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Every session, every gig, every day, recording engineers strive to make the most of their audio signal processing devices. EQ, Compression, Delay, Distortion, Reverb and all those other FX are the well-worn tools of the audio trade. Recording and mixing, live and in the studio, engineers must thoroughly master these devices to stay competitive sonically. Its not enough to just know what each effect is supposed to do. Sound FX explains the basic and advanced signal processing techniques used in professional music production, describing real world techniques used by experienced engineers, and referencing popular music examples released internationally. The reader learns not just how to, but also what if, so they can better achieve what they already hear in the productions they admire and chase what they only hear in their imaginative minds ear. Sound FX will immediately help you make more thorough, more musical use of your sound FX.

The accompanying website www.soundfx-companion.com includes audio exaples of FX featured in the book.

Features:

A chapter dedicated to each key effect:
Distortion
Compression & Limiting
Expansion & Gating
Reverb
Equalization
Delay
Pitch Shift
Volume
More than 100 line drawings and illustrations.
Accompanying website featuring examples of all FX covered in the book.
Discography of FX at the end of each relevant chapter.

From the Sound FX Intro:

The most important music of our time is recorded music. The recording studio is its principle musical instrument. The recording engineers and music producers who create the music we love know how to use signal processing equipment to capture the work of artists, preserving realism or altering things wildly, as appropriate. While the talented, persistent, self-taught engineer can create sound recordings of artistic merit, more productive use of the studio is achieved through study, experience and collaboration. This book defines the technical basis of the most important signal processing effects used in the modern recording studio, highlights the key drivers of sound quality associated with each, shares common production techniques used by recording engineers with significant experience in the field, references many of the touchstone recordings of our time, and equips the reader with the knowledge needed to comfortably use effects devices correctly, and, more importantly, to apply these tools creatively.

• Sales Rank: #260162 in Books
• Published on: 2007-07-28
• Released on: 2007-07-26
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .98" w x 7.44" l, 1.75 pounds
• Binding: Paperback
• 432 pages

Review
"Sound FX is a entertaining, informative, and useful book that will find more time on the mixing console and effects rack than on a shelf in the library of practicing engineers, musicians and producers who want a better understanding of what the boxes in the rack or the plugins in their computer can do and why do it." - Neil A. Shaw - AES Journal Dec 07

About the Author
Alex Case is an Assistant Professor of Sound Recording Technology at the University of Massachusetts. An active member of the Audio Engineering Society, and a Fellow of the Acoustical Society of America, Case is an engineer, educator, and author who speaks frequently on audio and acoustics across the United States and internationally. With degrees in Mechanical Engineering, Music, and Acoustics, Professor Case lives and works at the intersection of art and science.

Most helpful customer reviews

18 of 18 people found the following review helpful.
Unlocking the Creative Potential of Recording Studio Effects
By Charles J. Holbrow
Of the many audio engineering books I have encountered, Sound FX stands out in several distinct ways.

The Book is incredibly thorough and detailed. After covering the basic function of each studio effect, Sound FX goes on to describe many different uses that each effect can serve. For example at the end of the chapter on compression (page 163), nine different goals that compression can accomplish are listed. Over the course of the chapter, compression has been analyzed so thoroughly that you will understand how and to achieve each one of these nine desired effects and why and when you would want to.

Why would an engineer pick one compressor over another? There are several paragraphs outlining characteristics that change from model to model. Knowing what to listen for helped cue me on to some subtle differences that I had previously not heard. Sound FX is filled with details like this about every effect that mixing engineers use. Other studio effects are described just as carefully. (EQ, expansion, gating, reverb delay, pitch shifting, distortion, and so on)

Have you ever listened to a compressed track, and cranked the compressor's release time from as low as possible to as high as possible and not hear the difference? Sound FX explains what you need to listen for. Have you tried adjusting the "room size" on a reverb unit and not heard the difference? Again Sound FX explains what this means and what the sonic results are.

While engineers working on material that is not musical may find valuable information here, the book is primarily about working with music. A fair amount of technical information is presented, but the material always circles back to how the technology can be used to accomplish musical tasks.

It's taken me time to learn what effects are needed to to find the sound I want to hear. Understanding the complexity of what each effect has to offer and knowing what to listen for when I adjust parameters has drastically improved my mixes. The authors experience and meticulous attention to detail comes through here and analyzes the material more effectively than any other source I have encountered. After reading, I'm always left with a powerful urge to rush to the studio and put the material to use.

11 of 11 people found the following review helpful.
The Well Tempered Engineer
By R. Kwan
Sound FX is a comprehensive, beautifully laid out resource for all levels of recording engineers. Professor Case has found a way of re-examining the tried and true building blocks of music production that imparts new perspectives while covering fundamental topics. The book aims to empower engineers to understand the science behind the tools of the control room in order to inspire greater creativity within their recordings. Many of the described effects utilize tools found in most studios, but in a way that will be new to many of the readers, even those working in major recording studios. Musical references have been included so that the reader seek out discussed effects first hand.

Perhaps the greatest asset of Sound FX is the manner by which the material is presented; Alex Case has included a light hearted, witty narrative that makes the reading experience a breeze regardless of the material.

As is probably true of many audio people, I own several books covering various topics in recording but none that are as insightful and as inpiring as this one; highly recommended!

8 of 8 people found the following review helpful.
Excellent Resource
By John Melley
I've had the benefit of taking courses from the author prior to this book being published. As a result I know his teaching style. The author's style and voice comes through loud and clear in the text. It's enjoyable to read while you're learning some rather complex subjects.

Coming from a non engineering background I find the explanations of concepts clear and the graphics used to illustrate the concepts extremely helpful. This text will be useful for those wishing to learn more about the science behind the art.

If you want to know things like how to add a touch of reverb to make a voice pop through a music bed without having to simply lower the volume of the music; this book will show you how to do that and other production techniques in a way a non-techie will understand. It will also explain 'why' it works.

Having said that, this is not a "Sound Effects for Dummies" book either. This book goes in-depth. It will benefit those who have a technical/engineering background and are more "into the math" of sound and acoustics as well.

Access to the website with audio examples and the samples that are used to further illustrate the concepts is an invaluable resource that obviously took time to compile.

Investing the $39.95 for the knowledge "Sound FX" contains is a "no brainer" for anyone seriously interested in learning more about the science of sound and sound design.

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[F337.Ebook] Free Ebook What Evil Means to Us, by C. Fred Alford

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C. Fred Alford interviewed working people, prisoners, and college students in order to discover how people experience evil―in themselves, in others, and in the world. What people meant by evil, he found, was a profound, inchoate feeling of dread so overwhelming that they tried to inflict it on others to be rid of it themselves. A leather-jacketed emergency medical technician, for example, one of the many young people for whom vampires are oddly seductive icons of evil, said he would "give anything to be a vampire."Drawing on psychoanalytic theory, Alford argues that the primary experience of evil is not moral but existential. The problems of evil are complicated by the terror it evokes, a threat to the self so profound it tends to be isolated deep in the mind. Alford suggests an alternative to this bleak vision. The exercise of imagination―in particular, imagination that takes the form of a shared narrative―offers an active and practical alternative to the contemporary experience of evil. Our society suffers from a paucity of shared narratives and the creative imagination they inspire.

• Sales Rank: #2273528 in Books
• Brand: Brand: Cornell University Press
• Published on: 1997-09-04
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .20" w x 5.50" l, .88 pounds
• Binding: Hardcover
• 200 pages

Features

• Used Book in Good Condition

From Library Journal
Alford (government and politics, Univ. of Maryland, College Park) spent over a year interviewing state prison inmates, college students, and working people to find out how people conceptualize and experience evil. To many of his informants, doing evil is the "pleasure in hurting and lack of remorse." It is rooted, from what they told the author, in a baleful, bottomless sense of dread; to cause others to suffer this existential dislocation is somehow (in the mind) expected to alleviate it in oneself. "How to know and live with this malicious destructiveness in oneself, one's friends, one's lovers, and the world around?" Alford suggests that hope, and the answer to the problem of evil, may be found through shared narrative?the realm of "metaphysics and theology." Although this is a difficult book, it provides an unusually systematic approach to a topic more often addressed through anecdote or abstraction. Of interest especially to professionals who work with people "on the edge."?John R. Leech, Brooklyn
Copyright 1997 Reed Business Information, Inc.

Review
"Alford . . . spent over a year interviewing state prison inmates, college students, and working people to find out how people conceptualize and experience evil. To many of his informants, doing evil is the 'pleasure in hurting and lack of remorse.' It is rooted, from what they told the author, in a baleful, bottomless sense of dread; to cause others to suffer this existential dislocation is somehow (in the mind) expected to alleviate it in oneself. . . . Alford suggests that hope, and the answer to the problem of evil, may be found through shared narrative―the realm of 'metaphysics and theology.' Although this is a difficult book, it provides an unusually systematic approach to a topic more often addressed through anecdote or abstraction. Of interest especially to professionals who work with people 'on the edge.'"―Library Journal

"The provocative general thesis of this narrative account is twofold. First, the impulse to do evil is all around us and lies deeply and inextricably within each of us. . . . Second, the amelioration of evil in society depends on our acknowledging the universality of its grip on human persons and seeking its containment through creative acceptance of the dread that is inherent in the human condition."―Choice

"This is not a tale for the weak of heart."―Times Literary Supplement

"This is a deeply thoughtful and humane book which anyone interested in the phenomenon of evil― and who isn't?―will want to read and ponder."―V. Bradley Lewis, Review of Metaphysics

"Alford makes many intriguing connections between evil as understood in classic literature and evil as recognized in popular culture. Anyone interested in the anatomy of human destructiveness would do well to consult this book."―Theological Studies

"Alford's writing has a rich quality. . . . Alford has a great degree of skill in raising thought-provoking questions without premature closure. It is refreshing to read a book that leaves one feeling unsettled, informed, and yet with a desire to pursue further readings and investigation. This book will be of great interest to anyone who studies the social and psychological effects of violence and who is interested in the philosophy of evil."―Stuart W. Twemlow, M.D., Psychoanalytic Books: A Quarterly Journal of Reviews

"Alford has written a most interesting volume on how we experience evil. . . . His book is a beautifully crafted psychoanalytic meditation. . . . Lyrical and evocative. . . . Extremely thought provoking, compelling and accessible. I urge all psychoanalysts to read this small gem."―Paul Marcus, The Psychoanalytic Review

"This scholarly gem should appeal to a very broad cross-section of the population. . . . Even those among us who have thought at great length about evil will likely benefit from Alford's remarkably accessible reflections on the darker side of human interaction."―Virginia Quarterly Review

"What does the clich� that 'evil spelled backward is live' mean? Fred Alford wants to know, and with this provocative question he takes the reader on an intellectual journey which is, in his words, a 'domestic anthropology' of evil. . . This book is provocative, intellectually stimulating, and well written."―J. Reid Meloy, Journal of the American Psychoanalytic Association

"Intelligent, erudite, and wide-ranging. . . . His material is certainly rich, but it is his organization and critical analysis of that material, coupled with his exact and yet sometimes lyrical prose, that makes the book a landmark study. . . . Alford's book is without a doubt a superlative study."―Sara L. Knox, Journal of Popular Culture

"At a time when many construct babbling towers as a monument to their own erudition, Fred Alford is truly unique: a political theorist who brings his own brave, innovative research to bear on a profound question―the nature of evil―and does so with ringing clarity of intellect and prose."―Stanley Renshon, City University of New York

"The book gives a healthy jolt to our psychological insight into evil. Alford's thesis―that a sense of dread can be the impetus for doing evil―demands serious attention."―Fred E. Katz, author of Ordinary People and Extraordinary Evil: A Report on the Beguilings of Evil

"Total loss, total meaninglessness―in a lucid analysis packed with brilliant insights, C. Fred Alford shows how those phrases sum up what evil means to us. Taking his readers into a labyrinth formed by injustice and suffering, hopelessness and indifference, as well as by the agonizing questions raised by those afflictions of body and soul, Alford proves to be a trustworthy guide. He can help us not only to understand but also to restrain the human tendency to inflict on others the very conditions that we most dread."―John K. Roth, Claremont McKenna College

"If man's capacity to perpetrate evil is deeply rooted in his psyche, so too is the concept of evil. Alford solves the riddle of 'What Evil Means to Us' by asking. The results of this creative inquiry are at once profound and deeply disturbing."―Jerrold M. Post, M.D., author of Leaders and Their Followers in a Dangerous World

Most helpful customer reviews

13 of 13 people found the following review helpful.
A brilliant answer to a vexing moral problem
By Stephen Appel
After reviewing, and finding wanting, much of the traditional discourse on the question of evil, C. Fred Alford interviews two population groups, violent convicts and college students to find out what it is that we mean when we describe an experience as evil. He comes up with his own definition: evil is the projection into another of one's own feelings of dread. In other words, an event is not evil because of its great scope, but because of it's (usually, but not always, unconscious) malicious intent. I find this answer very helpful on two grounds. First, it helps one to discriminate between experiences which are simply unpleasant and those which are characterised by human malevolence. Second, there is a practical usage too - Alford's model helps one to look deeply into one's own actions and ask: "Am I causing someone else to feel pain which I should actually be dealing with myself?"

3 of 3 people found the following review helpful.
Saying the Unspeakable
By G. Bestick
This book is a valuable contribution to a discussion we should never stop having: Why is there evil in the world, what causes it, and how can we prevent it? Evil is a topic we find easy to symbolize but difficult to categorize. Alford first attempts to define it by conducting interviews using a questionnaire he designed. One group of interviewees is a random sampling of middle-class Americans. The second group consists of inmates in a maximum security prison doing time for violent crimes. Alford also held regular group therapy sessions with the inmates to probe their thoughts about evil.

While the interviewees, particularly the inmates, come up with some striking observations, Alford isn't really conducting an empirical study. He quickly lays a theoretical grid over the subject. Citing Thomas Ogden's writings on the "autistic-contiguous position" Alford asserts that evil is rooted in a kind of pre-categorical dread that we first experienced as infants. The infant's lack of boundaries and total identification with the caregiver lead to anxiety that the self is being subsumed by another. The average person experiences the bliss as well as the anxiety of infantile connection, followed by a period of forgetting this experience ever happened (infantile amnesia). The normal person then undergoes the stress filled process of separating from the caregiver and establishing an autonomous self. The successfully functioning adult has both a sense of their own personal boundaries and an ability to empathically understand the boundaries of other people.

For the evil person, this process gets short-circuited. Unable to deal with the anxiety caused by pre-categorical dread, the evil person displaces this anxiety by using force to violate the boundaries of another person. One arresting insight is that evil doers don't seem to have an ability to displace their anxieties or desires into symbolic or narrative form - they lack empathic imagination. So they need the physical connection with their victims to validate their own selfhood. Evil is invasive, intimate, yet ultimately unimaginative.

Alford also discusses institutionalized evil, such as the concentration camps of Nazi Germany. This is Kant's radical evil, which twists moral positions for evil ends. It also exists in political and tribal organizations, and has existed for centuries in monotheistic religions. To Alford, this is a problem of cultural containment; cultures without strong symbolic or narrative methods for making the anxiety of the human position bearable to its citizens are more likely to spill over into violence or fall prey to tyrants.

Alford's approach to his subject is to loop back and revisit previous assumptions and definitions. Sometimes this clarifies the initial proposition, such as his analysis of how words are imbued with the feelings they generate within us. Sometimes returning simply muddies the ground, such as using the idea of the autistic-contiguous position in so many different contexts we have a hard time remembering precisely how it buttresses his argument.

Speaking of the autistic-contiguous position, tying evil so tightly to the need to expunge dread was problematic for me. This wasn't a conclusion that could be derived from Alford's admittedly limited interview samples. Since infantile confusion about the boundaries between the self and others is a universal human experience, you could also argue that it's an essential component of non-evil humanity. The anxiety caused by fear of losing the self doesn't in most cases lead to violating the self of another person. If most of us learn to live with our dread, how can dread be the root of evil? Since the vast majority of Alford's inmates who committed violent crimes were victims of child abuse, bad parenting must have an enormous amount to do with making evil adults. Not getting enough lap time as a child might be a more likely indicator of adult evil than inability to process ontological dread. Since Alford doesn't dissect the childhoods of his evildoers in much detail, he doesn't really connect the dots between parental behavior and childhood anxieties.

Nevertheless, you'll come away with a deeper understanding of the topic because Alford's stimulating questions and hypotheses force you to look more closely at your own feelings about evil. In an appendix, Alford includes the questionnaire he used, and it's helpful to take it as part of your experience of his book.

2 of 2 people found the following review helpful.
The Heart of Darkness
By Elyssa Joy
Alfords combination of psychoanalytic theory,philosophy and theology is, I think, unrivalled. This is the second of his books that I have read and like the first, Narcissism, Socrates and the Frankfurt School I found it to be very thought provoking. In a time when evil clearly abounds and yet our social sciences constantly negate it Alford sinks his teeth into 'the heart of darkness.' I particularly enjoyed his revision of Stanley Milgram's Obedience to Authority experiments and Zimbardo's prison studies.(Both of which I was familiar with.) Individuals obeyed,Alford suggests, simply because they found pleasure in inflicting pain on others and were given an occasion to do so with impunity.

The language of evil and the lens to understand it needs to be engaged in directly or else we will be left to demagogues who do know evil exists and speak directly to the heart of darkness without the fairness and compassion of Alford, who understands that many individuals suffer as much evil as they perpetrate. It is a fascinating contribution to the cycle of violence literature. Satan, remember, was a seducer and evil has its pleasures. There is power in the dark side.

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Beginning with a critique of structural adjustment in Pakistan, this book presents an alternative approach to social and economic development. It also tackles several issues concerning human development, and relates the necessary institutional reforms required for this process.

• Sales Rank: #12149248 in Books
• Brand: Brand: Oxford University Press, USA
• Published on: 1998-04-01
• Original language: English
• Number of items: 1
• Dimensions: 5.80" h x 1.10" w x 8.60" l,
• Binding: Hardcover
• 372 pages

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• Used Book in Good Condition

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Education and the State Fifty Years of PakistanFrom Brand: Oxford University Press, USA PDF
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Education and the State Fifty Years of PakistanFrom Brand: Oxford University Press, USA PDF

Education and the State Fifty Years of PakistanFrom Brand: Oxford University Press, USA PDF

Education and the State Fifty Years of PakistanFrom Brand: Oxford University Press, USA PDF

[D603.Ebook] Download Ebook Modern Architecture: A Critical History (Fourth Edition) (World of Art), by Kenneth Frampton

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"One of the most important works on modern architecture we have today."―Architectural Design

This acclaimed survey of modern architecture and its origins has become a classic since it first appeared in 1980. For the fourth edition Kenneth Frampton has added a major new section that explores the effects of globalization on architecture in recent years and examines the phenomenon of international celebrity architects who are increasingly active all over the world. The bibliography has been updated and expanded, making this volume more complete and indispensable than ever. 420 illustrations

• Sales Rank: #252546 in Books
• Published on: 2007-09-30
• Original language: English
• Number of items: 1
• Dimensions: 8.30" h x 1.20" w x 6.00" l, 1.90 pounds
• Binding: Paperback
• 424 pages

Review
“A useful and wide-ranging work of superior architectural scholarship, this ambitious publication contains many chapters that stand on their own as perceptive essays; it is marked throughout by a consistently mature critical intelligence.” (New York Review of Books)

About the Author
Kenneth Frampton is a historian and theorist, and a professor at the Graduate School of Architecture, Planning, and Preservation at Columbia University, New York. His many books include Modern Architecture: A Critical History, Le Corbusier, and Kengo Kuma: Complete Works.

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0 of 0 people found the following review helpful.
One Star
By Westin T.
incredibly dense book, even my teacher hates it

7 of 7 people found the following review helpful.
3rd edition_ Casey Lee
By casey lee
In Modern Architecture: A Critical History, Kenneth Frampton presents a dense and detailed survey of modern architecture. Frampton divides his book into three parts; the history behind modern architecture, a critical history of modern architecture from 1836-1967, and a critical assessment and extension into the present day. The majority of the book focuses on the critical history of modern architecture from 1836-1967. In this section, Frampton explores modern architecture around the globe. He divides this section, and the other two as well, into short chapters that introduce and explore particular architects or movements. Overall, Frampton’s work is a good introductory survey of canonical architects and movements within Modern architecture, but the book lacks cohesion, is quote heavy, would be benefited with a better selection of and larger pictures, and lacks detail on specific buildings.
In the first section of the book, Frampton introduces the historical influence on the modern period of architecture. These influences fall into three main categories; the abstraction and simplification of classical features through Neoclassicism, urban planning, and technical transformations and advances. While the section that explores modern architecture from 1836-1967 continuously brings up these themes, Frampton never directly relates his chapters back into their historical context. His chapters also have no cohesive narrative. They are arranged in a rough chronology with seemingly no guiding theme throughout. This is made even more abundantly clear by his separation of sections dealing with the same architect. Frampton has three chapters devoted to Le Corbusier, two to Frank Lloyd Wright, and two to Mies van der Rohe, however these chapters never follow one another. Perhaps a better way to organize his critical history of modern architecture would have been to take the historical influences and make them themes, and then show the progression within these fields. For instance, he would show the progression of urban planning, the abstraction of classical features, and technical advancements and influences. This would give the narrative a cohesion that it presently lacks as it now reads more of a survey of the traditional cannon of modern architecture instead of any sort of critical history.
The book would have been made better with larger and better selected photographs, less quotes, and more detail on specific buildings. The photographs are small and often grainy, making detail hard to see. However, the reader is not necessarily looking for specific detail because Frampton does not give much architectural detail about the buildings. Instead, Frampton gives a brief overview of specific architects and movements that are prominent within the traditional cannon of modern architecture. Frampton’s writing is also obscured by his heavy use of quotations throughout the book. Frampton would have been better situated to lessen the amount of quotes and replace them with more specific architectural detail. Overall, Frampton has written a succinct survey of modern architecture that would serve as a nice introduction to aspects of the cannon of modern architecture as long as the readers could connect the themes and influences themselves.

0 of 0 people found the following review helpful.
Did Frampton disrespect Frank Lloyd Wright? Was Bauhaus a style or band?
By IndIa Clamp
Did Frampton disrespect Frank Lloyd Wright? Was Bauhaus a style or band? Zunkunftskathedrale had something to do with a cathedral and zoo? Absolute requirement--- touch, read and tote---for those students pursuing knowledge, beauty coupled with criticism!

All elevated or lowly undertakings some would argue start with curiosity, the questions presents itself like a hungry belly grumbling with a question of why, how or more appropriately “how idiotic, why?” Three chapters into “Modern Architecture,” authored by Kenneth Frampton you encounter an author who does not give much concern for Frank Lloyd Wright— and he is presented in brief thus if pages where love then its denied to Frank Lloyd Wright and maybe it is given in chapter thirteen. This chapter is long, tedious and a most seductive rant on The Glass Chain: European Architectural Expressionism 1910-25.

Some phrases that linger are--inscribed on the glass dome by Scheerbart--- "Light wants crystal, glass brings a new era and building in brick only does us harm” is literary silver on the page (Frampton 116) and inspirational to the reader. This chapter delineates the reverence for the delta from darkness to light in Modern Architecture.

Chapters are rampant and this text is the equivalent of the student bible in Art, Design and Architecture though birthed in 1980 it still has sway, gives lengthy consideration to globalization and remains a testament to Modern Architecture. This text is a stupendous read and survived many clandestine sessions in my black Tony Burch tote, I strongly recommend this text.

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• Sales Rank: #4714380 in Books
• Published on: 2008
• Binding: Paperback

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0 of 0 people found the following review helpful.
Four Stars
By mary d gregg
All four were good books

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