Clean out the hole with compressed air.ģ. Use an ANSI standard carbide tipped bit because an oversized hole will make it hard to set the anchor and will reduce the drop-in anchor's load capacity.Ģ. For a flush surface mount installation, make sure that the hole is drilled 1/8” deeper than the planned embedment depth of the anchor. Using a hammer drill, drill a hole in the concrete with the correct diameter of carbide bit for the diameter of the drop-in anchor being installed. Drop-In Anchor Installation Instructionsġ. The drop-in anchor is properly set when the shoulder of the setting tool contacts the anchor body. Each diameter of the drop-in anchor has a corresponding setting tool that must be used to ensure that the drop-in anchor is expanded fully and properly. The drop-in anchor should be set into the concrete once it has been inserted into the pre-drilled hole in the concrete. Deeper embedment would require a longer bolt or threaded rod length to accommodate the deeper embedment. Drop-In anchors can be placed in the concrete at deeper embedment, which in most cases will allow for improved holding values. Drop-In Embedment DepthĮach diameter of drop-in anchor must be placed into the concrete a minimum of the anchor length so that the anchor sits flush with the surface of the base material. The hole must be drilled with a hammer drill and a carbide bit that meets ANSI standards which will ensure properly matched tolerance between the anchor and the hole. The 1/4” drop-in anchor requires a 3/8” hole, the 3/8” requires a 1/2” hole, the 1/2” requires a 5/8” hole, the 5/8” requires a 7/8” hole and the 3/4” drop-in requires a 1” hole. The outside diameter is larger and is equal to the diameter of the hole that must be drilled in the concrete. All drop-in anchors are designated with the inside diameter threads. The hole diameter of the drop-in anchor is equal to the outside diameter of the anchor and is larger than the designated diameter of the anchor. The 1/4” drop-in has 20 threads per inch, the 3/8” has 16 threads per inch, the 1/2” has 13 threads per inch, the 5/8” has 11 threads per inch and the 3/4” has 10 threads per inch. National coarse threads are measured by how many threads are in a distance of 1”. All of the threads on the drop-in anchor are national coarse threads, which means any bolt or threaded rod that has the same threads can be threaded into the drop-in anchor. The Simpson Strong-Tie drop-in anchor anchors are designated by the diameter of the internal threads. Simpson Drop-in Anchor LengthsĮach diameter of drop-in anchors is manufactured in one length. RR24682 Diameters of Drop-in Anchorsĭrop-in anchors from Simpson Strong-Tie come in five diameters: 1/4”, 3/8”, 1/2”, 5/8” and 3/4” in the standard carbon steel, 303 stainless steel, and 316 stainless steel. Meets Federal Specification Requirements A-A-55614, Type 1Ĥ. Simpson Drop-in anchors meet the following codes:ġ. Simpson Strong-Ties drop-in anchors have been tested in accordance with the ICC-ES’s criteria for expansion anchors (AC01) for seismic/wind loads, combination loads in tension and shear and minimum spacing and edge distance. The third type is the 316 stainless steel Simpson drop-in anchor which meets requirements for 316 stainless steel. The second type is the 303 stainless steel drop-in that meets AISI 303 requirements for the anchor body and the expander plug. One is the standard zinc plated carbon steel with a minimum tensile strength of 70,000 psi for the anchor body and with the expander plug that meets minimum tensile strength of 50,000 psi. The Drop-in anchor from Simpson is available in three materials. Simpson Strong-Tie anchor systems at drop-in anchors are available with the expander plug pre-assembled and are designed for use in concrete only. The drop-in anchor is considered a shell anchor because it is expanded from the inside out using the expander plug and a setting tool. Drop-In Internally-Threaded Expansion Shell Anchorĭrop-In anchors have internal threads and an expansion of the anchor called deformation-controlled.
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However, there are plenty of podcasts that accept submissions from artists and their representatives some even work with sync agents. They often start with an idea of who they’d like to feature, then reach out to the artist’s contact. Many folks we spoke to for this article said it’s an organic process. There are several ways to get your music on podcasts. As you start pitching your music, or if you’re approached by a podcast, consider how your music will be used when deciding whether or not to move forward with the opportunity. The more podcasts are created, the more creative ways music will be used. We’ll list just a few in order to kickstart ideas: as theme music, transitions between segments, sound effects, background during ads, intro and outro music, accompaniment to a narrative, as a part of the story (if it’s about a particular year or person, for example), to establish a mood, to promote the podcast itself on social media, as a part of a playlist or mix, or just a featured song a host or guest would like to share. There are endless ways for music and sounds to be used in a podcast. Carter Lou McElroy, who leads music supervision for the podcast For the Wild (she’s also the Business and Company Branding Manager at Girlie Action), shares that she uses a straightforward clearance form to secure the rights of use after negotiations. Although it’s complex, we make sure we have explicit permission to use the songs.”Īs long as the rights are cleared, podcast music agreements can be more casual. I think our particular approach is a way of making sure we’re ok to use it in our specific ways, essentially similar to college radio/for promotional purposes. He added, “Music in podcasts is a complicated thing because it doesn’t quite fit the mold of existing paradigms or structures for performance, broadcast, or publishing. He said, “In many cases, we have an ‘all works’ release from labels allowing us to play anything they put out, but sometimes they can only provide specific songs or albums, depending on their contracts with artists.” The station uses a broadcast release form to get permission for any music they play. #Background music for podcast fullSo podcasts have to get a direct license from the rights holders.”īryan Bruchman, who hosts The Subliminal Inevitable Show and The Music Digest on BTRToday, plays loads of full tracks on both of his shows. ‘Interactive’ means you can choose what you want to hear when you want to hear it (like Spotify), so they don’t fall under the same category as the above scenarios which are ‘non-interactive’ services. And the podcasts which are streamed are considered ‘interactive’ plays which require a different license. So the songs used require a mechanical license. He explains, “Podcasts, however, fall into a completely separate category. Digital radio (Pandora, Sirius/XM), though, pays both composition performance royalties and sound recording performance royalties. Terrestrial (AM/FM) radio doesn’t have to pay sound recording royalties to the artist, label, or publisher. for a “blanket license” to play all the songs in their catalogs. In an article from 2015, Ari Herstand explains that AM/FM radio pays performing rights organizations (PROs) such as ASCAP, BMI, and SESAC in the U.S. That said, plenty of musicians donate their work to podcasts for free, which we cover in greater detail below. Those who own the rights to the music must give permission (and are often paid) for its use. Unlike with radio, podcasters must clear the rights to a direct license to use a piece of music. They can demonstrate value beyond the financial gain of having your music placed on podcasts.īelow, we walk through how podcast publishers secure rights to music and sounds, as well as different ways to get your music onto podcasts. #Background music for podcast plusPublishers can see how many streams or downloads each episode has, plus where their audience is and what device they’re listening on. But even then, if someone downloads an episode, they can have it forever.Īnalytics are also much more tangible for podcasts in comparison to radio or television. Unlike most radio programs, podcasts live on indefinitely-or at least until the publisher takes them down. They present a unique opportunity to share your art with an engaged audience. What does this mean for you as a musician? Not only are there a ton of podcasts about music and / or featuring music, but many use sound to help tell a story, grab attention in their intros, in advertisements, as transitions, and as a marketing tool. Illustration: Yann Bastard Podcasts are a rapidly growing form of audio entertainment, both in the United States and around the globe. This will allow you to click on the icons through the skin. Rainmeter desktop groups skin#Then you will need to right click the skin, go to skin menu and select 'click through'. You will need to position your icons where you want them and then open the rainmeter skin on top. Add-Ons and Plugins contains plugins and addons for Rainmeter. Works In Progress is a showcase for new and upcoming skins in progress. Screenshots contains desktop screenshots, which are either partly or entirely built with Rainmeter. All submissions must be solely related to and focused on Rainmeter and/or its associated components. If you use the new beta builds the 'On Desktop' issue has been fixed. Skins contains hundreds of Rainmeter skins grouped under category headings. 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Respect the Reddit Content Policy and reddiquette. Houston may well regret sending him away if Kazmir chooses another team in free agency this winter. Reed and Derek Fisher are thriving, and Daniel Mengden got them Kazmir.ĭespite his recent struggles, the physical tools and overall arsenal of pitches are there to suggest Mengden can bounce back and contribute at the MLB level soon enough. Either way, his days as a Brewer might be numbered.Jeff Passan much of a disaster as the Astros' 2014 draft supposedly was, A.J. There is still a chance that the Brewers attempt to move Nottingham, which is a scenario we looked at in the past. After Pina, Vogelbach, one of the team’s four starting outfielders, and one of the Luis Urias/ Orlando Arcia combo, all spots end up spoken for.Įven if Milwaukee goes with a fifth bench spot, does that go to Nottingham, or a more versatile player like Daniel Robertson? Basically, unless Nottingham is absolutely on fire over the next two and a half weeks, his chances of making the 26-man are slim at best. Our 26-man roster preview has the Brewers utilizing just four bench spots. That doesn’t leave much room left for Nottingham to make the bench. Though Big Dan isn’t exactly on fire this spring (.211/.348/.316), he creates an actual lefty-righty platoon with Hiura. With Hiura being a righty like Nottingham, the more logical backup at the position would be Daniel Vogelbach. When Milwaukee signed free agent Kolten Wong to play second base, that ended up shifting Keston Hiura over to first. However, one of the Brewers’ offseason acquisitions made that possibility a little trickier. Nottingham does have the ability to back up first base going for him. 545/.500/1.273 with a pair of homers and a pair of doubles. 313/.450/.625 with a homer and two doubles and the latter slashing an even better. Unfortunately for Nottingham, both are hitting well this spring with the former slashing. Omar Narvaez and Manny Pina continue to sit at the top of Milwaukee’s catching depth chart. The first and most obvious would be at catcher where the Brewers, like most teams, rarely carry more than two at a time. There are two paths forward if Nottingham is looking to make the team as a member of the 26-man roster. As one of the players on the team with no minor league options remaining, it’s 26-man roster or bust for him this year. It was well-known enough going into the 2021 season that Nottingham was in a precarious position with his spot on the roster. Even though Jacob Nottingham is back in action, is it reasonable to think that he still has a future with the Brewers? The only question that remains at this point is where he actually fits on the team at this point going forward. Having one of the team’s top catchers on the 40-man roster available again is good news for both the Brewers and Nottingham himself. That’s the final step in his comeback from offseason thumb surgery. Re: Jacob Nottingham, the plan is for him to catch in an intrasquad setting later this week. #Jacob nottingham 27 instagram full#Sunday’s start at DH was the first step to his return and, according to Adam McCalvy of MLB.com, his final step to a full comeback is right around the corner as well. It was a long-awaited debut for Nottingham after offseason thumb surgery over the winter delayed his start to spring training. Off the batter’s eye! Welcome back, Jacob Nottingham. Because in the seventh inning, Nottingham collected his first hit, run, and RBI of 2021’s spring training in very loud fashion. That would be all the time he would need to settle in, though. Both of his first two at bats on the day ended up resulting in strikeouts. Like many players going through their first spring training game of the season, Nottingham expectedly had some rust to shake off. When the lineup for the team’s Cactus League matchup against the Mariners was released, the backstop was found in the nine-hole playing designated hitter. Brewers fans who have been waiting to see an appearance by catcher Jacob Nottingham this spring finally got their wish on Sunday. One of the neat things about these old Fenders is that every one is different, and every one has it's own musical personality. It plays amazingly well, and although it exibits similarities in feel to "smokey" above, this one has more attack and a noticibly different overall feel. #1965 fender musicmaster professional#After confirming it had never been modified it was put back together and received a professional set-up. In fact, the first time this one was ever opened up was just prior to my purchase of it. 100% original, including the pickup, wiring, pots, pickguard, Kluson tuners, etc. The heel date on the neck confirms this is indeed a '69 though, so its an oddball for sure. This has some interesting and somewhat unique details, as most 1969's I've seen have the later/revised block letter "MUSIC MASTER" headstock logo, whereas this one has the early style Musicmaster II logo and gold Fender script usually not seen this late into the 60's. its just a beautiful original Fender, and a joy to play. Aside from a few tiny marks on the finish this could almost pass for "new old stock". This one is as clean as a pin, and probably was never played outside of the original owner's home. Fender replaced the Mustang line with the short-lived Fender Bullet line of guitars and basses before relegating production of their student guitars to their Squier division.On the other end of the spectrum is this 1969 "Dakota Red" Musicmaster II. These were the last of the offset student models to be made. In 1982 Fender discontinued both the Mustang and the Musicmaster II. Its wiring with the original pickups also led itself to custom modifications, which means that surviving models with original parts are even more valuable. Before that, its relatively low cost and marketing as a student guitar made it an obvious candidate for aftermarket upgrades, particularly pickup changes and also amateur finishes. This short scale, combined with a unique and extremely direct tremolo arm would make the Mustang a cult guitar in the 1990s. The short scale may improve ease of use for people with small hands, and also enhances the ability to use the tremolo arm for upbends. #1965 fender musicmaster full#A 24-inch scale is still relatively short, the same as the Fender Jaguar but a full inch and a half shorter than the Stratocaster and three-quarters of an inch shorter than the Gibson Les Paul. After the release of the Mustang, the Musicmaster and Duo-Sonic were redesigned using the Mustang body These were branded the Musicmaster II and Duo-Sonic II but the decals were not consistently applied.Īll three Mustang-bodied models (Mustang, Musicmaster II and Duo-Sonic II) were offered with optionally the 21 fret 22.5-inch (or 3/4 scale) neck, or a 22 fret 24-inch neck, but the 24-inch was overwhelmingly more popular and 3/4 scale examples are rare. The Mustang has an offset waist, reminiscent of the Jazzmaster, but its overall styling closely followed the existing student models the Musicmaster and Duo-Sonic, the slight waist offset being the main change.
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