String lax head. Mastering the Triangle Top String: Advanced Lacrosse Stringing Technique

How to string a lacrosse head using the triangle top string method. What materials are needed for this advanced stringing technique. Why is the triangle top string becoming increasingly popular among lacrosse players.

Essential Materials and Initial Setup for Triangle Top Stringing

Before diving into the intricate process of triangle top stringing, it’s crucial to gather the necessary materials and prepare your workspace. Here’s what you’ll need:

• 2 top strings (approximately 1.5 feet long each)
• A lighter
• Scissors
• Pliers
• Lacrosse head
• Mesh

To begin, stretch the mesh diamonds and fold the top row over the next, resulting in 9 diamonds along the top row. This preparation is essential for achieving the desired tension and shape in your finished product.

Step-by-Step Guide to Triangle Top String Technique

The triangle top string method is a more advanced technique that offers several advantages over traditional stringing methods. Here’s a detailed breakdown of the process:

1. Securing the First Sidewall

Start by tying a knot and inserting the first sidewall string through the initial sidewall hole. Thread it through the front and out the back of the first mesh diamond, pulling tightly to lock the mesh to the side of the head.

2. Locking the Second Diamond

For the second diamond, you’ll use a single lock instead of the double lock used in basic stringing. Thread the string through the back of the top scoop hole, then bring it back through the front of the second mesh diamond, creating a secure tie.

3. Repeating the Pattern

Continue this tying method for the fourth mesh diamond and the second scoop hole. The key here is consistency and maintaining tension throughout the process.

4. Adjusting for the Sixth and Eighth Diamonds

When you reach the sixth and eighth diamonds, slightly alter your approach. Instead of going through the scoop hole first, thread the string through the back of the mesh diamond before bringing it through the front of the corresponding scoop hole.

5. Completing the First Top String

Lock in the ninth mesh diamond with the other sidewall, mirroring the process used for the first diamond. This completes the first part of the triangle top string.

The Second Top String: Adding Complexity and Strength

The second top string is where the triangle top string technique truly shines, adding strength and reducing pocket lip. Here’s how to tackle this more challenging aspect:

1. Starting the Second String

Take your second top string and thread it through the next sidewall hole. Run it through the back of the first mesh diamond to the front of the head, then through the first scoop hole.

2. Creating the Triangle Pattern

After passing through the scoop hole, bring the string under the first top string and run it through the top fold of the mesh between diamonds one and two. This creates the distinctive triangle pattern that gives this technique its name.

3. Weaving Through the Diamonds

Continue the pattern by bringing the string through the top of the fold between diamonds two and three, then back through the first scoop hole. From the front of the head, weave the string down the fold between the second and third diamond, then back up through the fold between the third and fourth diamond.

4. Repeating and Finishing

Repeat this intricate weaving pattern for scoop holes 2, 3, and 4. Once you’ve completed the fourth scoop hole, bring the string through the front of the ninth mesh diamond and secure it through the next sidewall hole. Tighten all strings and tie off with a knot to complete the top string.

Advantages of the Triangle Top String Method

The triangle top string technique has gained popularity among lacrosse players for several reasons:

• Improved pocket tension
• Reduced pocket lip
• Enhanced ball control
• Increased customization options
• Aesthetic appeal

By pulling the mesh tighter and towards the front of the scoop, this method creates a more responsive and accurate pocket. The reduced lip allows for quicker release and better ball retention during play.

Common Challenges and Troubleshooting Tips

While mastering the triangle top string technique, you may encounter some challenges. Here are some common issues and how to address them:

Uneven Tension

If you notice that your pocket has uneven tension, carefully review each step of the process and ensure that you’re maintaining consistent pressure throughout the stringing. Adjusting individual diamonds can help achieve a more balanced feel.

Difficulty Weaving

The intricate weaving pattern of the second top string can be tricky. If you’re struggling, try using a thinner string or a stringing needle to make the process smoother. Practice on a spare piece of mesh before attempting it on your actual head.

Pocket Depth Issues

If your pocket is too deep or too shallow after stringing, you may need to adjust the overall tension of your sidewall strings. Remember that the triangle top string method tends to create a slightly shallower pocket, so some adjustment may be necessary to achieve your desired depth.

Customization Options with Triangle Top Stringing

One of the significant advantages of the triangle top string method is the increased potential for customization. Here are some ways you can personalize your pocket:

• Experimenting with different string materials
• Altering the tension in specific areas of the pocket
• Using contrasting colors for visual appeal
• Incorporating additional weaving patterns

By mastering this technique, you’ll have greater control over the feel and performance of your lacrosse stick, allowing you to tailor it to your specific playing style and preferences.

Maintenance and Care for Triangle Top String Pockets

To ensure the longevity and consistent performance of your triangle top string pocket, proper maintenance is essential. Consider the following tips:

Regular Inspection

Frequently check your strings for signs of wear or fraying. The complex weaving pattern of the triangle top string can sometimes lead to increased friction and wear in certain areas.

Cleaning

Clean your pocket regularly with warm water and mild soap to remove dirt and debris that can affect string tension and pocket shape. Avoid using harsh chemicals that could damage the strings or mesh.

Proper Storage

Store your lacrosse stick in a cool, dry place when not in use. Avoid leaving it in extreme temperatures or direct sunlight, which can cause the strings to deteriorate more quickly.

Restringing

Be prepared to restring your pocket periodically, especially if you’re a frequent player. The triangle top string method may require more frequent maintenance due to its complexity, but the performance benefits often outweigh this consideration.

Advanced Techniques and Variations

Once you’ve mastered the basic triangle top string technique, you can explore more advanced variations to further customize your pocket:

Double Triangle Top String

This variation involves creating two layers of triangle patterns, offering even more control over pocket shape and ball release.

Hybrid Stringing

Combine elements of the triangle top string with other stringing methods, such as the traditional or pita pocket, to create a unique pocket tailored to your playing style.

Experimental Materials

Try using non-traditional stringing materials, such as waxed hockey laces or specialized lacrosse strings, to alter the feel and performance of your pocket.

By experimenting with these advanced techniques, you can continue to refine your stringing skills and create a truly personalized lacrosse stick that gives you a competitive edge on the field.

Stringing 102: Triangle Top String

Editor’s note: Welcome Kevin McGuirl back to the LAX Network!  He’s got more excellent stringing tips for all of you lacrosse enthusiasts.  Now there’s no excuse for not being able to string to perfection.  Learn it, love it, live it.
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Now that you’ve all mastered stringing your basic 10-diamond mesh pocket by following Kevin McGuirl’s earlier string instructions, it’s time to step your game up and learn how to string the triangle topstring. The triangle top string is a little more difficult to master, but its advantages are a reason why there is a growing trend in laxers lacing their wands with this method. The Triangle top string method pulls the mesh tighter and towards the front of the scoop, reducing the lip tremendously, plus it looks classy and adds more variables for customization.

So let’s get to stringing.

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MATERIALS & INITIAL SETUP

This is what you need…

2 – Top strings, approx. 1 1/2 feet long each. (Gold & Silver Pictured)

1 – Lighter, Scissors, & Pair of Pliers

First off, prepare the mesh by stretching the diamonds like we did here, folding the top row of diamonds over the next so that there are now 9 diamonds in the top row.

THE TRIANGLE TOP STRING

Next tie a knot and insert your first sidewall string through the first sidewall hole, then through the front and out the back of the first mesh diamond. Make sure that you pull the string as tight as possible, locking the mesh to the side of the head.

Step 1. Get to it!

Next you’re going to lock in the second diamond of the mesh to the first scoop hole, but unlike in the previous tutorial, you’re just going to lock the mesh in once.

First take the string and put it through the back of the top scoop hole. Next bring the string back through the front of the second diamond of mesh, ‘tying’ it like so.

Step 2. Have at it!!!

Now repeat the same ‘tying’ method again with the fourth mesh diamond and the second scoop hole.

A lot of stringing is just repetition…

Now, things change up slightly when ‘tying’ the sixth and eighth diamonds to the third and fourth scoop holes. Instead of going through the scoop hold first, you’re going to go through the mesh first.

Put the string through the back of the sixth mesh diamond FIRST and then bring the string through the front of the third scoop hole, locking it in like in the picture below.

Repeat this method with the eighth mesh diamond and fourth scoop hole.

Looking good across the top.

Now, just like in the first mesh diamond, lock in the ninth mesh diamond with the other sidewall.

You’ve finished the first part of the triangle top string!

Tight up to the top!

Pretty easy, isn’t it? Now on to the more difficult part. Don’t worry, you got it.

Next, you’re going to take the other topstring and put it through the next sidewall hole, followed by running the string through the back of the first mesh diamond to the front of the head.

And now for the second string!

Next run the string through the first scoop hole.

looping the loop!

Once you’ve run the string through the scoop hole, you’re going to put the string under the first topstring and run it through the top fold of the mesh, in between diamonds one and two.

I could do this. So can you.

It should look like this underneath the fold.

Keeping it going…

Now you’re going to bring the string through the top of the fold in between diamonds two and three.

pull it around!

Pull the string through the back of the first scoop hole and it should look like this from the back.

It is starting to come together now!

Now, looking at the front of the head, bring the string down the fold between the second and third diamond, and back up through the fold between the third and fourth diamond.

looking really good now. All coming together.

Now, just repeat the same thing for scoop hole 2, 3, and 4 that you just did for the first scoop hole.

When you finish scoop hole #4, bring the string through the front of the ninth mesh diamond and put it through the next sidewall hole. Tighten all of the strings, tie a knot, and you’re done with the top string.

Pretty darn tight.

Here’s what it should look like from the back.

Top string heaven.

Now just finish up your sidewalls and shooters and you’re all set to lax. If you don’t know how to do so, check out my first tutorial here.

Please let me know if you have any questions, suggestions, or anything else in the comment section.

Next up…The Pita Pocket!

stringers | mitten state lax

Talking Top Strings » Powell Lacrosse Sticks

There’s a million different ways to string a stick. Take one look around Instagram and you’ll see just about every single possible variation of knot placement and thousands of different theories on string science. We love that about lacrosse. Players and stringers are passionate about preference and self expression.

If you look through our website you will notice our Chief Pattern Maker and Leader of the Powell String Team, Sam, uses multiple top string variations within the pattern. Here we will breakdown why that is and what the top strings role is when it comes to the success of a players pocket.

First Things First.

The top string is the foundation of your pocket and, when it comes to attaching mesh, is the almost always the very first string you will lace up. It’s important to remember with a top string that symmetry and balance need to be spot on at this stage because it will influence the rest of your string job. Like the foundation of a house, if its out of level it will make the remainder of the build extremely difficult. So when you string up your stick make sure your centered. The best way to do this is to use the rows or holes as a guide.

In this video Sam talks a bit about the three different top strings that he uses within the Powell pattern and why. Sam is a very practical stringer, that’s why we love him. He isn’t about flash, he’s all about performance. Sam is also a great lacrosse player with plenty of experience and understands what players really need out of their pockets. He’s the master of creating reliable pockets that are consistent and easy to maintain.

When you order a strung stick from us it will come with one of the three following top string patterns; 4 hitch, 6 hitch, or a triangle variant. Each of these top string patterns serves a specific purpose in the overall performance of the pocket.

As the name suggests, this pattern only uses four connection points in the top of the scoop (not counting where the string gets tied off on both sides). This is the classic way to string mesh and by far the easiest to string and the easiest to maintain. This is perfect for a player that likes a set up with a wide channel and likes the ball rolling around in a baggy pocket. The 4 Hitch, because it only uses four connection points, pulls very little tension to the top of the pocket and leaves gaps between the plastic and the mesh in the three untied rows. This allows more mesh to move freely and ultimately a full bodied pocket with a wide “U” shaped channel.

Nothing crazy to explain here, you simply add two more hitch knots or connection points to the 4 Hitch and you’ve got yourself a 6 Hitch. Adding these connection points will tension the pocket tighter up top and pull the mesh higher in the two outer rows that the 4 hitch left abandoned. What this means is that the pocket will have a tighter channel because you are pulling in the sides of the mesh and turning that “U” shaped channel into more of a “V”. This is great for the player that likes a tight channeled pocket with an easy to maintain top string pattern. A great blend of manageability and performance.

The triangle top string pattern is perhaps the most popular top string in lacrosse right now because it connects the entire mesh piece and lays the foundation for the tightest channel. To learn more about channel click here. By using a triangle top you can literally pull the mesh beyond the baseline of the scoop and really create an aggressive “V” shaped pocket. The 6 Hitch eliminated the gaps but left the central row open. The triangle top pulls the central row way up the center and really lays the base for that tight channel. Another cool thing here is that you can have fun with colors with this top string pattern because it uses multiple strings. When you order a custom strung Powell stick just add your top base color and your triangle color in the customizer and we will get er done.

Please keep in mind that this article discusses only the top string. Obviously the side wall and even the throat string patterns are critical steps when it comes to creating the channel as well. Maybe we can get Sam back on the couch and talk about how he laces up the sidewalls.

The intention of this post is to simply lay out what we do here and Powell but we encourage all of you stringers out there to do what works for you and what you’re comfortable with. It’s important that you never lose that sense of self expression and passion for preference.

Honoring the Spirit of Día de los Muertos Around Town – NBC Los Angeles

What to Know

• Artist Richard Soltero’s La Catrina sculptures are on view around Third Street Promenade in Santa Monica through Nov. 2
• Olvera Street is hosting a nightly procession through Nov. 2
• Stop by LA Zoo through Nov. 2 to contribute a photo or drawing to the Beloved Pets Ofrenda

Baking some colorful conchas, placing a votive, a string of lights, or a lamp in just the right place, and making sure all of the photos you want to include are printed and on display?

Making sure that your at-home altar is as merry and as meaningful as you’d like it to be is one of the poignant ways that many Southern Californians greet the start of November, a month that begins with the continued observances of Día de los Muertos, an occasion that traditionally commences at the close of October.

But if you’re also seeking a public expression of the ethereal-of-spirit celebration, there are locations around the region that are festively featuring sculptures, ofrendas, and nightly Novenario processions, all to lovingly honor the world beyond this one and those who’ve gone before us.

Look for artist Richard Soltero’s large-scale La Catrina sculptures at nine spots around Third Street Promenade in Santa Monica. These dramatic, under-the-sun (or stars) artworks, a returning favorite to the area, feature a bevy of flowers and festive details.

They’re free to see, too, through Nov. 2.

Grand Park’s Día de los Muertos installations are on view through the first two days of the month, and they’re all free to see at the DTLA destination. Great swaths of marigolds, amazing altars dotted with cherished mementos and memories, and other tender touches add layers of emotion to this presentation.

A community ofrenda is on view through Nov. 2 at the Bowers Museum in Santa Ana. Just head for the museum’s Historic Courtyard Annex from 10 a.m. to 4 p.m., and feel free to leave “a photo or trinket” in tribute to someone in your heart.

Don your calaveras make-up and costume and play a part in the nightly Novenarios weaving through Olvera Street. The gatherings, which summon the spirited side of the occasion, are free to see or join through Nov. 2.

The Beloved Pets Ofrenda, an inaugural altar from the Los Angeles Zoo and Botanical Gardens, is on view through Nov. 2.

A project that was created in partnership with Plaza de la Raza’s Cultural Center for the Arts & Education, the ofrenda features hundreds of sweet pictures or drawings of our now-gone, forever-missed pets.

Viewing or contributing to the ofrenda is included with zoo admission.

What’s behind the great China tech exit

Think of Sky Mavis, the Vietnam-based company behind Axie Infinity, as a financial services firm with a game front end. It built its own sidechain to Ethereum called Ronin, a crypto wallet and a marketplace for buying and selling Axie characters as NFTs.

The game has exploded in popularity, with nearly 2 million daily active players. One character has sold for $819,660 and the game’s crypto system has $5.5 billion in virtual assets locked up in smart contracts, according to DappRadar.

Sales peaked in August at close to $850 million, dipping to $550 million in October. However, monthly unique buyers peaked in October at close to 400,000, according to CryptoSlam. The total value of one of its tokens, AXS, is $38 billion.

This success comes despite the hurdles it takes to play the game, which include getting a crypto wallet, buying ether and then spending more than $1,000 worth of ether to buy the AXS tokens that are required to play.

On the surface, Axie is a Pokémon-style game where you use Axies with various powers to battle against other players. But in the play-to-earn model, players earn tokens by winning a battle with their Axies against other players, or by selling them on Axie’s marketplace. These tokens can then be sold for fiat money — real cash. But to get an Axie, players have to buy one on the exchange or breed them from existing Axies.

Axies are themselves NFTs, or non-fungible tokens — unique digital items verifiable on the blockchain and controlled by individual users. But these NFTs are not just ownership certificates attached to snazzy JPEGs: They have utility in the game.

Besides the AXS tokens required to start playing, the game also has SLP, or smooth love potion, tokens. Players earn SLP when they win a match. They need SLP and AXS tokens to breed their Axies, which can be later sold or bred again.

For years, there’s been a question of when a consumer-friendly application for crypto will become mainstream. There’s an argument that NFTs are doing this for collectibles — see Dapper Labs’ NBA Top Shots. But gaming could become the real killer app, crypto insiders and investors believe.

There’s precedent for games pushing a new technology over the top. Remember when FarmVille helped lock in Facebook as the top social network, or how mobile games became critical to the iPhone’s success?

And more is at stake than just redefining gaming. Crypto tokens associated with a popular game could redefine financial services. Already stores in the Philippines accept one of the tokens, SLP, as payment. If retailers have any qualms about accepting virtual smooth love potions, they aren’t showing it. “Games are a Trojan horse to enable access to consumer finance and digital payments,” said Andrei Brasoveanu, partner at Sky Mavis investor Accel.

While Sky Mavis is not focusing on financial services, some could emerge from what the company is building, Brasoveanu says. Sky Mavis says 50% of its users have never used crypto before, and 25% have never had a bank account before.

“The people who come into Axie get their first account, but they also get their first wallet, and that wallet is then the access point to the decentralized financial ecosystem,” said Sky Mavis co-founder Aleksander Larsen. “And eventually, it could also even be to the broader financial ecosystem, because that’s the first time they can actually own their assets. “

In non-crypto games, characters and digital goods are controlled by the game developer. But in Axie, players control their NFTs. And they can buy them from other players, with Sky Mavis collecting a 4.25% fee.

Unlike the older model of “attention-based” mobile and online games, where developers use psychological tricks to keep players hooked, these games give an incentive to play, since the assets can be traded instantly, said David Pakman, managing partner at CoinFund.

An obvious risk is fraud. In its terms of service, Axie warns that even with transactions using its wallet, “We will have no insight into or control over these payments or transactions, nor do we have the ability to reverse any transactions.” That’s inherent in the design of most blockchain systems, where there are few provisions for chargebacks or refunds.

Another risk is that the fun aspects of the game get overtaken by speculation or gambling. Larsen says he has seen fake Axie apps and phishing attempts and hopes to tamp those down. But players are taking high risk along with the potential for high rewards, he says.

“The only way [these economies] can become bigger is if people have real skin in the game. And if they have real skin in the game, the risk is also high,” Larsen said.

One example of the dangers involved in crypto gaming is the squid token inspired by the hit Netflix show “Squid Game.” Its anonymous creators apparently scammed token buyers out of at least $12 million. Users had to play a game in order to be able to sell the token. It’s unclear how big of a part the game played in the token’s appeal, but it shows that in a new sector of gaming where users are putting their own money into an untested area, risks abound.

Money vs. fun

The financial incentives of the game are fundamental to Axie Infinity and those incentives drive some of the interest. A certain segment of the user base is playing the game to earn income, particularly in less wealthy areas. Some 40% of the game’s user base is in the Philippines. There are reports of people ditching service-sector jobs to play and earning as much as $2,000 an hour.

Larsen says money is not the only reason people play. Some connect with the community, some see it as part of their digital identity and some just like playing, he said. Fewer than half the players are focused on the game’s monetary aspects, according to Sky Mavis surveys, Larsen said.

One appealing aspect of Axie’s structure is that the game account is separate from the wallet, which means people can loan out their game accounts and not lose what’s in their wallet. There is an ecosystem of “scholarships” in which organizations known as guilds loan out their Axies and take a 30% to 40% cut of the profits from the player. One large guild is Andreessen Horowitz-backed Yield Guild Games.

Pakman sees guilds as a positive, since they prevent a “kind of caste system” that could otherwise develop between haves and have-nots. Meanwhile, it’s not hard to see other types of lending, equity or credit models emerging in play-to-earn games. That’s different from conventional games, which sometimes ban users for attempting to lend or trade accounts.

Valve recently jumped into this issue, declaring a ban on applications that use crypto or NFTs, which could limit the mainstream adoption of crypto gaming in the short term. But that doesn’t scare Larsen. “It’s just great for us because it opens up a larger opportunity. It makes people more aware of it,” Larsen said. “I feel like it’s a very defensive way of thinking about it.”

Sky Mavis is developing a free-to-play, non-crypto version on mobile that would be in app stores and could serve as an introduction to the crypto version. But more broadly, Larsen believes that play-to-earn opens up a new opportunity for people to more strongly connect to the game and own their data.

“NFTs are the beginning of your digital identity. It’s actually about owning that part of yourself — the things you do online,” he said. “That has never really been possible before. That shouldn’t be beholden to the fact that you’re using Steam or Epic Games or whatever. That’s your stuff.”

Larsen says gamers could more easily transport their gaming history or other online activities which are often lost over time. “I’m a gamer for 20 years now, playing competitive games … How cool would it be if I have that in my wallet?”

But if you really own that data, can you take this identity with you elsewhere online, say, to other games? Not yet, but Larsen hopes systems to allow for that will evolve: “That’s how I see the metaverse evolving: some third party making a massive game or a massive universe which draws in all NFTs from all different types of platforms.”

MM 11.1: Maryland volleyball’s Rainelle Jones records block No. 500 against Rutgers

Maryland volleyball middle blocker Rainelle Jones collected her 500th career block against Rutgers on Sunday.

In the Terps’ sweep of the Scarlet Knights, Jones recorded five blocks and her 500th came in the second set.

Jones now has a total of 144 blocks on the season which leads the team by 40. The 6-foot-3 senior has also recorded 157 kills which is third on the Terps’ roster behind Maryland’s outside hitter duo of Sam Csire and Paula Neciporuka.

The Terps are now 18-6 and will look to win their second in a row as they take on Purdue Nov. 5 at 7 p.m. in College Park, Maryland.

In other news

Sam Oshtry shared his takeaways from Maryland football’s win over Indiana.

Austin Zuckerman recapped what went on with Big Ten football teams this weekend.

Joseph Lotano was at No. 7 Maryland men’s soccer regular-season finale win over No. 22 Indiana.

Colin McNamara covered Maryland volleyball’s three-set sweep over Rutgers.

Damon Brooks Jr. wrote about Maryland field hockey’s Belle Bressler’s superstitions.

Maryland men’s soccer shared the emotion behind Ryan Blumberg’s goal against Indiana.

Ryan Blumberg has been out from injury for two years.

He scores on his first career start. His second career appearance. On senior day.

That emotion pic.twitter.com/2CJqZclp7W

— Maryland Men’s Soccer (@MarylandMSoccer) October 31, 2021

Sam Oshtry shared updates from Maryland men’s basketball open practice.

Another observation: This team has a ton of great penetrators who can get downhill and into the lane. Forces the defense to help which will create open shooters on the perimeter. Maryland struggled with this last year.

— Sam Oshtry (@soshtry) October 31, 2021

Maryland women’s basketball head coach Brenda Frese celebrated Halloween at open practice.

Maryland women’s and men’s basketball shared some highlights from the day

Alec Baldwin posts crew member comments disputing ‘chaotic’ movie set

LOS ANGELES (Reuters) – Actor Alec Baldwin on Tuesday shared a message on social media https://www.instagram.com/p/CVybJ8FvsNY disputing reports of chaos and a lax attitude toward safety on the set of Western movie “Rust” before he accidentally shot and killed a cinematographer.

Writing “Read this,” Baldwin reposted lengthy remarks from Terese Magpale Davis, who worked in the wardrobe department on “Rust.”

“I’m so sick of this narrative,” Davis wrote. “The story of us being overworked and surrounded by unsafe, chaotic conditions is bullshit.”

On Oct. 21, cinematographer Halyna Hutchins was killed https://www.reuters.com/business/media-telecom/director-gutted-by-death-cinematographer-accidental-shooting-2021-10-23 by a bullet discharged from a gun Baldwin was using to rehearse a scene on the “Rust” set in New Mexico. The “30 Rock” actor had been told the weapon was “cold,” or safe to use, according to court filings by the Santa Fe Sheriff’s Department, which is investigating the incident.

Camera operators had walked off the “Rust” set before the incident to protest working conditions, authorities have said. Santa Fe County Sheriff Adan Mendoza last week said he believed there was complacency on the production regarding safety.

Attorneys for the armorer in charge of the weapons used in the filming said the production was unsafe https://www. reuters.com/world/us/armorer-rust-film-set-says-producers-overruled-her-safety-requests-2021-10-29 due to various factors, including a lack of safety meetings.

Davis, however, said the crew had several safety meetings, “sometimes multiple per day.” The production team “were some of the most approachable and warm producers I have ever worked with,” she added. “Concerns were heard and addressed.”

Davis did not immediately respond to a request for comment.

Baldwin, who also served as one of the movie’s producers, has said he is heartbroken and will support limits https://www.reuters.com/world/us/alec-baldwin-calls-movie-shooting-death-one-trillion-episode-2021-10-30 on the use of real guns on film and TV sets.

Production company Rust Media Productions has said it had not been made aware of any official complaints and has hired a law firm to investigate the incident.

(Reporting by Lisa Richwine; Editing by Karishma Singh)

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Study guide Musical alphabet of a little cellist.

Antonova L. 979-0-66004-109-3

979-0-66004-109-3 L. Antonova. Music Alphabet of a Little Cellist, Kompozitor Publishing House, St. Petersburg

Thanks to the Music Alphabet, cello learning can be started from preschool age (from 5–6 years old). Preschool education is based on the figurative and emotional perception of music. The ability to understand music, to react emotionally to it at first is much ahead of children’s ability to play. “Musical Alphabet” will help the teacher consistently and comprehensively develop the baby based on a combination of singing, listening, studying musical notation, selecting melodies, transposing with staged hands, exercises aimed at releasing the gaming device.

Table of Contents:
Chapter 1 Bass Clef
Chapter 2 Exercise for the hands and fingers
Chapter 3 Play with a pinch (pizzicato)
Chapter 4 Exercise for the right hand
Chapter 5 We play the march
Chapter 6 About the sounds of short and longer
Chapter 7 Play songs
Chapter 8 Exercise
Chapter 9 Play songs with a bow
Chapter 10 Exercise for the fingers of the left hand
Chapter 11 We play songs consisting of two adjacent sounds. Second
Chapter 12 Major. Minor. On the role of the III stage.Tone. Semitone. Sharp. Flat
Chapter 13 Whole and half notes. Distribution of the bow
Chapter 14 Learning to play with two hands
Chapter 15 Size. Strong and weak beat
Chapter 16 Self-analysis of songs
Chapter 17 Getting to know the new notes
Chapter 18 Playing with two hands arco, which means – bow
Chapter 19 Dynamic shades. Pause. Interval “quart”
Chapter 20 Zatakt. Gamma. The interval “quint”
Chapter 21 Learning to “correct” the left hand
Chapter 22 Self-analysis of songs
Chapter 23 Triad
Chapter 24 Strokes: detail, legato
Chapter 25 What does the dot near the note mean? Interval “sixth”
Chapter 26 Types of songs, their content and mood
Chapter 27 Wide arrangement of the fingers of the left hand
Chapter 28 Barcode martle.Playing “March”
Chapter 29 Introducing short durations: sixteenth notes
Chapter 30 Playing in positions
Chapter 31 Dance music
Chapter 32 Variations

Number of pages: 84.
Format: 60×90 / 8 (220x290mm)
Binding: Paperback
Publisher: Composer – St. Petersburg; 2005

90,000 blog | STD RF – grants, scholarships, opportunities for young people

Alexander Voronov

October 15 and 16 on the stage of the A.N. Ostrovsky will host the premiere of the comedy based on the play by Pierre Marivaux “The Game of Love and Chance”. We bring to your attention an interview with the director of the play Igor Lysov.

– Igor Vladimirovich, how would you present yourself?

– I am a professional actor, director, amateur as a writer, playwright; semi-professional as a photographer, filmmaker. He studied with Tovstonogov and Vasiliev, worked at the Vasiliev Theater “School of Dramatic Art” for about fifteen years, then left for Estonia, worked there and in Lithuania.Moved to Russia. Then a pandemic began. He wrote a novel, which is to be published this year by the EKSMO publishing house.

– Why did the Kineshma theater choose Marivo? And why this particular play?

– From time to time you want to put on something for people to make the audience smile. I would like to help humanity to make life easier. Many directors are trying at all costs to make the audience laugh. We will try to supplant low-grade pleasure.

– If we talk about the play, what do you think it is about? What’s her idea for you?

– People who are truly in love with each other may face a wall of social, religious, national laws and not be able to be together as spouses. It is, of course, difficult. But in Marivaux’s play “The Game of Love and Chance,” a comic moment appears. Parents, two fathers of young people Sylvia and Dorant, turned out to be very democratic people, despite the fact that the play is not even of the nineteenth century.This is the age when democracy did not even begin. They suggested that young people change into their servants, so that under this guise it is better to understand what’s what. And, if the chosen one or the chosen one does not like it, you can disperse, leave, forget this story. And so we see how Dorant and Sylvia, dressed as servants, fall in love with each other, and Sylvia with horror realizes her fate, realizes that she cannot marry Dorant: after all, he is a lackey. And the servants of these young people fall in love with each other.They are dressed in the costumes of gentlemen. How to tell the lady, Harlequin thinks, that he is only a servant, and how to tell Lisette to Harlequin that she is only a servant? And this moment, stupid, playful, interested me as something unexpected. You can imagine: the audience, for example, four hundred people, on the stage there are eight people, and only two do not know about this dressing, and everyone else knows. It seemed to me that I never put it that way when the viewer knows more than the hero. And in this sense, the viewer becomes not even just an observer, but a witness of love, sincere love and a witness of impossibility. While watching this rally, you can regret many times that you decided to play people, because a drama is being played out in front of your eyes, which is funny to you, but inside the drama itself there is no time for humor, there is sincere love. Also, I liked Sylvia’s last line. She says, “This is true love.” When these young people go through all the obstacles of social inequality and stay together. I would very much like the viewer to applaud gratefully and in agreement during the phrase “This is true love”.This is love that overcomes all prohibitions. Outside of love, these young people would never have dared to do this. And with the help of a tool such as love, they decide to do crazy things. That’s what attracted me to this thing.

– Do I understand correctly that you will not designate the century in the play? It doesn’t really matter: the seventeenth century, the twentieth or the twenty-first?

– Quite right. There will be nice decorations, nice costumes (artist Irina Brinkus), but nothing that would refer precisely to that time, to the tradition of the Comedie Française. One person loves another person. This topic is not that timeless, it is eternal.

– Your rehearsals are unusual, as I know. You give a lot of independent work to the actors. Tell us a little about this.

– Yes. I’ll try to explain now. When an actor rehearses in the morning and evening every day, he believes that he is mechanically coaching himself into the performance of his role. But if he rehearses eight hours a day under supervision, with the help of the director’s tips, then all that he will play is not his will, but the director’s.The actor becomes an ordinary performer. But I don’t like it at all. But if we explain to each other in the morning what is the essence of the play, and disperse until tomorrow, then tomorrow it will be necessary to show the result of our reflections. And the actor in this case is the author of the role himself, he is responsible for what he plays. He receives comments, accepts them, goes on to work, the actors meet, study, that is, rehearsals go on, both morning and evening, but it is criminal to rehearse with an actor who is not yet ready, and the director always has such a not very good quality, like impatience. The director is in a hurry to see the finished result in his head. So, in order to save the actor from the director’s nerves, from embarrassment, I give them the opportunity to figure out how they bake their own “pies”, what their school is, so they can come to an agreement faster and show me their own result. A lot depends on the acting partnership, and if they themselves came up with something as partners, this will not go anywhere from the performance. I cannot say that I had such rehearsals on a regular basis.No. But the last performances, five or six, I released this way. Graduation, going on stage – this is already the work of the entire theater, all the shops, and then no longer to willfulness, not to independence; creativity is already in the hands of the radio shop, the lighting shop, in the hands of assemblers, in the hands of props, props. I call the table rehearsals “rehearsals in the white room” and I believe that from this white room you can go on stage only when the performance is completely ready in an actor’s way.

– Let’s say you released the premiere and left.And suddenly one of the actors quit, got sick, God forbid. You need to make an input. In this case, wouldn’t the input be more difficult to do than when rehearsing traditionally?

– Probably. You see what’s the matter. If I were the director of this theater, I would think about it. And so I just want to put on a play, which is impossible to enter. It is complex in structure, construction, relationships. And there is nothing to dilute it with input. We have been rehearsing for two months and then the person from three rehearsals entered? No.Does not work. This is always a contradiction between the head of the theater and the director.

– Say a few words about the actors.

– I will tell about all at once. There are no bad actors at all. I did not see. Rather, it is a matter of human factors and education. With great regret, I can note that a significant part of the directors stage the play without taking into account the personality of the actor. Just by type. Suitable – not suitable. A black actress for this role, a white one for this role, a plump one for this role, a thin one for this role.And the person, the actor, is slowly beginning to get used to the fact that this is theater. And in order to tune himself to at least some pleasure, the actor begins to grimace. And this is the great misfortune of the Russian psychological theater. Because in the Russian psychological theater no one remembers tradition for a long time, well, how would it all be a mausoleum for a long time. And what school can oppose itself to the past classical school today? There is no such school. Education today is often given in order to play organically in serials.

– Some techniques, the basis is developed in the main, and that’s it.

– Of course. Actors cannot express any subtle feelings with a voice that will reach the gallery. Therefore, he whispers a little. This is common in many theaters. And the fact that, for example, for the theater actor Anatoly Vasiliev is quite self-evident, in other theaters it takes a very long time to prove, explain the basics. A person cannot be artistically organic. He can be humanly organic, thinking that this is enough.And human organics just interfere with the theater.
Today very decent, capable people are rehearsing for me. Everyone’s level of education is very different. Someone understands what I want from them, someone does not, but the people here are wonderful. And this quality in wonderful people allows us to go further. After all, in the end, to stage a play is to turn a person into an actor for of this performance. This is the creative artistic process. Because otherwise he will play the same way in all performances.

Alexander Voronov – Head of the literary and dramatic section of the Kineshma Drama Theater named after A.N. Ostrovsky, art director of the international festival of Russian classical drama “Hot Heart”. Studies at the Graduate School of Performing Arts G.G. Dadamyan. Lives in the town of Kineshma, Ivanovo region.

How Potentiometers and Capacitors Affect the Sound of Your Electric Guitar

Whether we like it or not, be aware of it or not, there is definitely a deep relationship in the electric guitar between passive pickups and their volume and tone control circuitry. Moreover, even when all the knobs are set to a maximum of “10” or “12” (different guitars have different ways). It is important to understand exactly how these components shape (or even complement) the sound of a pickup. Imagine the design engineers painstakingly creating your favorite passive pickups, doing this job along with potentiometers, capacitors, and even a guitar cable to boot, using it all as part of one big equation.

There is a fairly high chance that the original potentiometers and capacitors still live and work inside your guitar, which are quite suitable for both you and your music.On the other hand, a little experiment can easily change the sound of an instrument for the better and make it more suitable for your style or musical taste. And the upgrade is inexpensive – a good potentiometer usually sells for the price of a set of strings. And you don’t need to experiment at random. This article will explain how the components inside a guitar affect its tone and offer tips for finding your ideal tone.

What we DO NOT DISCUSS

We will not take into account the various materials for the manufacture of capacitors, but only their ratings.The Internet is overloaded with various discussions on the choice of capacitors … The same ones, without which it is not even worth trying to convincingly recreate Hendrix’s “Red House”. Starting from microcapacitors of the “Bumblebee” type, subjected to X-rays, and ending with NOS models, necessarily “soaked” in quinolone oil and hookah rosin. I used Russian oil-paper capacitors. If you like capacitors from a different material, use them. The recommendations in this article relate exclusively to denominations, without reference to the materials from which they are made.

What else we will not discuss is the characteristics of the curves of the potentiometers – “taper”. “Taper” has nothing to do with the value of the potentiometer, but shows how its resistance changes as the knob is turned. Almost all guitar potentiometers are “audio taper”, as opposed to linear or inverse-log potentiometers. Some companies, such as DiMarzio, produce potentiometers with a slightly modified logarithmic relationship and call them “custom taper”.Our main focus here is on how the potentiometer affects the tone, even when all knobs are at maximum.

Hedgehog in the fog

Just as fog in the daytime reduces visibility or dirt on a camera lens blurs a photograph, impedance and capacitance filter the frequency response of the pickup. In reality, things are a little more complicated: in a certain sense, they form the resonance of the pickup. Sometimes they form well, and sometimes not very well. There are a myriad of variables that contribute to and give a pickup its character – magnet, alloy, winding type and quantity, etc.But there is one universal parameter that directly depends on potentiometers and capacitors – the resonant peak of the sensor.

Each passive pickup has a resonant peak. As a rule, this is its loudest frequency, since it is on this frequency that the resonance of the sensor coils occurs. Single coil pickups have this peak higher in frequency than humbuckers. All other things being equal, comparing two sensors, the weaker one with fewer turns has a higher peak, and the sensor with more turns has a lower peak.(As a pickup manufacturer, I am aware that I am missing a lot of details, but please be patient a little more.)

Although the resonant sweep does not accurately represent the overall frequency response of the cartridge, it is a measured resonance curve that looks something like the one shown in Fig. 1.

(Fig. 1)

From the bottom, it grows evenly, followed by a sharp rise and the same sharp decline immediately after the peak.That is why a relatively low frequency resonance peak corresponds to a large loss of high frequencies in the sound. The immortal phrase of the manufacturers of sensors – “I can make it a little louder, but the intelligibility will be lost” – this is more useful than ever. At first glance, the curve is very similar to the pedal wah response, especially the large gain at the peak. Although the resonance peak of the pickup is not as pronounced as that of the wah pedals, this association helps to imagine its model.

Conquer the peak

Even if you don’t get anything out of this article, just know that the frequency of the resonant peak will most closely identify the sound of a pickup.This is what makes the pickup sound exactly the way it sounds, unlike other models in the manufacturer’s catalog. But! Your pickup was definitely not designed to sound directly into an amplifier with no potentiometers in the circuit. The peak in Figure 1 at the top is very sharp. And here is what the same pickup looks like, but with potentiometers (Fig. 2).

(Fig. 2)

Notice how much smoother the resonance peak became.The low end did not increase – the peak just became less sharp and less intense, which ultimately made the sound more “even”. If we continue to increase the load (resistance), then the curve will straighten further, and passive pickups will sound more and more the same type. And all because the properties that distinguish them from each other will weaken.

Since most pickups have resonances somewhere in the high mids and highs, you can often hear that a lower value potentiometer makes the sound “warmer”.A “pot” with a large resistance value, on the contrary, opens the top. However, all of this is not as obvious as the Treble knob on an amp or EQ. So don’t listen to the “connoisseurs” suggesting “just add / remove top on the amp”.

What is the contribution of capacitors?

Unlike potentiometers, which soften and “flatten” the resonance peak of a pickup, tone capacitors shift this resonance downward in frequency.

It is easy to explain the operation of tone capacitors by a simple “tidying up”.An electronic engineer would say that the capacitance of the capacitor, combined with the resistance of the potentiometer, forms a low pass filter, that is, one that allows the low frequencies to pass through and cuts off the high frequencies. Since the capacitors interact with the pickup coils, the resonance peak shifts downward as you begin to turn the tone knob on the guitar. By the way! Have you ever noticed how the guitar sounds louder in a fully twisted tone to zero? How is this possible if we cut the frequencies with the tone control? Everything from the fact that the resonance peak is shifted to a more audible for us – more sensitive – frequency range.The higher the capacitor rating, the lower the frequency of this offset. A capacitor with a large capacitance produces a duller, more bass sound when the tone knob is fully closed (Fig. 3). Small capacitance does not push the peak down much, and therefore leaves more tops untouched. The more you open the tone knob downward, the more the pickup “sees” resistance and capacitance. Part of what you hear is a softening of the resonance peak, like the one that appears when the volume is turned down.The more you twist the tone knob down, the more you will feel the effect of the capacitance leaking to the earth wire.

(Fig. 3)

So what and where?

A popular rule of thumb is: “Use 250k ohms with single coil pickups and 500k with humbuckers.” So let’s play a little with him 🙂

The old Gibsons had 250kΩ potentiometers, and their pickups were relatively weak in output, with very low impedance when compared to modern “evil” rock and metal humbuckers.Now let’s take a look at a relatively hot humbucker: the popular Seymour Duncan JB with a very bright and aggressive resonance peak in the high mids. With 500k ohm potentiometers, it has a screaming overdrive at its output. But Mr. Seymour Duncan himself prefers JB for finger play and certainly with 250kOhm potentiometers. In this case, the sensor creates a denser, more solid and warm tone.

Vintage Stratocaster also had 250k ohm potentiometers, but the bridge pickup did not have a tone control in the wiring circuits of those years.And all other things being equal, the bridge was even sharper and snappier than the neck and middle pickups. Many modern guitarists use a tone circuit on a bridge pickup, however this muddies it up a bit, even with the tone knob in the “12” position! If your singles sound dull and dull, try switching to 500K potentiometers. (Or try the so-called “no-load” potentiometers from Fender or other manufacturers. When fully open, they virtually disappear from the circuit and do not “load” the sensor with them.)

The situation with Telecasters is even more interesting. Most teles are equipped with 250k ohm potentiometers, although some may be 1 megohm. Capacitors (and circuits) are very different, depending on the year of manufacture and the use of the so-called “dark” circuit. If you want to recreate the character of the sound in the style of “dark” circuits, you will need to find tricky capacitor ratings, one of which was a hefty 0.1uF. Sometimes these capacitors are even soldered to specific positions on the 3-way switch.

A little experiment can easily change the sound of an instrument for the better and make it more suited to your style or musical taste.

How about stacked singles? There are many variations, but in passive models, the lower coil always adds a resistive load to the upper one. Therefore, I like to use 500kΩ and even more with them. Stacked pickups tend to lose the sharp spike inherent in true singles, so high potentiometers help them open up the top and convey attack well.

About audio examples

To record all the audio clips, I plugged a short cable into a buffer (Wampler dB + pedal) and from there to a 1968 Fender Showman with a 12 “Naylor speaker. For the drive clips I used two Wampler pedals, a Plexi-Drive and a Plextortion. not your favorite drive sound, but it emphasizes the differences well.) I used the buffer to best isolate the effect on the sound of potentiometers and capacitors. Depending on the first pedal in your circuit, be it a germanium fuzz, various tube amps or even a pedal- tuner, you may find that some “sweats” and “conductors” change the behavior of these devices. Since I can’t predict all of these variables, the buffer allows us to focus on what’s actually coming out of the guitar without being influenced by the following components in the chain. There’s also that semi-clean (on the verge of breakup) clip followed by a drive clip, so you can hear how the peak (or lack thereof) affects the overdriven tone.

I have shared clips that show different potentiometer ratings from demonstrating different capacitor ratings.First, there is a clip with potentiometers (a capacitor with a capacity of .022μF is the same everywhere with a tone control always at 10). We start with no load, and then 1MΩ, 500kΩ and 250kΩ, always with a 10 knob. All Bourns ceramic potentiometers are 15% logarithmic. The humbucking clips are recorded on a Les Paul type guitar with Duncan Antiquity JB pickups in the bridge and Duncan Seth Lover in the neck. Tele-style clips recorded on ash / maple guitar with Fralin Tele pickups (with “hybrid stagger” type magnetic circuits).

Photos Greg Marra

For capacitor comparisons, I used 500kΩ potentiometers so you can hear how different capacitance ratings affect sound: 0.047uF, 0.022uF, and 0.015uF (plus 0.0015uF bonus on Telecaster, as recommended by Lindy).

What do you personally like, Frank?

Thank you, I’m flattered by the question as I am a huge pickup fan.I have about 50 guitars, and they have almost no duplicate pickups. I love to hear the differences – the nature of each sensor. Even with weak singles, I usually use 500k ohm pots. If you are not entirely happy with the sound of your pickup (s), then perhaps a 250k ohm potentiometer can shift the emphasis from characteristics that you don’t like, like changing the EQ settings on an effects pedal or amp.

Frank Falbo (Photo by Greg Marra)

Is it possible to combine different denominations?

The total resistance of the two potentiometers is calculated from the parallel electrical connection.That is, in the presence of a volume potentiometer of 500 kOhm and a tone potentiometer of 500 kOhm, the pickup feels this equivalent to 250 kOhm (usually less than the lower one). Some guitarists deliberately choose 250k ohms for volume and so called “no-load” for tone. In this case, the pickup “sees” only 250kOhm, but the musician gets the desired response. You can combine, set the volume of 500k and 250k tone (or vice versa) to achieve a sound, so to speak, between these values. Can also be combined on wood-like guitars.For example, to make the bridge softer in sound with 250 kOhm, and not “sharpen” with 500 kOhm.

Photos Greg Marra

What about active sensors?

Many guitarists believe that the potentiometer value does not matter if the pickups are active. And indeed it is! Changing the potentiometer value will not affect the resonance peak in the same way as passive sensors. But! Potentiometer selection AFFECTS the pickup’s output level (i.e. its volume).For example, with standard EMGs, you lose an impressive 5 dB of volume simply because there are a couple of potentiometers in the circuit (the usual volume and tone). For newer asset models such as the EMG-X or the Fishman Fluence, having a pair of 25kΩ potentiometers (this is the standard rating for active pickups) also leads to a drop in level, but not so significant.

This table shows the approximate level drops for certain models when one or two potentiometers are added to the circuit.

Hopefully these guidelines will help you understand exactly how potentiometer and capacitor ratings affect sound. Armed with them, in the end you will be able to make the right decisions and choose the most suitable components to achieve your ideal sound!

Based on materials from “Premier Guitar”, Frank Falbo (Falbo Guitars, Fishman, Seymour Duncan)
Prepared by Ivan Dubov

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