659553125 1386114433722 <i>En agrama. </i><b>Etimología</b> <i>En a: </i>nu v <div><div><i>Grama: </i>mod lo</div></div> 1408659614156 1386114433722 <i>Enn agram</i> <b>Typ s/Sch m </b> <img src ="past -59511066853377.jpg" /> 1408719331366 1386114433676 It is important to str ss th ways that <b>p opl
ar diff r nt from ach oth r, </b>b caus so much of th suff ring that w x p ri nc in our r lationships with oth r p opl is caus d by th fact that w ar blind to {{c1::th ir point of vi w.}} 1408719930162 1386114433676 In t rms of th Enn agram mod l, w ar moving u pward in th volutionary sp ctrum wh n w can fr ours lv s from th habits th
at limit our {{c1::point of vi
w}} and
pr
occupations that d fin our typ . 1408720247755 1386114433676 Th <b>s cond r ason to study typ </b> is so you can und rstand oth r p opl {{c1::as th y ar to th ms lv s}}, rath r than as y ou s th m from your own point of vi w. 1408720947276 1386114433676 <i>Gurdji ff </i><b>Buff rs: </b>w hid ou r {{c1::n gativ traits of charact r}} from ours lv s through an laborat syst
m of int rnal buff rs, or psychological d f ns m chanisms. 1408738400278 1386114433676 {{c1::Typ 2: <i>Th Giv r</i>}}<br />D mand aff
ction and approval. S k to b lov d and appr ciat d by b coming indisp nsabl to anoth r p rson. D vot d to m ting oth rs n ds. Manipulativ . Hav man y s lv s show a diff r nt s lf to ach good fri nd. Aggr ssiv ly s ductiv . <b>E volv d (...)s ar g nuin ly caring and supportiv .</b>
1408738717492 1386114433676 {{c1::Typ
4: <i>Th
Romantic</i>}}<br /><div><div>Attract d to th unavailabl ; id al is n v r h r and now. Tragic, sad, artis tic, s nsitiv : focus d on th abs nt lov r, th loss of a fri nd.</div><div><b> W ll Adapt d (...)s ar cr ativ in th ir way of lif and abl to h lp oth r p o pl through th ir pain. Th y ar committ d to b auty and th passionat lif : bi rth, s x, int nsity, and d ath.</b></div></div> 1408738877878 1386114433676 <div>{{c1::Typ 6: <i>Th Loyal Sk ptic</i>}}</d iv><div>F arful, dutiful, plagu d by doubt. Procrastination -thinking r plac s d oing -- afraid to tak action b caus xposur l ads to attack. Id ntify with un d rdog caus s, antiauthoritarian, s lf-sacrificing, loyal to th caus . Th phob
ic (...)s vacillat , f l p rs cut d, and cav in wh n corn r d. Th count r pho bic (...)s f l p rp tually corn r d and th r for go out to confront th t rror in an aggr ssiv way.</div><div><b>W ll Adapt d (...)s can b gr at t am play r s, loyal soldi rs, and good fri nds. Will work for a caus in th way that oth r s work for p rsonal profit.</b></div> 1408739058480 1386114433676 {{c1::Typ 8: <i>Th Boss</i>}}<br /><div><div>E xtr m ly prot ctiv . stick up for s lf and fri nds; combativ , tak charg , lov
a fight. Hav to b in control. Op n displays of ang r and forc ; gr at r sp ct for oppon nts who will stand and fight. Mak contact through to -to-to confron tations. Exc ssiv way of lif : too much, too lat at night, too loud.</div><div ><b>W ll Adapt d (...)s ar xc ll nt l ad rs, sp cially in th adv rsarial rol
. Can b pow rful support rs for oth r p opl ; want to mak th way saf for fr i nds.</b></div></div> 1408739111188 1386114433676 {{c1::Typ 9: <i>Th M diator</i>}}<div><div>Obs
ssiv ly ambival nt; s all points of vi w; r adily r plac own wish s with tho s of oth rs and r al goals with un ss ntial activiti s. T nd ncy to narcotizati on through food, TV, and drink. Know oth r p opl
s n ds b tt r than th ir own; t nd ncy to spac out, not sur wh th r want to b h r , or not, wh th r want t o b on th t am or not. Agr abl ; ang r com s out in indir ct ways.</div><div> <b>W ll Adapt d (...)s mak xc ll nt p ac mak rs, couns lors; n gotiators, achi
v w ll wh n on track.</b></div></div> 1408740969265 1386114433676 Although ach typ do s hav a particular pr dis position toward an intuitiv capacity, it is important to r m mb r that v ry on
of us has th opportunity to mbody {{c1::all of th intuitiv styl s.}}
1408742179790 1386114433676 Th
rf
ctionists<i>(Typ 1)</i>}} st m from th fact that p rsonal n ds ar not b ing m t. Auth ntic wish s hav b n r pr ss d and r plac d with a list of shoulds. 1408742285788 1386114433676 A {{c1::P rf ctionist s <i>(Typ 1)</i>}}&nb sp;d p st n d is to f l lov d v n though imp rf ct. 1408742816884 1386114433676 {{c1::P rf ctionists <i>(Typ 1)</i>}} ar l ooking for th ultimat ly corr ct authority, and if comp t nt authority w r to b found, would happily hand ov r th d cision making to som on ls . 1408742996753 1386114433676 Attractiv nvironm nts for <i>{{c1::Typ 1}}&nbs p;</i>includ jobs that r quir <b>organization and m ticulous d tail.</b> 1408743223310 1386114433676 Unattractiv nvironm nts for <i>{{c1::Typ 1}}</ i> includ jobs r quiring risk of rror in d cision making or high l v ls of p r sonal accountability for controv rsial d cisions.
1408743280847 1386114433722 Famous On
s <img src="past
-9174050144487.jpg" /><div><img src="past -9272834392289.jpg" /></div><div><img src="past -930719 4130682.jpg" /></div><div><img src="past -9285719294181.jpg" /></div> 1408743866380 1386114433676 {{c1::On s <i>(S lf-Pr s rvation)</i>}} wor ry about <b>not b ing p rf ct</b>, about <b>not d s rving to surviv </b>, and pa rticularly about <b>making a mistak </b> that would j opardiz survival. 1408744152112 1386114433676 {{c1::Twos}} w r th childr n who w r <b>lov d for b ing pl asing</b>. Th y quickly r cogniz d th qualiti s in th ms lv s tha t w r app aling to th diff r nt adults in th ir liv s and l arn d to put on a p rformanc that m t thos n ds. 1408753539539 1386114433676 {{c1::Giv rs <i>(Typ 2)</i>}} g t th ir own d sir s m t through p opl who can mak thos d sir s mat rializ . 1408753970844 1386114433676 {{c1::Twos}} ar attract d to pow r and want to
b
lov
opl
.1408754300818 1386114433722 <i>Typ 2 <b>Famous</b></i> <img src="past - 7992934137857.jpg" /><div><img src="past -8177617731585.jpg" /></div><div><img s rc="past -8465380540417.jpg" /></div><div><img src="past -8817567858689.jpg" />< /div> 1408754766070 1386114433676 <b>Ind p nd nt action can produc t rribl anxi
ty</b>, sp cially if th action go s against th wish s of som on a {{c1::Two} } would lik to pl as . 1408755791917 1386114433676 {{c1::Thr s}} w r th childr n who w r <b>pri z d for th ir achi v m nts.</b> Th y r m mb r coming hom from school and b ing
al int r st or a sp cial bond</b> of und rstanding with ach of th ir diff r nt fri nds. 1408835094105 1386114433676 {{c1::Obs rv rs <i>(Typ 5)</i>}} ar mor
motionally availabl wh n th <b>limits of an int raction ar cl ar</b>. Wh n th y know th limits of th ag nda, and <b>how long th m ting will last</b> , th y ar fr d to xpr ss th ms lv s fully and passionat ly <b><i>within th t opic and within th fram of tim .</i></b> 1408835476024 1386114433676 {{c1::Fiv s}} will want to go hom wh n th <b>a g nda is compl t d </b>and th tim for <b>small talk</b> com s around. 1408835654754 1386114433676 <i>{{c1::Typ 5}}: </i>Th first lin of d
f ns <i> </i>in an laborat att mpt to <b>cr at saf distanc is to physi cally withdraw</b>, unplug th phon , and b com incommunicado. 1408835779141 1386114433676 {{c1::Fiv s}} <b>com aliv wh n th y ar alon . </b> Th y oft n n d to g t away from p opl in ord r to r charg th ir batt ri
s and to l t out th f lings that w r susp nd d whil th y w r in th pr s nc of oth rs. 1408835889625 1386114433676 {{c1::Fiv s}} can b supportiv fri nds, as long as th y ar in th [<b><i>advisory rol ]</i></b> <i>to p opl who ar movi ng ah ad ind p nd ntly in th ir own liv s, </i>rath r than hoping to xtrac t an motional conn ction from th m. 1408836010543 1386114433676 <i>{{c1::Typ 5:}} </i>th y pr f r to b al on , but wh n th y find it n c ssary to app ar in public plac s, will d v lop in g nious ways to <b><i>distract att ntion from th ms lv s.</i></b> 1408836186014 1386114433676 Th c ntral issu for {{c1::Fiv s}} is th <b&

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