Mechanical controls were replaced with electronic push buttons controlling solenoid mechanical actuators, though low cost models would retain mechanical controls. There was a variety of configurations leading to the next standard format in the late 1970s, which settled on front-loading (see main picture) with cassette well on one side, dual VU meters on the other, and later dual-cassette decks with meters in the middle. Most manufacturers adopted a standard top-loading format with piano key controls, dual VU meters, and slider level controls. The Model 200 featured piano key style transport controls, with the Model 201 using the distinctive combination of a separate lever for rewind/fast forward and the large play and stop button as found on their commercial reel to reel machines of the era. Both featured an unusual single VU meter which could be switched between or for both channels. This deck was based on a top-loading mechanism by Nakamichi, then soon replaced by the Model 201 based on a more reliable transport made by Wollensak, a division of 3M, which was commonly used in audio/visual applications. Together these allowed a usefully flat frequency response beyond 15 kHz for the first time. CrO 2 used different bias and equalization settings to reduce the overall noise level and extend the high frequency response. Dolby B uses volume companding of high frequencies to boost low-level treble information by up to 9 dB, reducing them (and the hiss) on playback. In 1970, the Advent Corporation combined Dolby B noise reduction system with chromium dioxide (CrO 2) tape to create the Advent Model 200, the first high-fidelity cassette deck. Although pre-recorded cassettes were widely available, many users would combine ( dub) songs from their vinyl records or cassettes to make a new custom mixtape cassette. Cassettes became extremely popular for automotive and other portable music applications. Eventually the reel-to-reel recorder was completely displaced, in part because of the usage constraints presented by their large size, expense, and the inconvenience of threading and rewinding the tape reels - cassettes are more portable and can be stopped and immediately removed in the middle of playback without rewinding. Tape recorder audio-quality had improved by the mid-1970s, and a cassette deck with manual level controls and VU meters became a standard component of home high-fidelity systems. Įarly recorders were intended for dictation and journalists, and were typically hand-held battery-powered devices with built-in microphones and automatic gain control on recording. The tape width was 1⁄ 8 inch (actually 0.15 inch, 3.81 mm) and tape speed was 1.875 inches (4.8 cm) per second, giving a decidedly non Hi-Fi frequency response and quite high noise levels. The "compact cassette" (a Philips trademark) was introduced by the Philips Corporation at the Internationale Funkausstellung Berlin in 1963 and marketed as a device purely intended for portable speech-only dictation machines. Both RCA and Bell Sound attempted to commercialize the cartridge format, but a few factors stalled adoption, including lower-than-advertised availability of selections in the prerecorded media catalog, delays in production setup, and a stand-alone design that was not considered by audiophiles to be truly hi-fi. At that time, reel to reel recorders and players were commonly used by enthusiasts, but required large individual reels and tapes which had to be threaded by hand, making them less-accessible to the casual consumer. The first consumer tape recorder to employ a tape reel permanently housed in a small removable cartridge was the RCA tape cartridge, which appeared in 1958 as a predecessor to the cassette format. A typical portable desktop cassette recorder from RadioShack.
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None of this really seems to have been a problem beyond a mere distraction dealt with off-screen, resulting in a strange deflation of the show’s own mechanics and the way it presented this enormous cliffhanger. The conclusion to episode 2, “The Variant,” saw the TVA being thrown into chaos as multiple branched timelines began to emerge. The brief scenes at the TVA before the pair’s return work when divorced from the larger whole - for instance, Ravonna’s barely-concealed lie about the fate of Hunter C-20 (Sasha Lane), shot in profile as to obscure her face - but the result is a fairly severe disconnect from when we last visited this locale. The duo is soon captured and returned to the TVA, reverting the show to its status quo from episodes 1 and 2, and it’s here that one might be required to take stock. Whether or not the show takes full advantage of this is yet to be seen. Granted, the mischievous demigods haven’t exactly developed much chemistry in their brief time together - Di Martino is appropriately melancholy given Sylvie’s backstory, though this doesn’t exactly result in flying sparks - but Loki is a genre show about apocalypses, and it would be unfair not to afford it the luxury of familiar short-hand like sudden romantic feelings in a moment of tragedy. Loki and a gender-swapped version of himself. The implications are intriguing, both in terms of plot mechanics, and the fascinating, discomforting notion of romance between two variants of the same person, i.e. So many great storytelling pieces are in place, but the episode doesn’t luxuriate in these potentially powerful moments - in this case, two Lokis falling so far from grandeur that they become cosmically insignificant - and instead plucks them out of this scenario with haste.Īgent Mobius (Owen Wilson) is able to track down Loki and Sylvie thanks to a sudden branch on the timeline, seemingly caused by them sharing an intimate moment and holding hands. Holt’s score plays like a lament at the end of time, as shots of meteors and other debris hurtling from a nearby planet are captured with an expert eye for scale. While tethering this memory to Ravonna is hardly unforgivable, it remains a bit of an oddity since the episode swiftly returns to Sylvie and Loki (Tom Hiddleston) where it left them last week, on the doomed moon Lamentis-1, only to have Sylvie re-explain her childhood once again. Ravonna seems to recall this incident as she visits the Time Keepers, who are at first presented in a shroud of blue fog, and silhouetted by what appears to be a glowing red rune (which will likely lead to WandaVision-based speculation). Strangely, this flashback is rooted not in the perspective of Sylvie (Sophia Di Martino), a Loki variant on the run, but of Judge Ravonna Renslayer (Gugu Mbatha-Raw), revealed to be one of the Minutemen responsible for the kidnapping. However, the rest of the episode results in a bit of a mixed metaphor. The design of the Minutemen’s helmets has seemed S.S.-inspired from the start, so seeing their fascist mindset play out this way feels like a promise fulfilled. The fourth episode begins with a bang, putting the TVA’s unrelenting evil on display without walking on eggshells Holt’s strings draw us into the nostalgia of Asgard as we meet a young Sylvie playing innocently in her chambers, only to be kidnapped by a group of Minutemen moments later. They’re rousing and strange, and it’s a shame the series often fails to live up to them. The preceding 40-something minutes do little but wheel-spin, as if the series’ length were contractually obligated, and the runtime needed to be padded out for a second week in a row.Īt the risk of repetition, Natalie Holt’s musical compositions continue to be a highlight, even during the “Previously On” segments before each episode. The episode does, finally, mercifully, introduce an off-the-rails extension of its premise, but only as a brief post-credit tag. The problem, however, is that the series as a whole has been jogging in place for several weeks and has even gone back on some of the urgency and excitement teased in prior entries. As a standalone entry, “The Nexus Event” is composed of a few interesting moments and scenes, little character beats and negotiations that feel like they ought to add up to something more compelling. The best thing about Loki’s fourth episode is all that it promises for its fifth. There are several plugins that work with OBS, and I've got some of the buttons set up to do multiple actions. I don't know how many others use one, but they are very handy tools, and they have an iPad and Android version, which work well, and only cost something like $2.99 a month to use. For me this wouldn't be a problem, as I don't use a mouse in OBS. It may be possible that the hotkeys would not be picked up unless the focus is on the dock. And then there is the couple of percent of random other content, that copy 'n pasting, or otherwise creating file and importing as required, would be fine.Īnyway, food for thought for an Expresso version ^)Ĭlick to expand.I have had a further thought on this. In a liturgical tradition like mine, the liturgy is usually the same during a given season, with Readings, Psalms, and music changing each service. But graphic image 'pages' with Hymns with musical notation ? And then creating a master service order for a given service to follow. Getting the liturgy electronically and Importing shouldn't be a challenge. I'm thinking something along the lines of this plugin, where I list out, in advance, the various content sources, in order, for a service and then walk thru that content. but is not aesthetic not all that dynamic. through using OBS Scenes, I actually have a full landscape-oriented slide page view (using 1/3 of Base Canvas), then a "partial slide view" using about 1/2 of standard slide width, and then a no-slide (all camera) view with presets TXT boxes at bottom of screen for misc info. I settled on using left ~1/3 of frame for static PPTx content and rest for camera. Further using PPTx in this way makes it easy to combine liturgical service order/content, Bible content, and Psalms & hymns (graphic image, with music notes, from Hymnal) for display alongside camera image PPTx (in windowed slide show mode) works, though not ideal nor aesthetic, but simple/common with office staff and allows last minute corrections/changes. We took our service bulletin (pre-pandemic was hard-copy printed for hand-outs to in-person attendees) and put it into PowerPoint. but then I'm mixing content sources to display :(īut in case intrigued, some back ground on what I set up last year: I could see using this plug-in as a way to display Readings is a more aesthetic manner than my current method described below. or this may be overly complex and outside this plug-ins focus. For example, a Liturgy source like Book of Common Prayer, or other "Service Bulletin" type contentĪnd then a way to switch from Bible to other content. But for expanded usage (like Liturgy based styles) would benefit from having (need) more than the Bible. I get this plug-in, especially I'm guessing for an Evangelical style worship setting. He likes Zero and constantly worries for her safety despite the constant verbal abuse she throws at him. Many of the adult jokes in the game fly over his head and characters like Dito would teach him bad words for him to say at Zero to get on her nerves. He is even an emotional character as he is seen crying often when Zero yells at him or when someone he deeply cares about dies. He is also one of the most innocent and kind hearted characters in the game. Unlike other dragons in the series, Mikhail is not a prideful and arrogant dragon, but has a benign, if childish, mentality. Hop on my back and let's go for a ride♪ Yay! I'm not a stinky dragon nor am I dirty dragon♪ ♪My name is Mikhail! My name is Mikhaiiil!♪ ♪Doo-do-doo-do doo-do-doo-do, doo-do-doo-do doo.♪ Mikhail as a dragon can be summoned into battle as a Nightmare. His Job Story is about him getting used to human traits, ending with his reluctance to part with Zero again. It's implied that he eventually does carry out his role.īoy Mikhail can be used by players as a character. He is aware that he has to kill Zero, but still wishes to be with her. When Zero saves him, he is magically restored to his dragon form. Their encounter with One leads to him being kidnapped. Like the base game, he is sympathetic to the Intoners' agony and scared of Zero's sadistic smile as she repeatedly stabs their corpses. He is happy to be able to protect Zero again, regardless of whatever form he takes. Mikhail is somehow turned into a human in the Library, the main setting in SINoALICE's continuity, sometime after ending D. He flies away from Cathedral City after this and where he goes to next is unknown. He succeeds in fulfilling his promise to Zero and destroys the flower possessing the Intoners while sealing them off into another dimension. Moments later, a giant flower appears over the city with giant statues of the Intoners, including Zero taking form within it and Mikhail is forced to fight them. Mikhail starts crying over Zero's impending death, his tears are seen dripping onto the ground and he calls Zero a dummy for her decision. At this moment, Zero tells Mikhail that he has grown mature and strong and finally calls him by his name. With the battle over, Zero absorbs the Intoners and tells Mikhail that she is going to let the flower within her consume her and that he must kill her to fulfill his promise. Mikhail succeeds in defeating and killing Gabriel after Zero stabs One in the head and kills her. Gabriel arrives and Mikhail fights him while Zero and Octa are left to fight One. Zero, Octa, and Mikhail storm into Cathedral City and fight off One's soldiers in a bloody battle. Upon Four's second defeat, Mikhail devours her under Zero's command and evolves two times in a row, becoming enhanced by the Intoner's power. Without Mikhail to end her life, she leaves his body behind in search for another dragon, but doesn't succeed in finding one. Zero goes into shock from absorbing all the Intoners at once and constantly vomits while feeling regretful of Mikhail's death. The countered blast destroys Gabriel, but Mikhail is killed by a devastating blow caused by Gabriel. Using their core, Abdiel summons Gabriel, who releases a single blast which Mikhail manages to counter. One summons Abdiel to battle Zero and Mikhail, but they both defeat the golems. In spite of defeating Two, and losing their Disciple companions in the process, the curse remained, and Zero concludes that she and Mikhail will have to kill One to end it.ĭuring their final confrontation with One, Mikhail is confused by the mention that he will have to kill Zero once she kills One to end the Flower's threat. On their journey to face Two, Mikhail becomes afflicted by the Intoner's curse and forcefully devolves back to his baby form. |