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The folder contains a file for symbol library (trill-flex.lib) and a folder for the footprint library (trill-flex.pretty). The symbol represents the electrical connections of our Flex sensor and is needed for the schematic part of our KiCad project - the schematic is where define all the components that will be included in our circuit, and describe the electrical connections between them.


The footprint library (trill-flex.pretty) contains different footprints for the Trill Flex connector (which will show with the .kicad_mod extension). These footprints represent the part that will be added to your PCB and that actually contains the physical design elements that will be part of our sensor.


This brings up a dialog box. Click the the small folder icon in the bottom left of the box, which will open a file explorer window. Navigate to the folder containing your download files and select the trill-flex.lib. Click Open.


The Trill Flex footprint has 32 individual wires and two sides. One side is the part that make contact with the connector on your Trill Flex board. It can be identified by the footprint title trill_flex_connector_long. We do not need to do anything with this side of the connector - all of the connections we will draw will be with the other side.


There are a few different variations on the trill symbol in common use, MuseScore does support them all.
 In the articulations palette is the "tr" with no wavy line. Also the short wavy line used to indicate a mordent or similar "short" variant of a trill. Under "Lines" is the "tr" plus longer wavy line, as well as the wavy line with no "tr". I'm not aware of any other common ways of expressing a trill. So if there is something you feel is missing, please attach an image, or post a link. It's possible it will turn out the symbol you are thinking of is not actually meant to be a trill at all, as others have suggested.





The first shows both a trill (the word trill plus the wavy line) and a tremolo. The second is just a tremolo, no trill in sight. To get the word "trill" to show, just right click the trill after adding it and go toLone Properties. But the tremolo is something else, and you need to add it as described in the Handbook for tremolo.


I would say the trill indication is redundant. The tremolo would play the same as a trill on the B-flat. I would only use text and mark the trill line to not play to avoid having MuseScore decide for itself what it should play - which has about a 50/50 chance of being wrong. By the way, trills do not have a line property, so you can't add the word to the line. As I suggested, use staff text for the word trill and line it up with a trill line that is marked not to play in the inspector.


Ooops, that's what I get for posting from my phone where I can't test first :-). Indeed, no ability to access line properties for trill lines. I wonder if that couldn't be improved, though. For 3.0, Line Properties is replaced by the Inspector; it would in theory be possible to add a text field to the trill section without needing to add all the other "text line" details like hooks etc.


But it's worth pointing out that use of the word "trill" here is highly unusual. Unless there is really some specific reason to need to create non-standard notation like this, better to just use the standard notation found in MsueScore that's going to be more familiar to musicians anyhow.


I'm not sure what the goal for the transcription is. If it is to modernize it and make it look like it was published this century I would choose the tremolo indicated in the score since it was used elsewhere in the same score. If the goal is to make it look like the previously published score, then I would use both as described above. There are many of us who prefer to use the historical notation rather than modernizing it. Fortunately, MuseSc

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Het gouden ei
, de derde thriller van Tim Krabbé (*1943 te Amsterdam), verscheen in juni 1984. De roman of novelle van 98 bladzijden is verdeeld in vijf hoofdstukken, waarvan het laatste maar twee bladzijden beslaat; de andere tellen er 19, 16, 27 en 18. De resterende pagina's bevatten het voorwerk en de nummeraanduidingen van de hoofdstukken.


Het gouden ei (The Vanishing) by Tim Krabbe is a Dutch horror novel about the girlfriend of Rex Hofman, who vanishes without a trace at a French petrol station. Unable to rest while she is missing, Rex launches a global missing persons search for his girlfriend, and has to pay a dire price to find out the truth. This thriller has deep psychological and even disturbing elements to it, but for fans of horror, this short and tantalising read will have you at the edge of your seat.


Bij een vorige vakantie ging dit namelijk eens mis. Rex was toen gedwongen lopend naar een benzinestation verderop te gaan en was daar drie uur lang mee bezig. Saskia vertelde toen dat dat moment haar hetzelfde gevoel gaf als een nachtmerrie die ze als kind had. Ze droomde toen dat ze opgesloten zat in een gouden ei, dat zweefde door de ruimte. Je kon er alleen uit ontsnappen als je tegen een ander gouden ei zou botsen, een hele kleine kans natuurlijk.


Acht jaar later is Rex opnieuw op vakantie, maar nu met zijn nieuwe verloofde Lieneke. Nog steeds weet niemand wat met Saskia gebeurd is. Na de vakantie krijgt Rex dezelfde nachtmerrie over het gouden ei als Saskia eerder kreeg. Hij besluit nieuwe advertenties in kranten te zetten, in de hoop nieuwe getuigen te vinden.


Een belangrijk (leid)motief in het verhaal is het gouden ei zelf. Het komt vaak terug in het boek d.m.v. de nachtmerries, maar is ook een symbool voor de angst en eenzaamheid die Rex voelde tijdens de 8 jaar van de vermissing van Saskia én die Rex en Saskia gevoeld hebben tijdens hun ontvoering zelf. Er is nauwelijks kans op ontsnapping.
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This game supports English, French, Italian, German, and Spanish. Download the manual for this game by locating the game on and selecting See Game Manual". Battlestations Pacific is the sequel to the critically acclaimed Battlestations Midway. Take the fight in the Pacific direct to the enemy in this epic action-strategy game where players command and take control of over 100 air, sea and undersea units. Fight in two massive historic single player campaigns and battle online in a deep multiplayer game featuring 5 unique modes across numerous battle scenarios. There are no refunds for this item. For more information, see www.xbox.com/live/accounts.


Yeah nice one elite, ive have not played online just yet and was until your post currently unaware that there were unlockable units online and if you do know what ones there are and the requirements ill update the thread, which at this moment im still not untirely sure that they are all correct? if there are corrections let me know and il ajust accordingly, cheers again dude.


Got this from -US/content/unit-focus-%E2%80%93-p80-shooting-star Oh and the Japanese one is apparently called the Nakajima Kikka, I'm going off the unit identification sheet in the BP box, the Kikka is under the dive bombers section not under the fighters section, does that mean Japan's first jet was a dive bomber? Oh, to unlock both of the units you MUST reach the rank of Fleet Admiral (last rank) Which some people are apperantly at already.



Battlestations: Pacific
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Battlestations: Midway
 in several ways, adding new combat features such as more advanced submarine combat, more easily customizable planes and ordinance loads, island invasions, which have effects on the battle at hand. New weapons, planes, and ships were added, such as HVAR Rockets and experimental fighters, including the Kikka and Shinden, along with kamikaze units, such as the Ohka and Kaiten; there are also some more conventional aircraft and ship additions.


Release date: Jul 2, 2009. 6 units; 9 US pin-up nose arts & 9 Japanese nose arts for vehicles.Included units: P-51 Mustang, G5N Liz long range bomber, Alaska-class cruiser, Montana-class battleship, Kuma torpedo cruiser, Super Yamato-class battleship.


The games now includes several different types of environment effects, most notably the addition of night, day and other weather effectsOver 100 playable units are includedA Japanese campaign which reflects plans that the Japanese had constructed if the pacific war had turned in their favour is also included with the historical US campaign.The usability of the game has gained developer attention, with the learning-curve being shortened and the tabs for launching units and repairs was simplified.


At first glance you might mistake this for the WWII edition of the famous Milton-Bradley game Battleship! Even though it is true that most of this game takes place out at sea, the battleships and gunboats only make up a small portion of the controllable units. You will also get to control airplanes, bombers, and submarines. As you get promoted in rank, you will unlock better vehicles and gain command of bigger squads. As you play in a mission you will be commanding all your different units from the map screen. The interesting thing is that at any given time you can take control of any unit you may have on the field. Feel like dropping bombs, take control of the bomber, and so forth and so on.





The last thing is the Multiplayer that is included in the game. Currently there is only nine maps to reenact your favorite moments from WWII, but like every other game (or at least it should be) there will be content downloads for this one. Most of the maps that you get to play on you will have already played in the Single-Player campaign. Battlestations: allows for up to 8

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Well, using "
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I tried many ways with the default "npm install" ( -native-vector-icons#installation) with limited success. But on the first try with expo, everything worked like a charm. Sometimes, we only need a different approach...


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Hey rhos, am i allowed to use these icons for my game? like i used the icons for my button and etc, but am i allowed to use them? i'm not reselling them for robux just simply using them for in game icons. Like for instance the shop ui button.


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The 
 A 
 rmee 
 P 
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The Walther 
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 H 
 eeres 
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 istole) was produced in parallel with the P38 for the commercial market. Production started halfway 1939. About 25.000 HP pistols were produced in mainly 9mm and also a few in 7.65mm. Around 1500 Walther HP pistols (serial number range 1000-2500) were exported to Sweden in 1939-40 to be used by the Swedish army under the name 
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The 
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 E/359 
 and the sight is painted White/red. The bakelite grips are black checkered and have a round loophole for the lanyard. Most of the P38 pistols produced after this variation have rectangular loopholes. Magazines are stamped on the housing with the respective serial number and spare mags have an additional + in front of the serial number.


In 1940 the German army decided to use secret codes on weapons to designate the manufacture. The Germans were afraid that the Allied forces could easily locate the German weapon production sites and bomb them when they knew the manufacturer. In June and July 1940 Walther used the secret code 
 480 
 . The pistols produced in this period are therefore stamped with 
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 . The serial number was stamped on the slide. A schematical drawing is shown below. 
 480 
 is also stamped on the triggerguard.


The secret code 
 480 
 for the Walther factory was already abandoned after two months use and replaced by a new code. This new code was 
 ac 
 and was introduced in august 1940. In addition to the secret code the last two digits of the year of production were also stamped on the slide. There are periods were ac + production year were stamped next to eachother and periods where this combination was stacked. Most of the serial numbers also have a suffix letter.


Walther used serial numbers ranging from 1 to 10,000. The firm started over at 1 when the number 10,000 was reached. To ensure that every pistol had a unique serial number, the Germans added a suffix letter. The letter went up one character each time the serial number once more started at 1. At the beginning of a new year, both the serial numbers and suffix letters again started over. The first 10,000 pistols produced at the start of the year had no suffix letter. For example: The 25,000th pistol produced in a certain year had serial number 5000b,and the 35,000th pistol produced had serial number 5000c. The combination of year + serial number + suffix (or no suffix for the first 10,000 pistols) is unique for every pistol. From this combination it is easy to determine the production date of the pistol. The goal of every P38 manufacturer was to produce 10.000 P38 pistols every month. So every month started with a higher suffix letter. Below is a picture of an 
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There are relevant differences between the rapist and the fetus conceived as a result of rape. If, after the fact, the rapist no longer poses a threat to the rape victim, then the victim's killing the rapist would be revenge rather than self-defense, and we normally take very different moral attitudes toward those two types of action. By contrast, the fetus still constitutes at least a burden, and perhaps also a threat, to the rape victim, and importantly a burden or threat for which the rape victim is in no way responsible. I think it's this absence of responsibility in the case of rape that makes the most important difference. Even if we assume that the fetus conceived by rape has as much intrinsic moral status as a normal five-year-old child, that wouldn't make the rape victim responsible for the fetus in a way that obligates her to allow the use of her body for its survival. There are many five-year-old children in the world for whose survival you and I aren't obligated to make highly burdensome sacrifices.


My co-panelist has drawn some genuine distinctions, but I'd expect many people to find his response unconvincing overall. One obvious reason: suppose I have a five-year-old child who poses a very substantial burden to me. Perhaps the child has a physical disability that makes extensive demands on my time and money. Most of us don't think this would provide even the slightest justification for killing the child. And unless I could be very sure that the child would be cared for, it doesn't even provide a justification for abandoning the child.

Now the analogy isn't perfect. After all, the rape victim is in no way responsible for the fetus. I may have chosen to become a parent; I may have accepted responsibility for the child. But even if we grant that those a re relevant differences, they don't seem to get us very far. Suppose the child wasn't mine but had been abandoned on my doorstep. It's hardly clear that this would make enough difference to justify killing the child or abandoning it once more. 

It might be that with sufficiently subtle argument, we could wring out enough differences here to distinguish the cases. But that isn't my point. My point is that on the face of it, many people will find Stephen's reply unconvincing even if it can be defended at the end of the day. What interests me is what I'm guessing is the reason: if you reallu think of fetuses and five-year-olds as on par with one another, abortion is homicide. That said, I suspect very few people really think that a fetus and a five-year-old are moral equivalents. My guess is that this goes even for people who claim otherwise. For more on this point, see Peter Smith's excellent response to a question on abortion from 2011. You can read it HERE 

From your last sentence, I take it that you at least think you think of a fetus and a five-year-old as being on the same moral level. I can't say for sure that you're wrong about your own views. (And yes: we can be wrong about what we really think. That's part of the point of the concept of self-deception.) But for anyone who doesn't see things that way, this will be a big part of the reason for the distinction: killing the rapist is murder; the victim is a person. Aborting a fetus isn't murder, because a fetus isn't a person. 

It wouldn't follow from this that abortion is morally trivial. And it wouldn't follow that a fetus is nothing more than an object. But I'll confess that I find the view that a fetus is a full-fledged person all but incomprehensible. There are so many actual differences between fetuses and paradigm persons, not to mention so many differences (see Peter Smith's reply) in the ways we ordinarily think about fetuses and persons that I find the conceptual gap all but unbridgeable. Perhaps that puts me at the far end of the spectrum. But I don't

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Thanks for the update Martsui. If you are being asked for an authorization code then you will need to start from the beginning. Please remove any installed Adobe software and download the new installations files, and use the new serial number, referenced by John in message #1.


All of a sudden photoshop CS3 on my mac requires an Authorization code for it to work - i have the serial and activation nos. I've searched the forums and haven't found a fix - has anyone solved this? - adobe chat directed me to the forums??


How do we get an authorization code? We had our computer for 10 years, and crash a few days ago. So please help us with the authorization code. Here how you can get a hold of me. fingerlakeswwcd@gmail.com My name is John thank you very much.





i purchased adobe photoshop cs2 years ago. i had it on my old computer but my computer crashed and i had to buy a new computer. i tried to load my program onto my new computer and it installed fine. i had my serial number of which i entered the number . then it asked for activation code. i could not get one, the message said call adobe and get it. i called and got a recording saying they no longer provide activation code, and i was directed to go to adobe.com/go/activation. i did this but still was not able to get an activation code for this program. i paid $600.00 for this software program years ago. i am so frustrated that i can't use it. . Customer support told me to contact Best Buy, when i purchased the program to get it. That was ridiculous advice. Anyone know how can can get this code so i can use my program? Thanks, Faith


- Screen displays my old serial # (where does it get it, if everything was cleaned from my computer. It must be coming from Adobe, which makes me believe my CS3 needs to be de-activated by Adobe, but "they do not support CS3 anymore". It also displays an Activation Number and then expects you to type in an authorization code that you receive from calling the phone number that does not work.


Can you be more specific to what screen you are referring to that pops-up with the old serial number. In the numerous time I have tried to install the non-activation version, I do not get any popups regarding serial # in which I can edit the serial #. I get no popups during the setup/install. I get the "Temporary Activation Expired" pop-up when executing Photoshop, but there is no serial # mentioned. Only screen I get that mentions the old serial number is the one for entering an authorization code as part of the phone activation and you cannot edit the serial #. Entering the new serial # as the authorization code results in an error.


I've had to reinstall all applications after restoring Win10, and I have my CS2 Standard disks; installation itself went fine. But I need the Photoshop CS2 authorization code and the website instructions don't provide the 20-number code, they just send me to the same error message. Live Chat sent me over here. I've been trying to solve this all day. Please somebody help me...


I appreciate the link suggestion, but I've been there making several attempts today and it doesn't seem to complete the last step of providing the 20-digit authorization code even though the instructions say it will. If it's there and I'm overlooking it, I'd love to hear what I've missed. Thanks!


Hi John, everything I've done today - including the Live Chat correspondence, and Peru Bob's message, as well as prompts from adobe.com tell me to go to that page to resolve the problem, the problem being that my installed PS CS2 requires an Auth Code. I've been inst

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