Ranking seamless gutter costs in the order of low to high Īs you can see, a new gutter system is very inexpensive when you consider its importance compared to other home improvement projects. The price is for the materials, installation, and any warranties the contractor offers. In total, the average you may spend on a newly outfitted home with aluminum gutters is around $1,500, with a range of $1,000 – $2,500. Other gutter types – from sectional to copper – can range between $3 – $25 per foot. ![]()
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![]() If it does not, you should check if the protocol handler for "nsgcepa://" works: $ xdg-open nsgcepa:// Now go to you company's Citrix URL again. $ cp /opt/Citrix/Browser-EPA/sktop /usr/share/applications/ desktop file had already been copied to where the system expects it to be: /usr/share/applications/. Change the Exec line to: Exec=env LD_LIBRARY_PATH=/opt/Citrix/lib LD_PRELOAD=/opt/Citrix/lib/libcurl.so.4 /opt/Citrix/Browser-EPA/nsgcepa desktop file provided in the nsepa package for that: /opt/Citrix/Browser-EPA/sktop. In order to use these libs instead of your system's libs, we have to fiddle with the way nsgcepa is being called. # cp libhogweed.so.4 libnettle.so.6 librtmp.so.0 libidn.so.11 /opt/Citrix/lib Create a directory for patched library files and copy libcurl.so.4 into it. I found one in the Steam runtime under ~/.local/share/Steam/ubuntu12_32/steam-runtime/usr/lib/x86_64-linux-gnu. Unfortunately you have to find an appropriate lib for yourself. I think this is a patched version from Ubuntu and I could not find an Arch package providing it, not even libcurl-compat. LibX11.so.6 => /usr/lib/libX11.so.6 (0x00007fe4401d9000)Īs you can see, the nsgcepa executable (which is the main executable of nsepa) has been linked to a libcurl.so.4 that contains the "CURL_OPENSSL_3" symbol. opt/Citrix/Browser-EPA/nsgcepa: /usr/lib/libcurl.so.4: version `CURL_OPENSSL_3' not found (required by /opt/Citrix/Browser-EPA/nsgcepa) Unfortunately your company might use and old version that has the following problem: Recent versions of the EPA are linked to libcurl-gnutls and you are done now. # debtap b Call the package "nsepa" and use the suggested version. You might need to install debtap AUR first. Transform the Debian package into an Arch package with debtap. Under the error message you will see a button for downloading b. ![]() Opening the URL of your company's Citrix gateway will try to start the endoint check immediately, which (of course) fails, because you have not installed the EPA plugin, yet. Download the EPA plugin from your company's Citrix gateway. Here is what you have to do to get it running: It seems like it was a browser plugin using the legacy NPAPI, but now it is just an application the browser calls with a protocol handler for "nsgcepa://". If your company has activated the optional endpoint analysis to check if your computer meets certain requirements, you will have to install another component, the EPA-Plugin. To do this, use this command (borrowed from ) Skipping this step might result in Citrix still giving certificate errors. Changes to your certificate directory will likely require rehashing links for openssl to find them properly. # awk 'BEGIN ' < tls-ca-bundle.pem You may also need to download your CA's intermediate certificates and store them in the same directory. # cp /etc/ca-certificates/extracted/tls-ca-bundle.pem. You need to run the following commands as root: # cd /opt/Citrix/ICAClient/keystore/cacerts/ For Citrix versions before 13.1, run the following command as root: # ln -sf /etc/ssl/certs/* /opt/Citrix/ICAClient/keystore/cacerts/ Since versions 13.1, Citrix needs the certificates in separate files. Copy the certificates from /etc/ssl/certs/ to /usr/lib/ICAClient/keystore/cacerts/. These are already installed on most systems, they are part of the core package ca-certificates, but they are not where ICAClient looks for them. You do not have the root Certificate Authority (CA) certificates. You may then receive the error You have not chosen to trust the issuer of the server's security certificate. If there is a certificate download and place it in /usr/lib/ICAClient/keystore/cacerts/. TLS/SSL Certificatesīecause ICAClient uses SSL you may need a security certificate to connect to the server, check with the server administrator. a text editor), make sure you have xorg-xprop installed. ![]() Note: If you are running Xfce and Chromium is opening the. ![]() Although living in Boston, the band had always considered Detroit its second home because of its enormous popularity there. Both bands later played the last show at the Fillmore East prior to the venue's closing. later called Magic Dick "a pioneer in sound and style for rock harmonica." described their 1970s period as a band "pure and simple, churning out greasy covers of obscure R&B, doo wop, and soul tunes, while cutting them with a healthy dose of Stonesy swagger." On August 17, 1971, at a show on the Boston Common, The Allman Brothers Band named The J. Through constant touring, the band soon built a large following in the US for their energetic live shows, with the charismatic stage-antics and "microphone-stand-pole-vaulting" of singer Peter Wolf, as well as its innovative use of the harmonica as a lead instrument. The song "Cry One More Time" (also on The Morning After) was later covered by Gram Parsons on his debut album in 1973. The band started to get airplay with release of their first single, a rock-cover of The Contours' Motown hit, " First I Look at the Purse", and soon the band would get more AM radio airplay with a series of several successful singles in the early 1970s, the first one being a cover version of The Valentinos' " Lookin' for a Love", which appeared on their second album The Morning After and was their Top 40 debut in 1972 (at No. Geils Band in August 1970 in A&R Studios in New York City and it was released in November. Geils Band recorded their debut LP The J. The group ultimately signed to Atlantic Records in 1970.ġ970s touring, recordings and early top 40 success Īfter spending the better part of 1970 playing live shows around the US opening for artists as eclectic as BB King, Johnny Winter, The Allman Brothers, and The Byrds, The J. Geils 'bathroom tapes' (that were almost exactly what the name implies) and a tape of their performance at Alternate Media Conference at Goddard College, but these hardly sufficed" to fans who wanted a proper album. Unofficial live recordings circulated: as noted in Creem, "WBCN had the infamous J. The band took its time carefully considering various offers of contracts. Soon, fan Seth Justman joined on keyboards and the band started to earn a sizable following in the Boston area. Geils Blues Band, later dropping the word "Blues" from the band name. Initial influences included James Cotton and Little Walter - in 2008 interview, harmonica star Magic Dick said they were all "harp freaks". In 1968, the band switched focus, going electric and recruiting two fellow musicians from Boston band The Hallucinations, drummer Stephen Jo Bladd and vocalist Peter Blankenfeld, a fast-talking former WBCN disc jockey with the air name Peter Wolf. Funk"), and harmonica player Richard Salwitz (" Magic Dick"). Originally named Snoopy and the Sopwith Camels, the group was an acoustic blues trio with Geils on guitar, bassist Danny Klein ("Dr. The band started in the mid-1960s while John Geils was attending Worcester Polytechnic Institute for a couple of semesters after transferring from Northeastern University in Boston (where he lived in "The Playboy Room" of the Gamma Phi Kappa Fraternity). ![]() 38 in 1980 and was featured in several films), " Centerfold" (No. 32 in 1980), " Love Stinks" (which reached No. Their biggest hits included " Must of Got Lost" (No. ![]() 39 on the Billboard Hot 100 in 1972), as well as the single " Give It to Me" (No. The band first released several Top 40 singles in the early 1970s, including a cover of the song " Lookin' for a Love" by The Valentinos (which reached No. Beginning in 1999, the band had several reunions prior to the death of its namesake, J. After Wolf left the band in 1983 to pursue a solo career, the band released one more album in 1984 with Justman on lead vocals, before breaking up in 1985. ![]() They performed a mix of cover songs of classic blues and R&B songs, along with original compositions written primarily by Wolf and Justman, as well as some group compositions written under the pseudonymous name Juke Joint Jimmy, representing compositions credited to the entire band as a whole. The band played R&B-influenced blues rock during the 1970s and soon achieved commercial success before moving toward a more mainstream radio-friendly sound in the early 1980s, which brought the band to its commercial peak. Wolf and Justman served as principal songwriters. The original band members included vocalist Peter Wolf, harmonica and saxophone player Richard "Magic Dick" Salwitz, drummer Stephen Bladd, vocalist/keyboardist Seth Justman, and bassist Danny Klein. Geils Band / ˌ dʒ eɪ ˈ ɡ aɪ l z/ was an American rock band formed in 1967, in Worcester, Massachusetts, under the leadership of guitarist John "J." Geils. Rock, blues rock (early), new wave (late) Not pictured: Seth Justman, Danny Klein, Stephen Jo Bladd (Some option to view unit details in the "plan an attack" menu would have been helpful.) A "plan an attack" feature zooms in on the surrounding hexes to fine-tune which units will attack and check the probability of success and projected casualties. Pop-up menus enable you to set the degree of attack. To set up an attack, all you need to do is click the attack unit or stack of units and right-click on the target. These units are linked into command groups ("formations") that are able to work smoothly together during combat. Units are represented on the map by standard tile markers, though a sluggish 3D mode reminiscent of TalonSoft's Battleground games is also offered. The scale can range from 2.5 to 50 kilometers per hex and from company to corps level. In essence, it plays like a divisional-level game with a flexible scale and detailed unit composition. This means combat is based upon the range of the weapons involved. In game terms, "operational" essentially means the place between grand strategy (where political and resource modeling become necessary) and tactics (where close combat and maneuver are more common). Since the game system encompasses nothing less than the whole sweep of modern warfare, ease of use is essential to keep you from becoming mired in details, as with the Third Reich system. A user-friendly tutorial and largely intuitive interface ease you into gaming, but there's plenty going on below the surface. It's exceedingly complex, but its complexities are layered and ultimately accessible. This doesn't mean The Operational Art of War is lightweight. No one will puzzle over The Operational Art of War as they did over Pacific War. At SSI, he didn't get as much attention as the other chief designer, Gary Grigsby, but his games were based on infinitely more sound designs and have consequently held up better. Koger's trademarks are a rigid adherence to realism, detailed unit modeling, unusual scenarios, powerful scenario editors, and - most importantly, considering the preceding characteristics, ease of use. The Operational Art of War is a dream project of designer Norm Koger, whose resume includes such great computer wargames as Tanks, Age of Rifles, Conflict: Korea, and Conflict: Middle East. 1 sets another high-water mark, but on a much grander scale, and creates a new standard for large-scale computer wargaming. Atomic's V for Victory games, arguably computer wargaming's high-water mark, worked well because they melded the familiar wargame format (tiles on maps) with an ease of use that could only come with a computer. The only exceptions that come to mind are Sid Meier's Gettysburg! and Close Combat, which could only have been done on computer. The best computer wargames pay homage to their tabletop ancestors, becoming in essence grand computerized translations of paper maps and cardboard markers. ![]() ![]() Meanwhile, podcaster and journalist Jason Snell says he’s heard “from someone who says someone at Twitter told them the API shutdown is absolutely intentional.” Ultimately, though, Snell says he has “no way to know if that’s legit or not.” 9to5Mac’s Take Unfortunately I don’t have many contacts at Twitter anymore so doubt I’ll get any kind of definitive answer soon.Īs of Friday afternoon, Haddad said that he still has not heard any news, “official or otherwise,” about what’s going on. I’m hoping that whatever is going on at Twitter is just some automated spam protection bot that is incorrectly suspending proper apps, or something similar. Tweetbot developer Paul Haddad wrote on Mastodon last night: We hope that this is a temporary outage and will provide you with more details as soon as we get them.Īs both companies point out, Twitter has not communicated with developers regarding this issue at all. We’ve reached out to Twitter for more details, but as of yet have not heard anything back. We’re hoping this is just a temporary glitch and will let you know more as soon as we know more.Ī pop up in the Tweetbot app further explains:Īt 7:30 PM PST on January 12th, access to Twitter from Tweetbot and many other 3rd party apps have stopped working. We’ve reached out to Twitter for more details, but haven’t heard back. Tweetbot and other clients are experiencing problems logging in to Twitter. Tapbots, the developers of Tweetbot, say: We thank you as always for your support and patience as we work through this problem. This may just be a temporary bug it may be more a more serious issue.Īs soon as we know more we’ll update this message. As of this writing we have heard nothing officially from Twitter and are trying to learn more. Twitterrific users are currently unable to access the service via the iOS app. “Something bad has happened at Twitter,” the warning explains. The Iconfactory, developers of Twitteriffic, is now directing users to a webpage explaining the outage when they open the app. When you open Tweetbot, for example, you see an error message explaining that there was a “problem authenticating with Twitter.” This means that popular third-party Twitter apps like Twitteriffic and Tweetbot are completely broken. Twitter API change breaks Tweetbot, othersĪs we reported overnight, Twitter’s official API for developers is almost entirely offline. This is leading some people to speculate that this change is intentional and that Twitter is shutting down third-party clients altogether. Despite growing complaints from Twitter users and developers alike, Elon Musk has remained silent. Tweetbot, Twitteriffic, and other popular third-party clients for Twitter are still completely broken due to issues with Twitter’s API. ![]() This translates to super-fast gameplay and a nice response to twitch reflexes. While the Razer Kishi V2 offers a snappy, super sensitive set of face buttons, each decked out with microswitches for a particularly satisfying experience. There are, however, some significant differences in the overall feel of each device. Both are low-latency gamepads with speedy response times and snappy thumbsticks. Neither the Backbone One nor the Razer Kishi V2 ever snagged in our own testing. Winner - Razer Kishi V2 Backbone One vs Razer Kishi V2: Performance The only drop made by the Kishi V2 is with regards to audio, so adding the extra buttons into account, there's better overall functionality with Razer. They're still helpful for mapping a dodge or for toggling a sprint, though. As mentioned above, however, these can only be configured to an already existing command on the gamepad. The Kishi V2, however, also bundles additional remappable buttons, positioned just next to the top bumpers. The Razer Kishi V2 supports passthrough charging, but you'll be relying on a wireless gaming headset or gaming earbuds for audio as there is no output. With passthrough charging and a 3.5mm jack for any headset, life is a little easier here. If you're looking for ease of use and a simple plug-and-play experience, the Backbone One is for you. This is where you're going to have to make some decisions about what's important to you on a daily basis. However, the selection on offer does differ greatly. Winner - Backbone One Backbone One vs Razer Kishi V2: Featuresīoth the Backbone One and Razer Kishi V2 come stocked with a selection of extra features beyond the traditional face buttons and thumbsticks. One of the only things the Razer Nexus app has going for it is the ability to remap your additional M1 and M2 buttons (the Backbone One relies on native iOS settings for this feature), though you can only map them to existing inputs on the controller. The rest of the main home screen is taken up by recommended games that the Kishi V2 can handle, but this isn't an exhaustive list - you'll still be hunting down compatible titles outside the app. Again, you're able to see your games side by side, but only those loaded in through the Google Play store, and in a strangely low-resolution format. While game chat, groups, and screenshots aren't going to be the deciding factor for some, their smooth implementation is the cherry on top.īy contrast, the Razer Nexus software feels a little clunky. ![]() Keeping all your Xbox (via Microsoft's streaming service), Google Stadia, and iOS titles next to each other streamlines your mobile gaming experience in a way that few other controllers replicate and all in gorgeous high quality. The official Backbone app offers a slick, intuitive interface to genuinely make your smartphone feel like a console. There's no doubt about it, the Backbone One offers superior software over the Kishi V2. We've had our hands wrapped around each one, and we're rounding up just what makes these controllers unique right here. However, the Backbone One has been a staple for a couple of years now and has even enjoyed its own official PlayStation release. The Razer Kishi V2 is a relative newcomer, taking up from the original Kishi model this year. The Switch-like approach cuts a gamepad in half and positions it on either side of your gaming phone screen, increasing comfort and allowing the controller to be powered by your device. The wraparound design was first introduced back when mobile controllers were just getting started in the big leagues. However, there are certain use cases in which one makes more sense than the other. We've spent countless hours thumb-tapping with each model, and both are excellent gamepads. The Razer Kishi V2 and Backbone One may look similar, but under the surface, there are plenty of features, design factors, and compatibility differences to make your decision tricky. If you're on the hunt for a wraparound mobile controller, you've likely come across two big names. ![]() ![]() 2.9.2.1 To Debug an Application Using a Debugger.2.9.1.1 To Use the Administration Console Log Viewer.2.8.2 To Update the Tutorial Using the Command Line.2.8.1 To Update the Tutorial Using NetBeans IDE.2.8 Getting the Latest Updates to the Tutorial.2.7.1.2 Installing the Tutorial Archetypes Using Maven. ![]()
![]() If HBO Max wants to truly make a difference with cartoons dedicated to showing characters fighting, it will avoid capitalizing on one of its protagonist’s difficulties with pronouncing certain letters and especially avoid having him discuss religion. This is unacceptable, and we haven’t even touched on the fact that Elmer is also fond of telling Bugs, “Say your pwayers, wabbit!” ![]() ![]() I’m hunting wabbits.” Depicting a character this way is obviously wrong, as it uses his speech impediment for laughs. In the early cartoons, when Elmer went hunting with a gun, he was known to turn to the camera and say, “Be vewy, vewy quiet. But also given the times, it’s worth noting that guns are not the only problematic thing about classic “Looney Tunes.” There are so many more, starting with another thing about Elmer. This is why the writers should go for Molotov cocktails instead of dynamite. Given that the whole premise of “Looney Tunes” is violent conflict, it’s an odd choice, if a wholly predictable one given the times. Will the scythe just bounce off? Bend? I should probably stop giving them ideas for how to make it plausible. Also, how does scythe failure work? When Elmer shoots Daffy and he gets coated in ash or his feathers fall off, that makes sense. It’s not like dynamite - the explosive, not Napoleon - has ever hurt anyone or that there was a movie titled for a giant blade that the protagonist used as a murder weapon. ![]() The best bet is to unpack it under Amiga OS, on an Amiga-formatted drive. Unpacking things on a PC is generally riddled with issues because Amiga-specific things like file comments and permissions aren't preserved on PC filesystems. SYS:C) rather than letting the system's paths do their job.īut, I think I see where the issue is. People often have problems due to having several different versions of Installer installed at different locations, and it's not helped by some software released by people specifying where it should be (e.g. Installer *can* be put in C:, and it often is, but in reality it was supposed to be in the same directory as the package until after OS 3.1, when the official location was set out as SYS:Utilities. ![]() Well, things get messy on the Amiga because it's so flexible when it comes to things like this. When I did that the iBrowse installation completes, but it does not run.ĪmigaOS seems to be similar with Linux in that scripts and packages are very particular. HOWEVER! I tried installing and selecting a different CPU option: 68020. Now when I try to install iBrowse I keep getting the TACKON script error. So MUI seems to have installed ok to my WORK: drive. That one I unpacked on my A500 The one from the website just keeps failing. I had to use the MUI package that was included. Now I was actually able to get MUI installed using the file provided earlier in this thread. the MUI lha archive was unpacked on a PC and put on my CF card. ![]() I have placed Installer 43.3 on C: (is that were is goes?). So as someone completely oblivious to how things work on an Amiga, I am unable to really answer this questions. Are you sure it's a standard 3.1 install? With Installer 43.3? How did you unpack the LHa archives? Daedalus wrote:Edit: As for the original issue, it appears there's some issue with the installer script. ![]() Software That Uses ReplayGain To Adjust MP3 Volume This mode is especially useful if your album has music that continues from one track into the next without a break, such as live albums or classical music. Look at the same image above and you can see that all tracks are to be adjusted by the same amount, whether they are louder or quieter than the average. This has the advantage that quieter parts of an album will stay that way relative to the louder parts, but the overall volume of the album will change. All tracks will be altered by this amount only. It calculates the average volume level across all the selected tracks and then works out how much gain needs applying to reach the target level. This mode is suited to whole albums or related collections of songs. If the volume is already close to the target volume, the file will be skipped. The image above shows that all the songs have a different volume level so the track gain to be applied is different for each. Some songs may need a drop in volume to reach the target level, others may need an increase. The volume level for each individual song is calculated and the amount of gain needed for it to match the target volume is displayed. This mode is best used for collections of individual tracks that are completely separate from each other, like compilations or greatest hits albums. ReplayGain has two different modes to choose from and the software you use to adjust audio files using this method will usually have both available. The calculated settings are stored in the music file’s metadata so it can be undone and the file restored to its original volume level later on. What makes ReplayGain useful is the process is lossless and it can do this without re-encoding the audio file. It uses an algorithm to calculate a track’s overall perceived loudness and then adjusts the song to the required level, making the sound you actually hear more consistent across several songs. ![]() It’s not actually a program or piece of software but ReplayGain is an audio standard to measure the volume level of a music file. Here we show you another way that has some useful advantages. ![]() One way is to re-encode the file to the desired level, but this lowers the quality of the audio. The result is some tracks might be significantly louder or quieter than others. What you need to solve this problem is a program to alter the volume of the songs to a similar level so there are no sudden jumps between tracks when there shouldn’t be. Some individual tracks or whole albums will have been encoded by a different person or company using different methods. One of the problems you will have most likely come across if you have music from several different sources is that they don’t all have the exact same volume level. There is a multitude of different ways to get your music files from P2P networks, download services like iTunes, searching for MP3s on Google, or visiting Myspace. Many of us like to listen to music whether it’s in the car on the way to work, walking down the street or at home to relax. |