That level of modification could easily result in what would effectively be a new circuit, requiring more options to be built into our boards than is feasible. We don't provide transistor options that require a lot of changes to the circuit. We'll focus on "interchangeable" that is a simple swap, or a simple swap with some simple adjustments. "Roughly" because some are simple substitutions, some may require some simple tweaks, but nearly all could be made to work in most circuits with a bit of work. We'll divide them into groups based roughly on their interchangeability in effects circuits. We're going to classify them in a rather unconventional manner. There are a number of different ways to classify transistors - by the technology used in their design, their construction, their purpose, and so on. Our purpose here is to provide some information so you can select customized transistors for some of our modules. That's far too much to cover, interesting as it might be. We aren't going into the details of how transistors work or what they are doing in particular circuits. Sometimes they are used with other components to remove or boost various frequencies. Transistors are used in numerous ways in guitar effects. What Are Transistors Used for In Effects? Of course, tubes, transistors, and op amps are all still in use in guitar effects. And digital technologies replace op amps in some applications. Just as everything electronic gets replaced, op amps were a newer technology to replace transistors in many applications. In the world of guitar audio, they were at one point a new invention intended to replace old tube technology. Transistors are small electronic devices that can act either as switches or amplifiers.
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His first live shot for the Weather Channel was from Baton Rouge, Louisiana, for Hurricane Andrew in 1992, Cantore said in a Weather Channel interview. He's also covered: the devastation of deadly tornadoes in Moore, Oklahoma, and Joplin, Missouri major snowstorms and countless hurricanes, including Ida in 2021. A look at Cantore's past weather coverageĬantore has been on the scene of some of the most severe storms to hit the U.S., including 2018’s Hurricane Michael in Florida, where an infamous Weather Channel broadcast showed the meteorologist dodging debris and powerful winds as he gripped his microphone on live television. The network makes sure to book hotels based on their locations’ risk of storm surge impacts, she added. Zimmett said they meet daily to ensure safety. “We at the Weather Channel do not put people in harm's way, and the times we have felt we've positioned (reporters) too close to the heart of the storm, we will move them if they don't have sufficient cover,” Zimmett explained.Ĭantore and other network crews will often wear Kevlar vests and have goggles and helmets to wear. SHOULD YOU EVACUATE? How to stay safe as Ian approaches Florida's coast How does Cantore stay safe?Ĭantore’s passion for severe weather has placed him in dangerous situations, but Zimmett said he has never been hurt. "There was no one there to help, most people had been diverted to New Orleans," she said. "His team helped evacuate veterans out of a residential facility there." He was also in Biloxi during Hurricane Katrina in 2005, Zimmett said. HOW BAD WILL IAN HIT FLORIDA? Waffle House closures forecast a powerful blastĪ Weather Channel clip from 2020 showed a drenched Cantore wading through calf-high waters of a flooded parking garage in Biloxi, Mississippi, as he showed viewers the extent of Hurricane Zeta’s impacts as they occurred. LIVE COVERAGE: Ian nears historic Category 5 status as it nears Florida landfall Known as “the original Weather Channel StormTracker,” according to his Instagram, the certified broadcast meteorologist and American Meteorological Society fellow has served as the most recognizable “weather geek” at the Atlanta-based network for over 35 years. Where is Cantore now? That's up to Mother Nature, according to his Twitter account.Īt last check, the famous forecaster was spotted in Punta Gorda, Florida, as the state’s west coast braced for a hit from the massive Hurricane Ian. “This will be one of the strongest hurricanes in southwest Florida history,” Cantore tweeted Wednesday. The location of the iconic broadcast meteorologist has become synonymous with severe snowstorms, tornadoes and hurricanes over the past three decades. AVERILL PARK Norman Norm Sebastian, 44, of Averill Park, a well-known Capital District meteorologist, died at his home on Friday, after battling lymphatic cancer for the last few months. Wherever Weather Channel meteorologist Jim Cantore goes, you probably won't want to be there for long. Her professional success was monumental, but so was her commitment to helping others through her philanthropic work," the post said.Watch Video: Weather Channel's Jim Cantore clashes with Ian's 150 mph winds "Mish had the ability to brighten up every room she entered. "She went on to be, in my mind, one of the all-time greats in Boston TV history and perhaps the most influential woman of her day in broadcast science," Eliasen said.Ī family friend confirmed her death in a post on Facebook and said her family is devastated by the loss. She became interested by weather after a tornado tore through her apartment complex in Baltimore when she was in kindergarten. 'Kiss of the Spider Woman': Oscar-winning actor William Hurt dies at 71 starred in 'Body Heat' and 'Broadcast News' 'A brilliant writer': Pulitzer winner, Associated Press reporter Walter Mears dies at 87 "For those that didn’t know her, I feel I cannot possibly portray just how amazingly brilliant she was."Īccording to Eliasen, she began her career as a meteorologist at WMUR in Manchester, New Hampshire, before becoming a household name when she worked at WHDH in Boston, then WBZ from 2001-2009. She was one of those rare human beings that excelled at everything she did," Michael's friend and CBS Boston colleague Terry Eliasen wrote. "Mish was so many things to so many people. Her cause of death was not disclosed and she leaves behind a husband, daughter, aunt and a host of friends. 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This type of 3-D gimmick is used with restraint here, and when done, as with a ping-pong ball being smacked into the audience by the barker, seems to belong in the particular setting. Very competent performances are also supplied by Frank Lovejoy, Paul Picerni, Roy Roberts, Dabbs Greer and Reggie Rymal as the barker.Īndre de Toth’s direction makes the best possible use of all effects, without throwing too many things at the audience. Cathy Gray is very good in a bit part, as a dizzy dame and as a statue. Phyllis Kirk is excellent as the girl in peril who fingers the murderer. His flesh-creeping antics get a good assist from his two assistants, Charles Buchinsky and Philip Tonge. He makes his blood-curling brothers, Herr Frankenstein and Mr. Vincent Price, aided and abetted by the expert makeup of Gordon Bau, gives the part of the sculptor as much ghoulishness as the audience can stand. The entire atmosphere is ideal for horror, color - and 3-D. He also recreates in wax recent crimes he himself has committed, using the bodies of the victims. He not only steals the bodies from the morgues and other places but actually kills the people he fancies resemble historical figures needed for his tableaux. A mad sculptor is operating a waxworks museum in which he uses some actual cadavers covered with a thin layer of molten wax. The plot of House of Wax, which, incidentally, was made once before in 1933, as The Mystery of the Wax Museum, is no great shakes but it is eminently serviceable. The color accentuates the ghastly details of the story. The Warner print used was especially light, obviously to make up for the color loss of glasses. This, however, may have been due to polarized viewers, which naturally cut off considerable light. In House of Wax, the colors were true and sharp, and the darker colors had the fine quality of the best British Technicolor. The WarnerColor has shown constant improvement in almost every picture turned out in this color. In any event, stereophonic sound, whether called Warnerphonic or by some other name, is definitely here to stay regardless of the processes it is used with. However, speech coming from persons off-screen addressing those on screen seemed a little strange in this instance. Sound effects heard from off-screen, from objects approaching the screen, heightened the dramatic effect. The sound moved right across the screen with a walking player and definitely came from whichever side of the screen the actor was talking from. The Paramount Theatre, where this preview was shown, had speakers arranged behind the screen and on side walls for this presentation of Warnerphonic stereo sound. The result has a kind of spellbinding effect on the audience, giving a feeling of realism to a completely unreal story as well as a sense of participation. House of Wax, produced in an improved Natural-Vision 3-D process, augments the depth-perception capacity with stereophonic sound. In contrast to all the other 3-D pictures shown up to now, House of Wax will not only satisfy in itself but will advance the public appetite for stereo pictures beyond the novelty or curiosity stage. 'Star Wars: Return of the Jedi': THR's 1983 ReviewĮxhibitors can count on this to pay off their bill for 3-D equipment installation, and then some. It will bring millions of new and old customers to the box office, and run up a multi-million dollar gross for its producer-distributors. Which is why House of Wax is great entertainment, an exciting, diverting thriller. A medium which gives the audience the sensation of being closer to the action - the feeling of an eye witness to the events unfolding. New York - Warner Bros.’ House of Wax proves once and for all that true stereo combined with perfect color and directional sound is truly a visionary new and exciting medium. Warner hailed House of Wax’s release as “an occasion as historic as August 5, 1927, when we held our first showing of ‘Talking Pictures.'” The Hollywood Reporter’s review of the film, headlined “‘House of Wax’ Exciting 3-D for the Terrific B.O. held the world premiere of the 3D film House of Wax at the Paramount in Times Square. In a trade ad touting a “new era of our business!” days before the pic’s debut, studio chief Jack L. |