It may be better to wait until indicated in the middle of this protocol before you read it. The need for the “Bottom” area series is discussed at the end of this tutorial. This data will produce this background pattern: The factor of 1000 is used in the formulas in C8:C11 simply because it will provide the appropriate resolution of the division between shaded areas. The second table above uses formulas that reference the first range: These are static values, but you could put formulas into the range C3:D5 if you wanted the divisions based on the statistics of the data or on any other variable criteria. The axis parameters were selected arbitrarily here, partly to show that the quadrants don’t have to be of equal width or height. Likewise we want them to extend from Y=zero (the bottom of the chart) to Y=9, and from Y=9 to Y=20 (the top of the chart). In this example, we want the areas to extend from X=zero (the left edge of the chart) to X=12, and from X=12 to X=20 (the right edge of the chart). You don’t need to use such a summary table, but you might find it helpful. The first table shows relevant values for the X and Y axis, including the minimum and maximum, as well as where we want the divisions between left and right shaded areas and between upper and lower shaded areas. These two tables show the data and calculations needed to draw the shaded background areas in the chart. The data scales between 0 and 20 on both axes. Here is the simple XY data used in this tutorial. The protocol has been simplified and the steps reordered to work more reliably in Excel 2013 and other recent Excel versions. The desired end result is something like this: This may help to define certain regions of performance or cost-benefit. People often ask how to shade the background of an XY Scatter chart.
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The music video for the song features Chambers singing in different settings, including a forest and a subway The song was nominated for ARIA Award for Song of the Year in 2004 The song was released on Kasey Chambers's 2003 album Barricades & Brickwalls Chambers captures the frustration, isolation, and hope that come with navigating the challenges of youth and growing up. Overall, Cry Like A Baby is a poignant and relatable song, speaking to the feeling of being lost or out of place in one's own life. They refuse to let fear of falling hold them back and continue to push themselves despite the obstacles they face. Despite this, the speaker maintains hope and perseverance. The line "I don't hide my pain to save my reputation / It's too hard to keep up with these years" expresses the speaker's frustration with the pressure to fit into societal norms and expectations. They reject the music and culture around them, preferring to acknowledge their pain and work through it rather than hiding it to maintain a certain image or reputation. The line "And I don't have answers for every single question / But that's OK 'cos I'm just a kid" highlights the speaker's youth and inexperience, acknowledging that they have a lot to learn, and are not expected to have all the answers.Īs the song continues, the speaker emphasizes their individuality and their reluctance to conform to their generation's ideals. The reference to their mother suggests that struggles and hardships can be passed down through generations, passed through DNA or the stories and experiences that are shared through different eras. Even though they never experienced the great depression firsthand, they find themselves relating to the difficulties faced by previous generations. The opening lines of the song set the stage for the speaker's feeling of disconnect from their own time period. Despite this, the speaker maintains a resilient attitude, continuing to try and make sense of their life even when it feels impossible. They express frustration with their current time period, feeling disconnected from the music and culture around them. The speaker compares themselves to their mother, seeing a reflection of themselves in her past struggles. In Kasey Chambers's song Cry Like A Baby, the lyrics capture the feeling of being lost and overwhelmed by the challenges of life, despite not having directly experienced something like the great depression. It's too hard to keep up with these years Well I never lived through the great depressionĪnd I don't have answers for every single questionĪnd I've seen all my friends running for coverĪnd it's not easy to get handle on my lifeĪnd I still fly even though I'm gonna fallĪnd I don't hide my pain to save my reputation Her timid, cracking vocal carries the gorgeous ‘The Captain’, as perfect a country-pop song as there ever was.Jump to: Overall Meaning | Line by Line Meaning Junkee said, "Those who find Kasey Chambers’ distinctive twang too much for their ears are depriving themselves of a true joy. The song won the "Most Performed Country Work" and was nominated for "Song of the Year" at the APRA Music Awards of 2001. It was released in 2000 as the third and final single from her first studio album, The Captain (1999).Īt the ARIA Music Awards of 2000, the song won Chambers an ARIA Award for Best Female Artist and was nominated for Single of the Year. " The Captain" is a country song performed and written by Kasey Chambers and produced by her brother, Nash Chambers. 2000 single by Kasey Chambers "The Captain" That said, should you decide to use it for the intended purpose, you’ll be graced with a few of the best polyphonic octave pedals on earth. You may say it is not a typical octave pedal, but Micro POG is capable of acting as you, but with slightly limited capacity.This polyphonic octave pedal will continue with you no matter how quickly you choose to go. Among the best features about the Micro POG is its own super quick monitoring. Based on how you choose to use it, you are able to make some fairly interesting results.The simplest way to describe the impact of the sort of octave pedals would be to picture that you got the following six strings on your guitar. First place is reserved for a different Electro-Harmonix octave pedal, just this time it is a polyphonic unit that’s designed to provide your guitar tone a great deal of girth.Electro Harmonix Micro Pog Polyphonic Octave Generator Guitar Effects Pedal Then there is the pricing, so it ought to fit in your budget. You will also need to hear from other people who have tried the pedals, which means they are the best as great as it says on the box. You will want to compare the sound along with the casing to be certain it’s excellent quality. Would you like one that may bring down your tone, up or maybe both? Would you like it to change your tone in any way too? Or maybe you’re searching for an all-purpose’ pedal, like a Multi Effects Pedal (click for the entire manual ). There are several distinct items to remember while choosing the most suitable pedal for you, independently. By way of instance, how do you know what the best octave pedal would be? The OC-3's clean, full-range tracking and comprehensive tweakability made it an instant hit with guitarists, bassists, and other instrumentalists, and it remains a strong performer in the Boss compact pedal lineup to this day.There are several distinct forms of guitar pedals available on the market nowadays, and we have discovered that lots of guitarists are reluctant when it comes to purchasing a brand new one. The Super Octave can also be dialed in to affect only a specific range of notes, allowing the user to do very interesting things, like confining the effect to just the lower three strings of the guitar for faux bass line effects, for instance. Unlike anything that had come previously, one could actually play chords and arpeggios with it without everything devolving into a glitchy mess (not that there's anything wrong with that, necessarily). Replacing the excellent, analog OC-2, the OC-3 wisely kept the functionality of its predecessor with a dedicated OC-2 Mode, while adding polyphonic capabilities, separate guitar and bass inputs, and even built-in overdrive. Released in 2003, the OC-3 was the world's first compact polyphonic octave pedal, and it changed everything. Here is a proper grip of our favorite polyphonic octave pedals. The opportunities for creative application of polyphonic octave effects are nearly endless, and as the technology has become more commonplace, it has also become much more affordable, putting these effects within reach of most everyone. In addition, they offer tremendous potential for new, unexplored sounds, especially when combined with other effects like modulation, delay, and varying shades of dirt. The beauty of these boxes is that they can expand the voice of a regular old guitar or bass in dramatic ways, letting a six-string guitarist mimic a twelve-string guitar, a bass, or even keyboard instruments like organs and synthesizers. Today, we have seen a veritable explosion of digital polyphonic octave effects that track quickly and reliably. Early digital octave and pitch-shifting effects had their own problems, including stability and latency issues, but as the technology grew and matured many of these problems were sorted out. And of course, getting musical results from chords or arpeggios is not possible.Īll of this changed when digital processing came on the scene. If you aren't careful, things turn into a garbled mess very quickly, thus limiting the usefulness of these effects to only a very narrow set of musical circumstances. The tracking is sluggish and unstable, and sometimes unusable, depending on where on the neck one plays and what pickup is being used. However, while often sounding awesome in the right context, the monophonic analog octave effects of days gone by are also notoriously glitchy and temperamental. Everyone loves a good octave, whether to add some meat and complexity to a solo, or to make a big riff sound even bigger. Of all the wonderful developments in guitar gear brought forth by the rapid advance of digital technology, the proliferation of polyphonic octave effects is one of the most exciting. It was developed concurrently with Stanley Kubrick's film version and published after the release of the film.Ĭlarke and Kubrick worked on the book together, but eventually only Clarke ended up as the official author. ClarkeĢ001: A Space Odyssey is a 1968 science fiction novel by British writer Arthur C. (Book 389 from 1001 books) - 2001: A Space Odyssey (Space Odyssey #1), Arthur C. Kubrick touched the monolith, but Clarke went inside. Unfortunately, Kubrick stripped away the mysticism and theory and left us what is, in comparison to the book, only a glimmer at something bigger. Clarke marries science, mysticism, theory, and fantasy in ways like no other. And completely erased is the notion that David Bowman, as Star Child, is now one with the Universe, in some Zen-like way, and also much more like something we'd called a god.ĭon't get me wrong, 2001 is still one of my favorite films, but to get the full meaning and understand the full weight of why 2001 has been called "the perfect science fiction story," you must read the book. Stripped away by Kubrick is the sense that this being truly wants us to be in its image, and that the whole breadcrumb trail of monoliths was designed to do just that. There is none of Clarke's vision of how a being we'd call God would communicate with us across unfathomable time spans, or teach us, or lead us into higher consciousness. At some points, however, filming overtook writing, or vice versa, and the two stories, though similar, split along two different paths.Īfter reading the book, the film becomes little more than a very well crafted container: It's pretty and neat to look at it, but open it up, and it's empty. What I didn't know, until reading the foreword, is that this novel was literally written in tandem with the film, with Clarke and Kubrick feeding each other ideas. The book is always better than the film, but I'd never read 2001 before. Clarke also won the Nebula Award of the Science Fiction Writers of America in 1972, 19, the Hugo Award of the World Science Fiction Convention in 19, and in 1986 became Grand Master of the Science Fiction Writers of America. Campbell Award for his novel Rendezvous With Rama. He is past Chairman of the British Interplanetary Society, a member of the Academy of Astronautics, the Royal Astronomical Society, and many other scientific organizations.Īuthor of over fifty books, his numerous awards include the 1961 Kalinga Prize, the AAAS-Westinghouse science writing prize, the Bradford Washburn Award, and the John W. He is best known for the novel and movie 2001: A Space Odyssey, which he co-created with the assistance of Stanley Kubrick.Ĭlarke was a graduate of King's College, London where he obtained First Class Honours in Physics and Mathematics. He spent the first half of his life in England, where he served in World War Two as a radar operator, before emigrating to Ceylon in 1956. Sir Arthur Charles Clarke was one of the most important and influential figures in 20th century science fiction. WebBoard is a comprehensive and easy-to-use Web bulletin board builder included FREE in WebEditor 6 Suite.
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